Dr. Camille Saint-Saëns Author(s): M. D. Calvocoressi Source: The Musical Times, Vol. 53, No. 832 (Jun. 1, 1912), pp. 365-367 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/907323 Accessed: 10-02-2016 08:49 UTC

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This content downloaded from 84.88.136.149 on Wed, 10 Feb 2016 08:49:34 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-JUNE I, I912. 365

that despite his youth, he-naturally enough- found Halivy's teaching uncongenial to him: for SZe lusical~imes he followedthe course duringa fewmonths only. AND SINGING-CLASS CIRCULAR. In 1852 he enteredthe competitionfor the 'Prix JUNE I, 1912. de Rome,' but withoutsuccess. He was to renew the attempt,though to no better purpose,in I864, just beforereaching the limitage of thirty. DR. CAMILLE SAINT-SAENS. The same year (1852) his firstpublished work- a set of threepieces forthe harmonium-appeared; M.-D. CALVOCORESSI. By and his 'Ode t Sainte-C6cile' (unpublished) Among French composers of to-day,none has obtained the firstprize at a competitionopened enjoyed so long or so glorious a career as by the Socidtd Sainte-C6cile, and was performed Dr. Camille Saint-Saens, none has displayed so with great success. In 1853 the same concert great and so manifold an activity,and none Society-which renderedmany services to musical art in France at a when concerts (except, perhaps, M. Massenet) is as popular in period were few his own countryand abroad. And, it should be and poor-performed his firstSymphony (Op. 2, E which he had added, none is more fullyentitled not only to the flat), submittedwithout disclosing as its author praise of those who admire himwithout restriction, himself (a device to which he had recourse more than but to the respect of those whose musical ideals once, probably from the happen to be different. conviction that works known to be writtenby Nature, indeed, has been generous with Dr. youngFrench composerswere foredoomed). The workwas received with favour. Camille Saint-Saans,endowing him not only with great intellectand talents,but also withenergy, buoyancy, In I853 also, he became organistof the church and an inexhaustiblecapacity for work. He was Saint-Merry,, and occupied this post until when he was of born in Paris, October 9, I835. Having had the I858, appointed organist misfortuneto lose his father (who was from la Madeleine, one of the most importantparishes of At the of Normandy; his mother was from Champagne) the capital. age twenty-sixhe at early, he was brought up by his mother and a became pianoforte professor the Ecole great-aunt. From his earliestchildhood he evinced Niedermeyer(where among his firstpupils was his a greatliking for music, and extraordinarymusical M. Gabriel Faur6, junior by ten years). During capacities. It is told that beforehaving completed all that period he composed sedulously,producing a of his thirdyear, he received from his great-aunthis fair quantity music-symphonic, instrumental firstlessons in pianoforteand in musical and vocal; and he played a great deal in public, theory;"* fame as a and that at the age of five he could play at sight, deservedly achieving virtuoso. His and has faultlessly,Gr~try's music in pianofortescores, and playing was, remained, remarkable for and had begun to compose small songs withpianoforte purity, perspicuity, ease; the only qualities He himself in his not displayed by him were poetic intensityand accompaniment. relates, 'Essay fervour. on the multipl'eresonance of bells,' that he was In factit is not as a that he reveals gifted with a very discriminatingmusical ear: only pianist 'Often, one would strike common household a certain coldness, an imperturbabilitygreater than one is wont to meet with who articles of any description; candlesticks,glasses, in musicians, as a the most excitable of artists. Some &c., and ask me to name thenote thereby produced ; are, rule, twelve under review the which I alwaysdid withoutthe slightesthesitation.' years ago, passing M. Romain He soon became acquainted withthe principles composer's fertile career, Rolland remarked that 'he is tormented no of orchestralmusic: a friendof the familyhaving aptly by made him a present of a copy of Mozart's 'Don passion; nothing whatever alters the lucidityof His favourite as Giovanni' in orchestralscore, he used to studyit his mind.' motto, expressed in his book 'Harmonie et is: daily with the utmosteagerness. t At the age of Mdlodie' (i885), 'Avoid all and striveto maintain the seven, he began to receive pianofortelessons from exaggeration of health.' To this Stamaty,and to studyharmony with a little-knownentirety intellectual motto he but earnestand culturedmusician named Maleden. has remained unswervinglytrue-a fact which no On at the Salle he doubt helps to account for the prosperityof his May 6, 1846, Pleyel, appeared artisticcareer. forthe firsttime in public as a pianist,performing and Mozart's Concerto in B flat and works by Bach, Even fromthis early date, notwithstanding the fact of his to obtain the consecration Handel, and Beethoven. The followingyear, he failing all the 'Prix de entered Benoit's organ class at the Paris awarded to 'good pupils,' Rome, Eugene for the records of Conservatoire(in this class he obtained the second (a failuremore regrettable the Conservatoire than for his life runs prizein 1849, the firstin 1851) and began to study himself), and his have little to composition with Hal]vy. It is to be presumed smoothly; biographers recount except sedulous labour, progress and * Octave S&rC: 'Musiciens fran~ais d'aujourdhui,' Paris, 1912. The successes. At times, it is true, he met with article in Grove's Dictionary adds the detail, that 'To this day the unaccountable opposition. For instance, though composer keeps the little old-fashioned instrumenton which this dearly- most classical in tastes and in deeds, he found loved relative gave him his firstlessons.' t C. Saint-Sans: 'Charles Gounod et le "Don Juan" de Mozart' himselfbranded as a dangerousanarchist. A critic (Paris, s893). once wrote that 'he ought to be condemned to

This content downloaded from 84.88.136.149 on Wed, 10 Feb 2016 08:49:34 UTC All use subject to JSTOR Terms and Conditions 366 THE MUSICAL TIMES.-JUNE I, 1912.

listen to Beethoven's symphonies: this would Charpentier'sincidental music to Molibre's 'Le surely be to him an insufferablepunishment.' * malade imaginaire,'edited the score of Gluck's His best , 'Samson et Dalila' (begun in 1868), 'Echo and Narcisse,' and is the general editor of was rejected by all Parisian directors,ultimately Rameau's complete works issued by the firm to finda champion in Liszt, who caused the work A. Durand et fils. to be produced at Weimar in I877. Other Besides, he is fond of dabbling in literature dramaticscores of his, 'La Princesse Jaune' (Paris, and science; he has writtena book of poems Op6ra-Comique, 1872), 'Le Timbre d'Argent' ('Rimes familibres,'I890); farces (' La crampe (Paris,Th6itre Lyrique,1877), werebut moderately des 6crivains,'played at Algiers in 1891; 'Le successful. Another opera, 'Etienne Marcel,' Roi Apipi,' played at B6ziers in 1903 ; shared the fate of 'Samson et Dalila' in failingto 'Botrioc6phale,' played at Biziers in 1908); an please the Parisian directors. It was produced at introduction to Dr. Filix Regnault's book, Lyons (1879). 'Hypnotisme et religion' (1897); essays on 'The The composerhad evidentlysowed the seed of phenomena of mirage' (Soci6t6 Astronomiquede suspicion throughenlisting among the champions France, 19o05), and on 'The relationshipof plants of modern art. As early as I871, the better to and animals' (Nouvelle Revue, 1905). His essays protest against the universal antipathy evinced on musical and theatricalsubjects-part of which toward living French composers, he associated collected in his books 'Harmonie et Mdlodie,' with Romain Bussine in the foundation of the I885, and 'Portraits et Souvenirs,' 1899,--are Socidt6 Nationale de Musique, whose object was numerous. But--a noteworthylacuna-he has to produce new works of the French school.f never writtenany workintended for the musician's Moreover, being gifted with a most spirited practicaleducation. pugnacity,he was never loth to defend his own In an account of the opera ' Djanire' (Musical and his brother-composers'cause in articleswhich Times, January,1912), Dr. Saint-Saans's peculiar stungadversaries to the quick. positionamong French composers of to-day- that But despite these and certain other hostilities,of a quondam leader of the progressive party he was not long in findingrecognition as a writerbecome a leader of the conservative-has been of instrumentalmusic. His symphonic-poems,in alluded to and brieflycommented upon. It is whichhe so intelligentlyfollowed the example of merelythe outcome of his sturdyfidelity to his Franz Liszt withoutslavishly imitatinghim ('Le own ideals: he is nowadays exactlywhat he was Rouet d'Omphale,' 187i ; 'Phadton,' 1873; 'La at the outset of his career. One of his admirers, Danse Macabre,' I874 ; 'La Jeunesse d'Hercule,' the late Hughes Imbert, has made the remark 1877); his Pianoforteconcertos (1858, 1859, 1869, that 'he holds his own among the intelligentand 1877); his chamber-music(Quintette, 1858; firstindependent spiritswho did not fear to confront Trio, 1863; Pianofortequartette, 1875), and also new ideas, but who were not daring enough to his songs and his oratorio,'Le Diluge' (1875), met, attempt capital reforms.': Without lingeringon in general rule, withsuccess. the same writer'ssupposition that 'perhaps for In 1875 he began the series of his triumphal that very reason his fame will be limited to his journeys,going to Russia, and, the followingyear, own century,' one may agree with this view, to Austriaand to England, where his music soon which accounts for his apparent change of front. acquired a lastingfavour. In 1881 he was elected In I874, Dr. Saint-Saens, for instance, wrote the Member of the French Institut,and thenceforwardfollowing lines : foundthe Paris theatresopen to his works,as well Music, nowadays,is barelycompleting an evolution. as the concerts. 'Henri VIII.' was produced at The tonalitythat had affordeda basis to modern harmonybreathes its last; the major and minor the Op6ra in I883, 'Proserpine' at the Opdra- mooes Comique in 1887. Then came '' (Opira, reign no longer unchallenged;the ancientmodes are themselvesanew, and theOriental I890); 'Dijanire' (withincidental music, I898; asserting subsequently re-castin opera formand produced at the Opera modes,in infinite variety, will invadeart. All thatwill affordnew elementsto the exhausted a new in I911); '' (Op6ra, I901o); melody; 'Parysatis' (Ardnes de B6ziers, 1902); ' H1lne' and fertileera will open. Harmony will undergo which until now so little (Monte Carlo, 190o4; Op~ra-Comique, 190o5); changes; rhythm-of use 'L'Ancitr6' (Monte Carlo, 1906; Opdra-Comique, has been made-will develop,and thuswill a new Art be born. I911). ? Hardly any branch of musical art has been left Events appear to have outrun his desire; for, untouched by Dr. Saint-Saens; the catalogue of althoughsince 1874 music has progressed exactly his works comprises music for the pianoforte,the as he had foretold,Dr. Saint-Saens is no partisan organ,the harp, symphonicand chambermusic of of the ultra-modernschools. In fact,he has in a all descriptions,songs, choruses, cantatas, oratorios recent article (Le Courrier Musical, I9o05) and church-music, incidental music, a ballet, compared certainmusicians of to-dayto 'infuriated operettas,, transcriptionsand arrangements.boars rushing through beautiful gardens and He has completed and published Marc-Antoine playinghavoc withthe most delicate flowers.'

* Saint-Saans's 'Harmonie et M6lodie.' t ' Profils de Musiciens,' Paris, 1888.

t This Society still exists, and has given (May 18, 1912) its 393rd ? La Nouvelle Revue. See also his discourse to the Institut in 1884, concert. 'Le present, le passe, l'avenir de la musique.'

This content downloaded from 84.88.136.149 on Wed, 10 Feb 2016 08:49:34 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-JuNE I, 1912. 367

He is not, however,superstitiously conservative. it, and bringit into the vivid consciousness of the And certain of his opinions on ancient music are present. Spenser, the central figureof the new worthquoting: poetry, fed upon Chaucer; yet it is only To us Bach's scores are a new world, whose fauna and comparativelylately that Chaucer has received floraremain alike unknown. I mean the widerrecognition. It is done at last in poetry; it By flora, strange should be done also in music. We should make harmonies and the melodies, whose aspect is most these to unusual... The performance,in modern times, of Bach's madrigalistspopular-not only musicians, but in the wider sense. It would be or Handel's music is a mere chimera; to attempt it is hardly difficult. The of to provide for the erudites and bookworms only. thing peculiarly happy augury delight for the movementis the Some people esteem that ancient music should be played present uprisingamong the artisan classes-the innumerablechoirs, with not with a view to direct and complete aestheticpleasure, the Festivals, exhibiting an but foreducational purposes. Subsequently, beautifuland astonishinglyhigh standard of performance. This seems to suggest powerful works of art will appear, and be appreciated a healthy,natural when we rememberthat according to their merits.* growth at the time when England led Europe it was Dr. Camille Saint-Saans, who received his precisely in this choral work. For though the Doctorshipof the Universityof Cambridgein 1892, writersof thatperiod set instrumentalmusic on its is grand-officerof the Legion of Honour, and wears career,they were but pioneers in that: their chief a greatnumber of foreignorders. He is a member excellence lay in choral music. A fewwords, then, of the Royal Academies of Belgium, Prussia, may not come amiss on one of the chief figuresof Sweden, and Spain. the time-Orlando Gibbons. Among the principalworks not mentionedabove He was born in 1583, being fortyyears junior to should be named the Septette(Op. 65, i88i), the his greatcontemporary, Byrd, though he died only StringQuartette (Op. i12, 1899), Violin and 'Cello a couple of years after him, in I625. Tallis sonatas, the third Symphony(Op. 78, I886-with belonged definitelyto an earlier generation,dying pianoforteand organ), the Cantata, 'La lyreet la two yearsafter Gibbons's birth. Bull and Dowland harpe,'(Op. 57), writtenfor the Birmingham Festival were contemporaries,and died in 1628 and 1626 of I879. A detailed catalogue of his productions respectively. When we add to these Farnaby, would occupy several pages. Wilbye,and Morley,and thinkof the company of immortalsgathered in the 'Mermaid,' thathappiest of taverns,in a 'London small, and white, and ORLANDO GIBBONS. clean,' we can form some notion of the artistic climate of the time. BY H. ORSMOND ANDERTON. Gibbons was the son of a CambridgeWait, and enteredthe choirof in that Three periods stand out in history as the King's College I596, so from the first he was amid the seasons of a rich efflorescenceof the human spirit. brought up of that Church for which These are (I) the 5th century B.c. surroundings Anglican (roughly he was to do so much. In he speaking), from the battle of Marathon, in 490, March, I604, became of the and two onwards-that brilliant outburst of genius that organist Chapel Royal, later took the of Mus. Bac. at crowned Greece with glory in poetry,sculpture, years degree In he took his share with Byrd architecture,politics, and philosophy; (2) the Cambridge. i6 i1 and Bull the of a period of the Renaissance in Europe, dating from in publication 'Parthenia,' collection of for the About the the fall of Constantinoplein 1453; and (3) the pieces Virginals. same time somewhat the Elizabethan period in England. And while it is (probably earlier) only with this last that our immediate concern 'Fantasias of three Parts' (for viols) appeared. In the 'First Set of and Mottetsof lies, it is well to bear in mind one thing that i 612 Madrigals for and was characterisesall three alike. Not only do they 5 parts, apt Viols Voyces,' published. In he took the of Bachelor produce in the present, but they feed upon the May, I622, degrees and Doctor at the anthem ' past. AEschylus,Sophocles, Euripides, used, as Oxford, O clap your hands' written as the exercise for the theirdaily bread, the Orphic poems; and Homer being occasion. In he was at was the Greek Bible, so to speak. The Renaissance 1623 appointed organist Westminster and two later was was, of course, the returnof man's spiritupon the Abbey, years summoned to to write music for the forgottenthings of long ago, the re-awakeningof Canterbury the influence of Greece. And the Elizabethan reception of Henrietta Maria by Charles I. period was a sort of back itselfof Here he died of an apoplectic seizure, and was doubling upon buried in the Cathedral. this Renaissance. In this into the fact, takingup Such is a brief outline of his career: present of the of the past is a outward spirit necessary to his real his we must devote more condition of all true advance; and we of the life, music, His main work of choral. present day-a day of rapid growthand vigorous space. was, course, Of his in churchmusic Dr. Walker life-should read, mark,learn and inwardlydigest position says: 'His differencefrom is that he owes the work of the Elizabethan period. A nation, primary Byrd like an individual, suffersa loss of life if its nothing directlyto Roman influences,but stands beforeus as the "fatherof memorylapse. It must take up thepast, assimilate virtually pure Anglican music." Tallis and othershad, indeed, sometimes * 'Harmonie et Mdlodie.' sacrificedartistic convictions in orderto enable the

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CAMILLE SAINT-SAENS.

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