In writing this graceful score Saint-Saëns has evidently aimed at simplicity. There are some charming numbers of a melodious nature in this little work, which also displays the composer's capacity of dealing with humorous situations to great advantage. Perhaps the best portion is the "Invocation to Venus," in which the means employed are of the simplest, whilst the results are eminently poetical and effective. "Phryné" has proved very successful in Paris. The title part has been interpreted by Miss Sybil Sanderson, whom the composer has gratified with a liberal allowance of roulades and other vocal acrobatics.
It now remains for me to allude to some of the other compositions of Saint-Saëns in various lines—and what line has he not attempted? That one who has achieved so great a reputation as an organist should also have distinguished himself as a composer of sacred music stands to reason. One of his most representative works of this kind is his oratorio "Le Déluge," which exhibits the peculiar characteristics of his style to an almost equal degree as "Samson et Dalila." Every one knows, or ought to know, the beautiful Prelude with the lovely violin solo, the commencement of which is suggestive of Bach, whilst the end is reminiscent of Gounod. I must also mention his noble "Requiem" and fine setting of the psalm "Cœli enarrant." The "Oratorio de Noël" is an early work, but contains several charming pages.
To analyse in detail all the compositions of this indefatigable worker would take up a volume in itself. I must therefore be content with the bare mention of songs full of originality, such as the "Mélodies Persanes," pianoforte music like the "Menuet et Valse," "Six études," and the three Mazourkas; violin music such as the three Concertos, the "Introduction et Rondo Capriccioso" so often played by Señor Sarasate, the Sonata, op. 75, for the same instrument; and violoncello music such as the characteristic "Suite," the admirable Sonata, op. 32, and the Concerto, which is a favourite with all 'cellists. Neither must I omit the masterly variations for two pianos on a theme of Beethoven, or the splendid pianoforte transcriptions from Bach. Several of these works may almost be said to rank as classics. Two important compositions remain to be noted, both of which were produced for the first time in England. The first of these is the picturesque cantata "La Lyre et la Harpe," composed for the Birmingham Festival of 1879; and the second is the Symphony in C Minor, first produced by the Philharmonic Society in 1885. It seems strange indeed that a work so remarkable in every way as the last should not be given oftener. Saint-Saëns has not here written a symphony upon the usual model, but has endeavoured to produce something entirely unconventional, whilst keeping within certain limits, that enabled him to claim the title of symphony for a work which, although possessing many of the characteristics of the genre, yet in the matter of form differs much from the compositions of recognised masters. If the influence of Beethoven is not absent, neither is that of Liszt, and there is as much if not more of the "symphonic poem" in a work, that is unique in its way, than of the symphony proper. A curious detail to note is that in this work the organ and piano are added to the usual orchestra.
Saint-Saëns is a very quick worker. The rapidity with which he is able to conceive and transcribe a work of large proportions is all the more remarkable for the reason that his writing never exhibits the slightest sign of that carelessness often engendered by undue haste. The following extract from Mons. Hugues Imbert's "Profils de Musiciens" will give an idea of this: "With Saint-Saëns the conception is rapid; he writes without pause or hesitation (d'un seul jet). Once the idea is chosen and defined, he immediately realises the development. He orchestrates with the greatest ease, whilst conversing, and almost without making any corrections. Scarcely does he find it necessary to have recourse to the piano in order to aid his inspiration. His opera 'Proserpine' was composed at Chaville, without the aid of any instrument. He writes a score or a symphony as he would pen a letter or an article, or as he would solve a problem. A number of instances are cited concerning his prodigious facility of creation; we will only recall the following: A few years ago he had promised to write an opérette revue for the Cercle Volney, of which he is a member. A few days before the performance nothing had as yet arrived. Upon inquiry from Saint-Saëns himself it was discovered that he had totally forgotten his promise. 'But,' said he, 'the evil can be repaired;' and in the space of two hours he wrote off twenty-one pages of full score."
Some critics have found the music of Saint-Saëns devoid of feeling, cold and passionless. How it is possible to come to this conclusion after hearing pages such as the famous love duet in "Samson et Dalila," or the quartet in "Henri VIII.," it is difficult to understand.
And yet Mons. Arthur Pougin, the well-known critic, has not scrupled to pass the following judgment on Saint-Saëns in his article upon the composer, included in the Supplement to Fétis's "Biographie des Musiciens": "Le tempérament musical de Mons. Saint-Saëns est sec, nerveux, absolument dépourvu de tendresse, de sentiment et de passion." After this it again becomes evident that a great man is not necessarily a prophet in his own country. When he penned the above lines Mons. Arthur Pougin was presumably unacquainted with "Samson et Dalila."
In the course of this incomplete sketch of one of the most remarkable artists of his time I have alluded to his polemics as a critic. A few years since, he collected some of his writings together, and published them in a volume entitled "Harmonie et Mélodie." In this book will be found various criticisms, many of which are as just as they are well expressed, but it is to be regretted that the author should occasionally have thought fit to mix up so-called "patriotic ideas" with his musical opinions.
For many years Saint-Saëns used to be considered one of the ardent champions of Wagner. The moment, though, that the Bayreuth master's music seemed to obtain a firm hold upon the French public, through the medium of the weekly concerts given by Messrs. Lamoureux and Colonne, the French composer's zeal appeared to cool down, and the enthusiast gave way to the critic. Any one is of course entitled to air his opinions, and no one more so than a composer of such eminence as Saint-Saëns. The mistake was that he chose the wrong moment to publish his views, and thereby stirred up a controversy which would best have been avoided.
In 1879 he recorded his impressions of the "Ring des Nibelungen" in a series of remarkable articles that are reproduced in the volume above mentioned. His opinion of this colossal work was summed up in these words: "From the height of the last act of the 'Götterdämmerŭng,' the entire work appears, in its almost supernatural immensity, like the chain of the Alps seen from the summit of Mont Blanc."
He terminates the preface of "Harmonie et Mélodie" by these words: "I admire the works of Richard Wagner profoundly, in spite of their eccentricities (en dépit de leur bizarrerie). They are superior and powerful, which suffices for me. But I have never belonged, I do not belong, and I never shall belong, to the Wagnerian religion!"