This being the case, I am unable to see why the composer of "Henri VIII." should have taken so much pains to qualify his opinions. He admires Wagner, and it certainly would be odd if a composer of his value did not; but he is anxious to avoid being comprised amongst those fanatics, whose admiration of Wagner prevents their acknowledging the greatness of any other composer.
It may here be noted that when the publisher Flaxland acquired the French copyright of "Lohengrin," the translation was at the author's request submitted to Saint-Saëns, who wrote, in the newspaper La France, that when "Lohengrin" was about to be produced in Paris, he, at the desire of the publisher and M. Charles Nuitter the translator, revised the French version and refused to participate in the droits d'auteurs.
Amongst his many gifts Saint-Saëns possesses that of the poet, and has proved his capability of writing charming verses. I will quote the following satirical lines written by him after the production of Bizet's "Djamileh," the delightful little one-act work which has recently been revived with success on various operatic boards, the merits of which were totally unrecognised by the Parisians in 1872:
"'Djamileh,' fille et fleur de l'Orient sacré,
D'une étrange guzla faisant vibrer la corde,
Chante, en s'accompagnant sur l'instrument nacré,
L'amour extravagant dont son âme déborde.
Le bourgeois ruminant dans sa stalle serré,
Ventru, laid, à regret séparé de sa horde,
Entr'ouvre un œil vitreux, mange un bonbon sucré,
Puis se rendort, croyant que l'orchestre s'accorde.
Elle, dans les parfums de rose et de santal,
Poursuit son rêve d'or, d'azur et de crystal,
Dédaigneuse à jamais de la foule hébétée.
Et l'on voit, au travers des mauresques arceaux,
Ses cheveux dénoués tombant en noirs ruisseaux,
S'éloigner la Houri, perle, aux pourceaux jetée."
He has lately published a little volume of poems which he has entitled "Rimes Familières," from which I have extracted the lines addressed to Mme. Viardot.
There is a great fund of humour in Saint-Saëns. This has shown itself in many of his works, and occasionally he has given full rein to his fanciful imagination by writing a burlesque set of pieces entitled "Le Carnaval des Animaux," and another time by composing a parody of Italian opera, which he called "Gabriella di Vergy." Is there not a vein of grim humour in the "Danse Macabre"?
It is related that he once took part in an amateur performance of Offenbach's "Belle Hélène," and interpreted the character of Calchas! A detail to note: the composer of "Samson et Dalila" is still known as "ce jeune maître," although his birthday belongs to the year 1835. It is more than probable that he will keep this title to the end.
Camille Saint-Saëns has retained all his freshness of inspiration, and there is no knowing into what paths his fancy may lead him. But whether he elects to add to the number of his symphonic poems, to produce some fresh example of chamber music, or to elaborate the score of a "lyrical drama," he may rest assured that his doings will be followed with deep attention on the part of all who take interest in music.
