Graeculus esuriens in coelum, jusseris, ibit—[42]
for Saint-Saëns was not satisfied with the making of music or the career of a virtuoso. Organist, pianist, caricaturist, dabbler in science, enamored of mathematics and astronomy, amateur comedian, feuilletonist, critic, traveler, archæologist—he was a restless man.
He was of less than average height, thin, nervous, sick-faced; with great and exposed forehead, hair habitually short, beard frosted. His eyes were almost level with his face. His eagle-beak would have excited the admiration of Sir Charles Napier, who once exclaimed: “Give me a man with plenty of nose.” Irritable, whimsical, ironical, paradoxical, indulging in sudden changes of opinion, he was faithful to friends, appreciative of certain rivals, kindly disposed toward young composers, zealous in practical assistance as well as in verbal encouragement. A man that knew the world and sparkled in conversation; fond of society; at ease and on equal terms with leaders in art, literature, fashion. A man whose Monday receptions were long famous in Paris, eagerly anticipated by Tout Paris; yet never so happy as when acting Calchas to Bizet’s or Regnault’s Helen in Offenbach’s delightful La Belle Hélène, or impersonating in an extraordinary costume Gounod’s Marguerite surprised by the casket of jewels. An indefatigable student of Bach, he parodied the Italian opera of the ’thirties, ’forties, ’fifties in Gabriella di Vergi.
Then there is his amusing Carnival des Animaux, which was written, as his Gabriella di Vergi, without intention of publication. A Parisian from crown of head to sole of foot; yet a nomad.
In 1867 Berlioz called Saint-Saëns “one of the greatest musicians of our epoch.” In 1878 Bülow lamented in a letter to Hans von Bronsart that there was no musician in Germany like Saint-Saëns “except you and me.” Liszt’s admiration for Saint-Saëns is well known. In 1918 there were some, even in this country, who applauded him as the greatest living composer. On the other hand, there have been critics who said that he was too much of a musician to be a great composer or creator. The praise of Gounod—“Saint-Saëns will write at will a work à la Rossini, à la Verdi, à la Schumann, à la Wagner”—was counted by them a reproach; it was regarded as a courteous manner of saying, “Saint-Saëns has the unfortunate faculty of assimilation.” Hugues Imbert, discussing him, admitted that there is no graver censure than to say of an artist, “He is incapable of being himself.”
So far as an intimate knowledge of music as a science is concerned, so far as fluency and ease of expression are concerned, Saint-Saëns was beyond a doubt a remarkable musician.
An extraordinary man and musician. Possessing an uncommon technical equipment as composer, pianist, organist; French in clearness of expression, logic, exquisite taste; a master of rhythm, with a clear appreciation of tonal color and the value of simplicity in orchestration, he is seldom warm and tender; seldom does he indulge himself in sentiment, passion, imagination. With him orthodox form must always be kept in mind. Hence perhaps the reactionary attitude of his later years; his sharp criticism of the more modern school of French composers, including César Franck. His wit and brilliancy are indisputable. He seldom touches the heart or sweeps away the judgment. He was not a great creator, yet his name is ever to be mentioned with respect. Without consideration of his many admirable compositions, one should bear this in mind: In the face of difficulties, discouragement, misunderstanding, sneers, he worked steadily from his youth up, and always to the best of his ability, for righteousness in absolute music; he endeavored to introduce into French music thoughtfulness and sincerity for the advantage and the glory of the country that he dearly loved.
SYMPHONY NO. 3, IN C MINOR (WITH ORGAN), OP. 78
I. Adagio; allegro moderato; poco adagio II. Allegro moderato; presto; maestoso; allegro
Saint-Saëns’ Symphony in C minor has the finest and most characteristic qualities of the best French music: logical construction, lucidity, frankness, euphony. The workmanship is masterly. There is no hesitation. The composer knew exactly what he wanted and how to express himself. A few of the themes that when first exposed might seem to some insignificant assume importance and even grandeur in the development. The chief theme of the adagio, the theme for strings, is very French in its sustained suavity, in a gentle, emotional quality that never loses elegance, and the preparation for the entrance of this adagio is worthy of the greatest masters. It is not necessary to speak of the many beautiful or stirring pages; of the consummate skill of the technician; of the unerring instrumentation.