This symphony was composed for the London Philharmonic Society and first performed at a concert of that society in London, May 19, 1886, when the composer conducted. It was performed at Aix-la-Chapelle in September of that year under the direction of the composer.
For the first performance in London, Saint-Saëns prepared the following analysis, which was translated into English:
“This symphony is divided into two parts, after the manner of Saint-Saëns’ Fourth concerto for piano and orchestra and Sonata for piano and violin. Nevertheless, it includes practically the traditional four movements: the first, checked in development, serves as an introduction to the adagio, and the scherzo is connected, after the same manner, with the finale. The composer has thus sought to shun in a certain measure the interminable repetitions which are more and more disappearing from instrumental music.
“The composer thinks that the time has come for the symphony to benefit by the progress of modern instrumentation, and he therefore establishes his orchestra as follows: three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, double bassoon, four horns, three trumpets, three trombones, tuba, three kettledrums, organ, pianoforte (now for two hands and now for four), triangle, a pair of cymbals, bass drum, and the usual strings.
“After an introduction adagio of a few plaintive measures the string quartet exposes the initial theme, which is somber and agitated (allegro moderato). The first transformation of this theme leads to a second motive, which is distinguished by greater tranquillity; after a short development, in which the two themes are presented simultaneously, the motive appears in a characteristic form, for full orchestra, but only for a short time. A second transformation of the initial theme includes now and then the plaintive notes of the introduction. Varied episodes bring gradually calm, and thus prepare the adagio in D flat. The extremely peaceful and contemplative theme is given to the violins, violas, and violoncellos, which are supported by organ chords. This theme is then taken by clarinet, horn, and trombone, accompanied by strings divided into several parts. After a variation (in arabesques) performed by the violins, the second transformation of the initial theme of the allegro appears again, and brings with it a vague feeling of unrest, which is enlarged by dissonant harmonies. These soon give way to the theme of the adagio, performed this time by some of the violins, violas, and violoncellos, with organ accompaniment and with a persistent rhythm of triplets presented by the preceding episode. This first movement ends in a coda of mystical character, in which are heard alternately the chords of D flat major and E minor.
“The second movement begins with an energetic phrase (allegro moderato), which is followed immediately by a third transformation of the initial theme in the first movement, more agitated than it was before, and into which enters a fantastic spirit that is frankly disclosed in the presto. Here arpeggios and scales, swift as lightning, on the pianoforte, are accompanied by the syncopated rhythm of the orchestra, and each time they are in a different tonality (F, E, E flat, G). This tricky gayety is interrupted by an expressive phrase (strings). The repetition of the allegro moderato is followed by a second presto, which at first is apparently a repetition of the first presto; but scarcely has it begun before a new theme is heard, grave, austere (trombone, tuba, double basses), strongly contrasted with the fantastic music. There is a struggle for the mastery, and this struggle ends in the defeat of the restless, diabolical element. The phrase rises to orchestral heights, and rests there as in the blue of a clear sky. After a vague reminiscence of the initial theme of the first movement, a maestoso in C major announces the approaching triumph of the calm and lofty thought. The initial theme of the first movement, wholly transformed, is now exposed by divided strings and the pianoforte (four hands), and repeated by the organ with the full strength of the orchestra. Then follows a development built in a rhythm of three measures. An episode of a tranquil and pastoral character (oboe, flute, English horn, clarinet) is twice repeated. A brilliant coda, in which the initial theme by a last transformation takes the form of a violin figure, ends the work; the rhythm of three measures becomes naturally and logically a huge measure of three beats; each beat is represented by a whole note, and twelve quarters form the complete measure.”
This symphony is dedicated to the memory of Franz Liszt.
Liszt died at Bayreuth, July 31, 1886. The symphony was performed at London before his death. When Liszt was in Paris in March of 1886 to hear the performance of his Graner Messe at St. Eustache, the symphony was nearly completed, and Saint-Saëns gave Liszt an idea of it by playing it on the pianoforte. The statement that Saint-Saëns intended the symphony to be “a funereal memorial and an apotheosis of the glorious master” is nonsensical. The dedication was a posthumous tribute.