As a child pianist and composer, Camille Saint-Saëns was what is called an infant prodigy. The child has come to man’s estate and is, at the present moment, one of the most learned and able artists in every branch of his art, that can be found in the ranks of modern musicians. Since the death of Beethoven, Schumann and Mendelssohn, he wields in Europe the sceptre of symphony; he is renowned as a composer for the church and the theatre, and as an organist; and the mastery he has shown in the concerto, the oratorio and chamber music, of which he has produced a large number of works, is of world-wide fame.
Of his purely instrumental music we may mention, in chronological order: “Tarentelle,” for flute and clarinet with orchestra; “Orient et Occident,” a military march; Ballade for piano, organ and violin; Introduction and Rondo Capricioso, for violin and piano; “Le Rouet d’Omphale,” a symphonic poem; Concerto for violoncello in A minor; Sonato for piano and violoncello; Heroic March for full orchestra; Ballade for horn or violoncello and piano, in F; Ballade for flute or violin and piano; Lullaby for piano and violin, in B flat; “Phaéton,” a symphonic poem; “Danse Macabre,” for Orchestra, arranged for piano, for one or two performers, and for one or two pianos; also for piano duet, with violin or violoncello; for military band, etc; Quartet for piano, violin, alto and violoncello; Allegro appassionata, for violoncello and piano; Ballade for violin and piano, in C; Suite for orchestra; prelude, saraband, gavotte, ballade and finale; “La Jeunesse d’Hercule,” symphonic poem; Ballade for violoncello and piano in D; Concerto for violin in C major; “Suite Algérienne,” for orchestra; Concerto for violin, in B minor; Concert piece for violin and piano; “Une Nuit à Lisbonne,” barcarolle for orchestra; “La Jota Aragonaise,” for orchestra; Septet for trumpet, two violins, alto, violoncello, contra-bass and piano; Hymn to Victor Hugo, for orchestra; Sonata for piano and violin in D minor; “Wedding-Cake,” Caprice Valse for piano and stringed instruments; Caprice on Danish and Russian airs, for flute, oboe, clarinet and piano; “Havanaise” for violin and piano; “La Fiancée du Timbalier,” for orchestra; etc., etc.
Fac-simile autograph musical manuscript contributed by the composer for use in this work
We bear in mind several scores by Saint-Saëns which do not appear in the general catalogue of his works. First of all, there is a very fine composition for a military band, which the illustrious musician was good enough to write at my request, in 1868, for the celebration of Hoche’s centenary at Versailles. A short time ago I asked Saint-Saëns why he had not published this beautiful work, written as a tribute to the memory of the great French general, and which is so full of stirring patriotic sentiment. The composer replied that he did not know what had become of this music since the day on which it was solemnly performed before the statue of Hoche at Versailles. The full score and the orchestral parts have remained undiscovered up to the present time. I may also mention, as among the compositions of Saint-Saëns, which are not included in the catalogue of his works, an extremely original, bright and thoroughly artistic work written for several instruments and called “Le Carnaval des Animaux.” Only one of the animals in this merry Carnival has been honored by publication, viz.: “The Swan,” whose song is interpreted in this zoölogical symphony by the violoncello.
The works by Saint-Saëns for piano solo, duet, and for two pianos are very numerous. All of them are vigorously characteristic of the decided and learned style of the master, and are also marked by a certain individuality peculiar to this famous pianist-composer.
It is well known that the composer is one of the most renowned organists in Europe. As might be expected, he has written specially for this instrument, which, figuratively speaking, is the embodiment of all other instruments. We will only mention the Rhapsodies on the Breton canticles; also the “Bénédiction Nuptiale” and “Elévation et Communion,” which are noble works for the King of Instruments.
Saint-Saëns succeeded Lefébvre Wely as organist at the Madeleine. Among his church compositions he has composed a Grand Mass for four voices, soli and orchestra; “Tantum Ergo,” a Chorus; a “Christmas Oratorio” for chorus, soli and orchestra; Psalm XVIII.—“Cœli enarrant” for soli, chorus and orchestra; “Le Déluge,” biblical poem for soli, chorus and orchestra; and a Requiem which, with the oratorio “Le Déluge,” we include among his best works. There is also a collection of twenty separate motets for the Holy Communion, motets to the Virgin, and other miscellaneous motets.
We may further mention among the characteristic compositions which are not in the religious or the dramatic style:—Scene from Corneille’s “Les Horaces,” for soprano, baritone and orchestra; six Persian melodies, vocal and instrumental (piano); “Les Soldats de Gédéon,” double chorus without accompaniment; “Chanson du Grand-papa,” chorus for female voices; “Chanson d’un Ancêtre,” chorus for male voices with baritone solo; “La Lyre et la Harpe,” soli, chorus and orchestra; two choruses with piano accompaniment: “Calme des Nuits” and “Les Fleurs et les Arbres”; two choruses for male voices without accompaniment: “Les Marins de Kermor” and “Les Titans”; “Les Guerriers,” chorus for male voices; several other choruses, besides some fifty duets and melodies with piano accompaniment. We abridge the list in order to mention the composer’s dramatic works: “Le Timbre d’Argent”; “La Princesse Jaune,” comic opera in one act; “Proserpine,” lyric drama in four acts; “Etienne Marcel,” opera in four acts; “Samson et Dalila,” biblical opera in three acts; “Henry VIII.,” opera in four acts; and lastly, “Ascanio,” opera in five acts.
It has been said with truth that Saint-Saëns is of all composers the one who differs most from himself, in his dramatic works. We mean by this that he has emancipated himself from the hard and fast lines of any particular school; that he has no system and is guided wholly by his own inspiration, tempered and strengthened by great musical learning. He could, if he so desired, write according to the theories or in the manner of this or of that composer, but he prefers to write as his genius follows its own individual vein, agreeing, no doubt, with his famous colleague and friend, Charles Gounod, that if there are many systems of composition, there are, after all, only two kinds of music: that which is good and that which is bad. His admiration for all the great masters is profound, but he strives to imitate none, this has caused certain critics to subject him to the reproach of eclecticism. He has expressed himself on this point with frank sincerity (for Saint-Saëns is a man as well as a musician) in a highly interesting volume entitled “Harmonie et Mélodie.” After declaring that he had never belonged to any religion in music, he adds: “I claim to preserve my liberty, to like what pleases me and to reject the rest; to believe good that which is good, discordant that which is discordant, absurd that which is absurd. This is precisely what the more ardent disciples of Wagner refuse to concede. They grasp you by the throat, and insist that you must admire everything Wagnerian, no heed what it may be. With them there is something beyond love of art: the spirit of sectarianism. I am afraid of sectarians, and so keep myself prudently aloof from them.”