Camille Saint-Saëns

1489:(1869) has another high-spirited finale, but the earlier movements are more classical, the texture clear, with graceful melodic lines. The Fourth, in C minor (1875) is probably the composer's best-known piano concerto after the Second. It is in two movements, each comprising two identifiable sub-sections, and maintains a thematic unity not found in the composer's other piano concertos. According to some sources it was this piece that so impressed Gounod that he dubbed Saint-Saëns "the Beethoven of France" (other sources base that distinction on the Third Symphony). The Fifth and last piano concerto, in F major, was written in 1896, more than twenty years after its predecessor. The work is known as the "Egyptian" concerto; it was written while the composer was wintering in 372: 561: 472: 1109: 1764:(1874) is his most extended work for unaccompanied piano, he did not emulate his predecessor in composing piano sonatas. He is not known even to have contemplated writing one. There are sets of bagatelles (1855), études (two sets – 1899 and 1912) and fugues (1920), but in general Saint-Saëns's works for the piano are single short pieces. In addition to established forms such as the song without words (1871) and the mazurka (1862, 1871 and 1882) popularised by Mendelssohn and Chopin, respectively, he wrote descriptive pieces such as "Souvenir d'Italie" (1887), "Les cloches du soir" ("Evening bells", 1889) and "Souvenir d'Ismaïlia" (1895). 1245: 1211: 2191: 264: 5977: 933: 624:, had a career no more notable than that of the 1852 winner, but Saint-Saëns's biographer Brian Rees speculates that the judges may "have been seeking signs of genius in the midst of tentative effort and error, and considered that Saint-Saëns had reached his summit of proficiency". The suggestion that Saint-Saëns was more proficient than inspired dogged his career and posthumous reputation. He himself wrote, "Art is intended to create beauty and character. Feeling only comes afterwards and art can very well do without it. In fact, it is very much better off when it does." The biographer 1373: 1645: 136: 1533: 31: 1892: 1771: 834: 1345:) as the most ambitious of the composer's juvenilia. Of the works of his maturity, the First Symphony (1853) is a serious and large-scale work, in which the influence of Schumann is detectable. The "Urbs Roma" Symphony (1856, unnumbered) in some ways represents a backward step, being less deftly orchestrated, and "thick and heavy" in its effect. Ratner and Fallon praise the Second Symphony (1859) as a fine example of orchestral economy and structural cohesion, with passages that show the composer's mastery of 1015: 727: 774: 1105:

concerts rather than as a tourist. He revisited London, where he was always a welcome visitor, went to Berlin, where until the First World War, he was greeted with honour, and travelled in Italy, Spain, Monaco and provincial France. In 1906 and 1909 he made highly successful tours of the United States, as a pianist and conductor. In New York on his second visit he premiered his "Praise ye the Lord" for double choir, orchestra and organ, which he composed for the occasion.

303: 1085:, marking the award of honorary degrees to all three visitors. Saint-Saëns greatly enjoyed the visit, and even spoke approvingly of the college chapel services: "The demands of English religion are not excessive. The services are very short, and consist chiefly of listening to good music extremely well sung, for the English are excellent choristers". His mutual regard for British choirs continued for the rest of his life, and one of his last large-scale works, the 2454:, Saint-Saëns "was plagued by blackmailing letters from North African men he paid, apparently too little, for sex"; Ivry cites no authority for the statement. Stephen Studd (1999) and Kenneth Ring (2002) conclude that apart from his marriage, Saint-Saëns's relationships and inclinations were platonic. The composer himself was indifferent to rumours about him: "If it is said that I have a bad character, I assure you that it is all the same to me. Take me as I am." 7645: 6653: 7655: 552:. Unlike many French composers of his own and the next generation, Saint-Saëns, for all his enthusiasm for and knowledge of Wagner's operas, was not influenced by him in his own compositions. He commented, "I admire deeply the works of Richard Wagner in spite of their bizarre character. They are superior and powerful, and that is sufficient for me. But I am not, I have never been, and I shall never be of the Wagnerian religion." 817:

position shortly before his friend died. He was not a conventional Christian, and found religious dogma increasingly irksome; he had become tired of the clerical authorities' interference and musical insensitivity; and he wanted to be free to accept more engagements as a piano soloist in other cities. After this he never played the organ professionally in a church service, and rarely played the instrument at all. He composed a

770:; his mother moved with them. The couple had two sons, both of whom died in infancy. In 1878, the elder, André, aged two, fell from a window of the flat and was killed; the younger, Jean-François, died of pneumonia six weeks later, aged six months. Saint-Saëns and Marie-Laure continued to live together for three years, but he blamed her for André's accident; the double blow of their loss effectively destroyed the marriage. 7693: 6001: 1508:, in D minor (1902), like the Fourth Piano Concerto, consists of two movements each subdivided into two distinct sections. It is more purely virtuosic than its predecessor: Saint-Saëns commented to Fauré that it would never be as popular as the First because it was too difficult. There are three violin concertos; the first to be composed dates from 1858 but was not published until 1879, as the composer's 636: 7681: 7717: 322:. Stamaty required his students to play while resting their forearms on a bar situated in front of the keyboard, so that all the pianist's power came from the hands and fingers rather than the arms, which, Saint-Saëns later wrote, was good training. Clémence Saint-Saëns, well aware of her son's precocious talent, did not wish him to become famous too young. The music critic 1512:, in C major. The First, in A, was also completed in 1858. It is a short work, its single 314-bar movement lasting less than a quarter of an hour. The Second, in conventional three-movement concerto form, is twice as long as the First, and is the least popular of the three: the thematic catalogue of the composer's works lists only three performances in his lifetime. The 852: 1139:, at the beginning of his career as a composer, was dismissive when Ravel praised Saint-Saëns as a genius. By this time, various strands of new music were emerging with which Saint-Saëns had little in common. His classical instincts for form put him at odds with what seemed to him the shapelessness and structure of the musical impressionists, led by Debussy. Nor did 7705: 1524:, in A minor, Op. 28, a single-movement piece, also written for Sarasate, dating from 1863. It changes from a wistful and tense opening to a swaggering main theme, described as faintly sinister by the critic Gerald Larner, who goes on, "After a multi-stopped cadenza ... the solo violin makes a breathless sprint through the coda to the happy ending in A major". 608:

who is already well known, practically a celebrity. But the other man, who is still a student, has that inner fire, inspiration, he feels, he can do things that can't be learnt and the rest he'll learn more or less. So I voted for him, sighing at the thought of the unhappiness that this failure must cause Saint-Saëns. But, whatever else, one must be honest.

957:(1883) commissioned by the Paris Opéra. Although the libretto was not of his choosing, Saint-Saëns, normally a fluent, even facile composer, worked at the score with unusual diligence to capture a convincing air of 16th-century England. The work was a success, and was frequently revived during the composer's lifetime. When it was produced at 1881:(1872) was written after the death of the composer's great-aunt, who had taught him to play the piano more than thirty years earlier. It is a serious work, in which the main melodic material is sustained by the cello over a virtuoso piano accompaniment. Fauré called it the only cello sonata from any country to be of any importance. The 1910: 1814:

and others. After he left the Madeleine in 1877 Saint-Saëns wrote ten more pieces for organ, mostly for concert use, including two sets of preludes and fugues (1894 and 1898). Some of the earlier works were written to be played on either the harmonium or the organ, and a few were primarily intended for the former.

2348:, it was rumoured that Saint-Saëns, who had contributed money for Dreyfus's defence, was really surnamed "Kahn". Indeed, some early 20th-century music historians such as Gdal Saleski reported that Saint-Saëns was of partial Jewish origin. In fact Saint-Saëns had no Jewish ancestry, which did not stop the 2248:

concludes its article on Saint-Saëns with the observation that although his works are remarkably consistent, "it cannot be said that he evolved a distinctive musical style. Rather, he defended the French tradition that threatened to be engulfed by Wagnerian influences and created the environment that

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In a short poem, "Mea culpa", published in 1890 Saint-Saëns accused himself of lack of decadence, and commented approvingly on the excessive enthusiasms of youth, lamenting that such things were not for him. An English commentator quoted the poem in 1910, observing, "His sympathies are with the young

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are written for piano accompaniment, but a few, including "Le lever du soleil sur le Nil" ("Sunrise over the Nile", 1898) and "Hymne à la paix" ("Hymn to Peace", 1919), are for voice and orchestra. His settings, and chosen verses, are generally traditional in form, contrasting with the free verse and

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When a group of French musicians led by Saint-Saëns tried to organise a boycott of German music during the First World War, Fauré and Messager dissociated themselves from the idea, though the disagreement did not affect their friendship with their old teacher. They were privately concerned that their

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We gave the Prix de Rome the other day to a young man who wasn't expecting to win it and who went almost mad with joy. We were all expecting the prize to go to Camille Saint-Saëns, who had the strange notion of competing. I confess I was sorry to vote against a man who is truly a great artist and one

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In the same letter to his friend Jean Chantavoine on 15 April 1921: "I have just written a sonata in three parts for the oboe, still unpublished. The clarinet, the cor anglais and the bassoon remain; their turn will come soon." ("Je viens d'écrire une sonate en trois parties pour le hautbois, encore

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Although Saint-Saëns maintained an amicable relationship with Massenet, he privately disliked and mistrusted him. Nonetheless each had the highest respect for the other's music; Massenet used Saint-Saëns's works as models for his composition students, and Saint-Saëns called Massenet "one of the most

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Saint-Saëns wrote more than forty chamber works between the 1840s and his last years. One of the first of his major works in the genre was the Piano Quintet (1855). It is a straightforward, confident piece, in a conventional structure with lively outer movements and a central movement containing two

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Unlike his pupil, Fauré, whose long career as a reluctant organist left no legacy of works for the instrument, Saint-Saëns published a modest number of pieces for organ solo. Some of them were written for use in church services – "Offertoire" (1853), "Bénédiction nuptiale" (1859), "Communion" (1859)

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at the age of ninety-five. Saint-Saëns did not divorce his wife and remarry, nor did he form any later intimate relationship with a woman. Rees comments that although there is no firm evidence, some biographers believe that Saint-Saëns was more attracted to his own sex than to women. After the death

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In his desire to maintain "the perfect equilibrium" we find the limitation of Saint-Saëns's appeal to the ordinary musical mind. Saint-Saëns rarely, if ever, takes any risks; he never, to use the slang of the moment, "goes off the deep end". All his greatest contemporaries did. Brahms, Tchaikovsky,

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In November 1921, Saint-Saëns gave a recital at the Institut for a large invited audience; it was remarked that his playing was as vivid and precise as ever, and that his personal bearing was admirable for a man of eighty-six. He left Paris a month later for Algiers, with the intention of wintering

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Saint-Saëns gave what he intended to be his farewell concert as a pianist in Paris in 1913, but his retirement was soon in abeyance as a result of the war, during which he gave many performances in France and elsewhere, raising money for war charities. These activities took him across the Atlantic,

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There is no longer any question of adding to the old rules new principles which are the natural expression of time and experience, but simply of casting aside all rules and every restraint. "Everyone ought to make his own rules. Music is free and unlimited in its liberty of expression. There are no

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In 1900, after ten years without a permanent home in Paris, Saint-Saëns took a flat in the rue de Courcelles, not far from his old residence in the rue du Faubourg Saint-Honoré. This remained his home for the rest of his life. He continued to travel abroad frequently, but increasingly often to give

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Saint-Saëns was a keen traveller. From the 1870s until the end of his life he made 179 trips to 27 countries. His professional engagements took him most often to Germany and England; for holidays, and to avoid Parisian winters which affected his weak chest, he favoured Algiers and various places in

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The dedicatee of the opera, Albert Libon, died three months after the premiere, leaving Saint-Saëns a large legacy "To free him from the slavery of the organ of the Madeleine and to enable him to devote himself entirely to composition". Saint-Saëns, unaware of the imminent bequest, had resigned his

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had established in 1853 to train first-rate organists and choirmasters for the churches of France. Niedermeyer himself was professor of piano; when he died in March 1861, Saint-Saëns was appointed to take charge of piano studies. He scandalised some of his more austere colleagues by introducing his

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writes that for all his experience and musical skill, Saint-Saëns "lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: "Saint-Saëns obviously had no

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Saint-Saëns is a consummate master of composition, and no one possesses a more profound knowledge than he does of the secrets and resources of the art; but the creative faculty does not keep pace with the technical skill of the workman. His incomparable talent for orchestration enables him to give

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After allowing the lessons to run over, he would go to the piano and reveal to us those works of the masters from which the rigorous classical nature of our programme of study kept us at a distance and who, moreover, in those far-off years, were scarcely known. ... At the time I was 15 or 16,

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As a schoolboy Saint-Saëns was outstanding in many subjects. In addition to his musical prowess, he distinguished himself in the study of French literature, Latin and Greek, divinity, and mathematics. His interests included philosophy, archaeology and astronomy, of which, particularly the last, he

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wrote of Saint-Saëns in 1969, "It is not generally realized that he was the most remarkable child prodigy in history, and that includes Mozart." The boy gave occasional performances for small audiences from the age of five, but it was not until he was ten that he made his official public debut, at

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ethos of commitment to French works. Bussine and Saint-Saëns found this unacceptable, and resigned in 1886. Having long pressed the merits of Wagner on a sometimes sceptical French public, Saint-Saëns was now becoming worried that the German's music was having an excessive impact on young French

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In the 1880s Saint-Saëns continued to seek success in the opera house, an undertaking made the more difficult by an entrenched belief among influential members of the musical establishment that it was unthinkable that a pianist, organist and symphonist could write a good opera. He had two operas

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with his mother. In 1875, he surprised many by marrying. The groom was approaching forty and his bride was nineteen; she was Marie-Laure Truffot, the sister of one of the composer's pupils. The marriage was not a success. In the words of the biographer Sabina Teller Ratner, "Saint-Saëns's mother

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Less attracted than some of his French contemporaries to the continuous stream of music popularised by Wagner, Saint-Saëns often favoured self-contained melodies. Though they are frequently, in Ratner's phrase, "supple and pliable", more often than not they are constructed in three- or four-bar

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In 1864 Saint-Saëns caused some surprise by competing a second time for the Prix de Rome. Many in musical circles were puzzled by his decision to enter the competition again, now that he was establishing a reputation as a soloist and composer. He was once more unsuccessful. Berlioz, one of the

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The death of M. Saint-Saëns not only deprives France of one of her most distinguished composers; it removes from the world the last representative of the great movements in music which were typical of the 19th century. He had maintained so vigorous a vitality and kept in such close touch with

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in a letter dated to 15 April 1921: "At the moment I am concentrating my last reserves on giving rarely considered instruments the chance to be heard." Ratner writes of them, "The spare, evocative, classical lines, haunting melodies, and superb formal structures underline these beacons of the

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Despite the public perception at the time and subsequently, the new Société Nationale de Musique was not itself anti-German. Saint-Saëns and his colleagues believed in freedom of artistic expression for artists of all countries, and despite France's humiliation by Prussia many French artists

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In a 2012 symposium on Saint-Saëns, Léo Houziaux contributed a study of the composer's contributions to astronomy, including three papers he wrote between 1889 and 1913 for French journals. Houziaux concludes that Saint-Saëns's contributions helped to popularise the science of astronomy in

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and imperfectly restored. The instrument was adequate for church services but not for the ambitious recitals that many high-profile Parisian churches offered. With enough spare time to pursue his career as a pianist and composer, Saint-Saëns composed what became his opus 2, the Symphony in

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in 1842, and brought a more relaxed regime than that of his martinet predecessor, though the curriculum remained conservative. Students, even outstanding pianists like Saint-Saëns, were encouraged to specialise in organ studies, because a career as a church organist was seen to offer more

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relief to ideas which would otherwise be crude and mediocre in themselves ... his works are on the one hand not frivolous enough to become popular in the widest sense, nor on the other do they take hold of the public by that sincerity and warmth of feeling which is so convincing.

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of his children and collapse of his marriage, Saint-Saëns increasingly found a surrogate family in Fauré and his wife, Marie, and their two sons, to whom he was a much-loved honorary uncle. Marie told him, "For us you are one of the family, and we mention your name ceaselessly here."

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said, "Saint-Saens is exactly the sort of composer who needs a festival to himself ... there are Masses, all of which are interesting. I've played all his cello music and there isn't one bad piece. His works are rewarding in every way. And he's an endlessly fascinating figure."

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Saint-Saëns had been composing since the age of three; his mother preserved his early works, and in adult life he was surprised to find them technically competent though of no great musical interest. The earliest surviving piece, dated March 1839, is in the collection of the Paris

1520:, is technically challenging for the soloist, although the virtuoso passages are balanced by intervals of pastoral serenity. It is by some margin the most popular of the three violin concertos, but Saint-Saëns's best-known concertante work for violin and orchestra is probably the 218:, although his own compositions were generally within a conventional classical tradition. He was a scholar of musical history, and remained committed to the structures worked out by earlier French composers. This brought him into conflict in his later years with composers of the 1789: 495:. The parish was substantial, with 26,000 parishioners; in a typical year there were more than two hundred weddings, the organist's fees from which, together with fees for funerals and his modest basic stipend, gave Saint-Saëns a comfortable income. The organ, the work of 2769: 1306:

observes that he makes his effects more by characterful harmony and rhythms than by extravagant scoring. In both of those areas of his craft he was normally content with the familiar. Rhythmically, he inclined to standard double, triple or compound metres (although

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For a French composer of the 19th century, opera was seen as the most important type of music. Saint-Saëns's younger contemporary and rival, Massenet, was beginning to gain a reputation as an operatic composer, but Saint-Saëns, with only the short and unsuccessful

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and his fate. A critic at the time of the premiere took a different view, hearing in the piece "the noise of a hack coming down from Montmartre" rather than the galloping fiery horses of Greek legend that inspired the piece. The last of the four symphonic poems,

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for a holiday. On 28 July he disappeared from their hotel, and a few days later his wife received a letter from him to say that he would not be returning. They never saw each other again. Marie Saint-Saëns returned to her family, and lived until 1950, dying near

1062:, which he premiered at a concert in 1896 marking the fiftieth anniversary of his début at the Salle Pleyel in 1846. Before playing the concerto he read out a short poem he had written for the event, praising his mother's tutelage and his public's long support. 1005:

In December 1888 Saint-Saëns's mother died. He felt her loss deeply, and was plunged into depression and insomnia, even contemplating suicide. He left Paris and stayed in Algiers, where he recuperated until May 1889, walking and reading but unable to compose.

1742:, of oratorio." He wrote a smaller number of secular choral works, some for unaccompanied choir, some with piano accompaniment and some with full orchestra. In his choral works, Saint-Saëns drew heavily on tradition, feeling that his models should be Handel, 2077:

contains ten pages of listings of Saint-Saëns works, including all the concertos, symphonies, symphonic poems, sonatas and quartets. Also listed are an early Mass, collections of organ music, and choral songs. A recording of twenty-seven of Saint-Saëns's

1831:(1880), for the unusual combination of trumpet, two violins, viola, cello, double bass and piano, is a neoclassical work that draws on 17th-century French dance forms. At the time of its composition Saint-Saëns was preparing new editions of the works of 1160:

Holding such conservative views, Saint-Saëns was out of sympathy – and out of fashion – with the Parisian musical scene of the early 20th century, fascinated as it was with novelty. It is often said that he walked out, scandalised, from the premiere of

851: 1790: 1602:... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable." Stylistically, Saint-Saëns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for 1353:(1886) which, unusually, has prominent parts for piano and organ. It opens in C minor and ends in C major with a stately chorale tune. The four movements are clearly divided into two pairs, a practice Saint-Saëns used elsewhere, notably in the 1908: 850: 1311:

points to a 5/4 passage in the Piano Trio and another in 7/4 in the Polonaise for two pianos). From his time at the Conservatoire he was a master of counterpoint; contrapuntal passages crop up, seemingly naturally, in many of his works.

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and the serious French operas of the early 1890s". In his view, the operatic scores of Saint-Saëns have, in general, the strengths and weaknesses of the rest of his music – "lucid Mozartian transparency, greater care for form than for

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sections, and the "phrase pattern AABB is characteristic". An occasional tendency to neoclassicism, influenced by his study of French baroque music, is in contrast with the colourful orchestral music more widely identified with him.

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Saint-Saëns held only one teaching post, at the École de Musique Classique et Religieuse in Paris, and remained there for less than five years. It was nevertheless important in the development of French music: his students included

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During the 1890s Saint-Saëns spent much time on holiday, travelling overseas, composing less and performing more infrequently than before. A planned visit to perform in Chicago fell through in 1893. He wrote one opera, the comedy

891:, his one opera to gain and keep a place in the international repertoire. Because of its biblical subject, the composer had met many obstacles to its presentation in France, and through Liszt's influence the premiere was given at 1391:

Saint-Saëns's four symphonic poems follow the model of those by Liszt, though, in Sackville-West's and Shawe-Taylor's view, without the "vulgar blatancy" to which the earlier composer was prone. The most popular of the four is

1937: 2319:) specifically mentioned in a review in 1844, the pronunciation with S is now very common in French, even among radio announcers. Saint-Saëns himself explained that he wanted his name to be pronounced like that of the town 1901: 2241:

and even Franck, were ready to sacrifice everything for the end each wanted to reach, to drown in the attempt to get there if necessary. Saint-Saëns, in preserving his equilibrium, allows his hearers to preserve theirs.

2071:, the Introduction and Rondo Capriccioso and other short orchestral works. In the latter part of the 20th century and the early 21st, many more of the composer's works were released on LP and later CD and DVD. The 2008 1190:

pictures." His determination to block Debussy's candidacy for election to the Institut was successful, and caused bitter resentment from the younger composer's supporters. Saint-Saëns's response to the neoclassicism of

1457:, in D (1858), in conventional three-movement form, is not well known, but the Second, in G minor (1868) is one of his most popular works. The composer experimented with form in this piece, replacing the customary 2232:

in their desire to push forward, because he has not forgotten his own youth when he championed the progressive ideals of the day." The composer sought a balance between innovation and traditional form. The critic

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in 1913. In fact, according to Stravinsky, Saint-Saëns was not present on that occasion, but at the first concert performance of the piece the following year he expressed the firm view that Stravinsky was insane.

137: 1500:, in A minor (1872) is a serious although animated work, in a single continuous movement with an unusually turbulent first section. It is among the most popular concertos in the cello repertory, much favoured by 998:. The success of the symphony in London was considerable, but was surpassed by the ecstatic welcome the work received at its Paris premiere early the following year. Later in 1887 Saint-Saëns's "drame lyrique" 1938: 706:

and others he supported himself in London, giving recitals. Returning to Paris in May, he found that anti-German sentiments had considerably enhanced support for the idea of a pro-French musical society. The

744:(1871), premiered at a concert of the Sociéte Nationale in January 1872. In the same year, after more than a decade of intermittent work on operatic scores, Saint-Saëns finally had one of his operas staged. 1982:

begins like a conventional classical sonata, with an andantino theme; the central section has rich and colourful harmonies, and the molto allegro finale is full of delicacy, humour and charm with a form of

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Saint-Saëns's chamber works reveal the complete man: his sense of tradition coupled with imagination, his feeling for colour, his sense of humour, his desire for balance and symmetry, his love of clarity.

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these orchestral works, which combine striking melodies, strength of construction and memorable orchestration "set new standards for French music and were an inspiration to such young composers as Ravel".

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there, as he had long been accustomed to do. While there he died of a heart attack on 16 December 1921. His body was taken back to Paris, and after a state funeral at the Madeleine he was buried at the

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in 1910. Nonetheless, by the 20th century Saint-Saëns had lost much of his enthusiasm for modernism in music. Though he strove to conceal it from Fauré, he did not understand or like the latter's opera

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In Ratner's view, the most important of Saint-Saëns's chamber works are the sonatas: two for violin, two for cello, and one each for oboe, clarinet and bassoon, all seven with piano accompaniment. The

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write that Saint-Saëns's brilliant musicianship was "instrumental in drawing the attention of French musicians to the fact that there are other forms of music besides opera." In the 2001 edition of

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The woodwind sonatas are among the composer's last works and part of his efforts to expand the repertoire for instruments for which hardly any solo parts were written, as he confided to his friend

1758:(1912), which he observes still attracts pianists eager to display their left-hand technique. Although Saint-Saëns was dubbed "the French Beethoven", and his Variations on a Theme of Beethoven in E 416:. In 1849 Saint-Saëns won the Conservatoire's second prize for organists, and in 1851 the top prize; in the same year he began formal composition studies. His professor was a protégé of Cherubini, 2803: 1398:(1874) depicting skeletons dancing at midnight. Saint-Saëns generally achieved his orchestral effects by deft harmonisation rather than exotic instrumentation, but in this piece he featured the 632:

observes that this reticence has led many to underrate the music; he quotes such slighting remarks as "Saint-Saëns is the only great composer who wasn't a genius", and "Bad music well written".

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friend was in danger of looking foolish with his excess of patriotism, and his growing tendency to denounce in public the works of rising young composers, as in his condemnation of Debussy's

1999:"a model of transparency, vitality and lightness", containing humorous touches but also moments of peaceful contemplation. Saint-Saëns also expressed an intention to write a sonata for the 2052:, and as soloist in his own piano music, including an arrangement of sections of the Second Piano Concerto (without orchestra). Saint-Saëns made more recordings for the company in 1919. 544:

Although in later life he had a reputation for outspoken musical conservatism, in the 1850s Saint-Saëns supported and promoted the most modern music of the day, including that of Liszt,

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and other earlier masters of the genre. In Klein's view, this approach was old-fashioned, and the familiarity of Saint-Saëns's treatment of the oratorio form impeded his success in it.

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This music is sometimes cited as the first score composed for a film, but there were earlier examples. The first known original orchestral score written to accompany a silent film was

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is the most important of the three: he calls it "a masterpiece full of impishness, elegance and discreet lyricism" amounting to "a summary of the rest". The work contrasts a "doleful

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Nichols comments that, although as a famous pianist Saint-Saëns wrote for the piano throughout his life, "this part of his oeuvre has made curiously little mark". Nichols excepts the

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opened at the Opéra-Comique. It was well received and seemed to be heading for a substantial run when the theatre burnt down within weeks of the premiere and the production was lost.

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Although a keen modernist in his youth, Saint-Saëns was always deeply aware of the great masters of the past. In a profile of him written to mark his eightieth birthday, the critic D

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and Mozart, must be manifest to all who are familiar with his writings. His love for the classical giants and his sympathy with them form, so to speak, the foundation of his art."

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Despite his growing reputation as a musical reactionary, Saint-Saëns was, according to Gallois, probably the only French musician who travelled to Munich to hear the premiere of

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Other writers recount and date the saying differently. Saint-Saëns recalled in old age that the comment was made about him when he was eighteen, by Gounod rather than Berlioz.

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beat more than a hundred other entries to win the composition prize of the Grande Fête Internationale in Paris, for which the jury included Auber, Berlioz, Gounod, Rossini and

447:, who made little mark during the rest of his career. In the same year Saint-Saëns had greater success in a competition organised by the Société Sainte-Cécile, Paris, with his 702:

that followed in March to May 1871 his superior at the Madeleine, the Abbé Deguerry, was murdered by rebels; Saint-Saëns escaped to a brief exile in England. With the help of

2481:

rather than a Christian; he disapproved of atheism: "The proofs of God's existence are irrefutable they lie without the domain of science and belong to that of metaphysics."

7877: 1704:, and, in eight songs, Saint-Saëns himself: among his many non-musical talents he was an amateur poet. He was highly sensitive to word setting, and told the young composer 271:

Saint-Saëns was born in Paris, the only child of Jacques-Joseph-Victor Saint-Saëns (1798–1835), an official in the French Ministry of the Interior, and Françoise-Clémence,

2464:

brilliant diamonds in our musical crown". Saint-Saëns was fonder of Madame Massenet, to whom he dedicated his Concert Paraphrase of "Le mort de Thaïs" from her husband's

7907: 2707: 295:(tuberculosis) on the first anniversary of his marriage. The young Camille was taken to the country for the sake of his health, and for two years lived with a nurse at 979:

composers. His increasing caution towards Wagner developed in later years into stronger hostility, directed as much at Wagner's political nationalism as at his music.

7942: 1230:. Heavily veiled, in an inconspicuous place among the mourners from France's political and artistic élite, was his widow, Marie-Laure, whom he had last seen in 1881. 1788: 2643: 2327:

on the e dates from a time when the e was not silent, but the diaeresis no longer affects the pronunciation of the name(s) because the e is silent, as in the name

2442:

In a 2012 study of the composer's private life, Mitchell Morris mentions but classes as apocryphal a story attributing to Saint-Saëns the remark, "Je ne suis pas

2252:

Since the composer's death writers sympathetic to his music have expressed regret that he is known by the musical public for only a handful of his scores such as

982:

By the 1880s Saint-Saëns was an established favourite with audiences in England, where he was widely regarded as the greatest living French composer. In 1886 the

3969: 2411:, according to his own memoirs, was the subject of the joke in 1863, when Auber said to Berlioz, "He'll go far, the young rascal, when he's had less experience." 510:(1853). This work, with military fanfares and augmented brass and percussion sections, caught the mood of the times in the wake of the popular rise to power of 2507:, to break away and found a new group, Société Musicale Indépendant, whose ideals were closer to the original vision of Saint-Saëns and his colleagues in 1870. 2024:

and several popular tunes". He forbade performances of it during his lifetime, concerned that its frivolity would damage his reputation as a serious composer.

4608: 970:

The open-mindedness of the Société Nationale had hardened by the mid-1880s into a dogmatic adherence to Wagnerian methods favoured by Franck's pupils, led by

690:, professor of singing at the Conservatoire, discussed the founding of a society to promote new French music. Before they could take the proposal further the 2520:, "He who does not get absolute pleasure from a simple series of well-constructed chords, beautiful only in their arrangement, is not really fond of music." 967:

commented that though French librettists generally "make a pretty hash of British history", this piece was "not altogether contemptible as an opera story".

7947: 7807: 7762: 4589: 4559:, "Legendary piano recordings: the complete Grieg, Saint-Saëns, Pugno, and Diémer and other G & T rarities", Ward Marston. Retrieved 24 February 2014 1877:(1896) signals a stylistic change in Saint-Saëns's work, with a lighter, clearer sound for the piano, characteristic of his music from then onwards. The 1419:("Hercules's Youth", 1877) was the most ambitious of the four, which, Harding suggests, is why it is the least successful. In the judgment of the critic 2800: 686:

In 1870, concerned at the dominance of German music and the lack of opportunity for young French composers to have their works played, Saint-Saëns and

589:

Saint-Saëns further enlivened the academic regime by writing, and composing incidental music for, a one-act farce performed by the students (including

310:

When Saint-Saëns was brought back to Paris he lived with his mother and her widowed aunt, Charlotte Masson. Before he was three years old he displayed

4552: 1780: 1626:

is concerned, more often favouring discrete arias and ensembles, with less variety of tempo within individual numbers. In a survey of recorded opera

1593:

Although most of Saint-Saëns's operas have remained neglected, Crichton rates them as important in the history of French opera, as "a bridge between

1441:

and Racine, for which Saint-Saëns's deep knowledge of French baroque scores was reflected in his scores, in which he incorporated music by Lully and

1406:(1871) was composed soon after the horrors of the Commune, but its lightness and delicate orchestration give no hint of recent tragedies. Rees rates 443:, in 1852 but was unsuccessful. Auber believed that the prize should have gone to Saint-Saëns, considering him to have more promise than the winner, 4541: 7547: 4443: 1995:" in the slow movement with the finale, which "pirouettes in 4/4 time", in a style reminiscent of the 18th century. The same commentator calls the 6028: 1052:. His few choral and orchestral works from the 1890s are mostly short; the major concert pieces from the decade were the single movement fantasia 585:

and from this time dates the almost filial attachment ... the immense admiration, the unceasing gratitude I had for him, throughout my life.

3935: 2420:

In practice the decision was left to Berlioz and Verdi, as Rossini never turned up for meetings, Auber slept through them, and Gounod resigned.

2227:. He held a position in his own country's music certain aspects of which may be fitly compared with each of those masters in their own spheres. 1708:

that to write songs effectively musical talent was not enough: "you must study the French language in depth; it is indispensable." Most of the

6450: 6046: 2273: 1239: 2073: 678:. Playing this and other works he became a noted figure in the musical life of Paris and other cities in France and abroad during the 1860s. 4624: 7902: 7837: 3261: 1410:(1873) as the finest of the symphonic poems, belying the composer's professed indifference to melody, and inspired in its depiction of the 2567:"En ce moment je consacre mes dernières forces à procurer aux instruments peu favorisés sous ce rapport les moyens de se faire entendre." 658:

While teaching at the Niedermeyer school Saint-Saëns put less of his energy into composing and performing, although an overture entitled

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in 1881, at his second attempt, having to his chagrin been beaten by Massenet in 1878. In July of that year he and his wife went to the

314:

and enjoyed picking out tunes on the piano. His great-aunt taught him the basics of pianism, and when he was seven he became a pupil of

5682: 2063:(1955) lists one recording apiece of the Third Symphony, Second Piano Concerto and First Cello Concerto, alongside several versions of 1327: 757:

Throughout the 1860s and early 1870s, Saint-Saëns had continued to live a bachelor existence, sharing a large fourth-floor flat in the

203:. After leaving the post twenty years later, he was a successful freelance pianist and composer, in demand in Europe and the Americas. 6411: 6307: 1152:

perfect chords, dissonant chords or false chords. All aggregations of notes are legitimate." That is called, and they believe it, the

599:, with his students in mind, but did not finish composing it until 1886, more than twenty years after he left the Niedermeyer school. 7827: 7797: 7777: 7752: 5952: 3954: 791:

staged, had made no mark in that sphere. In February 1877, he finally had a full-length opera staged. His four-act "drame lyricque",

451:, for which the judges unanimously voted him the first prize. The first piece the composer acknowledged as a mature work and gave an 6423: 6399: 2120: 1186:(1915): "We must at all costs bar the door of the Institut against a man capable of such atrocities; they should be put next to the 7917: 7892: 6688: 2323:, which was pronounced without S at the end until about 1940–1950, as explained by Claude Fournier in his history of the town. The 990:. It was premiered in London at a concert in which Saint-Saëns appeared as conductor of the symphony and as soloist in Beethoven's 7812: 7767: 5572: 1684:. Unlike his protégé Fauré, or his rival Massenet, he was not drawn to the song cycle, writing only two during his long career – 1258: 537:, who all encouraged him in his career. In early 1858 Saint-Saëns moved from Saint-Merri to the high-profile post of organist of 2211:

of French composers, it was easy to forget the place he actually took in musical chronology. He was only two years younger than

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legend, had been in rehearsal in 1870, but the outbreak of war halted the production. The work was eventually presented by the

7932: 6319: 6293: 6287: 2313:

Although some French-speaking intellectuals and very few musicians still use the original pronunciation without S at the end (

1846: 1513: 1509: 620:

about Saint-Saëns, "He knows everything, but lacks inexperience" ("Il sait tout, mais il manque d'inexpérience"). The winner,

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Jones, Timothy (2006). "Nineteenth-Century Orchestral and Chamber Music". In Richard Langham Smith; Caroline Potter (eds.).

1505: 1497: 1480: 1454: 1437:(1908), and incidental music to a dozen plays between 1850 and 1916. Three of these scores were for revivals of classics by 1354: 1059: 675: 356:. Through Stamaty's influence, Saint-Saëns was introduced to the composition professor Pierre Maleden and the organ teacher 155: 151: 7922: 7817: 7772: 1622:, which, like Massenet, he used sparingly. Huebner observes that Saint-Saëns was more conventional than Massenet so far as 1082: 357: 6505: 6468: 6190: 6021: 1874: 1866: 1849:(1898) for violin, cello, harmonium and piano are further examples of Saint-Saëns's sometimes unorthodox instrumentation. 1358: 7862: 5686: 2276:, the Septet for trumpet, piano and strings, and the First Violin Sonata as neglected masterpieces. In 2004, the cellist 1331: 6517: 6444: 1882: 1878: 1692:("The Red Ash Tree", 1914, dedicated to Fauré). The poet whose works he set most often was Victor Hugo; others included 1586:

comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of

541:, the official church of the Empire; Liszt heard him playing there and declared him the greatest organist in the world. 7897: 7832: 7792: 6300: 6085: 3057: 1521: 571:

In 1861 Saint-Saëns accepted his only post as a teacher, at the École de Musique Classique et Religieuse, Paris, which

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writes that he was "a troubled man who preferred not to betray the darker side of his soul". The critic and composer

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was well received, and prompted calls for more comic operas at the Opéra-Comique, which had latterly been favouring

291:, always considered himself a true Parisian. Less than two months after the christening, Victor Saint-Saëns died of 7857: 4605: 991: 353: 6535: 6435: 5958: 1988: 483:

On leaving the Conservatoire in 1853, Saint-Saëns accepted the post of organist at the ancient Parisian church of

142:; 9 October 1835 – 16 December 1921) was a French composer, organist, conductor and pianist of the 7887: 7822: 7782: 4919: 4116: 2739: 1420: 7737: 6656: 6541: 6206: 6184: 6014: 5913:

Flynn, Timothy (Spring–Fall 2015). "The Classical Reverberations in the Music and Life of Camille Saint-Saëns".

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manuscripts in London, Saint-Saëns was disconcerted to find a composer who worked even more quickly than he did.

1996: 1917: 1350: 987: 758: 175: 20: 5986: 5527: 2787: 895:

in a German translation. Although the work eventually became an international success it was not staged at the

336: 288: 7107: 6405: 6372: 4586: 2320: 1674:, writing more than 140. He regarded his songs as thoroughly and typically French, denying any influence from 1394: 823:

in memory of his friend, which was performed at Saint-Sulpice to mark the first anniversary of Libon's death;

666:. But after he left the school in 1865 he pursued both aspects of his career with vigour. In 1867 his cantata 160: 7927: 7882: 7852: 4826: 3656: 3499: 3444: 3374: 3020: 2977: 1249: 7531: 5607:

Camille Saint-Saëns, 1835–1922: A Thematic Catalogue of his Complete Works, Volume 1: The Instrumental Works

1738:. He was proud of his connection with British choirs, commenting, "One likes to be appreciated in the home, 7847: 7387: 6681: 6567: 5962: 4549: 1726: 1583: 6777: 6529: 3660: 3503: 3378: 2264:

and the Introduction and Rondo Capriccioso. Among his large output, Nicholas singles out the Requiem, the

1979: 674:. In 1868 he premiered the first of his orchestral works to gain a permanent place in the repertoire, his 560: 7912: 7590: 6475: 5364: 5032: 4538: 2609: 2371:

The Conservatoire remained a bastion of musical conservatism until 1905, when Saint-Saëns's former pupil

2008: 1952: 1113: 613: 595: 371: 284: 180: 6511: 6110: 4440: 4436: 3448: 3024: 2981: 2020:

rates it as "his most brilliant comic work, parodying Offenbach, Berlioz, Mendelssohn, Rossini, his own

1338:, Ratner and Daniel Fallon, analysing Saint-Saëns's orchestral music rate the unnumbered Symphony in A ( 471: 206:

As a young man, Saint-Saëns was enthusiastic for the most modern music of the day, particularly that of

7671: 7635: 6877: 6832: 6706: 6077: 2012:(1887), although far from a typical chamber piece, is written for eleven players, and is considered by 983: 860: 166: 6326: 3932: 1724:

to masses and oratorios. Among the larger-scale compositions are the Requiem (1878) and the oratorios

1623: 1244: 715:, had been established in February 1871, with Bussine as president, Saint-Saëns as vice-president and 496: 187:

Saint-Saëns was a musical prodigy; he made his concert debut at the age of ten. After studying at the

7454: 6772: 5785:

Strasser, Michael (Spring 2001). "The Société Nationale and its Adversaries: The Musical Politics of

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Duchesneau, Michel (2012). "The Fox in the Henhouse: Saint-Saëns at the SMI". In Jann Passler (ed.).

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students to contemporary music, including that of Schumann, Liszt and Wagner. His best-known pupil,

7362: 7187: 2638: 2216: 1442: 1108: 1074: 629: 6602: 6575: 2503:

In 1909 d'Indy's inflexibility led a new generation of composers, led by Fauré's pupils Ravel and

819: 490: 7648: 7257: 6674: 2620: 2554:

Saint-Saëns was friendly with Sullivan, and liked his music, making a point of seeing the latest

2180: 1366: 1125: 1066: 716: 695: 332: 6967: 6462: 6259: 4959:. Rochester, NY and Woodbridge, Suffolk: University of Rochester Press, and Boydell and Brewer. 4709: 3258: 2190: 2128: 1828: 1054: 396:, whom Saint-Saëns considered a mediocre organist but a first-rate teacher; his pupils included 7867: 7685: 7658: 7600: 7575: 7407: 6982: 6727: 2812: 2545:

magazine commented at the time on Finck's "harmonious pen" in providing the music for the film.

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In the early years of the 20th century, the anonymous author of the article on Saint-Saëns in

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Saint-Saëns's student compositions included a symphony in A major (1850) and a choral piece,

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Fauser, Annegret (2012). "What's in a song? Saint-Saëns's Mélodies". In Jann Passler (ed.).

1885:

is in four movements, and has the unusual feature of a theme and variations as its scherzo.

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disapproved, and her son was difficult to live with". Saint-Saëns and his wife moved to the

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Ratner, Sabina Teller (1999). "Camille Saint-Saëns: Fauré's mentor". In Tom Gordon (ed.).

1630:

writes that Saint-Saëns "certainly learned much from Handel, Gluck, Berlioz, the Verdi of

1210: 8: 7607: 7525: 7227: 7062: 6150: 5818: 5725: 2095: 1836: 963: 824: 691: 538: 380: 323: 223: 196: 188: 7202: 7002: 6992: 6837: 6559: 6381: 5422: 5320:

Leteuré, Stephane (2012). "Saint-Saëns: The Traveling Musician". In Jann Passler (ed.).

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inédite. Restent la clarinette, le cor anglais, le basson; leur tour viendra bientôt.")

1171: 953: 938: 912: 746: 250:. Both of them were strongly influenced by Saint-Saëns, whom they revered as a genius. 7312: 5531: 5454:

The Correspondence of Camille Saint-Saëns and Gabriel Fauré: Sixty Years of Friendship

2328: 238:, he was often regarded as a reactionary in the decades around the time of his death. 7654: 7537: 7417: 7402: 7342: 7322: 7282: 7267: 7247: 7182: 7172: 7167: 7162: 7147: 7132: 7127: 6902: 6897: 6802: 5972: 5934: 5922: 5891: 5872: 5853: 5834: 5806: 5771: 5752: 5733: 5713: 5694: 5668: 5649: 5632: 5610: 5591: 5556: 5507: 5476: 5457: 5438: 5387: 5370: 5346: 5340: 5325: 5308: 5277: 5260: 5241: 5219: 5198: 5179: 5160: 5139: 5120: 5091: 5074: 5055: 5038: 5017: 4998: 4979: 4960: 4941: 4935: 4900: 4894: 4879: 4856: 4834: 4813: 4796: 4776: 4669: 4661: 4653: 1743: 1594: 1517: 1476: 1140: 971: 958: 648: 572: 522: 500: 432: 6872: 6126: 2108: 1028: 986:

of London commissioned what became one of his most popular and respected works, the

590: 518:. The work brought the composer another first prize from the Société Sainte-Cécile. 7709: 7542: 7494: 7382: 7337: 7332: 7272: 7087: 7042: 6887: 6857: 6827: 6767: 5981: 5798: 5548: 5499: 5410: 5269: 4918: 2504: 2207:

present-day activities that, though it had become customary to speak of him as the

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Discounting his collaboration with Dukas in the completion of Guiraud's unfinished

1537: 1322: 1182: 932: 887: 738:, Saint-Saëns enthusiastically adopted the form; his first "poème symphonique" was 521:

Among the musicians who were quick to spot Saint-Saëns's talent were the composers

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Morris, Mitchell (2012). "Saint-Saëns in (Semi-)Private". In Jann Passler (ed.).

5154: 4631: 4612: 4593: 4556: 4545: 4447: 3973: 3958: 3939: 3265: 2807: 2774: 2711: 2671: 2315: 2277: 2224: 2212: 1921: 1644: 1578: 1166: 1162: 1136: 995: 545: 534: 388: 231: 207: 130: 52: 7057: 6942: 6158: 4870:

Branger, Jean-Christophe (2012). "Rivals and Friends: Saint-Saëns, Massenet and

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Saint-Saëns at the piano for his planned farewell concert in 1913, conducted by

802: 444: 401: 7585: 7499: 7392: 7377: 7352: 7292: 7287: 7252: 7112: 7092: 7082: 7037: 7017: 6997: 6977: 6962: 6952: 6937: 6917: 6822: 6782: 6747: 6737: 6697: 6639: 5968: 5360: 2765: 2408: 2345: 2341: 2290: 1714: 1705: 1675: 1546: 1471: 1377: 1215: 1207:(1919) he commented, "fortunately, there are still lunatic asylums in France". 1196: 1041: 735: 720: 687: 671: 652: 644: 640: 635: 625: 549: 526: 421: 215: 143: 6882: 5802: 1542: 1453:

Saint-Saëns was the first major French composer to write piano concertos. His

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Saint-Saens concert brought together unusual combination of two keyboardists

2256:, the Second Piano Concerto, the Third Violin Concerto, the Organ Symphony, 7721: 7317: 7237: 7232: 7212: 7177: 7027: 7022: 7007: 6987: 6947: 6932: 6912: 6742: 6722: 6142: 5255: 4929:. Vol. 24 (11th ed.). Cambridge University Press. pp. 44–45. 4673: 4665: 4657: 4027:, Oxford Music Online, Oxford University Press. Retrieved 21 February 2015 3667:, Oxford Music Online, Oxford University Press. Retrieved 18 February 2015 3510:, Oxford Music Online, Oxford University Press. Retrieved 16 February 2015 3385:, Oxford Music Online, Oxford University Press. Retrieved 16 February 2015 2530: 2233: 1735: 1713:

less structured forms of a later generation of French composers, including

1701: 1661: 1607: 1501: 1361:(1885). The work is dedicated to the memory of Liszt, and uses a recurring 1065:

Among the concerts that Saint-Saëns undertook during the decade was one at

920: 750:("The Yellow Princess"), a one-act, light romantic piece, was given at the 703: 511: 440: 397: 384: 328: 6862: 5717: 4450:, Grove Music Online, Oxford University Press. Retrieved 20 February 2015 4119:, Grove Music Online, Oxford University Press. Retrieved 18 February 2015 3451:, Grove Music Online, Oxford University Press. Retrieved 15 February 2015 3060:, Grove Music Online, Oxford University Press. Retrieved 13 February 2015 3027:, Grove Music Online, Oxford University Press. Retrieved 11 February 2015 2984:, Grove Music Online, Oxford University Press. Retrieved 12 February 2015 7580: 7327: 7262: 7067: 7047: 6892: 6867: 5503: 5401:

Morrison, Simon (Summer 2004). "The Origins of Daphnis et Chloé (1912)".

4934:

Crichton, Ronald (1997) . "Camille Saint-Saëns". In Amanda Holden (ed.).

2742:, Grove Music Online, Oxford University Press. Retrieved 7 February 2015 2555: 2136: 2104: 2000: 1657: 1458: 1381: 1295: 1049: 621: 530: 484: 476: 452: 436: 280: 211: 192: 6166: 5707: 5490:

Parker, D C (October 1919). "Camille Saint-Saëns: A Critical Estimate".

1873:

as one of the composer's best and most characteristic compositions. The

1636:, and Wagner, but from these excellent models he forged his own style." 1590:, which Harding describes as like Sullivan "with a light French touch". 1532: 1479:

commented that the work "begins like Bach and ends like Offenbach". The

974:. They had begun to dominate the organisation and sought to abandon its 639:

Awarding Saint-Saëns first prize, Paris, 1867: clockwise from top left,

7469: 7072: 4848: 2896:

Schonberg, Harold C. "It All Came Too Easily For Camille Saint-Saëns",

1984: 1965: 1805: 1627: 1615: 1461:

first movement with a more discursive structure, opening with a solemn

1033: 877: 773: 567:, pupil, protégé and lifelong friend of Saint-Saëns, as a student, 1864 111: 102: 73: 67: 6006: 5568: 5519: 5289: 5115:

Houziaux, Léo (2012). "Inspired by the Skies". In Jann Passler (ed.).

1720:

Saint-Saëns composed more than sixty sacred vocal works, ranging from

1670: 1668:

From the age of six and for the rest of his life Saint-Saëns composed

1438: 7412: 6817: 6757: 2447: 2056: 1619: 1399: 1200: 1144: 1070: 885:

In December 1877, Saint-Saëns had a more solid operatic success with

460: 1577:(1890) is considered by experts to be a much finer work. The critic 7504: 6483: 5995: 5991: 5273: 1992: 1946: 1411: 1086: 925: 916: 726: 593:). He conceived what would eventually become his best-known piece, 392:

opportunities than that of a solo pianist. His organ professor was

302: 276: 5681: 2534: 2089:

the operas have been sparsely represented on disc. A recording of

616:, it was apropos of this episode that Berlioz made his well-known 7479: 6666: 6118: 1573: 1466: 1462: 1192: 379:

In 1848, at the age of thirteen, Saint-Saëns was admitted to the

235: 191:

he followed a conventional career as a church organist, first at

5437:. Roger Nichols (trans). Cambridge: Cambridge University Press. 2614: 1796:

Improvisation No. 7 (Allegro giocoso) performed by Robert Smith

1680: 1187: 1014: 892: 375:

The old Paris Conservatoire building, where Saint-Saëns studied

5215:

The Twisted Muse: Musicians and Their Music in the Third Reich

1475:

finale are in such contrast with the opening that the pianist

360:. From the latter he acquired a lifelong love of the music of 2478: 1781:

Sept Improvisations (Seven Improvisations for Organ), Op. 150

1721: 1490: 1402:

prominently, representing the rattling bones of the dancers.

1346: 806: 4716:, Oxford University Press, 2014. Retrieved 21 February 2015 2099:

was released on CD in 2008. There are several recordings of

1571:

has been regularly staged, although according to Schonberg,

681: 16:

French composer, organist, conductor and pianist (1835–1921)

7474: 2349: 1902:

Sonata for bassoon with piano accompaniment (Op. 168, 1921)

1632: 1582:

time for Massenet's histrionics". Saint-Saëns's biographer

2032:

Saint-Saëns was a pioneer in recorded music. In June 1904

5915:

Music in Art: International Journal for Music Iconography

5869:

Silent Cinema: A Guide to Study, Research and Curatorship

3723:, 22 May 1886, p. 5; and "Music – Philharmonic Society", 2995: 2993: 2375:

became director and radically liberalised the curriculum.

2179:

in 1904 and honorary doctorates from the universities of

2059:, Saint-Saëns's works were patchily represented on disc. 1493:, and incorporates a tune he heard Nile boatmen singing. 2644:

The American Heritage Dictionary of the English Language

4504: 4502: 1664:, whose words Saint-Saëns set in songs and choral works 662:

was crowned at a competition instituted in 1863 by the

2990: 2793: 2541:, scored for an orchestra of more than forty players. 2352:

from banning his music during their regime in Germany.

439:. He competed for France's premier musical award, the 283:

family; their son, born in the Rue du Jardinet in the

7669: 5451: 5369:. H Villiers Barnett (trans). Boston: Small Maynard. 2450:". According to Benjamin Ivry in a 2000 biography of 2040:

to Paris to record Saint-Saëns as accompanist to the

267:

The rue du Jardinet, site of Saint-Saëns's birthplace

117: 108: 99: 79: 70: 64: 7878:

French military personnel of the Franco-Prussian War

5034:

Grove's Dictionary of Music and Musicians, Volume IV

4499: 2704:

Doit-on prononcer le "s" final de Saint-Saëns ?

1845:(1887) for flute, oboe, clarinet and piano, and the 1557:, Saint-Saëns wrote twelve operas, two of which are 813:

company of Paris; it ran for eighteen performances.

299:, 29 kilometres (18 mi) to the south of Paris. 5712:. Edwin Gile Rich (trans). Boston: Small, Maynard. 105: 61: 7908:Honorary members of the Royal Philharmonic Society 5871:(third ed.). London: British Film Institute. 5054:(in French). Sprimont, Belgium: Éditions Mardaga. 4833:. Roger Nichols (trans). London: Faber and Faber. 4812:(in French). Paris: Nouvelle Librairie Nationale. 1978:neoclassical movement." Gallois comments that the 555: 19:"Saint-Saëns" redirects here. For other uses, see 3967:"Love and Ruin: Saint-Saens' 'Samson and Dalila'" 1349:writing. The best known of the symphonies is the 499:, had been badly damaged in the aftermath of the 383:, France's foremost music academy. The director, 7729: 5665:Psychological Perspective on Camille Saint-Saëns 3873: 3871: 2296: 2236:, wrote, a few days after the composer's death: 479:, Paris, where Saint-Saëns was organist, 1853–57 5030: 2430:maintained a strong respect for German culture. 2344:when anti-Semitism was rife among opponents of 1567:became a repertory piece; since his death only 1135:(1913), of which he was the dedicatee. In 1917 754:, Paris in June. It ran for five performances. 7943:Recipients of the Pour le Mérite (civil class) 5526: 5258:(February 1922). "Saint-Saëns as I Knew Him". 2955: 2953: 2637: 2394:The harmonium having gone out of general use, 2171:in 1913. Foreign honours included the British 906: 230:elements in his music, foreshadowing works by 6682: 6022: 5452:Nectoux, Jean-Michel; J Barrie Jones (2004). 4899:. Pompton Plains, New Jersey: Amadeus Press. 3868: 730:Saint-Saëns in 1875, the year of his marriage 4568:Sackville-West and Shawe-Taylor, pp. 642–644 4435:Brown, Maurice J E, and Kenneth L Hamilton. 4330: 4143:Sackville-West and Shawe-Taylor, pp. 642–643 4065: 4063: 2892: 2890: 2888: 2016:to be part of Saint-Saëns's chamber output. 1823:slow themes, one chorale-like and the other 827:played the organ and Saint-Saëns conducted. 698:during the war. During the brief but bloody 488: 7948:Grand Crosses of the Order of Saint-Charles 7808:20th-century French male classical pianists 7763:19th-century French male classical pianists 5705: 4534: 4532: 3431: 3429: 3427: 3425: 3423: 3421: 3343: 3341: 3339: 3253: 3251: 2950: 2438: 2436: 2194:Saint-Saëns's tomb in Montparnasse Cemetery 2123:'s Bru Zane label issued new recordings of 1240:List of compositions by Camille Saint-Saëns 1222:despite the danger from German submarines. 368:remained a talented amateur in later life. 6689: 6675: 6029: 6015: 5885: 5831:Camille Saint-Saëns – A Critical Biography 4992: 4243:Anderson (1989), p. 3; and Deruchie, p. 19 4115:Fallon, Daniel, and Sabina Teller Ratner. 951:staged during the decade, the first being 5953:International Music Score Library Project 5724: 5386:. Princeton: Princeton University Press. 5342:Penguin Guide to Recorded Classical Music 5324:. Princeton: Princeton University Press. 5119:. Princeton: Princeton University Press. 5016:. Princeton: Princeton University Press. 4997:. Princeton: Princeton University Press. 4878:. Princeton: Princeton University Press. 4807: 4692: 4690: 4474: 4472: 4470: 4468: 4060: 3976:, Washington National Opera, 20 June 2008 3933:"The Classical Musician: Igor Stravinsky" 3052: 3050: 3048: 3046: 3044: 3042: 3040: 3038: 3036: 2885: 2150: 2074:Penguin Guide to Recorded Classical Music 1618:scale; from Wagner he derived the use of 1259:Grove's Dictionary of Music and Musicians 682:1870s: War, marriage and operatic success 364:, which was then little known in France. 5784: 5400: 5359: 5114: 4957:The French Symphony at the Fin de siècle 4954: 4933: 4913: 4892: 4787: 4767: 4529: 4323: 4321: 4160: 4158: 3852: 3850: 3848: 3816:"Cambridge University Musical Society", 3418: 3336: 3248: 3147: 3145: 3143: 3141: 2999: 2860: 2858: 2761: 2759: 2757: 2755: 2753: 2751: 2433: 2189: 1643: 1531: 1371: 1243: 1209: 1107: 1013: 931: 772: 725: 634: 559: 470: 370: 301: 262: 29: 6036: 5746: 5470: 5432: 5319: 5133: 5068: 5049: 4869: 4824: 4134:Sackville-West and Shawe-Taylor, p. 641 3615:Studd, pp. 252–254; and Ring, pp. 68–70 3521: 3519: 3311: 3309: 2770:" The composer who disappeared (twice)" 2734: 2732: 2730: 2728: 2726: 2724: 2722: 2720: 2398:transcribed the work for organ in 1935. 1384:, seen here on a postcard inscribed to 287:, and baptised at the nearby church of 7730: 6622:The Assassination of the Duke of Guise 5623: 5604: 5585: 5489: 5381: 5299: 5085: 5037:(second ed.). London: Macmillan. 5011: 4973: 4687: 4634:, WorldCat. Retrieved 24 February 2015 4615:, WorldCat. Retrieved 24 February 2015 4596:, WorldCat. Retrieved 24 February 2015 4465: 4130: 4128: 4111: 4109: 4107: 4105: 4103: 4101: 4099: 4097: 4095: 4093: 4015: 4013: 4011: 4009: 3033: 2590:Je m'accuse de n'être point décadent." 2121:Centre de musique romantique française 1610:music he had researched in London; in 1279:Parker wrote, "That Saint-Saëns knows 1099: 1009: 226:schools of music; although there were 6670: 6493:Caprice sur des airs danois et russes 6010: 5978:Works by or about Camille Saint-Saëns 5912: 5847: 5828: 5765: 5456:. Aldershot and Burlington: Ashgate. 5338: 5254: 5232: 5211: 5197:. Aldershot and Burlington: Ashgate. 5192: 5173: 4847: 4750:Colles, H. C. "Camille Saint-Saëns", 4318: 4155: 3946:, 8 June 1998; Atamian, Christopher. 3845: 3652: 3650: 3648: 3138: 2855: 2748: 2314: 1924:on bassoon and Joseph Levine on piano 1842:Caprice sur des airs danois et russes 1563:. During the composer's lifetime his 694:broke out. Saint-Saëns served in the 129: 5987:Search "Camille Saint-Saëns" on OBPS 5866: 5751:. New Haven: Yale University Press. 5662: 5643: 5240:. New Haven: Yale University Press. 5238:First Nights: Five Musical Premieres 5152: 4920:"Saint-Saëns, Charles Camille" 4810:Souvenirs de musique et de musiciens 4773:Saint-Saëns, Piano Concertos 2 and 4 4137: 3516: 3306: 3058:"Camille Saint-Saëns: List of works" 2717: 1639: 1448: 1427:Saint-Saëns wrote a one-act ballet, 1083:Cambridge University Musical Society 734:As an admirer of Liszt's innovative 7903:Grand Cross of the Legion of Honour 7838:Classical composers of church music 7548:Tchaikovsky and the Belyayev circle 5609:. Oxford: Oxford University Press. 5218:. Oxford: Oxford University Press. 5138:. Oxford: Oxford University Press. 4125: 4090: 4006: 1315: 1248:Portrait of Camille Saint-Saëns by 1077:performed at an event presented by 1040:(1895) an opera left unfinished by 279:ancestry, and his wife was from an 246:, among whose own later pupils was 13: 6696: 6301:Introduction and Rondo Capriccioso 5959:Free scores by Camille Saint-Saëns 5906: 3985:Kelly, p. 283; and Canarina, p. 47 3645: 3218:Bellaigue, p. 59; and Rees, p. 395 3135:Nectoux, p. 39; and Parker, p. 574 2093:was issued on CD and DVD in 1992. 1964:Problems playing these files? See 1890: 1769: 1522:Introduction and Rondo Capriccioso 832: 275:Collin. Victor Saint-Saëns was of 148:Introduction and Rondo Capriccioso 14: 7959: 5942: 5176:Gabriel Fauré – A Life in Letters 5136:French Opera at the Fin de siècle 3665:The New Grove Dictionary of Opera 3508:The New Grove Dictionary of Opera 3383:The New Grove Dictionary of Opera 3245:Harding, p. 61: and Studd, p. 201 2006:The composer's most famous work, 1869:dates from 1885, and is rated by 1060:Fifth ("Egyptian") Piano Concerto 664:Société Sainte Cécile of Bordeaux 612:According to the musical scholar 7828:Burials at Montparnasse Cemetery 7798:20th-century classical composers 7778:French male classical violinists 7753:19th-century classical composers 7715: 7703: 7691: 7679: 7653: 7644: 7643: 6652: 6651: 5999: 5730:The Lives of the Great Composers 5667:. Lewiston: Edwin Mellen Press. 5590:. Amsterdam: Gordon and Breach. 5578:from the original on 4 May 2019. 4744: 4731: 4722: 4703: 4678: 4646: 4637: 4618: 4599: 4580: 4571: 4562: 4520: 4511: 4490: 4481: 4456: 4429: 4420: 4411: 4402: 4393: 4384: 4375: 4366: 4357: 4348: 4339: 4309: 4300: 4291: 4282: 4273: 4264: 4255: 4246: 4237: 4228: 4219: 4203: 4194: 4185: 4176: 4167: 4146: 4081: 4072: 4051: 4042: 4033: 4021:"Saint-Saëns, (Charles) Camille" 3997: 3988: 3979: 3925: 3916: 3907: 3898: 3889: 3880: 3859: 3832: 3823: 3810: 3797: 3788: 3775: 3766: 3757: 3748: 3739: 3730: 3713: 3704: 3695: 2580: 2570: 2561: 2548: 2523: 2510: 2497: 1935: 1906: 1804:Problems playing this file? See 1785: 1749: 1549:) destroys the Philistine temple 876:Problems playing this file? See 848: 805:'s libretto, reminiscent of the 95: 57: 7918:French male classical organists 7893:French people of Norman descent 5770:. Stuyvesant: Pendragon Press. 5732:. Vol. 2. London: Futura. 5090:. Los Angeles: Figueroa Press. 3682: 3673: 3642:Nectoux and Jones (1989), p. 68 3636: 3627: 3618: 3609: 3600: 3591: 3582: 3573: 3564: 3555: 3546: 3537: 3528: 3493: 3484: 3475: 3466: 3457: 3438: 3409: 3400: 3391: 3368: 3359: 3350: 3327: 3318: 3297: 3284: 3275: 3239: 3230: 3221: 3212: 3203: 3194: 3185: 3176: 3163: 3154: 3129: 3126:Rees, p. 87; and Harding, p. 62 3120: 3111: 3102: 3093: 3084: 3075: 3066: 3014: 3005: 2971: 2962: 2941: 2932: 2923: 2914: 2905: 2876: 2867: 2846: 2837: 2828: 2819: 2484: 2471: 2457: 2423: 2414: 2401: 2388: 2378: 2365: 2355: 2334: 1835:composers including Rameau and 1734:(1913) with an English text by 1431:(1896), the score for the film 1365:treated in a Lisztian style of 1195:was equally uncompromising: of 1147:commend itself to Saint-Saëns: 911:Saint-Saëns was elected to the 556:1860s: Teacher and growing fame 466: 358:Alexandre Pierre François Boëly 331:, in a programme that included 146:. His best-known works include 7813:20th-century French violinists 7768:19th-century French violinists 5624:Ratner, Sabina Teller (2005). 5605:Ratner, Sabina Teller (2002). 5435:Gabriel Fauré – A Musical Life 3688:"Royal Opera, Covent-Garden", 3290:"Paris Universal Exhibition", 2781: 2696: 2687: 2672:Merriam-Webster.com Dictionary 2659: 2631: 2602: 2516:Saint-Saëns wrote in his book 2307: 2175:(CVO) in 1902, the Monégasque 2044:Meyriane Héglon in arias from 1: 7873:Conservatoire de Paris alumni 7843:Composers awarded knighthoods 7803:20th-century French composers 7758:19th-century French composers 5706:Saint-Saëns, Camille (1919). 5648:. London: Faber & Faber. 5433:Nectoux, Jean-Michel (1991). 5031:Fuller Maitland, J A (1908). 4793:Saint-Saëns, Violin Concertos 4752:The Times Literary Supplement 4739:The Times Literary Supplement 4216:in Wierzbicki, pp. 41 and 247 4117:"Saint-Saëns, Camille: Works" 4025:The Oxford Companion to Music 3838:"Gloucester Music Festival", 3543:Ring, p. 9; and Smith, p. 107 2647:(5th ed.). HarperCollins 2596: 2297:Notes, references and sources 2223:, and seven years older than 2103:, under conductors including 2027: 1678:or other German composers of 1339: 1250:Jean-Joseph Benjamin-Constant 1112:Saint-Saëns, photographed by 533:, and the influential singer 258: 199:, the official church of the 36: 5992:Works by Camille Saint-Saëns 5969:Works by Camille Saint-Saëns 5963:Choral Public Domain Library 5867:Usai, Paolo Cherchi (2019). 5646:Camille Saint-Saëns – A Life 5073:. London: Chapman and Hall. 3781:"New Opera by Saint-Saëns", 3472:Saint-Saëns, pp. 212 and 218 3272:. Retrieved 15 February 2015 2852:Studd, p. 6; and Rees, p. 25 2740:"Saint-Saëns, Camille: Life" 2215:, was five years older than 2036:of London sent its producer 1688:("Persian Songs", 1870) and 1434:L'assassinat du duc de Guise 1018:Saint-Saëns photographed by 759:Rue du Faubourg Saint-Honoré 709:Société Nationale de Musique 131:[ʃaʁlkamijsɛ̃sɑ̃(s)] 21:Saint-Saëns (disambiguation) 7: 7923:French male opera composers 7818:20th-century male musicians 7773:19th-century male musicians 7591:Gothic Revival architecture 6476:The Carnival of the Animals 5998:(public domain audiobooks) 5749:Paris – A Musical Gazetteer 5528:Prod'homme, Jacques-Gabriel 5475:. London: Faber and Faber. 5052:Charles-Camille Saint-Saëns 4808:Bellaigue, Camille (1921). 4737:"M. Saint-Saëns's Essays", 2284: 2254:The Carnival of the Animals 2249:nourished his successors". 2069:The Carnival of the Animals 2009:The Carnival of the Animals 1953:The Carnival of the Animals 907:1880s: International figure 723:among its founder-members. 596:The Carnival of the Animals 514:and the restoration of the 285:6th arrondissement of Paris 181:The Carnival of the Animals 47:Charles-Camille Saint-Saëns 10: 7964: 7933:Pupils of Fromental Halévy 7863:French classical organists 7532:Neue Zeitschrift für Musik 6707:List of Romantic composers 6086:Mon cœur s'ouvre à ta voix 5949:Free scores by Saint-Saëns 5886:Wierzbicki, James (2009). 5195:French Music Since Berlioz 5159:. New York: Welcome Rain. 5071:Saint-Saëns and his Circle 4874:". In Jann Passler (ed.). 4760: 4754:, 22 December 1921, p. 853 1956:, performed by John Michel 1860:Sabina Teller Ratner, 2005 1817: 1516:, in B minor, written for 1237: 1032:(1893), and together with 18: 7898:French Romantic composers 7833:Child classical musicians 7793:Composers for pedal piano 7623: 7568: 7513: 7447: 7426: 6713: 6704: 6648: 6632: 6613: 6594: 6551: 6412:Suite for Cello and Piano 6392: 6357: 6280: 6227: 6220: 6177: 6053: 6044: 5819:10.1525/ncm.2001.24.3.225 5803:10.1525/ncm.2001.24.3.225 5768:Saint-Saëns and the Organ 5629:Saint-Saëns Chamber Music 5384:Saint-Saëns and his World 5339:March, Ivan, ed. (2007). 5322:Saint-Saëns and his World 5212:Kater, Michael H (1999). 5117:Saint-Saëns and his World 5014:Saint-Saëns and his World 4995:Saint-Saëns and his World 4955:Deruchie, Andrew (2013). 4940:. London: Penguin Books. 4876:Saint-Saëns and his World 4831:Berlioz, Selected Letters 4700:, 19 December 1921, p. 14 4652:Bru Zane CD sets BZ1041, 4487:Ratner (2002), p. 193–194 3994:Jones (1989), pp. 162–165 3865:Rees, pp. 370–371 and 381 3842:, 12 September 1913, p. 4 3490:Rees, pp. 137–138 and 155 3264:23 September 2015 at the 2902:, 12 January 1969, p. D17 2119:. In the early 2020s the 2055:In the early days of the 1527: 1376:Saint-Saëns modelled his 1228:cimetière du Montparnasse 1079:Charles Villiers Stanford 489: 7938:String quartet composers 7788:Composers for pipe organ 7553:Tchaikovsky and The Five 6400:Piano Quartet in E major 5423:10.1525/ncm.2004.28.1.50 5415:10.1525/ncm.2004.28.1.50 5178:. London: B T Batsford. 5174:Jones, J Barrie (1989). 5134:Huebner, Steven (2005). 4974:Duchen, Jessica (2000). 4825:Berlioz, Hector (1995). 4788:Anderson, Keith (2009). 4768:Anderson, Keith (1989). 4630:6 September 2018 at the 4611:6 September 2018 at the 4592:6 September 2018 at the 4297:Anderson (2009), pp. 2–3 3965:, 11 November 2007; and 3938:10 February 2015 at the 3719:"Philharmonic Society", 2301: 2198:In its obituary notice, 2163:in 1867 and promoted to 1320:The authors of the 1955 1233: 988:Third ("Organ") Symphony 844:"Vois ma misère, hélas!" 797:("The Silver Bell"), to 420:, whose pupils included 195:, Paris and, from 1858, 176:Third ("Organ") Symphony 7858:French ballet composers 5850:The Paris Commune, 1871 5833:. London: Cygnus Arts. 5829:Studd, Stephen (1999). 5824:(subscription required) 5747:Simeone, Nigel (2000). 5581:(subscription required) 5471:Nichols, Roger (1987). 5428:(subscription required) 5307:. Colchester: Chandos. 5300:Larner, Gerald (1990). 5295:(subscription required) 5153:Ivry, Benjamin (2000). 5086:Herter, Joseph (2007). 5069:Harding, James (1965). 4937:The Penguin Opera Guide 4926:Encyclopædia Britannica 4893:Canarina, John (2003). 4855:. London: Kyle Cathie. 4718:(subscription required) 4452:(subscription required) 4446:17 October 2015 at the 4439:, and Downes, Stephen. 4121:(subscription required) 4078:Fuller Maitland, p. 208 4029:(subscription required) 3972:17 January 2018 at the 3669:(subscription required) 3512:(subscription required) 3453:(subscription required) 3387:(subscription required) 3062:(subscription required) 3029:(subscription required) 2986:(subscription required) 2744:(subscription required) 2738:Ratner, Sabina Teller. 2710:16 January 2017 at the 2621:Oxford University Press 2219:, six years older than 2155:Saint-Saëns was made a 1756:Étude en forme de valse 1504:and later players. The 1367:thematic transformation 1092:, was composed for the 1069:in June 1893, when he, 580:, recalled in old age: 497:François-Henri Clicquot 253: 7888:French opera composers 7823:20th-century organists 7783:19th-century organists 7576:Common practice period 6267:Piano Concerto No. 5 ( 5848:Tombs, Robert (1999). 5766:Smith, Rollin (1992). 5683:Sackville-West, Edward 5663:Ring, Kenneth (2002). 5050:Gallois, Jean (2004). 4896:Pierre Monteux, Maître 4741:, 23 June 1910, p. 223 4710:"Saint-Saëns, Camille" 3661:"Saint-Saëns, Camille" 2813:San Diego Jewish World 2610:"Saint-Saëns, Camille" 2243: 2229: 2195: 2177:Order of Saint-Charles 2151:Honours and reputation 2085:With the exception of 2082:was released in 1997. 2034:The Gramophone Company 1895: 1857: 1774: 1665: 1550: 1388: 1269: 1253: 1218: 1158: 1117: 1022: 947: 837: 783: 764:Rue Monsieur-le-Prince 731: 668:Les noces de Prométhée 655: 610: 587: 568: 480: 376: 307: 268: 43: 6320:Violin Concerto No. 3 6294:Violin Concerto No. 1 6288:Violin Concerto No. 2 6191:Symphony in F major ( 5935:musicinart.40.1-2.255 5890:. London: Routledge. 5888:Film Music: A History 5787:L'Invasion germanique 5553:10.1093/mq/viii.4.469 5540:The Musical Quarterly 5532:"Camille Saint-Saëns" 5492:The Musical Quarterly 5234:Kelly, Thomas Forrest 5156:Maurice Ravel: A Life 4587:"Songs – Saint Saëns" 4508:Ratner (2002), p. 236 4288:Ratner (2002), p. 339 4279:Ratner (2002), p. 343 4270:Ratner (2002), p. 340 4261:Ratner (2002), p. 364 3820:, 13 June 1893, p. 10 3692:, 16 July 1898, p. 11 3504:"Timbre d'argent, Le" 3481:Ratner (2002), p. 479 3435:Crichton, pp. 351–353 3379:"Princesse jaune, La" 3315:Ratner (1999), p. 133 3281:Ratner (1999), p. 119 3259:"Camille Saint-Saëns" 3191:Ratner (1999), p. 136 3182:Ratner (1999), p. 120 2617:UK English Dictionary 2238: 2204: 2193: 2173:Royal Victorian Order 2003:, but did not do so. 1894: 1852: 1847:Barcarolle in F major 1773: 1694:Alphonse de Lamartine 1654:Alphonse de Lamartine 1647: 1535: 1417:La jeunesse d'Hercule 1375: 1355:Fourth Piano Concerto 1328:Edward Sackville-West 1264: 1247: 1213: 1149: 1111: 1094:Three Choirs Festival 1017: 992:Fourth Piano Concerto 935: 836: 776: 729: 676:Second Piano Concerto 638: 605: 582: 563: 474: 374: 320:Friedrich Kalkbrenner 316:Camille-Marie Stamaty 305: 266: 172:Third Violin Concerto 152:Second Piano Concerto 33: 7928:Musicians from Paris 7883:French music critics 7853:Composers for violin 7613:Romantic nationalism 7559:War of the Romantics 6334:Cello Concerto No. 2 6314:Cello Concerto No. 1 6253:Piano Concerto No. 4 6247:Piano Concerto No. 3 6241:Piano Concerto No. 2 6235:Piano Concerto No. 1 6047:List of compositions 5687:Desmond Shawe-Taylor 5644:Rees, Brian (2012). 5631:. London: Hyperion. 5627:Notes to Hyperion CD 4577:March, pp. 1122–1131 4555:6 April 2015 at the 4544:6 April 2015 at the 4526:Gallois, pp. 368–369 4462:Nectoux, pp. 525–558 4437:"Song without words" 4372:Huebner, pp. 223–224 3701:Jones (1989), p. 133 3294:, 24 July 1867, p. 6 3081:Ratner (2002), p. 94 2882:Saint-Saëns, pp. 8–9 2806:6 March 2016 at the 2533:'s music for a 1904 2129:François-Xavier Roth 1614:he used an oriental 1498:First Cello Concerto 1481:Third Piano Concerto 1469:second movement and 1332:Desmond Shawe-Taylor 1154:development of taste 1044:, who died in 1892. 984:Philharmonic Society 719:, Fauré, Franck and 354:Third Piano Concerto 318:, a former pupil of 306:Saint-Saëns as a boy 156:First Cello Concerto 7848:Composers for piano 7738:Camille Saint-Saëns 7608:Musical nationalism 7526:Musical nationalism 6506:Violin Sonata No. 2 6469:Violin Sonata No. 1 6038:Camille Saint-Saëns 5852:. London: Longman. 5726:Schonberg, Harold C 5693:. London: Collins. 5345:. London: Penguin. 5303:Notes to Chandos CD 5111:(London: John Lane) 4978:. London: Phaidon. 4684:Houziaux, pp. 24–25 4478:Ratner (2005), p. 6 4182:Jones (2006), p. 78 4173:Saint-Saëns, p. 109 3952:as Rite of Passage" 3807:, 5 June 1896, p. 4 3785:, 25 May 1893, p. 5 3772:Jones (1989), p. 69 3736:Deruchie, pp. 19–20 3727:, 27 May 1886, p. 6 3356:Jones (2006), p. 55 3227:Massenet, pp. 27–28 3173:in Nectoux, pp. 1–2 3160:Jones (1989), p. 16 3025:"Halévy, Fromental" 2982:"Benoist, François" 2920:Houziaux, pp. 12–25 1867:First Violin Sonata 1624:through composition 1359:First Violin Sonata 1100:1900–21: Last years 1036:helped to complete 1010:1890s: Marking time 996:Sir Arthur Sullivan 825:Charles-Marie Widor 692:Franco-Prussian War 449:Ode à Sainte-Cécile 410:Louis Lefébure-Wély 381:Paris Conservatoire 337:Piano Concerto in B 324:Harold C. Schonberg 189:Paris Conservatoire 7913:Oratorio composers 7521:Indianist movement 7439:Romantic orchestra 6518:Cello Sonata No. 2 6451:Piano Quartet in B 6445:Cello Sonata No. 1 6366:Le Rouet d'Omphale 6342:Cyprès et lauriers 6078:Samson and Delilah 6070:La princesse jaune 6062:Le timbre d'argent 5791:19th-Century Music 5504:10.1093/mq/v.4.561 5403:19th-Century Music 4696:"M. Saint-Saëns", 4048:Prod'homme, p. 469 3963:The New York Times 3957:7 May 2017 at the 3913:Saint-Saëns, p. 95 3856:Prod'homme, p. 484 3803:"M. Saint-Saëns", 3794:Studd, pp. 203–204 3754:Studd, pp. 172–173 3579:Smith, pp. 120–121 3552:Smith, pp. 106–108 3534:Prod'homme, p. 480 3463:Branger, pp. 33–38 3270:BBC Music Magazine 3257:Nicholas, Jeremy. 2899:The New York Times 2816:, 14 February 2011 2627:on 26 August 2022. 2477:Saint-Saëns was a 2266:Christmas Oratorio 2196: 2133:La Princesse jaune 2125:Le Timbre d'argent 2014:Grove's Dictionary 1987:. For Gallois the 1896: 1879:First Cello Sonata 1871:Grove's Dictionary 1775: 1666: 1612:La princesse jaune 1588:La princesse jaune 1551: 1404:Le Rouet d'Omphale 1389: 1336:Grove's Dictionary 1254: 1219: 1172:The Rite of Spring 1118: 1023: 948: 913:Institut de France 861:Samson and Delilah 838: 794:Le timbre d'argent 789:La princesse jaune 784: 780:Le timbre d'argent 747:La princesse jaune 741:Le Rouet d'Omphale 732: 711:, with its motto, 656: 569: 481: 377: 308: 269: 167:Samson and Delilah 164:(1874), the opera 44: 7667: 7666: 7538:New German School 7133:Felix Mendelssohn 7128:Fanny Mendelssohn 6664: 6663: 6584:The Promised Land 6408: (1855/1857) 6353: 6352: 5973:Project Gutenberg 5897:978-1-135-85143-9 5878:978-1-84457-528-2 5859:978-0-582-30915-9 5840:978-0-8386-3842-2 5777:978-0-945193-14-2 5758:978-0-300-08053-7 5739:978-0-86007-723-7 5674:978-0-7734-7108-5 5655:978-0-57128-705-5 5616:978-0-19-816320-6 5597:978-90-5700-549-7 5482:978-0-571-14986-5 5463:978-0-7546-3280-1 5444:978-0-521-23524-2 5393:978-0-691-15555-5 5352:978-0-141-03336-5 5331:978-0-691-15555-5 5305:Violin Favourites 5261:The Musical Times 5247:978-0-300-07774-2 5225:978-0-19-513242-7 5204:978-0-7546-0282-8 5185:978-0-7134-5468-0 5166:978-1-56649-152-5 5145:978-0-19-518954-4 5126:978-0-691-15555-5 5097:978-1-932800-26-5 5088:Zygmunt Stojowski 5061:978-2-87009-851-6 5023:978-0-691-15555-5 5004:978-0-691-15555-5 4985:978-0-7148-3932-5 4966:978-1-58046-382-9 4947:978-0-14-051385-1 4906:978-1-57467-082-0 4885:978-0-691-15555-5 4862:978-1-85626-103-6 4840:978-0-571-14881-3 4795:. Munich: Naxos. 4791:Notes to Naxos CD 4775:. Munich: Naxos. 4771:Notes to Naxos CD 3588:Rees, pp. 198–201 3449:"Massenet, Jules" 3397:Rees, pp. 189–190 3011:Saint-Saëns, p. 7 2843:Saint-Saëns, p. 3 2799:Wingard, Eileen. 2675:. Merriam-Webster 2101:Samson et Dalilah 1940: 1911: 1791: 1732:The Promised Land 1686:Mélodies persanes 1640:Other vocal music 1518:Pablo de Sarasate 1477:Zygmunt Stojowski 1449:Concertante works 1090:The Promised Land 853: 573:Louis Niedermeyer 523:Gioachino Rossini 501:French Revolution 431:(1850), after an 7955: 7720: 7719: 7718: 7708: 7707: 7706: 7696: 7695: 7694: 7684: 7683: 7682: 7675: 7657: 7647: 7646: 7543:Post-romanticism 7408:Vaughan Williams 6691: 6684: 6677: 6668: 6667: 6655: 6654: 6560:Oratorio de Noël 6500:Piano Trio No. 2 6456: 6455: 6429: 6428: 6418:Piano Trio No. 1 6382:Suite algérienne 6340:Organ Concerto ( 6225: 6224: 6207:Symphony No. 3 ( 6031: 6024: 6017: 6008: 6007: 6003: 6002: 5982:Internet Archive 5938: 5921:(1–2): 255–264. 5901: 5882: 5863: 5844: 5825: 5822: 5781: 5762: 5743: 5721: 5709:Musical Memories 5702: 5691:The Record Guide 5678: 5659: 5640: 5620: 5601: 5582: 5579: 5577: 5536: 5530:(October 1922). 5523: 5486: 5473:Ravel Remembered 5467: 5448: 5429: 5426: 5397: 5378: 5366:My Recollections 5356: 5335: 5316: 5296: 5293: 5251: 5229: 5208: 5189: 5170: 5149: 5130: 5101: 5082: 5065: 5046: 5027: 5008: 4989: 4970: 4951: 4930: 4922: 4910: 4889: 4866: 4844: 4821: 4804: 4784: 4755: 4748: 4742: 4735: 4729: 4726: 4720: 4719: 4707: 4701: 4694: 4685: 4682: 4676: 4650: 4644: 4641: 4635: 4622: 4616: 4603: 4597: 4584: 4578: 4575: 4569: 4566: 4560: 4536: 4527: 4524: 4518: 4515: 4509: 4506: 4497: 4494: 4488: 4485: 4479: 4476: 4463: 4460: 4454: 4453: 4433: 4427: 4424: 4418: 4415: 4409: 4406: 4400: 4397: 4391: 4388: 4382: 4379: 4373: 4370: 4364: 4361: 4355: 4352: 4346: 4343: 4337: 4336:Crichton, p. 353 4334: 4328: 4325: 4316: 4313: 4307: 4304: 4298: 4295: 4289: 4286: 4280: 4277: 4271: 4268: 4262: 4259: 4253: 4250: 4244: 4241: 4235: 4232: 4226: 4223: 4217: 4212:, January 1904, 4207: 4201: 4198: 4192: 4189: 4183: 4180: 4174: 4171: 4165: 4162: 4153: 4150: 4144: 4141: 4135: 4132: 4123: 4122: 4113: 4088: 4085: 4079: 4076: 4070: 4067: 4058: 4055: 4049: 4046: 4040: 4037: 4031: 4030: 4019:Nichols, Roger. 4017: 4004: 4001: 3995: 3992: 3986: 3983: 3977: 3929: 3923: 3920: 3914: 3911: 3905: 3902: 3896: 3893: 3887: 3884: 3878: 3875: 3866: 3863: 3857: 3854: 3843: 3836: 3830: 3827: 3821: 3814: 3808: 3801: 3795: 3792: 3786: 3779: 3773: 3770: 3764: 3761: 3755: 3752: 3746: 3743: 3737: 3734: 3728: 3717: 3711: 3708: 3702: 3699: 3693: 3686: 3680: 3677: 3671: 3670: 3654: 3643: 3640: 3634: 3631: 3625: 3622: 3616: 3613: 3607: 3604: 3598: 3595: 3589: 3586: 3580: 3577: 3571: 3568: 3562: 3559: 3553: 3550: 3544: 3541: 3535: 3532: 3526: 3523: 3514: 3513: 3497: 3491: 3488: 3482: 3479: 3473: 3470: 3464: 3461: 3455: 3454: 3442: 3436: 3433: 3416: 3413: 3407: 3404: 3398: 3395: 3389: 3388: 3372: 3366: 3363: 3357: 3354: 3348: 3347:Strasser, p. 251 3345: 3334: 3331: 3325: 3322: 3316: 3313: 3304: 3301: 3295: 3292:The Morning Post 3288: 3282: 3279: 3273: 3255: 3246: 3243: 3237: 3234: 3228: 3225: 3219: 3216: 3210: 3207: 3201: 3198: 3192: 3189: 3183: 3180: 3174: 3167: 3161: 3158: 3152: 3149: 3136: 3133: 3127: 3124: 3118: 3115: 3109: 3106: 3100: 3097: 3091: 3088: 3082: 3079: 3073: 3070: 3064: 3063: 3056:Fallon, Daniel. 3054: 3031: 3030: 3018: 3012: 3009: 3003: 2997: 2988: 2987: 2975: 2969: 2966: 2960: 2957: 2948: 2945: 2939: 2936: 2930: 2927: 2921: 2918: 2912: 2909: 2903: 2894: 2883: 2880: 2874: 2871: 2865: 2864:Schonberg, p. 42 2862: 2853: 2850: 2844: 2841: 2835: 2832: 2826: 2823: 2817: 2797: 2791: 2785: 2779: 2763: 2746: 2745: 2736: 2715: 2700: 2694: 2691: 2685: 2684: 2682: 2680: 2663: 2657: 2656: 2654: 2652: 2635: 2629: 2628: 2623:. Archived from 2606: 2591: 2584: 2578: 2574: 2568: 2565: 2559: 2552: 2546: 2539:Marie Antoinette 2527: 2521: 2518:Musical Memories 2514: 2508: 2505:Charles Koechlin 2501: 2495: 2488: 2482: 2475: 2469: 2461: 2455: 2440: 2431: 2427: 2421: 2418: 2412: 2405: 2399: 2392: 2386: 2382: 2376: 2369: 2363: 2359: 2353: 2338: 2332: 2318: 2316:[sɛ̃sɑ̃] 2311: 2258:Samson et Dalila 2161:Legion of Honour 2117:Myung-Whun Chung 2113:Daniel Barenboim 2087:Samson et Dalila 2061:The Record Guide 2050:Samson et Dalila 1975:Jean Chantavoine 1950:(The Swan) from 1942: 1941: 1913: 1912: 1893: 1861: 1793: 1792: 1772: 1763: 1762: 1698:Pierre Corneille 1650:Pierre Corneille 1601: 1569:Samson et Dalila 1545:, 1892: Samson ( 1538:Samson et Dalila 1488: 1487: 1344: 1341: 1323:The Record Guide 1316:Orchestral works 1285: 1278: 1274: 1203:symphonic suite 1183:En blanc et noir 1141:Arnold Schönberg 888:Samson et Dalila 855: 854: 835: 820:Messe de Requiem 509: 508: 494: 493: 418:Fromental Halévy 394:François Benoist 387:, had succeeded 342: 341: 141: 140: 139: 133: 128: 124: 123: 120: 119: 114: 113: 110: 107: 104: 101: 94: 86: 85: 82: 81: 76: 75: 72: 69: 66: 63: 56: 41: 38: 7963: 7962: 7958: 7957: 7956: 7954: 7953: 7952: 7728: 7727: 7726: 7716: 7714: 7704: 7702: 7692: 7690: 7686:Classical music 7680: 7678: 7670: 7668: 7663: 7640: 7636:Modernist music 7632: 7629:Classical music 7619: 7564: 7509: 7490:Romantic ballet 7485:Orchestral song 7465:Chorale prelude 7460:Character piece 7443: 7434:Romantic guitar 7427:Instrumentation 7422: 7258:Rimsky-Korsakov 6878:Ferdinand David 6715: 6709: 6700: 6695: 6665: 6660: 6644: 6628: 6609: 6590: 6547: 6536:Clarinet Sonata 6453: 6452: 6426: 6425: 6388: 6358:Orchestra works 6349: 6276: 6216: 6173: 6049: 6040: 6035: 6000: 5945: 5909: 5907:Further reading 5904: 5898: 5879: 5860: 5841: 5823: 5789:in the 1870s". 5778: 5759: 5740: 5675: 5656: 5617: 5598: 5588:Regarding Fauré 5580: 5575: 5534: 5483: 5464: 5445: 5427: 5394: 5361:Massenet, Jules 5353: 5332: 5294: 5248: 5226: 5205: 5186: 5167: 5146: 5127: 5098: 5062: 5024: 5005: 4986: 4967: 4948: 4907: 4886: 4863: 4841: 4763: 4758: 4749: 4745: 4736: 4732: 4728:Gallois, p. 262 4727: 4723: 4717: 4708: 4704: 4695: 4688: 4683: 4679: 4651: 4647: 4642: 4638: 4632:Wayback Machine 4623: 4619: 4613:Wayback Machine 4604: 4600: 4594:Wayback Machine 4585: 4581: 4576: 4572: 4567: 4563: 4557:Wayback Machine 4546:Wayback Machine 4537: 4530: 4525: 4521: 4517:Gallois, p. 368 4516: 4512: 4507: 4500: 4495: 4491: 4486: 4482: 4477: 4466: 4461: 4457: 4451: 4448:Wayback Machine 4434: 4430: 4425: 4421: 4416: 4412: 4407: 4403: 4398: 4394: 4389: 4385: 4380: 4376: 4371: 4367: 4363:Huebner, p. 222 4362: 4358: 4354:Huebner, p. 218 4353: 4349: 4345:Huebner, p. 215 4344: 4340: 4335: 4331: 4327:Harding, p. 119 4326: 4319: 4315:Huebner, p. 226 4314: 4310: 4306:Larner, pp. 3–4 4305: 4301: 4296: 4292: 4287: 4283: 4278: 4274: 4269: 4265: 4260: 4256: 4251: 4247: 4242: 4238: 4233: 4229: 4224: 4220: 4208: 4204: 4199: 4195: 4191:Harding, p. 123 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3517: 3511: 3500:Macdonald, Hugh 3498: 3494: 3489: 3485: 3480: 3476: 3471: 3467: 3462: 3458: 3452: 3445:Macdonald, Hugh 3443: 3439: 3434: 3419: 3414: 3410: 3406:Harding, p. 148 3405: 3401: 3396: 3392: 3386: 3375:Macdonald, Hugh 3373: 3369: 3365:Simeone, p. 122 3364: 3360: 3355: 3351: 3346: 3337: 3332: 3328: 3323: 3319: 3314: 3307: 3302: 3298: 3289: 3285: 3280: 3276: 3266:Wayback Machine 3256: 3249: 3244: 3240: 3235: 3231: 3226: 3222: 3217: 3213: 3208: 3204: 3200:Berlioz, p. 430 3199: 3195: 3190: 3186: 3181: 3177: 3169:Fauré in 1922, 3168: 3164: 3159: 3155: 3150: 3139: 3134: 3130: 3125: 3121: 3116: 3112: 3107: 3103: 3098: 3094: 3089: 3085: 3080: 3076: 3071: 3067: 3061: 3055: 3034: 3028: 3021:Macdonald, Hugh 3019: 3015: 3010: 3006: 2998: 2991: 2985: 2978:Macdonald, Hugh 2976: 2972: 2967: 2963: 2958: 2951: 2947:Nectoux, p. 269 2946: 2942: 2937: 2933: 2929:Houziaux, p. 17 2928: 2924: 2919: 2915: 2910: 2906: 2895: 2886: 2881: 2877: 2872: 2868: 2863: 2856: 2851: 2847: 2842: 2838: 2833: 2829: 2824: 2820: 2808:Wayback Machine 2798: 2794: 2786: 2782: 2778:, 19 April 2004 2775:The Independent 2766:Duchen, Jessica 2764: 2749: 2743: 2737: 2718: 2712:Wayback Machine 2701: 2697: 2692: 2688: 2678: 2676: 2665: 2664: 2660: 2650: 2648: 2636: 2632: 2608: 2607: 2603: 2599: 2594: 2585: 2581: 2575: 2571: 2566: 2562: 2558:when in London. 2553: 2549: 2528: 2524: 2515: 2511: 2502: 2498: 2489: 2485: 2476: 2472: 2462: 2458: 2441: 2434: 2428: 2424: 2419: 2415: 2406: 2402: 2393: 2389: 2383: 2379: 2370: 2366: 2360: 2356: 2339: 2335: 2329:Madame de Staël 2312: 2308: 2304: 2299: 2287: 2278:Steven Isserlis 2153: 2105:Sir Colin Davis 2030: 1989:Clarinet Sonata 1971: 1970: 1962: 1960: 1959: 1958: 1957: 1943: 1936: 1933: 1927: 1926: 1925: 1922:Arthur Grossman 1920:, performed by 1914: 1907: 1904: 1897: 1891: 1863: 1859: 1820: 1811: 1810: 1802: 1800: 1799: 1798: 1797: 1794: 1786: 1783: 1776: 1770: 1760: 1759: 1752: 1690:Le Cendre rouge 1642: 1599: 1579:Ronald Crichton 1560:opéras comiques 1530: 1485: 1484: 1451: 1378:symphonic poems 1357:(1875) and the 1342: 1318: 1283: 1276: 1272: 1242: 1236: 1167:Igor Stravinsky 1163:Vaslav Nijinsky 1137:Francis Poulenc 1126:Eighth Symphony 1102: 1058:(1891) and his 1012: 994:, conducted by 909: 883: 882: 874: 872: 871: 870: 869: 856: 849: 846: 839: 833: 811:Théâtre Lyrique 736:symphonic poems 684: 630:Jeremy Nicholas 603:judges, wrote: 558: 546:Robert Schumann 535:Pauline Viardot 506: 505: 469: 389:Luigi Cherubini 339: 338: 261: 256: 135: 134: 126: 116: 98: 89: 88: 78: 60: 51: 50: 42: 39: 24: 17: 12: 11: 5: 7961: 7951: 7950: 7945: 7940: 7935: 7930: 7925: 7920: 7915: 7910: 7905: 7900: 7895: 7890: 7885: 7880: 7875: 7870: 7865: 7860: 7855: 7850: 7845: 7840: 7835: 7830: 7825: 7820: 7815: 7810: 7805: 7800: 7795: 7790: 7785: 7780: 7775: 7770: 7765: 7760: 7755: 7750: 7745: 7740: 7725: 7724: 7712: 7700: 7688: 7665: 7664: 7662: 7661: 7651: 7633: 7625: 7624: 7621: 7620: 7618: 7617: 7616: 7615: 7605: 7604: 7603: 7598: 7593: 7588: 7578: 7572: 7570: 7566: 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6115: 6107: 6099: 6095:Étienne Marcel 6091: 6090: 6089: 6074: 6066: 6057: 6055: 6051: 6050: 6045: 6042: 6041: 6034: 6033: 6026: 6019: 6011: 6005: 6004: 5989: 5984: 5975: 5966: 5956: 5944: 5943:External links 5941: 5940: 5939: 5908: 5905: 5903: 5902: 5896: 5883: 5877: 5864: 5858: 5845: 5839: 5826: 5797:(3): 225–251. 5782: 5776: 5763: 5757: 5744: 5738: 5722: 5703: 5679: 5673: 5660: 5654: 5641: 5621: 5615: 5602: 5596: 5583: 5524: 5498:(4): 561–577. 5487: 5481: 5468: 5462: 5449: 5443: 5430: 5398: 5392: 5379: 5357: 5351: 5336: 5330: 5317: 5297: 5274:10.2307/910966 5268:(948): 90–93. 5252: 5246: 5230: 5224: 5209: 5203: 5190: 5184: 5171: 5165: 5150: 5144: 5131: 5125: 5112: 5105:Hervey, Arthur 5102: 5096: 5083: 5066: 5060: 5047: 5028: 5022: 5009: 5003: 4990: 4984: 4971: 4965: 4952: 4946: 4931: 4917:, ed. (1911). 4915:Chisholm, Hugh 4911: 4905: 4890: 4884: 4867: 4861: 4845: 4839: 4827:Hugh Macdonald 4822: 4805: 4785: 4764: 4762: 4759: 4757: 4756: 4743: 4730: 4721: 4702: 4686: 4677: 4645: 4643:March, p. 1131 4636: 4617: 4598: 4579: 4570: 4561: 4528: 4519: 4510: 4498: 4489: 4480: 4464: 4455: 4428: 4419: 4417:Fauser, p. 228 4410: 4408:Fauser, p. 211 4401: 4399:Fauser, p. 217 4392: 4390:Fauser, p. 210 4383: 4374: 4365: 4356: 4347: 4338: 4329: 4317: 4308: 4299: 4290: 4281: 4272: 4263: 4254: 4245: 4236: 4227: 4218: 4202: 4193: 4184: 4175: 4166: 4154: 4145: 4136: 4124: 4089: 4087:Parker, p. 563 4080: 4071: 4059: 4050: 4041: 4032: 4005: 3996: 3987: 3978: 3950:Rite of Spring 3924: 3915: 3906: 3897: 3888: 3879: 3867: 3858: 3844: 3831: 3822: 3809: 3796: 3787: 3774: 3765: 3756: 3747: 3738: 3729: 3725:The Daily News 3712: 3703: 3694: 3681: 3672: 3644: 3635: 3626: 3617: 3608: 3599: 3590: 3581: 3572: 3563: 3554: 3545: 3536: 3527: 3515: 3492: 3483: 3474: 3465: 3456: 3437: 3417: 3408: 3399: 3390: 3367: 3358: 3349: 3335: 3326: 3317: 3305: 3303:Harding. p. 90 3296: 3283: 3274: 3247: 3238: 3229: 3220: 3211: 3209:Gallois, p. 96 3202: 3193: 3184: 3175: 3162: 3153: 3137: 3128: 3119: 3110: 3101: 3092: 3083: 3074: 3065: 3032: 3013: 3004: 2989: 2970: 2961: 2949: 2940: 2931: 2922: 2913: 2904: 2884: 2875: 2873:Gallois, p. 19 2866: 2854: 2845: 2836: 2827: 2818: 2792: 2780: 2747: 2716: 2695: 2686: 2658: 2630: 2600: 2598: 2595: 2593: 2592: 2579: 2569: 2560: 2547: 2522: 2509: 2496: 2483: 2470: 2456: 2432: 2422: 2413: 2409:Jules Massenet 2400: 2387: 2385:Conservatoire. 2377: 2364: 2354: 2346:Alfred Dreyfus 2342:Dreyfus affair 2333: 2331:, for example. 2305: 2303: 2300: 2298: 2295: 2294: 2293: 2291:Camille Awards 2286: 2283: 2152: 2149: 2127:(conducted by 2109:Georges Prêtre 2029: 2026: 1997:Bassoon Sonata 1961: 1944: 1934: 1929: 1928: 1918:Bassoon Sonata 1915: 1905: 1900: 1899: 1898: 1889: 1888: 1887: 1851: 1819: 1816: 1801: 1795: 1784: 1779: 1778: 1777: 1768: 1767: 1766: 1751: 1748: 1740:par excellence 1706:Lili Boulanger 1641: 1638: 1547:Edmond Vergnet 1529: 1526: 1450: 1447: 1317: 1314: 1235: 1232: 1216:Pierre Monteux 1197:Darius Milhaud 1101: 1098: 1042:Ernest Guiraud 1011: 1008: 972:Vincent d'Indy 936:Saint-Saëns's 908: 905: 873: 857: 847: 842: 841: 840: 831: 830: 829: 721:Jules Massenet 696:National Guard 688:Romain Bussine 683: 680: 672:Giuseppe Verdi 626:Jessica Duchen 591:André Messager 557: 554: 550:Richard Wagner 527:Hector Berlioz 491:Hôtel de Ville 475:The church of 468: 465: 457:Trois Morceaux 433:eponymous poem 422:Charles Gounod 260: 257: 255: 252: 34: 15: 9: 6: 4: 3: 2: 7960: 7949: 7946: 7944: 7941: 7939: 7936: 7934: 7931: 7929: 7926: 7924: 7921: 7919: 7916: 7914: 7911: 7909: 7906: 7904: 7901: 7899: 7896: 7894: 7891: 7889: 7886: 7884: 7881: 7879: 7876: 7874: 7871: 7869: 7868:French deists 7866: 7864: 7861: 7859: 7856: 7854: 7851: 7849: 7846: 7844: 7841: 7839: 7836: 7834: 7831: 7829: 7826: 7824: 7821: 7819: 7816: 7814: 7811: 7809: 7806: 7804: 7801: 7799: 7796: 7794: 7791: 7789: 7786: 7784: 7781: 7779: 7776: 7774: 7771: 7769: 7766: 7764: 7761: 7759: 7756: 7754: 7751: 7749: 7746: 7744: 7741: 7739: 7736: 7735: 7733: 7723: 7713: 7711: 7701: 7699: 7689: 7687: 7677: 7676: 7673: 7660: 7656: 7652: 7650: 7642: 7641: 7638: 7637: 7631: 7630: 7622: 7614: 7611: 7610: 7609: 7606: 7602: 7599: 7597: 7594: 7592: 7589: 7587: 7584: 7583: 7582: 7579: 7577: 7574: 7573: 7571: 7567: 7560: 7556: 7554: 7551: 7549: 7546: 7544: 7541: 7539: 7536: 7534: 7533: 7529: 7527: 7524: 7522: 7519: 7518: 7516: 7512: 7506: 7503: 7501: 7498: 7496: 7493: 7491: 7488: 7486: 7483: 7481: 7478: 7476: 7473: 7471: 7468: 7466: 7463: 7461: 7458: 7456: 7453: 7452: 7450: 7446: 7440: 7437: 7435: 7432: 7431: 7429: 7425: 7419: 7416: 7414: 7411: 7409: 7406: 7404: 7401: 7399: 7396: 7394: 7391: 7389: 7386: 7384: 7381: 7379: 7376: 7374: 7371: 7369: 7366: 7364: 7361: 7359: 7356: 7354: 7351: 7349: 7346: 7344: 7343:J. Strauss II 7341: 7339: 7336: 7334: 7331: 7329: 7326: 7324: 7321: 7319: 7316: 7314: 7311: 7309: 7306: 7304: 7301: 7299: 7296: 7294: 7291: 7289: 7286: 7284: 7281: 7279: 7276: 7274: 7271: 7269: 7266: 7264: 7261: 7259: 7256: 7254: 7251: 7249: 7246: 7244: 7241: 7239: 7236: 7234: 7231: 7229: 7226: 7224: 7221: 7219: 7216: 7214: 7211: 7209: 7206: 7204: 7201: 7199: 7196: 7194: 7191: 7189: 7186: 7184: 7181: 7179: 7176: 7174: 7171: 7169: 7166: 7164: 7161: 7159: 7156: 7154: 7151: 7149: 7146: 7144: 7141: 7139: 7136: 7134: 7131: 7129: 7126: 7124: 7121: 7119: 7116: 7114: 7111: 7109: 7106: 7104: 7101: 7099: 7096: 7094: 7091: 7089: 7086: 7084: 7081: 7079: 7076: 7074: 7071: 7069: 7066: 7064: 7061: 7059: 7056: 7054: 7051: 7049: 7046: 7044: 7041: 7039: 7036: 7034: 7031: 7029: 7026: 7024: 7021: 7019: 7016: 7014: 7011: 7009: 7006: 7004: 7001: 6999: 6996: 6994: 6991: 6989: 6986: 6984: 6981: 6979: 6976: 6974: 6971: 6969: 6966: 6964: 6961: 6959: 6956: 6954: 6951: 6949: 6946: 6944: 6941: 6939: 6936: 6934: 6931: 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6464: 6461: 6458: 6449: 6446: 6443: 6440: 6438: 6434: 6431: 6424:Serenade in E 6422: 6419: 6416: 6413: 6410: 6407: 6406:Piano Quintet 6404: 6401: 6398: 6397: 6395: 6393:Chamber music 6391: 6384: 6383: 6379: 6376: 6375: 6374:Danse macabre 6371: 6368: 6367: 6363: 6362: 6360: 6356: 6345: 6343: 6338: 6335: 6332: 6329: 6328: 6324: 6321: 6318: 6315: 6312: 6309: 6306: 6303: 6302: 6298: 6295: 6292: 6289: 6286: 6285: 6283: 6279: 6272: 6270: 6265: 6262: 6261: 6257: 6254: 6251: 6248: 6245: 6242: 6239: 6236: 6233: 6232: 6230: 6226: 6223: 6219: 6212: 6210: 6205: 6202: 6199: 6196: 6194: 6189: 6186: 6183: 6182: 6180: 6176: 6169: 6168: 6164: 6161: 6160: 6156: 6153: 6152: 6148: 6145: 6144: 6140: 6137: 6136: 6132: 6129: 6128: 6124: 6121: 6120: 6116: 6113: 6112: 6108: 6105: 6104: 6100: 6097: 6096: 6092: 6087: 6083: 6082: 6081: (1877) 6080: 6079: 6075: 6072: 6071: 6067: 6064: 6063: 6059: 6058: 6056: 6052: 6048: 6043: 6039: 6032: 6027: 6025: 6020: 6018: 6013: 6012: 6009: 5997: 5993: 5990: 5988: 5985: 5983: 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5256:Klein, Herman 5253: 5249: 5243: 5239: 5235: 5231: 5227: 5221: 5217: 5216: 5210: 5206: 5200: 5196: 5191: 5187: 5181: 5177: 5172: 5168: 5162: 5158: 5157: 5151: 5147: 5141: 5137: 5132: 5128: 5122: 5118: 5113: 5110: 5106: 5103: 5099: 5093: 5089: 5084: 5080: 5076: 5072: 5067: 5063: 5057: 5053: 5048: 5044: 5040: 5036: 5035: 5029: 5025: 5019: 5015: 5010: 5006: 5000: 4996: 4991: 4987: 4981: 4977: 4976:Gabriel Fauré 4972: 4968: 4962: 4958: 4953: 4949: 4943: 4939: 4938: 4932: 4928: 4927: 4921: 4916: 4912: 4908: 4902: 4898: 4897: 4891: 4887: 4881: 4877: 4873: 4868: 4864: 4858: 4854: 4850: 4846: 4842: 4836: 4832: 4828: 4823: 4819: 4815: 4811: 4806: 4802: 4798: 4794: 4790: 4786: 4782: 4778: 4774: 4770: 4766: 4765: 4753: 4747: 4740: 4734: 4725: 4715: 4711: 4706: 4699: 4693: 4691: 4681: 4675: 4671: 4668:; and BZ1047 4667: 4663: 4659: 4655: 4649: 4640: 4633: 4629: 4626: 4621: 4614: 4610: 4607: 4602: 4595: 4591: 4588: 4583: 4574: 4565: 4558: 4554: 4551: 4550:Track Listing 4547: 4543: 4540: 4535: 4533: 4523: 4514: 4505: 4503: 4493: 4484: 4475: 4473: 4471: 4469: 4459: 4449: 4445: 4442: 4438: 4432: 4423: 4414: 4405: 4396: 4387: 4378: 4369: 4360: 4351: 4342: 4333: 4324: 4322: 4312: 4303: 4294: 4285: 4276: 4267: 4258: 4249: 4240: 4234:Herter, p. 75 4231: 4222: 4215: 4211: 4206: 4197: 4188: 4179: 4170: 4161: 4159: 4149: 4140: 4131: 4129: 4118: 4112: 4110: 4108: 4106: 4104: 4102: 4100: 4098: 4096: 4094: 4084: 4075: 4069:Studd, p. 288 4066: 4064: 4054: 4045: 4036: 4026: 4022: 4016: 4014: 4012: 4010: 4000: 3991: 3982: 3975: 3971: 3968: 3964: 3960: 3956: 3953: 3951: 3945: 3941: 3937: 3934: 3928: 3919: 3910: 3901: 3892: 3883: 3874: 3872: 3862: 3853: 3851: 3849: 3841: 3835: 3826: 3819: 3813: 3806: 3800: 3791: 3784: 3778: 3769: 3760: 3751: 3742: 3733: 3726: 3722: 3716: 3707: 3698: 3691: 3685: 3676: 3666: 3662: 3658: 3653: 3651: 3649: 3639: 3633:Duchen, p. 69 3630: 3624:Studd, p. 253 3621: 3612: 3603: 3594: 3585: 3576: 3570:Smith, p. 119 3567: 3558: 3549: 3540: 3531: 3525:Smith, p. 108 3522: 3520: 3509: 3505: 3501: 3496: 3487: 3478: 3469: 3460: 3450: 3446: 3441: 3432: 3430: 3428: 3426: 3424: 3422: 3415:Studd, p. 121 3412: 3403: 3394: 3384: 3380: 3376: 3371: 3362: 3353: 3344: 3342: 3340: 3330: 3324:Tombs, p. 124 3321: 3312: 3310: 3300: 3293: 3287: 3278: 3271: 3267: 3263: 3260: 3254: 3252: 3242: 3233: 3224: 3215: 3206: 3197: 3188: 3179: 3172: 3166: 3157: 3148: 3146: 3144: 3142: 3132: 3123: 3114: 3105: 3096: 3087: 3078: 3069: 3059: 3053: 3051: 3049: 3047: 3045: 3043: 3041: 3039: 3037: 3026: 3022: 3017: 3008: 3002:, p. 44. 3001: 3000:Chisholm 1911 2996: 2994: 2983: 2979: 2974: 2965: 2956: 2954: 2944: 2935: 2926: 2917: 2908: 2901: 2900: 2893: 2891: 2889: 2879: 2870: 2861: 2859: 2849: 2840: 2831: 2822: 2815: 2814: 2809: 2805: 2802: 2796: 2789: 2784: 2777: 2776: 2771: 2767: 2762: 2760: 2758: 2756: 2754: 2752: 2741: 2735: 2733: 2731: 2729: 2727: 2725: 2723: 2721: 2713: 2709: 2706: 2705: 2699: 2690: 2674: 2673: 2668: 2667:"Saint-Saëns" 2662: 2646: 2645: 2640: 2639:"Saint-Saëns" 2634: 2626: 2622: 2618: 2616: 2611: 2605: 2601: 2589: 2583: 2573: 2564: 2557: 2551: 2544: 2540: 2536: 2532: 2526: 2519: 2513: 2506: 2500: 2493: 2487: 2480: 2474: 2467: 2460: 2453: 2452:Maurice Ravel 2449: 2445: 2439: 2437: 2426: 2417: 2410: 2404: 2397: 2391: 2381: 2374: 2373:Gabriel Fauré 2368: 2358: 2351: 2347: 2343: 2337: 2330: 2326: 2322: 2317: 2310: 2306: 2292: 2289: 2288: 2282: 2279: 2275: 2274:Piano Quartet 2271: 2268:, the ballet 2267: 2263: 2262:Danse macabre 2259: 2255: 2250: 2247: 2242: 2237: 2235: 2228: 2226: 2222: 2218: 2214: 2210: 2203: 2201: 2192: 2188: 2186: 2182: 2178: 2174: 2170: 2167:in 1884, and 2166: 2162: 2158: 2148: 2146: 2142: 2139:, 2021), and 2138: 2134: 2130: 2126: 2122: 2118: 2114: 2110: 2106: 2102: 2098: 2097: 2092: 2088: 2083: 2081: 2076: 2075: 2070: 2066: 2065:Danse Macabre 2062: 2058: 2053: 2051: 2047: 2043: 2042:mezzo-soprano 2039: 2038:Fred Gaisberg 2035: 2025: 2023: 2022:Danse macabre 2019: 2015: 2011: 2010: 2004: 2002: 1998: 1994: 1990: 1986: 1981: 1976: 1969: 1967: 1955: 1954: 1949: 1948: 1932: 1923: 1919: 1903: 1886: 1884: 1883:Second (1905) 1880: 1876: 1872: 1868: 1862: 1856: 1850: 1848: 1844: 1843: 1838: 1834: 1830: 1826: 1815: 1809: 1807: 1782: 1765: 1757: 1750:Solo keyboard 1747: 1745: 1741: 1737: 1733: 1729: 1728: 1723: 1718: 1716: 1711: 1707: 1703: 1699: 1695: 1691: 1687: 1683: 1682: 1677: 1673: 1672: 1663: 1659: 1655: 1651: 1646: 1637: 1635: 1634: 1629: 1625: 1621: 1617: 1613: 1609: 1605: 1596: 1591: 1589: 1585: 1584:James Harding 1580: 1576: 1575: 1570: 1566: 1562: 1561: 1556: 1548: 1544: 1540: 1539: 1534: 1525: 1523: 1519: 1515: 1511: 1507: 1503: 1499: 1494: 1492: 1482: 1478: 1474: 1473: 1468: 1464: 1460: 1456: 1446: 1444: 1440: 1436: 1435: 1430: 1425: 1422: 1421:Roger Nichols 1418: 1413: 1412:mythical hero 1409: 1405: 1401: 1397: 1396: 1395:Danse macabre 1387: 1383: 1379: 1374: 1370: 1368: 1364: 1360: 1356: 1352: 1348: 1337: 1333: 1329: 1325: 1324: 1313: 1310: 1305: 1299: 1297: 1293: 1289: 1282: 1268: 1263: 1261: 1260: 1251: 1246: 1241: 1231: 1229: 1223: 1217: 1212: 1208: 1206: 1202: 1198: 1194: 1189: 1185: 1184: 1177: 1174: 1173: 1168: 1164: 1157: 1155: 1148: 1146: 1142: 1138: 1134: 1133: 1127: 1123: 1115: 1110: 1106: 1097: 1095: 1091: 1088: 1084: 1080: 1076: 1072: 1068: 1063: 1061: 1057: 1056: 1051: 1047: 1043: 1039: 1035: 1031: 1030: 1021: 1016: 1007: 1003: 1001: 997: 993: 989: 985: 980: 977: 976:"Ars Gallica" 973: 968: 966: 965: 960: 959:Covent Garden 956: 955: 945: 941: 940: 934: 930: 927: 922: 918: 914: 904: 900: 898: 894: 890: 889: 881: 879: 867: 866:Enrico Caruso 863: 862: 845: 828: 826: 822: 821: 814: 812: 808: 804: 800: 799:Jules Barbier 796: 795: 790: 782: 781: 775: 771: 769: 768:Latin Quarter 765: 760: 755: 753: 752:Opéra-Comique 749: 748: 743: 742: 737: 728: 724: 722: 718: 714: 713:"Ars Gallica" 710: 705: 701: 700:Paris Commune 697: 693: 689: 679: 677: 673: 669: 665: 661: 654: 650: 646: 642: 637: 633: 631: 627: 623: 619: 615: 609: 604: 600: 598: 597: 592: 586: 581: 579: 578:Gabriel Fauré 574: 566: 565:Gabriel Fauré 562: 553: 551: 547: 542: 540: 536: 532: 528: 524: 519: 517: 516:French Empire 513: 502: 498: 492: 486: 478: 473: 464: 462: 458: 454: 450: 446: 442: 438: 434: 430: 425: 423: 419: 415: 414:Georges Bizet 411: 407: 406:Charles Alkan 403: 399: 395: 390: 386: 382: 373: 369: 365: 363: 359: 355: 351: 347: 343: 334: 330: 325: 321: 317: 313: 312:perfect pitch 304: 300: 298: 294: 290: 289:Saint-Sulpice 286: 282: 278: 274: 265: 251: 249: 248:Maurice Ravel 245: 244:Gabriel Fauré 239: 237: 233: 229: 225: 224:expressionist 221: 220:impressionist 217: 213: 209: 204: 202: 201:French Empire 198: 194: 190: 185: 183: 182: 177: 173: 169: 168: 163: 162: 161:Danse macabre 157: 153: 149: 145: 138: 132: 122: 92: 84: 54: 48: 32: 28: 26: 22: 7634: 7627: 7530: 7514:Other topics 7338:J. Strauss I 7277: 7228:Rachmaninoff 6983:Gretchaninov 6650: 6625: (1908) 6620: 6606: (1896) 6601: 6587: (1913) 6582: 6579: (1878) 6574: 6571: (1875) 6566: 6563: (1858) 6558: 6544: (1921) 6538: (1921) 6532: (1921) 6526: (1915) 6520: (1905) 6514: (1897) 6508: (1896) 6502: (1891) 6496: (1887) 6491: 6482: 6474: 6471: (1885) 6465: (1881) 6459: (1875) 6447: (1871) 6441: (1871) 6436: 6432: (1865) 6420: (1864) 6414: (1862) 6402: (1853) 6385: (1880) 6380: 6377: (1874) 6373: 6369: (1872) 6364: 6346: (1919) 6341: 6336: (1902) 6330: (1887) 6325: 6322: (1880) 6316: (1872) 6310: (1866) 6304: (1863) 6299: 6296: (1859) 6290: (1858) 6273: (1896) 6269:The Egyptian 6268: 6263: (1891) 6258: 6255: (1875) 6249: (1869) 6243: (1868) 6237: (1858) 6213: (1886) 6208: 6203: (1859) 6197: (1856) 6192: 6187: (1853) 6170: (1911) 6165: 6162: (1905) 6157: 6154: (1904) 6149: 6146: (1901) 6143:Les barbares 6141: 6138: (1895) 6133: 6130: (1893) 6125: 6122: (1890) 6117: 6114: (1887) 6109: 6106: (1883) 6101: 6098: (1879) 6093: 6076: 6073: (1872) 6068: 6065: (1865) 6060: 6037: 5965:(ChoralWiki) 5918: 5914: 5887: 5868: 5849: 5830: 5794: 5790: 5786: 5767: 5748: 5729: 5708: 5690: 5664: 5645: 5628: 5625: 5606: 5587: 5544: 5538: 5495: 5491: 5472: 5453: 5434: 5406: 5402: 5383: 5365: 5341: 5321: 5304: 5301: 5265: 5259: 5237: 5214: 5194: 5175: 5155: 5135: 5116: 5108: 5087: 5070: 5051: 5033: 5013: 4994: 4975: 4956: 4936: 4924: 4895: 4875: 4871: 4852: 4830: 4809: 4792: 4789: 4772: 4769: 4751: 4746: 4738: 4733: 4724: 4713: 4705: 4697: 4680: 4648: 4639: 4620: 4606:"Henry VIII" 4601: 4582: 4573: 4564: 4539:Introduction 4522: 4513: 4496:Rees, p. 167 4492: 4483: 4458: 4431: 4426:Rees, p. 198 4422: 4413: 4404: 4395: 4386: 4381:Blyth, p. 94 4377: 4368: 4359: 4350: 4341: 4332: 4311: 4302: 4293: 4284: 4275: 4266: 4257: 4252:Rees, p. 326 4248: 4239: 4230: 4225:Rees, p. 299 4221: 4213: 4209: 4205: 4200:Usai, p. 197 4196: 4187: 4178: 4169: 4164:Rees, p. 177 4152:Rees, p. 182 4148: 4139: 4083: 4074: 4057:Rees, p. 439 4053: 4044: 4039:Rees, p. 430 4035: 4024: 3999: 3990: 3981: 3962: 3949: 3943: 3927: 3918: 3909: 3900: 3891: 3882: 3877:Rees, p. 381 3861: 3839: 3834: 3825: 3817: 3812: 3804: 3799: 3790: 3782: 3777: 3768: 3763:Rees, p. 286 3759: 3750: 3741: 3732: 3724: 3720: 3715: 3706: 3697: 3689: 3684: 3679:Rees, p. 242 3675: 3664: 3638: 3629: 3620: 3611: 3602: 3597:Morris, p. 2 3593: 3584: 3575: 3566: 3557: 3548: 3539: 3530: 3507: 3495: 3486: 3477: 3468: 3459: 3440: 3411: 3402: 3393: 3382: 3370: 3361: 3352: 3333:Studd, p. 84 3329: 3320: 3299: 3291: 3286: 3277: 3269: 3241: 3236:Rees, p. 122 3232: 3223: 3214: 3205: 3196: 3187: 3178: 3170: 3165: 3156: 3151:Klein, p. 91 3131: 3122: 3117:Studd, p. 30 3113: 3104: 3095: 3090:Smith, p. 10 3086: 3077: 3072:Studd, p. 29 3068: 3016: 3007: 2973: 2964: 2943: 2934: 2925: 2916: 2907: 2897: 2878: 2869: 2848: 2839: 2830: 2825:Kater, p. 85 2821: 2811: 2795: 2783: 2773: 2703: 2698: 2689: 2677:. 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Schumann 7293:C. Schumann 7278:Saint-Saëns 7173:Niedermeyer 7063:Leoncavallo 7033:Kalkbrenner 6808:Bortkiewicz 6552:Vocal music 6530:Oboe Sonata 6308:Cello Suite 5547:: 469–486. 5109:Saint-Saëns 4853:Opera on CD 4849:Blyth, Alan 4714:Who Was Who 3606:Ivry, p. 18 3108:Rees, p. 67 3099:Rees, p. 65 2968:Rees, p. 48 2959:Rees, p. 41 2938:Rees, p. 53 2911:Rees, p. 40 2834:Rees, p. 22 2714:(in French) 2693:Rees, p. 35 2556:Savoy opera 2340:During the 2321:Saint-Saëns 2217:Tchaikovsky 2202:commented: 2183:(1893) and 2169:Grand Croix 2137:Leo Hussain 2001:cor anglais 1980:Oboe Sonata 1744:Mendelssohn 1730:(1875) and 1658:Victor Hugo 1543:Paris Opéra 1459:sonata form 1443:Charpentier 1343: 1850 1075:Tchaikovsky 1050:grand opera 944:Paris Opéra 897:Paris Opéra 777:Scene from 622:Victor Sieg 531:Franz Liszt 485:Saint-Merri 477:Saint-Merri 453:opus number 437:Victor Hugo 424:and Bizet. 293:consumption 281:Haute-Marne 193:Saint-Merri 178:(1886) and 40: 1880 7732:Categories 7569:Background 7470:Intermezzo 7403:Wieniawski 7383:Vieuxtemps 7348:R. Strauss 7273:Rubinstein 7198:Paderewski 7168:Mussorgsky 7163:Moszkowski 7138:Mercadante 6614:Film score 6512:Barcarolle 6178:Symphonies 6135:Frédégonde 6111:Proserpine 6103:Henry VIII 4674:1301941564 4666:1296187366 4658:1225196330 2788:Prod'homme 2597:References 2588:Mea culpa! 2466:1893 opera 2446:. Je suis 2444:homosexuel 2091:Henry VIII 2028:Recordings 1985:tarantella 1966:media help 1931:"Le cygne" 1806:media help 1628:Alan Blyth 1620:leitmotifs 1616:pentatonic 1604:Henry VIII 1565:Henry VIII 1555:Frédégonde 1238:See also: 1169:'s ballet 1038:Frédégonde 1034:Paul Dukas 1000:Proserpine 954:Henry VIII 939:Henry VIII 878:media help 864:. 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The 1829:Septet 1827:. The 1722:motets 1681:Lieder 1600: 1528:Operas 1510:Second 1506:Second 1483:, in E 1472:presto 1465:. 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Knowledge

Camille Saint-Saëns

Index