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Updated: June 1, 2025
Just as it would be interesting to know what French audiences enjoyed at the time of the French revolution, so I think it worth while to record the character of the entertainments at present popular in Moscow. Opera at the Great Theatre. "Sadko" by Rimsky-Korsakov and "Samson and Delilah" by Saint-Saens. Small State Theatre. "Besheny Dengi" by Ostrovsky and "Starik" by Gorky. Moscow Art Theatre.
And so we find that M. Saint-Saëns has taken part in the vigorous attempt of modern German symphony writers to bring into music some of the power of the other arts: poetry, painting, philosophy, romance, drama the whole of life. But what a gulf divides them and him! A gulf made up, not only of diversities of style, but of the difference between two races and two worlds.
His memory serves him as he pleases, but he is never troubled by it. As far as one can judge, M. Saint-Saëns' musical ideas are infused with the spirit of the great classics belonging to the end of the eighteenth century far more, whatever people may say, with the spirit of Beethoven, Haydn, and Mozart, than with the spirit of Bach.
They are not so much kindred spirits by their science as good company by a common purity of taste, a sense of rhythm, and a genius for method, which gave all they wrote a neo-classic character. As for the things that directly influenced M. Saint-Saëns, they are so numerous that it would be difficult and rather bold of me to pretend to be able to pick them out.
Temperly wished her to come back and play a part of that composition of Saint-Saens the last one she had been learning for Mr. and Mrs. Parminter: they wanted to judge whether their daughter could manage it. 'I don't believe she can, said Dora, smiling; but she was moving away to comply when her companion detained her a moment. Are you going to bid me good-bye?
A huge choir of 400 voices, directed by Wallace Sabin and named in honor of the visitor, the "Saint-Saens Choir," rendered a good account of the ensemble sections of the choral composition, while the Exposition orchestra of 80 instrumentalists and the Exposition organ added effectiveness to the accompaniment. Sabin presided at the organ.
To-day they are already older than Mendelssohn's, of which pale art they seem an even paler reflection. Mendelssohn, too, was a person inwardly at war with himself, and perhaps Saint-Saëns may be another example of the same conflict. Still, the latter has achieved a sort of waxy coldness from which the amiable Félix was after all saved.
He rented the Odéon theatre, and got together an orchestra, the conductorship of which he entrusted to M. Édouard Colonne. And on 2 March, 1873, the Concert National was inaugurated in a musical matinée, where M. Saint-Saëns played his Concerto in G minor and Mme. Viardot sang Schubert's Roi des Aulnes.
In 1884 he toured America together with Ovide Musin, the violin virtuoso. Two years later he became the pupil of Saint-Saëns in Paris. In 1887 and 1888 he toured France and visited London, where he received a command to appear at the British Court. In 1890 he returned to America and made this country his home for ten years, appearing frequently in concert and engaging in several tours.
Massenet, Saint-Saëns, Humperdinck, Goldmark, Richard Strauss, Paderewski, and all the others have followed in Wagner's footsteps. Such, briefly told, is the story of Richard Wagner and Modern Music. The "music of the future" has become the music of the present. What the future will bring no one can tell. Croakers say, as they have always said, that the race of giants has died out.
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