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Updated: June 1, 2025
He was a great friend of mine and one of the most perfect players I have ever known, as well as one of the greatest grand seigneurs among violinists. His rendering of romantic works, Saint-Saëns, Lalo, Bruch, was exquisite I have never, never heard them played as beautifully. On the other hand, his Bach playing was excruciating he played Bach sonatas as though they were virtuoso pieces.
It was his idea that the Sinfonia, in other words the Overture or Prelude, should indicate the subject and prepare the spectators for the characters of the pieces, and that the instrumental coloring should be adapted to the mood of the situation, thus anticipating modern procedure. He prepared the way for the work of Cherubini, Auber, Gounod, Thomas, Massenet, Saint-Saëns and others.
It excels in works of a neo-classic character, like those of M. Saint-Saëns, which are stronger in style and taste than in life and passion. The Conservatoire concerts have also a relative superiority over other concerts in Paris in the performance of choral works, which up to the present have been very second-rate.
Madame Fleury called the old servant and told him to light the sticks that lay in the fireplace. She took the arm-chair at the right of the hearth and motioned Claude to a seat on the left. The little boy kept his stool at the other end of the room. Mlle. Claire began the orchestral introduction to the Saint-Saens concerto. "Oh, not that!" David lifted his chin and looked at her in perplexity.
One of the names of these musicians is justly celebrated that of M. Saint-Saëns; but there are others whose fame is of poorer quality, and others still who have no fame at all.
In 1904, following the suggestions of M. Saint-Saëns and M. Bourgault-Ducoudray, class-singing was incorporated with other subjects in the programme of teaching, and a free school of choral singing was started in Paris under the honorary chairmanship of M. Henry Marcel, director of the Beaux-Arts, and under the direction of M. Radiguer.
And it was a music almost the antithesis of Saint-Saëns' that finally disclosed itself through Franck. In it everything is felt and necessary and expressive. It is unadorned. None of the light musical frosting that conceals the poverty and vulgarity of so many of the other's ideas is to be found here. The designs themselves are noble and significant.
These verses were read by M. Saint-Saëns at a concert given on 10 June, 1896, in the Salle Pleyel, to celebrate the fiftieth anniversary of his début, which he made in 1846.
And he succeeded in interesting in his undertaking, not only the principal French musicians, such as César Franck, Saint-Saëns, and Gounod, but also foreigners, such as Hans von Bülow, Tschaikowsky, Grieg, Sgambati, and Gevaert. Unhappily this society never got farther than arranging what it wanted to do, and only sketched out the plans that were realised later by Charles Bordes.
"After three years' study I left Joachim and went to Paris. Liszt had given me letters of introduction to various French artists, among them Saint-Saëns. One evening I happened to hear Léonard play Corelli's La Folia in the Salle Pleyel, and the liquid clarity and beauty of his tone so impressed me that I decided I must study with him. I played for him and he accepted me as a pupil.
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