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Updated: June 1, 2025
The inspersion of music of a curiously penetrating, moving sort composed by Saint-Saëns in an approximation to Grecian measures added a poetic undertone to the poetry of the situations and of the lines; and a greater intensity was given to the crises of the play an artistic reproduction of the effect caused by the accident of the night before by extinguishing the electric lamps and so bringing the action to a focus in the mellow radiance which came from the golden footlights and richly lighted the stage.
From a purely musical point of view there is some resemblance between M. Saint-Saëns and Mendelssohn. In both of them we find the same intellectual restraint, the same balance preserved among the heterogeneous elements of their work.
Were there nothing else to demonstrate it, the survival among the French of an institution named M. Camille Saint-Saëns would amply do so.
They are certainly not the principles of a Beethoven or a Wagner, and it would be rather difficult to find a noted musician of the last century who had applied them. They tell us, without need of comment, what is distinctive about M. Saint-Saëns, and what is defective in him. He is not troubled by any sort of passion. Nothing disturbs the clearness of his reason.
But Greco is on the side of the angels; Berlioz, like Goya, too often joined in the infernal antiphonies of Satan Mekatrig. And Greco is as dramatic as either. Beruete admits that his idol, Velasquez, was affected by the study of El Greco's colouring. Canaille Saint-Saëns, when Liszt and Rubinstein were compared, exclaimed: "Two great artists who have nothing in common except their superiority."
Roberta, in hot-weather white, with a bunch of blue corn-flowers thrust into her girdle, sat with her 'cello at her knee, her dark head bent as she played. Ruth, a gay little figure in pink, was fingering her harp, and the poignantly rich harmonies of Saint-Säens' Mon coeur s'ouvre a ta voix were filling the room.
Diana, accustomed to the trained perfection of Olga Lermontof, found herself considerably handicapped, and her rendering of the song in question, Saint-Saens' Amour, viens aider, left a good deal to be desired in consequence a fact of which no one was more conscious than she herself. But the voice!
As I already played, and rather nicely for my years, some of Mozart's sonatas, Ingres, in return for my dedication, presented me with a small medallion with the portrait of the author of Don Juan on one side, and this inscription on the other: "To M. Saint-Saëns, the charming interpreter of the divine artist."
As I ran rapidly through the old pasture, which was overgrown with buckbushes and sassafras sprouts, which were turning into great pink and green fern clumps in the warm April sunshine, I gave the two or three Saint-Saëns Delilah notes which had been robbed of any of their wicked Delilah flavor for me by having heard Mr.
And playing in quartet the greatest solo violinist does not always shine in this genre he was admirable. Though he played all the standard repertory, Bach, Beethoven, etc., I can never forget his exquisite rendering of modern works, especially of a little composition by Raff, called La Fée d'Amour. He was the first to play the violin concertos of Saint-Saëns, Lalo and Max Bruch.
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