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Possibly Henry feared a movement in Normandy itself in favour of young William Clito, or learned of some expression of a wish not infrequent among the Norman barons in times a little later, that he might succeed to his father's place. At any rate, at this time, Henry ordered Robert of Beauchamp to seize the boy in the castle of Elias of Saint-Saens, to whom he had committed him five years before.
"It becomes more and more necessary," wrote M. Saint-Saëns, "that French composers should find something intermediate between an intimate hearing of their music and a performance of it before the general public something which would not be a speculative thing like a big concert, but which would be analogous to the artistic attraction of an exhibition of painting, and which would dare everything.
This influence seems to me to explain some of M. Saint-Saëns' work. Not only is this influence evident in his symphonic poems some of his best work but it is to be found in his suites for orchestra, his fantasias, and his rhapsodies, where the descriptive and narrative element is strong.
"Your MacDowell has written some nice music, some pretty music; I am familiar with his Concerto in D minor, some of the short pieces and the Sonatas. As for modern piano concertos there are not many, it is quite true. There is the Rachmaninoff, the MacDowell I mentioned, the D minor of Rubinstein, and the Saint-Saens in G minor.
Wagner had personally visited the opera-houses throughout the land and selected the best singers. The audience included the Emperors of Germany and Brazil, King Ludwig, the Grand Dukes of Weimar and Baden, eminent composers like Liszt, Grieg, Saint-Saëns, and many other notable persons.
Then the younger and more enthusiastic part of the public began to revolt; and very soon, with perfect impartiality and quite indiscriminately, began to hiss famous and obscure virtuosi alike in their performance of any concerto, whether it was splendid or detestable. Nothing found favour with them neither the playing of Paderewski, nor the music of Saint-Saëns and the great masters.
The love scene between the king and queen reminds one uncomfortably of Tristan and Isolde, while a descending scale constantly used throughout the work in the accompaniment incessantly suggests the "Samson and Delilah" of Saint-Saëns. In spite of flaws, however, flaws are to be had everywhere for the looking, Parker's work has its fine points.
It would embrace with like inclusiveness the history of the pipe organ through its stages of evolution from the ponderous instruments with men straddling unwieldy bellows to the marvel installed in Festival Hall, and it would embrace the history of the art of organ music up to such exemplars as our own Clarence Eddy, John &. McClellan, Edwin Lemare, and Camille Saint-Saens.
In a week he would have known every man and dog in the village by name. "Good mornin', sir," said the Law, which was nibbling its chin strap and had both thumbs stuck in its belt. "That's a fine thing you was singin'. May I arsk wot it was? I do a bit in that line meself." "It's the cantabile from Saint-Saëns' Samson et Dalila," replied Trenholme. "Mon coeur s'ouvre
The works of the past, as well as the present, are given. A history of music at the Exposition properly written as one surely should be would be an epitome of the evolution of the art from Cherubini, Haydn and Bach to Richard Strauss, Saint-Saens and Debussy.
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