By Timothy Flynn
A key determine in constructing an identifiable French musical variety within the 19th century, this annotated biliography catalogs the reports of Saint-Saens' lifestyles and works in addition to interpreting the composer's personal correspondence and essays. integrated are many lesser-known writings at the composer and his song, in addition to contemporary scholarship which re-examines his position in song heritage.
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Additional info for Camille Saint-Saens: A Guide to Research (Routledge Musical Bibliographies)
The author asserts that renewed interest in the oratorio during the nineteenth century in France was sparked by choral society performances and a general resurgence of choral music. The revival of interest in sacred music propagated by schools such as Niedermeyer’s École de Musique Classique et Religieuse, and the Institute Royale de Musique Religieuse, not to mention the countless contests where composers were required to set an oratorio text, were also helpful in renewing interest in the genre.
47. Servières, Georges. La musique française moderne. Havard fils, 1897. 404 p. This monograph contains chapters on César Franck, Edouard Lalo, Jules Massenet, Ernest Reyer, and Saint-Saëns. The essays on each composer present a discussion of their works and career in a chronological fashion, but offer no analysis of compositions, or comparison of composers’ styles and biography. At the conclusion of each chapter Servières gives a list of each composer’s published works to date by genre. 48. Smith, Rollin.
It is interesting to note that more avantgarde music was not supported, but works such as Stravinsky’s Pétrouchka, as well as music by Debussy, Lili Boulanger, and Darius Milhaud were heard at this time. The merger of Colonne and Lamoureux was especially interesting in that the followers of the former preferred Berlioz and the supporters of the latter preferred Wagner. Another interesting trend during this period was that the concerts at the Salle Gaveau were theme-oriented: “Classics and the First French Symphonies” (works by Gossec, Beethoven and Méhul); “Musicians and the Orient” (works of SELECTED GENERAL SOURCES 31 David, Borodin, Saint-Saëns, and Debussy); “The French Symphonists” and “Spain and the Musicians” (with music of Ravel, Saint-Saëns, Franck, Debussy, and Duparc).