  Charles Camille Saint-SaËns, famous as composer, pianist, and critic, was born in Paris, Oct. 9, 1835. He began his musical studies at a very early age. In his seventh year he took piano lessons of Stamaty and studied harmony, and in his twelfth was a student at the Conservatory, where he took two organ prizes; though he failed on two occasions in his competition for the Prix de Rome. His first symphony appeared in 1851, and was performed with success. In 1853 he was appointed organist of the Church of St. Merri, and five years later secured a like position at the Madeleine, which he filled with high honor for nineteen years, finally resigning in favor of Theodore Dubois. In 1867 he was awarded a prize for his cantata "Les Noces de PromÉthÉe" by the Paris International Exhibition, and the next year he was received with distinguished honor at the Artists' Meeting in Weimar, both as pianist and composer. His operatic career began about this time. "La Princesse jeune" appeared in 1872, and "Le Timbre [268] d'Argent" in 1877; but neither was successful. His next work was the sacred drama "Samson et Dalila," produced at Weimar in the latter part of 1877; followed by "Étienne Marcel" at Lyons in 1879. In addition to his operas he has written several cantatas, among them "The Deluge" and "La Lyre et la Harpe," composed for the Birmingham Festival of 1879; three symphonies; four symphonic poems, "La Rouet d'Omphale," "PhaÉthon," "Danse Macabre," and "La Jeunesse d'Hercule;" a large number of concerted pieces with orchestra, songs and romances, as well as chamber-music and compositions for piano and organ. His sacred music includes the following works: mass for four voices, Requiem Mass, "Oratorio de NoËl," "Tantum Ergo," the Nineteenth Psalm for solos, chorus, and orchestra, and many minor pieces for choir use. He has been a prolific writer, but his fame thus far rests upon his instrumental music. He has travelled much as a virtuoso in Russia, Spain, Germany, and England, conducting his own compositions, and also giving piano and organ recitals, in which he has met with great success. He also ranks high as a musical critic, and many of his contributions to the Parisian press have been collected, with a view to publication in a separate volume. Of late he has obtained considerable notoriety by his controversial articles on the Wagner question,--in which, however, national prejudice sometimes has been more apparent than cosmopolitan judgment. As a composer, he is unquestionably more learned than are [269] any of his native contemporaries, and he has made a closer study of Bach than even Gounod has. His descriptive powers are very strong, as is evidenced by the symphonic poems which Mr. Thomas has introduced into this country. They even go to the verge of the sensational; but, on the other hand, the study of his "Oratorio de NoËl" and of his transcriptions from Bach will show that he is a master of counterpoint and thematic treatment. Christmas Oratorio."NoËl," Saint-SaËns' Christmas oratorio, in dimensions hardly exceeds the limits of a cantata, but musically is constructed in oratorio style. Its subject is the nativity, combined with ascriptions of praise and a final exultant hallelujah. The work is short, but very effective, and is written for five solo voices and chorus, with accompaniment of strings and organ, and the harp in one number. It opens with a pastoral symphony of a very melodious character. The first number is the recitative, "And there were Shepherds," including the angelic message and the appearance of the heavenly hosts, the subject being divided among the tenor, alto, soprano, and baritone, and leading up to the first chorus ("Glory now unto God in the highest"), which is quite short, but beautifully written. The next number is an aria for mezzo-soprano ("Firm in Faith"), which is very simple, but graceful in its melody. The fourth number is a tenor solo and [270] chorus ("God of all"), written in the church style, followed by a soprano and baritone duet ("Blessed, ever blessed"), which is very elaborate in its construction, and highly colored. The next number is the chorus, "Wherefore are the Nations raging," which is intensely dramatic in its effect, especially for the manner in which the voice-parts are set off against the agitated accompaniment. The contrasts also are very striking, particularly that between the tumultuous opening of the chorus and its tranquil close in full harmony on the words, "As it was in the Beginning." The next number is a lovely trio for tenor, soprano, and baritone ("Thou art from first to last"), with harp accompaniment throughout, which gives to it an extremely graceful and elegant effect. It is followed by a quartet ("Alleluia"), in which the theme is introduced by the alto. The Alleluia is then taken up by all four parts (soprano, mezzo-soprano, alto, and baritone), in full, rich harmony, the alto closing the number alone in a very effective adagio passage. The next number is a quintet and chorus, the prelude to which is a repetition of parts of the opening pastoral. It is also utilized in the voice parts. The number is very elaborate in its construction and development, and is followed by a short final chorus ("Raise now your Song on high") in simple church style. Short as the work is, it is very beautiful, and full not only of genuine service music, but also of graceful conceits and delicate fancies, both in the voice parts and the accompaniments. [271]
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