By Timothy Flynn
A key determine in constructing an identifiable French musical variety within the 19th century, this annotated biliography catalogs the experiences of Saint-Saens' existence and works in addition to interpreting the composer's personal correspondence and essays. integrated are many lesser-known writings at the composer and his tune, in addition to contemporary scholarship which re-examines his position in tune background.
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Additional info for Camille Saint-Saens: A Guide to Research (Routledge Musical Bibliographies)
3. This monograph is primarily a study of French music from the death of Debussy and the final years of Fauré, d’Indy, and Dukas. Landormy examines Jean Cocteau and the music of Les Six, noting the influence of composers such as Satie, Stravinsky, Roussel, and Ravel upon them. At the conclusion of the volume the author includes a double chapter entitled “Regards en arrière” in which he “looks backward” to the music of Saint-Saëns and others. These composers he believes without a doubt laid the foundation for the jeune école.
57. Combarieu, Jules. This two-part article is a collection of several letters from well-known musical personalities, including Max Bruch, Siegfried Wagner, and Alexander Glazounov, as well as lesser-known musicians (Leonhard Wolff, Émile Sjögren, W. S. Matthews, and others) in support of SaintSaëns. Combarieu solicited these responses by sending a questionnaire to various famous musicians. Unable to publish them all, he selected only fifteen to print. These musicians compliment Saint-Saëns primarily on his concerti and symphonic poems, but also extol the merits of Samson et Dalila and Henri VIII.
In Études musicales monégasques. Paris: Éditions A. Picard, 1976. 186 p. ISBN 2708400134. This lengthy chapter addresses the renaissance of artistic activity in Monaco following the Franco-Prussian War and Saint-Saëns’s important role in it. It is subdivided into sections which present various correspondence between the composer and Prince Albert I from 1900 until Saint-Saëns’s death in 1921. These letters, written in a cordial and warm style, pertain to the premiere of Hélène (1903), L’ancêtre and performances of Déjanire and La foi.
Camille Saint-Saens: A Guide to Research (Routledge Musical Bibliographies) by Timothy Flynn