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Relevant bibliographies by topics / Saint-Saëns, Camille (1835-1921)

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Academic literature on the topic 'Saint-Saëns, Camille (1835-1921)'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

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Journal articles on the topic "Saint-Saëns, Camille (1835-1921)"

1

Smith, Richard Langham. "Review: Camille Saint-Saëns 1835–1921: A Thematic Catalogue of his complete Works, i: The Instrumental Works." Music and Letters 85, no. 2 (May 1, 2004): 320–21. http://dx.doi.org/10.1093/ml/85.2.320.

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Briscoe, James R., and Chloé Huvet. "Saint-Saëns, Debussy, and Superseding German Musical Taste in the United States1." Les musiques franco-européennes en Amérique du Nord (1900-1950) : études des transferts culturels 16, no. 1-2 (April 25, 2017): 113–19. http://dx.doi.org/10.7202/1039617ar.

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In an interview published in the October 21, 1908, issue of the Boston Transcript, Debussy had been asked to comment on American musical life. He remarked, “The distinction of a country like [the United States] is that it imbibes from all sources... it is less German bound than are the countries who hear little or no other music through chauvinism or antipathies.” This paper examines the roles of Camille Saint-Saëns (1835-1921) and Claude Debussy (1862-1918) in driving such a modernist evolution. Saint- Saëns performed with and conducted the New York Symphony in 1906, including his symphonic poem Le rouet d’Omphale and playing solo piano in his Africa, Fantaisie pour piano et orchestre. He thereafter appeared in both Chicago and San Francisco, and critics could already hear the modernist aesthetic in formation. When conductor Frederick Stock, a stalwart champion of French music, led Prélude à “L’après- midi-d’un faune” in Chicago in December 1908, the symbolist dimensions of the new music were grasped by both critics and audiences, and Paul Rosenfeld wrote: “We should look to France for the latest gospel [of the new musical advancement] […] Claude Debussy has broken through the limitation of the old, and shall we say he has found new musical dimensions?” Contemporaneously, the premiere of Pelléas et Mélisande in New York dramatically impressed the new hearing on American audiences. To be sure, anti-German feelings after 1910, brought with the Great War, promoted such a shift from the aesthetics of the Gilded Age, but the new French music had itself led the way since just after 1900. By 1923, Carl Van Vechten, in Music after the Great War, wrote, “It is not from the German countries that the musical invention of the past two decades has come. It is from France.”

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Sobaskie, James William. "Camille Saint-Saëns, 1835–1921: A Thematic Catalogue of His Complete Works, Volume II: The Dramatic Works by Sabina Teller Ratner." Notes 70, no. 3 (2014): 431–33. http://dx.doi.org/10.1353/not.2014.0015.

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Dissertations / Theses on the topic "Saint-Saëns, Camille (1835-1921)"

1

Soret, Marie-Gabrielle. "Camille Saint-Saëns, journaliste et critique musical (1870-1921)." Thesis, Tours, 2008. http://www.theses.fr/2008TOUR2023.

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Compositeur, pianiste et organiste, fondateur de la Société nationale de musique, Camille Saint-Saëns (1835-1921) est une personnalité essentielle de la musique française. Célèbre pour ses prises de position affirmés, Saint-Saëns s'est abondamment exprimé par voie de presse, pendant plus de cinquante années (de 1870 à 1921) sur des sujets aussi divers que l'étaient ses centres d'intérêts. Bien que certains écrits, aient été ensuite publiés sous forme de recueils, beaucoup d'autres sont tombés dans l'oubli. En traduisant les goûts, les choix esthétiques de leur auteur, ces textes révèlent aussi ceux de ses contemporains et les luttes artistiques dans lesquelles ils étaient engagés et dont Saint-Saëns se faisait bien souvent le porte-parole. Ces écrits révèlent aussi un pan de la vie de l'interprète et du compositeur - du moins ce qu'il a bien voulu livrer au public - et contribuent ainsi, à brosser un éloquent tableau de l'histoire de la musique française sous le Troisième République
Composer, pianist and organist, founder of the Société nationale de musique, Camille Saint-Saëns (1835-1921) is essential in French music. He was renowned for his forthright pronouncements, Saint-Saëns expressed his opinions profusely in newspapers and magazines (from 1870 to 1921) on topics as diverse as his range of interests. Although some of these articles were published as collections, many others have fallen into obscurity. By revealing the tastes, the aesthetic choices of their author, these texts reveals also those of his contemporaries and the artistic debates in which they were involved. They also light the hidden part of the life of the composer and contribute to enrich history of French musical life under Third Republic

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2

Leteuré, Stéphane. "Le drapeau et la lyre : Camille Saint-Saëns et le politique 1870-1921." Thesis, Tours, 2011. http://www.theses.fr/2011TOUR2014.

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Au même titre que Victor Hugo pour la littérature ou que Pasteur, la Troisième République accorde à Camille Saint-Saëns une consécration officielle qui l'érige en compositeur reconnu et académique. Ces honneurs posent le problème de la place de l'artiste dans la Cité républicaine et introduit la question des liens entre l'homme et le pouvoir. Dès lors, il s'agit de savoir comment Saint-Saëns peut prétendre au titre de compositeur national. Trois axes permettent de répondre : les rapports à la Nation, à la République et à la France
The French Third Republic officially commemorates Camille Saint-Saëns in a similar manner to Victor Hugo or Louis Pasteur. The honours Saint-Saëns receives question the position of the artist in the Republican City and his relations with the power. Three lines of analysis must be followed in the perspective of the claim of the making of Saint-Saëns as a national composer: the ways with the French Nation, with Republican identity and finally with France

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Nakanishi, Mitsuya. "Saint-Saëns et le Japon : considérations sur le japonisme dans l’oeuvre du compositeur." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040038.

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Le sujet de la thèse s’intitule « Saint-Saëns et le Japon ». Ce compositeur français (1835-1921) a toute sa vie durant entretenu un intérêt soutenu pour le Japon. Il s’est rendu célèbre comme « orientaliste » avec des œuvres telles que Samson et Dalila, la Suite Algérienne et le cinquième Concerto pour piano, dit l’Egyptien. Toutefois, son engouement pour le Japon n’a pas encore fait l’objet d’une étude approfondie, car son corpus musical ne comporte qu’une œuvre y étant dédiée, un opéra-comique intitulé La Princesse Jaune (1872). En revanche, il a publié deux poèmes : « Le Japon » et « Le Fouji-Yama », tous deux datant de 1890, auxquels s’ajoute un conte inédit, « Le Miroir » (1912). Le mouvement artistique « japonisme » désigne l’influence des objets d’art japonais, comme l’ukiyo-e (forme d’estampe), sur des artistes occidentaux. Vincent Van Gogh et Edmond de Goncourt en sont les exemples les plus connus. Saint-Saëns possédait lui-même une collection significative d’objets d’art et de livres japonais. Cependant, son intérêt concernait surtout le domaine littéraire, puisque ses guides japonisants étaient ses amis écrivains : Louis Gallet, Judith Gautier et un Japonais qui s’appelait Motoyosi Saizau. Enfin, le compositeur était un fameux « voyageur ». Ses séjours à Londres lui donnèrent l’occasion de visiter des expositions consacrées au Japon. A la suite de sa visite en Indochine, il avait même prévu de s’y rendre
The subject of the thesis is entitled "Saint-Saëns and Japan." This French composer (1835-1921) has throughout his life maintained a continued interest in Japan. He became famous as "orientalist" with works such as Samson and Delilah, the Algerian Suite and the fifth Piano Concerto, said the Egyptian. However, his infatuation with Japan has not been an object of profound study because his musical corpus has only one work dedicated to Japan, a comic opera entitled La Princesse Jaune (1872). However, he published two poems: "Japon" and "Fouji-Yama", both from 1890, plus an unpublished tale, "Le Miroir" (1912). The artistic movement "Japonism" means the influence of Japanese art objects, such as ukiyo-e (as print), on Western artists. Vincent Van Gogh and Edmond de Goncourt are the best known examples. Saint-Saëns himself possessed a significant collection of art objects and Japanese books. However, his interest mainly concerned the literary field, as its “japonisant” guides were his writer friends: Louis Gallet, Judith and a Japanese named Motoyosi Saizau. Finally, the composer was a famous "traveler". His stays in London gave him the opportunity to visit the exhibitions in Japan. Following his visit to Indochina, he had even planned to get there

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4

Yoo, Seung Won. "Camille Saint-Säens' Piano Concerto No. 5 in F Major, Opus 103: An Analytical Study of Form, Compositional Techniques, and a Performance Perspective." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4674/.

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The majority of books about Saint-Säens cover his life, compositions, contemporaries, and French music in general. Although his life is well documented, most sources present only brief analyses of his works; there is not one single comprehensive and exhaustive study of the Piano Concerto in F Major, Opus 103, available in the current literature. This study aims at filling the gap by providing other musicians interested in performing this piece with an initial study-guide. The research for this study focuses on several aspects of Saint-Säens' music. The currently available literature and past research is thoroughly examined, appraised, and quoted when relevant to the discussion. The original score of the concerto is analyzed regarding its form, compositional style, and performance indications. Diagrams, charts, and musical examples are presented to illustrate and substantiate the researcher's conclusions. Chapter I presents the topic and purpose of this study, a brief biography of Saint-Säens, a chronological overview of his five piano concertos, and the historical background of the Piano Concerto No. 5 in F Major, Opus 103. Chapter II presents a formal analysis and a compositional analysis of Opus 103. Chapter III presents a perspective of Saint-Säens playing style and performance recommendations by the author. Chapter IV concludes this study by determining the importance of Opus 103 in piano literature and by explaining the reason that performers with professional aspirations should consider including this concerto in their repertoire.

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Schmitt, Olivier. "Les mutations de l’orgue en France entre 1840 et 1914." Paris 4, 2007. http://www.theses.fr/2007PA040251.

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Les événements socio-économiques qui ont agité tout le siècle ont profondément changé le contexte dans lequel se place l’orgue. L'orgue et son cadre de production ont du s'adapter au système libéral et aux impératifs économiques. Le facteur d’orgues est ainsi devenu le maillon central d’un réseau complexe. Aristide Cavaillé-Coll et les grands instruments de sa production illustrent cette époque où production industrielle et arts étaient étroitement liés afin de répondre à l’attente commerciale des différents clients. Parallèlement se développèrent d'autres entreprises provinciales, comme la manufacture Mosellane Dalstein-Haerpfer, qui réalisèrent une synthèse esthétique de différents courants européens. D'un point de vue sonore les orgues français du XIXe siècle se tournèrent vers une illustration profane et concertante, ce mouvement se confirma par la composition d'œuvres pour orgue et orchestre, résultant de transcriptions ou entièrement nouvelles, motivées par la construction de salles et d'orgues symphoniques. Les œuvres les plus significatives furent signées par Alexandre Guilmant et Camille Saint-Saëns
The economic and social upheavals within the 19th century deeply modified the conditions in which the organ takes place. The organ and its production processes had to comply to the free trade system, and to the economic needs. The organ-builder became the main player within a complex network. Aristide Cavaillé-Coll illustrated this period with his bigger instruments, when art and industry went hand in hand in order to satisfy the costumer’s needs at competitive prices. Meanwhile, others builders developed their businesses in the provincies, for example Dalstein-Haerpfer in the Moselle, achieving a synthesis from several european styles. From a tonal point of view, the french organs of the 19th century went towards a secular, recital use. This trend was reinforced by the composition of music for organ and orchestra, be them transcriptions or new music, which were intended for newly built concert-halls and symphonic organs. Among this music, the most significant works were composed by Alexandre Guilmant and Camille Saint-Saëns

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6

Chu, Sing-Ting, and 居昕庭. "The Analysis and Interpretation in Performance of the Sonata for Bassoon and piano op.168 by Charles Camille Saint-Saëns(1835-1921)." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/ckbqg6.

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碩士
東吳大學
音樂學系
107
Saint-Saëns, who was raised by his mother, has played a great musical talent since childhood. By emphasizing Beethoven and Classical Period works, he valued the stable harmony and the contradiction in compositions. Saint-Saëns pursued a pure musical style and perfect form throughout his life. Besides, Saint-Saëns was greatly influenced by his friend Liszt in composition. The multiple identities of Saint-Saëns also influenced his composition. In 1871, Saint-Saëns founded the "National Society of Music" to make it a spiritual symbol and learning index for the new generation of French composition, which influences on French music is indispensable. In 1891, he would like to compose a sonata for six wind instruments. However, Saint-Saëns has only completed three sonatas before his death, Sonata for Clarinet and Piano(Op.166), Sonata for Oboe and Piano(Op.167) and Sonata for Bassoon and Piano(Op.168). The study first focused on the personal life of Saint-Saëns and his composition. Secondly, the study gradually analyzed each movement. The last is the author’s interpretation as the conclusion of this study.

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Hwang, Hyunyoung. "A musical discussion and analysis of romance sans paroles by three French composers : Charles-Francois Gounod, Camille Saint-Saens and Gabriel Faure." 2013. http://liblink.bsu.edu/uhtbin/catkey/1738934.

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Contained in this study is a musical discussion and analysis of seven Romance Sans Paroles (song without words), written by three French composers, Charles-François Gounod, Camille Saint-Saëns, and Gabriel Fauré. The Romance Sans Parole genre seems to be quite unknown in the piano field; as a result, there are few secondary sources available. By immersing myself in these scores, I sought to discover their musical value and compositional nuance and excellence. I thoroughly investigated each composer’s unique treatment of melody, harmony, rhythm, texture, and form. Chapter One includes an Introduction, brief biographical information on each composer, the Need for the Study, the Purpose of the Study, a Review of Literature, and a Methodology. Chapters Two, Three, and Four consist of a musical analysis and discussion of the seven Romance Sans Paroles. Chapter Five offers a Conclusion and Suggestions for Further Study. I believe my dissertation will enhance the understanding and appreciation of this art form.
School of Music

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Books on the topic "Saint-Saëns, Camille (1835-1921)"

1

Saint-Saëns: A critical biography. Madison, NJ: Fairleigh Dickinson University Press, 1999.

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2

Rees, Brian. Camille Saint-Saëns: A life. London: Chatto & Windus, 1999.

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Camille Saint-Saëns, 1835-1921: A thematic catalogue of his complete works. Oxford: Oxford University Press, 2002.

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4

1845-1924, Fauré Gabriel, Nectoux Jean Michel, and Jones J. Barrie, eds. The correspondence of Camille Saint-Saëns and Gabriel Fauré: Sixty years of friendship. Aldershot, Hants, England: Ashgate, 2004.

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5

Rees, Brian. Camille Saint-Saëns: A Life. Faber & Faber, Limited, 2011.

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Camille Saint-Saëns: A Life. Faber & Faber, Limited, 2012.

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Macdonald, Hugh. Saint-Saëns and the Stage: Operas, Plays, Pageants, a Ballet and a Film. University of Cambridge ESOL Examinations, 2021.

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Macdonald, Hugh. Saint-Saëns and the Stage: Operas, Plays, Pageants, a Ballet and a Film. University of Cambridge ESOL Examinations, 2019.

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Saint-Saëns and the Stage: Operas, Plays, Pageants, a Ballet and a Film. Cambridge University Press, 2019.

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Book chapters on the topic "Saint-Saëns, Camille (1835-1921)"

1

"Camille Saint-Saëns (1835–1921)." In The Classical Music Lover's Companion to Orchestral Music, 638–46. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300242720-049.

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