Camille Saint-Saëns

[Symphonic Addict]

Every now and then I like to give Trois tableaux symphoniques d'après La Foi (from 1908) a spin, and given that I've been revisiting/exploring Saint-Saëns' works with orchestra recently, it was the perfect excuse to refresh my memory this time again. This simply is mesmerizingly beautiful. One can detect a particularly elaborate and sophisticated writing from his pen/imagination in this sublime music (and I don't want to sound exaggerated by calling it that way, it really lives up to the expectations, or at least I think that way). The first two tableaux feature ethereal and eloquent passages for the most part, where his skills for melody, harmony and orchestration are not in doubt. Interestingly, near the ending of the first tableau (around 11:04 mark) some brief traces of impressionism emerge to magical effect. The second tableau seems like evoking nocturnal soundscapes in places, with some moments of something I interpret like "of transcendent beauty", in which possibly my favorite section occurs: at 5:09 mark a melody of utter memorability bursts into which is first given to the woodwinds and then it is picked up by the strings. I find that section particularly remarkable and moving at once, the nature of it, for me, oscillates between well-being and wistfulness. The final tableau contains the music that has a more solemn, imposing and even ceremonial (to some extent) quality to it, ending with a blaze of glory.

Everyone is moved by music differently and some might not hear or feel the same as I do with this work, but for me, this poetic composition touchs a fiber, and needless to say that is one of my ultimate favorite pieces by Saint-Saëns, a composer that is often viewed like light or not very profound, but hey, not every composer has to be like the latter to impress greatly.

There's another recording on Hyperion, but I feel that this Erato (formerly on EMI) recording possesses a special aura.

I wish that labels like Bru Zane would record the whole work someday (soon) as it is incidental music in four acts.

[Christo]

Every now and then I like to give Trois tableaux symphoniques d'après La Foi (from 1908) a spin, and given that I've been revisiting/exploring Saint-Saëns' works with orchestra recently, it was the perfect excuse to refresh my memory this time again. This simply is mesmerizingly beautiful. One can detect a particularly elaborate and sophisticated writing from his pen/imagination in this sublime music (and I don't want to sound exaggerated by calling it that way, it really lives up to the expectations, or at least I think that way). The first two tableaux feature ethereal and eloquent passages for the most part, where his skills for melody, harmony and orchestration are not in doubt. Interestingly, near the ending of the first tableau (around 11:04 mark) some brief traces of impressionism emerge to magical effect. The second tableau seems like evoking nocturnal soundscapes in places, with some moments of something I interpret like "of transcendent beauty", in which possibly my favorite section occurs: at 5:09 mark a melody of utter memorability bursts into which is first given to the woodwinds and then it is picked up by the strings. I find that section particularly remarkable and moving at once, the nature of it, for me, oscillates between well-being and wistfulness. The final tableau contains the music that has a more solemn, imposing and even ceremonial (to some extent) quality to it, ending with a blaze of glory.

Everyone is moved by music differently and some might not hear or feel the same as I do with this work, but for me, this poetic composition touchs a fiber, and needless to say that is one of my ultimate favorite pieces by Saint-Saëns, a composer that is often viewed like light or not very profound, but hey, not every composer has to be like the latter to impress greatly. There's another recording on Hyperion, but I feel that this Erato (formerly on EMI) recording possesses a special aura.I wish that labels like Bru Zane would record the whole work someday (soon) as it is incidental music in four acts.

My thoughts exactly, including about Saint-Saëns in general: the sheer beauty of much of his music could be called profound. I prefer it that way and generally don't like the 'profundity' of soul-searching composers at all. A problem I have with many Teutonic Romantics: the more dramatic they do, the greater my disgust. True 'profundity' can only express itself in 'transcendental' beauty, not tear-jerking.

[Florestan]

My thoughts exactly, including about Saint-Saëns in general: the sheer beauty of much of his music could be called profound. I prefer it that way and generally don't like the 'profundity' of soul-searching composers at all. A problem I have with many Teutonic Romantics: the more dramatic they do, the greater my disgust. True 'profundity' can only express itself in 'transcendental' beauty, not tear-jerking.

As Ned Rorem put it, "French music is profoundly superficial, German music is superficially profound." 

[Der lächelnde Schatten]

@Symphonic Addict I agree with you about Saint-Saëns and, in particular, this work: Trois tableaux symphoniques d'après La Foi. As with so much I've heard from Saint-Saëns, this work is truly remarkable and I'm thankful for both recordings of it. It does take one on an aural journey no doubt and some of the music is exotic and borderline Impressionistic, which I'm sure he would've hated to hear. But I think of Saint-Saëns as the precursor to Ravel in many ways, especially in how his music remains completely uncluttered and is reenforced by structural clarity.

Saint-Saëns is one of my favorite composers of all-time. I love his music dearly whether it be chamber music, solo piano, orchestral, etc., the music is always composed with a careful hand. His music is one of directness and timeless beauty.

[Florestan]

Saint-Saëns shares with Mendelssohn the fate of being relegated to the status of composers of mere charming music without emotional depth. This may be so but it's exactly what greatly endears them both to me. In these crazy times of ours, if one wanted emotional turmoil then watching the news would do the trick aplenty. What people need more than ever is, on the contrary, a retreat from such turmoil, an oasis of beauty and elegance where the mind can find a little calm and the chores of everyday life a little respite. Their music is eminently apt for that job.

[Der lächelnde Schatten]

Saint-Saëns shares with Mendelssohn the fate of being relegated to the status of composers of mere charming music without emotional depth. This may be so but it's exactly what greatly endears them both to me. In these crazy times of ours, if one wanted emotional turmoil then watching the news would do the trick aplenty. What people need more than ever is, on the contrary, a retreat from such turmoil, an oasis of beauty and elegance where the mind can find a little calm and the chores of everyday life a little respite. Their music is eminently apt for that job.

That's true. With all of the drudgery and horrid news that is currently happening (esp. in the US), it's nice to listen to some Mendelssohn or Saint-Saëns and have our minds and hearts rejoice in another time.

[ritter]

I beg to differ.

I find it awkward that our dear @Florestan uses the turmoil we're living in on so many fronts to, once again, promote his musical agenda. As if we couldn't find solace in the beauty and elegance of the music of Stravinsky, or Wagner, or Boulez, or Schoenberg...

[Florestan]

I beg to differ.

I find it awkward that our dear @Florestan uses the turmoil we're living in on so many fronts to, once again, promote his musical agenda. As if we couldn't find solace in the beauty and elegance of the music of Stravinsky, or Wagner, or Boulez, or Schoenberg...

O, ciel, che noia!

Where did I say you couldn't? Please quote me chapter and verse.

[Roasted Swan]

@Symphonic Addict I agree with you about Saint-Saëns and, in particular, this work: Trois tableaux symphoniques d'après La Foi. As with so much I've heard from Saint-Saëns, this work is truly remarkable and I'm thankful for both recordings of it. It does take one on an aural journey no doubt and some of the music is exotic and borderline Impressionistic, which I'm sure he would've hated to hear. But I think of Saint-Saëns as the precursor to Ravel in many ways, especially in how his music remains completely uncluttered and is reenforced by structural clarity.

Saint-Saëns is one of my favorite composers of all-time. I love his music dearly whether it be chamber music, solo piano, orchestral, etc., the music is always composed with a careful hand. His music is one of directness and timeless beauty.

On occasion I suffer from the musical memory of a goldfish (although I did read somewhere that goldfish do remember things....) an example of this is just every time I come back to a less familiar piece of Saint-Saens I'm reminded all over again just how beautiful, skillfully crafted and indeed often powerful his music is.  So many examples (he did write a lot after all!) but I think the string quartets and the violin sonatas are all just superb - as is most of his chamber music especially (for me)

[Der lächelnde Schatten]

On occasion I suffer from the musical memory of a goldfish (although I did read somewhere that goldfish do remember things....) an example of this is just every time I come back to a less familiar piece of Saint-Saens I'm reminded all over again just how beautiful, skillfully crafted and indeed often powerful his music is.  So many examples (he did write a lot after all!) but I think the string quartets and the violin sonatas are all just superb - as is most of his chamber music especially (for me)

Agree with everything you wrote. One of my favorites from Saint-Saëns that doesn't get mentioned a lot is La muse et le poète, Op. 132. What a ravishing piece of music! I mean could spend an hour going over my favorite works from him. Like you mentioned, he was incredibly prolific.

[ritter]

O, ciel, che noia!

Where did I say you couldn't? Please quote me chapter and verse.

I thought you were implying it. If that is not the case, then apologies.

Well, I'll listen to Saint-Saëns this evening. Danse Macabre (with Luben Yordanoff on the violin), La Jeunesse d'Hercule, Phaëton, and Le Rouet d'Omphale (all with the Orchestre de Paris, conducted by  Pierre Dervaux). Followed by the Trois tableaux symphoniques d'après La Foi —so enthusiastically recommended by @Symphonic Addict a couple of posts upthread—, in the Michel Plasson recording with the Toulouse Capitole Orchestra.

CD 3 of the big box.

[Florestan]

I thought you were implying it. If that is not the case, then apologies.

I implied no such thing.

[Der lächelnde Schatten]

So what did you think of Trois tableaux symphoniques d'après La Foi, @ritter?

[ritter]

So what did you think of Trois tableaux symphoniques d'après La Foi, @ritter?

It would be rude, in Saint-Saëns' "home",  to say anything other than that this music is not for me...

[Der lächelnde Schatten]

It would be rude, in Saint-Saëns' "home",  to say anything other than that this music is not for me...

I had a feeling this work wasn't for you, although given your displeasure opinion of this work, it begs the question why did you purchase that Saint-Saëns box set? What Saint-Saëns works do you actually enjoy?

[ritter]

I had a feeling this work wasn't for you, although given your displeasure opinion of this work, it begs the question why did you purchase that Saint-Saëns box set? What Saint-Saëns works do you actually enjoy?

It was available very, very attractively priced at a B&M store here in Madrid, which led me to buy it with the intention of exploring the composer's output in more depth (given my penchant for French music in general). Unfortunately, the more I explore his music, the less I like it...

[Der lächelnde Schatten]

Unfortunately, the more I explore his music, the less I like it...

 

...Well, we can't like everything. There are many composers you adore that I simply would never want to listen to again. I'm finding the older I get, the more I search for beauty in this life and I find none, for example, in your préféré compositeur, Pierre Boulez.

[Symphonic Addict]

My thoughts exactly, including about Saint-Saëns in general: the sheer beauty of much of his music could be called profound. I prefer it that way and generally don't like the 'profundity' of soul-searching composers at all. A problem I have with many Teutonic Romantics: the more dramatic they do, the greater my disgust. True 'profundity' can only express itself in 'transcendental' beauty, not tear-jerking.

Like you, I don't consider the term 'profound' only applicable to the usual suspects. What Saint-Saëns offers is nothing but exquisiteness, brilliance, spark, sophistication and deep understanding of his art in spades. My life would be more a little more miserable without his music.

[Symphonic Addict]

I had a feeling this work wasn't for you

As I said in my post, all the music doesn't have to resonate with everybody, but it's very delectable to see that most people on this site have a strong affinity for the music of this astonishing composer.

[Der lächelnde Schatten]

As I said in my post, all the music doesn't have to resonate with everybody, but it's very delectable to see that most people on this site have a strong affinity for the music of this astonishing composer.

Absolutely!