Album insights
As a young man, Camille Saint-Saëns (born in 1835) witnessed the onset of the romantic movement in France. By 1827, Victor Hugo had published his preface to Cromwell, breaking away from classical composition rules, and in 1830, Berlioz's fiery Symphonie fantastique was premiered. When Saint-Saëns enrolled at the Paris Conservatoire in 1848, the romantic movement was in full swing, marked by operas like Robert le Diable by Meyerbeer and La Juive by Halévy. While he did attend these performances, his reactions were notably reserved. Instead, he followed the trail of a somewhat forgotten composer, Henri Reber (1807–1880). Saint-Saëns later recalled his mentor's deliberate backward-facing spirit, reminiscent of past eras and exquisite cosmopolitanism. Although not particularly talkative, Reber's French elegance seemed to transport him to the 18th-century world, observing our music with amazement and perhaps a touch of shock. He was far from unproductive but belonged to the rare breed of men who avoided long tirades and never composed anything without intent—leaving no unnecessary note in his music.
This insight does not perfectly align with Saint-Saëns himself; however, it encapsulates a facet of his character and works, evident even in the beautiful woodwind sonatas of the 1920s. His Symphony in A major around 1850, an early attempt in the form, is laced with refined techniques and original ideas, signaling a promising composer. While not reaching the youthful genius of Mendelssohn's Octet, it remains a remarkable achievement for a 15-year-old. The slow introduction hints at Schubert or Weber, leading into a lively section reminiscent of Reber's powdered hair. The charming theme resurfaces thrice with increasing embellishments, separated by Beethoven-esque passion-filled passages.
In the Scherzo and Trio, the orchestration is reduced to a classical lineup of flute, oboe, and strings, echoing Beethoven's influence in a sunny, contemplative manner with delicate surprises. The energetic Finale, marked with violin dynamics, unveils Mendelssohn's charm or perhaps Queen Mab from Berlioz's Roméo et Juliette. Satisfying the orchestra's potential, the movement concludes with a spirited Presto Coda.
During the three years between the A major Symphony and its successor, the Es major Symphony, considered as his No. 1, Saint-Saëns's bond with Gounod grew. The Es major Symphony reflects this evolution structurally and in its orchestral colors. The success of its premiere on December 18, 1853, under François Seghers at the Paris Société Sainte-Cécile was well-deserved. The anonymous authorship initially created confusion, with hints that the composer might be German due to the grand orchestra involved. Contrasting with its predecessor, the Es major Symphony features a larger ensemble, possibly inspired by Gounod's emphasis on timbres. The ensemble's crescendo, explored through the preceding movements, leads to a grand finale showcasing a variety of instruments in a lush orchestration.
The symphony themes showcase contrasting motifs, alternating between gentle and forceful passages filled with expressive melodic content. The Scherzo continues the martial undertones but softens with folkloric elements. The third movement flows richly with subtle harmonies and Gounod's influenced timbres, revealing Saint-Saëns' musical depth. Displaying both intellect and emotion, the 9/8 metered slow movement sets a unique rhythmic backdrop. The Finale recaps punctuated rhythms, escalating into a powerful fugue, revealing the foresight of the composer's future creative endeavors.
In 1886, the 50-year-old Saint-Saëns traveled to Austria for a break, sparking a short piece for solo cello initially meant for Charles Joseph Lebouc. This piece, Le cygne, evolved into a "Grande fantaisie zoologique." Despite its publication, Saint-Saëns restricted the other thirteen pieces, subsequently releasing Le carnaval des animaux in 1922 after his death. The humor-filled composition was kept private for over thirty years to align with the serious standards of the Société nationale de musique. Each movement playfully depicts various animals but largely remained confined to intimate gatherings until posthumous publication.
From portraying lions and wild donkeys to balletic swans and humorous fossils, the suite humorously captures diverse fauna through music. The "Aquarium" showcases true beauty, juxtaposed by comedic elements like donkeys imitating critics. The musical narrative culminates in a joyful finale, offering a whimsical exploration connecting the preceding movements.