autograph letter signed von saint saëns (13 Ergebnisse)

4to. 1½ pp. To an unnamed addressee about organizing a rehearsal. - With embossed monogram; some damage to edges and punched holes in the margin; reverse with traces of another paper (removed).

12mo. 3 lines. In crayon. Pneumatic post "petit bleu" to the librettist Jean-Louis Croze, informing him that he should not come to Saint-Saëns' house, as the composer was absent: "Ne venez pas je ne serai pas à la maison [.]". - The young poet Jean-Louis Croze (1865-1955) collaborated with the famous composer on at least three occasions, most importantly on Saint-Saëns' only ballett "Javotte", which premiered on 3 December 1896 at the Lyon Opera. In 1894 Saint-Saëns wrote his cantata for soprano and orchestra "Pallas Athéné", op. 98, to a poem by Croze. - Well preserved.

8vo. 1 page. To an acquaintance, inviting her to a premiere the following Wednesday: "Je crains de ne rien vous donner pour demain mais vous irez à la 1ère mercredi [.]".

Saint-Saëns writes humorously to his friend André Wormser, poking fun at the formality that often went hand-in-hand with nineteenth century social invitations. He opens with the notion that Wormser needs a formal invitation to his (Saint-Saëns') house, and how best to do this with suitable ceremony and solemnity. He writes down a musical quotation (C Major chord), suggesting that his being flanked by three trombones playing that chord might do the trick(!). He then writes down a further musical notation (that of three clefs), and finds writing it that way even more satisfying ("J'arriverai à un resultat satisfaisant en les écrivant de cette façon") and "plus solennel encore" (trans: "even more solemn"). He signs off by telling Wormser that, in fact, he can come whenever he wants, and that he is always welcome ("Enfin venez quand vous voulez, le lundi soir et les autres jours, vous serez toujours le bien venu") illustrating the lighthearted nature of his earlier remarks. Minor tape residue/marking, otherwise near fine.

8vo. 4 pp. on bifolium. Highly interesting letter to a close friend and collaborator, probably Pauline Viardot, written ahead of either the Rouen or, more likely, the Paris premiere of "Samson and Delilah". Saint-Saëns first apologizes because the recipient did not get a box for the premiere despite his inistence, and then announces the completion of the last parts of the scenography that exceeded "the splendors of Weimar". However, Saint-Saëns remarks that "without Weimar and without Croissy, Delilah would perhaps still be an impossible or legendary opera, doomed to the cartons for eternity", and that "without that damned war" the recipient "would have created it in Weimar". In closing, he condems cynical militarism, specifically mentioning the famous Prussian field marshal and strategist Helmuth von Moltke, lamenting that "ideas of this cruel way of Moltke who finds that peace is a bad dream" are "breaking" him. - Saint-Saëns had started composing "Samson and Delilah" in 1867, originally conceiving it as an oratory. The librettist Ferdinand Lemaire convinced him to change to the operatic form by 1868, although some of the choir scenes in the finished work are reminiscent of the original conception. From this time, Saint-Saëns envisaged the role of Delilah to be created by the mezzosoprano Pauline Viardot. When the now world-famous duet of Samson and Delilah was performed at a soirée in 1868, it was received coldly, and Saint-Saëns decided to abandon the project. Later that year, during a visit to Weimar, Franz Liszt convinced him to continue, offering a premiere at Weimar, but the Franco-Prussian War of 1870/71 forced the composer to halt the project yet again. After an inspiring visit to Algeria in 1874, Saint-Saëns decided to finish "Samson and Delilah" after all, and already in August of that year, the second act was performed in concert at Croissy near Paris, with the composer at the piano. The reception of the composition in France remained indifferent, and Saint-Saëns decided to have the premiere in Weimar after all in January 1876. At this point, Pauline Viardot considered herself too old to create the role of Delilah and ceded it to Auguste von Müller. Despite the success of the Weimar premiere, another 14 years would pass until the first premiere of the opera in France, at the Théâtre des Arts in Rouen on 3 March 1890. Finally, on 31 October 1892, the Paris premiere at the Théâtre Lyrique de l'Eden followed. Already in November of that year, the Paris Opera premiered "Samson and Delilah", and the opera found its lasting place in the repertoires of the world's leading houses. - In view of this history, it is most likely that Camille Saint-Saëns wrote the letter at hand to Pauline Viardot ahead of the Paris premiere of "Samson and Delilah". - On stationery with blindstamped monogram "B. D." and mourning border. Minor tears and traces of former restoration.

8vo. 4 pp. With imprinted crown on the letterhead. To his friend the pianist and composer Caroline de Serres (1843-1913):BELLE LETTRE DE MONACO. Il est enchanté des nouvelles de son amie, notamment qu'elle ait joué « l'étrange Chanson napolitaine qui ressemble si peu à Funiculi-Funicula, et très-content que vous ayez entendu le Duo. Notre pauvre ami SARASATE m'avait promis de le jouer avec une harpiste de ses amis, avant de partir pour Biarritz d'où il n'est point revenu ! ». Il va déjeuner à Nice avec le Préfet et le Roi de Suède, et reviendra « bride abattue pour faire répéter mon ouverture [Ouverture de fête pour l'inauguration du Musée Océanographique de Monaco] (s'il est permis toutefois de parler de bride quand il s'agit d'automobile) ; et à partir de demain nous serons dans la période de fêtes qui dureront quatre jours ! [] On a invité, pour la représentation de gala au théâtre de Monte Carlo, 200 personnes de plus que la salle n'en peut contenir ! » Puis il doit rentrer à Paris pour La Fille du Soleil à l'Opéra. Il a joué la veille « l'Impromptu de CHOPIN et je n'ai pas raté le petit trait de la fin ! Il raconte sa rencontre avec Louis DIEMER : « Je comprends qu'il veuille toujours jouer du piano ; il ne reprend vie que devant un clavier ». Saint-Saëns jouera à son amie « une marche de GLINKA, arrangée par LISZT, qui vous amusera. Je deviens un pianiste féroce, je ne pense plus qu'à faire des acrobaties. Il faut avouer que lorsqu'on en peut faire, c'est très amusant, et il faut bien s'amuser un peu ! Amusons nous donc, puisque nous le pouvons, et moquons nous.

Small 4to. 4 pp. To his friend the pianist and composer Caroline de Serres (1843-1913):Il a attrapé un mauvais rhume, qu'il tente de soigner, et qui l'oblige à ne faire que ce qui est absolument indispensable : témoin le lendemain à un mariage, il n'assistera pas au banquet, « comme j'ai lâché aujourd'hui la Commission des Auteurs et le charmant dîner Bixio qui a lieu une fois par mois. Mais je ne peux pas me dispenser d'aller à la Mairie, ce qui m'ennuie car je respire difficilement, je ne voudrais pas faire comme le Roi d'Angleterre [EDWARD VII, qui meurt ce 6 mai] qui est terriblement inquiétant. S'il meurt, voilà toute la saison par terre ; HOLLMANN qui s'occupe de son concert depuis un an et comptait y faire 20.000 f. sera forcé d'y renoncer. Et je ne jouerai pas les délicieux Concertos de MOZART. Enfin, pour m'achever, il faut que je donne Lundi matin à la copie la partition de mon Duo pr Violon et Vcelle ».

8vo. 1½ page on bifolium. To a "dear friend", explaining his outburst the previous day where he only wanted to defend a friend: "Mon cher ami, Je suppose que [vous] n'avez pas pu vous laisser atteindre par les [illegible] de mon explosion d'hier et je ne prendrais pas la peine de vous le dire si Durand ne m'avait paru craindre que vous m'ayez mal compris. Sachez que je suis coupable de [] défendre mes amis quand on a la prétention de les juger sans les entendre, et que je vous défendrais à l'occasion avec la même énergie. Quant à la mauvaise opinion que j'ai pu donner de mon caractère [] C'est tant pis pour moi. Tout à vous".

8vo. 4pp (letter) and 13 pp. (mscpt.). With original envelope. To Madame Charles de Gallaud. The gift of an autograph manuscript of the composer's lecture on La Fontaine's Fables replete with additions and deletions to an admiring patron. In his letter, Saint-Saëns writes in part: Since this manuscript has the honor of being desired by you, I am only too happy to offer it to you. I am giving it to you without pride, with its deletions and additions and even with the copy of the 'Fables' which I made to make up for the lack of a prompter; and experience has shown me that I did right, and that without that I would have been too brief; and I understood the absolute necessity for a prompter at the theater even for the actors most sure of their parts, despite the prodigious memory of most of them. This attempt at a meeting was well received, but I would not make myself a lecturer, it is too late. However, God knows if I should have anything to say about music! But many of the things which I should want to say cannot be said. Bad habits in music become widespread and one would have to criticize everyone! What to do, one against all! The task is impossible. And I would become the target of too many enemies [.]" (transl. from the French original). - In his manuscript, Saint-Saëns writes that instead of playing the piano, he is giving a lecture, but not at Madame Brisson's Annals in Paris, where he would feel outclassed, but in Algiers, where he has so often taken shelter from the winter and which has saved his life several times. "And now the war is over, it is permitted to have a little amusement". The talk will not be about music, but on La Fontaine's Fables, which he has loved since childhood, but has only come to understand upon constant re-reading. He speaks of La Fontaine's facility with verse, which is deceptive and "thanks to his musical ear, the harmony and equilibrium are such that one doesn't even notice the diversity of rhythms; he leads us whenever he likes, and we follow". He continues with a discussion of La Fontaine's morality and his keen eye for nature and art. He concludes: "La Fontaine did not just know how to paint, he knew how to observe; he studied nature, and he saw what others could not see. In the seventeenth century, in the age of Descartes, animals were thought to have no intelligence. La Fontaine dared to think otherwise, even if he did use animals to illustrate people's behavior". - Saint-Saens proceeds to recite two of La Fontaine's fables in closing. An important letter and manuscript revealing the composer's great interest and his admiration of La Fontaine.

explaining that he appreciates very much his request but is "bowled over with work. Please excuse me", 3 sides 8vo., St. Germain-en-Laye, 26th May n.y., circa.

Autograph letter signed, 1 1/2 pages (both sides), 10,5 x 6,25 inch, in French, brief letter to his friend the musician Paul Dugas - concerning a dinner, written and signed in black ink "C. Saint-Saens", attractively mounted (removable) for display with a picture of Camille Saint-Saens (altogether 11,75 x 16,5 inch), with intersecting letter folds, and very mild foxing - in fine to very fine condition.In parts:"Veux tu venir dîner jeudi avec Bernande [.]" Translated:"Do you want to come and have dinner with Bernande on Thursday [.]".

Zustand: Very Good. Quarto, one and a half pages (on one leaf), 7 November 1882. Light horizontal and vertical creases where folded for posting; small piece of clear tape to a short split at one end of the crease across the middle (on the blank bottom half of the second page, well clear of any text); an appealing item in excellent condition. The catalyst for the discord appears to have been Hippeau's biting lampoon of Gounod in the issue of 29 October 1882. Saint-Saëns had hitherto been listed prominently on the covers as an official collaborator of the magazine; his name is absent from the issue of 13 November. His relationship with Hippeau, however amicable, was already strained. 'The clearly pro-Wagner inclination of the editor quickly created a violent polemic between Hippeau and Saint-Saëns, founder of the Société nationale de musique. Saint-Saëns harshly criticized Hippeau's Wagnerian opinions, considering them a danger for the future of French music' (Doris Pyee: 'La Renaissance musicale, 1881-1883', Baltimore, 2007). The lengthy letter pulls no punches. After some initial expressions of friendship, Saint-Saëns leaves us in no doubt about the strength of his attitude and sentiments. A broad translation of the second part follows: 'Standing back to avoid being hurt is not in my character. I must be forthright, and no finessing of details can save my name, at the head of a journal like a banner, from being associated with it in the eyes of the public. The stance of the journal not being in accordance with my ideas, I cannot allow my name to remain attached to it. My decision, I have told you and I repeat it again, is irrevocable. I do not know what obligations you are under, and I am not anxious to know. I only regret, in every respect, that you have failed to understand the advantage you might have gained in publishing a paper that is truly French, as well as truly modern. Now it is too late; you have equivocated too long, and if, against all probability, you wished to take this path, it could be only with a new journal and a new organisation. I do not know if you know me well enough to understand what it has cost me to act in this way. I hope you do, however, and will not cease to count on your friendship, and assure you that you may always count on mine in everything that does not do damage to my artistic conscience. Affectionately yours, C. Saint-Saëns'.

3 pp. of a bifolium. Octavo (ca. 159 x 101 mm). Dated "Sunday." On black-bordered ivory mourning stationery. In French (with translation). Saint-Saëns writes that his correspondent "has done well to be insistent" about the ending of an unidentified work, and has implemented the necessary corrections. "This ending was necessary. 'L'ombre abrite' is impossible. I put 'dans l'ombre, près del la fenêtre', and I substituted 'doux enfant' for 'jeune enfant'. That is obvious, I know, but it is a platitude. Never, neither in prose nor in verse, should one put a useless adjective. By finishing short and simple, my piece gains a lot from this addition." Small annotation to blank final page. Slightly worn and soiled; creased at folds. "Like Mozart, to whom he was often compared, [Saint-Saëns] was a brilliant craftsman, versatile and prolific, who contributed to every genre of French music. He was one of the leaders of the French musical renaissance of the 1870s." Sabina Teller Ratner et al. in Grove Music Online.