one of the most remarkable musicians of the nineteenth century.
His works are numerous, always “well-made” and, though lack-
ing in emotional depth, by no means without charm and grace.
They comprise ensemble works: trios,etc., several concertos and
symphonies and four symphonic poems. Of these, the third con-
certo for pianoforte, with its Bach-like introduction, the third
violin concerto, the two symphonic poems,Le Rouet d’Omphale
andPhaëtonand, in particular, the third symphony in C mi-
nor, still hold their own. Whatever Saint-Saëns has to say is
well said; and if the French have modified their previous opin-
ion that the only vehicle for musical expression was the opera,
it is largely through the influence of his compositions. This
C minor symphony, first performed in London in 1886, shares
with Lalo’s symphony in G minor (1887) the claim to be, in
all French literature, the first instrumental work of large scope
free from programmistic tendencies. Saint-Saëns[271] and Lalo
fairly popularized the Sonata form and their works are wor-
thy of great respect; since, through them, the public became
accustomed to symphonic style and was prepared for the subse-
quent greater works of Franck, d’Indy and Chausson. Although
not so versatile as Saint-Saëns nor so varied in output, Eduard
Lalo (1823-1892) should decidedly not be overlooked. He was of
Spanish origin and this racial strain is noticeable in the vivacity
of his rhythm, in the piquant individuality of his melodies and
in his brilliant and picturesque orchestration. His characteristic
work is represented by a series of Concertos and Rhapsodies in
which he employs Spanish, Russian and Norwegian themes. He
did not escape the French predilection for operatic fame and
his best work is probably the well-known operaLe Roi d’Ys,
from which the dramatic overture is often played separately.
His G minor symphony, however, will always be considered an
important landmark in the development of French instrumental
music.[272]
[Footnote 271: For further comments on the style and influence
of Saint-Saëns see the essay Mason’sFrom Grieg to Brahms; the
article by Professor E.B. Hill in the third volume of theArt of
Music; and, for some pungent and witty remarks, the Program
Book of the Boston Symphony Orchestra (edited by Philip Hale)
for Nov. 22, 1918.]
[Footnote 272: For a comprehensive and discriminating account
of his style see the Boston Symphony Orchestra Program Book,