SAINT ANNE'S TUNE.
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�� ��The supposition, however, that ' Leeds * was originally in Barber's Psalm-book has been disproved by the recent discovery of a copy of an early edition of the collection, which from the evidence of the preface appears to be either the third or fourth, and to have been published about I696. 1 The title-page is unfortunately missing. This volume, a smaller book than the edition of 1715. contains but twelve hymn- tunes arranged in tico parts, and neither the tune in question nor Den by 's name occurs in it. Until therefore an edition of Barber's Psalms is found, contain- ing ' Leeds,' and of earlier date than 1 708, Denby must be regarded as merely the author of a re- arrangement of Croft's tune.
That some confusion existed respecting the authorship may perhaps be inferred from the fact that Dr. Miller, a Yorkshire organist, in his ' Psalms of David,' 1 790, gives ' St. Ann's, Dr. Croft ' on one page, and opposite to it ' Leeds, Denby,' in triple time and as a different tune. On the other hand it may be noticed that in another Yorkshire collection, John and James Green's ' Collection of choice Psalm Tunes ' (Sheffield, 3rd ed. 1715), St. Anne's tune is quoted under that name. Dr. Sullivan has employed St. Anne's with excellent effect in his Te Deum performed at St. Paul's in the Thanksgiving Service, Feb. 27, 1872, on occasion of the re- covery of the Prince of Wales ; and in another piece ('The Son of God') has harmonised the tune with varying effects in successive verses in an admirable manner. [G.A.C.]
SAINT- AUBIN, JEANNE CHARLOTTE SCHRCE- DER, a very remarkable opera-singer, born in Paris, Dec. 9, 1 764. She was daughter of a thea- trical manager, began to act as a mere child, and when only 9, charmed Louis XV. by her preco- cious talent. In 1782 she married Saint-Aubin, an actor in Mdlle. Montansier's company, and in 1786 made her first appearance at the Aca- demic, in ' Colinette a la Cour,' but perceiving that she was not qualified for so large a stage, had the good sense to cancel her engagement with the Opera, and transfer herself to the Co- ine"die Italienne. There her pleasing and ex- pressive face, refined and graceful acting, and singing, always intelligent and in tune, could be properly appreciated, and she speedily became a favourite both with the public and the dramatists. No actress ever created a greater number of roles ; sentimental, pathetic, ingenues, soubrettes, graiides coquettes, or burlesque characters all came alike to her. Her singing was not so re- markable as her acting, but she sang romances
i The preface speaks of 'former editions,' and adds 'since the Psalmes in metre are this last year much reflu'd as to the English by some good grave Uivine Persons who hath only left out all the old words aad made ;he meter good English.' The preface to the seventh Uitioii is a different one.
��with great charm of expression, and by taste and skill supplied the lack of power in her voice, became the acknowledged star of the company and its most profitable member. . She was, how- ever, badly treated by the management, for though admitted as socittaire to the fourth of a share in 1 788, she was not advanced to a full share till 1798, after her success in 'Le Prisonnier.'
In 1 800 she lost all her savings by the bank- ruptcy of the Theatre Favart, but on the union of the two comedy-companies she retained her position as socittaire, and was appointed one of the five members of the management, a post which she resigned on Mme. Dugazon's retirement, not wishing to be the only woman on the board. At her farewell benefit (April 2, 1808) she took the part of Mme. Belmontin ' Le Prisonnier,' leaving Rosine, her own creation, to her second daughter, Alexandrine. Her elder daughter also appeared in the * Concert interroinpu.' Her modest pension of 1900 francs was increased by Louis XVIII. to 3000. She took her final farewell, assisted by her eldest daughter, Mme. Duret, on Nov. 7, 1818, in 'Une heure de mariage,' and was as much applauded as ever. Mme. Saint-Aubin lived to a great age, and died in Paris, Sept. n, 1850. Three of her children distinguished themselves ; the son, JEAN DENIS, born at Lyons in 1783, a violinist and composer of great promise, died at Paris in 1810.
The elder daughter, CECILE, born at Lyons in 1785, a pupil of Garat, made her de*but in 1805 at the Opera Comique in ' Le Concert interrompu,' but went back to the Conservatoire to study, and did not reappear till 1808. In the interval she gained both style and taste in singing, but re- mained an indifferent actress. Under the name of Mme. Duret she rose for a short time to dis- tinction as the favourite singer of Nicolo Isouard, who composed several important and difficult parts for her. Her best creations were in ' Le Billet de Loterie,' and 'J cannot et Colin.' Her voice was of considerable compass, even and son- orous, though rather heavy ; she vocalized with skill, and articulated distinctly, but her breath was short and drawn with effort. She retired in 1820. Her sister ALEXANDRINE, born at Paris 1 793, made a brilliant debut at the Theatre Fey- deau in 1809, and in the following year excited great enthusiasm in Isouard's ' Cendrillon.' This was however the only original part in which she distinguished herself, and on her marriage with an actor at the Vaudeville in 1812, she retired from the stage. [G.C.]
SAINT-GEORGES, JULES HENRI VERNOY, MARQUIS DE, not to be confounded with the notorious Chevalier de Saint-Georges (i 745-1 799 or 1801) born in Paris 1801, died there 1875, writer of novels, and author of numerous librettos for operas and operas-comiques, was the favourite collaborateur of Halevy. Among his 120 libret- tos we need only specify those for Donizetti's ' Fille du Regiment ' ; Adolphe Adam's ' L Marquise,' 'Cagliostro,' 'Le Bijou perdu,' operas; and ' Giselle,' ' La jolie Fille de Gand,' and ' Le Corsaire,' ballets ; Auber's ' L'Ambassadrice,'