during the last few years his talent in this direction had increased, and such receptions as he has received at the Conservatoire, where he played Beethoven's Choral Fantasia, in Russia, on the occasion of his tour in 1887 with Taffanel, Turban, and Gillet, and in London, prove him to be one of the most remarkable and earnest pianoforte players of the day. Under the title of 'Harmonie et Mélodie' (Paris, Calmann Lévy, 1885), he has published a collection of his principal contributions to periodical literature, with an introduction and appendix explaining the change which his views have undergone in relation to Richard Wagner. This volume, proving as it does the author's mobility of character and changeableness as regards ideals and tendencies, will not add materially to his fame.
To the list of works on p. 216a, add the following:—
Dramatic and Lyric:—'Henry VIII' and 'Proserpine,' mentioned above; 'Hymne a Victor Hugo' (Trocadéro, March 15, 1884); Psalm xlx, for solo, chorus, and orchestra (Sacred Harmonic Society, Nov. 20, 1885).
Orchestral:—A third Symphony in C minor, for orchestra, organ, PF., 4 hands (played at a Philharmonic Concert in May 1885), (op. 78); 'Le Carnaval des Animaux,' orchestral suite.
Concerted music with orchestra:—'Rhapsodie d'Auvergne,' for PF. and orchestra (Concerts du Chatelet, March 13, 1885).
Chamber music:—Sonata for PF. and violin in D minor; Caprice (quartet) on Danish and Russian airs for PF. and wind instruments (op. 79); Havanaise for violin and PF. (op. 83).
Pianoforte:—'Souvenir d'Italie' (op. 80), and 'Feuillet d'Album' (op. 81).
Vocal:—'La Fiancée du Timbalier,' ballade (V. Hugo), (op. 82).
SAINTON-DOLBY, Charlotte Helen. Add that she died at the age of 64 at her residence, 71 Gloucester Place, Hyde Park, Feb. 18, 1885, and was buried at Highgate Cemetery, the great concourse of persons assembled testifying to the estimation in which this singer was held. M. Sainton's farewell concert, June 1883, at the Albert Hall, was the occasion of his wife's last appearance in public. 'Florimel,' a fairy cantata for female voices, written during the last few months of Madame Sainton-Dolby's life, has since been published by Novello. The Royal Academy of Music founded, shortly after her death, a scholarship in memory of the eminent singer, once a student within its walls.
SALE, John. Line 10 of article, for 1783 read 1788.
SALIERI, Antonio. Line 3 of article, for Legnano in the Venetian territory, read Legnago in the Veronese territory.
SALMON, Thomas. See vol. iii. p. 655, note 2.
SALVAYRE, Gervais Bernard, called Gaston, born at Toulouse, Haute-Garonne, June 24, 1847, began his musical education at the maîtrise of the cathedral, and afterwards studied at the conservatoire of the town, before he was brought by Ambroise Thomas to the Paris Conservatoire, where he studied the organ with Benoist, and composition and fugue with Thomas and Bazin. He gained the first prize for organ in 1868, and competed for the Prix de Rome every year from 1867 to 1872, gaining it at last by sheer force of perseverance. During his stay at Rome, Salvayre worked very hard, and many of his compositions date from this, time, notably his opera of 'Le Bravo,' and his sacred symphony in four movements, 'Le Jugement dernier,' of which the first two movements were performed at the Concerts du Châtelet, March 19, 1876. It was given in its entirety at the same concerts on Dec. 3, 1876, under the title of 'La Resurrection,' and again, under a third title, 'La Vallée de Josaphat,' at Lamoureux's concert on April 7, 1882. The remaining works written by Salvayre for the concert-room are an 'Ouverture Symphonique,' performed on his return from Rome at the Concerts Populaires, March 22, 1874; a Stabat Mater, given under the care of the Administration des Beaux-Arts; a setting of Ps. cxiii for soli, chorus, and orchestra; and an air and variations for strings, performed in 1877, all the last given as the fruits of his residence in Italy. On his return to Paris, he was appointed chorus master at the Opéra Populaire which it had been attempted to establish at the Théâtre du Châtelet, and he then wrote ballet music for Grisar's 'Amours du Diable,' revived at this theatre Nov. 18, 1874. Three years later he made his real début with his grand opera, 'Le Bravo' (Théâtre Lyrique, April 18, 1877), a noisy and empty composition revealing the true nature of the composer, who loves effect, but is wanting in inspiration, style, and form, and is wholly destitute of any fixed ideal. His little ballet, 'Fandango' (Opéra, Nov. 26, 1877), in which he made use of some highly characteristic Spanish melodies, was a decided advance in point of instrumentation, but his grand opera, 'Richard III,' performed at St. Petersburg, Dec. 21, 1883, was a dead failure, and in 'Egmont,' produced at the Opéra Comique, Dec. 6, 1886, his chief faults, noisiness, and an amalgamation of different styles, from that of Meyerbeer to that of Verdi, were so predominant that the work was only performed a few times. Salvayre, who is a great friend of the present director of the Opera, M. Gailhard, having been his companion at the maîtrise of Toulouse, was commissioned to set to music Dumas' drama 'La Dame de Monsoreau,' a subject little fitted for musical treatment. It was produced at the Opéra, Jan. 30, 1888, and was wholly unsuccessful. Salvayre, who has the qualities of a good musician, in spite of his repeated failures, was decorated with the Légion d'honneur in July 1880.
SAMARA, Spiro, is a Greek, son of the Consul-general of Greece in Corfu, by an English mother. He was born Nov. 29, 1861. He got his first musical education in Athens, under the tuition of Enrico Stancampiano, a pupil of Mercadante, himself an opera conductor and music master, living in the Greek capital. While studying piano and harmony, literature had a great attraction for young Samara, and he dedicated to it all the time he did not employ with music. Thanks to his perseverance and to his natural facility, Samara
