��neously all the latent capacities of a given theme, both in the way of melody and harmony. 1
In addition to his other claims to distinction, Saint-Saens is a first-rate musical critic, and has contributed articles to 'La Renaissance,' 'L'Es- tafette,' and 'Le Voltaire,' the best of which he intends to publish separately. He was elected member of the Institute, vice Henri Reber, Feb. 19, 1881.
The printed catalogue of his works includes 64 opus numbers, besides many unnumbered pieces. From it the following list has been compiled and classified.
��Dramatic and lyric: The 4 operas already mentioned, and ' Les Noces de Promethee ' (Cirque du Champs Elysees, Sept. 1, 1867) ; ' Le Deluge ' (1876) ; ' La Lyre et la Harpe,' cantata composed for the Birmingham Festival (Aug. 28, 1879). Another, written for the Centenary of General Hoche (Ver- sailles, June 21, 1868), has not been published.
Orchestral : 1 Symphonies, In Eb and A minor; 'Occident et Orient,' march for military band and orchestra (performed at the giving away of the prizes at the Paris Exhibition of 1878) j ' Marche hero'ique'; 'Suite pour orchestre' (Prelude, Sarabande, Gavotte. Bomance, and FinaleX; 4 poemes symphoniques, 'Le Bouet d'Om- phale,' 'Phae'ton,' ' Danse Ma- cabre,' and 'La Jcunesse d'Her- cule ' ; a very important ' Suite AlgtSrienne' (Prelude, Bhapsodie Mauresque. Beverie du Soir, and Marche militaire fran9aise) ; 'Une Nuit a Lisbonne,' barcarolle ; ' La Jota Aragonesa,' transcription Also a prize symphony in F (1856) for the Society Sainte Cecile at Bordeaux, a MS. overture ' Spar- tacus,' awarded the prize by the same society, and several minor pieces.
Sacred music : ' Messe a 4 voi* for solos, chorus, orchestra, full organ, and ' orgue d'accompagne- ment ' ; ' Messe de Bequiem,' for solosjchorus, and orchestra ; ' Ora- torio de Noel ' for ditto ; ' Tantun ergo ' in B b, for chorus and organ Psalm six, 'Cceli enarrant,' for solos, chorus, and orchestra. Also 13 motets, and several pieces for full organ, including ' Benediction nuptiale ' (op. 9) and ' Elevation ' .(op. 13).
Concerted music with orchestra : 4 PF. concertos (in D, G minor, b, and C minor) ; 3 violin concer-
M. Saint-Saens is a dark, nervous-looking man, with delicate, almost sharp features, and bright intelligent eyes. In England he is no stranger. He first appeared here at the Musical Union, in 1871. In 1874 he played Beethoven's Concerto in G at the Philharmonic, and again, on July 2, 1879, his own PF. Concerto in G minor, and
i The writer retains a delightful recollection of his Improvisations .at the Madeleine, and will never forget a tour deforce he himself witnessed in 1867. At a party where several eminent musicians were assembled, some one begged Schulhoff to play anything that came into his head. After a little pressing the fascinating pianist sat down to the Instrument, and began to prelude in the bass, when Saint-Saens drew near, and still standing, accompanied in the treble the melodies which Schulhoff was playing; then sitting down in his turn he improvised on the improvisation of his partner in a manner to captivate the most hypercritical ear. There was indeed occasionally a slight clashing of keys, but even these double modulations with contrary resolutions added to the interest with an audience composed entirely of practised musicians. It was the most extraordinary ex- hibition of this kind of power which ever came within the writer's observation.
��tos (In A, C.and B minor) ; 'Intro- duction et Bondo ' (op. 28). ' Mor-
- eau de concert' (op. 62), and
Romance ' (op. 48), all for violin ; Cello-Concerto (A minor) ; ' Bo- nance' for horn or cello (op. 36, n F) ; ' Bomance ' for flute or vlo- in (op. 37 in D b) ; and ' Taren- telle' for flute and clarinette
- op. 6).
Chamber music: Quintet for PF., 2 violins, viola, and cello (op. 14) ; Serenade for PF., organ, vio- in, and viola, or cello (op. 15) ; Trio in F for PF. and strings ; Quartet in Bb for PF. and ditto op. 41) j Suite for PF. and cello 'op. 16) ; Bomance for PF., organ, and violin (op. 27) ; Sonata in C minor for PF. and cello (op. 32) ; Berceuse in Bb for FF. and violin (op. 38) ; ' Allegro appassionato ' for PF. and cello (op. 43); Bo- mance in D for ditto (op. 51) ; Septet for PF., 5 strings, and trum- pet obligato (the minuet very ori- ginal).
Pianoforte : Op. 3; 11 (Duet- tino in G, 4 hands) ; 21 (1st Mazur- ka) ; 23 (Gavotte) ; 24 (2nd Mazur- ka) ; 35 (Variations sur un theme de Beethoven for 2 PFs a gem) ; 52 (Etudes) ; 56 (Menuet et Valse) ; and 59 (Ballade, 4 hands) ; besides
sveral transcriptions of classical or popular airs, and 12 transcrip- tions from Bach's cantatas >and sonatas.
Vocal : Scena from ' Horace ' (op. 10) ; ' Melodies Persanes' (op. 26) ; 'Les Soldats de Gedeon' (op. 46, double chorus for men's voices, without acct.); 'Chanson de Grand Pere,' chorus for women's voices ; ' Chanson d'Ancetre,' chorus for men's voices, and bari- tone solo (op. 53, with acct. for orchestra or PF.) ; more than 40 songs to French, Italian, and Eng- lish words, and several duettinos
Bach's Prelude and Fugue in A minor on the organ. Later in the same year, Dec. 6, he played the same work, and conducted his ' Kouet d'Omphale' at the Crystal Palace. The Con- certo was first introduced there by Miss Helen Hopekirk, a very rising pianist, Mar. 15, 1879 ; the Cello Concerto in A was played by Herr Hollman, Nov. 27, 1880, and the Overture to the ' Princesse jaune ' on the 6th of the same month. At the Popular Concerts three of his works are known, the Cello Sonata (op. 32) ; a trio for PF. and strings in F (op. 18), and a string quartet in Bb (op. 41). [G.C.]
SAINTON, PROSPER PHILIPPE CATHERINE, an eminent violin- player, born June 5, 1813, at Toulouse, where his father was a merchant. He received his education at the College of Toulouse, and was destined to the law, but his great talent for music, combined with other reasons, for- tunately altered this, and in 1832 he entered the Conservatoire at Paris, and studied the violin under Habeneck, taking the first prize in 1834. For two years after this he was a member of the orchestra of the Societe des Concerts, and the Grand OpeYa ; and then made an extended tour through Italy, Germany, Russia, Finland, Sweden, Denmark, and Spain, with great suc- cess. In 1840 he was appointed Professor of the violin in the Conservatoire of his native city. In 1844 he made his first visit to England and played at the Philharmonic on June 10 and July 8 of that memorable season, under the baton of Mendelssohn. The following year he returned, was appointed Professor at the Royal Academy of Music, and settled in London, where, with occasional visits to the continent, he has resided ever since. He took the ist and 2nd violin alternately with Sivori, Ernst, Molique, and Vieuxtemps, at the performances of Beethoven's quartets, at the house of Mr. Alsager in 1845 and 46, which resulted in the ' Beethoven Quartet Society.' He was also a constant leader at the performances of the Musical Union, the Quartet Association, the Monday Popular Concerts, etc., etc. On the establishment of the Royal Italian Opera at Covent Garden, April 6, 1847, Mr. Sainton became leader of the orchestra, a post which he held until 1871, when he accompanied Sir Michael Costa to the rival house, and re- mained there till 1880. He was leader of the Philharmonic band from 1846 to 1854 inclu- sive, and of the Sacred Harmonic Society since 1 848, conducting the performances of the latter Society in the absence of his chief, as he did those of the Opera. He has been also for many years leader of the Birmingham Festivals, and other provincial musical performances. From 1848 to 55 he was conductor of the State Band and Violin Solo to the Queen, resigning the post of his own accord. At the opening of the Inter- national Exhibition of 1862 Mr. Sainton con- ducted the performance of Sterndale Bennett's Ode (to Tennyson's words) and was presented by the composer with the autograph of the work as a token of his gratitude and consideration. Among the many pupils whom he has formed