The Birmingham age-herald., 1910-12-18

ALIEN AAk--ANAlSE4 E41t All AlAs FOR COMING EvENTs-ENGAGE MENTs-oTHER TOPICS
 Mrs Maurice Lenk presented a paper before the Music Study club at theil Thursday morning musicale which has been much talked of in musical circles Her subject was Charles Camille Saint Saens the French composer whose works have been the object of so much interest. Music lovers and club women generally who are not included in the Music Study membership have evinced the greatest interest in Mrs. Lenk' 8 paper. in response to several requests 1t is reproduced here.
 France of today, wrote Mrs. Lenk, has produced many eminent composers whose works more or less eorruscate a brilliant flame in the musical Armament. The suc- cesses of these masters, such as D'Indy DeBussey, Faure and Massenet, were rlade possible only, the musical critics tell us. by one who blazed the trail and smoothed the road of musical impress sions, clearing the atmosphere, as it were, by his perfumes and rarified ether Ca- mile Saint Saens.
 Born in Paris in 1855, surrounded by a musical atmosphere, Saint Saens re- oeived his first piano lessons from a tal- ented great aunt. He was then 21A years old At he was conhded to the excel lent teacher Stamaty, and his later work was with Maledon and Ha1evy. Gifted with an excellent ear and a prodigious memory, he showed from childhood a marvellous aptitude for music and a re- markable memory.
 In 1s4S at a concert in Paris there ap- peared a boy pianist. q new prodigy, le petit Saint saens. He played Handel, Bach, Beethoven, with rare expression, without notes, without effort, with clearness and elegance in the midst of powerful and numerous orchestra. This was the first appearance of Saint Saens in public. At r he had earned a reputa- ton as a pianist and taken prizes for organ playing at the conservatory. Thus carly did Saint saens lay the founda- tion for that skill which throughout his life has been placing him in the foremost ranks of the musical masters of the world.
 At 16 he produced his first symphony, which was performed successfully by the Societie Sainte Cecile. In competing for the Prlxie Rome he was unsuccessful three times As organist of the Church of St Meri, and later of the Madeleine; he
 l-f- vicious execution as well as his wonder ful improvisations as professor at Nieder- meyers, Eoole Religeuse, he was over- whelmed with work, writing his remark able symphonies, chamber music, his vocal and instrumental pieces. Of his symphonies or symphonic poems, which are considered classical in conception and execution and absolute music of an un- equivocal sort, there are several of re- markable construction and orchestration The Dance Macabre' tells a weird story The musical scene opens with the l; strokes of midnight sounded on the harp death rises from the ground and fiddle' q nocturnal dance for the skeletons. Th' use of the xylophone to depict the rat ting of the bones of the dancing skele tons is a grewsome bit of emotiona music, the growing of the cock at dawn on the oboe. disperses this graveyar' idyll.
 Another symphonic poem, La Jeuness a. Hercule, shows the hero Hercules re sisting the seductions of nymphs and bac chantes, and choosing the path of struggl and combat which leads to the reward 0 immortal glory.
 Then there is the delicious spring soni of the spinning wheel, "Le Rouet d Om phale" also Phaeton. All poems whicl are faultless in construction and are to day serving in the repertoire of every or ehestra. Saint Saens surity and skil in handling an orchestra have won fo him the greatest triumphs. His concerto for the violin, plano and cello are clas sical in conception and are of the schoo of Hadyn and Mozart The Rondo Capri cioso for violin, with its delicacy and req French Tight as air" movement and tn exquisite swan for the cello are gracefu in melody and harmony.
 Of his five piano concertos, that in minor, with its clear-cut andante and del 
 become a favorite with concert pianistl
 In the field of opera which seems make the strongest appeal to Frenehmel Saint Saens has found difficulty in ot tnining a hearing, in spite of his concei successes and great musical learning. H debut as a stage composer took place 1872 with the appearance of the one-a' sPrincess Jaune,' then also i"Le Timbl q Argent" France, however, did n' take kindly to either, so Saint Saens SCI his next opera, Samson and Della, Weimar, where it was produced with Il approval of Liszt in 1s77 In the opinio Of many this Biblical work, with it's viv richness of color, remains the composer dramatic masterpiece. His many subs ouent compositions for the stage sho great musical beauty but seem to lac the dramatic spirit so essential for dri rlatic vitality. 'Le Deluge and Etienl Marcel" also Helene" which was pr a Shn of Beauty Is Joy Forever