New-York tribune., 1922-01-08

reading as that of Saint Sacns l had
never seen. | tell you he's the most
intellectual musician Of the present
day! (Dcr grosstc musikalischc Kopf
der JetzzeitD"
Parallels in the Careers Of
Bcrlioz and Saint-Saens
1t is noteworthy that the dicta of
Bcrlioz and DR.. Won Bilow were pro-
nounccd by musician who were COM
panions Of NJ. Saint-Saen in his tri-
umphs and also in his failures. 1t was
observed by the present writer many
years ago Gin All article in "Jhc Cen
tury Magazine") that when M. Saint
Saens became a member of the Insti
tute rs the successor N Henri Rebcr he
enjoyed distinction among the most
distinguished musicians Of his day
similar TO that Of Berlioz in his. In
the departments Of orchestral and
chamber music his compositions out
numbered those Of all his fellow Acad-
eniicians combined. But the parallel |
with Bcrlioz did not end there Like
Berlioz, he followed the lead Of Roman
tic Germany for while, then thought
it necessary to the salvation of his own
individuality to turn back with a cry
Of protest; yet, again like Berlioz, he
achieved his finest successes in the
field where Germany has always been
Lilo Ror1iNy ba huOpprQd
and thirsted for the rewards which the
lyric theater bestows, and was turned
away all but cmpty-handed. Samson
ct Dalila" is his one successful opera.
Like Berlioz, he supplemented his work
as a creative musician with critical
writings for journalistic literature.
Like Berlioz, he found comfort in ad-
miration for List when constrained to
part company with Wagner.
Perhaps there is not more than
modicum of obliquity in the expression
Of suspicion that Saint-Saens's dis
agreement with the supreme exponent
Of Teutonism in music was not wholly
tree from self-interest. He. was still
thought by all the world to be strongly
tnctured with German ideals when
suddenly, in 1884, he took sides with
the Red Rochefort and the Paris mob
against the proposed production OF
"Lohengrin'' at the Opera Comique.
For this he was insulted in Berlin by
the wild-eyed, long haired young men
of the Wagner-Verein, and his operas
of the German royal thcater. Doubt
less he hoped for compensation from
his native land, but his patriotism
failed Of reward. Not one Of his operas
has won complete triumph even In
Paris, nor were he and his combined
confreres able to hold back the Wag-
merriam tide in the French capital. New
, ertheless Germany, England and the
United States, sympathzing with him
in his operate failures, continue to ad-
mire in him the master of the orches-
; ira and of orchestral forms and revere
in him all the qualities which sprang
from the old associations with the mas
. ter mind that created these forms. 1t
, has been their delight to observe in his
music how Gallo elegance could be
:, consorted with deep learning and con-
trapuntal skill; how high aims could
. 90 hand in hand with distinction Of
taste and aristocracy Of expression.
While mildly faulting him for pos
l sibly pardonable devotion to self-inter-
8 est, however, we must give admiration
i due to his patriotism during the rerent
, war. which cost him more than did the
. patriotism of any musician belonging
\ to Gerrnanys enemies. Last March the
E Dresden Opera lifted the boycott main"
e tanned during the war from all Engllsh
|. and French composers except SAINT
: Saens. He remained taboo on account
). of his polemics against the Germans
q and their politics. Perhaps the taboo
c will be removed, now that he is dead
e Let us hold him in honor for his att
:. tude during the worlds crisis, as wei
g n. for his achievements in the art whicf
!. should know no boundaries Of time OF
|. PEOPLES. Unlike the man whom Amer
= ica has recently honored, he was NJ
T t;me-seryer and never degraded his ar
n by making it subservient to CONNER
q ciaiism and self-proft.