How Camille Saint-Saens Life Shaped and Constrained his Organ Composition

Abstract

Camille Saint-Saens is one of the great French composers, composing not only for Pipe Organ, but for Orchestra, Piano, Opera, and other instrumental compositions. From a young age he was a piano musical prodigy and at age thirteen was accepted to the Paris Conservatory. Instead of encouraging him to specialize in piano, the conservatory pushed him toward organ as it was a profitable career path in church service. This push into organ specialization later led to his dislike for the instrument. Throughout his youth in school and before his ascension as Organist at La Madeleine (the official Church of the French Empire), his works received numerous awards, including Franz Liszt’s praise, who thought Saint-Saens was “the greatest Organist in the world.” Although he was an outstanding musician, he enlisted in the National Guard during the Franco-Prussian War and would later marry. These events would greatly influence his musical composition, by allowing him to conservatively experiment outside classical norms. The death of his two sons, the eventual separation from his wife, his first major opera (Le timbre d’argent - The Silver Bell), and death of his friend, Albert Libon, all pushed exaggerated emotionality into his composition, culminating in Messe de Requiem. These events, including his dislike for the Church’s lack of musical imagination and infringement, ended his church service and constrained his composition for organ. In my presentation, I will articulate how Saint-Saens life experiences shaped and constrained his Organ composition and performance.