Page:A Dictionary of Music and Musicians vol 3.djvu/225

SAINT ANNE'S TUNE.  The supposition, however, that 'Leeds' was originally in Barber's Psalm-book has been disproved by the recent discovery of a copy of an early edition of the collection, which from the evidence of the preface appears to be either the third or fourth, and to have been published about 1696. The title-page is unfortunately missing. This volume, a smaller book than the edition of 1715. contains but twelve hymn-tunes arranged in two parts, and neither the tune in question nor Denby's name occurs in it. Until therefore an edition of Barber's Psalms is found, containing 'Leeds,' and of earlier date than 1708, Denby must be regarded as merely the author of a rearrangement of Croft's tune.

That some confusion existed respecting the authorship may perhaps be inferred from the fact that Dr. Miller, a Yorkshire organist, in his 'Psalms of David,' 1790, gives 'St. Ann's, Dr. Croft' on one page, and opposite to it 'Leeds, Denby,' in triple time and as a different tune. On the other hand it may be noticed that in another Yorkshire collection, John and James Green's 'Collection of choice Psalm Tunes' (Sheffield, 3rd ed. 1715), St. Anne's tune is quoted under that name. Dr. Sullivan has employed St. Anne's with excellent effect in his Te Deum performed at St. Paul's in the Thanksgiving Service, Feb. 27, 1872, on occasion of the recovery of the Prince of Wales; and in another piece ('The Son of God') has harmonised the tune with varying effects in successive verses in an admirable manner. [ G. A. C. ]

SAINT-AUBIN,, a very remarkable opera-singer, born in Paris, Dec. 9, 1764. She was daughter of a theatrical manager, began to act as a mere child, and when only 9, charmed Louis XV. by her precocious talent. In 1782 she married Saint-Aubin, an actor in Mdlle. Montansier's company, and in 1786 made her first appearance at the Académie, in 'Colinette à la Cour,' but perceiving that she was not qualified for so large a stage, had the good sense to cancel her engagement with the Opéra, and transfer herself to the Comédie Italienne. There her pleasing and expressive face, refined and graceful acting, and singing, always intelligent and in tune, could be properly appreciated, and she speedily became a favourite both with the public and the dramatists. No actress ever created a greater number of rôles; sentimental, pathetic, ingénues, soubrettes, grandes coquettes, or burlesque characters—all came alike to her. Her singing was not so remarkable as her acting, but she sang romances with great charm of expression, and by taste and skill supplied the lack of power in her voice, became the acknowledged star of the company and its most profitable member. She was, however, badly treated by the management, for though admitted as sociétaire to the fourth of a share in 1788, she was not advanced to a full share till 1798, after her success in 'Le Prisonnier.'

In 1800 she lost all her savings by the bankruptcy of the Théâtre Favart, but on the union of the two comedy-companies she retained her position as sociétaire, and was appointed one of the five members of the management, a post which she resigned on Mme. Dugazon's retirement, not wishing to be the only woman on the board. At her farewell benefit (April 2, 1808) she took the part of Mme. Belmontin in 'Le Prisonnier,' leaving Rosine, her own creation, to her second daughter, Alexandrine. Her elder daughter also appeared in the 'Concert interrompu.' Her modest pension of 1900 francs was increased by Louis XVIII. to 3000. She took her final farewell, assisted by her eldest daughter, Mme. Duret, on Nov. 7, 1818, in 'Une heure de mariage,' and was as much applauded as ever. Mme. Saint-Aubin lived to a great age, and died in Paris, Sept. 11, 1850. Three of her children distinguished themselves; the son,, born at Lyons in 1783, a violinist and composer of great promise, died at Paris in 1810.

The elder daughter,, born at Lyons in 1785, a pupil of Garat, made her début in 1805 at the Opéra Comique in 'Le Concert interrompu,' but went back to the Conservatoire to study, and did not reappear till 1808. In the interval she gained both style and taste in singing, but remained an indifferent actress. Under the name of Mme. Duret she rose for a short time to distinction as the favourite singer of Nicolo Isouard, who composed several important and difficult parts for her. Her best creations were in 'Le Billet de Loterie,' and 'Jeannot et Colin.' Her voice was of considerable compass, even and sonorous, though rather heavy; she vocalized with skill, and articulated distinctly, but her breath was short and drawn with effort. She retired in 1820. Her sister, born at Paris 1793, made a brilliant début at the Théâtre Feydeau in 1809, and in the following year excited great enthusiasm in Isouard's 'Cendrillon.' This was however the only original part in which she distinguished herself, and on her marriage with an actor at the Vaudeville in 1812, she retired from the stage. [ G. C. ]

SAINT-GEORGES, ,—not to be confounded with the notorious Chevalier de Saint-Georges (1745–1799 or 1801)—born in Paris 1801, died there 1875 [App. p.778 "Dec. 23"], writer of novels, and author of numerous librettos for operas and operas-comiques, was the favourite collaborateur of Halévy. Among his 120 librettos we need only specify those for Donizetti's 'Fille du Regiment'; Adolphe Adam's 'La Marquise,' 'Cagliostro,' 'Le Bijou perdu,' operas; and 'Giselle,' 'La jolie Fille de Gand,' and 'Le Corsaire,' ballets; Auber's 'L'Ambassadrice,'