Page:A Dictionary of Music and Musicians vol 3.djvu/228

216  all the latent capacities of a given theme, both in the way of melody and harmony.

In addition to his other claims to distinction, Saint-Saëns is a first-rate musical critic, and has contributed articles to 'La Renaissance,' 'L'Estafette,' 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.

M. Saint-Saëns 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 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 'Rouet d'Omphale' at the Crystal Palace. The Concerto 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 B♭ (op. 41). [ G. C. ]

SAINTON,, 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, fortunately 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 Société des Concerts, and the Grand Opéra; and then made an extended tour through Italy, Germany, Russia, Finland, Sweden, Denmark, and Spain, with great success. 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 1st 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 remained there till 1880. He was leader of the Philharmonic band from 1846 to 1854 inclusive, and of the Sacred Harmonic Society since 1848, 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 International Exhibition of 1862 Mr. Sainton conducted 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