Page:A Dictionary of Music and Musicians vol 3.djvu/242

230 'Dramatic' Symphony, and PF. Concerto in G; Goetz's Symphony, PF. Concerto, Overtures; Bandini's 'Eleonore'; Smetana's 'Vltava'; Bizet's 'Roma'; Sullivan's 'Martyr of Antioch'; Cowen's Scandinavian Symphony; Schubert's 8 Symphonies in chronological order, and many other new works have been brought forward. [ G. ]

SATURDAY POPULAR CONCERTS, THE, the enterprise of the Messrs. Chappell, and held in St. James's Hall, London, at 3 on Saturday afternoons in winter and spring, are an offshoot of the. They began in 1865, when three performances were given, on March 11, 18, 25. This practice continued, with a gradual increase in the number, and an occasional extra concert before Christmas, till 1876–7, when the number was raised to seventeen, given between Nov. 11 and March 24 inclusive, in fact alternating with the Monday Popular Concerts through the season. In programmes and performances the two sets of concerts are alike. [ G. ]

SAUER & LEIDESDORF, a formerly-existing firm of music-publishers in Vienna. Schubert published the following works with them, beginning in 1823: op. 26–30 (including the 'Schöne Müllerin' in 5 parts); 35, 40, 59, 69 (the overture only, for PF. 4 hands, as op. 52). Sauer then retired, and Leidesdorf continued the business alone, publishing for Schubert op. 92, 94, 108; and after his death 119 (Oct. 1829). Leidesdorf was a prolific writer of PF. pieces, much esteemed by amateurs. After the last-mentioned date he went to Florence, and died there Sept. 26, 1840. His relations to Beethoven are mentioned under. [ C. F. P. ]

SAUL. An oratorio; words attributed both to Jennens and Morell, music by Handel. The composition was begun July 23, 1738. The 2nd act was completed Aug. 28, and the whole on Sept. 27, of the same year. First performance at the King's Theatre, Tuesday, Jan. 16, 1739; at Dublin, May 25, 1742. Revived by the Sacred Harmonic Society, March 20, 1840. The autograph is in the library at Buckingham Palace. The overture ('Sinfonia') is Handel's longest; it is in 4 movements, and the organ is largely employed in it as a solo instrument. There seems to have been some secret connexion between the organ and the oratorio, as it is more than once announced 'with several concertos on the organ.' The 'Dead March in Saul' (in C major) has been perhaps more widely played, and is more universally known than any other piece of music. [ G. ]

SAURET,, violinist, born at Dun le Roi, Cher, France, May 22, 1852, soon attracted the notice of De Bériot, and became his pupil, the last he ever had. He began to travel at an early age, playing in the chief towns of France and Italy, in Vienna and in London, where he made his first appearance at Alfred Mellon's Concerts, Covent Garden, in Aug. 1866. In 1872 he made his first visit with Strakosch to the United States, and his second in 1874, remaining there till Jan. 1876. In New York he made the acquaintance of von Bülow and Rubinstein, and on his return to Leipzig was welcomed by the latter, then engaged in the rehearsals of his 'Paradise Lost.' Sauret made his début in the Gewandhaus in May 1876 in Mendelssohn's Concerto, and was most warmly received. He however returned immediately to America, and it was not till he came back again in 1877, and went through Germany and Austria in two long and most successful tournées, that his reputation was established in his native country. He has played at the Gewandhaus every year since 1876, and is a great and desired favourite with that very critical audience. In Holland also he is well known. In England he reappeared in 1880, and played at the Crystal Palace, April 24, and Philharmonic (Bruch's Concerto No. 1) on the 28th.

Liszt has shown him much kindness, and they have often made music together. In 1879 Sauret married Miss Emma Hotter of Dusseldorf, and since that date has taken up his abode in Berlin, where he is teacher of the violin in Kullak's Academy.

His published works embrace a Concerto in G minor; a Ballade, a Legende; and a Serenade in G—all for solo violin and orchestra; Caprice de Concert in D; Scherzo fantastique; Valse-caprice; Barcarolle-mazurka, and many other drawing-room pieces, as well as transcriptions from Mendelssohn, Rubinstein, Wagner, etc. [ G. ]

SAUZAY,, an eminent French violinist, was born at Paris, July 14, 1809. In 1823 he entered the Conservatoire, and in his second year became the pupil of Baillot and of Reicha. He obtained the 2nd violin prize in 1825, the 1st do., and the second for fugue, in 1827. A few years later he joined Baillot's quartet, first as second violin and then as tenor, vice Urhan, married Mlle. Baillot, and continued one of her father's party till its dissolution in 1840. He soon rose rapidly both in society and as a professor. In 1840 he was made first violin to Louis Philippe, and afterwards leader of the second violins to the Emperor Napoleon III. In 1860 he succeeded Girard as professor at the Conservatoire. His own quartet party started after the termination of Baillot's, embracing his wife and Boely as pianists, Norblin and Franchomme; gave its concerts, sometimes with and sometimes without orchestra, in the Salle Pleyel. Sauzay is mentioned by Hiller as one of Mendelssohn's acquaintances during his stay in Paris in 1830. He was greatly sought after both as a player and a teacher. His publications are not important, and consist of incidental music to 'Georges Dandin' and 'Le Sicilien,' cleverly written in the style of Lully to suit the date of the pieces; fantasias and romances; a PF. trio; songs; 'Haydn, Mozart, Beethoven; Etude sur le quatuor' (Paris 1861), a disappointing work from the pen of a musician of so much eminence and experience; 'L'école de l'accompagnement' (Paris 1869), a sequel to the foregoing. He