The commencement of this venture began by reading Camille Saint-Saëns by Brian Rees , a secondary source material. Rees does an admirable effort in creating a seamless biography that places different periods of the Saint-Saëns lineage in perspective. Moreover he dedicates a few pages regarding Saint-Saëns Franco-Prussian war experience in his chapter: “Devastation, Seed Corn and Harvest.” The chapter briefly recounts the political climate of France months prior to the war and indicates various musical figures (Saint-Saëns included) that volunteered for active duty. He delves deeper into indicating that opera houses were utilized as hospitals or emergency service buildings. More importantly, Rees mentions Marche Héroïque genesis as originally
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Surprisingly, two unique bits of information are covered, the first is Saint-Saëns’s Marche Héroïque being given a self-dedicated by Société des Concerts “à la mémoire de Saint-Saëns” in the passing of the 86 year-old composer in 1921. Secondly, the transatlantic adoptions of this work in foreign shores. Other noteworthy essays regarding the French composer is through a work titled, “Saint-Saëns in Germany,” by Michael Stegemann translated by Mark Devoto, which delves into the complicated relationship between Saint-Saëns and Germany. Stegemann discusses Saint-Saëns appearances, performances, and reception in German soil, and briefly touches upon the consequences of friendship with Franz Liszt (1811-1886). Ultimately, Stegemann deconstructs Saint-Saëns relationship with Germany as an emulsion. On the one hand Saint-Saëns is indebted to the German tradition for the use of classical forms and instrumental music; on the contrary, his efforts to garner acceptance is stifled by geopolitical afflictions of war and a lukewarm reception as composer. For the purpose of this thesis it aids in constructing a better picture of how the composer handled his relations abroad. The penultimate paragraphs of this essay provide a surprising statement by the composer towards his attitude of the German
Surprisingly, two unique bits of information are covered, the first is Saint-Saëns’s Marche Héroïque being given a self-dedicated by Société des Concerts “à la mémoire de Saint-Saëns” in the passing of the 86 year-old composer in 1921. Secondly, the transatlantic adoptions of this work in foreign shores. Other noteworthy essays regarding the French composer is through a work titled, “Saint-Saëns in Germany,” by Michael Stegemann translated by Mark Devoto, which delves into the complicated relationship between Saint-Saëns and Germany. Stegemann discusses Saint-Saëns appearances, performances, and reception in German soil, and briefly touches upon the consequences of friendship with Franz Liszt (1811-1886). Ultimately, Stegemann deconstructs Saint-Saëns relationship with Germany as an emulsion. On the one hand Saint-Saëns is indebted to the German tradition for the use of classical forms and instrumental music; on the contrary, his efforts to garner acceptance is stifled by geopolitical afflictions of war and a lukewarm reception as composer. For the purpose of this thesis it aids in constructing a better picture of how the composer handled his relations abroad. The penultimate paragraphs of this essay provide a surprising statement by the composer towards his attitude of the German