"_Son art a la douceur, le ton des vieux pastels Toujours il adora vos voluptés bénies, Cloches saintes, concert des orgues, purs autels; De son œil clair, il voit les beautés infinies._ _Sur sa lyre d'ivoire, avec les Polymnies, Il dit l'hymne paiën, cher aux Dieux immortels. 'Faust,' qui met dans sa main le sceptre des génies Egale les Juan, les Raoul et les Tell._ _De Shakespeare et de Goethe il dore l'auréole; Sa voix a rehaussé l'éclat de leur parole, Leur œvre de sa flamme a gardé le reflet. Echos du Mont Olympe, échos du Paraclet Sont redis par sa Muse aux langueurs de créole; Telle vibre à tous les vents une harpe d'Eole._" [Illustration: CAMILLE SAINT-SAËNS portrait signed] CAMILLE SAINT-SAËNS There probably does not exist a living composer who is gifted with a musical organisation so complete as that of Camille Saint-Saëns. A perfect master of his craft, the French composer has contributed his quota to every branch of his art, and may truly be said to have distinguished himself in each. An eclectic in the highest sense of the word, Saint-Saëns has attempted every style and form, disseminating his works right and left with seemingly reckless prodigality. Never at a loss for an idea, invariably correct and often imaginative, going from a piano concerto to an opera, and from a cantata to a symphonic poem with disconcerting ease, composing rapidly, yet never exhibiting any trace of slovenly workmanship, finding time in the meanwhile to distinguish himself as organist and pianist, and to wield the pen of the critic, the astonishing capabilities of this wonderfully gifted musician may be put down as absolutely unique. His eclecticism may indeed be said to have been with him both a source of strength and weakness, for reasons which I shall propose to examine later on. Before endeavouring to formulate an opinion upon his multifarious works, a few biographical notes will not be out of place. Camille Saint-Saëns was born on October 9, 1835. He lost his father when a child, and was brought up by his mother and his great-aunt, thanks to whose combined care he was able to battle against the natural delicacy of his constitution. Many anecdotes are related concerning the precocity of his musical development, and the ease with which he mastered those first principles of his art which usually appear so trying to the youthful mind. One day, when he was at play, a visitor having been ushered into the adjoining room, the child, in listening to his footsteps, gravely observed, to the amusement of those present: "That gentleman in walking marks a crotchet and a quaver." The visitor in question walked with a limp. It was from his great-aunt that he learnt the elements of music. Later on, he studied the piano under Stamaty,[19] and composition under Maleden, subsequently entering the Conservatoire in the class presided over by Halévy.