October 9, 1835:
06:45 Charles Camille Saint-Saëns is born at 3 rue du Jardinet, in the Sixth Arrondissement in Paris, Kingdom of France, the son of Jacques Joseph Victor Saint-Saëns, an audit clerk at the Ministry of the Interior, Paris, and Clémence Françoise Collin, daughter of a carpenter. The baby is their first and only child, as the father will die on 31 December of consumption.
March 22, 1839:
This is the date inscribed on the first composition by Camille Saint-Saëns (3), a piano piece.
August 1, 1840:
Camille Saint-Saëns (4) gives his first public performance as he accompanies a Beethoven (†13) violin sonata before a small drawing-room audience in Paris.
March 13, 1843:
Camille Saint-Saëns (7) begins piano lessons with Camille Stamaty, a pupil of Frédéric Kalkbrenner (57).
May 6, 1846:
Camille Saint-Saëns (10) gives his first evening public performance as pianist at the Salle Pleyel, Paris. He plays two concertos, the Mozart (†54) K.450 and Beethoven’s (†19) third, a Hummel (†8) sonata, a prelude and fugue by Bach (†95) and others, all from memory.
March 24, 1847:
Camille Saint-Saëns (11) plays before Hélène, duchesse d’Orléans at the Tuileries Palace, Paris. She is the daughter-in-law of King Louis-Philippe.
July 28, 1851:
Camille Saint-Saëns (15) wins first prize in organ at the Paris Conservatoire. He so outdistances his competition that neither second prize nor honorable mention are awarded.
December 26, 1852:
Ode à Sainte-Cécile for solo voices, chorus, and orchestra by Camille Saint-Saëns (17) is performed for the first time, in the Casino Paganini, Paris. It is not well received.
December 18, 1853:
Symphony no.1 by Camille Saint-Saëns (18) is performed for the first time, anonymously in Paris. The composer sits behind Charles Gounod (35) and Hector Berlioz (50) and listens as they discuss the work in glowing terms. After learning the identity of the composer, Gounod will send him a letter saying in part, “...and remember that on Sunday, 18th December 1853, you contracted the obligation of becoming a great master.”
February 15, 1857:
Symphonie en fa “Urbs Roma” by Camille Saint-Saëns (21) is performed for the first time, in Paris.
April 21, 1857:
Mass op.4 for chorus, orchestra and organ by Camille Saint-Saëns (21) is performed for the first time, in the Church of Saint-Merri, Paris.
April 28, 1857:
Tarantelle op.6 for flute, clarinet and orchestra or piano by Camille Saint-Saëns (21) is performed publicly for the first time, in Salle Pleyel, Paris, the composer at the piano.
December 3, 1857:
Camille Saint-Saëns (22) inaugurates the Cavaillé-Coll organ in the Church of Saint-Merri, Paris.
December 7, 1857:
Camille Saint-Saëns (22) takes up his duties as organist at the Church of the Madeleine, Paris.
December 25, 1858:
Oratorio de Noël for chorus, strings, harp, and organ by Camille Saint-Saëns (23) to words from the Vulgate Bible is performed for the first time, in the Church of the Madeleine, Paris.
March 25, 1860:
Symphony no.2 by Camille Saint-Saëns (24) is performed for the first time, at Salle Pleyel in Paris.
April 9, 1860:
Concerto for violin and orchestra no.2 op.58 by Camille Saint-Saëns (24) is performed for the first time, in Salle Erard, Paris.
January 17, 1862:
Concerto for piano and orchestra no.1 op.17 by Camille Saint-Saëns (26) is performed for the first time, in Salle Pleyel, Paris, the composer at the keyboard.
April 29, 1862:
Camille Saint-Saëns (26), Georges Schmitt, César Franck (39), Alexander Guilmant, and August Bazille inaugurate the new Cavaillé-Coll organ in the Church of Saint-Sulpice, Paris.
November 26, 1863:
Spartacus, an overture by Camille Saint-Saëns (28) is performed for the first time, in Notre Dame de Bordeaux.
January 20, 1865:
Trio no.1 for piano and strings op.18 by Camille Saint-Saëns (29) is performed for the first time, in Salle Pleyel, Paris, the composer at the piano.
January 7, 1866:
Sérénade op.15 for piano, organ, violin, and viola or cello by Camille Saint-Saëns (30) is performed for the first time time, at the salon of Princesse Mathilde in Paris with the composer at the organ. Among the listeners is Daniel Auber (83).
March 8, 1866:
At a social gathering in the salon of Princess Pauline Metternich in Paris, Camille Saint-Saëns (30) meets Franz Liszt (54). They play through a four-hand arrangement of Liszt’s Missa solemnis zur Einweihung der Basilika in Gran which is due to be performed in Paris shortly. Liszt announces, “It is possible to be as much of a musician as Saint-Saëns; it is impossible to be more of one!” Saint-Saëns writes “I see again that long pale face casting seductive glances at his audience while from beneath his fingers, almost unconsciously, and with an amazing range of nuances, there murmured, surged, boomed, and stormed the waves of the Legend of St. Francis of Paule walking on the waters. Never again shall we see or hear anything like it.” (Williams, 408-9)
April 27, 1866:
Suite for cello and piano op.16 by Camille Saint-Saëns (30) is performed for the first time, at the Salle Pleyel, Paris.
April 4, 1867:
Two works by Camille Saint-Saëns (31) are performed for the first time, at the Théâtre des Champs-Elysées conducted by the composer: Concerto for violin and orchestra no.1 op.20 and Introduction et Rondo Capriccioso for violin and orchestra op.28.
June 11, 1867:
As part of the Exposition Universelle des Beaux Arts, a jury which includes Hector Berlioz (63) awards the prize for the best cantata to Camille Saint-Saëns (31). Berlioz hurries to Saint-Saëns’ home to tell him but he is not there.
September 1, 1867:
Les noces de Prométhée op.19, a cantata for solo voices and orchestra by Camille Saint-Saëns (31) to words of Cornut, is performed for the first time, at the Cirque de l’Impératrice (Cirque d'été), Paris.
March 6, 1868:
Fantaisie (III) in C for organ by César Franck (45) is performed for the first time, in the Cathedral of Notre Dame, Paris by the composer at the inauguration of the Cavaillé-Coll organ. Among the several organists taking part are Charles-Marie Widor and Camille Saint-Saëns (32).
March 8, 1868:
The organ of the Cathedral of Notre Dame, Paris is opened by Camille Saint-Saëns (32), Alexandre Guilmant, Charles-Marie Widor, and Charles Chauvet.
May 13, 1868:
Concerto for piano and orchestra no.2 op.22 by Camille Saint-Saëns (32) is performed for the first time, at the Salle Pleyel, Paris, the composer at the keyboard, conducted by Anton Rubinstein (38). It is not well received, but will become one of his most popular works.
August 15, 1868:
Camille Saint-Saëns (32) is awarded the Legion of Honor.
November 25, 1869:
Concerto for piano and orchestra no.3 op.29 by Camille Saint-Saëns (34) is performed for the first time, in the Leipzig Gewandhaus, conducted by the composer. The work is badly received in Leipzig, even sparking a loud argument in the audience at the beginning of the slow movement.
May 9, 1870:
Anton Rubinstein (40) plays at the Paris home of Camille Saint-Saëns (34). An enthusiastic Gabriel Fauré (24) is there too.
June 26, 1870:
Die Walküre, a music-drama by Richard Wagner (57) to his own words, is performed for the first time, against the composer’s wishes, in the Königliches Hof-und Nationaltheater, Munich. Among the audience are Johannes Brahms (37), Camille Saint-Saëns (34), and Henri Duparc (22). See 14 August 1876.
July 19, 1870:
Visitors from France, including Camille Saint-Saëns (34) and Henri Duparc (22), arrive to visit ardent Germanophile Richard Wagner (57) and Cosima von Bülow at Tribschen, near Lucerne, Switzerland. The visit is somewhat awkward, but Wagner manages to keep his conversation on music. Cosima, however, can't help herself. They will stay until 30 July, during which time Wagner’s anti-French rhetoric becomes more strident.
September 13, 1870:
Franco-Prussian War: 100,000 soldiers parade before General Trochu in Paris. Among those under arms are Camille Saint-Saëns (34), Georges Bizet (31), Jules Massenet (28), Gabriel Fauré (25), and Henri Duparc (22).
February 25, 1871:
The Société National de Musique is founded in the Paris home of Henri Duparc by César Franck (48), Camille Saint-Saëns (35), Georges Bizet (32), Jules Massenet (28), Gabriel Fauré (25), Henri Duparc (23), Vincent d’Indy (19), and others. The concerts of the Society are to be limited to living French composers.
December 7, 1871:
Le Rouet d’Omphale op.31, a symphonic poem by Camille Saint-Saëns (36), is performed for the first time, in a version for two pianos, in the Salle Erard, Paris. The composer performs one part. See 14 April 1872.
December 10, 1871:
Marche héroïque op.34 for orchestra by Camille Saint-Saëns (36) is performed for the first time, in Paris.
April 6, 1872:
Romance for flute and orchestra op.37 by Camille Saint-Saëns (36) is performed for the first time, in the Salle Pleyel, Paris, conducted by the composer.
April 14, 1872:
Le Rouet d’Omphale op.31, a symphonic poem by Camille Saint-Saëns (36), is performed for the first time in its orchestral setting, in Paris. See 7 December 1871.
June 12, 1872:
La princesse jaune, an opéra-comique by Camille Saint-Saëns (36) to words of Gallet, is performed for the first time, at the Théâtre Favart, Paris.
December 7, 1872:
Sonata no.1 op.32 for cello and piano by Camille Saint-Saëns (37) is performed for the first time, in Paris, the composer at the keyboard.
January 19, 1873:
Concerto for cello and orchestra no.1 op.33 by Camille Saint-Saëns (37) is performed for the first time, at the Paris Conservatoire.
February 8, 1873:
Two songs for voice and piano by Gabriel Fauré (27) to words of Gautier are performed for the first time, by the Société National de Musique, Paris: Les matelots op.2/2 and La chanson du pêcheur op.4/1. Also on the program is the premiere of the first three movements of Fauré’s Suite d’orchestre in a reduction for two pianos played by Camille Saint-Saëns (37) and the composer, as well as the premiere of Allegro Appassionato op.43 for cello and orchestra by Camille Saint-Saëns. See 16 May 1874.
February 21, 1873:
The chapel organ at Versailles, built in 1736 and newly restored by Cavaillé-Coll, is inaugurated by Camille Saint-Saëns (37) and Charles-Marie Widor.
March 2, 1873:
The first of the Concert National series (later Concerts Colonne) takes place in the Théâtre de L’Odéon, Paris. Among the performers are Camille Saint-Saëns (37) and Pauline Viardot (51).
December 7, 1873:
Phaëton op.39, a symphonic poem by Camille Saint-Saëns (38) is performed for the first time, at the Théâtre du Châtelet in Paris.
March 28, 1874:
Variations on a Theme of Beethoven op.35 for two pianos by Camille Saint-Saëns (38) is performed for the first time, in Paris.
January 24, 1875:
Danse macabre op.40, a symphonic poem by Camille Saint-Saëns (39) is performed for the first time, at the Théâtre du Châtelet in Paris. The composer’s mother faints from the amount of boos and whistles.
February 3, 1875:
Camille Saint-Saëns (39) marries Marie Laure Emile Truffot in the Mairie of Le Cateau, northern France.
March 6, 1875:
Quartet for piano and strings op.41 by Camille Saint-Saëns (39) is performed for the first time, at Salle Pleyel, the composer at the keyboard.
March 26, 1875:
The first act of Camille Saint-Saëns’ (39) unstaged opera Samson et Dalila, to words of Lemaire, is performed for the first time, in a concert setting, in Paris. It is not well received. See 2 December 1877.
October 31, 1875:
Concerto for piano and orchestra no.4 op.44 by Camille Saint-Saëns (40) is performed for the first time, at the Théâtre du Châtelet, in Paris, the composer at the keyboard.
December 13, 1875:
Camille Saint-Saëns (40) gives his first concert in Moscow. Among the audience is Pyotr Ilyich Tchaikovsky (35).
March 5, 1876:
Le déluge, an oratorio by Camille Saint-Saëns (40) to words of Gallet, is performed for the first time, in Paris. In the second part, dueling demonstrations of approval and disapproval erupt in the audience.
July 21, 1876:
Camille Saint-Saëns (40) is made music critic of the Paris daily Le Bon Sens.
August 13, 1876:
A glittering array of political leaders and artists, including Kaiser Wilhelm I of Germany and Emperor Pedro II of Brazil, gathers in Bayreuth for the opening of the Festspielhaus. Attending musicians include Franz Liszt (64), Anton Bruckner (51), Camille Saint-Saëns (40), Pyotr Ilyich Tchaikovsky (36), Edvard Grieg (33), and Arthur Foote (23). Friedrich Nietzsche is also there. The first production of the complete Der Ring des Nibelungen, Bühnenfestspiel für drei Tage und einen Vorabend, by Richard Wagner (63) to his own words opens in the Bayreuth Festspielhaus with a production of Das Rheingold.
January 27, 1877:
Violin Sonata no.1 op.13 by Gariel Fauré (31) is performed for the first time, by the Société National de Musique, Paris, the composer at the keyboard. On the same program is the premiere of an impromptu for piano by Emanuel Chabrier (36), performed by Camille Saint-Saëns (41). The sonata is an instant hit and brings Fauré to fame. “The success of the Sonata this evening exceeded all my hopes!!!”
January 28, 1877:
La Jeunesse d’Hercule op.50, a symphonic poem by Camille Saint-Saëns (41), is performed for the first time, in Paris.
February 23, 1877:
Le timbre d’argent, a drame lyrique by Camille Saint-Saëns (41) to words of Barbier and Carré, is performed for the first time, at the Théâtre National-Lyrique, Paris. It is moderately successful and receives 18 performances. Charles Gounod (58) is in the audience and is very impressed.
April 7, 1877:
After the success for the Violin Sonata no.1 in January, Camille Saint-Saëns (41) publishes an article in the Journal de musique praising the rising talent of Gabriel Fauré (31).
December 2, 1877:
Samson et Dalila, an opéra by Camille Saint-Saëns (42) to words of Lemaire, is performed for the first time, in the Weimar Hoftheater, conducted by Franz Liszt (66). Gabriel Fauré (32), in town for the premiere, meets Liszt for the first time. Fauré will later write, “being at that first performance was one of the greatest pleasures and one of the most moving experiences of my life.”
March 2, 1878:
Three of the Six Etudes op.52 for piano by Camille Saint-Saëns (42) are performed for the first time, at a concert of the Société National de Musique, Paris.
May 17, 1878:
Incidental music to Tillier’s play Nina Zombi by Camille Saint-Saëns (42) and ten others is performed for the first time, in Paris
May 22, 1878:
A Requiem by Camille Saint-Saëns (42) is performed for the first time, at the Church of Saint-Sulpice, Paris. The work is in memory of Albert Libon who died last year and left the composer 100,000 francs.
July 7, 1878:
Little more than a month after the death of his four-year-old son, Camille Saint-Saëns’ (42) eight-month-old baby Jean dies of “an infantile malady.” Within three years, the composer will leave his wife, never to see her again. (She will die on 30 January 1950.)
July 26, 1878:
Edward MacDowell (17) participates in his first concours at the Paris Conservatoire before a committee which includes Henri Herz (75), Camille Saint-Saëns (42), and Ambroise Thomas (66). His prepared piece goes well, but his sight-reading from manuscript is a disaster when he mistakenly plays the piece in minor, abruptly switching to major in the middle when he realizes his mistake. Among the other pianists is Claude Debussy (15).
November 30, 1878:
On the second ballot, Jules Massenet (36) is elected to the Institut de France over Camille Saint-Saëns (43).
February 8, 1879:
Étienne Marcel, an opéra by Camille Saint-Saëns (43) to words of Gallet, is performed for the first time, at the Grand Théâtre, Lyon. The press is very positive.
August 28, 1879:
La lyre et la harpe, for solo voices and orchestra by Camille Saint-Saëns (43) to words of Hugo, is performed for the first time, in Birmingham.
January 6, 1880:
The first movement of the Septet op.65 for trumpet, two violins, viola, cello, double bass, and piano by Camille Saint-Saëns (44) is performed for the first time, in Paris, the composer at the keyboard. See 28 December 1880.
January 17, 1880:
César Franck’s (57) Quintet for piano and strings in f minor is performed for the first time, in the Salle Pleyel, Paris. After the performance, the composer rises to dedicate the work to the pianist, Camille Saint-Saëns (44) but Saint-Saëns, who believes the piece to be a love letter to Augusta Holmès, stomps off the stage.
March 12, 1880:
Menuet et Valse op.56 for piano by Camille Saint-Saëns (44) is performed for the first time, at the Salle Erard, Paris by the composer.
June 21, 1880:
Elégie for cello and piano by Gabriel Fauré (35) is performed for the first time, in a private performance at the home of Camille Saint-Saëns (44), Paris, the composer at the keyboard. See 15 December 1883 and 23 January 1902.
July 8, 1880:
Spending his third summer in England, Camille Saint-Saëns (44) enjoys an audience with Queen Victoria. He finds her unexpectedly cordial and plays the organ at her request.
October 15, 1880:
Concerto for violin and orchestra no.3 op.61 by Camille Saint-Saëns (45) is performed for the first time, in Hamburg.
October 24, 1880:
Jota Aragonese op.64 for orchestra by Camille Saint-Saëns (45) is performed for the first time, in Madrid.
November 14, 1880:
Morceau de concert op.62 for violin and orchestra by Camille Saint-Saëns (45) is performed for the first time, at the Théâtre du Châtelet, Paris.
December 19, 1880:
Suite Algérienne op.60 for orchestra by Camille Saint-Saëns (45) is performed for the first time, in Paris.
December 28, 1880:
The Septet op.65 for trumpet, two violins, viola, cello, double bass, and piano by Camille Saint-Saëns (45) is performed completely for the first time, in Paris, the composer at the keyboard. See 6 January 1880.
January 21, 1881:
Camille Saint-Saëns (45) is elected to fill the seat vacated by the death of Henri Reber at the French Institute.
January 23, 1881:
Une nuit à Lisbonne op.63, a barcarolle for orchestra by Camille Saint-Saëns (45) is performed for the first time, at the Cirque d’hiver, Paris.
July 12, 1882:
Victor Herbert (23) meets Franz Liszt (70) at the Allgemeinen Deutschen Musik-Verein in Zürich. Later, Liszt and Camille Saint-Saëns (46) perform Liszt’s four-hand arrangement of his Mephisto Waltz. Herbert will remember, “You should have heard that playing. We were afraid every moment the piano would go to smash under Liszt’s gigantic hands that came down like very sledge hammers.” (Waters, 18)
December 9, 1882:
Four works by Gabriel Fauré (37) are performed for the first time, by the Société National de Musique, Paris: Les Berceaux op.23/1, a song for voice and piano to words of Sully-Prudhomme, Chanson d’amour op.27/1 for voice and piano to words of Silvestre, and two piano works, Barcarolle no.1 op.26 and Impromptu no.1 op.25. At the keyboard for the last two is Camille Saint-Saëns (47).
March 5, 1883:
Henry VIII, an opéra by Camille Saint-Saëns (47) to words of Détroyat and Silvestre, is performed for the first time, at the Paris Opéra.
January 10, 1885:
Impromptus nos.2&3 opp.31&34 for piano by Gabriel Fauré (39) are performed for the first time, by the Société National de Musique, Paris, Camille Saint-Saëns (49) at the piano.
January 9, 1886:
The Sonata no.1 for piano and violin op.75 by Camille Saint-Saëns (50) is performed for the first time, in Paris, the composer at the keyboard.
March 9, 1886:
Le Carnival des Animaux, grande fantaisie zoologique for two pianos, two violins, viola, cello, double bass, flute, clarinet, harmonica, and xylophone by Camille Saint-Saëns (50) is performed for the first time, at a Shrove Tuesday concert in Paris.
April 3, 1886:
La naissance de Venus for solo voices, chorus, and orchestra by Gabriel Fauré (40) to words of Collin is performed for the first time, by the Société National de Musique, at the Salle Pleyel, Paris. Also on the program is the premiere of the Polonaise op.77 for two pianos by Camille Saint-Saëns (50) played by the composer and Fauré. See 8 March 1883.
May 19, 1886:
Symphony no.3 op.78 by Camille Saint-Saëns (50) is performed for the first time, in St. James’ Hall, London conducted by the composer. In the same program, Saint-Saëns plays the Piano Concerto no.4 by Ludwig van Beethoven (†59) conducted by Arthur Sullivan (44).
November 21, 1886:
Romain Bussine and Camille Saint-Saëns (51) resign from the Société national de musique when the committee agrees to Vincent d’Indy’s motion to allow old and foreign music. Within a week, César Franck (63) will become president, Vincent d’Indy (35) and Ernest Chausson (31) secretaries, and Gabriel Fauré (41) treasurer.
February 5, 1887:
Wedding Cake op.76 for piano and strings by Camille Saint-Saëns (51) is performed for the first time, by the Société National de Musique at Salle Pleyel, Paris.
March 15, 1887:
Proserpine, a drame lyrique by Camille Saint-Saëns (51) to words of Gallet after Vacquerie, is performed for the first time, at the Théâtre Favart, Paris.
June 18, 1887:
Camille Saint-Saëns (51) plays all four of his piano concertos, from memory, at a concert in St. James’ Hall, London.
March 21, 1890:
Ascanio, an opéra by Camille Saint-Saëns (54) to words of Gallet after Meurice, is performed for the first time, at the Paris Opéra.
April 20, 1890:
Enrique Granados (22) makes his official debut at Barcelona’s Teatre Líric, premiering Arabesca, selections from Danzas españolas, and Serenata española. He also plays music of Saint-Saëns (54), Bizet (†14), Mendelssohn (†42), Chopin (†40), Beethoven (†63), Mozart (†98), and Schubert (†61). The critics are enthusiastic about his compositions and his playing.
July 18, 1890:
A museum dedicated to Camille Saint-Saëns (54) opens in Dieppe. The composer is present at the opening ceremony.
November 10, 1890:
After a memorial service in the Church of Sainte-Clotilde, the earthly remains of César Franck are laid to rest in the Cimitière de Montparnasse, Paris. The oration is made by Emanuel Chabrier (49). Édouard Lalo (67), Camille Saint-Saëns (55), Léo Delibes (54), Gabriel Fauré (45), and Charles-Marie Widor are also present but many other prominent musicians do not attend.
November 30, 1890:
Scherzo op.87 for two pianos by Camille Saint-Saëns (55) is performed for the first time, in Paris.
October 25, 1891:
Africa op.89, a fantasy for piano and orchestra by Camille Saint-Saëns (56) is performed for the first time, in the Théâtre du Châtelet, Paris.
January 17, 1892:
Rapsodie bretonne op.7bis for orchestra by Camille Saint-Saëns (56) is performed for the first time, at the Cirque des Champs-Elysées (Cirque d'été), Paris.
February 14, 1892:
Parts of La Nuit Persane by Camille Saint-Saëns (56) to words of Renaud, a version for solo voices and orchestra of his 1870 song cycle Mélodies Persanes, are performed for the first time, in Paris.
March 12, 1892:
Chant Saphique op.91 for cello and piano by Camille Saint-Saëns (56) is performed for the first time, in Paris.
May 19, 1892:
Incidental music to Molière’s play Le Sicilien by Jean-Baptiste Lully (†205), restored by Camille Saint-Saëns (56), is performed for the first time, in Palais Garnier, Paris.
November 28, 1892:
Le malade imaginaire, a comédie-ballet by Marc-Antoine Charpentier (†188) restored by Camille Saint-Saëns (57) to words of Molière, is performed for the first time, in Paris. For this production Saint-Saëns composed a new Sarabande et Rigaudon op.93.
December 7, 1892:
Trio for piano and strings no.2 op.92 by Camille Saint-Saëns (57) is performed for the first time, at Salle Erard, Paris.
May 6, 1893:
Fantaisie for harp op.95 by Camille Saint-Saëns (57) is performed for the first time, in Paris.
May 24, 1893:
Phryné, an opéra comique by Camille Saint-Saëns (57) to words of Augé de Lassus, is performed for the first time, at the Théâtre Lyrique, Paris.
June 12, 1893:
A concert celebrating tomorrow’s degree recipients takes place in Cambridge. Max Bruch conducts a scene from his choral work Odysseus, Camille Saint-Saëns (57) conducts his Fantasy L’afrique, Arrigo Boito (51) conducts the prologue from his Mefistofele, Pyotr Ilyich Tchaikovsky (53) conducts his Francesca da Rimini, and Charles Villiers Stanford (40), the musical organizer of the festivities, conducts Edvard Grieg’s (49) Peer Gynt Suite no.1. Stanford finishes the concert by conducting his own East to West.
June 13, 1893:
Cambridge University confers honorary Doctor of Music degrees on Camille Saint-Saëns (57), Arrigo Boito (51), Max Bruch, Edvard Grieg (49), and Pyotr Ilyich Tchaikovsky (53). Grieg is unable to attend due to illness.
October 7, 1893:
Incidental music to Cottinet’s play Vercingétorix by Camille Saint-Saëns (57) is performed for the first time, in Théâtre de l’Odéon, Paris.
November 21, 1893:
Incidental music to Antigone, a play by Meurice and Vacquerie after Sophocles, by Camille Saint-Saëns (59), is performed for the first time, in the Comédie-Française, Paris.
January 7, 1894:
Havanaise op.83 for violin and orchestra by Camille Saint-Saëns (58) is performed for the first time, in the Théâtre du Châtelet, Paris.
May 17, 1894:
Having been ignored by the jury choosing a successor to Charles Gounod (†0) for the Academy of Fine Arts of the Institut de France, Erik Satie, on his 28th birthday, fires off a letter to Le Ménestrel addressed to Camille Saint-Saëns (58), the jury president. “Your aberration can only be due to your refusal to accept the ideas of the Century and to your ignorance of God, which is the direct cause of Esthetic decline. I forgive you in Jesus Christ and embrace you in the grace of God.”
April 27, 1895:
Souvenir d’Ismaïlia op.100 for piano by Camille Saint-Saëns (59) is performed for the first time, in Paris.
December 18, 1895:
Frédégonde, a drame lyrique by Camille Saint-Saëns (60) to words of Gallet, is performed for the first time, at the Paris Opéra.
May 8, 1896:
Berceuse op.105 for piano four hands by Camille Saint-Saëns (60) is performed for the first time, at the Milan Conservatory of Music by the composer in an organ transcription.
May 22, 1896:
Valse Mignonne op.104 for piano by Camille Saint-Saëns (60) is performed for the first time, in Paris by the composer. Also premiered is the original piano-four hands version of Berceuse op.105. See 8 May 1896.
June 2, 1896:
At a concert in Salle Pleyel, Paris celebrating 50 years of professional music making by Camille Saint-Saëns (60), his Concerto for piano and orchestra no.5 op.103 is heard for the first time, the composer at the keyboard. Also premiered by the composer is his Sonata no.2 op.102 for violin and piano.
December 3, 1896:
Javotte, a ballet by Camille Saint-Saëns (61) to a scenario by Croze, is performed for the first time, in Lyon, the composer conducting.
October 27, 1897:
For the first time, Sergey Rakhmaninov (24) publicly conducts music that is not his own, in his operatic debut in Moscow. He directs Camille Saint-Saëns’ (62) Samson et Dalila.
December 13, 1897:
Marche religieuse for organ op.107 by Camille Saint-Saëns (62) is performed for the first time, in the Church of San Francisco, Madrid, by the composer.
May 18, 1898:
Two new works by Camille Saint-Saëns (62) are performed for the first time, in Paris: Duo for two pianos op.8bis and Barcarolle op.108 for violin, cello, harmonium, and piano, the composer at the harmonium.
June 7, 1898:
Caprice Héroïque for two pianos by Camille Saint-Saëns (62) is performed for the first time, in St. Petersburg before the Russian royal family.
August 28, 1898:
Incidental music to Gallet’s play Déjanire by Camille Saint-Saëns (62) is performed for the first time, in the Théâtre des Arènes, Béziers. It is very enthusiastically received.
October 5, 1898:
Ernst Bloch (18) enters the orchestra of Eugene Ysaÿe in Brussels as a violinist. At today’s first rehearsal he is so nervous that he puts soap on his bow so that no one will hear the mistakes. Eventually, Bloch will become acquainted with many members of the Ysaÿe circle, including Claude Debussy (36), Camille Saint-Saëns (62), and Gabriel Fauré (53).
June 7, 1899:
Camille Saint-Saëns (63) arrives in Rio de Janeiro aboard The Duchess of Genoa. He will give two concerts in the capital and two in São Paulo. While in Rio, his String Quartet op.112 will be premiered.
May 31, 1900:
In the first official concert of the Paris Exhibition, Le feu céleste op.115 for narrator, soprano, orchestra, and organ by Camille Saint-Saëns (64) to words of Sylvestre, is performed for the first time.
March 7, 1901:
Lola, a scène dramatique by Camille Saint-Saëns (65) to words of Bordèse, is performed publicly for the first time, in Paris. See 21 January 1901.
October 23, 1901:
The tragédie lyrique Les barbares, words by Sardou and Gheusi, music by Camille Saint-Saëns (66), is performed for the first time, at the Paris Opéra.
February 26, 1902:
Incidental music to Hugo’s play Les burgraves by Camille Saint-Saëns (66) is performed for the first time, at the Comédie-Française, Paris.
August 9, 1902:
The coronation ceremonies of King Edward VII of Great Britain, in Westminster Abbey, include the first performance of the hymn O Mightiest of the Mighty by Edward Elgar (45) to words of Clarke, the Marche du couronnement op.117 for orchestra by Camille Saint-Saëns (66), and the anthem I was glad by Hubert Parry (54) to words of the Psalms. See 23 June 1911.
August 17, 1902:
Incidental music to Dieulafoy’s play Parysatis, by Camille Saint-Saëns (66) is performed for the first time, in the Arènes de Béziers.
February 7, 1903:
Incidental music to Racine’s play Andromaque by Camille Saint-Saëns (67) is performed for the first time, at the Théâtre Sarah-Bernhardt, Paris.
February 18, 1904:
The poème lyrique Hélène, by Camille Saint-Saëns (68) to his own words, is performed for the first time, in the Théâtre de Monte Carlo.
November 13, 1904:
Caprice andalous op. 122, for violin and orchestra by Camille Saint-Saëns (69), is performed for the first time, in the Salle Gaveau, Paris.
February 5, 1905:
The Second Cello Concerto of Camille Saint-Saëns (69) is performed for the first time, in Paris.
April 13, 1905:
Sonata no.2 for cello and piano op.123 by Camille Saint-Saëns (69) is performed for the first time, in Paris, the composer at the keyboard.
February 24, 1906:
The drame lyrique L’ancêtre by Camille Saint-Saëns (70) to words of Augé de Lassus, is performed for the first time, in the Théâtre de Monte Carlo.
November 3, 1906:
Camille Saint-Saëns (71) gives his first concert in the United States, in Carnegie Hall, New York.
December 23, 1906:
After two months in the United States, Camille Saint-Saëns (71) boards ship in New York for home.
April 12, 1907:
Prince Albert of Monaco is a guest at the Imperial Palace, Berlin. A luncheon today includes Camille Saint-Saëns (71), Jules Massenet (64), Edvard Grieg (63), and several other artistic personalities. Kaiser Wilhelm also attends.
April 13, 1907:
At the Imperial Palace, Berlin, Kaiser Wilhelm II has a long talk with Camille Saint-Saëns (71), Jules Massenet (64), and Xavier Leroux. He confers distinctions on Massenet and Leroux and gives his portrait to Saint-Saëns.
June 26, 1907:
Camille Saint-Saëns (71) is awarded an honorary DMus by the University of Oxford.
July 3, 1907:
Fantaisie for violin and harp op.124 by Camille Saint-Saëns (71) is performed for the first time, at Salle Erard, Paris.
September 24, 1908:
Camille Saint-Saëns (72) replies to a letter from Alfredo Casella (25) asking him to look at one of his works. The elder master tells the younger, “Do you want some good advice? Do as I have done; since I was seventeen years old, I have never shown my work to anyone.”
November 16, 1908:
Music to Lavedon’s film L’assassinat du Duc de Guise by Camille Saint-Saëns (73) is performed for the first time, in the Salle Charras, Paris. This is the first known film score by a major composer.
April 10, 1909:
Incidental music to Brieux’s play La foi by Camille Saint-Saëns (73) is performed for the first time, in the Théâtre de Monte Carlo.
March 29, 1910:
The Oceanographic Museum at Monaco is formally inaugurated. During the ceremonies, Ouverture du fête op.133 for orchestra by Camille Saint-Saëns (74) and La Nef triomphale for chorus and orchestra by Jules Massenet (67) to words of Aicard are performed for the first time.
June 7, 1910:
La muse et le poète op.132 for violin, cello, and orchestra by Camille Saint-Saëns (74) is performed for the first time, in Queen’s Hall, London. For the premiere, the composer plays a piano reduction of the accompaniment.
September 12, 1910:
Symphony no.8 “of a thousand” for three sopranos, two altos, tenor, baritone, bass, boys chorus, mixed chorus, and orchestra by Gustav Mahler (50) to the medieval hymn Veni Creator Spiritus and words of Goethe, is performed for the first time, at the Neue Musik Festhalle, Munich, conducted by the composer. The performers include eight soloists, 170 in the orchestra (plus organ) and 850 singers (both children and adult). It is the greatest success of Mahler’s life. Among the glittering audience are Camille Saint-Saëns (74), Alphons Diepenbrock (48), Richard Strauss (46), Paul Dukas (44), Max Reger (37), Alfredo Casella (27), Anton Webern (26), Auguste Rodin, Lilli Lehmann, Siegried Wagern, Willem Mengelberg, Bruno Walter, Leopold Stokowski, and Thomas Mann. Mann will send Mahler a copy of his new book Königliche Hoheit. “It is certainly a very poor return for what I received—a mere feather’s weight in the hand of the man who, as I believe, expresses the art of our time in its profoundest and most sacred form.” It is the last time Mahler and Strauss meet.
March 14, 1911:
Déjanire, a drame lyrique by Camille Saint-Saëns (75) to his own words and Gallet after Sophocles, is performed for the first time, in the Théâtre Lyrique de Monte Carlo. See 28 August 1892.
January 11, 1913:
Camille Saint-Saëns (77) receives the Grande Croix of the French Legion of Honor.
May 29, 1913:
Le Sacre du Printemps, a ballet by Igor Stravinsky (30) to a scenario of Roerich, is performed for the first time, at the Théâtre des Champs-Elysées, Paris. The ballet and its music cause a riot in the theatre as proponents and opponents resort to fisticuffs to exchange opinions on the value of art. The dancers perform to music that they have to imagine, as few in the auditorium can hear it, except during certain lulls. The choreographer, Vaclav Nizhinsky, almost runs onto the stage from the wings but is physically restrained by the composer. Sergey Diaghilev, the impresario, flicks the lights several times in an effort to douse the demonstrations. Nothing works. Those participating in the discussions include Maurice Ravel (38) and Florent Schmitt (42). Camille Saint-Saëns (77) simply repeats “he’s mad, he’s mad” several times before walking out. In the audience is a young composer named Gian Francesco Malipiero (31) who was encouraged to attend by Alfredo Casella (29). “I awoke from a long and dangerous lethargy.” He decides to disown all his previous work and strike out anew. Daniel Chennevière (Dane Rudhyar) (18) calls it “a tremendous experience.”
June 2, 1913:
Ouverture d’un opéra-comique inachevé for orchestra by Camille Saint-Saëns (77) is performed for the first time, in Queen’s Hall, London 60 years after it was composed. The performance is part of a celebration of 75 years since Saint-Saëns’ debut as a pianist.
September 11, 1913:
The Promised Land, an oratorio by Camille Saint-Saëns (77) to words of Klein, is performed for the first time, in Gloucester Cathedral. While in Gloucester, Saint-Saëns meets Edward Elgar (56) for the first time.
February 7, 1914:
Camille Saint-Saëns (78), Felipe Pedrell (72), Engelbert Humperdinck (59), Edward Elgar (56), and Claude Debussy(51) are awarded honorary membership in the Accademia di Santa Cecilia in Rome.
September 19, 1914:
Camille Saint-Saëns (78) publishes the first of a series of articles entitled “Germanophile”, wherein he attacks German art and music and suggests a ban on the music of Wagner.
September 23, 1914:
Nadia (27) and Lili (21) Boulanger write to several prominent musicians asking them to become honorary committee members of their Comité Franco-Américain du Conservatoire National de Musique et de Déclamation. This is an organization funded by the American architect Whitney Warren to give aid and support to French soldiers. All of those contacted (including Gabriel Fauré (69) and Gustave Charpentier (54)), except Camille Saint-Saëns (78), give their enthusiastic support.
April 24, 1915:
Camille Saint-Saëns (79) departs Bordeaux for New York.
May 22, 1915:
Camille Saint-Saëns (79) reaches San Francisco from New York, with stops in Philadelphia and Chicago.
June 19, 1915:
A work composed on commission from the Panama-Pacific International Exposition, Hail! California, by Camille Saint-Saëns (79), is performed for the first time, at the exposition in San Francisco conducted by the composer.
July 13, 1916:
Camille Saint-Saëns (80) gives a concert in the Solis Theatre, Montevideo.
July 27, 1916:
Camille Saint-Saëns (80) boards ship in Argentina making for Lisbon.
November 23, 1916:
Two piano works by Gabriel Fauré (71), the Barcarolle no.12 op.106 and the Nocturne no.12 op.107, are performed for the first time, at the Concerts Durand, Paris. Also on the program is the premiere of Elégie op.143 for violin and piano by Camille Saint-Saëns (81), the composer at the keyboard.
February 8, 1917:
Incidental music to de Musset’s play On ne badine pas avec l’amour by Camille Saint-Saëns (81) is performed for the first time, at the Théâtre de l’Odéon, Paris.
March 25, 1917:
Sept Improvisations for organ op.150 by Camille Saint-Saëns (81) are performed for the first time, at Théâtre des nations, Marseille by the composer.
July 11, 1919:
Cyprès lauriers op.156 for organ and orchestra by Camille Saint-Saëns (83) is performed for the first time, at the Casino in Ostend, the composer at the organ.
July 30, 1920:
Gabriel Fauré (75) informs Camille Saint-Saëns (84) that he intends to resign as director of the Paris Conservatoire.
February 19, 1921:
Suite for cello and orchestra op.16bis by Camille Saint-Saëns (85) is performed for the first time, in Paris.
August 6, 1921:
On the stage of the Casino in Dieppe, Camille Saint-Saëns (85) gives a piano recital. At its conclusion, he addresses the audience saying, “It is 75 years since I first played in public. Today I have played for the last time.”
December 16, 1921:
22:00 On his regular winter trip to Algiers, Charles Camille Saint-Saëns dies at the Hôtel de l’Oasis, Département of Algiers, Republic of France, aged 86 years, two months, and seven days.
December 21, 1921:
The Lamoricière, bearing the mortal remains of Camille Saint-Saëns, arrives in Marseille from Algiers. They are met by horsed soldiers and leaders of the city and thereupon transported to Paris.
December 24, 1921:
A funeral mass is celebrated in the Madeleine, Paris to the memory of Camille Saint-Saëns. Two battalions of soldiers are called out to hold back the crowds. The Archbishop of Paris officiates and the music is by Charles Gounod (†28), Gabriel Fauré (76), and Saint-Saëns. The body is transported to Montparnasse Cemetery where, after orations, it is laid to rest.
February 5, 1922:
Marc Blitzstein (16) plays the solo part in the Piano Concerto no.2 of Camille Saint-Saëns (†0) in a performance at the Philadelphia Academy of Music. The opportunity comes with winning the gold medal in a contest for undergraduate music students sponsored by the Philharmonic Society of Philadelphia.
February 25, 1922:
Carnival of the Animals by Camille Saint-Saëns (†0) is performed for the first time, in Paris. The composer banned its performance during his lifetime, except for Le Cygne, fearing that it would damage his reputation as a serious composer. He allowed for its performance in his will.