Beschreibung:

Camille Saint-Saëns (1835-1921)
Four autograph letters signed (‘C. Saint-Saëns’) to Franz Liszt (‘Maître’), Paris and Toulouse, 9 June 1881 – 18 April 1884 and n.d.
In French, 16 pages, various sizes (171 x 111mm to 213 x 135mm), bifolia. Provenance: Christie's, 5 July 1978, lot 67.
On performances of his works Henry VIII, La Lyre et la Harpe, and Le Rouet d’Omphole, with 2 bars of music from the latter. Saint-Saëns asks for Liszt’s permission to play his Scherzo et marche at an upcoming concert and thanks him for performing Le Rouet d’Omphole: ‘it is one of those things that only you can do …’. He asks Liszt to ensure that the same work is again performed correctly at a concert in Magdeburg, quoting two bars of music which he says are often played too fast (9 June 1881). He recommends the conductor André Messager to play Liszt’s works: ‘I myself saw to his education in this genre and it was well done. He has returned from Brussels full of enthusiasm for Faust.’ He expresses his pleasure upon receiving a copy of Liszt’s 2nd Mephisto waltz, which is dedicated to him. He reports on performances of Liszt’s works in Paris: 'I am waiting impatiently for “du berceau à la tombe” which I have seen announced. Meanwhile I revel in La Valse oubliée which is going to have its début tonight at my house.’ He also reports on performances of works by Massenet, whom he dislikes, writing of the Hérodiade: ‘Strangely enough, between ourselves, I don’t like this Hérodiade very much! Everyone is in love with it, even St. John … Lots of talent and charm, that goes without saying and won’t surprise you, but can you imagine Herod charming! … I am working on Henry VIII …. perhaps my Henry will also be found to oaimiable’ (26 December 1881). He will see Liszt in Zurich, where he will play for him his ‘fantasia for organ “ad nos etc.” and ‘Scherzo et marche’. I shall try to forget that you are there’ (23 June 1882).
Liszt recognised Saint-Saëns’ prodigious talent after Saint-Saëns was made organist of La Madeleine, where he saw him perform: they were friends until Liszt’s death in 1886. In return for Liszt’s patronage, Saint-Saëns worked to promote his works in Paris and ensure their acceptance, as these letters attest.