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    Description

    Émile Baumann's Study of the Music of
    Camille Saint-Saëns, with an Autograph Letter Signed by Saint-Saëns

    [Camille Saint-Saëns]. Émile Baumann. Les Grandes formes de la Musique. L'Oeuvre de Camille Saint-Saëns. Deuxième Édition. Paris: Société d'Éditions Littéraires et Artistiques, Librairie Paul Ollendorf, 1905. Second edition (first published in 1905). Eighteenmo in twelves and sixes (7.125 x 4.5625 inches; 181 x 117 mm.). [2, blank], [6], 475, [1, blank], [1, "Table des matières"], [3, blank] pages. Musical notation in the text. Includes an autograph letter signed by Camille Saint-Saëns to Léo Delibes, another French composer. The letter is two integral octavo leaves. Undated. Adhesive to top and right edge. Folding creases, with a tiny bit of separation on the right side. Two and a half-inch closed tear to top margin, affecting text.
    Contemporary three-quarter navy blue crushed morocco, ruled in gilt, over blue marbled boards. Spine ruled in blind and ruled and lettered in gilt with five raised bands, top edge gilt, others untrimmed, marbled endpapers. Original stiff paper wrappers printed in red and black bound in. Spine very slightly darkened, slight bump to head of spine and outer (morocco) edge of upper rear cover, board edges lightly rubbed in places. Paper browned and becoming brittle, a few leaves with tiny chips at the edges or corners. Newspaper clipping tipped in between pages 272 and 273, with pencil underlining and ink inscription: "Comedia, 28 Oct 07." Pencil annotation at foot of page 157. A fine copy of this fragile item. From the library of John Carroll Collins, with his booklabel on the front free endpaper.


    More Information:

    "The author begins with a brief and not too detailed description of the 'musical development of lyricism between Beethoven and Wagner' which touches upon the styles of Mendelssohn, Schumann, Chopin, Franck, and Berlioz. There is a chapter on the 'L'oeuvre interieur,' in which Baumann offers some biographical information on Saint-Saëns, as well as a discussion of those composers who influenced him, especially Mozart, Gluck, Berlioz, and Gounod. In these pages the author speaks of Saint-Saëns, personality, agreeing with other contemporary observations, and of his general musical style, which in Baumann's view relies heavily upon formal organization and clarity rather than sentiment and effect. He calls Saint-Saëns a 'great poet,' and indicates that for the composer 'form is the apex of being.' The author devotes the remaining chapters to the composer's large-scale forms including chamber music, concerti, symphonies, symphonic poems, songs, sacred music, and the operas and other 'scenic' works. Within these chapters Baumann discusses individual compositions and offers brief, but often insightful comments. There is no attempt at any complete musical analysis of specific works. Interestingly enough Baumann states that like Wagner, who was considered a revolutionary, Saint-Saëns was a man of the 'counter-revolution,' relying upon clarity and purity, while 'obeying an instinctive method.' This monograph was reissued in 1923 with a brief appendix which only mentions (and not completely at that) Saint-Saëns last works, in no depth" (Timothy S. Flynn, Camille Saint-Saëns: A Guide to Research (New York: Routledge, [2003]), page 34).



    Auction Info

    Auction Dates
    April, 2015
    8th-9th Wednesday-Thursday
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