Camille Saint-Saëns: Nationalism, Tonal Language, and Expression in His Concertos

 

Camille Saint-Saëns (1835–1921) was a pivotal figure in 19th-century French music, blending classical restraint with Romantic flair. His works reflect a strong sense of French national identity, particularly in the post-1870 era following France's defeat in the Franco-Prussian War. This period sparked a cultural push to assert "Frenchness" in music against perceived German dominance (e.g., Wagner and Brahms).

Nationalism in Saint-Saëns's Music

Saint-Saëns was a committed nationalist. In 1871, he co-founded the Société Nationale de Musique with the motto Ars Gallica ("French Art"), aimed at promoting new French compositions in abstract genres like symphonies and concertos, which had been overshadowed by German models. The society premiered works by Fauré, Franck, and others, fostering a distinctly French repertoire.

His nationalism emphasized clarity, elegance, and formal balance—qualities associated with French classicism (drawing from Rameau and Mozart)—over Germanic emotional depth or Wagnerian excess. Saint-Saëns revived interest in French baroque music and opposed overly programmatic or "heavy" Romanticism. This manifested as a "de-Germanization" of French music, prioritizing polished craftsmanship and national pride. His concertos, written during this revival, served as vehicles for showcasing French virtuosity and style.

Tonal Language and Harmonic Style

Saint-Saëns's tonal language remained firmly rooted in common-practice tonality, avoiding the chromatic extremes of late Wagner or the impressionistic blurring of Debussy (whom he criticized). Key characteristics include:

• Clear, elegant melodies: Often in balanced phrases (e.g., AABB structures), supple and pliable, with a neoclassical bent.
• Colorful yet restrained harmony: Deft use of chromaticism, exotic scales (in later works), and appoggiaturas for sparkle, but always resolving within tonal frameworks. He achieved orchestral effects through harmonization rather than dense textures.
• Clarity and transparency: Light orchestration, jeu perlé (pearly) piano writing, and virtuosic display without overwhelming drama.
• Influences: Admiration for Mozart, Beethoven, Mendelssohn, and Liszt, combined with French refinement. His style influenced later Impressionists through subtle harmonic colors.

This language embodies French traits: wit, grace, and structural poise, contrasting with Germanic intensity.

Showcase in His Concertos

Saint-Saëns wrote five piano concertos (1858–1896), three violin concertos (1858–1880), and two cello concertos (1872–1902). These works highlight his nationalist ideals by reviving the concerto as a French genre and demonstrating elegant virtuosity. They feature innovative forms (e.g., cyclic themes, merged movements) while maintaining classical balance.

• Piano Concerto No. 2 in G minor, Op. 22 (1868): One of his most popular. Opens with a Bach-like piano cadenza, transitioning to dramatic themes. The scherzo movement sparkles with light textures and chromatic descending lines over static chords—a signature device. Its French charm lies in witty rhythms and clear orchestration, embodying Ars Gallica elegance amid post-war nationalism.
• Piano Concerto No. 4 in C minor, Op. 44 (1875): Cyclic form links movements thematically. Harmonic surprises and brilliant piano writing showcase tonal clarity with colorful shifts, reflecting French structural ingenuity.
• Piano Concerto No. 5 in F major, Op. 103 ("Egyptian," 1896): Incorporates exotic scales from travels, but framed in tonal harmony. Virtuosic and joyful, it asserts French cosmopolitanism within national bounds.
• Cello Concerto No. 1 in A minor, Op. 33 (1872): A continuous single-movement structure with three sections (fast-slow-fast effect). The cello's declamatory role penetrates the orchestra effortlessly. Praised for balance and penetration, it's seen as a model French concerto—elegant, non-Wagnerian, and a staple since premiere.
• Violin Concerto No. 3 in B minor, Op. 61 (1880): Dedicated to Sarasate. Features obsessive motifs (e.g., half-step turns) and a chorale-like finale. Melodic invention and subtlety highlight French lyricism over bravura excess.

Overall, these concertos "showcase" nationalism through their promotion of French soloists/orchestras, revival of the genre in abstract form, and a tonal language of clarity/elegance that defined musique française. They blend virtuosity with restraint, influencing later composers like Ravel while asserting cultural identity.