Compositeur, pianiste et organiste, fondateur de la Société nationale de musique, Camille Saint-Saëns (1835-1921) est une personnalité essentielle de la musique française. Célèbre pour ses prises de position affirmés, Saint-Saëns s'est abondamment exprimé par voie de presse, pendant plus de cinquante années (de 1870 à 1921) sur des sujets aussi divers que l'étaient ses centres d'intérêts. Bien que certains écrits, aient été ensuite publiés sous forme de recueils, beaucoup d'autres sont tombés dans l'oubli. En traduisant les goûts, les choix esthétiques de leur auteur, ces textes révèlent aussi ceux de ses contemporains et les luttes artistiques dans lesquelles ils étaient engagés et dont Saint-Saëns se faisait bien souvent le porte-parole. Ces écrits révèlent aussi un pan de la vie de l'interprète et du compositeur - du moins ce qu'il a bien voulu livrer au public - et contribuent ainsi, à brosser un éloquent tableau de l'histoire de la musique française sous le Troisième République. / Composer, pianist and organist, founder of the Société nationale de musique, Camille Saint-Saëns (1835-1921) is essential in French music. He was renowned for his forthright pronouncements, Saint-Saëns expressed his opinions profusely in newspapers and magazines (from 1870 to 1921) on topics as diverse as his range of interests. Although some of these articles were published as collections, many others have fallen into obscurity. By revealing the tastes, the aesthetic choices of their author, these texts reveals also those of his contemporaries and the artistic debates in which they were involved. They also light the hidden part of the life of the composer and contribute to enrich history of French musical life under Third Republic.

The Cecilian movement was a reactionary movement made up of composers who sought to restore the musical principles of the fifteenth and sixteenth centuries by placing emphasis back on the liturgy, reviving the idea that the music should be subservient to the text. In his article "The Cecilian Movement in the Nineteenth Century: A Summary of the Movement," Patrick Liebergen introduces the term "Cecilian Ideal" as a means of describing the way in which Franz Liszt and Anton Bruckner incorporated elements of Cecilianism into their compositions. Though the two composers never belonged to the Cäcilien-Verband für Deutschland, analysis of various style features commonly found in their music reveals that they accomplished many of the goals of the Cecilian movement while retaining their own individual compositional styles. Analysis of the Latin-texted choral motets of Camille Saint-Saëns reveals that they share stylistic features that were endorsed by the Cecilian movement. That these features were a result of conscious decisions made by the composer is suggested by the fact that similar style traits were praised by Saint-Saëns in two articles he wrote about liturgical music that were published near the end of his life. Moreover, Patrick Liebergen already has shown that many of the Saint-Saëns' beliefs can be understood through the application of what he terms the "Cecilian Ideal" concept. The Latin-texted choral motets of Camille Saint-Saëns have largely been overlooked by the scholarly community. Perhaps it is the uncomplicated nature of these pieces that has led many to dismiss them as an unremarkable portion of the composer's repertoire. Six of the Latin choral motets which are the most similar in terms of style and function were chosen for this study, as they best represent the consistent compositional features of the composer in this genre. These works span a fifty-eight year time period covering a broad portion of the composer's life and career. By analyzing Saint-Saëns' liturgical music in the light shed by his prose writings on the subject we can better understand both his compositional style and his view of the Cecilian movement.

I följande uppsats har jag skrivit om Saint-Saëns fagottsonat i G-dur, Op.168 och min relation till verket. Arbetet innehåller en studie av kompositörens liv kring tiden då styckets skrevs. Jag har använt olika analysmetoder och valt att analysera stycket ur flera perspektiv, detta för att få en djupare insikt och mer verktyg att arbeta med under min instuderingsprocess. Här får vi en generell analys över verket samt en djupgående mer teoretisk analys av sonatens första sats. I arbetet har jag även studerat fagottens historia och analyserat skillnaderna mellan fagottens uppbyggnad under tiden stycket skrevs i förhållande till dagens moderna fagotter. För att förtydliga detta har jag även valt att analysera två olika tolkningar av stycket, där exekutörerna spelar på fagotter med helt olika konstruktioner. Ett stort fokus ligger även på analysen kring min egen instuderningsprocess där jag tar upp svårigheter, hinder och mitt tillvägagångssätt.

Le sujet de la thèse s’intitule « Saint-Saëns et le Japon ». Ce compositeur français (1835-1921) a toute sa vie durant entretenu un intérêt soutenu pour le Japon. Il s’est rendu célèbre comme « orientaliste » avec des œuvres telles que Samson et Dalila, la Suite Algérienne et le cinquième Concerto pour piano, dit l’Egyptien. Toutefois, son engouement pour le Japon n’a pas encore fait l’objet d’une étude approfondie, car son corpus musical ne comporte qu’une œuvre y étant dédiée, un opéra-comique intitulé La Princesse Jaune (1872). En revanche, il a publié deux poèmes : « Le Japon » et « Le Fouji-Yama », tous deux datant de 1890, auxquels s’ajoute un conte inédit, « Le Miroir » (1912). Le mouvement artistique « japonisme » désigne l’influence des objets d’art japonais, comme l’ukiyo-e (forme d’estampe), sur des artistes occidentaux. Vincent Van Gogh et Edmond de Goncourt en sont les exemples les plus connus. Saint-Saëns possédait lui-même une collection significative d’objets d’art et de livres japonais. Cependant, son intérêt concernait surtout le domaine littéraire, puisque ses guides japonisants étaient ses amis écrivains : Louis Gallet, Judith Gautier et un Japonais qui s’appelait Motoyosi Saizau. Enfin, le compositeur était un fameux « voyageur ». Ses séjours à Londres lui donnèrent l’occasion de visiter des expositions consacrées au Japon. A la suite de sa visite en Indochine, il avait même prévu de s’y rendre. / The subject of the thesis is entitled "Saint-Saëns and Japan." This French composer (1835-1921) has throughout his life maintained a continued interest in Japan. He became famous as "orientalist" with works such as Samson and Delilah, the Algerian Suite and the fifth Piano Concerto, said the Egyptian. However, his infatuation with Japan has not been an object of profound study because his musical corpus has only one work dedicated to Japan, a comic opera entitled La Princesse Jaune (1872). However, he published two poems: "Japon" and "Fouji-Yama", both from 1890, plus an unpublished tale, "Le Miroir" (1912). The artistic movement "Japonism" means the influence of Japanese art objects, such as ukiyo-e (as print), on Western artists. Vincent Van Gogh and Edmond de Goncourt are the best known examples. Saint-Saëns himself possessed a significant collection of art objects and Japanese books. However, his interest mainly concerned the literary field, as its “japonisant” guides were his writer friends: Louis Gallet, Judith and a Japanese named Motoyosi Saizau. Finally, the composer was a famous "traveler". His stays in London gave him the opportunity to visit the exhibitions in Japan. Following his visit to Indochina, he had even planned to get there.

I would like to understand what kinds of connections exist between musical rhythm and poetic and linguistic rhythm, particularly the phenomenon of accent, so I investigated accent in art songs, examining twelve songs in an attempt to further understand how and if the accents and patterns found in poetry correlate to those found in songs based on this poetry. This study examines how the patterns of stressed and unstressed syllables in Lieder by Amy Beach, Richard Strauss, and Camille Saint-Saëns correlate with musical rhythmic and accent patterns in the resulting music. I systematically determined what kinds of accents were present, where they were present, and how they were related. I tracked nine different types of musical accents: agogic, contour, dynamic, articulation, metric, pitch, phrasing, structural, and textural. I then tracked the linguistic accents in the poems themselves, with the categories of meter, individual word stresses (if different from the meter), rhyme scheme, internal rhymes, and cadences (ends of sentences and questions). I then compared the accents found in the music to the accents found in the poetry. I then compared the correlation of linguistic and musical accents through graphic representation of the values I found. I found significant correlation between musical and linguistic accents in the twelve different pieces I studied. These results suggest that, for at least these three composers, the text does in fact influence the accent patterns of the music. For the songs of Beach and Strauss, there is a visual pattern in the graphs, which matches the meter of the text. The linguistic and musical accent patterns in both Beach and Strauss songs tended to be regularly alternating in a binary fashion, in keeping with the iambic meter. For Saint-Saëns, there was overall close correlation as well. The main difference between graphs for Saint-Saëns and the others seems to be the lack of a pattern in the relative accent strengths, which can be found in both the English and German graphs. French poetry does not have an iambic pattern to it; correspondingly the music doesn't show the regular binary alteration of accents. This pattern or lack thereof is part of the correlation that all of the pieces share between the music and the language, and the lack of pattern seems to demonstrate a particularity in the music in the case of French. Though showing how accents in music and text correlate in the songs of English-, German-, and French-speaking composers, this thesis does not fully determine how and if musical and linguistic accents correlate in music composers other than Amy Beach, Richard Strauss, and Camille Saint-Saëns.

Camille Saint-Saëns's (1835–1921) Messe de Requiem op. 54 (1878) is among the many works by that composer that are all but forgotten by contemporary musicians. As is the case with most of Saint-Saëns's forgotten works, it is of remarkably high quality, possessing numerous features that make it desirable and accessible to a variety of ensembles. This study seeks to bring greater awareness of the piece to a wider audience, to provide a framework for understanding the most prominent style features of the work, and to ascertain its relationship to other well-known French Requiems of the nineteenth century. To this end, this study identifies and summarizes two trends in French Requiem composition in the nineteenth century: the dramatic trend, exemplified by the Grande Messe des morts op. 5 (1837) of Hector Berlioz, and the conservative trend, exemplified by the second and third of Charles Gounod's four Requiem settings: the Messe breve pour les morts (1873), and the Messe funèbre (1883). Salient style features of these three works are discussed in order to determine how their respective composers bring about the dramatic and conservative affects of their respective works. An analysis of the form, text setting, expressive elements (including dynamics, articulation, and orchestration), harmonic practice, and choral voice leading of Saint-Saëns's Requiem is also given, including a discussion of the relationship of the style features of this work to those of the Berlioz and Gounod Requiems.

Au même titre que Victor Hugo pour la littérature ou que Pasteur, la Troisième République accorde à Camille Saint-Saëns une consécration officielle qui l'érige en compositeur reconnu et académique. Ces honneurs posent le problème de la place de l'artiste dans la Cité républicaine et introduit la question des liens entre l'homme et le pouvoir. Dès lors, il s'agit de savoir comment Saint-Saëns peut prétendre au titre de compositeur national. Trois axes permettent de répondre : les rapports à la Nation, à la République et à la France. / The French Third Republic officially commemorates Camille Saint-Saëns in a similar manner to Victor Hugo or Louis Pasteur. The honours Saint-Saëns receives question the position of the artist in the Republican City and his relations with the power. Three lines of analysis must be followed in the perspective of the claim of the making of Saint-Saëns as a national composer: the ways with the French Nation, with Republican identity and finally with France.

Fagotten är lite av träblåsets storebror, en pålitlig pelare i orkestern som hjälper sina kollegor i sammanhanget och får dem att känna sig trygga och självsäkra i sitt eget spel när det går att luta sig mot fundamentet som ofta är fagottens funktion. När motsatsen händer, och fagotten inte har något för de andra att luta sig mot så blir det lätt instabilt på flera olika sätt. Syftet med detta arbete är för mig själv och er som läser att få en djupare insikt i vad en fagott gör bra ”av sig självt” och inte. Även i stora drag vad som finns att göra åt när det blir knepigt. Detta kommer undersökas med hjälp av exempel i fagottens standardrepertoar med notbilder och inspelningar, samt mina egna erfarenheter och kunskaper. Efter denna undersökning har jag fått ett tydligare och mer konkret tanke- och tillvägagångssätt för att hantera fagottens klingande begränsningar i olika situationer, tidigare i mitt musicerande har jag löst det mer undermedvetet. Efter arbetet så är jag mer konsekvent i mina val som kan leda till att jag är mer pålitlig som medmusiker och blir bättre på att undvika de misstag som egentligen går att hindra i förväg. / <p>Program:</p><p>Eugène Bozza. <em>Récit, Sicilienne et Rondo. </em>(1936)</p><p>Antonio Vivaldi. Fagottkonsert D-moll. RV-481</p><p>Jean Françaix. <em>Divertissement</em>. (1942)</p><p>Medverkande:</p><p>Jonathan Bauer - fagott</p><p>Mårten Landström - piano/cembalo</p><p>Peter Olofsson - violin</p><p>Patrik Swedrup - violin</p><p>Tony Bauer - viola</p><p>Mats Olofsson - cello</p><p>Maria Frankel - Kontrabas</p><p></p>

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