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.

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The majority of books about Saint-Säens cover his life, compositions, contemporaries, and French music in general. Although his life is well documented, most sources present only brief analyses of his works; there is not one single comprehensive and exhaustive study of the Piano Concerto in F Major, Opus 103, available in the current literature. This study aims at filling the gap by providing other musicians interested in performing this piece with an initial study-guide. The research for this study focuses on several aspects of Saint-Säens' music. The currently available literature and past research is thoroughly examined, appraised, and quoted when relevant to the discussion. The original score of the concerto is analyzed regarding its form, compositional style, and performance indications. Diagrams, charts, and musical examples are presented to illustrate and substantiate the researcher's conclusions. Chapter I presents the topic and purpose of this study, a brief biography of Saint-Säens, a chronological overview of his five piano concertos, and the historical background of the Piano Concerto No. 5 in F Major, Opus 103. Chapter II presents a formal analysis and a compositional analysis of Opus 103. Chapter III presents a perspective of Saint-Säens playing style and performance recommendations by the author. Chapter IV concludes this study by determining the importance of Opus 103 in piano literature and by explaining the reason that performers with professional aspirations should consider including this concerto in their repertoire.

Contained in this study is a musical discussion and analysis of seven Romance Sans Paroles (song without words), written by three French composers, Charles-François Gounod, Camille Saint-Saëns, and Gabriel Fauré. The Romance Sans Parole genre seems to be quite unknown in the piano field; as a result, there are few secondary sources available. By immersing myself in these scores, I sought to discover their musical value and compositional nuance and excellence. I thoroughly investigated each composer’s unique treatment of melody, harmony, rhythm, texture, and form. Chapter One includes an Introduction, brief biographical information on each composer, the Need for the Study, the Purpose of the Study, a Review of Literature, and a Methodology. Chapters Two, Three, and Four consist of a musical analysis and discussion of the seven Romance Sans Paroles. Chapter Five offers a Conclusion and Suggestions for Further Study. I believe my dissertation will enhance the understanding and appreciation of this art form. / School of Music