Embedded Files
Gabriel Fauré and Camille Saint-Saëns were two nineteenth-century French composers who began their relationship simply as mentee and mentor and, throughout the years, helped it blossom into an infamous friendship that yielded incredible works and great stories. Fauré and Saint-Saëns’ relationship began in an academic setting where it became natural for the two to share, and even sample, each other’s works. This exchange of ideas kept the composers challenging one another and constantly pushing the other for stronger, more well-structured pieces, as is noted in their letters. In addition to supporting one another greatly in their careers, the two also played a big role as emotional supports during times of tragedy, such as Fauré did when Saint-Saëns became a widower. Fauré and Saint-Saëns’ unique and intimate bond was crucial to the success of their careers and the linking of the Romantic period to the modern era, both of which are demonstrated through their tendency to sample and elevate each other’s works, motivate the other to grow, and support one another musically and emotionally throughout their lives.
This story begins in Paris at the École de Musique Classique et Religieuse where Saint-Saëns accepted a teaching position in piano studies. Before this point, Saint-Saëns had received recognition in competitions, accepted multiple awards, such as his Conservatoire’s first prize for organists, and held a position as an organist while he composed on the side. Though his compositions caught the attention of popular composers such as Hector Berlioz and Franz Liszt, he was not yet well-known in his career; it wouldn’t be until he met Fauré that he would begin to acquire fame. As a piano studies professor, Saint-Saëns would fulfill his duties, but he would often run over class time to show students more modern works that veered away from the classical repertoire he was supposed to be promoting. It was during these extracurricular lessons that Fauré, his student, came to admire Saint-Saëns and began to seek him out for advice on his own compositions.[1] This led to Saint-Saëns mentoring Fauré in compositions and helping him fully develop his first works as well as win awards.
In the midst of this budding relationship, Saint-Saëns left his teaching position to pursue his career as a composer. It was in this period that Fauré came to visit Saint-Saëns often, exemplifying his true passion for and commitment to his friend. Fauré even writes in one of his letters to Saint-Saëns that “people talk to me about you so much that it could become boring if ever it were possible to get tired of hearing your praises sung and of singing them myself.”[1] Though the two are openly fond of each other, Fauré makes sure Saint-Saëns doesn’t mistake him for being too affectionate by stating, “This is the first time I have said something nice to you so don’t think I’m being too much of a flatterer.”[2] As their relationship continued to flourish, the two became more comfortable with one another and soon sampled each other’s works, taking out portions they liked and experimenting to see how they could make them better. Fauré was particularly inspired by Saint-Saëns, noting that the former teacher exerted exceptional influence over the allegro ma non troppo toccata section of his Nocturne No. 2 in B major, Op. 33/2.[3] One can hear the influence of Saint-Saëns in the delicate passagework, especially in an episode that alternates in fifths and sixths, and the lyrical quality of the piece. The movement’s Romantic character suggests that Fauré is still honing his craft under the guidance of his mentor, as Saint-Saëns was a great part of the Romantic era. Later, when Fauré becomes more independent in his composition, his nocturnes take on a more modern character that strays away from his earlier works and demonstrates Saint-Saëns’ influence. Saint-Saëns was also able to draw inspiration from his student, which is especially notable in his Piano Concerto No. 2 in G minor, Op. 22. Here, the listener can identify the beginning of Fauré’s unfinished motet setting of Tantum Ergo as Saint-Saëns’ main opening theme. While Saint-Saëns borrows much of the tune Fauré initially composed, one can also hear similarities in the fluidity of the lines and the driving force that pushes the melody forward in both clips, which appear back to back.
Fig. 1 Gabriel Fauré
https://upload.wikimedia.org/wikipedia/commons/3/3e/Faur%C3%A9-by-Eug%C3%A9ne-Pirou.jpg
(Accessed May 18 2017).
Fig. 2 Camille Saint-Saëns
https://media1.britannica.com/eb-media/13/163213-004-750A9A75.jpg
(Accessed May 18 2017).
Having a companion trustworthy enough with whom to trade thematic ideas also led the composers to push each other in their own works, providing feedback when necessary. A large portion of this constructive criticism was relayed through their letters; one worth noting is Saint-Saëns’ response to Fauré’s opera Penelope. This opera was unlike any of the others Fauré had written, as it was dedicated to Saint-Saëns himself. While Saint-Saëns was given tremendous pleasure at hearing this news, he was also anxious to hear this opera and, when he did, was not entirely fond of it. He thought the brass section was too noisy, the singers couldn’t be understood, key plot points were portrayed incorrectly, and certain scenes stopped abruptly when the music called for more.[1] Though a good portion Saint-Saëns said was most likely not the fault of Fauré, as certain concert halls may change the balance of instruments and voices, the dedicatee still gave advice on what improvements needed to be made to make his next work reach a higher caliber of showmanship. This willingness to critique even what is meant to be a friendly gesture speaks volumes to the men’s ability to constantly motivate one another to grow within their work.
In addition to critiquing, Fauré and Saint-Saëns supported one another in their careers as musicians and composers. This support took on many different forms over the years, but was always seen as either a way for them to recognize their companion’s greatness or a way to help them advance in their career. As an example of the former, there is a record that Fauré was a regular visitor at Saint-Saëns’ salon around 1871.[2] Later, Saint-Saëns introduced Fauré to other popular composers of the time who would co-found the Société Nationale de Musique on February 25th, 1871. The favor is returned as Fauré aided Saint-Saëns in attaining joint chairmanship of the National Music Society. This back and forth effect the two had makes their influence over one another’s network and opportunities undeniable.
This plethora of opportunities created by their relationship and the undying support that goes along with it, are only solidified further by their ability to help the other secure jobs. One example of this situation occurred in 1892 when Saint Saëns encouraged Fauré to apply for the newly vacant position of professor of composition at the Paris Conservatoire.[3] As a result, Fauré ended up receiving the position of inspector of the music conservatories in the French provinces. While Fauré generally disliked the position, he received a steady income and ultimately attained the highest position, Head of the Paris Conservatoire.
The most remarkable component of their friendship is arguably that the two men were able and willing to support one another emotionally, as well. As a young boy, Fauré was not wanted by his family and was sent away to boarding schools for a large portion of his childhood.[4] When he found Saint-Saëns, he found a pseudo-father figure, both in composing and in life. Saint-Saëns takes on the responsibility to teach him social etiquette as he dictates, "Old chap, apparently you have not written to M. Lefebvre since you came to Rennes, and it seems that it was he who got you your post. You have committed a serious offence there which you really must rectify as fast as you can… The butter is exquisite, and I feasted on it again just now. You really need a good scolding!"[5]
It is apparent here that Saint-Saëns is reprimanding Fauré for his carelessness as a father might have done. Fauré also sings Saint-Saëns’ praises proclaiming in another letter, “Since it is you who nurtured me and it is to you that I owe what I am, it is entirely appropriate that the first words that I should have written on the directorial table be addressed to you!”[6] While time and time again Saint-Saëns is a reliable resource to Fauré, the opposite is similarly true. After the loss of his wife, Saint-Saëns was invited to live with Fauré and his family for a time. It is through all of these experiences that the two men remained exceptionally close over the decades up until Saint-Saëns’ death. Though it is sometimes argued that the two men were involved intimately, there is no proof that they ever had romantic relations with each other.
While these two composers were greatly talented in their own respect, their combined influence took each musician to incredible heights. Saint-Saëns became an international figure by the end of his career and received the title of Fauré’s most influential mentor, teaching him a great deal of what made him such a phenomenal, advanced composer. He is acclaimed for developing a personal musical language, some qualities being the elements of the whole tone scale and anticipated impressionism.[7] These characteristics fall under the harmonic and melodic innovations that influenced the teaching of harmony for later generations. Not only is Fauré praised for his impact on later teaching, but he’s also accredited with “link[ing] the end of Romanticism with the second quarter of the 20th century.”[8] While this composer, commended as the most advanced figure in French music until Debussy, is adored for his contributions to music, it is likely that very little would have come to fruition if it weren’t for his mentor, guardian, and, above all else, friend, Camille Saint-Saëns for guiding him through his career and life.
“As for thanking you, I could never do enough of it, neither at the present time, nor in the past, nor in the future, for I have absolute faith in being able to rely on you!”
-Gabriel Fauré to Camille Saint-Saëns (5 June 1893)[13]
Citations
[1] Jean-Michel Nectoux. The New Grove Dictionary of Opera (London: Oxford University Press, 1992).
[2] Gabriel Fauré and Camille Saint-Saëns, trans. Jean-Michel Nectoux, The Correspondence of Camille Saint-Saëns and Gabriel Fauré: Sixty Year of Friendship (Burlington, VT: Ashgate, 2004), 34.
[3] Fauré and Saint-Saëns, Sixty Years, 42.
[4] Jean-Michel Nectoux, trans. by Roger Nichols. Gabriel Fauré: A Musical Life (Cambridge University Press, 1991), 49.
[5] Fauré and Saint-Saëns, Sixty Years, 99-100.
[6] Nectoux, New Grove.
[7] Nick Chadwick, “The Correspondence of Camille Saint-Saëns and Gabriel Fauré,” Project Muse (2006).
[8] Tom Gordon, ed., Regarding Fauré, (Amsterdam, The Netherlands: Gordon and Breach, 1999).
[9] Fauré and Saint-Saëns, Sixty Years, 41.
[10] Fauré and Saint-Saëns, Sixty Years, 76.
[11] Nectoux, New Grove.
[12] Nectoux, New Grove.
[13] Fauré and Saint-Saens, Sixty Years, 64.
Bibliography
Chadwick, Nick. “The Correspondence of Camille Saint-Saëns and Gabriel Fauré,” Project Muse (2006).
Fauré, Gabriel, and Camille Saint-Saëns, trans. Jean-Michel Nectoux. The Correspondence of Camille Saint-Saëns and Gabriel Fauré: Sixty Year of Friendship. Burlington, VT: Ashgate, 2004.
Gordon, Tom, ed. Regarding Fauré. Amsterdam, The Netherlands: Gordon and Breach, 1999.
Nectoux, Jean-Michel, trans. by Roger Nichols. Gabriel Fauré: A Musical Life. Cambridge University Press, 1991.
Nectoux, Jean-Michel. The New Grove Dictionary of Opera. London: Oxford University Press, 1992.
Report abuse