Camille SAINT-SAËNS (1835-1921). 14 L.A.S. with music and dr - Lot 193

Camille SAINT-SAËNS (1835-1921). 14 L.A.S. with music and drawing, 1920-1921, to François Gaillard; 22 pages in-4, one on hotel letterhead, one on music paper (some flaws and repairs to adhesive). Beautiful correspondence to his flutist friend, for whom he composed his Odelette, from which he submitted a few excerpts. [It was in Algiers that Saint-Saëns met François Gaillard, Belgian flutist and conductor; Gaillard later left Algiers for the Théâtre Royal in Liège and the Théâtre des Arts in Rouen]. Hamma-R'Irha February 26, 1920. He started bathing; it hurt. "But - every cloud has a silver lining - since I can't go for a walk, I'll work, and then"... Pen drawing of a bowl of flowers and fruit to which butterflies are flying... "I'm thinking of writing to your artist. I'm thinking of writing for you a little piece for flute with orchestral accompaniment... Will I be able to do it? That is the question. And he adds: "I made butterflies to hide the little spots that were on the paper"... - March 1st. Music: 5 quotations for flute of some fifteen bars in all on 7 staves. "Before moving on from preparation to performance, I submit these few passages to you so that you can tell me whether you approve of them or wish to make changes. I especially recommend the last passage to your attention" [this is the Odelette for flute and orchestra op.162]. - March 5. "I have always thought that your collaboration would be necessary for the articulation. Many things will perhaps be modified according to your advice, which alone can bring the work to the desired point. I don't mean perfection, as that is not possible in this world". He has stopped taking baths, which were not working for him, but is still staying "to enjoy the fresh air, the silence and to work in peace"... - August 12. He returns from Dieppe. "I corrected some proofs of the Odelette some time ago; I don't know if it's been published yet. Should we send it to you in Verviers?"... - Paris August 23. "Just as we were about to print your piece and send it to you, the printers went on strike! We had already raised their wages last year, and again last March. They're asking for a 4 F 6 increase per hour. With this system, all business becomes impossible. As soon as the piece is finished, we'll send it to you". He is delighted with Gaillard's appointment in Rouen: "Perhaps thanks to your influence, the Théâtre de Rouen will become favorable to me again. I remember seeing Étienne Marcel there with great success. The finale of Act 1 and Act 3 had been sung. This work began to take off on all sides, and then the movement stopped, I don't know why. So, if you're not in the repertory, the theaters don't have the sets, the artists don't have the costumes, and they don't play you. And of the eight works I've done, only one is being performed, Samson, which nobody wanted in the first place. One is really not enough. If I were 25, I could hope for the future; but I'll soon be 85!"... - September 13. "When you're in Rouen, I'll send you a score by Étienne Marcel with large cuts that make it possible to eliminate the mother's useless role and greatly facilitate the performance of the work. I can't get used to seeing a work that was so successful in Rouen, and which had 40 consecutive performances when it first appeared in Lyon, abandoned. It is no longer performed anywhere, but Cavalleria Rusticana is performed everywhere... I am very happy that the Odelette is to your liking"... - September 14th. Durand sends Étienne Marcel's corrected score. "I remember that in Rouen, as I was asked to come on stage after the 3rd act (which I now call the 4th), a silver vase filled with flowers was placed on my arms, and I was very embarrassed in this posture! In those days people were - I don't know why - afraid of 5 acts; they had made two tableaux of the same act, which must actually be two different acts, as the change of scenery required an intermission"... - October 6. "As for the Odelette, it should never be performed other than with orchestra; it would lose all its effect with piano. [...] All the flautists want to play the Odelette! It's a success I owe to you, for without you I would certainly never have written it"...For the end of the card, see the PDF of the catalog.