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Church music by the unchurched: Saint-Saëns

All created human beings, with one famous exception — so the Church teaches us — suffer from Original Sin; but it is astonishing how often various Catholics forget this fact when it comes to sacred music. American columnist Joseph Sobran, after having eulogized Mozart on the latter’s 250th birthday, endured ferocious chastisement from “a stern Catholic reader who assured me … that the ‘only reason’ the media noted the occasion is that Mozart was a Mason. What’s more, he is now ‘roasting in hell’.” Many Catholic musicians will have been confronted with similar vengeful attitudes about Mozart, and not only about him. It is as if great composers’ lives inspire in certain prigs a de facto Donatism, which (happily) would be prohibited in any other field of church endeavour. To such Donatism, Adelaide organist and pianist Mark Freer has surely formulated the definitive response:

“No thoughtful Catholic will have difficulty distinguishing Mozart’s music from his Freemasonry, any more, for example, than separating Bach’s work from his Lutheranism. If we were to dismiss every human work that had been created by a sinner there might not be much left standing. I was once taken to task for leading a congregation in a ‘Protestant tune’, to which I replied, ‘Which note was Protestant?’. Let us move on.”

So begins a delightful appreciation of the sacred music of Camille Saint-Saëns written by R. J. Stove and printed in the latest issue of Oriens, an Australian publication devoted to traditional Catholic culture. It is but the first of a series discussing eminent composers who spent most of their lives outside orthodox Catholicism, but who made notable contributions to sacred music. Mr. Stove is also a contributor to The New Criterion and was kind enough to send me a copy of his article, which was both comprehensive and concise while remaining interesting throughout. More information on Oriens can be found at their website.

Published at 7:57 pm on Monday 8 September 2008. Categories: Church Tags: , .
Comments

Simply amazing Mr Cusack.
I google “Saint Saëns catholic” and the second hit I see is from my favourite blog.
And, as expected, very good it is to. But why no comments for all of five years? Perhaps your readers are not much interested in music. More likely too many of them are like the “stern Catholic” who thinks that Mozart, as a Freemason, can only be burning in hell. All very stupid, and enough to cause one to leave the Church in despair. But then we did have Benedict to keep us feeling confident …
But what of Saint Saëns himself? I am listening now to his adorable Christmas Oratorio – adorable, but not profound. A man who by all accounts had the musical gifts of a Mozart, he yet wrote nothing imperishable, if much which is eminently pleasing.
Why? Perhaps he didn’t care to exert himself, and wrote with the facility of a gifted boulevardier who had no desire to be anything more. Certainly nothing he wrote sound in the least bit laboured or deeply considered. No Brahms he.
Well, he carried it off beautifully, and never gives his hearers anything but gentle satisfaction.
I suspect that God told him off for his (very French) skepticism – and then showed him the way to Purgatory.

L Gaylord Clark 8 Dec 2013 9:14 pm

I must say, I think Bach’s Lutheranism is rather noticeable in his music, which great as it is, tends slightly toward the humorless and Manichaean.

Saint-Saëns is sometimes – well – almost superficial, but isn’t Mozart’s sometimes? I do find that Johannes Chrysostomus Wolfgangus Theophilus can get more profound when writing sacred music, though, and it’s a pity if Saint-Saëns couldn’t do the same.

Raymond FitzWilliam FitzGerald le Gros 10 Dec 2013 9:31 pm
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