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Camille Saint-Saëns - Symphony No. 3 in C minor, Op. 78 (The Organ Symphony)

The Symphony No. 3 in C minor, Op. 78, was commissioned by the Royal Philharmonic Society of London to mark its seventy-third anniversary. It was premiered on 19 May 1886 at St James’s Hall, conducted by the composer himself. This work would become the final symphony of Camille Saint-Saëns and remains his most celebrated contribution to the symphonic repertoire.

Saint-Saëns dedicated the symphony to the memory of Franz Liszt, a close friend and admired mentor who had died shortly before the work’s premiere. Though commonly known as the Organ Symphony, the piece is not a concerto-like showcase for the organ. Instead, it is a symphonic work in which the organ plays a structural and colouristic role in two of the four movements. Saint-Saëns himself described it simply as Symphonie No. 3 “avec orgue”—a symphony “with organ.”


Movements:

I. Adagio - Allegro moderato

The symphony opens in a grave and introspective atmosphere. The Adagio introduction unfolds slowly and hesitantly, establishing a sense of solemn expectation. Gradually, the Allegro moderato emerges as the true beginning of the symphony: the mood brightens, rhythms become more animated, and broader melodic gestures appear in the winds, rising and sinking with noble restraint.

After the opening material is restated and expanded, the music gradually subsides. The energy dissolves into a quieter, more reflective passage, gently preparing the listener for the contrasting serenity of the following movement.



II. Poco adagio

The Poco adagio introduces the organ for the first time, though initially in a discreet, accompanying role. With the exception of the double basses, the strings present the movement’s expansive and deeply expressive melody, producing a warm, pulsating sonority.

As the movement unfolds, the violins elaborate the theme in increasingly ornate variations. Toward the end, the original melody returns one final time, now enriched by the organ and supported by delicate pizzicato figures in the strings. The result is one of the most serene and luminous slow movements of the late Romantic symphonic tradition.



III. Allegro moderato - Presto

The restless energy of the opening movement returns in the Allegro moderato – Presto. Nervous rhythmic figures propel the music forward, while the strings drive the momentum with agitated patterns that release the playful and incisive responses of the wind instruments.

Here, the piano appears for the first time, contributing rapid ascending scales that heighten the sense of urgency and excitement. In the Presto section, a distinctly new theme emerges from the low brass and deep strings, creating a feeling of tension and competition between orchestral forces. Gradually, however, the turbulence subsides, restoring a sense of balance as the movement draws to a close.



IV. Maestoso

The finale opens with one of the most iconic moments in the symphonic repertoire: a massive, radiant chord in the organ announces the Maestoso. This majestic gesture immediately transforms the atmosphere, ushering in a mood of triumph and grandeur.

A broad theme introduced by piano and strings is soon taken up by the organ, now fully integrated with the orchestra. Joyful and exultant in character, the music builds steadily in intensity. As the pace accelerates toward the end, excitement mounts, leading to a short concluding section dominated by powerful scale figures. The symphony concludes in a blaze of affirmation, bringing Saint-Saëns’s final symphonic statement to a glorious and uplifting close.



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