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    Oratorio De Noël, Op. 12 by Camille Saint-Saëns: Conservative Eclecticism

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    Author
    Lee, Eunji
    Issue Date
    2019
    Advisor
    Chamberlain, Bruce
    
    Metadata
    Show full item record
    Publisher
    The University of Arizona.
    Rights
    Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
    Abstract
    Camille Saint-Saëns (1835-1921) is one of the most representative French composers of the nineteenth century. He was, however, often criticized for a lack of passion and emotion because his style derives from adaptation rather than innovation. Even so, I was fascinated by his restrained Romantic style when I encountered the Oratorio de Noël, op. 12 in Choral Literature and Techniques (MUS635) at the University of Arizona in 2016, primarily because the style of his music reminds me of Felix Mendelssohn (1809-1847), but is more diverse. Many of Saint-Saëns’s compositions are based on the Austro-Germanic style. At the same time, his musical style demonstrates a French taste. This mixture of the two styles helps define his individual style, which I call “Conservative Eclecticism.” Oratorio de Noël, op. 12 is an oratorio in French tradition. I will demonstrate Saint-Saëns’s Conservative Eclecticism by comparing and contrasting this work with Mendelssohn’s chorale cantata “Vom Himmel hoch.” By examining the common and different characteristics of the two works, I will clarify how Saint-Saëns developed his own musical style, and help broaden the scope of understanding his aesthetic contribution.
    Type
    text
    Electronic Dissertation
    Degree Name
    D.M.A.
    Degree Level
    doctoral
    Degree Program
    Graduate College
    Music
    Degree Grantor
    University of Arizona
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