Symphony No. 3 in C Minor

Although he composed several symphonies between 1849 and 1859, Saint-Saëns latterly focused on concertos and symphonic poems. Only in 1886 did he again take up the genre, a commission from the Royal Philharmonic Society resulting in his Symphony No. 3, which was first heard in London on 19 May 1886, with the composer conducting. An innovative formal design finds the customary four movements divided into two separate parts, with salient themes being developed across the whole work. A wistful “Adagio” introduces the first part, leading to an “Allegro moderato” whose agitated then lyrical themes combine in a stormy culmination that, in its turn, winds down to an expectant pause. Only now does the organ enter for a “Poco adagio” that unfolds as variations on the eloquent melody first heard on lower strings, gradually building to a rapturous climax and then an ethereal close. The second part commences with a scherzo, its lively outer sections framing a faster trio with quicksilver contributions from a solo piano. Activity subsides into a prayerful transition on strings, then the finale is launched with thunderous organ chords. Its chorale-like main theme alternates with fugal passages from strings and plaintive woodwind interludes before aspects of the main theme build to a resplendent apotheosis. Liszt’s death two months after the premiere led Saint-Saëns to dedicate the work to his memory; aptly so, given he had adapted the former’s idea of thematic transformation to a template for French symphonic music over the following century.