Camille Saint-Saëns was born on October 9, 1835. He lost his father when a child, and was brought up by his mother and his great-aunt, thanks to whose combined care he was able to battle against the natural delicacy of his constitution. Many anecdotes are related concerning the precocity of his musical development, and the ease with which he mastered those first principles of his art which usually appear so trying to the youthful mind.
One day, when he was at play, a visitor having been ushered into the adjoining room, the child, in listening to his footsteps, gravely observed, to the amusement of those present: "That gentleman in walking marks a crotchet and a quaver." The visitor in question walked with a limp.
It was from his great-aunt that he learnt the elements of music. Later on, he studied the piano under Stamaty,[19] and composition under Maleden, subsequently entering the Conservatoire in the class presided over by Halévy.
In 1852 he competed without success for the "Prix de Rome," and that same year witnessed the production of his first symphony by the Société de Sainte-Cécile under Seghers.
Twelve years later, he once more entered the lists, but again failed, and the prize was awarded to Victor Sieg.[20]
Saint-Saëns was luckier in 1867, when his cantata "Les Noces de Prométhée" was allotted the first place in a competition organised for a work to be performed on the occasion of the opening of the International Exhibition.
No less than one hundred and two musicians competed for the prize. Berlioz wrote as follows to his friend Ferrand concerning the success achieved by Saint-Saëns: "On avait entendu les jours précédents cent quatre cantates, et j'ai eu le plaisir de voir couronner (à l'unanimité) celle de mon jeune ami Camille Saint-Saëns, l'un des plus grands musiciens de notre époque.... Je suis tout ému de notre séance du jury! Comme Saint-Saëns va être heureux! j'ai couru chez lui, lui annoncer la chose, il était sorti avec sa mère. C'est un maître pianiste foudroyant. Enfin! voilà donc une chose de bon sens faite dans notre monde musical. Cela m'a donné de la force; je ne vous aurais pas écrit si longuement sans cette joie."[21]
A curious incident is related as having occurred on the occasion of this competition. The works sent in naturally did not bear the names of their authors, and many of the judges seemed to imagine that Saint-Saëns' cantata, which was far ahead of the others in point of merit, was by a foreigner. This caused the veteran Auber to make the following remark: "Je voudrais être certain que l'auteur de ces 'Noces' soit un Français. C'est un symphoniste si sur de ses moyens, si franc du collier, d'allure si libre, que je ne vois pas chez nous son pareil."