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The final section of the article centers upon the music of Saint-Saëns, including Samson et Dalila, where the author points to the use of the îstîftah, an instrumental prelude of flexible rhythm in Arabian music, and the use of the ramal mode transposed to A. This, and similar examples, lead the author to believe that Saint-Saëns was attempting to be extremely authentic in his use of non-Western musical elements. The author also examines the Suite algérienne, Africa, and the Mélodies persanes. 33.

This monograph concentrates upon the music of composers such as Ravel, Stravinsky, Les Six, and other prominent composers of the period between the world wars. Chapters are also devoted to the general musical life, and the schools of Wagner and Franck. SaintSaëns is relegated to only four pages scattered throughout the monograph, and his death is not even mentioned in the concluding chronological table. The author dwells upon the more avantgarde styles of the early twentieth century and dismisses the final years of Saint-Saëns’s life as being relatively unimportant.

New York: Schirmer, 1997. 451 p. ISBN 002871105X. This book is a collection of essays by various contributors on the symphonic music and musical styles of selected composers including Schubert, Weber, Spohr, Schumann, Mendelssohn, Berlioz, Liszt, Bruckner, Brahms, Dvorák, Tchaikovsky, Elgar, Richard Strauss, Mahler, and Sibelius. The French symphonic tradition of the era is treated in one chapter and includes an examination of the music of David, Gounod, Bizet, Saint-Saëns, Franck, and other composers such as Lalo and Dukas.

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Agrapha, New Oxyrhynchus Logia by E. Klostermann

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