One of the most significant challenges facing young French composers in the 19th century was to compete for the Prix de Rome, not only for the considerable prize money and residency in Rome, but more importantly for the recognition it granted.
Camille Saint-Saëns competed for the prize twice, in 1852 with his youthful cantata, Le Retour de Virginie, and in 1864 with his nearly operatic setting of Ivanhoé. Though he didn't win in either year,
Saint-Saëns had already achieved success between his Roman efforts and won prestige for his increasingly progressive works, which were strongly influenced by
Liszt and
Wagner and therefore quite antithetical to the conservative leanings of the prize committee. This album by
Hervé Niquet and the
Brussels Philharmonic revives both works, and offers the Ode, the Choeur des Sylphes, excerpts from the Messe, Op. 4, and eight Motets au Saint Sacrement, all works from the period that demonstrate
Saint-Saëns' mastery of vocal and choral writing.While these compositions are superior to much of the French academic music of the Second Empire, they still seem like minor efforts from the early stage of
Saint-Saëns' career, and are therefore of primary interest to specialists.