General Overview

While works for the left hand commissioned by Paul Wittgenstein are well-known, Saint-Saëns's Études were written and dedicated in 1912 to Caroline Montigny-Rémaury (née Rémaury, later Montigny, and after her second marriage, Madame de Serres, 1843-1913). As they predate World War I, they naturally predate the works for Wittgenstein, who injured his right arm during the war, and stand as one of the pioneering piano works for the left hand, alongside compositions by 19th-century composers such as F. Kalkbrenner, Ch.-V. Alkan, and A. Fumagalli. Saint-Saëns had previously dedicated to her Paladilhe's Paraphrase sur la Mandolinata (1869), the symphonic poem Danse Macabre, Op. 40 (1874), and Wedding Cake (1885) upon her second marriage, indicating that she was one of his loyal friends from his youth. Indeed, she frequently participated in performances of his works over many years, including two-piano collaborations with Saint-Saëns, contributing significantly to their popularization. After her second marriage, when she moved her activities to Vienna with her husband, who worked for the Austrian State Railways, she dedicated herself to Franco-Austrian musical exchange, supporting Saint-Saëns's stay in Vienna in 1886, among other things. It was precisely because she, having lost the use of her right hand due to surgery, requested a work for the left hand that Saint-Saëns accepted the commission. Incidentally, at the time, he was 77 years old, his compositional inspiration was waning, and his motivation was low. When he departed for his customary winter retreat at the end of January, he didn't even bring manuscript paper. However, he hastily composed the work, thinking he could cheer up his friend with the disabled hand, and dispatched the finished manuscript from Cairo on February 29th of the following month.

While this work can be regarded as one of Saint-Saëns's many occasional pieces from the perspective of its compositional motive, this occasion allowed him to regain the passion for composition that he had temporarily lost, and as he himself stated in a letter, it became the driving force behind the composition of his major oratorio, The Promised Land (1913). Aesthetically, composing under the restricted condition of using only the left hand led to a compositional style of 'paring down sounds,' which aligned with his serene state of mind in old age, resulting in works that connect to his 'swan song' series of sonatas for wind instruments. Incidentally, during this trip to Cairo, parallel to composing these études, he was engaged in poetry: a long rhyming narrative titled 'The Mirror,' which surprisingly had Japan as its theme. Furthermore, it was not written as a mere pastime but was a 'commissioned work' to be included in a collection of tales. While Japonisme was popular in France at the time, he seemed to admire the pure spirituality of traditional Japanese culture more than the superficial aspects like Ukiyo-e. He had already noted in a letter that he was impressed by Japanese art's ability to accurately capture the essence of its subjects with simple brushstrokes during his visit to the Japan-British Exhibition in London in 1910. Although it cannot be discussed in detail here, given Saint-Saëns's high level of interest in Japan up to that point, these études can be considered an excellent example of the aesthetic influence of Japanese culture sublimated within his creative work. As for Saint-Saëns's piano music, it likely represents his pinnacle, alongside the Six Fugues, Op. 161 from 1920.

Analysis of Each Piece

This set of études consists of six pieces.

• Prélude: Allegretto moderato, G major, 3/4 time. This collection of études, modeled after classical suites by composers like J.S. Bach, also opens with a prelude. While much of the music features pared-down sounds and linear textures, this piece makes extensive use of arpeggiated chords, exuding a majestic character through its rich harmonic layers.
• Comme une fugue (Like a Fugue): Allegro non troppo, G major, 2/4 time. Saint-Saëns's fondness for fugues is evident in his other études as well. The Italian title, Alla fuga, suggests that it might pay homage to the fugue in Beethoven's 'Eroica Variations' rather than being directly influenced by Bach. It is a light, march-like piece in duple meter.
• Moto perpetuo (Perpetual Motion): Allegretto, E major, 3/8 time. This title is also Italian, Moto perpetuo, and Saint-Saëns may have had Paganini's piece of the same name in mind. However, it is not simply meant to be played blindly fast; it is marked 'sempre legato' (always legato) and 'doux et calme, pas trop vite et très élégant' (soft and calm, not too fast and very elegant). Furthermore, at the beginning, it specifies (in parentheses) 'sans pédale' (without pedal), making it truly an étude for 'jeu perlé' (a pearly, clear, and even touch).
• Bourrée: Molto allegro, G minor, 2/2 time. Beginning with the same perfect fourth leap as 'Comme une fugue' and in its parallel minor, this is a lively dance that forms a pair with 'Moto perpetuo' in between. The middle section and coda shift to G major, and with the 'una corda' marking, a flowing melody is sung over a sustained pedal tone played throughout the section. As the bourrée is originally a dance originating from regions like Auvergne, this can be interpreted as a remnant of the drone sounds of bagpipes or hurdy-gurdies.
• Élégie: Poco adagio, D-flat major, 3/4 time. This is a character piece with a distinctly Romantic flair, standing out within this classical-suite-like collection of études. Alongside the 'Prélude,' it is emotionally rich music with thick harmonic layers created by arpeggiated chords, likely representing the music Saint-Saëns most wished to convey within this collection. The way it builds a crescendo and tension through expanding harmonies to prepare the mournful opening theme creates an even more intense and dramatic effect thanks to the pared-down sounds for one hand. The middle section modulates from A major to F major, taking on a resolute expression as if cutting off thoughts, before the original theme returns.
• Gigue: Presto, G major, 3/8 time. Following the example of J.S. Bach and others, the collection concludes with a gigue. To provide contrast with the preceding piece, it is a single-line, almost 'moto perpetuo'-like music, with a light and swift character, rushing by like a sudden gust of wind.