In his 1991 study of Messager, John Wagstaff writes that the composer's music is notable for its fine orchestration, easy-flowing melody, and skilfully written music, dance-like in character. Unlike his teacher Fauré,[115] Messager enjoyed orchestrating. He said that musical ideas came to him "already clothed in the appropriate instrumental shades",[116] and after the concentrated effort of composing his scores he found it relaxing to work on "the handling of instruments, the balancing of different sonorities, the grouping of colours and the structuring of effects".[42] He remarked that composers who had their music orchestrated by assistants presumably did not care if their helpers lacked "that indefinable sixth sense which would indicate the right combination of sonorities to carry out the original intentions of the composer". To Messager, passages often depended for their significance or flavour on the orchestral writing alone.[117]
Samson et Dalila in Full Score (Dover Music Scores) (French and German Edition) Camille Saint-Sans
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