Grove's dictionary of music and musicians

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SARTOEIS SAURET 227
able to pronounce upon his style. The partwriting
is eminently vocal, and the most difficult
combinations are mastered with ease, but the
scientific element is never unduly forced into
notice, owing to Sarti's gift of fresh and spontaneous
melody. Most of his operas contain
numbers well constructed with a view to stage
effect, and full of expression and charm ; indeed
so much of his music might still be heard with
pleasure that it seems strange that no great
artist has attempted to revive it.
His masses alone retain their hold on public
favour, and one was performed on Easter Day
1880 in Milan Cathedral, which still has all
the MSS.
Sarti left six sonatas for Clavier solo (London,
1762). An Allegro from these is included
in Pauer's ' Alte Meister. ' Cherubini quotes a
'
Cum Sancto ' a 8 of his in his CounterpoiiU ;
and Fetis a Kyrie from the same mass in his
treatise. Breitkopf has published a Fugue for
eight voices, a Hymn arid a Miserere, and the
overture to ' Giro rieonosciuto.' A Eondo for
mezzo soprano will be found in Gevaert's 'Gloires
d' Italic,' and a Cavatina, from ' Giulio Sabino
in the 'Gemme d'Antichitk.'
The Mussini family possess a fine oil-painting
of the composer, taken in 1786 by Tonci,
an Italian painter settled in St. Petersburg.
Ze Chevalier Sarti, a novel by P. Scudo, appeared
first in the Bemie des Deux Mondes,
and has since been published separately (Paris,
Hachette, 1857). o. c.
See Kemble, Adelaide.
SARTORIS, Mrs.
SATANELLA, OR THE POWER OF LOVE.
A 'New Original Romantic Opera,' in four
acts ;
words by Hams and Falconer, music by
Balfe. Produced at the National English
Opera, Coveut Garden (Pyne and Harrison),
Dec. 20, 1858. The story is a version of 'Le
Diable boiteux.' G.
SATURDAY POPULAR CONCERTS. See
Popular Concerts.
SATZ. The German term for Movement,
which see.
SAUER, Emil, bom at Hamburg, Oct. 8,
1862, was a pupil of Nicolas Rubinstein at the
Moscow Conservatorium in 1876-81, and subsequently
studied under Liszt and Deppe. From
1882 he made frequent and successful concerttours
as a virtuoso-pianist. He first appeared
in England at eight recitals of his own, in
November 1894, and rapidly attained great
success in this country. In 1901 he was
appointed head of one department of the pianoforte
branch of the Vienna Conservatorium,
which he gave up in April 1907, going to live
at Dresden. His technique is wonderfully neat
and accurate, and his playing, though occasionally
rather wanting in breadth, is always agreeable.
He has written a ' suite modeme ' and
many slighter pieces for the pianoforte, as well
as a Concerto in E minor. He has also published
a volume of reminiscences, Meine Welt
(1901). M.
SAUL. 1. An oratorio ;
words attributed
both to Jennens and Morell, music by Handel.
The composition was begun July 23, 1738.
The second act was completed August 28, and
the whole on Sept. 27, of the same year. First
performance at the King's Theatre, Tuesday,
Jan. 16, 1739 ; at DubHn, May 25, 1742.
Revived by the Sacred Harmonic Society,
March 20, 1840. The autograph is in the
library at Buckingham Palace. The overture
(' Sinfonia ') is Handel's longest ; it is in four
movements, and the organ is largely employed
in it as a solo instrument. The Dead March
'
in Saul ' has been perhaps more widely played,
and is more universally known, than any other
piece of music.
'
2. King Saul. ' An oratorio ; composed by
Sir C. Hubert H. Pan-y, produced at the
Birmingham Festival of 1894. G.
SAURET, Emile, violinist, born at Dun-le-
Roi, Cher, France, May 22, 1852, soon attracted
the notice of De B&iot, and became his pupil,
the last he ever had. He began to travel at
an early age, playing in the chief towns of
France and Italy, in Vienna and in London,
where he played at the International Exhibition
of 1862 and also at the Alhambra. More
important was his appearance at Alfred Mellon's
Concerts, Covent Garden, August 27, 1866.
He played often at the French court in the
last days of the Second Empire. In 1872 he
made his first visit with Strakosch to the
United States, and his second in 1874, remaining
there till Jan. 1876. In New York he
made the acquaintance of von Biilow and
Rubinstein, and on his return to Leipzig was
welcomed by the latter, then engaged in the
rehearsals of his ' Paradise Lost.' Sauret made
his debut in the Gewandhaus in May 1876 in
Mendelssohn's Concerto, and was most warmly
received. He took lessons in composition from
Jadassohn. He, however, returned immediately
to America, and it was not till he came back
again in 1877, and went through Germany
two long and most successful
and Austria in
toumtes, that his reputation was established
in his native country. In England he reappeared
in 1880, and played at the Crystal
Palace, April 24, and Philharmonic (Bruch's
Concerto, No. 1) on the 28th.
Liszt showed him much Jdndness, and they
often played together. In 1872 he married
Mme. Teresa Carrefio, the marriage being dissolved
a few years later. In 1879 he married
Miss Emma Hotter of Diisseldorf [and
being appointed professor of the violin at
KuUak's Academy in Berlin, he settled in that
city, remaining there nearly ten years. He
relinquished this post, however, in 1890, when
the Royal Academy of Music, London, invited
him to fill the vacancy caused by the death of