Grove's dictionary of music and musicians

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SAUTILL^
the principal violin professor, Prosper Sainton.
In 1903 Sauret again gave up this second
professorship for a similar position at the
Chicago Musical College, where he remained
until July 1906. At present he is residing in
Geneva, giving pi-ivate lessons to a small coterie
of pupils, many of whom have followed him
from America. As a virtuoso Mons. Sauret
has obtained a greater degree of popularity in
America than here. His playing is distinguished
by the grace and elegance of the French school,
to which is added a conscientious handling of
the classics. He is also a thorough musician,
and has written a large amount of music, including
an excellent method for the violin.]
His published works embrace a Concerto in
G minor ; a Ballade, a Legende ; and a Serenade
in G—all for solo violin apd orchestra ; Caprice
de Concert in D ; Scherzo fantastique ; Valsecaprice
; Barcarolle-mazurka, ai}d many other
drawing-room pieces, as well as transcriptions
from Mendelssohn, Rubinstein, Wagner, etc. a.
[He has also writteii a Concerto in E major
for violin and orchestra, a Gradvs ad Pamassum
du Violiniste (Leipzig, 1894), and a number of
Etudes, small pieces and transcriptions for the
violin, with and without orchestra.—Lahee,
Famous Violinists ; Mason Clarke, Dictitmary of
Fiddlers; Baker Did. of Mime; Musical Times,
1900, p. 9. E. H-A.]
SAUTILL^, or SALTANDO. A technical
term in violin and violoncello music whereby the
executant understands that a certain skipping
motion of the bow is to be employed. To the
school of classical composers from Corelli to
Spohr, samtilUyra,s either unknown, or by them
ignored ; but with the advent of Faganini this
brilliant embellishment came into vogue, and at
the present time it is one of the most effective
and frequently used amps cFarchet. Like all
the different species of bowing, the manner of
playing sautilU varies with the tempo of the
composition, and the amount of tone required.
In slow movements it assumes the form of gentle
even taps given with an up-and-down movement
in the middle of the bow. To accomplish this
accurately, perfect unity of action between the
fingers of the left hand and the bow is necessary.
The hair of the bow should be slightly
turned towards the face, the bow itself being
held lightly but firmly ; the forearm must
move slightly with each upward and downward
stroke of the bow ; the thumb must be
almost straight ; the wrist loose, but controlled.
Although in a slow movement the bow requires
to be raised and lowered by the player, in an
allegro or presto movement the bow rebounds
of its own accord with such rapidity that the
executant has only to keep the forearm quiet
to have a perfectly loose wrist, and to control
the action of the bow by a slight pressure of
the first finger upon the stick when required.
•Excellent studies and examples of this bowing
SAVART
are to be found in such compositions asPaganini's
'Moto Perpetuo,' Sarasate's Ziguenerweisen,'
'
Bohm's two 'Moto Perpetuo,' AJensky's 'Caprice,'
Kies's 'Moto Perpetuo,' and in Ernst's,
Vieuxtemps's, De Beriot's, Leonard's, Wieniawski's,
Nachez's, and Hubay's compositions.
The use of the sautilU in concerted music,
particularly in the quartets of Haydn, Mozart,
Beethoven, as well as in the sonatas of the two
last-named composers, is universally understood,
and enhances the beauties of the old masters
with happy effect (see Bowing). o. r.
SAUZAY, Charles EuotoB, an eminent
French violinist, was born at Paris, July 14,
1809. In 1823 he entered the Conservatoire,
and in his second year became the pupil of
Baillot and of Reicha. He obtained the second
violin prize in 1825, the first do., and the second
for fugue, in 1827. A few years later he joined
Baillot's quartet, first as second violin and then
as tenor, vice TJrhan, married Mile. Baillot, and
continued one of her father's party till its dissolution
in 1840. He soon rose rapidly both
in society and as a professor. In 1840 he was
made first violin to Louis Philippe, and afterwards
leader of the second violins to the Emperor
Napoleon III. In 1860 he succeeded Girard as
professor at the Conservatoire. His own quartet
party started after the termination of Baillot's,
embracing his wife and Boely as pianists, Norblin
and Franohomme ;
gave its concerts, sometimes
with and sometimes without orchestra, in the
Salle Pleyel. Sauzay is mentioned by Hiller
as one of Mendelssohn's
acquaintances during
his stay in Paris in 1830. He was greatly
sought after both as a player and a teacher.
His publications are not important, and consist
of incidental music to Georges Dandin ' ' and
'Le Sicilien,' cleverly written in the style of
Lully to suit the date of the pieces ; fantasias
and romances ; a PF. trio ; a string trio ; songs
Haydn, Mozart, Beethoven; itude sur le quatuor
(Paris, 1861), a disappointing work from
the pen of a musician of so much eminence and
experience ; L'icole de Vaccompagneinent (Paris,
1869), a sequel to the foregoing. He also composed
a series of ' ifitudes harmoniques ' for the
violin. [He died in Paris, Jan. 24, 1901.] G.
SAVAGE, William, born about 1720, was
a pupil of Pepusch, and became a gentleman of
the Chapel Eoyal in 1744. He was almoner,
vicar- choral, and master of the choristers at
St. Paul's Cathedral in 1748, and was the
master of Battishill and Stevens. He wrote
some chants and church music of little importance,
and died in London, July 27, 1789.
(Brit. Mus. iiog.)
SAVART, F^Lix. [A French doctor of
medicine who abandoned his profession and
devoted himself to investigating the theory of
the vibration of surfaces and strings. He was
the son of Gfrard Savart, a mathematical
instrumient maker of repute, director of the