The Symphony No. 3 in C minor, Op. 78, was completed by Camille Saint-Saëns in 1886 at the peak of his artistic career. It is popularly known as the Organ Symphony, since, unusually for a late-Romantic symphony, two of the four sections use the pipe organ. The composer inscribed it as: Symphonie No. 3 "avec orgue" (with organ). The symphony was commissioned by the Royal Philharmonic Society (then called simply the Philharmonic Society) in England, and the first performance was given in London on 19 May 1886, at St James's Hall, conducted by the composer. After the death of his friend and mentor Franz Liszt on 31 July 1886, Saint-Saëns dedicated the work to Liszt's memory. The composer seemed to know it would be his last attempt at the symphonic form, and he wrote the work almost as a type of "history" of his own career: virtuoso piano passages, brilliant orchestral writing characteristic of the Romantic period, and the sound of the organ suitable for a cathedral or large concert halls (which were typically equipped with the instrument). Saint-Saëns noted: "I gave everything to it I was able to give. What I have here accomplished, I will never achieve again." Although Saint-Saëns was asked, following the resounding success of the symphony at its French premiere in 1887, to compose another symphony he would never again return to the genre. The Organ Symphony was the first of a spate of symphonic works by leading French composers. Édouard Lalo's Symphony in G minor was composed shortly after the London premier of Saint-Saëns' third (between August and November of 1886), and premiered in February 1887 at the Concerts Lamoureux. Also in 1886, Vincent d'Indy wrote his Symphony on a French Mountain Air, while César Franck composed his Symphony in the summer and autumn of 1887. Later examples include Ernest Chausson's Symphony in B-flat, written in 1891, and Paul Dukas' Symphony in C composed in 1896. History Background On July 4, 1885 the directors of the Philharmonic Society agreed to commission a new, specifically French orchestral work, preferring Charles Gounod, with Léo Delibes, Jules Massenet, and Saint-Saëns as backup candidates. While the fate of petitions to these other composers remains unclear (if indeed they were ever despatched), the following year the Society arranged to bring Saint-Saëns to London as piano soloist in a concerto of his choice (Beethoven's fourth concerto), and he requested that