seamlessly linked movements, ... would invite comparison to the nineteenth century's ultimate model, Beethoven's Fifth. Like Beethoven's fifth symphony, the Organ symphony, which proceeds from an agitated C minor opening to a rousing C major conclusion recalls the idea of a passage from adversity to triumph. Deruchie has argued that Saint-Saëns sought to infuse this "narrative design and the broad formal layout he inherited from previous symphonists with compositional procedures that had matured in other genres, notably the symphonic poem," highlighting the "eclecticism" of the work, notably in its unusual instrumentation (organ and piano) and "timbres and styles foreign to the [symphonic] genre." It has been commonly noted that the opening theme of the symphony recalls the Dies Irae by using the first five pitches of the well-known medieval chant. Given the dedication "to the memory of Franz Liszt," who died in 1886, it has been suggested that Saint-Saëns made intentional use of the motif to suggest the "resurrection and eternity" of Liszt. As various scholars have pointed out, however, the original dedication was intended "as a homage" to Franz Liszt the man, and not the memory, since his death occurred between the London premiere of the work and its eventual publication. In a letter dated June 19, 1886, Liszt wrote to Saint-Saëns, acknowledging both the intended dedication and "the success of the symphony in London." In Fallon's view, the work is non-programmatic and the coincidence of pitches with the Dies Irae insignificant. In Deruchie's analysis, Saint-Saëns may have intended the idea of resurrection linked to the Dies Irae with the renewal of the symphonic genre itself. In a 1918 letter to Pierre Adjutant, Saint-Saëns wrote "if a symphony could claim the honor of renewing the symphonic genre, it would be my symphony in C minor, on account of its unusual division and its use of the organ." However, in the extensive program notes he prepared for the London premiere, while Saint-Saëns drew attention to novel features of his new work, noting its cyclic features and the unusual scoring for keyboard instruments and expanded woodwind and brass sections, which he suggested were a reflection of how "symphonic works should now be allowed to benefit [from] the progress of modern instrumentation," nowhere does he make mention of the Dies Irae, nor any programmatic intent behind the work. Saint-Saëns gave the 182-page autograph score of the Organ symphony to the Bibliothèque Nationale