Arts, Faculty of
Music, School of
DSpace
UBCV
Lamberton, Elizabeth Jean
Doctor of Philosophy - PhD
University of British Columbia
Ernest Reyer's career as music critic spanned the second half of the nineteenth century. For more than thirty years he held the position of music critic of the Journal des Debats, one of the most respected newspapers in nineteenth-century France. He also contributed regularly to four journals and the daily Courrier de Paris, and wrote as well for other newspapers and periodicals. Reyer was in addition a conductor and a noted composer, whose major musical works—the operas Sigurd and Salammbo--were performed frequently at the Paris Opera until after the turn of the century. This study deals with Reyer the critic: as a writer on music, he did much to raise the level of musical taste in France during the last third of the century. The dissertation contains ten chapters and two appendices. Chapter I provides a biographical sketch of Reyer before focusing on his personality and his music. Chapter II surveys Reyer's literary legacy: the extent of his writings in newspapers, periodicals, and other publications; his musical preferences; subjects of considerable importance to Reyer; his literary style; and the two compilations of his writings (Notes de musique and Quarante ans de musique, which together represent less than ten percent of his literary production). Chapter III demonstrates that Reyer believed his role as critic was to educate the public, and that he sought to fulfil this role by founding his approach to critical writing on three basic tenets: professional knowledge of music; intellectual integrity; and the consistent application of an aesthetic. The principles of his aesthetic and the consistency of their application are illustrated in Chapter IV through consideration of Reyer's judgments of operatic composition and performance. The next five chapters examine Reyer's writings on topics and composers of particular importance to him. Chapter V studies his views on the complex situation in Parisian lyric theatres during the second half of the nineteenth century, and offers a detailed picture of his conception of an ideal theatre. Chapter VI discusses Reyer's attempts to stimulate public interest in Gluck, Spontini, and Weber, whose works for lyric theatre were either neglected in Paris or known mainly through mutilated versions. Chapter VII outlines Reyer's long struggle—as both critic and conductor—to establish Berlioz's reputation in France. Reyer's advocacy was so effective that some of his countrymen eventually credited him with having done more than anyone else to bring honor to Berlioz in his homeland. Reyer also played a major role in establishing Wagner's music in France, as is shown in Chapter VIII. Chapter IX demonstrates that Reyer's support was important in launching and sustaining the careers of many contemporary French composers, including Gounod, Saint-Saens, Bizet, and Lalo. The final chapter summarizes Reyer's achievement as a writer on music. Among the subjects discussed are the strong influence of Berlioz's writings on both Reyer's literary style and his aesthetic, and the impact of Reyer's writings on Parisian musical life. Appendix A contains an annotated bibliography of Reyer's more than seven hundred critical writings, with an explanation of how they were culled from newspapers and periodicals. Appendix B is a list of other published writings by Reyer. Our examination of his criticism reveals that it would be of interest to have Reyer's complete works available collected volumes.
THE CRITICAL WRITINGS OF ERNEST REYER By ELIZABETH JEAN LAMBERTON B.Mus., U n i v e r s i t y o f R e g i n a , 1975 M.A. , The U n i v e r s i t y o f B r i t i s h C o l u m b i a , 1978 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY ( M u s i c o l o g y [ H i s t o r i c a l S t u d i e s ] ) i n THE FACULTY OF GRADUATE STUDIES ( S choo l o f M u s i c ) We a c c e p t t h i s t h e s i s as c o n f o r m i n g t o t he r e q u i r e d s t a n d a r d THE UNIVERSITY OF BRITISH COLUMBIA A p r i l 1988 (c) E l i z a b e t h Jean L a m b e r t o n , 1988 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Music The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date A p r i l 29, 1988 DF-fin/ftn i i ABSTRACT E r n e s t R e y e r ' s c a r e e r as mus i c c r i t i c spanned the second h a l f o f t h e n i n e t e e n t h c e n t u r y . Fo r more t han t h i r t y y e a r s he h e l d t h e p o s i t i o n o f mus i c c r i t i c o f t he J o u r n a l des D e b a t s , one o f t h e most r e s p e c t e d newspapers i n n i n e t e e n t h - c e n t u r y F r a n c e . He a l s o c o n t r i b u t e d r e g u l a r l y t o f o u r j o u r n a l s and t h e d a i l y C o u r r i e r de P a r i s , and w r o t e as w e l l f o r o t h e r newspapers and p e r i o d i c a l s . Reyer was i n a d d i t i o n a c o n d u c t o r and a no ted compose r , whose ma jo r m u s i c a l w o r k s — t h e ope ra s S i g u r d and Sa lammbo--were p e r f o r m e d f r e q u e n t l y at t h e P a r i s Opera u n t i l a f t e r t he t u r n o f t h e c e n t u r y . T h i s s t u d y d e a l s w i t h Reyer t he c r i t i c : as a w r i t e r on m u s i c , he d i d much t o r a i s e t h e l e v e l o f m u s i c a l t a s t e i n F r a n c e d u r i n g t h e l a s t t h i r d o f t h e c e n t u r y . The d i s s e r t a t i o n c o n t a i n s t e n c h a p t e r s and two a p p e n d i c e s . C h a p t e r I p r o v i d e s a b i o g r a p h i c a l s k e t c h o f Reyer b e f o r e f o c u s i n g on h i s p e r s o n -a l i t y and h i s m u s i c . C h a p t e r I I s u r v e y s R e y e r ' s l i t e r a r y l e g a c y : t he e x t e n t o f h i s w r i t i n g s i n newspape r s , p e r i o d i c a l s , and o t h e r p u b l i c a -t i o n s ; h i s m u s i c a l p r e f e r e n c e s ; s u b j e c t s o f c o n s i d e r a b l e i m p o r t a n c e t o R e y e r ; h i s l i t e r a r y s t y l e ; and t he two c o m p i l a t i o n s o f h i s w r i t i n g s (Note s de mus ique and Qua ran te ans de mus i que , wh i ch t o g e t h e r r e p r e s e n t l e s s t han t e n p e r c e n t o f h i s l i t e r a r y p r o d u c t i o n ) . C h a p t e r I I I demon-s t r a t e s t h a t Reyer b e l i e v e d h i s r o l e as c r i t i c was t o e d u c a t e t h e p u b l i c , and t h a t he sought t o f u l f i l t h i s r o l e by f o u n d i n g h i s app roach t o c r i t i c a l w r i t i n g on t h r e e b a s i c t e n e t s : p r o f e s s i o n a l knowledge o f m u s i c ; i n t e l l e c t u a l i n t e g r i t y ; and t h e c o n s i s t e n t a p p l i c a t i o n o f an i i i a e s t h e t i c . The p r i n c i p l e s o f h i s a e s t h e t i c and t h e c o n s i s t e n c y o f t h e i r a p p l i c a t i o n a r e i l l u s t r a t e d i n C h a p t e r IV t h r o u g h c o n s i d e r a t i o n o f R e y e r ' s judgments o f o p e r a t i c c o m p o s i t i o n and p e r f o r m a n c e . The nex t f i v e c h a p t e r s examine R e y e r ' s w r i t i n g s on t o p i c s and com-p o s e r s o f p a r t i c u l a r i m p o r t a n c e t o h i m . C h a p t e r V s t u d i e s h i s v i ews on t h e complex s i t u a t i o n i n P a r i s i a n l y r i c t h e a t r e s d u r i n g t he second h a l f o f t h e n i n e t e e n t h c e n t u r y , and o f f e r s a d e t a i l e d p i c t u r e o f h i s c o n c e p -t i o n o f an i d e a l t h e a t r e . C h a p t e r VI d i s c u s s e s R e y e r ' s a t t e m p t s t o s t i m u l a t e p u b l i c i n t e r e s t i n G l u c k , S p o n t i n i , and Weber, whose works f o r l y r i c t h e a t r e were e i t h e r n e g l e c t e d i n P a r i s o r known m a i n l y t h r o u g h m u t i l a t e d v e r s i o n s . C h a p t e r V I I o u t l i n e s R e y e r ' s l o n g s t r u g g l e — a s both c r i t i c and c o n d u c t o r — t o e s t a b l i s h B e r l i o z ' s r e p u t a t i o n i n F r a n c e . R e y e r ' s advocacy was so e f f e c t i v e t h a t some o f h i s count rymen e v e n t u a l l y c r e d i t e d h im w i t h h a v i n g done more t han anyone e l s e t o b r i n g honor t o B e r l i o z i n h i s homeland. Reyer a l s o p l a y e d a major r o l e i n e s t a b l i s h i n g Wagne r ' s mus i c i n F r a n c e , as i s shown i n C h a p t e r V I I I . C h a p t e r IX d e m o n s t r a t e s t h a t R e y e r ' s s u p p o r t was i m p o r t a n t i n l a u n c h i n g and s u s -t a i n i n g t h e c a r e e r s o f many c o n t e m p o r a r y F rench compose r s , i n c l u d i n g Gounod, S a i n t - S a e n s , B i z e t , and L a l o . The f i n a l c h a p t e r summar izes R e y e r ' s a ch i evement as a w r i t e r on m u s i c . Among t he s u b j e c t s d i s c u s s e d a re t h e s t r o n g i n f l u e n c e o f B e r l i o z ' s w r i t i n g s on both R e y e r ' s l i t e r a r y s t y l e and h i s a e s t h e t i c , and t h e impact o f R e y e r ' s w r i t i n g s on P a r i s i a n m u s i c a l l i f e . Append i x A c o n t a i n s an a n n o t a t e d b i b l i o g r a p h y o f R e y e r ' s more t h a n seven hundred c r i t i c a l w r i t i n g s , w i t h an e x p l a n a t i o n o f how t h e y were c u l l e d f r o m newspapers and p e r i o d i c a l s . A p p e n d i x B i s a l i s t o f o t h e r p u b l i s h e d w r i t i n g s by R e y e r . Our e x a m i n a t i o n o f h i s c r i t i c i s m r e v e a l s t h a t i t would be o f i n t e r e s t t o have R e y e r ' s c o m p l e t e works a v a i l a b l e c o l l e c t e d v o l umes . V TABLE OF CONTENTS ABSTRACT i i TABLE OF CONTENTS v L I ST OF TABLES v i L I ST OF ABBREVIATIONS v i i ACKNOWLEDGEMENTS v i i i PREFACE 1 C h a p t e r I. ERNEST REYER: THE MAN AND HIS WORKS 14 I I . AN INTRODUCTION TO REYER AS CRITIC 80 I I I . REYER 'S APPROACH TO CRITICAL WRITING 118 IV. REYER 'S VIEWS ON OPERA 145 V. REYER AND THE LYRIC THEATRES OF PARIS 171 V I . REYER AND THREE NEGLECTED MASTERS OF LYRIC THEATRE: GLUCK, SPONTINI, AND WEBER 215 V I I . REYER AND BERLIOZ 266 V I I I . REYER AND WAGNER 315 IX. REYER AND CONTEMPORARY FRENCH COMPOSERS 392 X. CONCLUSION 476 BIBLIOGRAPHY 489 A p p e n d i c e s A. REYER 'S CRITICAL WRITINGS IN NEWSPAPERS AND PERIODICALS 507 B. OTHER WRITINGS BY REYER 738 v i L IST OF TABLES I. Group 1: P u b l i c a t i o n s Examined and Methods o f E x a m i n a t i o n 517 I I . E x a m i n a t i o n o f I ndexes o f P u b l i c a t i o n s i n Group 1 523 I I I . Group 2: P u b l i c a t i o n s Examined and Methods o f E x a m i n a t i o n 528 IV. E x a m i n a t i o n o f I ndexes o f P u b l i c a t i o n s i n Group 2 530 VI 1 L IST OF ABBREVIATIONS Newspapers and P e r i o d i c a l s L ' A thenaeum f r a n g a i s , 1 8 5 2 - 5 6 ; w e e k l y j o u r n a l ; i n 1856 ab so rbed by t h e Revue c o n t e m p o r a i n e ; appeared as supp lement o f t h e Revue, 1858-66 and 1867 - 70 . Le C o u r r i e r de P a r i s , 1 857 - 60 ; d a i l y newspaper . La F r a n c e m u s i c a l e , 1 837 - 70 ; w e e k l y j o u r n a l . La G a z e t t e du N o r d , 1 859 - 60 ; w e e k l y j o u r n a l . J o u r n a l des D e b a t s , 1789 -1944 ; d a i l y newspaper . Revue f r a n g a i s e , 1 8 5 5 - 5 9 ; t r i m o n t h l y j o u r n a l . Revue e t G a z e t t e m u s i c a l e de P a r i s , 1 834 - 80 ; w e e k l y j o u r n a l . Revue de P a r i s , 1 851 - 58 ; m o n t h l y , t hen b i m o n t h l y , j o u r n a l . O the r P u b l i c a t i o n s E n c y c l o p e d i e de l a mus ique e t d i c t i o n n a i r e du C o n s e r v a t o i r e . Founded by A l b e r t L a v i g n a c and d i r e c t e d by L i o n e l de l a L a u r e n c i e . Two p a r t s i n 11 v o l s . P a r i s : L i b r a i r i e D e l a g r a v e , 1 913 - 31 . F r a n g o i s - J o s e p h F e t i s , B i o g r a p h i e u n i v e r s e l l e des m u s i c i e n s e t b i b l i o g r a p h i e g e n e r a l e d e l a mu s i que . 2d r e v . e d . 8 v o l s . P a r i s : F i r m i n - D i d o t , 1 866 - 68 . A l f r e d Loewenbe rg , A n n a l s o f O p e r a , 1597 -1940 . 3d r e v . e d . London : John C a l d e r , 1978. The New Grove D i c t i o n a r y o f Mu s i c and M u s i c i a n s . E d i t e d by S t a n l e y S a d i e . 20 v o l s . London: M a c m i l l a n P u b l i s h e r s L t d . , 1980. v i i i ACKNOWLEDGEMENTS One o f t h e p l e a s u r e s a f f o r d e d by t h e c o m p l e t i o n o f t h i s d i s s e r t a -t i o n i s t h e o p p o r t u n i t y t o e x p r e s s my g r a t i t u d e t o t he many p e o p l e who have a s s i s t e d i n i t s p r e p a r a t i o n . I wou ld l i k e p a r t i c u l a r l y t o thank my a d v i s o r , Dr. H. R o b e r t Cohen, P r o f e s s o r o f M u s i c o l o g y at t h e U n i v e r s i t y o f B r i t i s h C o l u m b i a w h i l e t h i s s t u d y was i n p r o g r e s s . D r . Cohen has been an e x a c t i n g c r i t i c , and I am s i n c e r e l y g r a t e f u l f o r h i s g u i d a n c e . My t h a n k s a l s o t o t he o t h e r members o f my d o c t o r a l c o m m i t t e e : P r o f e s s o r G r e g o r y B u t l e r , who p r o v i d e d many h e l p f u l s u g g e s t i o n s a f t e r r e a d i n g t h e t y p e s c r i p t ; P r o f e s s o r D i m i t r i Conomos, who examined each c h a p t e r w i t h m e t i c u l o u s c a r e ; and P r o f e s s o r J . Evan K r e i d e r , who has been a s o u r c e o f encouragement and w i s e c o u n s e l t h r o u g h o u t t h e many s t a g e s o f t he d o c -t o r a l p rog ram. Fo r i n n u m e r a b l e k i n d n e s s e s I am i n d e b t e d t o t he l i b r a r y s t a f f s a t t h e U n i v e r s i t y o f B r i t i s h C o l u m b i a , U n i v e r s i t e L a v a l (Quebec ) , t h e B i b l i o t h e q u e de 1 ' O pe r a and t h e B i b l i o t h e q u e N a t i o n a l e ( P a r i s ) , as w e l l as t h e s e v e r a l o t h e r i n s t i t u t i o n s men t i oned i n t h i s s t u d y . To my t y p i s t , Mr s . I s a b e l McCaughran, I o f f e r my a p p r e c i a t i o n f o r her s k i l l and i n e x h a u s t i b l e p a t i e n c e . F i n a l l y , I owe a s p e c i a l deb t o f g r a t i t u d e t o my p a r e n t s , not o n l y f o r t h e s u p p o r t t h a t made p o s s i b l e t h e c o m p l e t i o n o f t h i s d i s s e r t a t i o n , but a l s o f o r t h e l o v e and u n d e r s t a n d i n g t h a t s u s t a i n e d me d u r i n g t h e s e y e a r s o f s t u d y . 1 PREFACE In 1909, t h e y e a r o f R e y e r ' s d e a t h , one o f h i s count rymen w r o t e : "Dans 1 ' h i s t o i r e m u s i c a l e c o n t e m p o r a i n e , i l e x i s t e peu de c a r a c t e r e s a u s s i a t t a c h a n t s que R e y e r . " ! He was i n d e e d a f a s c i n a t i n g f i g u r e i n n i n e t e e n t h - c e n t u r y F r ench m u s i c a l l i f e , f o r he was bo th an i n f l u e n t i a l c r i t i c and an e s t a b l i s h e d compose r .2 A t t h e t i m e o f h i s d e a t h , h i s ma jo r c o m p o s i t i o n s — t h e o p e r a s S i g u r d (1884) and Salammbo ( 1 8 9 0 ) — w e r e d e s c r i b e d by t h e c o m p o s e r - c r i t i c Ga s ton C a r r a u d as " l e s deux ouv rage s qu i s on t a u j o u r d ' h u i , a p r e s F a u s t e t Samson, l a p l u s s o l i d e r e s s o u r c e du r e p e r t o i r e f r a n c h i s e de 1 ' O p e r a . " 3 R e y e r ' s c o n t e m p o r a r i e s were not a lways so f a v o r a b l e t oward h i s e f f o r t s as a compose r , 4 but t h e y were unanimous i n t h e i r p r a i s e o f h i s work as a w r i t e r on m u s i c . R e y e r ' s l i t e r a r y o u t p u t was d e s c r i b e d w i t h t h e utmost a d m i r a t i o n by h i s f r i e n d s and f e l l o w c r i t i c s . A d o l p h e J u l l i e n , R e y e r ' s f i r s t b i o g r a -p h e r , c h a r a c t e r i z e d him as " a v a n t t o u t un i n d e p e n d a n t , un homme d ' a v a n t -g a r d e " 5 because o f h i s l o v e f o r t h e n e g l e c t e d m a s t e r s o f t h e pa s t and f o r bo t h B e r l i o z and Wagner, t h e most c o n t r o v e r s i a l composers o f h i s own t i m e . J u l l i e n ' s comment was echoed by R e y e r ' s o t h e r b i o g r a p h e r , Hen r i de C u r z o n , who d e c l a r e d : "On n ' a pas a s s e z mis en r e l i e f l ' e n s e i g n e -ment que c o n t i e n n e n t l e s f e u i l l e t o n s de Reyer . . . ses o b s e r v a t i o n s , ses c o n s e i l s , ses c r i t i q u e s e t a i e n t en a v a n c e . " ^ E m i l e H e n r i o t — c o m p i l e r o f Qua ran te ans de m u s i q u e , a p o s t h u m o u s l y p u b l i s h e d s e l e c t i o n o f R e y e r ' s w r i t i n g s — e x p r e s s e d r e g r e t t h a t t h e p u b l i c was remember ing t h e decea sed as a composer but no t as a c r i t i c who, on t he s t r e n g t h o f 2 h i s l i t e r a r y e n d e a v o u r s , s h o u l d have been e l e c t e d t o t h e Academie f r a n -g a i s e . 7 R e y e r ' s work as a w r i t e r on mus i c was a l s o h i g h l y r e g a r d e d by many i m p a r t i a l c o n t e m p o r a r i e s . Such a man was E r n e s t Legouve , a p r o m i n e n t l i t e r a r y c r i t i c who, as a c l o s e f r i e n d o f Gounod, c o u l d not have been p l e a s e d by R e y e r ' s f e u i l l e t o n on t h e c o m p o s e r ' s i n c i d e n t a l mus ic f o r L e g o u v e ' s drama Les Deux R e i n e s . 8 Yet he d e c l a r e d i n a r e v i e w o f R e y e r ' s c o m p i l a t i o n Notes de mus i que^ t h a t t h e a u t h o r seemed t o have i n h e r i t e d P r e v o s t - P a r a d o l ' s g i f t f o r i r o n y , and, m o r e o v e r , t h a t he r anked w i t h such d i s t i n g u i s h e d c o m p o s e r - c r i t i c s as A d o l p h e Adam and H e c t o r B e r l i o z . 1 0 O the r a d m i r e r s o f R e y e r ' s w r i t i n g s ranged f r om C h a r l e s M o n s e l e t - - a w e l l - k n o w n P a r i s i a n t h e a t r e c r i t i c - - t o A r t h u r Poug i n and Georges S e r v i e r e s , two eminent F r e n c h w r i t e r s on m u s i c . H B e f o r e t h e end o f t h e c e n t u r y R e y e r ' s r e p u t a t i o n had sp read t o E n g l a n d , where he was app l auded as " an a r d e n t a d m i r e r o f B e r l i o z , . . . [ and ] one o f t h e f i r s t i n F r a n c e t o r e c o g n i s e t h e g e n i u s o f Wagner . "12 R e y e r ' s dea th i n J a n u a r y 1909 and t h e posthumous p u b l i c a t i o n o f Qua ran te ans de mus ique o c c a s i o n e d o u t p o u r i n g s o f p r a i s e f o r t h e d e c e a s e d . G a b r i e l F a u r e , t hen d i r e c t o r o f t h e P a r i s C o n s e r v a t o i r e and one o f F r a n c e ' s most r e s p e c t e d m u s i c i a n s , s a l u t e d Reyer as composer but a l s o took i m p o r t a n t n o t i c e o f h i s work as c r i t i c , d e s c r i b i n g some o f h i s s t u d i e s as mode l s o f c r i t i c i s m and avowing t h a t " R e y e r eu t pu b r i g u e r , avec un bagage l i t t e r a i r e s i c o n s i d e r a b l e , une p l a c e a 1 ' Academie f r a n -g a i s e . " ^ T h i s o p i n i o n was seconded not o n l y by H e n r i o t but a l s o by t h e c r i t i c s Raymond Bouyer and M i c h e l B r e n e t . 1 4 Many o t h e r w r i t e r s on mus ic p o i n t e d ou t t h a t Reyer had c o n t i n u e d B e r l i o z ' s " v a i l l a n t e campagne pour 3 l e g rand a r t b y u s i n g h i s b r i l l i a n t l i t e r a r y t a l e n t t o p r o c l a i m t h e v a l u e o f g r e a t works t h a t were n e g l e c t e d o r c o n t r o v e r s i a l . For t h i s r e a s o n he was c r e d i t e d w i t h h a v i n g c o n t r i b u t e d " au r e l e v e m e n t du gout m u s i c a l en F r a n c e dans l e d e r n i e r t i e r s du X I X e s i e c l e . " 1 6 R e y e r ' s l i t e r a r y a c t i v i t i e s spanned more t han h a l f a c e n t u r y , f r om 1850 u n t i l 1906. The most s i g n i f i c a n t m i l e s t o n e i n t h i s l ong c a r e e r o c c u r r e d i n 1866, when, upon t h e sudden dea th o f t h e c r i t i c Jo seph d ' O r t i g u e , Reyer succeeded t o a po s t once h e l d by B e r l i o z : mus ic c r i t i c o f t h e J o u r n a l des D e b a t s , one o f t h e most p r e s t i g i o u s P a r i s i a n news-p a p e r s . 1 7 Reyer r ema ined w i t h t h e Debats f o r t h i r t y - t w o y e a r s . B e f o r e j o i n i n g t h i s newspaper , he s e r v e d as mus i c c r i t i c f o r a no t he r d a i l y — t h e C o u r r i e r de P a r i s — a n d c o n t r i b u t e d r e g u l a r l y t o f o u r j o u r n a l s o f l i t e r a -t u r e and t h e a r t s . At v a r i o u s t i m e s i n R e y e r ' s p r o f e s s i o n a l l i f e he was a l s o a f f i l i a t e d w i t h a number o f o t h e r newspapers and s p e c i a l i z e d r e -v i e w s , i n c l u d i n g La F r a n c e m u s i c a l e and t h e Revue e t G a z e t t e m u s i c a l e de P a r i s . 1 8 A l t h o u g h Reyer was a c t i v e p r i m a r i l y as a mus i c c r i t i c , he made s e v e r a l n o t a b l e c o n t r i b u t i o n s t o mus i c l i t e r a t u r e o u t s i d e t h e r e a l m o f newspapers and p e r i o d i c a l s . The most d i s t i n g u i s h e d o f t h e s e e f f o r t s , S o u v e n i r s d ' A l l e m a g n e , was v e r y h i g h l y r e g a r d e d by c o n t e m p o r a r y c r i t i c s , one o f whom d e s c r i b e d i t as " l e complement n e c e s s a i r e du Voyage en A l l e - magne, de B e r l i o z . " 1 9 The b u l k o f R e y e r ' s work as a w r i t e r on mus ic c o n s i s t s o f n e a r l y seven hundred a r t i c l e s , i n c l u d i n g f e u i 1 1 e t o n s , o t h e r t i t l e d a r t i c l e s , and l e t t e r - a r t i c l e s . 2 0 He a l s o w ro t e numerous m i s c e l l a n e o u s p i e c e s , such as u n t i t l e d a r t i c l e s , n o t i c e s , announcements , o b i t u a r i e s , and 4 l e t t e r s t o e d i t o r s o r j o u r n a l i s t s . C o n s i d e r e d i n i t s e n t i r e t y h i s o u t -put as c r i t i c amounts t o a p p r o x i m a t e l y 740 i t e m s . 2 1 The o n l y c o l l e c t e d s o u r c e s o f R e y e r ' s w r i t i n g s are t h e s e l e c t i o n s he h i m s e l f cho se t o i n c l u d e i n t he one volume wh i ch he c o m p i l e d — N o t e s de m u s i q u e - - a n d t h o s e s e l e c t e d by H e n r i o t f o r Qua ran te ans de m u s i q u e . In Notes we f i n d S o u v e n i r s d ' A l l e m a g n e r e p r i n t e d i n i t s e n t i r e t y , bu t j u s t f i f t e e n a r t i c l e s and e x c e r p t s f r om t h i r t e e n o t h e r s . Qua ran te i s a s m a l l e r c o l l e c t i o n , . c o n s i s t i n g o f n i n e t e e n a r t i c l e s and f o u r t e e n e x -c e r p t s . Notes and Qua ran te t o g e t h e r r e p r e s e n t l e s s t h a n t e n p e r c e n t o f R e y e r ' s l i t e r a r y p r o d u c t i o n . N o t h i n g a p p r o a c h i n g a s c h o l a r l y e x a m i n a t i o n o f R e y e r ' s work as a w r i t e r on mus i c appeared d u r i n g h i s l i f e t i m e — a f a c t wh ich may seem p u z z l i n g when we remember t h a t , i n F r a n c e and even i n E n g l a n d , he was g e n e r a l l y r e g a r d e d as a w o r t h y s u c c e s s o r t o B e r l i o z . 2 2 However, we s h o u l d a l s o remember t h a t t h e w r i t i n g s o f B e r l i o z h i m s e l f d i d not a t t r a c t much a t t e n t i o n f r o m s c h o l a r s u n t i l 1903, t h e y e a r o f h i s c e n -t e n a r y . 2 3 As w i l l be shown b e l o w , Reyer was l e s s f o r t u n a t e t han h i s d i s t i n g u i s h e d p r e d e c e s s o r , f o r t h e c e l e b r a t i o n o f h i s c e n t e n a r y i n 1923 s t i m u l a t e d o n l y a l i t t l e i n t e r e s t i n h i s l i t e r a r y a c t i v i t i e s . M o r e o v e r , t h e few w r i t e r s and c r i t i c s who, e i t h e r b e f o r e o r a f t e r t he c e n t e n a r y , o f f e r e d a p p r e c i a t i o n s o f h i s work made no a t t empt t o i n v e s t i g a t e t h e a e s t h e t i c t h a t m o t i v a t e d h i s j u d g m e n t s . W i t h i n a few months o f R e y e r ' s d e a t h , h i s c r i t i c a l w r i t i n g s were examined i n two books wh i ch a r e among t h e most i m p o r t a n t i n t h e Reyer l i t e r a t u r e : J u l l i e n ' s monograph, wh i ch i n c l u d e s a c h a p t e r on " Le c r i -t i q u e e t ses f e u i 1 l e t o n s " ; 2 4 and Qua ran te ans de mu s i que , i n wh ich a 5 p r e f a c e and an append i x by H e n r i o t supp lement h i s s e l e c t i o n o f R e y e r ' s w r i t i n g s . 2 5 However, n e i t h e r J u l l i e n ' s c h a p t e r no r H e n r i o t ' s p r e f a c e i s i n any r e s p e c t a t ho r ough t r e a t m e n t o f R e y e r ' s l i t e r a r y work . J u l l i e n d i s c u s s e s R e y e r ' s p r o s e s t y l e , but t e l l s us v e r y l i t t l e about h i s c r i t i -c a l a t t i t u d e s and does not r a i s e t h e i s s u e o f whethe r o r not t h e y were m o t i v a t e d by a c o n s i s t e n t l y a p p l i e d a e s t h e t i c . H e n r i o t , a f t e r g i v i n g a somewhat i n a c c u r a t e s k e t c h o f R e y e r ' s j o u r n a l i s t i c c a r e e r , has more t o say t h a n does J u l l i e n about R e y e r ' s c r i t i c a l a t t i t u d e s , e s p e c i a l l y as r e g a r d s Wagner. Yet he , t o o , i s at a l o s s t o e x p l a i n t h e s e a t t i t u d e s : he m e r e l y q u o t e s i n t o t o R e y e r ' s l o n g " p r o f e s s i o n de f o i , " 2 6 wh i ch i s more a s t a t e m e n t o f h i s c o n c e p t i o n o f t h e pu rpo se o f c r i t i c i s m t h a n a p r e s e n t a t i o n o f h i s a e s t h e t i c . 2 7 Fo r many y e a r s a f t e r t h e p u b l i c a t i o n o f t h e two volumes c i t e d above , p e r f o r m a n c e s o f S i g u r d and Salammbo p e r p e t u a t e d i n t e r e s t i n R e y e r ' s m u s i c a l l e g a c y w h i l e h i s work as a c r i t i c was v i r t u a l l y f o r g o t -t e n . As f a r as I have been a b l e t o d e t e r m i n e , o n l y s i x a r t i c l e s on h i s c r i t i c a l w r i t i n g s appeared i n F r e n c h newspapers and p e r i o d i c a l l i t e r a -t u r e d a t i n g f r o m t h e t i m e o f h i s d e a t h u n t i l h i s c e n t e n a r y f o u r t e e n y e a r s l a t e r . F i v e o f t h e s e a r t i c l e s a re o f v e r y l i m i t e d scope because t h e y a r e r e v i e w s o f H e n r i o t ' s c o m p i l a t i o n , wh ich d i d not p r e s e n t enough o f R e y e r ' s w r i t i n g s t o e n a b l e t h e r e v i e w e r s t o deduce much about h i s c r i t i c a l p o i n t o f v i e w . 2 8 The s i x t h a r t i c l e i s b r i e f but i s n e v e r t h e -l e s s t h e most i n t e r e s t i n g o f t h e g r o u p , inasmuch as t h e a u t h o r — M i c h e l B r e n e t — d e a l s o n l y i n c i d e n t a l l y w i t h H e n r i o t ' s c o m p i l a t i o n , and i n s t e a d r ange s f r e e l y t h r o u g h f e u i l l e t o n s and a r t i c l e s d a t i n g as f a r back as 1855. B r ene t a l s o c i t e s most o f R e y e r ' s c o n t r i b u t i o n s t o n o n - p e r i o d i c a l 6 l i t e r a t u r e , and t hu s g i v e s a b e t t e r i d e a than do h i s c o l l e a g u e s o f t he scope o f R e y e r ' s work. However, B r e n e t makes no a t t empt t o a s s e s s i t s i n f l u e n c e . 2 9 W r i t e r s d i d not d e m o n s t r a t e much c u r i o s i t y about R e y e r ' s l i t e r a r y o e u v r e even i n 1923, t h e y e a r o f t h e c e l e b r a t i o n o f t h e c e n t e n a r y o f h i s b i r t h . T h i s o c c a s i o n s pa r ked t h e p u b l i c a t i o n o f a s p a t e o f a r t i c l e s about h i s c a r e e r as a compose r , bu t o n l y two w h i c h f o c u s i n s t e a d on h i s work as a c r i t i c . Both a re by H e n r i de C u r z o n , and c o n s t i t u t e p a r t o f a s e r i a l i z e d s t u d y o f R e y e r ' s l i f e and w o r k s . 3 0 L i k e e a r l i e r w r i t e r s , Cu rzon does not a t t e m p t t o e x p l o r e t h e a e s t h e t i c p r i n c i p l e s t h a t g u i d e d R e y e r ' s j u d g m e n t s ; r a t h e r , he o f f e r s o n l y an a ccoun t o f t h o s e composers whom Reyer r e v i e w e d and r e l a t e s what he b e l i e v e s t o be R e y e r ' s i m p r e s -s i o n s o f t h e i r m u s i c . C u r z o n ' s s t u d y was r e p r i n t e d as a monograph.31 A f t e r t h e c e n t e n a r y , S i g u r d and Salammbo were o c c a s i o n a l l y p e r -fo rmed at t h e P a r i s Opera and hence r e c e i v e d some a t t e n t i o n i n t h e p r e s s , but R e y e r ' s work as a c r i t i c was s e e m i n g l y o v e r l o o k e d . The r e v i v a l o f S i g u r d i n 1934 t o commemorate t he t w e n t y - f i f t h a n n i v e r s a r y o f h i s d e a t h , and t h e 175th p e r f o r m a n c e o f Salammbo i n 1938, b r i e f l y r e -k i n d l e d i n t e r e s t i n R e y e r ' s o p e r a s but f a i l e d t o spa rk a new c u r i o s i t y about Reyer as c r i t i c . S c a r c e l y any i n f o r m a t i o n on R e y e r ' s c r i t i c a l w r i t i n g s can be g l e a n e d f r o m n o n - p e r i o d i c a l l i t e r a t u r e w r i t t e n s i n c e h i s c e n t e n a r y . The p r i n c i p a l b i o g r a p h i c a l d i c t i o n a r i e s and mus i c e n c y c l o p a e d i a s , f o r e x a m p l e , i n v a r i a b l y f o c u s on R e y e r ' s c a r e e r as composer and say l i t t l e about h i s a c t i v i t i e s as c r i t i c . 3 2 Each o f f o u r books p u b l i s h e d s i n c e t h e c e n t e n a r y i n c l u d e s a c h a p t e r on R e y e r , but o n l y two o f t h e s e o f f e r 7 a p p r a i s a l s o f h i s work as c r i t i c . 3 3 Even A d o l p h e B o s c h o t , i n a speech d e l i v e r e d at t h e i n a u g u r a t i o n o f t h e Reyer Monument at M a r s e i l l e i n 1934, f a i l s t o d e s c r i b e t h e scope and s i g n i f i c a n c e o f R e y e r ' s c r i t i c a l w r i t i n g s . 3 4 B o s c h o t ' s p r i n t e d d i s c o u r s e i s t h e o n l y p u b l i c a t i o n on Reyer t h a t has appeared s i n c e C u r z o n ' s 1924 s t u d y . I t i s c l e a r f r om t h e s u r v e y o f t h e Reyer 1 i t e r a t u r e - - t h e p r e f a c e by H e n r i o t , t h e monographs by J u l l i e n and C u r z o n , t h e h a n d f u l o f a r t i c l e s on Reyer as c r i t i c , t h e b i o g r a p h i c a l s k e t c h e s i n mus ic d i c t i o n a r i e s and e n c y c l o p a e d i a s , t h e f o u r c h a p t e r s , and t h e s p e e c h — t h a t h i s w r i t i n g s s t i l l awa i t a s c h o l a r l y e x a m i n a t i o n . The q u e s t i o n o f h i s a e s t h e t i c , wh i ch i s o f f undamen ta l i m p o r t a n c e t o t h e u n d e r s t a n d i n g o f h i s j u d g -ment s , has not y e t been a d d r e s s e d . No w r i t e r has s t a t e d w h e t h e r , i n f a c t , Reyer app roached c r i t i c a l w r i t i n g w i t h c o m p r e h e n s i b l e p r i n c i p l e s o f j udgmen t . Nor has a n o t h e r i m p o r t a n t i s s u e — t h e n a t u r e o f R e y e r ' s i n f l u e n c e as a w r i t e r on m u s i c — b e e n f u l l y e x p l o r e d . The d e a r t h o f modern s t u d i e s on Reyer as c r i t i c i s p r o b a b l y due t o t h e d i f f i c u l t y o f g a i n i n g a c c e s s t o h i s w r i t i n g s . As H e n r i o t o b s e r v e d i n 1909 , "I I e s t m a l a i s e , en e f f e t , d ' a l l e r c h e r c h e r dans l e s c o l l e c -t i o n s du C o u r r i e r de P a r i s ou du J o u r n a l des Debats l e s pages . . . que Reyer y p u b l i a . " 3 5 N e i t h e r H e n r i o t ' s c o m p i l a t i o n nor t he one p r e p a r e d decades e a r l i e r by Reyer has been r e p r i n t e d , and c o p i e s o f both vo lumes - - w h i c h t o g e t h e r r e p r e s e n t such a s m a l l p o r t i o n o f h i s l i t e r a r y c o r p u s - - a r e now v e r y s c a r c e . C o p i e s o f t h e s i x newspapers and n i n e p e r i o d i -c a l s whose pages s t i l l h o l d t h e v a s t m a j o r i t y o f h i s w r i t i n g s a re a l s o r a r e : not a s i n g l e copy o f t h e C o u r r i e r , f o r e x a m p l e , i s t o be found i n a N o r t h Ame r i c an l i b r a r y . Mo reove r , t w e l v e o f t h e s e f i f t e e n s o u r c e s a r e 8 w i t h o u t any i n d e x , and some l a c k even t h e most r u d i m e n t a r y b i b l i o g r a p h i c t o o l , name l y , a sommaire o f t h e ma jo r i t ems i n each i s s u e . T h e r e f o r e , t h e s c h o l a r w i s h i n g t o l o c a t e a l l o f R e y e r ' s w r i t i n g s w i t h i n t h e s e s o u r c e s must o f t e n r e s o r t t o s c a n n i n g hundreds i f not t hou sand s o f page s . Such a t a s k c o n f r o n t s anyone who w i s he s t o e x p l o i t t he w e a l t h o f m a t e r i a l c o n t a i n e d i n n i n e t e e n t h - and e a r l y t w e n t i e t h - c e n t u r y F r ench newspaper s and p e r i o d i c a l s , becau se " d e t a i l e d i n d e x i n g o f . . . [ t h e s e ] p u b l i c a t i o n s i s t h e e x c e p t i o n r a t h e r t han t he r u l e . " 3 6 R e y e r ' s f e u i l l e t o n s i n newspape r s , h i s a r t i c l e s i n s p e c i a l i z e d mus ic r e v i e w s and i n j o u r n a l s o f l i t e r a t u r e and t h e a r t s , as w e l l as h i s w r i t i n g s i n n o n - p e r i o d i c a l l i t e r a t u r e , a re s i g n i f i c a n t not o n l y because t h e y o f f e r a v i v i d p i c t u r e o f t h e c o n t e m p o r a r y F rench m u s i c a l s c e n e , but a l s o b e c a u s e — a s p r e v i o u s l y n o t e d — t h e y e v i d e n t l y e x e r t e d c o n s i d e r a b l e i n f l u e n c e on m u s i c a l l i f e i n F r a n c e d u r i n g t he l a s t t h i r d o f t he n i n e -t e e n t h c e n t u r y . "Ce s pages f o r t e s e t s i n c e r e s , qu i ont f r a y e t a n t de l u m i e r e e t repandu t a n t de c o m p r e h e n s i o n " - ^ s u r e l y d e s e r v e t o be c o l -l e c t e d and e v a l u a t e d i n t h e l i g h t o f modern m u s i c a l s c h o l a r s h i p . My pu rpo se f o r e x a m i n i n g t h i s l i t e r a r y l e g a c y i s f o u r f o l d : (1 ) t o u n r a v e l t h e h i s t o r y o f R e y e r ' s c a r e e r as a c r i t i c ; (2 ) t o d e t e r m i n e t h e c r i t i c a l a e s t h e t i c t h a t g u i ded h i s j u d g m e n t s ; (3 ) t o r e v e a l t he n a t u r e o f h i s i n f l u e n c e as a w r i t e r on m u s i c ; and (4) t o p r e s e n t a b i b l i o g r a p h y o f h i s w r i t i n g s , many o f wh ich were not p r e v i o u s l y a c c o u n t e d f o r . * * * B e f o r e b e g i n n i n g t h i s s t u d y , i t i s n e c e s s a r y t o o f f e r a few words c o n c e r n i n g t h e s t r u c t u r e o f t h e f o u r c h a p t e r s wh i ch d i s c u s s R e y e r ' s r e f l e c t i o n s on s p e c i f i c c o m p o s e r s . In t h e i n t e r e s t o f c l a r i t y , each 9 c h a p t e r i s based on a b i p a r t i t e f o r m a t : a summary o f R e y e r ' s comments i s p r e s e n t e d f i r s t , f o l l o w e d by my e v a l u a t i o n o f t h e s e comments ( " C r i t i -c a l A n a l y s i s " ) . T h i s f o rma t i s used i n d i f f e r e n t ways i n C h a p t e r s VI and IX, each o f wh i ch d e a l s w i t h more than one compose r . In C h a p t e r V I , t h e summaries o f R e y e r ' s r e f l e c t i o n s on G l u c k , S p o n t i n i , and Weber a re p r e s e n t e d i n u n i n t e r r u p t e d s u c c e s s i o n , and t hen a re e v a l u a t e d s u c c e s -s i v e l y . In C h a p t e r IX , wh i ch t r e a t s many compo se r s , e v e r y summary i s i n s t e a d f o l l o w e d i m m e d i a t e l y by my e v a l u a t i o n . Throughout t he d i s s e r t a -t i o n , q u o t a t i o n s i n F r e n c h are g i v e n as p r i n t e d ^ a n d t hu s r e p r o d u c e t he o r i g i n a l s p e l l i n g s and c a p i t a l i z a t i o n s . 10 Endnotes 1 " R e y e r c r i t i q u e [anonymous r e v i e w o f Qua ran te ans de mu s i que , by E r n e s t R e y e r ] , " Le Monde m u s i c a l 21 (30 December 1 9 0 9 ) : 2 5 2 . 2 Reye r was d e c o r a t e d by P r u s s i a n and B e l g i a n mona r ch s , and r e c e i v e d t h e h i g h e s t hono r s h i s c o u n t r y c o u l d be s t ow. See C h a p t e r I, pp . 1 7 , 1 8 , 2 6 , 34 , and 3 6 - 3 7 . 3 Ga s t on C a r r a u d , " R e y e r , " La L i b e r t e , 17 J a n u a r y 1909. ^ He had v e r y l i t t l e f o r m a l t r a i n i n g i n c o m p o s i t i o n , and s e v e r a l c r i t i c s t h e r e f o r e f ound h i s mus i c a m a t e u r i s h . For e xamp le , one o f them remarked t h a t R e y e r ' s ha rmon i c l anguage was " n i t r e s v a r i e e , n i t o u j o u r s t r e s p u r e , " and t h a t h i s o r c h e s t r a t i o n l a c k e d " 1 ' e l e g a n c e que nous t r o u -vons chez d ' a u t r e s m a T t r e s , " and a t t r i b u t e d t h e s e f a i l i n g s t o "une e d u -c a t i o n t r o p t a r d i v e m e n t commencee." La Grande E n c y c l o p e d i e : i n v e n t a i r e r a i s o n n e des s c i e n c e s , des l e t t r e s e t des a r t s , [ 1 8 8 6 - 1 9 0 2 ] , s . v . " R e y e r , ( L o u i s - E t i e n n e - E r n e s t Rey, d i t ) , " by H e n r i Q u i t t a r d , pp . 561 -62 . 5 A d o l p h e J u l l i e n , E r n e s t R e y e r , Les m u s i c i e n s c e l e b r e s ( P a r i s : H. L a u r e n s , [ 1 9 0 9 ] ) , p. ITT. 6 H e n r i de C u r z o n , E r n e s t R e y e r : sa v i e e t ses o e u v r e s ( 1 8 2 3 - 1909) ( P a r i s : P e r r i n , 1 9 2 4 ) , p. 225 . ^ E m i l e H e n r i o t , P r e f a c e t o Qua ran te ans de mus ique ( P a r i s : C a l m a n n - L e v y , 1 9 0 9 ) , p. i . 8 Reye r was not c r i t i c a l o f G o u n o d ' s s c o r e , but he c e n s u r e d t he composer f o r r e m a i n i n g i n Eng l and l o n g a f t e r t h e F r a n c o - P r u s s i a n War had ended . See t h e JD f e u i l l e t o n o f 30 November 1872. 9 E r n e s t R e y e r , Notes de mus ique ( P a r i s : C h a r p e n t i e r , 1 8 7 5 ) . 10 E r n e s t L e gouve , r e v i e w o f N o t e s , JTJ o f 4 May 1875 , p. 3 . 11 In 1876, when Reye r was e l e c t e d t o t h e Academie des B e a u x - A r t s o f t h e I n s t i t u t de F r a n c e , M o n s e l e t w ro t e a cha rm ing s k e t c h o f h im . I t was quo ted by A r t h u r P o u g i n i n t h e n e c r o l o g i c a l - a r t i c l e " E r n e s t R e y e r , " Le M e n e s t r e l 75 (23 J a n u a r y 1 9 0 9 ) : 2 6 . See a l s o t h e f o l l o w i n g : P o u g i n ' s r e v i e w o f Notes i n Le Gu i de m u s i c a l 21 (29 A p r i l 1 8 7 5 ) : 7 ; and Georges S e r v i e r e s , R i c h a r d Wagner j u g e en F r a n c e ( P a r i s : L i b r a i r i e i l l u s t r e e , 1 8 8 7 ) , pp . 34 , 122 , 150, 2 3 6 - 3 7 , 267 , 2 7 5 - 7 6 , and 292. 12 A r t h u r H e r v e y , M a s t e r s o f F r e n c h M u s i c , M a s t e r s o f Con tempo ra r y Mu s i c ( London : Osgood, M c l l v a i n e & C o . , 1 894 ) , p. 219. 11 13 G a b r i e l F a u r e , " E r n e s t R e y e r , " Le F i g a r o , 16 J a n u a r y 1909 , p. 1. 14 Raymond B o u y e r , " L a Mu s i que : E r n e s t R e y e r , " La Revue b l e u e ; r e v u e p o l i t i q u e e t l i t t e r a i r e 47 (6 F e b r u a r y 1909) :190; and M i c h e l B r e n e t [ M a r i e B o b i l l i e r ] , " L e s F e u i l l e t o n s d ' E r n e s t R e y e r , " Le C o u r r i e r m u s i c a l 13 (15 J a n u a r y 1 9 1 0 ) : 5 4 . 15 Henry R o u j o n , I n s t i t u t de F r a n c e . Academie des B e a u x - A r t s . N o t i c e su r l a v i e e t l e s t r a v a u x de M. E r n e s t Reyer ( 1 8 2 3 - 1 9 0 9 ) , membre de 1 ' A cadem ie ( P a r i s : F i r m i n - D i d o t , 1 9 1 1 ) , p. 1 3 . T h i s t r i b u t e , w r i t -t e n by t h e s e c r e t a r y o f t h e Academie and r e a d at t h e annua l p u b l i c mee t -i n g (11 November 1 9 1 1 ) , commemorated t h e t h i r t y - f i f t h a n n i v e r s a r y o f R e y e r ' s e l e c t i o n t o t h e I n s t i t u t . 16 Pau l Landormy and Jo seph L o i s e l , " L ' I n s t i t u t de F r a n c e et l e P r i x de Rome: E r n e s t R e y e r , " i n EMDC I I , 6 : 3553 . In 1894, one o f R e y e r ' s E n g l i s h c o n t e m p o r a r i e s had o f f e r e d a s i m i l a r t r i b u t e : " . . . h i s w r i t i n g s w i l l d o u b t l e s s not have been w i t h o u t i n f l u e n c e i n d e t e r m i n i n g t h e n a t u r e o f t h e m u s i c a l movement i n F r a n c e d u r i n g t h e s e l a s t few y e a r s . " ( H e r v e y , M a s t e r s , p. 221 . ) 17 As w i t n e s s t h e f a c t t h a t i n 1871 t h e K h e d i v e o f Egypt chose t h i s newspaper t o r e p r e s e n t t h e F r e n c h p r e s s at t h e w o r l d p r e m i e r e o f V e r d i ' s A i d a. 18 To my know ledge , Reyer e d i t e d and/or w ro t e f o r a t o t a l o f f i f -t e e n newspapers and p e r i o d i c a l s : La P r e s s e , 1850-55 ( g h o s t w r i t e r ) and 1868 (one i t e m ) ; Revue de P a r i s , 1852 -54 ; L ' A thenaeum f r a n c a i s , 1 852 -56 ; La F r a n c e m u s i c a l e , s p o r a d i c a l l y between 1852 and 1858; Revue f r a n c h i s e , 1 855 -58 ; L ' Indep"endance b e i g e , 1857 (one u n s i g n e d i t e m ) ; Le C o u r r i e r de P a r i s , 1 857 - 59 ; L ' A r t i s t e , 1857 (one i t e m ) ; La Revue e t G a z e t t e mus i caTe de P a r i s , 1858 (one i t e m ; c o - e d i t o r , 1 8 6 8 - 8 0 ) ; L a G a z e t t e du N o r d , 1860; Le M o n i t e u r u n i v e r s e l ( s ee b e l o w , n. 1 9 ) ; J o u r n a l des D e b a t s , 1866-98 (and two i t e m s i n 1 9 0 1 ) ; La R e n a i s s a n c e m u s i c a l e ( c o - e d i t o r , 1 8 8 1 - 8 3 ) ; Le Monde m u s i c a l , 1903 (one i t e m ) ; and Le F i g a r o , 1899 (one i t e m ) and 1904 (one i t e m ) . Append i x A c o n t a i n s a b i b l i o g r a p h y o f R e y e r ' s c r i t i c a l w r i t i n g s , p r e c e d e d by an e x p l a n a t i o n o f how t h e y were f o u n d . 19 Georges S e r v i e r e s , La Mus ique f r a n g a i s e moderne: Ce sa r F r a n c k ; Edouard L a l o ; J u l e s M a s s e n e t ; E r n e s t R e y e r ; C a m i l l e S a i n t - S a e n s ( P a r i s : G. Havard f i l s , 1 8 9 7 ) , p. 276 . S o u v e n i r s d ' A l l e m a g n e was R e y e r ' s r e p o r t on a m u s i c a l m i s s i o n t o Germany wh ich he had u n d e r t a k e n i n 1863 at t h e r e q u e s t o f t h e F r e n c h M i n i s t e r o f S t a t e . A f t e r b e i n g r e c e i v e d by t h e M i n i s t e r , t h e r e p o r t was s e r i a l i z e d i n t h e f e u i l l e t o n o f the go ve rnmen t -c o n t r o l l e d newspaper Le M o n i t e u r u n i v e r s e l d u r i n g t h e w i n t e r o f 1 8 6 4 - 6 5 , and was l a t e r r e p r i n t e d i n R e y e r ' s Notes ( p p . 2 1 - 1 5 9 ) . S o u v e n i r s and t h e o t h e r c o n t r i b u t i o n s t o n o n - p e r i o d i c a l l i t e r a t u r e on mus ic a re d i s -c u s s e d i n C h a p t e r I I ( p p . 8 1 - 8 3 ) , and a re l i s t e d i n Append i x B. 20 The l i t e r a r y f o r m known as t h e f e u i l l e t o n , wh i ch s u r v i v e s t o t h i s d a y , i s t h e p a r t o f a F r e n c h newspaper d e v o t e d t o c r i t i c i s m , and 12 u s u a l l y appea r s a c r o s s t h e bo t tom o f t h e f i r s t p a g e ( s ) . I t a lways bea r s a g e n e r i c t i t l e — i n t h e c a s e o f a f e u i l l e t o n on m u s i c , t h e t i t l e i s o f -t e n "Revue m u s i c a l e " - - a n d i t f r e q u e n t l y has a d e s c r i p t i v e s u b t i t l e ( s ) . Thus , a f e u i l l e t o n i s a t i t l e d a r t i c l e p r e s e n t e d i n a d i s t i n c t i v e f o r -mat. I have c o i n e d t h e t e r m " l e t t e r - a r t i c l e " t o deno te any w r i t i n g w h i c h , a l t h o u g h a d d r e s s e d t o a j o u r n a l i s t o r an e d i t o r , i s o f such l e n g t h and s u b s t a n c e t h a t i t i s t an t amoun t t o an a r t i c l e . A p r e c e d e n t f o r t h e i n v e n t i o n o f t h i s t e rm i s t h e p u b l i s h e r H a c h e t t e ' s use o f t h e e x p r e s s i o n " l e t t r e - p r e f a c e " t o d e s i g n a t e t h e " l e t t r e en g u i s e de p r e -f a c e " w h i c h Reyer w r o t e f o r H e n r i M a r e c h a l ' s P a r i s , s o u v e n i r s d ' u n m u s i - c i e n : 185 . - 1870 ( P a r i s : L i b r a i r i e H a c h e t t e , 1 9 0 7 ) , pp . v - x v . 21 T h i s t o t a l i n c l u d e s t w e n t y - f i v e w r i t i n g s wh i ch c a n , w i t h v i r t u a l c e r t a i n t y , be a t t r i b u t e d t o Reye r ( s ee C h a p t e r I I , p. 8 1 ) . I t does not i n c l u d e t h e f o l l o w i n g : p u b l i s h e d l e t t e r s add re s s ed t o e d i t o r s o r j o u r -n a l i s t s but no t p e r t a i n i n g t o R e y e r ' s work as c r i t i c ; p e r s o n a l l e t t e r s p u b l i s h e d e i t h e r d u i r n g h i s l i f e t i m e or a f t e r h i s d e a t h ; and S o u v e n i r s d ' A l l e m a g n e as w e l l as t h e o t h e r c o n t r i b u t i o n s t o n o n - p e r i o d i c a l l i t e r a -t u r e ( a l t h o u g h most o f t h e s e i t e m s found t h e i r way i n t o p e r i o d i c a l s and newspape r s , as i n d i c a t e d i n A p p e n d i x B ) . 22 See C h a p t e r I I , n. 4 9 . 23 H. Robe r t Cohen s u r v e y s t h e l i t e r a t u r e on B e r l i o z as c r i t i c i n C h a p t e r I o f " B e r l i o z on t h e Opera ( 1 8 2 9 - 1 8 4 9 ) : A S tudy i n M u s i c C r i t i -c i s m " (Ph .D. d i s s e r t a t i o n , New York U n i v e r s i t y , 1 9 7 3 ) , pp. 5 -22 . 24 J u l l i e n , R e y e r , pp. 9 1 - 1 1 1 . 25 H e n r i o t ' s p r e f a c e and append i x c o m p r i s e r e s p e c t i v e l y pp . i - x i x and 401-29 o f Q u a r a n t e . 26 j p f e u i l l e t o n o f 2 December 1866 ; quo ted i n i b i d . , pp . v i - x . 27 H e n r i o t ' s a p p e n d i x — a b i b l i o g r a p h y o f R e y e r ' s f e u i l l e t o n s f o r t h e C o u r r i e r and t h e D e b a t s — i s i n c o m p l e t e and p i t t e d w i t h t y p o g r a p h i c a l e r r o r s . The a p p e n d i x , t h e p r e f a c e , and H e n r i o t ' s r o l e i n t h e p r e p a r a -t i o n o f Q u a r a n t e , a r e d i s c u s s e d i n C h a p t e r I I o f t h i s d i s s e r t a t i o n ( pp . 1 0 1 - 2 ) . 28 See t h e f o l l o w i n g r e v i e w s o f Q u a r a n t e : J u l l i e n i n t h e JD f e u i l - l e t o n o f 14 November 1909; S e r v i e r e s i n B u l l e t i n f r a n g a i s de l a S . I .M . 5 (15 December 1 9 0 9 ) : 1 0 5 2 - 5 3 ; " R e y e r c r i t i q u e , " Le Monde m u s i c a l 21 (30 December 1909)1:252-53; Cu r zon i n Le Gu i de m u s i c a l 56 (2 J a n u a r y 1 9 1 0 ) : 1 8 - 1 9 ; and E m i l e V u i l l e r m o z , " L e R e s c a p e , " Les Marges 5 ( J a n u a r y - J u n e 1 9 1 0 ) : 6 0 - 6 6 . 29 B r e n e t , " F e u i l l e t o n s , " pp . 5 4 - 5 7 . 13 30 " E r n e s t R e y e r : sa v i e , ses o e u v r e s , " La N o u v e l l e Revue 45 ( J u l y - A u g u s t 1 9 2 3 ) : 9 7 - 1 1 2 , 2 4 1 - 5 8 , 3 3 9 - 5 2 ; ( S e p t e m b e r - O c t o b e r 1 9 2 3 ) : 6 1 -70 , 1 5 9 - 7 2 , 2 5 0 - 5 9 , 3 4 3 - 5 6 ; and 46 (November-December 1 923 ) : 38 - 48 and 1 3 0 - 4 2 . The l a s t two i n s t a l m e n t s o f C u r z o n ' s s t u d y a re s u b t i t l e d " L ' E c r i v a i n , l e c r i t i q u e : 1 8 5 0 - 1 8 9 8 . " 31 C i t e d above, n. 6. 32 T h i s i s t r u e o f even t h e two b e s t s u r v e y s o f R e y e r ' s l i f e and wo r k s : C a m i l l e l e S e n n e ' s " P e r i o d e c o n t e m p o r a i n e : E r n e s t Reyer ( 1 8 2 3 -1 9 0 9 ) , " i n EMDC I, 3 : 1 7 2 3 - 2 8 ; and NG, s . v . " R e y e r [ R e y ] , ( L o u i s -E t i e n n e - ) E r n e s t , " by Hugh M a c d o n a l d , p. 783. 33 See t h e s u b s e c t i o n " R e y e r , c h r o n i q u e u r m u s i c a l , " o f t h e c h a p t e r " R e y e r " i n Ado l phe B o s c h o t ' s Chez l e s m u s i c i e n s (du x v i i i e s i e c l e a nos j o u r s ) , 3 v o l s . ( P a r i s : P l o n - N o u r r i t , L 1 9 2 2 - 2 6 J ) , 2 : 9 9 - 1 0 7 ; and " E r n e s t R e y e r " i n P i e r r e L a l o ' s posthumous c o m p i l a t i o n De Rameau a R a v e l : p o r t r a i t s e t s o u v e n i r s , w i t h a P r e f a c e by G u s t a v e S a m a z e u i l h ( P a r i s : E d i t i o n s A l b i n M i c h e l , 1 9 4 7 ) , pp . 8 3 - 9 3 . L a l o ' s few p a r a g r a p h s on Reyer t h e c r i t i c h i g h l i g h t w r i t i n g s c o n c e r n i n g l a t e n i n e t e e n t h - c e n t u r y F r e n c h c o m p o s e r s — i n c l u d i n g L a l o ' s f a t h e r , t h e composer Edouard L a l o . B o s c h o t ' s a p p r a i s a l i s s l a n t e d f rom a d i f f e r e n t a n g l e : he c o n c e n t r a t e s on R e y e r ' s w r i t i n g s on Wagner. The two books wh i ch i n c l u d e c h a p t e r s on Reyer but make no a t t e m p t t o a s s e s s h i s work as c r i t i c need o n l y be c i t e d : B o s c h o t , P o r t r a i t s de m u s i c i e n s , 3 v o l s . ( P a r i s : L i b r a i r i e P l o n , 1 9 4 6 - 5 0 ) , 1 :78 -84 ; and P a u l Landormy, La Mus ique f r a n g a i s e de F r a n c k a Debus sy , 1 0 t h e d . ( P a r i s : Ga l 1 i m a r d , 1 9 4 3 ) , pp . 128 -32 . 34 T h i s t i m e , Bo s cho t m e r e l y a l l u d e s t o R e y e r ' s e n t h u s i a s m f o r Wag-n e r , and f o c u s e s i n s t e a d on t h e c r i t i c ' s e f f o r t s on b e h a l f o f B e r l i o z . The speech was p u b l i s h e d as I n s t i t u t de F r a n c e . Academie des Beaux - A r t s . I n a u g u r a t i o n du monument d ' E r n e s t Reyer a M a r s e i l l e , l e IF decembre 1934 ( P a r i s : F i r m i n - D i d o t , 1 934 ) . I t was r e p r i n t e d i n B o s c h o t ' s MaTt re s d ' h i e r e t de j a d i s ( P a r i s : L i b r a i r i e P l o n , 1 9 4 4 ) , pp. 9 0 - 9 7 . 35 H e n r i o t , p r e f a c e t o Q u a r a n t e , p. i i . 36 H. R o b e r t Cohen , " M u s i c a l I c onog r aphy i n t h e N i n e t e e n t h - C e n t u r y F r e n c h I l l u s t r a t e d P r e s s : A Method f o r C a t a l o g u i n g and I n d e x i n g , " i n R e p o r t o f t h e T w e l f t h Cong re s s o f t h e I n t e r n a t i o n a l M u s i c o l o g i c a l S o c i - e t y , e d . D a n i e l H e a r t z and Bonn i e Wade ( K a s s e l : B a r e n r e i t e r , 1 9 8 1 ) , p. 838 . 37 B a l s a n de l a R o u v i e r e , " E r n e s t Reyer ( 1 8 2 3 - 1 9 0 9 ) , " M u s i c a 8 (March 1 9 0 9 ) : 3 6 . 38 The o n l y e x c e p t i o n t o t h i s r u l e i s o b v i o u s t y p o g r a p h i c a l e r r o r s , wh i ch have been c o r r e c t e d w i t h o u t f u r t h e r commentary. 14 CHAPTER I ERNEST REYER: THE MAN AND HIS WORKS B i o g r a p h y C h i l d h o o d and Youth E r n e s t R e y e r * was born on 1 December 1823 , t h e o n l y c h i l d o f a n o t a r y o f M a r s e i l l e . H i s m u s i c a l t r a i n i n g began at t h e age o f s i x , when he was e n r o l l e d i n t h e f r e e m u n i c i p a l s c h o o l o f m u s i c . D e s p i t e h i s o b v i o u s m u s i c a l g i f t s , h i s p a r e n t s , who were d e t e r m i n e d t h a t he s h o u l d no t pu r s ue a c a r e e r as a m u s i c i a n , s en t him at t h e age o f s i x t e e n t o A l g i e r s t o work w i t h an u n c l e i n a government f i n a n c i a l o f f i c e . The f l e d g l i n g c i v i l . s e r v a n t p a i d s c a n t a t t e n t i o n t o h i s d u t i e s , and i n s t e a d c o m p o s e d — w i t h o u t t h e b e n e f i t o f i n s t r u c t i o n — a number o f s m a l l works as w e l l as a Mass i n honor o f t h e v i s i t o f t h e F r e n c h g o v e r n o r -g e n e r a l o f A l g e r i a i n 1847. The f a v o r a b l e r e c e p t i o n o f t h i s Mass may have been r e s p o n s i b l e f o r R e y e r ' s d e c i s i o n t o d e f y t h e w i s he s o f h i s f a m i l y by embark i ng f o r P a r i s i n o r d e r t o pur sue a m u s i c a l c a r e e r . A f t e r he a r r i v e d i n P a r i s i n t h e wake o f t h e r e v o l u t i o n o f 1848, t h e t w e n t y - f i v e - y e a r - o l d Reyer c o n t a c t e d h i s a u n t , t h e c e l e b r a t e d p i a n i s t and composer L o u i s e F a r r e n c . ^ She and he r hu sband , A r i s t i d e , a f l u t i s t and a r d e n t r e s e a r c h e r i n t o e a r l y m u s i c , t ook t h e young man under t h e i r w i n g . Mme F a r r e n c assumed c h a r g e o f h i s m u s i c a l s t u d i e s , f a m i l -i a r i z i n g h im w i t h t h e works o f t h e c l a s s i c a l m a s t e r s , wh ich became mode l s f o r t h e budd i n g composer . 15 Reyer s t u d i e d d i l i g e n t l y w i t h L o u i s e F a r r e n c f o r two y e a r s , and , i n l a t e r l i f e , p r o u d l y acknowledged her as h i s s o l e t e a c h e r . 3 Wh i l e under t h e t u t e l a g e o f h i s a u n t , Reyer s u p p o r t e d h i m s e l f by p r o v i d i n g p u b l i s h -e r s w i t h w a l t z e s , p o l k a s , q u a d r i l l e s , and r omance s , and by n o t a t i n g t h e m e l o d i e s wh i ch t h e poet P i e r r e Dupont d i c t a t e d f o r h i s c h a n s o n s . ^ R e y e r ' s k i n s h i p w i t h t h e F a r r e n c s was an i n v a l u a b l e i n t r o d u c t i o n t o t h e s o i r e e s and m a t i n e e s m u s i c a l e s o f t h e p i a n i s t and pedagogue Marmon-t e l and o t h e r s who, l i k e t h e F a r r e n c s , c u l t i v a t e d t h e mus ic o f Haydn, M o z a r t , B e e t h o v e n , and e a r l i e r c ompo se r s . E q u a l l y i m p o r t a n t was t he young R e y e r ' s a s s o c i a t i o n w i t h a number o f p o e t s and w r i t e r s , i n c l u d i n g T h e o p h i l e G a u t i e r , H e i n r i c h H e i n e , C h a r l e s B a u d e l a i r e , Maxime du Camp, C a m i l l e du L o c l e , Gu s t ave F l a u b e r t , and L o u i s de C o r m e n i n , as w e l l as a f e l l o w - M a r s e i l 1 a i s , Mery . Some o f t h e s e 1 i t t e r a t e u r s l a t e r c o l l a b o r a t e d w i t h Reyer on s e v e r a l o f h i s ma jo r w o r k s . S h o r t l y a f t e r h i s a r r i v a l i n P a r i s , Reyer moved i n t o a s m a l l a p a r t -ment on t h e r u e de l a Tour d ' A u v e r g n e . Through such f r i e n d s as Mery and G a u t i e r he soon became a c q u a i n t e d w i t h a n o t h e r f i g u r e who was p rom inen t i n P a r i s i a n l i t e r a r y and a r t i s t i c c i r c l e s : H e c t o r B e r l i o z . The two men became n e i g h b o u r s i n 1856, when B e r l i o z moved t o t h e r ue de C a l a i s . He f r e q u e n t l y v i s i t e d R e y e r ' s t i n y a p a r t m e n t , and t h e y formed a deep f r i e n d s h i p t h a t was d e s t i n e d t o l a s t u n t i l B e r l i o z ' s dea th i n 1869. Reyer t h e Composer From " L e S e l a m " t o " L a S t a t u e " ( 1850 -1863 ) The 1850s and t h e e a r l y 1860s w i t n e s s e d t h e f i r s t f l o w e r i n g o f R e y e r ' s c a r e e r as a compose r . H i s p r i n c i p a l works o f t h i s p e r i o d were : 16 Le Se lam ( 1 8 5 0 ) , s u b t i t l e d " s ymphon i c o r i e n t a l e en q u a t r e p a r t i e s " and s c o r e d f o r s o l o i s t s , c h o r u s , and o r c h e s t r a ; an o p e r a , E r o s t r a t e ( 1 8 5 2 ) ; an o p e r a c o m i q u e , MaTt re Wo l f r am ( 1 8 5 4 ) ; a b a l l e t , S a c o u n t a l a ( 1 858 ) ; and a second o p e r a c om ique , La S t a t u e ( 1 8 5 9 ) . 5 A s i x t h work , t h e o p e r a S i g u r d , was begun i n 1862 and n e a r l y c o m p l e t e d by 1866 , but was not f i n i s h e d u n t i l i t was a c c e p t e d n e a r l y two decades l a t e r by t h e T h e a t r e de l a Monnaie i n B r u s s e l s . In 1862 Reyer a l s o began t h i n k i n g o f a s e ven th p r o j e c t : an o p e r a based on Salammbo, h i s f r i e n d F l a u b e r t ' s c o l o r f u l nove l o f a n c i e n t C a r t h a g e . T h i s o p e r a would rema in i n g e s t a -t i o n even l o n g e r t h a n S i g u r d . 6 F i n a n c i a l a s s i s t a n c e f r om r e l a t i v e s and f r i e n d s e n a b l e d t he young composer t o p r e s e n t h i m s e l f t o t h e P a r i s i a n p u b l i c by r e n t i n g t h e T h e a t r e - I t a l i e n f o r t h e p r e m i e r e o f Le Se lam on 5 A p r i l 1850. T h i s f a s h i o n a b l y o r i e n t a l work l a u n c h e d h i s c a r e e r , f o r t h e r e a c t i o n s o f bo th t h e p u b l i c and members o f t h e p r e s s - - i n c l u d i n g B e r l i o z — w e r e f a v o r a b l e , ? and i t was p r e s e n t e d at s e v e r a l l a t e r c o n c e r t s i n t h e c a p i t a l . The s u c -c e s s o f Le Se lam was soon f o l l o w e d by t h a t o f t h e o p e r a comique MaTt re W o l f r a m , w i t h w h i c h Reyer made h i s debut as a composer f o r t h e l y r i c t h e a t r e . T h i s o n e - a c t wo rk , p r e m i e r e d at t h e T h e a t r e - L y r i q u e i n 1854, r ema i ned i n t h e r e p e r t o i r e f o r t h r e e y e a r s . A l t h o u g h E r o s t r a t e was composed b e f o r e MaTtre W o l f r a m , i t was not p roduced u n t i l many y e a r s l a t e r . I t was a c c e p t e d by t h e L y r i q u e i n 1852, but t h e unusua l s u b j e c t — t h e l e gend o f how t h e Venus de M i l o l o s t he r a r m s — e v o k e d such m i s g i v i n g s on t h e p a r t o f t h e s u c c e s s i v e d i r e c t o r s t h a t even t h e p o p u l a r i t y o f MaTtre Wo l f ram d i d not pe r suade them to p r e m i e r e t h e e a r l i e r work. The d i r e c t o r o f t h e O p e r a , t o o , s h i e d away 17 f r o m E r o s t r a t e . At t h e s u g g e s t i o n o f B e r l i o z , Reyer e v e n t u a l l y t ook h i s s c o r e t o Baden -Baden , t h e i n t e r n a t i o n a l l y famous German r e s o r t where t h e cream o f European s o c i e t y e n j o y e d m u s i c a l p e r f o r m a n c e s by c e l e b r a t e d a r t i s t s f r om a l l o v e r t h e C o n t i n e n t . Edouard B e n a z e t , t h e w e a l t h y owner o f t h e c a s i n o at Baden -Baden , had b u i l t a t h e a t r e wh i ch was t o be i n -a u g u r a t e d i n t h e summer o f 1862 w i t h a new o p e r a comique commi s s i oned f r o m B e r l i o z , and t h e m u s i c - l o v i n g i m p r e s a r i o g l a d l y agreed t o p r e s e n t E r o s t r a t e as p a r t o f t h e f e s t i v i t i e s . Reyer h i m s e l f c o n d u c t e d t h e p r e -m i e r e — p e r f o r m e d by a b r i l l i a n t c a s t — o n 21 August 1862, two weeks a f t e r t h e o p e n i n g o f t h e t h e a t r e w i t h B e r l i o z ' s B e a t r i c e e t B e n e d i c t . L i k e t h e l a t t e r wo rk , R e y e r ' s o p e r a was h a i l e d as a t r i u m p h ; i n d e e d , one d i s t i n g u i s h e d member o f t h e a u d i e n c e , Queen Augu s t a o f P r u s s i a , was so i m p r e s s e d t h a t she l a t e r d e c o r a t e d Reyer w i t h t he P r u s s i a n C ro s s o f t h e K n i g h t o f t h e Red E a g l e . In t h e meant ime, Reyer had made a s u c c e s s f u l debut at t h e Opera w i t h t h e b a l l e t S a c o u n t a l a , a n o t h e r p i e c e o f o r i e n t a l i a . T h i s wo rk , based on G a u t i e r ' s a d a p t a t i o n o f a S a n s k r i t p l a y , had been commi s s i oned by t h e d i r e c t o r o f t h e Opera as c o m p e n s a t i o n f o r h i s r e j e c t i o n o f E r o s t r a t e . The g r e a t A m a l i a F e r r a r i s danced t h e t i t l e r o l e when t h e b a l l e t was p r e m i e r e d i n 1858, and i t m ight have become p a r t o f t h e r e p e r t o i r e had t h e p e r f o r m a n c e s not been c u t s h o r t by F e r r a r i s ' s d e p a r -t u r e f o r S a i n t P e t e r s b u r g . S a c o u n t a l a was n e v e r t h e l e s s a coup f o r t h e t h i r t y - f o u r - y e a r - o l d R e y e r , becau se i t s i g n a l l e d h i s a c c e p t a n c e at F r a n c e ' s most p r e s t i g i o u s l y r i c t h e a t r e . R e y e r ' s s u c c e s s at t h e Opera p r o b a b l y h e l p e d prompt t he new d i r e c -t o r o f t h e L y r i q u e , Leon C a r v a l h o , t o t r y t o win back t h e young composer 18 w i t h a l i b r e t t o by M i c h e l C a r r e and J u l e s B a r b i e r , who had a l r e a d y made t h e i r r e p u t a t i o n s as j o i n t a u t h o r s o f l i b r e t t o s f o r c e l e b r a t e d works by Gounod and Ambro i s e Thomas. C a r r e and B a r b i e r had based t h e i r l a t e s t o p e r a t i c poem on a p l a y drawn f rom t h e 1,001 N i g h t s , and R e y e r , a lway s a t t r a c t e d by an o r i e n t a l s u b j e c t , a c c e p t e d i t w i t h a l a c r i t y . C a r v a l h o announced i n 1859 t h a t t h e L y r i q u e would soon p r e s e n t a new work by t h e composer o f S a c o u n t a l a , ^ but t h e v e r y nex t y e a r t he d i r e c t o r s h i p pa s sed t o C h a r l e s R e t y , who found h i m s e l f i n f i n a n c i a l d i s t r e s s and t h e r e f o r e was i n no h u r r y t o honor h i s p r e d e c e s s o r ' s commitment t o R e y e r . The l a t t e r f i n a l l y o b t a i n e d an i n j u n c t i o n f rom t h e S o c i e t e des a u t e u r s com-p e l l i n g R e t y t o put t h e w o r k - - t e n t a t i v e l y e n t i t l e d Les R u i n e s de Ba l bek - - i n t o r e h e a r s a l . I t was a t l a s t p r e m i e r e d as La S t a t u e on 11 A p r i l 1861 , and was h i g h l y a c c l a i m e d , r e m a i n i n g i n t h e r e p e r t o i r e a f t e r C a r v a l h o r e t u r n e d as d i r e c t o r i n 1862 . Thus , by t h e e a r l y 1 8 6 0 ' s R e y e r ' s mus i c had e s t a b l i s h e d him as a m i no r c e l e b r i t y i n t h e c a p i t a l , and had prompted B e r l i o z t o r e f e r t o him as a " j e u n e m a i t r e . " 9 R e y e r ' s g r o w i n g r e p u t a t i o n ea rned o f f i c i a l r e c o g -n i t i o n i n F r a n c e : on 15 August 1862, i n t h e m i d s t o f L a S t a t u e ' s s u c -c e s s at t h e L y r i q u e and a few days b e f o r e t h e p r e m i e r e o f E r o s t r a t e a t Baden -Baden , he was named a C h e v a l i e r o f t h e L e g i o n d ' h o n n e u r . A f t e r such a p r o m i s i n g b e g i n n i n g , R e y e r ' s c a r e e r s u d d e n l y t ook a t u r n f o r t h e worse i n P a r i s . C a r v a l h o , p r e o c c u p i e d w i t h new p r o j e c t s , a l l o w e d t h e q u a l i t y o f t h e p r o d u c t i o n o f La S t a t u e t o d e t e r i o r a t e so d r a s t i c a l l y t h a t i n 1863 Reyer sued t o s t o p t h e p e r f o r m a n c e s , even though t h e work was s t i l l mak ing a p r o f i t . I t had by then been p r e s e n t -ed f i f t y - n i n e t i m e s , w h i c h — i n a m u s i c a l w o r l d domina ted by e s t a b l i s h e d 19 f i g u r e s such as M e y e r b e e r , A u b e r , and Ado l phe A d a m - - c o n s t i t u t e d a r e -m a r k a b l e run f o r an o p e r a by a young F rench compose r .10 Y e a r s o f o s t r a c i s m f r om P a r i s i a n l y r i c t h e a t r e s (1863 -1885) For n e a r l y a q u a r t e r - c e n t u r y a f t e r he h a l t e d C a r v a l h o ' s p r o d u c t i o n o f L a S t a t u e , t h e doo r s o f t h e l y r i c t h e a t r e s o f P a r i s were v i r t u a l l y c l o s e d t o Reye r . 11 T h i s l o n g o s t r a c i s m seems t o have been due t o a com-b i n a t i o n o f t h r e e f a c t o r s . The f a t e o f La S t a t u e must have made d i r e c -t o r s h e s i t a n t t o mount R e y e r ' s o p e r a s f o r f e a r t h a t t h e composer wou ld t a k e l e g a l a c t i o n t o s t o p a p r o d u c t i o n i f i t d i d not meet h i s h i g h s t a n d a r d s . F u r t h e r m o r e , R e y e r ' s f r i e n d s h i p w i t h B e r l i o z and h i s o p e n l y e x p r e s s e d a d m i r a t i o n f o r t h e mus i c o f Wagner had g i v e n him t he r e p u t a -t i o n o f h o l d i n g s o - c a l l e d " a d v a n c e d " i d e a s c o n c e r n i n g d r a m a t i c m u s i c , and he may have been t o some e x t e n t a v i c t i m o f " t h e d i s t r u s t t h a t e x i s t e d at t h a t p e r i o d a g a i n s t a l l [ s u c h ] m u s i c i a n s . " 1 2 F i n a l l y , t h e s u b j e c t s o f E r o s t r a t e and S i g u r d were nove l i n m i d - c e n t u r y P a r i s , and bo th o p e r a s were t h e r e f o r e r e g a r d e d w i t h s u s p i c i o n by t h e d i r e c t o r s o f t h e l y r i c t h e a t r e s . The s u b j e c t o f S i g u r d had been p ropo sed by R e y e r ' s f r i e n d A l f r e d B l a u a f t e r he had r ead L a v e l e y e ' s F r e n c h t r a n s l a t i o n o f t h e N i b e l u n g e n - 1 i e d . The composer had i m m e d i a t e l y been a t t r a c t e d by t h e m y t h o l o g i c a l h e r o , and i n 1862 had r e c e i v e d f rom B l a u a v e r y c o m p l e t e s c e n a r i o based on bo th t h e N i b e l u n g e n l i e d and t h e S c a n d i n a v i a n E d d a - - w h i c h were t h e s o u r c e s Wagner had been u s i n g f o r t h e R i n g , as B l a u may have known.13 The t a s k o f v e r s i f y i n g and a d a p t i n g B l a u ' s s c e n a r i o f o r t h e l y r i c t h e -a t r e had been g i v e n t o t h e poet C a m i l l e du L o c l e , who happened t o be a 20 nephew o f E m i l e P e r r i n , d i r e c t o r o f t h e O p e r a . Reyer " a v a i t t r a v a i l l e d ' a b o r d d 1 a r r a c h e - p i e d su r ce p o e m e , " ! ^ and p r o b a b l y would have c o n t i n -ued t o do so had du L o c l e not p roved t o be a v e r y s l ow w o r k e r . The e x -t a n t c o r r e s p o n d e n c e between composer and l i b r e t t i s t r e v e a l s t h a t even i n 1865 t h e v e r s i f i c a t i o n was not f i n i s h e d , f o r Reyer was c h i d i n g : "Vous ne me d i t e s pas un s e u l mot de S i g u r d . . . T r a v a i l l e z - v o u s ? S i vous ne me r e v e i l l e z pas de temps en temps , j e f i n i r a i pa r m ' e n d o r m i r . " l 5 Du L o c l e must have re sponded t o R e y e r ' s p r o d d i n g , because t he next y e a r P e r r i n announced t h a t t h e f i r s t a c t s o f S i g u r d had been c o m p l e t e d and t h a t i t would be p r e m i e r e d a f t e r V e r d i ' s Don C a r l o s , a n o t h e r work f o r wh i ch du L o c l e - - a f r i e n d o f t h e I t a l i a n m a s t e r — w a s one o f t he o r i g i n a l l i b r e t t i s t s . U n f o r t u n a t e l y , P e r r i n ' s announcement was f o l l o w e d by s u c -c e s s i v e pos tponement s o f S i g u r d . As t h e y e a r s pa s sed and P e r r i n kept p o s t p o n i n g S i g u r d w h i l e o t h e r P a r i s i a n d i r e c t o r s i g n o r e d R e y e r ' s e a r l y s u c c e s s e s , he pe rhaps came t o t h e c o n c l u s i o n t h a t h i s p r o s p e c t o f mak ing a l i v i n g as a composer i n P a r i s was g r ow ing d i m . In any c a s e , he composed v e r y l i t t l e between 1863 and t h e o u t b r e a k o f t h e F r a n c o - P r u s s i a n War seven y e a r s l a t e r . A p a r t f r om S i g u r d , wh i ch was s t i l l u n f i n i s h e d when t h e war began , t h e o n l y c o m p o s i t i o n s d a t i n g f r om t h e s e y e a r s a r e a m e l o d i e , a p i a n o p i e c e , and a c a n t a t a w h i c h — a s we s h a l l see b e l o w — w a s commi s s i oned f o r Baden-Baden. 16 S i n c e h i s c o m p o s i t i o n s d i d not f i n d an o u t l e t i n F r ance a f t e r 1863, Reyer became more i n v o l v e d i n t h e m u s i c a l l i f e o f t h e German s p a , where t h e s u c c e s s o f E r o s t r a t e and t h e p r o t e c t i o n o f B e r l i o z had p l a c e d him i n a v e r y p l e a s a n t s i t u a t i o n . In t h e summer o f 1863 t h e r e v i v a l o f 21 B e r l i o z ' s B e a t r i c e e t B e n e d i c t was accompan ied by t h e p r e m i e r e o f R e y e r ' s MaTt re W o l f r a m , and two y e a r s l a t e r he was c ha r ged w i t h t h e o r g a n i z i n g and d i r e c t i n g o f an i n t e r n a t i o n a l c o n c e r t such as B e r l i o z had p r e s e n t e d each summer f r o m 1852 u n t i l 1861 . Wi th B e r l i o z ' s h e l p , ^ Reyer s e l e c t e d a program c o n s i s t i n g o f mus i c by t e n o f t he most i l l u s -t r i o u s c o n t e m p o r a r y composer s o f c o n t i n e n t a l Europe and R u s s i a , i n c l u d -i n g B e r l i o z , Schumann, Wagner, L i s z t , R o s s i n i , and G l i n k a . 1 8 An e x c e r p t f r o m R e y e r ' s Le Selam and h i s c a n t a t a "Hymne du R h i n " - - t h e l a t t e r com-m i s s i o n e d f o r t he c o n c e r t - - a l s o f i g u r e d on t he p rog ram, and t he c a n t a t a s u b s e q u e n t l y became p o p u l a r w i t h c h o r a l s o c i e t i e s on both s i d e s o f t h e R h i n e . At t h a t moment, n o t h i n g p r e s a ged t h e war wh i ch would make a mocke ry o f R e y e r ' s c e l e b r a t i o n o f " l e R h i n , symbole de l a p a i x ! " and wou ld a b r u p t l y end h i s c a r e e r at Baden -Baden . E a r l y i n 1870 , P e r r i n s o l e m n l y p r o m i s e d Reyer t h a t S i g u r d would be p r e m i e r e d d u r i n g t h e w i n t e r o f 1 870 - 71 . The composer t h e r e f o r e l e f t P a r i s on 19 June and went t o h i s b e l o v e d Vosges Moun ta i n s i n L o r r a i n e , whe re , c o m f o r t a b l y s e t t l e d at a f r i e n d ' s f a r m , he p l anned t o spend t he summer c o m p l e t i n g S i g u r d . However, bo th R e y e r ' s g oa l o f f i n i s h i n g t h i s o p e r a and P e r r i n ' s i n t e n t i o n t o b e g i n r e h e a r s i n g i t d u r i n g t he f a l l were s h a t t e r e d by t h e o u t b r e a k o f war between F r ance and Germany on 19 J u l y . Reyer f l e d t o B l o i s , where he s t a y e d w i t h t h e f a m i l y o f A l f r e d B l a u d u r -i n g t h e war and t h e Commune, wh i ch f i n a l l y ended i n May 1871 . R e y e r ' s b i t t e r n e s s about t h e war l e d him to swear t h a t he would neve r r e t u r n t o Germany, and he t h u s e x i l e d h i m s e l f f r om t h e c o u n t r y t o wh i ch he had l o n g f e l t drawn by h i s a r t i s t i c p r e f e r e n c e s . ^ Hav i n g r enounced t h e p o s s i b i l i t y o f f u r t h e r i n g h i s c a r e e r at Baden -Baden , he had no c h o i c e but t o hope t h a t h i s count rymen would a c c e p t h i s m u s i c . A f t e r t h e d i s a s t e r s o f t h e war and t h e Commune, P e r r i n was no l o n g -e r d i r e c t o r o f t h e O p e r a , and t h e a r t i s t s o f t h i s i n s t i t u t i o n — h a s t i l y g a t h e r e d t o g e t h e r by H a l a n z i e r , who was l a t e r a p p o i n t e d d i r e c t o r — w e r e a n x i o u s t o f i n d a work t h a t would not be t oo c o s t l y t o p r o d u c e . The moun t i n g o f S i g u r d was, t h e r e f o r e , ou t o f t h e q u e s t i o n , and H a l a n z i e r d e c i d e d i n s t e a d t o p r e s e n t t h e t w o - a c t E r o s t r a t e , wh ich had been so s u c -c e s s f u l at Baden-Baden i n 1862. H a l a n z i e r ' s p r o d u c t i o n , f i r s t g i v e n on 16 Oc tobe r 1 871 , was a d i s m a l f a i l u r e , l a r g e l y because t he s i n g e r s had o b v i o u s l y l e a r n e d t h e i r p a r t s i n h a s t e and t h e m i se en scene was v e r y i n a d e q u a t e . 2 0 The work was pe r f o rmed o n l y t w i c e . A f t e r t h i s g r a v e d i s a p p o i n t m e n t , Reyer w i t h d r e w i n t o what he may have i n t e n d e d t o be a permanent r e t i r e m e n t f rom compos ing f o r t h e l y r i c t h e a t r e . He knew t h a t he need never be dependent upon m u s i c a l c o m p o s i -t i o n f o r h i s l i v e l i h o o d , b e c a u s e , as we s h a l l s e e , he had two s t e a d y s o u r c e s o f i ncome: h i s s a l a r y as f e u i l l e t o n i s t e f o r t he J o u r n a l des D e b a t s , and t h e annua l s t i p e n d he r e c e i v e d as t h e t i t u l a r head o f t h e B i b l i o t h e q u e de 1 ' O p e r a . H i s combined i ncome, a l t h o u g h not l a r g e , e n a b l e d him t o l i v e m o d e s t l y i n h i s s m a l l apa r tment on t h e r u e de l a Tour d ' A u v e r g n e . The E r o s t r a t e f i a s c o , l i k e t h e a f f a i r o v e r L a S t a t u e i n t h e p r e c e d -i n g d e c a d e , made P a r i s i a n d i r e c t o r s e x t r e m e l y wary o f R e y e r ' s w o r k s . S i g u r d was r e j e c t e d by H a l a n z i e r , who was bo th s c o r n f u l o f t h e m y t h o l o g -i c a l s u b j e c t and i r r i t a t e d by t h e c o m p o s e r ' s r e f u s a l t o make e x c i s i o n s and o t h e r changes i n h i s s c o r e . The o n l y P a r i s i a n d i r e c t o r s who r i s k e d 23 p r e s e n t i n g any o p e r a s by Reyer d u r i n g t h e 1870s were C a m i l l e du L o c l e - -f o r m e r c o l l a b o r a t o r on S i g u r d - - a n d Leon C a r v a l h o . As s u c c e s s i v e l e a d e r s o f t h e Ope ra -Com ique , t h e y r e v i v e d MaTt re Wo l f ram and La S t a t u e , t h e two works by Reyer wh i ch had been most h i g h l y a c c l a i m e d i n t h e F r ench c a p i t a l d u r i n g t h e 1850s and t he e a r l y 1860 s . However, C a r v a l h o r e v i v e d La S t a t u e not as an o p e r a c o m i q u e , but r a t h e r as an o p e r a . Reyer had made t h e t r a n s f o r m a t i o n i n 1864, c h a n g i n g t he spoken d i a l o g u e i n t o r e c i t a t i v e s f o r t h e p r e m i e r e o f t h e work at t h e C o u r t T h e a t r e o f Weimar, and i n 1878 he augmented t h i s v e r s i o n f o r C a r v a l h o by add i n g a b a l l e t drawn f r om t h e l o n g - f o r g o t t e n S a c o u n t a l a . C a r v a l h o ' s p r o d u c t i o n o f t h e e x t ended La S t a t u e , l i k e du L o c l e 1 s r e v i v a l o f t he o r i g i n a l MaTt re W o l f r a m , was s h o r t - 1 i v e d . ^ l D u r i n g t h e s e y e a r s o f d i s c o u r a g e m e n t , Reyer was f o r t u n a t e t h a t a few c u l t i v a t e d m u s i c i a n s s u p p o r t e d him by o f f e r i n g f r a g m e n t s o f S i g u r d i n c o n c e r t . The f i r s t one who p e r s i s t e n t l y championed t h i s o p e r a was J u l e s P a s d e l o u p , f o u n d e r o f t h e C o n c e r t s p o p u l a i r e s and an e a r l y d e f e n d -e r o f two o t h e r c o n t r o v e r s i a l c ompose r s : B e r l i o z and Wagner. In 1873, 1874, and 1876 , t h i s eminent c o n d u c t o r p r e s e n t e d a s u b s t a n t i a l f r a gmen t o f S i g u r d — t h e g r e a t scene o f B r u n e h i l d ' s a w a k e n i n g - - s u n g by some o f the most c e l e b r a t e d a r t i s t s o f F r ench l y r i c t h e a t r e . H i s e f f o r t s were w e l l r e c e i v e d , and soon he was no l o n g e r a l o n e i n c h a m p i o n i n g R e y e r ' s o p e r a . Du r i n g t h e l a t e r 1870s and t h e e a r l y 1880s t h e f i n e s t c o n d u c t o r s i n P a r i s , i n c l u d i n g Edouard Co l onne and C h a r l e s Lamoureux, l e d e x c e l l e n t p e r f o r m a n c e s o f e x c e r p t s f r om t h i s wo r k . ^2 I t was P a s d e l o u p who, i n a d d i t i o n t o b e i n g t he f i r s t t o t a k e up t he c a u s e o f S i g u r d , encou raged f u r t h e r e f f o r t s on t h e p a r t o f Reyer t h e 24 compose r . In 1874 t h i s c o n d u c t o r p r e m i e r e d R e y e r ' s L a M a d e l e i n e au d e s e r t , a c o n c e r t scene f o r b a r i t o n e and o r c h e s t r a , composed t o a t e x t by A l f r e d B l a u ' s c o u s i n , Edoua rd .23 The nex t y e a r P a s d e l o u p asked Reyer t o w r i t e an o v e r t u r e f o r S i g u r d . T h i s i n s t r u m e n t a l p r e l u d e , p r e m i e r e d on 14 March 1875, was v e r y p o p u l a r , and h e n c e f o r t h i n t r o d u c e d many p e r -f o rmance s o f f r a g m e n t s f r om t h e o p e r a . A p a r t f r om t h e scene and t h e o v e r t u r e , Reyer composed l i t t l e d u r i n g t h e 1870s and t h e e a r l y 1880 s ; i n d e e d , t h e o n l y o t h e r c o m p o s i t i o n s com-p l e t e d d u r i n g t h e s e y e a r s a re a few m e l o d i e s . 2 4 He began w o r k i n g on Salammbo, but t h e u n c e r t a i n t y o f t h e f u t u r e o f S i g u r d d i s c o u r a g e d him f r o m d e v o t i n g much a t t e n t i o n t o y e t a n o t h e r u n d e r t a k i n g f o r t h e l y r i c t h e a t r e . As p r e v i o u s l y n o t e d , t h e i d e a o f b r i n g i n g F l a u b e r t ' s Salammbo t o t h e s t a g e had been i n R e y e r ' s mind s i n c e 1862. B e r l i o z had r ecom-mended him f o r t h e p r o j e c t a f t e r V e r d i , F l a u b e r t ' s f i r s t c h o i c e , had r e -j e c t e d t h e a u t h o r ' s s c e n a r i o . Reyer had been g i v e n e x c l u s i v e r i g h t s t o t h e n o v e l , but d e l a y s had ensued i n t h e v e r s i f i c a t i o n o f t h e s c e n a r i o , w h i c h had pa s sed t h r o u g h v a r i o u s hands b e f o r e b e i n g e n t r u s t e d t o C a m i l l e du L o c l e i n t h e 1870s .25 On l y t h e f i r s t few pages o f t h e s c o r e were c o m p l e t e when F l a u b e r t d i e d i n 1880. Reyer l a t e r r e c a l l e d : " . . . mon pauv re ami F l a u b e r t e t a i t m o r t . . . [ s i c ] P u i s un decouragement me p r i t ; j e c e s s a i t o u t t r a v a i l , j u r a n t que j e ne me r e m e t t r a i s a l ' o u v r a g e que quand on a u r a i t j o u e S i g u r d . J ' a i t e n u p a r o l e . " 2 6 In 1883, when V a u c o r b e i l - - H a l a n z i e r ' s s u c c e s s o r as d i r e c t o r o f t h e O p e r a - - r e j e c t e d S i g u r d a f t e r m e r e l y h e a r i n g a r e a d i n g o f t h e l i b r e t t o , Reyer t ook h i s s c o r e t o t h e T h e a t r e de l a Monnaie i n B r u s s e l s , whose management was at t h a t t i m e c o n s i d e r a b l y more a d v e n t u r o u s t h a n t h a t o f 25 t h e O p e r a . The d i r e c t o r s o f t h e Monna i e , c o n f i d e n t t h a t t he d i f f i c u l -t i e s o f t h e m i se en scene c o u l d be overcome and t h a t t h e work would be s u c c e s s f u l , s p o n t a n e o u s l y o f f e r e d t o mount S i g u r d w i t h o u t demanding the d e l e t i o n o f m a t e r i a l o r changes o f any o t h e r k i n d . R e y e r , o v e r j o y e d t h a t h i s dream o f s e e i n g S i g u r d wou ld f i n a l l y be f u l f i l l e d , q u i c k l y f i n i s h e d t h e l a s t a c t o f h i s s c o r e . The p r e m i e r e , on 7 J a n u a r y 1884, was a t r i u m p h f o r t he composer and made a s t a r o f t h e young s o p r a n o , Mme Rose C a r o n , who c r e a t e d t h e r o l e o f B r u n e h i l d . 2 7 The t r i u m p h s o f " S i g u r d " and "Sa lammbo" at P a r i s ( 1 8 8 5 - c a . 1900) A f t e r t h e p r e m i e r e a t B r u s s e l s , S i g u r d was a c c l a i m e d a t London and L y o n s , and t h e new c o - d i r e c t o r s o f t h e O p e r a — R i t t and G a i 1 h a r d - - f e l t embar ra s sed t h a t t h e i r p r e d e c e s s o r had r e j e c t e d R e y e r ' s work. They q u i c k l y t ook s t e p s t o b r i n g i t t o t h e O p e r a , but i n s t e a d o f t r e a t i n g t he s c o r e w i t h as much r e s p e c t as i t had been a c co rded at B r u s s e l s , t h e y i n s i s t e d on mak ing " l e s p l u s f o l l e s c o u p u r e s . " 2 8 The p r e m i e r e on 12 June 1885 was a s u c c e s s more f o r Mme Caron t h a n f o r t he work i t s e l f , not o n l y because i t had been d r a s t i c a l l y c u t but a l s o because t he s u b j e c t and t h e m u s i c a l s t y l e made i t " s e n s i b l e m e n t d i f f e r e n t " ^ f rom t h e o p e r a s t o wh i ch t h e P a r i s i a n p u b l i c was a c cu s t omed . Soon, however , a u d i e n c e s were as e n r a p t u r e d w i t h S i g u r d as t h e y were w i t h Mme C a r o n , and w i t h i n two y e a r s i t had been pe r f o rmed a lmos t f i f t y t i m e s . R e y e r ' s l o n g o s t r a -c i s m f r om t h e l y r i c t h e a t r e s o f t h e F r ench c a p i t a l was f i n a l l y ended . A l t h o u g h t h e composer was so i n d i g n a n t at t he e x c i s i o n s made by R i t t and G a i l ha rd t h a t he a t t e n d e d n e i t h e r t h e p r e m i e r e nor any o f t h e l a t e r p e r f o r m a n c e s o f t h i s p r o d u c t i o n o f S i g u r d , he was e v i d e n t l y 26 encou raged by t h e p u b l i c ' s r e a c t i o n , f o r he resumed work on Salammbo. I t , t o o , was t a k e n t o t h e M o n n a i e - - b u t o n l y becau se Reyer was d e t e r m i n e d t h a t t h e t i t l e r o l e be sung by Mme C a r o n , who, a f t e r a d i s p u t e w i t h t h e c o - d i r e c t o r s o f t h e O p e r a , r e t u r n e d t o B r u s s e l s . The p r e m i e r e o f Salammbo a t t h e Monnaie on 1 F e b r u a r y 1890 was such a r e s o u n d i n g s u c c e s s t h a t t h e Opera i m m e d i a t e l y reengaged Mme Caron and won back Reyer by p r o m i s i n g t o r e v i v e S i g u r d w i t h o u t any u n a u t h o r i z e d e x c i s i o n s . T h i s P a r i s i a n r e v i v a l , mounted on 13 O c t o b e r 1890, was t h e t r u e l a u n c h i n g o f t h e work . I t s t remendous p o p u l a r i t y was soon crowned by t h e h u n d r e d t h p r e s e n t a t i o n , g i v e n w i t h g r e a t s p l e n d o u r on 31 December 1 8 9 1 - - a g r a c i o u s f a r e w e l l g e s t u r e f r o m R i t t and G a i l h a r d , whose c o n t r a c t as c o - d i r e c t o r s o f t h e Opera e x p i r e d t h a t v e r y n i g h t . The d e p a r t i n g R i t t and G a i l ha rd were c h a g r i n e d t h a t a p r e v i o u s com-mi tment had p r e v e n t e d them f r om s t a g i n g Salammbo,30 and t h e i r s u c c e s -s o r s - - B e r t r a n d and C a m p o c a s s o — t h e r e f o r e i n i t i a t e d n e g o t i a t i o n s t o b r i n g t h i s work t o t h e O p e r a . The p r e m i e r e , on 16 May 1892, was s t a ged w i t h an u n p r e c e d e n t e d r i c h n e s s o f d e c o r s and c o s t u m e s , and was ano the r t r i -umph f o r bo th Mme Caron and Reye r . 31 S i g u r d and Salammbo c l i m a x e d R e y e r ' s c a r e e r as a compose r , b r i n g i n g him o f f i c i a l r e c o g n i t i o n as w e l l as p u b l i c a c c l a i m . A C h e v a l i e r i n F r a n c e ' s L e g i o n d ' h o n n e u r s i n c e 1862, he was e l e v a t e d t o t he rank o f Commandeur i n 1891 on t h e o c c a s i o n o f t h e O p e r a ' s h und red th p r e s e n t a t i o n o f t h e r e v i v a l o f S i g u r d . Reyer was a l s o honored at B r u s s e l s : a f t e r t h e p r e m i e r e o f S i g u r d i n 1884 he was d e c o r a t e d w i t h t h e B e l g i a n C r o s s o f L e o p o l d . U n t i l t he t u r n o f t h e c e n t u r y S i g u r d and Salammbo e n j o y e d g r e a t f a v o r w i t h t h e p u b l i c i n bo th F r a n c e and B e l g i u m , and were 27 p e r f o r m e d e l s e w h e r e on t h e C o n t i n e n t as w e l l as i n C a i r o and i n the U n i t e d S t a t e s . 3 2 T h e i r appea l i n F r a n c e d e c l i n e d d r a s t i c a l l y as t h a t o f Wagne r ' s mus i c dramas i n c r e a s e d , but bo th works r ema ined i n the a c t i v e r e p e r t o i r e o f t h e P a r i s Opera u n t i l 1910, and each was o c c a s i o n a l l y r e v i v e d d u r i n g t he nex t t h r e e d e c a d e s . S i g u r d and Salammbo d i d not f i n a l l y l e a v e t h e r e p e r t o i r e o f t h i s t h e a t r e u n t i l 1935 and 1943 r e s p e c -t i v e l y . 3 3 O t h e r works o f t h e 1880s and 1890s Salammbo was R e y e r ' s l a s t ma jo r u n d e r t a k i n g as a compose r , but i t was not t h e o n l y new work t h a t appeared a f t e r t h e p r e m i e r e o f S i g u r d at B r u s s e l s . He c o n t i n u e d t o w r i t e t h e o c c a s i o n a l v o c a l p i e c e , compos ing i n 1884 a " c h a n t d i a t o n i q u e " e n t i t l e d " T r i s t e s s e , " h i s f i r s t m e l o d i e s i n c e 1875. The P a r i s i a n t r i u m p h o f Salammbo i n 1892 s t i m u l a t e d him to compose L'Homme, h i s second scene f o r v o i c e and o r c h e s t r a . T h i s s e t t i n g o f a t e x t by Georges Bouyer was p r e m i e r e d by t h e g r e a t bass F r a n c i s q u e Delmas a t one o f t h e C o n c e r t s C o l o n n e . In 1896, Reye r - - now i n h i s e a r l y s e v e n t i e s — a g a i n took up h i s pen , t h i s t i m e t o s e t t h r e e s onne t s by h i s o l d f r i e n d and c o l l a b o r a t o r C a m i l l e du L o c l e . Of t h e s e t h r e e m e l o d i e s , Reyer p u b l i s h e d o n l y one : " L e D e r n i e r r e n d e z - v o u s , " w h i c h he d e d i c a t e d t o h i s f a v o r i t e i n t e r p r e t e r , Mme C a r o n . 3 ^ Reyer may have i n t e n d e d " L e D e r n i e r r e n d e z - v o u s " as a s y m b o l i c f a r e w e l l , f o r t h e r e i s no e v i d e n c e t h a t he composed a n y t h i n g f u r t h e r . However, i n o r d e r t o f o o l i n t e r v i e w e r s who asked whether he was p l a n n i n g any new m u s i c a l c o m p o s i t i o n s , Reyer c l a i m e d t o be l a b o r i n g ove r an o p e r a e n t i t l e d Le C a p u c i n e n c h a n t e , " q ue j e d e s t i n e - - m ' e n b l a m e r a qu i v o u d r a — 28 au t h e a t r e de B a y r e u t h . " 3 5 Then he g l e e f u l l y watched t h i s madcap f a b r i -c a t i o n c i r c u l a t e i n t h e F r ench p r e s s . Reyer t h e C r i t i c From 1850 t o t h e m id -1860s W h i l e Reyer was s t a r t i n g t o make h i s name as a composer d u r i n g the 1850s , he was a l s o b e g i n n i n g what was d e s t i n e d t o be a l o ng c a r e e r as a w r i t e r on m u s i c . There i s c o n s i d e r a b l e e v i d e n c e - ^ 0 t h a t , f r om 1850 u n t i l 1855 , he s e r v e d as m u s i c a l " p r o m p t e r " f o r h i s f r i e n d G a u t i e r , t a c i t l y c o l l a b o r a t i n g w i t h o r g h o s t w r i t i n g f o r t he poet when t he l a t t e r was o b l i g e d t o r e v i e w m u s i c a l p e r f o r m a n c e s f o r t h e f e u i l l e t o n o f L a P r e s s e . In 1852 Reyer began t o p u b l i s h a r t i c l e s under h i s own name, s e r v i n g f o r s e v e r a l y e a r s as mus ic c r i t i c f o r t h r e e j o u r n a l s o f l i t e r a t u r e and t h e a r t s : t h e Revue de P a r i s , L ' A thenaeum f r a n g a i s , and t he Revue f r a n - g a i s e . 3 7 F i n a l l y , i n A p r i l 1857 , Reyer became a f e u i l l e t o n i s t e i n h i s own r i g h t when he was h i r e d as mus i c c r i t i c f o r t h e n e w l y - f o u n d e d C o u r r i e r de P a r i s . To become a f e u i l l e t o n i s t e f o r a d a i l y newspaper was a m i l e -s t o n e i n t h e c a r e e r o f any c r i t i c , f o r i t e n a b l e d him t o r e a c h t h e masses i n s t e a d o f t h e r e l a t i v e l y few s u b s c r i b e r s who s u p p o r t e d a mus ic j o u r n a l . R e y e r ' s " C h r o n i q u e m u s i c a l e " appeared r e g u l a r l y i n t h e C o u r - r i e r f o r n e a r l y t h r e e y e a r s , u n t i l mid-November 1859. At t h a t t i m e , t h e d i r e c t o r s e v i d e n t l y d e c i d e d t h a t t h e y no l o n g e r w i shed t o d e v o t e an e n t i r e f e u i l l e t o n t o m u s i c , and Reyer t h e r e f o r e l e f t t h i s newspaper .38 Les s t h a n two months l a t e r - - i n J a n u a r y 1860 - -he a g a i n became c r i t i c f o r 29 a j o u r n a l , La G a z e t t e du N o r d . He h e l d t h i s po s t u n t i l t h e c e s s a t i o n o f p u b l i c a t i o n at t h e end o f J u n e . Between 1852 and 1860, Reyer not o n l y w r o t e r e g u l a r l y f o r t h e C o u r - r i e r and t h e a f o r e m e n t i o n e d j o u r n a l s , but a l s o c o n t r i b u t e d s p o r a d i c a l l y t o a h a n d f u l o f o t h e r p u b l i c a t i o n s , 3 9 i n c l u d i n g two o f t h e most i n f l u e n -t i a l mus i c j o u r n a l s o f n i n e t e e n t h - c e n t u r y P a r i s : La F r a n c e m u s i c a l e and t h e Revue e t G a z e t t e m u s i c a l e de P a r i s . Most o f t h e s e w r i t i n g s were p u b l i s h e d i n t h e f o r m e r r e v i e w , t o wh i ch h i s u n c l e , A r i s t i d e F a r r e n c , was a l s o a c o n t r i b u t o r d u r i n g t h e 1850 s .40 A f t e r L a G a z e t t e du Nord e x p i r e d i n m i d - 1 8 6 0 , t h e r e was a t h r e e -y e a r h i a t u s i n R e y e r ' s a c t i v i t y as a mus i c c r i t i c w h i l e he f o c u s e d h i s a t t e n t i o n on h i s c a r e e r as a compose r . He was e v i d e n t l y p r e o c c u p i e d f i r s t w i t h p r e p a r a t i o n s f o r t h e p r e m i e r e o f E r o s t r a t e a t Baden -Baden , and t h e n w i t h l e g a l w r a n g l i n g s o ve r t h e f a t e o f La S t a t u e at t h e L y r i q u e . I t was d u r i n g t h i s p e r i o d , t o o , t h a t he was w o r k i n g i n t e n -s i v e l y on S i g u r d . I t may w e l l have been because o f d e l a y s i n t he v e r s i f i c a t i o n o f S i g u r d t h a t , i n t h e s p r i n g o f 1863, Reyer f e l t f r e e t o a c c e p t an o f f i c i a l c h a r g e f r om Count W a l e w s k i , t h e F r e n c h M i n i s t e r o f S t a t e , t o o b s e r v e and r e p o r t on t h e m u s i c a l l i f e o f Germany. He v i s i t e d Germany, A u s t r i a , and p a r t s o f what i s now I t a l y , i n c l u d i n g t h e T y r o l , Lombardy, and V e n e t i a . In t h e c i t i e s and even i n t h e s m a l l e s t p r i n c i -p a l i t i e s , he i n v e s t i g a t e d t h e a t r e s and a l l k i n d s o f m u s i c a l e s t a b l i s h -men t s ; but he a l l o w e d h i m s e l f t o be t o u r i s t as w e l l as m u s i c i a n , and t h e r e s u l t was a n a r r a t i v e wh i ch not o n l y i n f o r m s but a l s o g lows w i t h cha rm-i n g t a b l e a u x . T h i s l i v e l y document , c o m p l e t e d i n 1864 and e n t i t l e d 30 S o u v e n i r s d ' A l l e m a g n e , must have a f f o r d e d W a l e w s k i ' s s u c c e s s o r — M a r s h a l l V a i l 1 a n t ^ l — a welcome r e s p i t e f r o m w e i g h t y a d m i n i s t r a t i v e r e p o r t s . We can s p e c u l a t e t h a t , when V a i l l a n t l a t e r named Reyer head o f t h e B i b l i o -t heque de 1 ' O p e r a , he d i d so as a g e s t u r e o f r e s p e c t bo th f o r R e y e r ' s r e p u t a t i o n as a composer and f o r t h e l i t e r a r y t a l e n t d e m o n s t r a t e d i n S o u v e n i r s . R e y e r ' s r e p o r t was s e r i a l i z e d i n t h e f e u i 1 l e t o n o f t h e g o v e r n m e n t - c o n t r o l l e d P a r i s i a n newspaper Le M o n i t e u r u n i v e r s e l d u r i n g t h e w i n t e r o f 1 864 -65 , t h u s b r i n g i n g Reyer t h e w r i t e r t o t h e a t t e n t i o n o f t h e g e n e r a l p u b l i c f o r t h e f i r s t t i m e s i n c e h i s t e n u r e as f e u i l l e t o n - i s t e f o r t h e C o u r r i e r had ended.42 The " D e b a t s " y e a r s (1866 -1898) When t h e sudden d e a t h o f J o seph d ' O r t i g u e i n November 1866 l e f t v a c a n t t h e p o s t o f m u s i c a l f e u i l l e t o n i s t e o f t h e J o u r n a l des D e b a t s , one o f t h e most p r e s t i g i o u s o f P a r i s i a n n e w s p a p e r s , many v o i c e s urged t h e d i r e c t o r , Edouard B e r t i n , t o a p p o i n t R e y e r . Even w i t h o u t t h e s u p p o r t o f such i n f l u e n t i a l f i g u r e s as B e r l i o z — d ' O r t i g u e ' s p r e d e c e s s o r s — a n d Gounod, Reyer would p r o b a b l y have been t h e l o g i c a l c h o i c e , f o r he had been c o n t r i b u t i n g t o d i s t i n g u i s h e d P a r i s i a n newspapers and p e r i o d i c a l s a l m o s t c o n t i n u o u s l y s i n c e 1852. H i s appo i n tmen t t o t h e Debat s was t h e most s i g n i f i c a n t e ven t i n h i s c a r e e r as a c r i t i c , not o n l y because i t b r o u g h t h i s w r i t i n g s t o a w i d e r a u d i e n c e t han e v e r b e f o r e , but a l s o becau se h i s d u t i e s as f e u i l l e t o n i s t e o c c u p i e d most o f h i s a t t e n t i o n f o r t h e n e x t t h i r t y - t w o y e a r s . Soon a f t e r he had a c c e p t e d t h e Debats p o s t , Reyer f u r t h e r i n c r e a s e d h i s l i t e r a r y a c t i v i t y by e m b a r k i n g upon an endeavour wh i ch he had not 31 h i t h e r t o a t t e m p t e d : i n 1868 he began a s s i s t i n g i n t h e e d i t i n g o f t he em inen t Revue e t G a z e t t e m u s i c a l e de P a r i s . He would c o n t i n u e t o s e r v e as one o f i t s e d i t o r s u n t i l p u b l i c a t i o n cea sed a dozen y e a r s l a t e r . 4 4 D u r i n g t h e 1860s t h e o s t r a c i s m o f R e y e r ' s works f r o m P a r i s i a n l y r i c t h e a t r e s prompted him not o n l y t o resume a c t i v i t y as a c r i t i c and t o b e g i n a c a r e e r as an e d i t o r , but a l s o t o t a k e up t he ba ton f o r t h e f i r s t t i m e s i n c e t he p r e m i e r e o f E r o s t r a t e a t Baden -Baden . Now, however , h i s goa l was t o w in a c c e p t a n c e not f o r h i s own m u s i c , but f o r t h a t o f t h e r e c e n t l y decea sed B e r l i o z . R e y e r ' s f i r s t o p p o r t u n i t y t o work t oward t h i s goa l came w i t h i n months o f B e r l i o z ' s d e a t h i n 1869, when t h e German p i a n i s t - c o n d u c t o r Henry L i t o l f f - - o n e o f t h e l a t e c o m p o s e r ' s f r i e n d s -i n v i t e d Reyer t o appear as gue s t c o n d u c t o r at t h e i n a u g u r a l c o n c e r t o f t h e S o c i e t e des c o n c e r t s de 1 ' O p e r a . 4 5 I t was ag reed t h a t Reyer would c o n d u c t one e x c e r p t fom h i s Le Selam and t h r e e f r o m B e r l i o z ' s La Damna- t i o n de F a u s t : "Marche h o n g r o i s e " ( Rakoczy M a r c h ) , " B a l l e t des S y l p h e s , " and "Menuet des F o l l e t s . " The d e c i s i o n t o p r e s e n t t he e x -c e r p t s f r om B e r l i o z ' s work showed c o n s i d e r a b l e a u d a c i t y on the p a r t o f bo th Reyer and L i t o l f f , f o r A c e t t e epoque, i l n ' e t a i t p o s s i b l e d ' e n t e n d r e a P a r i s q u e l q u e s pages de B e r l i o z q u ' a u x C o n c e r t s p o p u l a i r e s , e t l e p l u s s ouven t au m i l i e u du b r u i t que l e b r a v e P a s d e -l o u p s ' e f f o r c a i t en v a i n de d o m i n e r . 4 6 Reyer must have d e m o n s t r a t e d o u t s t a n d i n g s k i l l as a c o n d u c t o r , because t h i s c o n c e r t was t h e f i r s t a t wh i ch t h e a u d i e n c e r e a c t e d f a v o r a b l y t o e x c e r p t s f r om t h e Damna t i on . The r e a c t i o n was, i n f a c t , so e n t h u s i a s t i c t h a t Reyer r e p e a t e d a l l t h r e e e x c e r p t s a t L i t o l f f ' s second c o n c e r t . 4 7 32 These s u c c e s s e s i n i t i a t e d a sudden vogue f o r t he Damna t i on , and t hu s l a u n c h e d i t s s p e c t a c u l a r c a r e e r . As we have s e e n , t h e 1870s and t he e a r l y 1880s were f r u s t r a t i n g y e a r s f o r Reyer t h e c o m p o s e r — y e a r s d u r i n g wh i ch he c r e a t e d o n l y a few c o n c e r t p i e c e s and m e l o d i e s . However, h i s c a r e e r as a w r i t e r c o n t i n u e d t o t h r i v e ; he was s t i l l a c t i v e as bo th an e d i t o r and a c o n d u c t o r ; and he t r a v e l l e d a g r e a t d e a l . R e y e r ' s l o v e o f t r a v e l had a l r e a d y been m a n i f e s t e d v i v i d l y i n some o f h i s f e u i l l e t o n s f o r t he C o u r r i e r 4 ^ and e s p e c i a l l y i n S o u v e n i r s d ' A l l e m a g n e . He a l l u d e d many t i m e s t o t h i s w a n d e r ! u s t , 4 ^ and t h e l o n g o s t r a c i s m o f h i s works f r om P a r i s i a n l y r i c t h e a t r e s a f f o r d e d him t i m e t o i n d u l g e i t . 5 0 Hence, s e v e r a l o f h i s f e u i l l e t o n s f o r t h e D e b a t s - - a s w e l l as v a r i o u s l e t t e r - a r t i c l e s 5 ! w h i c h he d i s p a t c h e d t o i t - - a r e d e l i g h t f u l a c c o u n t s o f h i s j o u r n e y s a b r o a d . Some o f t h e s e e x c u r s i o n s were s i m p l y p l e a s u r e t r i p s , bu t most were prompted by i m p o r t a n t c u l t u r a l e v e n t s , such as t h e w o r l d p r e m i e r e o f ATda a t C a i r o , t h e c e l e b r a t i o n o f t h e f i f t h M i c h e l a n g e l o C e n t e n a r y at F l o r e n c e , and one o f t h e Handel F e s t i -v a l s h e l d e v e r y few y e a r s a t London. The vow Reyer had made a f t e r t h e F r a n c o - P r u s s i a n War p r e v e n t e d him f rom g o i n g t o B a y r e u t h , so he j o u r -neyed i n s t e a d t o c e n t e r s o u t s i d e Germany i n o r d e r t o hear Wagne r ' s w o r k s : a t B r u s s e l s he a t t e n d e d a p e r f o r m a n c e o f Pe r f l i e g e n d e Ho lVande r i n F r ench t r a n s l a t i o n , and a t London he l i s t e n e d t o an e x c e l l e n t German company p r e s e n t D i e M e i s t e r s i n g e r von N u r n b e r g . 5 ? Reyer t r a v e l l e d e x t e n s i v e l y not o n l y o u t s i d e F r a n c e , but a l s o w i t h -i n her b o r d e r s . These d o m e s t i c j o u r n e y s became p a r t i c u l a r l y f r e q u e n t a f t e r 1880 , when he a c c e p t e d t h e po s t o f I n s p e c t e u r g e n e r a l des E c o l e s 33 de mus ique des d e p a r t e m e n t s , a l i f e t i m e appo in tment wh i ch r e q u i r e d him t o t r a v e l p e r i o d i c a l l y t o v a r i o u s c e n t e r s i n t h e F rench p r o v i n c e s i n o r d e r t o a s s e s s s t a n d a r d s o f m u s i c a l e d u c a t i o n and, o f t e n , t o s e r v e as one o f t h e j u d g e s f o r c o m p e t i t i o n s . 5 3 i t was i n 1880, t o o , t h a t he began t a k i n g an annual w i n t e r h o l i d a y i n t he sou th o f F r a n c e — u s u a l l y at Monte C a r l o , where he e n j o y e d p e r f o r m a n c e s o f o p e r a s at t h e famous t h e a t r e . L i k e h i s f o r e i g n t r a v e l s , many o f h i s e x c u r s i o n s t o the F r ench p r o v i n c e s and h i s h o l i d a y s i n t h e s ou th f u r n i s h e d him w i t h m a t e r i a l f o r t h e D e b a t s . Fo r e xamp le , m u s i c a l l i f e at Monte C a r l o i s d e s c r i b e d i n c o m m u n i c a t i o n s d i s p a t c h e d a n n u a l l y f o r f i f t e e n y e a r s . 5 4 Some o f R e y e r ' s f e u i l l e t o n s on h i s f o r e i g n and d o m e s t i c t r a v e l s were r e p r i n t e d i n h i s f i r s t c o m p i l a t i o n , wh i ch b e a r s t he humorous t i t l e Notes de mus ique ( 1 8 7 5 ) . The s u g g e s t i o n f o r t he mak ing o f such a c o l -l e c t i o n came f rom t h e p u b l i s h e r Georges C h a r p e n t i e r , who o f f e r e d t o p r e -s en t "une s e l e c t i o n de ses r e c i t s de voyages ou f e u i l l e t o n s de m u s i q u e . " 5 5 i n f a c t , t h e vo lume c o n s i s t s a lmos t e q u a l l y o f w r i t i n g s on t r a v e l and m u s i c : a s e c t i o n e n t i t l e d " V o y a g e s " i n c l u d e s S o u v e n i r s d ' A l 1 e m a g n e — c o m p r i s i n g 140 p a g e s — a n d f o u r a r t i c l e s , w h i l e " E t u d e s e t P o r t r a i t s " b r i n g s t o g e t h e r w r i t i n g s on a v a r i e t y o f s u b j e c t s and p e r -s o n s . Notes de mus ique was r e c e i v e d w i t h so much e n t h u s i a s m by both t h e p u b l i c and t he p r e s s t h a t i t i m m e d i a t e l y underwent a second p r i n t i n g . 5 6 A s o u r c e o f i n t e n s e s a t i s f a c t i o n t o Reyer t h r o u g h o u t t h e 1870s , when h i s own mus i c was s c a r c e l y e v e r heard i n P a r i s , was t he i n c r e a s i n g p u b l i c i n t e r e s t i n t h e mus i c o f h i s b e l o v e d B e r l i o z — a n i n t e r e s t w h i c h , as p r e v i o u s l y n o t e d , Reyer had h e l p e d i n i t i a t e b e f o r e t he war . D u r i n g t h e 1870s he c o n t i n u e d t o work as a c r i t i c on B e r l i o z ' s b e h a l f . In 34 a d d i t i o n , he commemorated t he f i r s t and t e n t h a n n i v e r s a r i e s o f h i s f r i e n d ' s d e a t h by o r g a n i z i n g and c o n d u c t i n g two c o n c e r t s wh ich f e a t u r e d e x c e r p t s f r om B e r l i o z ' s o p e r a s , s ymphon i e s , and l a r g e c h o r a l w o r k s . Each c o n c e r t was v e r y s u c c e s s f u l and added c o n s i d e r a b l e momentum t o " t h e B e r l i o z r e v i v a l i n P a r i s i n t h e 1 8 7 0 s . " 5 7 At t h i s t i m e , most o f t he c h o r a l works and symphon ies were pe r f o rmed i n t h e i r e n t i r e t y by Co lonne and P a s d e l o u p , and La P r i s e de T r o i e was p r e m i e r e d i n c o n c e r t by t h e s e eminent c o n d u c t o r s . I t was pe rhaps i n r e c o g n i t i o n o f h i s n e g l e c t e d e f f o r t s as composer and h i s d i s t i n g u i s h e d work as bo th c r i t i c and c o n d u c t o r t h a t , i n 1876 , Reyer r e c e i v e d one o f h i s c o u n t r y ' s supreme a c c o l a d e s : a s e a t i n the I n s t i t u t de F r a n c e . He was e l e c t e d on 11 November t o t h e Academie des B e a u x - A r t s o f t h e I n s t i t u t , s u c c e e d i n g t o t he c h a i r l e f t v a c a n t by t h e d e a t h o f F e l i c i e n Dav id and p r e v i o u s l y h e l d by B e r l i o z . 5 o > The A c a d e m i -c i e n ' s cos tume worn by Reyer was t h a t o f B e r l i o z , who, s h o r t l y b e f o r e h i s d e a t h , had g i v e n h i s f a i t h f u l v a l e t t h e p r o p h e t i c i n s t r u c t i o n t o p r e s e n t i t t o Reyer on t h e day when t h e l a t t e r would e n t e r t he I n s t i t u t . Throughout t h e 1870s and t h e e a r l y 1880s , Reyer was a c t i v e not o n l y as a w r i t e r on m u s i c , bu t a l s o as an e d i t o r . He c o n t i n u e d to s e r v e as an e d i t o r o f t h e Revue e t G a z e t t e m u s i c a l e u n t i l i t s demise i n 1880, and was one o f t h e p r i n c i p a l e d i t o r s o f La R e n a i s s a n c e m u s i c a l e , f ounded i n 1881 . However, a f t e r p u b l i c a t i o n o f t h e l a t t e r cea sed i n O c t o b e r 1883 he d i d not u n d e r t a k e o t h e r e d i t o r i a l d u t i e s . Du r i ng t h e second h a l f o f t h e 1880s and t h e e a r l y 1890s , R e y e r — a l t h o u g h now i n h i s s i x t i e s — c o n t i n u e d t o t r a v e l e x t e n s i v e l y i n the F rench p r o v i n c e s and e l s e w h e r e on t h e C o n t i n e n t , d i s p a t c h i n g c o l o r f u l 35 c o m m u n i c a t i o n s t o t he D e b a t s . He made s e v e r a l p l e a s u r e t r i p s t o v a r i o u s p a r t s o f F r ance and S w i t z e r l a n d , and c o n t i n u e d t o t a k e an annual w i n t e r h o l i d a y at Monte C a r l o . He a l s o r ema ined a c o n s c i e n t i o u s c h r o n i c l e r o f i m p o r t a n t f o r e i g n c u l t u r a l e v e n t s , i n c l u d i n g t h e w o r l d p r e m i e r e o f O t e l l o a t M i l a n , and , at B r u s s e l s , t h e f i r s t p e r f o r m a n c e s o f D i e Wa l ku re and S i e g f r i e d i n F rench t r a n s l a t i o n . 5 9 A f t e r t h e s e two p r e m i e r e s , Reyer c o n t i n u e d f o r s e v e r a l y e a r s t o go f r e q u e n t l y " a p p l a u d i r l a Wa lku re ou S i e g f r i e d a B r u x e l l e s , " 6 0 becau se t h e P a r i s Opera d i d not open i t s doo r s t o any o f Wagner ' s mus i c dramas u n t i l 1893 , when t he p r e m i e r e o f La V a l k y r i e cau sed a v e r i t a b l e s e n s a t i o n . 6 1 W h i l e s t i l l v e r y a c t i v e as c r i t i c f o r t h e D e b a t s , Reyer was c a l l e d upon t o l e n d h i s l i t e r a r y t a l e n t t o t h e c e l e b r a t i o n s m a r k i n g t h r e e s p e c i a l o c c a s i o n s : t h e d e d i c a t i o n o f a s t a t u e o f B e r l i o z , t h e c e n t e n -n i a l o f t h e f o u n d i n g o f t h e D e b a t s , and t h e i n a u g u r a t i o n o f a monument t o B e r l i o z . In 1886, Reyer was one o f t h e A c a d e m i c i e n s who p r e s e n t e d speeches at t h e d e d i c a t i o n o f a s t a t u e o f B e r l i o z a t P a r i s . The nex t y e a r , t h e j o u r n a l i s t s o f t h e Debat s honored i t s c e n t e n a r y w i t h a s e r i e s o f e s s a y s p u b l i s h e d i n a commemorat ive v o l ume , and R e y e r - - a s t h e mus i c c r i t i c — c o n t r i b u t e d a h i s t o r y o f t h i s n e w s p a p e r ' s m u s i c a l f e u i l l e t o n a t t h e hands o f C a s t i 1 - B l a z e , B e r l i o z , and d ' O r t i g u e , h i s d i s t i n g u i s h e d p r e d e c e s s o r s . 6 2 j n 1890, Reyer was t h e key s peake r at t he u n v e i l i n g o f t h e B e r l i o z Monument at t h e c o m p o s e r ' s b i r t h p l a c e , La Cote S a i n t - A n d r e . R e y e r ' s p a r t i c i p a t i o n i n t h i s e v e n t — w h i c h o c c u r r e d when he was at t he peak o f h i s fame as a composer and c o u l d t h e r e f o r e have p l e a d e d commi t -ments t o h i s mus i c and t o t he D e b a t s — d e m o n s t r a t e s t h a t h i s r e v e r e n c e f o r B e r l i o z had not d i m i n i s h e d w i t h t h e pas sage o f d e c a d e s . 6 3 The 36 speech g i v e n at La Cote S a i n t - A n d r e wou ld not be t he l a s t wh i ch Reyer would w r i t e i n B e r l i o z ' s h o n o r . Reyer t u r n e d s i x t y - f i v e i n December 1888, and f rom then on h i s a c t i v i t y as mus ic c r i t i c f o r t h e Debat s g r a d u a l l y d e c r e a s e d as he t ook e x t ended h o l i d a y s i n w i n t e r and summer. In 1893, t he yea r o f h i s s e v e n -t i e t h b i r t h d a y , he became s e m i r e t i r e d , s h a r i n g t h e d u t i e s o f f e u i l l e - t o n i s t e w i t h Ado lphe J u l 1 i e n - - e x p e r i e n c e d j o u r n a l i s t , a u t h o r o f b i o g r a -p h i e s o f Wagner and B e r l i o z , and f u t u r e a u t h o r o f t h e f i r s t monograph on R e y e r . At t h e end o f June 1898 t h e s e v e n t y - f o u r - y e a r - o l d Reyer r e t i r e d , r e l i n q u i s h i n g h i s po s t t o J u l l i e n . 6 4 R e y e r ' s L a s t Decade A f t e r h i s r e t i r e m e n t f r om t h e D e b a t s , Reyer r ema ined i n t h e c a p i t a l f o r s c a r c e l y two o r t h r e e months o f each y e a r . The b u s t l e o f t u r n - o f -t h e - c e n t u r y P a r i s — w i t h i t s b i c y c l e s , steam t r a m c a r s , and a u t o m o b i l e s - -was u n n e r v i n g t o t h e e l d e r l y man, and each summer he took r e f u g e at M o u t h i e r - H a u t e - P i e r r e , at t h e f o o t o f t h e moun t a i n s i n t he p r o v i n c e o f F r a n c h e - C o m t e . He c o n t i n u e d t o spend t he w i n t e r i n t he south o f F r a n c e , but not at Monte C a r l o ; i n s t e a d , he r e s t e d a t Lavandou , a P r o v e n g a l f i s h i n g v i l l a g e he had " d i s c o v e r e d " i n 1897, t h e y e a r b e f o r e h i s r e t i r e -ment . 65 The l a s t decade o f R e y e r ' s l i f e b r ough t an o u t p o u r i n g o f honor s such as he had p r o b a b l y n e v e r dreamed o f r e c e i v i n g . Even though he had a lway s t r e a t e d h i s appo i n tmen t t o t he B i b l i o t h e q u e de 1 ' Ope ra as an hon -o r a r y t i t l e and had t a k e n no i n t e r e s t i n t h i s l i b r a r y , a m a r b l e b u s t o f him was e r e c t e d t h e r e . 6 6 j h e F r e n c h government a c c o r d e d him f u r t h e r 37 r e c o g n i t i o n , e l e v a t i n g him i n 1899 t o t he rank o f G r a n d - O f f i c i e r i n t he L e g i o n d ' h o n n e u r , and i n J u l y 1906 making him t h e f o u r t h m u s i c i a n e v e r promoted t o t h e h i g h e s t r a n k , t h a t o f G r a n d - C r o i x . 6 7 T h i s d e c o r a t i o n , r a r e l y bestowed upon any c i v i l i a n , was p r e s e n t e d t o him by t h e P r e s i d e n t o f F r a n c e . Reyer was f e t e d a l s o by r e v i v a l s o f h i s w o r k s , t h r e e o f wh ich had been n e g l e c t e d f o r d e c a d e s . The i l l - f a t e d E r o s t r a t e — n e v e r heard any -where i n F r ance e x c e p t i n 1 871 , when H a l a n z i e r ' s d i s a s t r o u s p r o d u c t i o n a t t h e Opera had been g i v e n o n l y t w i c e — w a s pe r f o rmed on 16 O c t o b e r 1899 as one o f t h e e v e n t s h e l d i n c e l e b r a t i o n o f t h e t w e n t y - f i f t h c e n t e n a r y o f R e y e r ' s n a t i v e M a r s e i l l e . In F e b r u a r y 1902, MaTtre Wo l f r am was s u c -c e s s f u l l y s t a ged at t h e Opera -Comique f o r t h e f i r s t t i m e s i n c e t h e s h o r t - l i v e d r e v i v a l at t h i s t h e a t r e i n t he 1870s . The f o l l o w i n g y e a r — R e y e r ' s e i g h t i e t h — b r o u g h t him what must have been an even more s a t i s f y -i n g m u s i c a l t r i b u t e : t h e d i r e c t o r o f t h e O p e r a , G a i l h a r d , p r e s e n t e d a " s e m a i n e R e y e r . " T h i s c o n s i s t e d o f c o n s e c u t i v e p e r f o r m a n c e s o f Salammbo, S i g u r d , and t he 1878 v e r s i o n o f La S t a t u e , t h e l a s t - n a m e d p l a y e d i n f i v e a c t s i n s t e a d o f f i v e s cenes i n t h r e e a c t s . L a S t a t u e was y e t a n o t h e r work wh i ch Reyer had p r o b a b l y d e s p a i r e d o f s e e i n g a f t e r i t had been d ropped by t h e Ope ra -Comique .68 A l t h o u g h Reyer t he composer had cea sed a c t i v i t y a f t e r t he c o m p l e -t i o n o f t h e s e t t i n g o f du L o c l e ' s s onne t s i n 1896, Reyer t h e w r i t e r on mu s i c r ema ined p r o d u c t i v e — a l b e i t s p o r a d i c a l l y — f o r ano the r t e n y e a r s . In f a c t , h i s ma jo r l i t e r a r y endeavou r s a f t e r r e t i r e m e n t f rom t h e Debats i n 1898 d a t e f rom t h e p e r i o d 1903 t o 1906, when he was i n h i s e a r l y e i g h t i e s . As h o n o r a r y p r e s i d e n t o f t h e B e r l i o z C e n t e n a r y c e l e b r a t i o n s 38 i n 1903, Reyer w ro te bo th a speech f o r p r e s e n t a t i o n at t he u n v e i l i n g o f t h e B e r l i o z Monument a t G r e n o b l e , and an a r t i c l e on B e r l i o z ' s l a s t y e a r s . 6 9 i n 1904, when a c ommi t t ee was formed t o r a i s e f und s f o r t he e r e c t i o n o f a monument t o Ben jamin Goda rd , Reyer was c a l l e d upon t o open t h e s u b s c r i p t i o n by w r i t i n g a t r i b u t e t o t he composer f o r whom he had b e e n , i n t h e words o f t h e e d i t o r s o f Le F i g a r o , " l e p r o t e c t e u r b i e n v e i l -l a n t e t V a m i . " 7 0 Two y e a r s l a t e r , t h e aged c r i t i c was a ga i n r e q u e s t e d t o t a k e up h i s pen on b e h a l f o f an o l d f r i e n d . T h i s t i m e , t h e r e q u e s t came f rom the f r i e n d h i m s e l f , t h e composer H e n r i M a r e c h a l , who wanted a p r e f a c e f o r a f o r t h c o m i n g book o f r e m i n i s c e n c e s . R e y e r ' s " l e t t r e en g u i s e de p r e f a c e " — d a t e d "9 decembre 1 9 0 6 , " ^ l s h o r t l y a f t e r h i s e i g h t y -t h i r d b i r t h d a y - - i s e v i d e n t l y h i s l a s t e f f o r t as a w r i t e r on m u s i c . Reyer had p r om i sed i n t he p r e f a c e t o h i s 1875 c o m p i l a t i o n No te s de mus ique t h a t , i f i t was s u c c e s s f u l , he would p r e p a r e a second c o l l e c -t i o n , b u t , d e s p i t e t he p o p u l a r i t y and t he c r i t i c a l a c c l a i m o f N o t e s , t he p r o m i s e d volume had not a p p e a r e d . When Reyer was n e a r i n g t he end o f h i s l i f e , E m i l e H e n r i o t , t h e son o f a c l o s e f r i e n d , p e r s i s t e n t l y o f f e r e d t o make t h e l o n g - a w a i t e d c o m p i l a t i o n , and Reyer f i n a l l y gave h i s c o n s e n t -on c o n d i t i o n t h a t he not be asked t o do a n y t h i n g e x c e p t l ook at t he p r o o f s f o r t h e sake o f d e t e r m i n i n g t h e o r d e r i n wh i ch t he s e l e c t i o n s s h o u l d a p p e a r . U n f o r t u n a t e l y , he d i d not l i v e t o see the p r o o f s . The w r i t i n g s s e l e c t e d by t h e young H e n r i o t were g i v e n t h e t i t l e Qua r an te ans de mus ique and were p u b l i s h e d p o s t h u m o u s l y i n 1909. H e n r i o t ' s e f f o r t s as c o m p i l e r l e f t much t o be d e s i r e d , but c r i t i c s were d e l i g h t e d t h a t more o f R e y e r ' s w r i t i n g s were made r e a d i l y a v a i l a b l e . ^ 2 39 The dea th o f t h e e i g h t y - f i v e - y e a r - o l d Reyer at h i s b e l o v e d Lavandou on 15 J a n u a r y 1909 was mourned as a g r e a t l o s s t o F rench m u s i c . A f t e r a q u i e t s e r v i c e at Lavandou on t h e s e v e n t e e n t h , h i s body was t a k e n t o M a r s e i l l e f o r b u r i a l . The f u n e r a l h e l d at h i s n a t i v e c i t y on t h e e i g h -t e e n t h had a l l t he pomp deemed s u i t a b l e f o r a man who had l ong been r e c o g n i z e d as one o f t h e g r e a t e s t sons o f M a r s e i l l e . ' ' 3 Reyer was s u r -v i v e d by h i s w i f e — w h o m he had m a r r i e d when he was pa s t e i g h t y — a n d t h e i r d a u g h t e r , E r n e s t i n e R e y - R e y e r . 7 4 R e y e r ' s memory was honored on s e v e r a l o c c a s i o n s . To mark t h e t h i r t y - f i f t h a n n i v e r s a r y o f h i s e l e c t i o n t o t h e I n s t i t u t (11 November 1 9 1 1 ) , a t r i b u t e was r e a d by t h e s e c r e t a r y o f t h e Academie des Beaux-A r t s . 75 i n 1920, t h e t h i r t y - f i f t h a n n i v e r s a r y o f t h e P a r i s i a n p r e m i e r e o f S i g u r d was commemorated by a " ' S a l u t ' E r n e s t R e y e r " a t — a p p r o p r i -a t e l y — a p e r f o r m a n c e o f t h e c o n c e r t s o c i e t y b e a r i n g t h e name o f P a s d e -l o u p , t h e c o n d u c t o r who had championed t h i s work d u r i n g the 1870s .76 The c e n t e n a r y o f R e y e r ' s b i r t h , 1 December 1923, was c e l e b r a t e d at bo th P a r i s and M a r s e i l l e : S i g u r d was r e v i v e d at t he O p e r a , and v a r i o u s m u s i -c a l e v e n t s were h e l d a t R e y e r ' s n a t i v e c i t y . 7 7 i n 1934, t h e t w e n t y -f i f t h a n n i v e r s a r y o f R e y e r ' s d e a t h was marked by ano the r r e v i v a l o f S i g u r d at t h e Opera ,78 and t h e c i t y o f M a r s e i l l e p a i d a f i n a l t r i b u t e t o her d i s t i n g u i s h e d son by i n a u g u r a t i n g a Reyer Monument.79 Reye r t h e Man Newspapers and p e r i o d i c a l p u b l i c a t i o n s o f t h e n i n e t e e n t h - and e a r l y t w e n t i e t h - c e n t u r y F rench p r e s s y i e l d l i t l e i n f o r m a t i o n about Reyer t h e man, f o r he was a shy p e r s o n who a v o i d e d p u b l i c i t y even a f t e r the 40 t r i u m p h s o f S i g u r d and Salammbo. As we have s e e n , he s l y l y made f un o f i n t e r v i e w e r s by t e l l i n g them t h a t he was l a b o r i n g o v e r a new o p e r a , Le C a p u c i n e n c h a n t e - - o n e o f s e v e r a l c ha rm ing m y s t i f i c a t i o n s he a lways had at hand f o r h i s i n q u i s i t o r s . The b e s t i n d i c a t i o n o f h i s a t t i t u d e t owa rd e f f o r t s t o p robe i n t o h i s l i f e i s a w i t t y d e s c r i p t i o n o f an i n t e r v i e w t h a t took p l a c e a f t e r t h e P a r i s i a n p r e m i e r e o f Salammbo. L ' i n t e r v i e w , c ' e s t l e supreme honneur e t l a supreme j o i e . Comment f a i s a i t - o n pour s ' e n p a s s e r j a d i s ? Car j e vous demande un peu que l p l a i s i r peut p r e n d r e l e p u -b l i c a e c o u t e r l ' o e u v r e d ' u n c o m p o s i t e u r , s i on ne l u i d i t pas avec q u e l l e d rogue i l se purge e t comment i l a l e nez f a i t . Le coup de s o n n e t t e de 1 1 i n t e r v i e w e r e s t e n e r g i q u e , i m p e r i e u x . On v o i t que c e l u i qu i sonne a i n s i a c o n -s c i e n c e de 1 ' i m p o r t a n c e de sa m i s s i o n . . . . A p e i n e e n t r e , i l promene des r e g a r d s c u r i e u x et i n v e s t i g a t e u r s a u t o u r de l u i : i l p rend des n o t e s . Te l un homme de l o i f a i t un i n v e n t a i r e ap re s un d e c e s . P u i s v i e n n e n t des q u e s t i o n s dont on se montre t a n t s o i t peu s u r p r i s mais a u x q u e l l e s i l f a u t r e p o n d r e : "A q u e l l e heure vous l e v e z - v o u s ? A v e z - v o u s bon a p p e t i t ? Composez-vous a s s i s , couche ou debout ? A imez - vou s l a p e i n t u r e ? . . . [ s i c ] " O u i , j e l ' a i m e , e t j e c r o i s e t r e un des r a r e s m u s i c i e n s qu i d i s t i n g u e n t a p r e m i e r e vue un V e l a s q u e z d ' u n S a s s o f e r r a t o . . . . [ " ] A v e z - v o u s q u e l q u e chose su r l e c h a n t i e r ? - - Mais j e n ' a i meme pas de c h a n t i e r . - - On m ' a v a i t d i t p o u r t a n t que vous t r a v a i l l i e z a un nouve l o u v r a g e : l e C a p u c i n enchan te ? " - - Dec idement ces g e n s - l a s a ven t t o u t , e t on ne peut r i e n l e u r c a c h e r . D ' a u t r e s q u e s t i o n s se s u c c e d e n t ; j e vous en f a i s g r a c e e t j ' a r r i v e a c e l l e - c i : c ' e s t l e bouque t : - - " A i m e r i e z -vous mieux e t r e mis en t e r r e ou c reme? " J ' a i demande v i n g t - q u a t r e heu re s pour r e f l e c h i r . . . . Vous c r o y e z p e u t - e t r e que j ' i n v e n t e ? De t rompez -v o u s , j ' a i d i t l ' e x a c t e v e r i t e . C e t t e f o i s - l a , j ' e t a i s a t a b l e e t l a f o u r c h e t t e m'en tomba des m a i n s . ° 0 S i n c e t h e i n f o r m a t i o n g i v e n by Reyer t o i n t e r v i e w e r s canno t be t r u s t e d , we must t u r n t o o t h e r s o u r c e s : h i s e x t a n t l e t t e r s , wh ich num-be r 269 i n t h e c o l l e c t i o n o f t h e B i b l i o t h e q u e de 1 ' Ope ra a l o n e ; 8 1 r e m i -n i s c e n c e s by f r i e n d s and a c q u a i n t a n c e s ; and t h e b i o g r a p h i e s by Ado l phe 41 J u l l i e n and H e n r i de C u r z o n , two o f h i s c l o s e f r i e n d s . These w r i t i n g s p a i n t a p o r t r a i t o f a man who, i n h i s y o u t h , was v i v a c i o u s and amus i n g , a f a v o r i t e at i n f o r m a l g a t h e r i n g s o f w r i t e r s , a r t i s t s , and f e l l o w -m u s i c i a n s . He was e v i d e n t l y p r i z e d not m e r e l y because o f h i s w i t , bu t a l s o because o f h i s c a p a c i t y f o r f r i e n d s h i p ; t h e young Reyer was, i n f a c t , on f r i e n d l y te rms w i t h " l a p l u p a r t des gens de l e t t r e s e t des a r t i s t e s de l ' e p o q u e . " 8 2 H i s f r i e n d s h i p s w i t h many o f t h e m - - i n c l u d i n g G a u t i e r , C o r m e n i n , du Camp, F l a u b e r t , and du L o c l e , as w e l l as B e r l i o z and B i z e t — w o u l d p r ove t o be l i f e l o n g . Reyer fo rmed p a r t i c u l a r l y c l o s e f r i e n d s h i p s w i t h G a u t i e r and B e r l i o z . One o f G a u t i e r ' s c o n t e m p o r a r i e s r e l a t e d t h a t he would keep h i s f r i e n d hour s a f t e r d i n n e r i n o r d e r t o e n j o y a " t o u r n o i d ' e s p r i t " and t o hea r t he young man ' s l a t e s t c o m p o s i t i o n s . The e v e n i n g would pass so q u i c k l y f o r t h e s e two f r i e n d s t h a t Reyer would d i s c o v e r he had m i s s e d t h e l a s t omnibus home, whereupon G a u t i e r would make up a bed f o r h im . The nex t morn i ng t h e poet would urge h i s f r i e n d t o s t a y j u s t a l i t t l e l o n g e r , " e t e e l a d u r a a i n s i p l u s i e u r s j o u r s . " 8 3 As we s h a l l see i n C h a p t e r V I I , Reyer became one o f B e r l i o z ' s i n t i m a t e s , r e m a i n i n g a f a i t h -f u l companion d u r i n g t he m a s t e r ' s p a i n f u l l a s t y e a r s . Reyer o f t e n r e -c a l l e d t h e e v e n i n g s spent w i t h B e r l i o z and t h e i r mutua l f r i e n d , Theodore R i t t e r , e i t h e r at B e r l i o z ' s home o r at t he t i n y apa r tment Reyer had o c c u p i e d e v e r s i n c e h i s a r r i v a l a t P a r i s i n 1848. The t h r e e men would r e a d one o f G l u c k ' s s c o r e s at t h e p i a n o , s i n g i n g t he v o c a l p a r t s " a vec des v o i x q u ' o n ne p a i e r a i t c e r t a i n e m e n t pas c i n q u a n t e m i l l e f r a n c s par an dans un t h e a t r e " ; 0 ^ o r ) B e r l i o z and Reyer would l i s t e n to R i t t e r p l a y f r a g m e n t s o f B e r l i o z ' s wo r k s . Reyer so c h e r i s h e d t h e s e memor ies t h a t , 42 as he once e x p l a i n e d t o Edouard L a l o ' s s on , he c o u l d neve r b r i n g h i m s e l f t o l e a v e h i s s m a l l a p a r t m e n t . P o u r q u o i l e q u i t t e r ? J ' y a i mes h a b i t u d e s . P u i s B e r l i o z qu i e t a i t mon v o i s i n , r u e de C a l a i s , y e s t venu s o u v e n t . Je 1 ' y r e v o i s un peu p a r t o u t : t e n e z , dans ce v i e u x f a u t e u i l oh vous v o i l a . A i l l e u r s , i l me semble que j e ne l e r e v e r r a i s j a m a i s p l u s . 8 5 How d i d t h i s wa rm-hea r t ed man r e a c t t o t h e t w e n t y - t h r e e - y e a r n e g l e c t o f h i s mus i c i n P a r i s ? I n e v i t a b l y he became e m b i t t e r e d , as we can t e l l f r om t h e a c e r b i c c l o s i n g remark i n t h e b r i e f p r e f a c e t o Notes de m u s i q u e : " A u j o u r d ' h u i p l u s que j a m a i s l e s m u s i c i e n s ont des l o i s i r s pour f a i r e a u t r e cho se que de l a m u s i q u e . " 8 6 The l i v e l y w i t wh i ch had a lway s c h a r a c t e r i z e d h i s c o n v e r s a t i o n became more i r o n i c and s a r c a s t i c t h a n i t had been d u r i n g h i s y o u t h . An i n c i d e n t t h a t o c c u r r e d d u r i n g h i s a t t e m p t t o pe r suade t h e O p e r a ' s H a l a n z i e r t o a c c e p t S i g u r d e x e m p l i f i e s h i s r e d o u b t a b l e r e p a r t e e . The d i r e c t o r o b j e c t e d t h a t t h e names o f t h e c h a r a c t e r s sounded b a r b a r i c : " H i l d a ! . . . [ s i c ] Vous en t e n e z dec i dement pour l e s noms b a r o q u e s . . . B i l d a f e r a i t beaucoup m i e u x , " t o w h i c h Reyer r e t o r t e d , " D i t e s done, e s t - c e que j e vous a p p e l l e B a l a n z i e r ? " 8 7 R e y e r ' s i n d e p e n d e n c e , wh i ch had been s t r i k i n g l y m a n i f e s t e d i n 1848 by h i s g o i n g t o P a r i s i n d e f i a n c e o f h i s f a m i l y ' s w i s h e s , was a no the r t r a i t wh i ch became more marked d u r i n g t h e decades when h i s mus ic was n e g l e c t e d . He l i v e d and worked q u i e t l y i n h i s t i n y a p a r t m e n t , t u r n i n g down i n v i t a t i o n s t o f o r m a l d i n n e r s and a t t e n d i n g o n l y s m a l l g a t h e r i n g s , such as a morn i ng r e c e p t i o n i n honor o f h i s b e l o v e d B e r l i o z o r a p a r t y g i v e n by Edouard L a l o . He had r e l a t i v e l y few c l o s e f r i e n d s : G a u t i e r , B e r l i o z , R i t t e r , B i z e t , and, l a t e r , Mme C a r o n , t he composers Edouard 43 L a i o , E r n e s t G u i r a u d , and Ben jamin G o d a r d , and t h e c r i t i c s Hen r i de Curzon and Ado l phe J u l 1 i e n , as w e l l as t h e i l l u s t r a t o r H e n r i o t and h i s s o n , E m i l e , who e v e n t u a l l y made t he second c o m p i l a t i o n o f R e y e r ' s w r i t -i n g s . Sunday was s e t a s i d e f o r t h e s e f r i e n d s , and would f i n d Reyer e i t h e r at t h e d i n n e r t a b l e o f one o f them o r e n t e r t a i n i n g two o r t h r e e i n h i s a p a r t m e n t - - t h r e e at m o s t , because h i s l i t t l e s qua re t a b l e c o u l d b a r e l y accommodate f o u r p l a c e s . On o t h e r days he l e d a s o l i t a r y e x i s -t e n c e . Even Curzon remarked on sa f a r o u c h e i n d e p e n d a n c e . L o r s q u ' o n v e n a i t l e v o i r , on s e n t a i t une d o u b l e i m p r e s s i o n , b i e n c u r i e u s e : i l e t a i t f u r i e u x de l a v i s i t e , e t e n c h a n t e de vous v o i r . Son r e g a r d , sa p o i g n e e de mains r e p o u s s a i e n t e t a t t i r a i e n t a l a f o i s . . . Ma i s c e l a p a s s a i t v i t e ; e t a l o r s , q u e l l e s a t t a c h a n t e s c o n v e r s a t i o n s ! ^ As Curzon i n d i c a t e d , t h e g r u f f and i ndependen t e x t e r i o r t h a t c h a r -a c t e r i z e d Reyer d u r i n g t h e l o ng p e r i o d o f m u s i c a l o s t r a c i s m p r o t e c t e d a s p i r i t t h a t r ema ined k i n d and a f f e c t i o n a t e . The b e s t p r o o f o f t h i s i s t h e s u p p o r t he gave f e l l o w - c o m p o s e r s d u r i n g h i s t e n u r e as m u s i c a l f e u i l - l e t o n i s t e o f t h e D e b a t s . S a i n t - S a e n s , M a s s e n e t , B i z e t , F r a n c k , L a l o , and C h a b r i e r - - t o name but a f e w — w e r e much i n d e b t e d t o h i s f r a t e r n a l encou r agemen t , e s p e c i a l l y d u r i n g t h e e a r l y y e a r s o f t h e i r c a r e e r s . R e y e r ' s gene rous a t t i t u d e t owa rd h i s c o l l e a g u e s t e s t i f i e s a l l t h e more e l o q u e n t l y t o h i s " f e r m e t e de c a r a c t e r e e t . . . g e n e r o s i t e de c o e u r " 8 ^ when we remember t h a t h i s own e f f o r t s as a composer were l a r g e l y i g n o r e d w h i l e he watched many o f h i s c o n t e m p o r a r i e s and j u n i o r s become famous . M a s s e n e t , f o r e x a m p l e , c r e a t e d a s e n s a t i o n w i t h h i s o r a t o r i o M a r i e - M a g d e l e i n e ( 1 8 7 3 ) ; he made a s u c c e s s f u l debut at t he Opera w i t h Le Ro i de L aho re i n 1877, when he was o n l y t h i r t y - f i v e ; and Manon (1884) made 44 him " u n q u e s t i o n a b l y . . . F r a n c e ' s most p o p u l a r o p e r a compose r , a p o s i -t i o n t h a t was h a r d l y c h a l l e n g e d f o r t h e next t w e n t y y e a r s . " 9 0 Reyer must have e n v i e d M a s s e n e t ' s e a r l y and l a s t i n g s u c c e s s , but he never a l l o w e d any such f e e l i n g t o t a i n t h i s w r i t i n g s . We have o n l y t o r e ad h i s r e v i e w s o f M a r i e - M a g d e l e i n e , Manon, and t he l a t e r Wer ther ( 1 8 9 4 ) , t o a p p r e c i a t e t h e s i n c e r e and warm p r a i s e w i t h wh ich he g r e e t e d M a s s e n e t ' s b e s t work s .91 A l t h o u g h R e y e r ' s m u s i c a l c r e a t i v i t y was s t i m u l a t e d by t h e e v e n t u a l t r i u m p h o f S i g u r d , h i s c h a r a c t e r was not changed : t h e g r u f f e x t e r i o r r ema ined i n t a c t , as d i d t h e generous h e a r t . C h a r l e s - M a r i e W i d o r , a d i s -t i n g u i s h e d o r g a n i s t - c o m p o s e r who knew Reyer d u r i n g t he y e a r s when S i g u r d and Salammbo c a r r i e d him t o t h e peak o f h i s f ame, made a d e l i g h t f u l l y c a n d i d s k e t c h o f t h e c e l e b r i t y who c o n t i n u e d t o l i v e m o d e s t l y i n h i s s m a l l a p a r t m e n t : Quand on sonna a sa p o r t e , quand i l vous o u v r a i t l u i -meme, l a r o s e t t e r o u g e [de l a L e g i o n d ' h o n n e u r ] au v e s t o n , sa p i p e a l a m a i n , quand i l vous f a i s a i t e n t r e r dans ce c a b i n e t qu i n ' a v a i t d ' a u t r e ornement q u ' u n g rand p o r t r a i t de femme en cos tume o r i e n t a l e t une epee a c c r o c h e e a l a m u r a i l l e , c ' e t a i t evidemment en p r e s e n c e d ' u n v i e u x s o l d a t d ' A f r i q u e que vous vous s e n t i e z , e t non d ' u n m u s i c i e n i l l u s t r e . - - T o u t e f o i s 1 ' i l l u s i o n d u r a i t peu ; q u e l q u e s mots echanges s u f f i s a i e n t a l a d i s s i p e r : a v i e z - v o u s a l u i recommander q u e l q u ' u n , a l u i demander un s e r v i c e , t o u t a u s s i t o t son r e g a r d se f a i s a i t t e n d r e , l 'homme s e m b l a i t t o u t a u t r e ; p l u s r i e n d ' a u t o r i -t a i r e dans son a t t i t u d e ; n i r a i d e u r , n i p o s e ; vous a v i e z devan t vous un p o e t e , un e t r e d e l i c a t e t s e n s i b l e dont l e s j o u e s se c o l o r a i e n t a l a mo i nd re e m o t i o n , un ami t o u j o u r s p r e t a vous o b l i g e r . Le g rand p o r t r a i t , c ' e t a i t c e l u i de Mme Caron dans Salammbo, o f f e r t a Reyer pa r [ l e p e i n t r e ] Bonna t ; 1 ' e p e e , e e l l e que p o r t a i t B e r l i o z en cos tume de membre de 1 ' I n s t i t u t . 9 2 A f t e r he r e t i r e d f rom t h e Debats i n 1898, Reyer passed t h e summers and w i n t e r s c o m f o r t a b l y i n s t a l l e d at M o u t h i e r - H a u t e - P i e r r e and L a vandou . 45 H i s c r u s t y but k i n d - h e a r t e d n a t u r e endea red him t o t he l o c a l s at bo th o f t h e s e r e t r e a t s , and h i s p rowess at d o m i n o s - - a f a v o r i t e p a s t i m e — b e c a m e l e g e n d a r y among t h e f i s h e r m e n at h i s b e l o v e d L a vandou . However, he d i d not f o r g e t h i s o l d f r i e n d s i n P a r i s . He c o r r e s p o n d e d f r e q u e n t l y w i t h Ado l phe J u l l i e n , and h i s b r i e f s o j o u r n s i n t he c a p i t a l were neve r com-p l e t e w i t h o u t a v i s i t t o t h e h e a d q u a r t e r s o f t h e Deba t s , where c o l -l e a g u e s bo th o l d and new " s e p l a i s a i e n t a r e c u e i l l i r l e s p ropos t o u j o u r s s i amusant s , d ' u n e bonne humeur s i m o r d a n t e , qu i t o m b a i e n t de ses l e v r e s . " 9 3 The honor s showered upon Reyer d u r i n g h i s o l d age must have seemed a l l t h e swee te r because he had t h e good h e a l t h t o s a vo r them. In f a c t , he e n j o y e d " [ u n e ] v i e i l l e s s e r o b u s t e , " 9 4 and some o f h i s f r i e n d s were shocked ou t o f t h e i r r e s p e c t a b l e sen se s when t h e o c t o g e n a r i a n m a r r i e d a young woman who s u b s e q u e n t l y bo re him a d a u g h t e r . T h i s un i on a p p a r e n t l y d i d not l a s t , f o r t h e r e i s no r e f e r e n c e t o e i t h e r w i f e o r c h i l d i n R e y e r ' s c o r r e s p o n d e n c e , and he c o n t i n u e d t o spend most o f h i s t i m e a t M o u t h i e r - H a u t e - P i e r r e and L a vandou . As he had w i s h e d , t h i s s o u t h e r n e r ended h i s days i n t h e s o u t h , succumbing a t Lavandou t o a sudden a t t a c k o f pneumon ia . H i s l a s t moments were p e a c e f u l and c o n f i d e n t : t o a f r i e n d who came t o see him he s a i d s i m p l y , " J ' e s p e r e . . . " 95 Was Reyer hop i n g t o be remembered as a compose r , a c r i t i c , o r bo th ? J u l l i e n , who was not o n l y a c l o s e f r i e n d but a l s o h i s c o - w o r k e r and e v e n t u a l s u c c e s s o r a t t h e D e b a t s , t e l l s us t h a t Reyer d i d not c a r e whethe r o r no t h i s c r i t i c a l w r i t i n g s were p r e s e r v e d . Mon i l l u s t r e p r e d e c e s s e u r ne s ' e s t j a m a i s i n q u i e t e de ce que d e v i e n d r a i e n t l e s a r t i c l e s qu i t o m b a i e n t de sa plume e t sa j o i e e t a i t s i g rande d ' a v o i r f i n i sa t a c h e , chaque 46 f o i s q u ' i l d e v a i t r e d i g e r un f e u i l l e t o n , q u ' i l ne se s o u c i a i t guere d ' y r e v e n i r n i de se donner l a mo i nd re p e i n e a f i n d ' e n a s s u r e r l a d u r e e , en deho r s du j o u r -n a l . 96 J u l l i e n s u p p o r t s h i s s t a t e m e n t by c a l l i n g a t t e n t i o n t o t he c i r c u m s t a n c e s s u r r o u n d i n g t h e making o f R e y e r ' s two c o m p i l a t i o n s . The f i r s t was begun a t t h e s u g g e s t i o n o f t h e p u b l i s h e r C h a r p e n t i e r and c o m p l e t e d o n l y w i t h t h e h e l p o f R e y e r ' s f r i e n d B l a u ; and t h i r t y - t h r e e y e a r s l a t e r , when Reyer y i e l d e d t o t he " a m i c a l e s i n s t a n c e s " o f E m i l e H e n r i o t and a u t h o r -i z e d t h e p r e p a r a t i o n o f a second c o l l e c t i o n , he s t i p u l a t e d " q u ' i l n ' a u r a i t a s ' o c c u p e r de r i e n , s i n o n que de r e v o i r en d e r n i e r l i e u l e s e p r e u v e s , pour l ' o r d r e q u ' i l c o n v i e n d r a i t de donner au v o l u m e . " 9 7 A l l o f t h i s s u g g e s t s t h a t Reyer d i d not d e s i r e t o be remembered as a c r i t i c . N e v e r t h e l e s s , t h i s man who e v i d e n t l y saw h i m s e l f as a composer was no t c o m p l e t e l y i n d i f f e r e n t t o t he f a t e o f h i s c r i t i c a l w r i t i n g s , becau se he kep t and a n n o t a t e d h i s f e u i l l e t o n s f o r bo th t h e C o u r r i e r and t h e D e b a t s . T h i s c o l l e c t i o n , w h i c h he d e p o s i t e d i n t h e B i b l i o t h e q u e de 1 'Ope ra sometime a f t e r r e t i r i n g f r om t h e D e b a t s , was u t i l i z e d by H e n r i o t i n t he mak ing o f t h e second c o m p i l a t i o n , but has s i n c e d i s a p p e a r e d . 9 8 J u l l i e n ' s r e f e r e n c e t o " l e s a r t i c l e s qu i t o m b a i e n t de sa p lume " i n d i c a t e s t h a t t h e w r i t i n g o f p r o s e was not t o i l f o r R e y e r . The e x t a n t m a n u s c r i p t s - - t h r e e f e u i 1 l e t o n s f o r t h e D e b a t s 9 9 - - show, i n f a c t , v e r y few s i g n s o f l i t e r a r y s t r u g g l e : o n l y t h e o c c a s i o n a l word or ph ra se i s c r o s s e d ou t and r e w r i t t e n . However, such o b v i o u s f a c i l i t y w i t h words s h o u l d not l e a d us t o suppose t h a t Reyer gave l i t t l e p r e l i m i n a r y c o n s i d -e r a t i o n t o h i s s u b j e c t s . On t h e c o n t r a r y , he must have done much r e a d i n g and t h i n k i n g b e f o r e w r i t i n g , because h i s a r t i c l e s c o n t a i n many 47 a l l u s i o n s t o and q u o t a t i o n s f r om p e r t i n e n t h i s t o r i c a l w o r k s , t he w r i t -i n g s o f composers and t h e i r c o n t e m p o r a r i e s , and a r t i c l e s i n s p e c i a l i z e d r e v i e w s . R e y e r ' s q u i e t way o f 1 i f e - - e s p e c i a l l y h i s r e s e n t m e n t o f unexpec ted v i s i t o r s — s t r e n g t h e n s our h y p o t h e s i s t h a t he c o n c e n t r a t e d on menta l l a b o r s . I t would seem t h a t , by so d o i n g , he was a b l e t o f o rm a c l e a r c o n c e p t i o n o f what he wanted t o w r i t e b e f o r e a t t e m p t i n g t o put i t on p a p e r . D id Reyer f i n d t h e o c c u p a t i o n o f mus ic c r i t i c e n j o y a b l e ? H i s n a t u r a l f a c i l i t y w i t h words may have e n a b l e d him to t a k e p l e a s u r e both i n g h o s t w r i t i n g f o r G a u t i e r and i n c o n t r i b u t i n g o c c a s i o n a l l y t o v a r i o u s p e r i o d i c a l s d u r i n g t h e 1850s and a f t e r h i s r e t i r e m e n t f rom the D e b a t s . However, h i r e d j o u r n a l i s m , wh i ch o c c u p i e d much o f h i s t i m e i n t h e 1850s and was t h e c e n t e r o f h i s a t t e n t i o n f o r f o u r o f t h e l a s t f i v e decades o f h i s l i f e , was pe rhap s more o f a burden t han a p l e a s u r e . For e x a m p l e , i n 1894 we f i n d him w r i t i n g about h i s f e u i l l e t o n f o r t he D e b a t s : " . . . v o i l a p l u s de v i n g t - c i n q ans que j e s u i s a t t e l e a c e t t e besogne."- ' -01 Why, t h e n , d i d Reyer embark on a c a r e e r as a mus i c c r i t i c ? Why d i d a man who hoped t o be remembered as a composer u n d e r t a k e an a c t i v i t y w h i c h e n t a i l e d c o u n t l e s s hou r s o f l i s t e n i n g , and t h e r e f o r e sapped t he t i m e he c o u l d have devo ted t o compos ing ? The main r ea son was p r o b a b l y t h a t he c o u l d not make an adequate l i v i n g f rom h i s c o m p o s i t i o n s . Even though t h e majo r works b r ough t ou t d u r i n g t h e 1 8 5 0 s - - L e S e l a m , MaTt re W o l f r a m , and S a c o u n t a l a - - w e r e w e l l r e c e i v e d by t h e P a r i s i a n p u b l i c and warmly p r a i s e d by t h e c r i t i c s , none would have ea rned much money f o r t h e young composer . P r o f i t s f r om Le Se lam had t o be used to r e p a y t he f r i e n d s and r e l a t i v e s who had f i n a n c e d t h e p r e m i e r e ; M a i t r e Wol f ram r a n 48 f o r a t o t a l o f t w e n t y - t h r e e p e r f o r m a n c e s , but was by no means a ma jo r s u c c e s s ; and S a c o u n t a l a , wh i ch d i s a p p e a r e d a f t e r t he t w e n t y - f o u r t h p e r -f o r m a n c e , r ema ined u n p u b l i s h e d , and any hopes f o r a r e v i v a l were dashed when t h e s e t s were d e s t r o y e d i n a f i r e at t h e Opera warehouse i n 1861 . E r o s t r a t e , wh i ch a l s o d a t e s f r om t h e 1850 s , b r ough t Reyer f a c e - t o - f a c e w i t h t h e d i f f i c u l t y o f g a i n i n g a h e a r i n g f o r a work whose s u b j e c t was d i f f e r e n t f r om the u sua l P a r i s i a n o p e r a t i c f a r e ; as we have s e e n , i t was f i n a l l y a c c e p t e d not a t P a r i s but at B a d e n - B a d e n — n i n e y e a r s a f t e r i t s c o m p l e t i o n . La S t a t u e , t o o , had a t r o u b l e d e a r l y h i s t o r y wh i ch must have h e i g h t e n e d R e y e r ' s awareness o f t h e shabby t r e a t m e n t a c co rded u n e s t a b l i s h e d composers i n t h e w o r l d o f S e cond - Emp i r e l y r i c t h e a t r e s . F i n a n c i a l n e c e s s i t y may have been t h e main r ea son b e h i n d R e y e r ' s d e c i s i o n t o become a c r i t i c , but s u r e l y h i s a s s o c i a t i o n s w i t h p r om inen t P a r i s i a n w r i t e r s and m u s i c i a n s would a l s o have e n t e r e d i n t o t h i s d e c i -s i o n . H i s f r i e n d s h i p s w i t h b r i l l i a n t men o f l e t t e r s — m e n l i k e G a u t i e r , B a u d e l a i r e , G e r a r d de N e r v a l , H e i n e , and F l a u b e r t — m u s t have s t i m u l a t e d h i s i n n a t e l i t e r a r y g i f t , and g h o s t w r i t i n g f o r G a u t i e r may have made him eage r t o d e v e l o p i t . H i s appo i n tmen t as mus ic c r i t i c o f t h e Revue de P a r i s i n 1852 was p r o b a b l y due t o t h e i n f l u e n c e o f G a u t i e r , one o f t h e f o u n d e r s o f t h i s j o u r n a l , and we can s p e c u l a t e t h a t R e y e r ' s o t h e r l i t e r a r y f r i e n d s l i k e w i s e h e l p e d open many doo r s t o t he young unknown. Reyer a l s o had s i g n i f i c a n t m u s i c a l c o n n e c t i o n s : he was bo th a nephew o f t h e F a r r e n c s , who were h i g h l y r e s p e c t e d i n P a r i s i a n m u s i c a l c i r c l e s , and a f r i e n d o f B e r l i o z , t h e r e v e r e d f e u i l l e t o n i s t e f o r t h e D e b a t s . Such a l l i e s must have f a c i l i t a t e d h i s e n t r y i n t o t he pages o f o f La F r a n c e 49 m u s i c a l e , t h e Revue e t G a z e t t e m u s i c a l e de P a r i s , and , u l t i m a t e l y , t h e D e b a t s . We m igh t a l s o wonder why Reyer d i d not r e s i g n f rom the Debat s and d e v o t e h i m s e l f t o compos ing when t h e t r i u m p h o f S i g u r d i n 1885 ended t h e t w e n t y - t h r e e - y e a r o s t r a c i s m o f h i s works f r om P a r i s i a n l y r i c t h e a t r e s . A f t e r a l l , he c o n s i d e r e d h i m s e l f p r i m a r i l y a compose r ; he composed q u i c k l y and e a s i l y , " d an s t o u t l e f e u de V i n s p i r a t i o n " ; - ^ and he found w r i t i n g a f e u i l l e t o n a "besogne. " - ' -03 We s h o u l d remember, however , t h a t Reyer was i n h i s e a r l y s i x t i e s when S i g u r d was f i r s t a c c l a i m e d . At t h a t s t a g e i n h i s l i f e , he pe rhaps f e l t t h a t h i s c r e a t i v i t y as a composer wou ld not l a s t l o n g enough t o w a r r a n t r e l i n q u i s h i n g t he s e c u r i t y o f t h e Debats p o s t . F u r t h e r m o r e , as an a s t u t e o b s e r v e r o f t h e F rench m u s i c a l s c e n e , he may have sensed t h a t h i s s u c c e s s at P a r i s would s c a r c e l y be c o n s o l i d a t e d b e f o r e i t would be swept away by Wagner ' s l o n g - s u p p r e s s e d o p e r a s and mus i c d r a m a s — w o r k s wh i ch Reyer had f o r many y e a r s championed as a c r i t i c . In any c a s e , a f t e r t h e t r i u m p h o f S i g u r d h i s o n l y m a j o r e f f o r t as a composer was t h e c o m p l e t i o n o f Salammbo. H i s work as a c r i t i c , on t h e o t h e r hand , c o n t i n u e d unabated f o r s e v e r a l y e a r s , even though he abandoned t he c o r o l l a r y a c t i v i t i e s o f e d i t i n g and c o n d u c t i n g . Thus , i r o n i c a l l y , h i s c a r e e r as a c r i t i c r ema ined t h e f o c u s o f h i s a c t i v i t y when h i s mus i c was at t h e h e i g h t o f i t s p o p u l a r i t y i n the F r ench c a p i t a l . R e y e r ' s Mu s i c More t han t h i r t y y e a r s a f t e r R e y e r ' s d e a t h , t h e c r i t i c P i e r r e L a l o — s o n o f t h e c o m p o s e r — p a i d t r i b u t e t o t he man whose m u s i c , l i k e t h a t o f 50 h i s f a t h e r , had not won w i d e s p r e a d p o p u l a r i t y u n t i l i t s c r e a t o r was i n h i s s i x t i e s : II a e t e l ' u n de ces a r t i s t e s i n d e p e n d a n t s e t s o l i t a i r e s pour qu i j e me sens une s y m p a t h i e n a t u r e l l e . II n ' e s t pas s o r t i du C o n s e r v a t o i r e , i l n ' a pas c o n c o u r u pour l e p r i x de Rome; . . . i l n ' a r i e n eu de commun avec c e t t e h i e r a r c h i e des f o n c t i o n s o f f i c i e l l e s , g r a c e a quo i c e r t a i n s c o m p o s i t e u r s p a r v i n r e n t aux honneurs comme on avance dans l e s bu reaux . . . Les o e u v r e s de Reyer ont s e u l s f a i t sa renommee.104 The one t i m e t h a t t h i s i n d e p e n d e n t and s o l i t a r y composer f o l l o w e d t h e l e a d o f a p o p u l a r f i g u r e was i n 1850, when he was a young unknown w a n t i n g t o make a name f o r h i m s e l f i n P a r i s . No doubt he was m i n d f u l o f t h e t remendous s u c c e s s t h a t t h e F rench p u b l i c — l o n g i n f a t u a t e d w i t h o r i e n t a l i s m i n m u s i c — h a d a c c o r d e d F e l i c i e n D a v i d ' s ode - s ymphon ie Le D e s e r t ( 1 8 4 4 ) , f o r he p r e s e n t e d h i s r e c o l l e c t i o n s o f A l g e r i a i n a work o f t h e same g e n r e , Le Se lam ( A r a b i c f o r " b o u q u e t " ) . ^ 5 5 0 m e c r i t i c s a c c u s e d Reyer o f h a v i n g c o p i e d D a v i d ' s w o r k — a c h a r g e t h a t was pe rhaps i n e v i t a b l e because o f t h e s i m i l a r i t i e s i n bo th gen re and s u b j e c t m a t t e r . However, so a s t u t e an o b s e r v e r as Georges S e r v i e r e s has avowed t h a t t h e r e was " aucune r e s s e m b l a n c e e n t r e l e s t y l e de F e l i c i e n Dav i d e t l a mus ique de R e y e r . " 1 0 6 The young composer was p r o b a b l y i n s p i r e d not by D a v i d ' s s c o r e per se but r a t h e r by t h e i d e a o f w r i t i n g a d e s c r i p t i v e symphony e v o k i n g t a b l e a u x o f o r i e n t a l l i f e . R e y e r ' s e x p e r i e n c e s o f l i v i n g and t r a v e l l i n g i n N o r t h A f r i c a - * - ^ n o u r i s h e d a l i f e l o n g l o v e o f o r i e n t a l s u b j e c t s , m a n i f e s t e d not o n l y i n Le Selam but a l s o i n f o u r o f h i s s i x o t h e r ma jo r w o r k s : t h e b a l l e t S a c o u n t a l a , t h e o p e r a E r o s t r a t e , t h e o p e r a comique L a S t a t u e , and Salammbo, h i s l a s t o p e r a . 51 What k i n d o f o p e r a t i c mus i c was i n vogue when Reyer was b e g i n n i n g h i s c a r e e r as a composer? D u r i n g t h e 1850s t h e g rand o p e r a s o f Meye r -b e e r were s t i l l t h e m a i n s t a y o f t h e O p e r a ' s r e p e r t o i r e ; t h e T h e a t r e -I t a l i e n r e sounded w i t h t h e v i r t u o s o c o l o r a t u r a s o f t h e works o f R o s s i n i , B e l l i n i , and D o n i z e t t i ; and t h e Opera -Comique was r e l y i n g on such l o n g -e s t a b l i s h e d f i g u r e s as B o ' f e l d i e u , A d o l p h e Adam, and A u b e r . In 1859 t h e s u c c e s s o f Fau s t a t t h e T h e a t r e - L y r i q u e made Gounod t h e f o r e m o s t young F r ench composer o f t h e d a y , and t h r o u g h o u t t h e 1860s he rema ined t h e f a v o r i t e at t h i s i n s t i t u t i o n w h i l e t h e r e p e r t o i r e s o f t h e o t h e r t h r e e P a r i s i a n l y r i c t h e a t r e s s t a g n a t e d . A l l o f R e y e r ' s ma jo r w o r k s — f r o m Le Selam (1850) t o S a l ammbo ( 1 8 9 0 ) — d e m o n s t r a t e t h a t he chose as h i s p r i n c i p a l model s t h r e e m a s t e r s whose mus i c was s c a r c e l y e v e r hea rd i n m i d - c e n t u r y P a r i s : G l u c k , Weber, and B e r l i o z . He o f t e n acknowledged h i s i n d e b t e d n e s s t o them, as i n t h e f o l l o w i n g pa s sage apropos o f h i s second o p e r a c o m i q u e : On a p a r l e de mon a d m i r a t i o n pour Weber, pour G l u c k , e t pour B e r l i o z . Q u e l q u e s - u n s ont meme a j o u t e que p l u s d ' u n e page de l a S t a t u e p o r t a i t des t r a c e s de c e t t e a d m i r a t i o n . Je ne l e n i e p a s . En a r t on e s t t o u -j o u r s f i l s de q u e l q u ' u n et l a r e c h e r c h e de l a p a t e r n i t e n ' e s t pas i n t e r d i t e . 1 0 8 The m u s i c a l c o n n e c t i o n s between Reyer and h i s model s a re i ndeed a p p a r -e n t , a l t h o u g h he i n s i s t e d t h a t Je l e s admi re t r o p . . . dans l e s m a n i f e s t a t i o n s t r e s d i f f e r e n t e s de l e u r g e n i e , pour a v o i r l ' a u d a c e de l e s i m i t e r . Q u ' i l me r e s t e dans l ' e s p r i t et au bout de l a plume q u e l q u e cho se de c e t t e a d m i r a t i o n , c e l a n ' a r i e n que de t r e s n a t u r e l . Ma i s eux-memes n ' o n t - i l s r i e n g a rde des maTt re s dont i l s p r o c e d e n t et q u ' i l s ont l e p l u s admi re ?109 52 Many c o n t e m p o r a r y c r i t i c s remarked on R e y e r ' s c o n c e r n f o r e x p r e s -s i v e l y r i c d e c l a m a t i o n ; i n t h e words o f L o u i s de F o u r c a u d , " Ses drames a t t e s t e n t son s o u c i de l a j u s t e s s e e x p r e s s i v e de l a d e c l a m a t i o n . " H O I t i s i n t h i s c o n s c i e n t i o u s m u s i c a l a t t e n t i o n t o each l i t e r a r y ph ra se t h a t we sense t h e i n f l u e n c e o f G l u c k . One example c i t e d i n c o n n e c t i o n w i t h t h i s s t y l i s t i c e l ement i s t h e o p e n i n g o f A c t I I o f S i g u r d , i n wh i ch t h e p r a y e r s o f t h e p r i e s t s and o f t h e H i gh P r i e s t a re r e m i n i s c e n t o f t h e g r e a t r e l i g i o u s s cenes i n t h e o p e r a s o f G l u c k . m At t h e t u r n o f t h e c e n t u r y a c r i t i c r e c a l l e d how P a r i s i a n a u d i e n c e s had i n i t i a l l y r e a c t e d t o t h e d i r e c t n e s s o f d r a m a t i c speech i n t h i s o p e r a : A l a p r e m i e r e r e p r e s e n t a t i o n . . . que l que e t o n n e -ment se m a n i f e s t a chez l e s a u d i t e u r s . . . . l e p u b l i c n ' a v a i t pas p r i s 1 ' h a b i t u d e des d e c l a m a t i o n s v i v a n t e s . . . . l a vehemente e n t r e e des g u e r r i e r s , l e s b e l l e s p h r a s e s de G u n t h e r , l e r e c i t de Hagen s u r p r i r e n t : on s ' e t a i t de saccoutume de t a n t d ' a m p l e u r e t de v e r i t e . H ^ The H i gh P r i e s t ' s i n v o c a t i o n i n S i g u r d and some o f t he e x c l a m a t i o n s o f H a m i l c a r and N a r r ' h a v a s i n Salammbo were l a t e r p r a i s e d as a t t a i n i n g " de s a c c e n t s d ' u n e i n t e n s i t e p re sque un i que dans l e r e p e r t o i r e l y r i q u e f r a n -g a i s c o n t e m p o r a i n . A c c o r d i n g t o R e y e r ' s c o l l e a g u e s , h i s most Weber ian s c o r e s a re the o p e r a s comiques M a t t r e Wol f ram and L a S t a t u e , bo th o f wh i ch d a t e f rom t h e 1850s , t h e f i r s t and most f e r t i l e decade i n R e y e r ' s c r e a t i v e l i f e as a compose r . M a t t r e Wol f ram i s a o n e - a c t work w i t h spoken d i a l o g u e and t h u s f o l l o w s e x t e r n a l l y t h e c l a s s i c p a t t e r n o f o p e r a c o m i q u e , but t h e m e l o d i c t u r n s o f p h r a s e , t h e s t y l e o f t h e accompan iment , and t h e o r c h e s -t r a l c o l o r i n g prompted one c r i t i c t o p ronounce Reyer " 1 ' a d m i r a t e u r p a s -s i o n n e e t l e d i s c i p l e l e p l u s f e r v e n t " o f Weber, w h i l e ano the r w r o t e : 53 " C ' e s t l a r e v e r i e a l l e m a n d e dans t o u t e sa g r a c e e t dans t o u t e sa s e n s i -b i l i t e . " 1 ^ L a S t a t u e e l i c i t e d s i m i l a r comments. B e r l i o z , f o r e x a m p l e , f ound i t imbued w i t h " c e qu i f a i t l e charme p r i n c i p a l des o e u v r e s de Weber, un s e n t i m e n t p r o f o n d , une o r i g i n a l i t e n a t u r e l l e de m e l o d i e , une ha rmon ie c o l o r e e e t une i n s t r u m e n t a t i o n e n e r g i q u e sans b r u t a l i t e s n i v i o l e n c e s . " 1 1 5 N e a r l y f i f t y y e a r s l a t e r , when L a S t a t u e was r e v i v e d d u r i n g t he " s e m a i n e R e y e r " at t h e O p e r a , one c r i t i c o b s e r v e d : " . . . c ' e s t au j a r d i n d ' Obe ron q u ' i l a c u e i l l i l e s f l e u r s dont l e par fum embaumera l e s j o l i e s i n s p i r a t i o n s de l a S t a t u e . " H 5 I t i s p o s s i b l e t h a t Reyer was a l s o i n f l u e n c e d by Webe r ' s e a r l y S i n g s p i e l Abu Ha s s an , f o r t h i s m ino r c l a s s i c r e c e i v e d i t s P a r i s i a n p r e m i e r e i n 1859, t h e v e r y y ea r t h a t Reyer was compos ing L a S t a t u e . R e y e r ' s c o l l e a g u e s p e r c e i v e d an i n d e b t e d n e s s t o Weber even i n the two works wh ich would p rove t o be t h e F r ench c o m p o s e r ' s o n l y ma jo r v e n -t u r e s o u t s i d e t h e r e a l m o f o p e r a : Le Se lam and S a c o u n t a l a , bo t h o f wh i ch d a t e f rom t h e 1850s . The second p a r t o f Le S e l a m - - " L a C o n j u r a t i o n des D j i n n s , " w h i c h d e p i c t s s o r c e r e s s e s c h a s i n g e v i l s p i r i t s f rom A rab d w e l 1 i n g s - - i s , i n t h e words o f S e r v i e r e s , " c o n d u i t e avec une v e r v e f o u -gueuse qu i r a p p e l l e W e b e r . " H ? A c c o r d i n g t o c o n t e m p o r a r y r e v i e w s o f S a c o u n t a l a , some o f t h e m e l o d i e s i n t h i s o r i e n t a l b a l l e t are W e b e r i a n . The s c o r e o f t h i s work , i n c i d e n t a l l y , has neve r been p u b l i s h e d , and t o t h i s day r e m a i n s i n t h e B i b l i o t h e q u e de 1 ' O p e r a . H 8 S a c o u n t a l a s t r u c k B e r l i o z as a r e f r e s h i n g change f r om c u r r e n t l y f a s h i o n a b l e b a l l e t m u s i c . La p a r t i t i o n du j e u n e maTt re n ' e s t pas en e f f e t de c e l l e s q u ' o n c r o i t a v o i r en tendue s p l u s i e u r s c e n t a i n e s de f o i s . On y t r o u v e au c o n t r a i r e un c o l o r i s de s t y l e p a r t i c u l i e r , une s o n o r i t e n o u v e l l e . Son o r c h e s t r e n ' e s t pas l ' e t e r n e l o r c h e s t r e p a r i s i e n ; en l ' e c o u t a n t , on se 54 d i t de p r ime a b o r d : Ah! e n f i n v o i c i un a u t r e o r c h e s t r e ; ce n ' e s t pas de 1 1 i n s t r u m e n t a t i o n o f f i c i e l l e ; l e s t i m b r e s d i v e r s y son t i n g e n i e u s e m e n t m a r i e s e n t r e eux , l e s i n s t r u m e n s de p e r c u s s i o n n ' y son t pas des i n s t r u m e n s de p e r s e c u t i o n : i l s ne vous y c r e v e n t pas l e tymban. P u i s v o i c i de p i q u a n t e s h a r d i e s s e s d ' h a r m o n i e , de f r a i c h e s m e l o d i e s b i e n t r o u v e e s . . . t o u t e e l a e s t j e u n e e t s o u r i a n t , e ' e s t v e r t , e ' e s t f l e u r i . D ieu s o i t l o u e , nous sommes s o r t i s de l a c u i s i n e , nous e n t r o n s dans l e j a r d i n ; . . . r e s p i r o n s . In bo th S i g u r d and Salammbo c r i t i c s a ga i n heard Weber, a l t h o u g h t h e y f ound t h i s i n f l u e n c e l e s s s t r o n g t han i n t he works o f t h e 1850s . S e r v i e r e s o b s e r v e d t h a t , l i k e " L a C o n j u r a t i o n des D j i n n s " i n Le S e l am, c e r t a i n pages o f t h e l a s t two o p e r a s — s u c h as H i l d a ' s e x u l t a n t "I I m ' a i m e , i l m ' a i m e ! " i n S i g u r d and "Des g l a i v e s , des f l a m b e a u x ! C o u -r a g e ! " i n Sa l ammbo—have t h e f i e r y v i g o r o f W e b e r ' s a l l e g r o s . 120 How-e v e r , as P a t r i c k Smi th has r emarked ,121 W e b e r ' s i m p r i n t on S i g u r d i s most o b v i o u s i n t h e s cene i n wh i ch t h e hero sounds a s a c r e d horn t h r e e t i m e s , each t i m e e v o k i n g a s p e c t a c u l a r a p p a r i t i o n . These pages owe much t o t h e W o l f ' s G l en scene i n P e r F r e i s c h ' u ' t z . L i k e h i s p r e d i l e c t i o n f o r Webe r ' s m u s i c , R e y e r ' s f o ndne s s f o r t he works o f B e r l i o z i s m a n i f e s t e d even i n Le S e l am: t h e p a r t e n t i t l e d " L a D h o s s a , " w h i c h d e p i c t s t h e p i l g r i m s ' r e t u r n f r om M e c c a , "donne l i e u a un choeu r a deux temps oh l ' o n r e t r o u v e un s o u v e n i r de l a Marche des P e l e r i n s d ' H a r o l d [en I t a l i e ] . " 1 2 2 i n R e y e r ' s works o f t h e l a t e r 1850s c r i t i c s f ound no such r e m i n i s c e n c e s . However, we s h o u l d p o i n t ou t t h a t t h e o r c h e s t r a t i o n i n t h e s e s c o r e s — e s p e c i a l l y s e v e r a l d e f t t o u c h e s i n La S t a t u e _ 1 2 3 _ _ r e v e a l s t h a t Reyer had l e a r n e d much f r o m B e r l i o z ' s " c h a m p i o n -i n g [ o f ] t h e c o n c e p t t h a t i n s t r u m e n t a t i o n . . . o f f e r e d a new d i m e n s i o n t o t h e shape o f o p e r a t i c d rama. " 124 55 F r e n c h o p e r a c o u l d not h e l p but be i n f l u e n c e d by t he a r t i s t i c and i n t e l l e c t u a l f e r m e n t cau sed by t h e g r a d u a l p e n e t r a t i o n o f Wagner ' s mu s i c and d o c t r i n e s i n t o F r a n c e d u r i n g t he l a s t f o u r decades o f t h e c e n t u r y . S i g u r d and e s p e c i a l l y Salammbo d i s p l a y s t y l i s t i c f e a t u r e s wh i ch l i n k t h e s e works t o Wagner as w e l l as t o two c u r r e n t s i n n i n e t e e n t h - c e n t u r y F r ench o p e r a : G l u c k i a n t r a g e d i e l y r i q u e , p a r t i c u l a r l y as e x e m p l i f i e d by B e r l i o z ' s Les T r o y e n s ; and t h e g r a n d - o p e r a t r a d i t i o n . Thus , l i k e c o n -temporaneous o p e r a s such as L a l o ' s Le Ro i d ' Y s , 1 2 5 R e y e r ' s two l a r g e -s c a l e works d e m o n s t r a t e t h a t t h e p r o c e s s o f s t y l i s t i c s y n t h e s i s i s an i m p o r t a n t f a c t o r i n F r ench o p e r a o f t h i s p e r i o d . Many f e a t u r e s o f t he mus i c o f S i g u r d - - i n c l u d i n g t he g r e a t t r u m p e t -accompan ied e n t r a n c e o f t h e he ro i n A c t I and t h e s e t - p i e c e s f o r huge c h o r u s e s - - a r e r e m i n i s c e n t o f g rand o p e r a . There a re a l s o t r a c e s o f two o f Wagner ' s o p e r a s : t h e e n t r a n c e o f S i g u r d i s met w i t h an e v e r - s w e l l i n g c h o r u s ana l ogou s t o t he one wh i ch g r e e t s t he a r r i v a l o f t he hero i n L o h e n g r i n ; and t h e e l v e s ' v o l u p t u o u s dance i n A c t I I o f S i g u r d s u g g e s t s t h e s e d u c t i v e b a l l e t i n T a n n h a u s e r . However, t h e s t r o n g e s t m u s i c a l i n f l u e n c e on S i g u r d i s , u n q u e s t i o n a b l y , Les T r o y e n s . As P a t r i c k Sm i th has o b s e r v e d , " i n many pages o f t h e s c o r e t he m u s i c a l l i n e s and m o d u l a -t i o n s ( p a r t i c u l a r l y c a d e n t i a l one s ) seem l i k e c o p i e s o f t h e M a s t e r " ; 1 2 6 an o b v i o u s example i s G u n t h e r ' s a r i a " 0 f i l s de S i gemon " i n A c t I. Both Sm i th and S e r v i e r e s have c i t e d o t h e r s i m i l a r i t i e s between S i g u r d and Les T r o y e n s . 1 2 7 The p l o t o f S i g u r d c l o s e l y r e s e m b l e s t h a t o f A c t I I I o f Wagne r ' s S i e g f r i e d and p a r t s o f Gb ' t terd 'ammerung- -a c i r c u m s t a n c e t h a t s h o u l d not s u r p r i s e u s , b e c a u s e , as p r e v i o u s l y i n d i c a t e d , B l a u and du L o c l e drew 56 upon t he same s o u r c e s as d i d Wagner. A l t h o u g h B l a u ' s " s c e n a r i o , t r e s c o m p l e t du r e s t e , " 1 2 8 was b e i n g v e r s i f i e d by du L o c l e t h e y e a r b e f o r e Wagner p u b l i s h e d t h e poem o f t h e R i n g , we canno t d i s m i s s t h e p o s s i b i l i t y t h a t B l a u had been i n f l u e n c e d by Wagner ' s c h o i c e o f s o u r c e s . Whether o r no t du L o c l e c o m p l e t e d t he v e r s i f i c a t i o n w i t h o u t e ve r s e e i n g Wagne r ' s poem i s y e t ano the r q u e s t i o n open t o d e b a t e , b e c a u s e , as Smi th p o i n t s o u t , c e r t a i n pas sages i n t h e l i b r e t t o o f S i g u r d - - e s p e c i a l l y B r u n e h i l d ' s a w a k e n i n g - - " s o u n d s u s p i c i o u s l y l i k e . . . Wagner ' s poem."129 Smi th n e v e r t h e l e s s p ronounces t h e l i b r e t t o " a s o l i d j o b i n t he F r ench Grand Opera t r a d i t i o n . " 1 3 0 ^e s h o u l d n o t e , however , t h a t bo th Smi th and R e y e r ' s b i o g r a p h e r J u l l i e n o b s e r v e t h a t t he s e t - p i e c e s a re l i n k e d t o g e t h e r more t han i n M e y e r b e e r ' s e a r l y o p e r a s , and t h a t t h e r e a re n e i t h e r c a v a t i n a s nor s t r e t t o s . 1 3 1 R e y e r ' s p r om inen t use o f r e m i n i s c e n c e m o t i f s i n S i g u r d was y e t a n o t h e r f e a t u r e wh i ch s u gge s t ed t o P a r i s i a n a u d i e n c e s t h a t he as "un w a g n e r i e n " - - a n i d e a wh i ch t h e composer f ound l u d i c r o u s . W a g n e r i e n , e s t - c e D i e u p o s s i b l e ! . . . s i l ' e m p l o i du m o t i f c o n d u c t e u r e s t un des c a r a c t e r e s p r i n c i p a u x de l a mus ique w a g n e r i e n n e , e s t - i l b i e n su r pour e e l a que ce s o i t a Wagner q u ' i l f a i l l e a t t r i b u e r l e m e r i t e de 1 ' a v o i r i n v e n t e ? Du r e s t e , ce p rocede s i e s s e n t i e l a 1 ' u n i t e , au deve loppement e t meme a l a c omprehen s i on du drame l y r i q u e n ' a c q u i e r t t o u t e son i m p o r t a n c e , dans l ' o e u v r e du m a t t r e , q u ' a p a r t i r de T r i s t a n e t I s e u l t . O r , . . . j e n ' e n e t a i s e n c o r e q u ' a L o h e n g r i n quand j e me s u i s mi s a t r a v a i l l e r a S i g u r d . Pendant mon s e j o u r a Weimar [en 1 8 6 3 - 6 4 ] , j ' a v a i s , i l e s t v r a i , d e c h i f f r e au p i a n o l a p a r t i t i o n de T r i s t a n e t I s e u l t ; ma i s c ' e t a i t pour moi de l ' h e b r e u , du s a n s e r i f , du m a l g a c h e ; j e n ' y c o m p r e n a i s ab so lument r i e n . 1 3 2 The re i s i n d e e d a d i f f e r e n c e between R e y e r ' s use o f r e c u r r i n g themes and t h e t r u e l e i t m o t i v i c p r o c e s s : h i s t e c h n i q u e i s i n t h e s t y l e o f Weber, 57 M e y e r b e e r , o r e a r l y Wagner, i n wh i ch t h e themes a re v a r i e d m i n i m a l l y and t h r o u g h o r c h e s t r a t i o n r a t h e r t h a n symphon ic e l a b o r a t i o n . Othe r d i f f e r -ence s between t h e m u s i c a l s t y l e o f S i g u r d and t h a t o f Wagner ian mus i c drama a r e t h e r e t e n t i o n o f r e g u l a r , " q u a d r a t i c " p e r i o d i c s t r u c t u r e s , and t h e c o m p a r a t i v e l a c k o f c h r o m a t i c i s m . To ou r e a r s , t h e i n n o v a t i o n s i n bo th t h e l i b r e t t o and t h e mus i c o f S i g u r d seem s l i g h t , bu t t o t h e a u d i e n c e at t h e P a r i s i a n p r e m i e r e i n 1885 t h e y sounded r e v o l u t i o n a r y , as one c r i t i c r e c a l l e d on t he o c c a s i o n o f t h e " s e m a i n e R e y e r " at t h e Opera i n 1903. Nous ne pouvons q u ' a p p l a u d i r . . . en nous s ouvenan t de 1 ' e n t h o u s i a s m e que p rovoqua en 1 8 8 5 [ , ] c h e z l e s j e u n e s [ , ] l ' a p p a r i t i o n de S i g u r d . On n ' a v a i t pas a l o r s l a p o s s i b i l i t y de l e compare r a . . . S i e g f r i e d [ , ] e t I ' o e u v r e [de R e y e r ] , t e l l e q u ' e l l e se p r e s e n t a i t , b r i s a i t en c e r t a i n e s de ses p a r t i e s l e moule su ranne de 1 ' o p e r a a n c i e n . . . . l ' e m p l o i , meme f a t i g a n t , de c e r -t a i n s m o t i f s t r o p s ouven t r e p e t e s , s e m b l a i t a l o r s une nouveau te a nos o r e i l l e s l a s s e e s des s u c r e r i e s e t des b a n a l i t e s des c a v a t i n e s e t des romances c o n v e n t i o n -n e l l e s . 1 3 3 L i k e most F r e n c h composer s o f t h e l a t e n i n e t e e n t h c e n t u r y , Reyer c o u l d not e s cape t h e i n f l u e n c e o f Wagner ' s mus i c d ramas : i n Salammbo he v i r t u a l l y abandoned s e t - p i e c e s i n f a v o r o f l y r i c d e c l a m a t i o n and d i a -l o g u e . However, s p e c i a l i s t s ag ree t h a t he re t h e r e s e m b l a n c e t o Wagner e n d s , and t h a t S a l a m m b o - - ! i k e S i g u r d - - i s more r e s p o n s i v e t o t h e t r a g e d i e l y r i q u e and t o Les T royen s t h a n t o t h e mus i c d ramas .134 j n e s u b j e c t m a t t e r i s Wagner ian i n t h a t i t c o n c e r n s a c o n f l i c t h a l f r e l i g i o u s and h a l f r a c i a l , but t h e p r o t a g o n i s t s a r e c o n c e i v e d as o r d i n a r y human b e i n g s r a t h e r t han s y m b o l s , and t h e drama t h e r e f o r e neve r t o u c h e s t h e p h i l o -s o p h i c a l w o r l d o f t h e R i n g . The ceremony i n t h e t emp l e and t h e scene o f t h e C o u n c i l o f E l d e r s hea r ken back t o G l u c k , w h i l e t h e l y r i c d e c l a m a t i o n 58 and d i a l o g u e i n t he work as a who le have " a g r andeu r o f l i n e r e c a l l i n g B e r l i o z ' s T r o y e n s . " 1 3 5 Reyer uses many r e c u r r i n g m o t i f s , b u t , l i k e t h o s e i n S i g u r d , t h e y a re v a r i e d m i n i m a l l y and thus rema in p e r i p h e r a l t o t h e drama i n s t e a d o f h e l p i n g t o engender i t i n t h e manner o f Wagne r ' s s y m p h o n i c a l l y d e v e l o p e d l e i t m o t i f s . F u r t h e r m o r e , R e y e r ' s h a r m o n y - - u n l i k e t h a t o f W a g n e r — c o n t a i n s v e r y l i t t l e c h r o m a t i c i s m , e x c e p t i n t h e l a n -g u o r o u s l y d i s s o n a n t l o v e theme o f Matho. Most c r i t i c s r e g a r d e d Salammbo as R e y e r ' s m a s t e r p i e c e , and w i t h good r e a s o n . 1 3 6 T n e o r c h e s t r a t i o n o f S i g u r d i s o c c a s i o n a l l y t oo power -f u l , and " 1 ' u n i f o r m i t e des s o n o r i t e s s o u r d e s " 1 3 7 o f t e n p r oduce s an e f -f e c t o f monotony; t h e o r c h e s t r a t i o n o f Salammbo i s more v a r i e d i n c o l o r , w i t h many d e l i c a t e nuances and s o f t e r s o n o r i t i e s . The l y r i c d e c l a m a t i o n f r e q u e n t l y a c h i e v e s an immed iacy such as we r a r e l y hear i n t he e a r l i e r work : f o r e x a m p l e , w i t h i n t h e l a s t s cene o f A c t IV, t h e m e l a n c h o l y o f Salammbo, t h e f u r i o u s c u r s e o f Matho, and t he m a j e s t i c r e p l y o f H a m i l c a r have "une l a r g e u r , une f o r c e d ' e x p r e s s i o n qu i son t d i g n e s des p l u s g r and s m a T t r e s . " l 3 8 y n e m o r e s o p h i s t i c a t e d o r c h e s t r a t i o n and h i g h l y e x p r e s s i v e d e c l a m a t i o n , complemented by t h e d r a m a t i c c o n t i n u i t y o f a l i b r e t t o wh i ch does not r e l y upon t h e number -ope ra c o n c e p t o f d e s i g n , make Salammbo a more c o n v i n c i n g un i on o f words and mus ic t h a n S i g u r d . We can o n l y r e g r e t t h a t , l a r g e l y because o f t h e c o s t l i n e s s o f s t a g i n g i t s " m i s e en scene m a t e r i e l l e ext remement d i f f i c i l e , " 1 3 9 $alammbo n e v e r g a i n e d as s e c u r e a p l a c e i n t h e r e p e r t o i r e s o f F r ench l y r i c t h e a t r e s as d i d S i g u r d , and t h e r e f o r e d i d not become as w e l l known. Con tempora r y c r i t i c s d i s c e r n e d many f l a w s i n t h e t e c h n i q u e o f t he l a r g e l y s e l f - t a u g h t R e y e r . 1 4 0 They f ound t h a t h i s ha rmon i c v o c a b u l a r y 59 l a c k e d v a r i e t y and was o f t e n awkward; t h a t he had a penchant f o r s u c c e s -s i o n s o f t h i r d s and f o r s t a t i c bass l i n e s ; t h a t h i s o r c h e s t r a t i o n , e s p e c i a l l y i n S i g u r d , was somet imes more l o u d t h a n i n g e n i o u s ; and t h a t he a v o i d e d d e v e l o p i n g h i s m a t e r i a l s , a s h o r t c o m i n g e v i d e n t p a r t i c u l a r l y i n t h e o v e r t u r e s t o bo th S i g u r d and Salammbo as w e l l as i n t h e many s cenes o f S i g u r d wh i ch were u n n e c e s s a r i l y l e n g t h e n e d by da capo r e p i t i -t i o n s o f a r i a s and c h o r u s e s . However, two t w e n t i e t h - c e n t u r y c o n n o i s -s e u r s — P a t r i c k Sm i th and Max L o p p e r t — e x p r e s s t h e o p i n i o n t h a t S i g u r d c o n t a i n s so much s t r o n g , m e l o d i o u s mus i c t h a t i t must be r anked "amongst t h o s e ' d i f f i c u l t ' works t o o uneven t o r e s t w i t h t h e h i g h e s t , [ b u t ] i n p a r t s a l t o g e t h e r t o o good t o be i g n o r e d . " 1 4 1 The l a s t a c t o f S i g u r d — r e g a r d e d as by f a r t h e b e s t i n t h i s o p e r a — c o n t a i n s what i s s a i d t o be one o f t h e f i n e s t numbers e v e r w r i t t e n by R e y e r : B r u n e h i l d ' s s cena " 0 p a l a i s r a d i e u x , " i n wh i ch she c o n f e s s e s her l o v e f o r S i g u r d and i m p l o r e s Od in t o d e s t r o y h e r . J u d g i n g f r o m t h e comments o f R e y e r ' s con tempo-r a r i e s , Salammbo, t o o , i s d i s t i n g u i s h e d by many b r i l l i a n t and m a j e s t i c pages .142 Most h i g h l y p r a i s e d a re t h e n o c t u r n a l r e l i g i o u s scene i n t he t e m p l e o f T a n i t - - e v i d e n t l y a n o t h e r o f R e y e r ' s f i n e s t c r e a t i o n s — a n d t h e s cene o f Sa lammbo ' s r e v e r i e , i n wh i ch she s i n g s " l a page l a p l u s poe -t i q u e de 1 ' o p e r a " ; 1 4 3 t h e c a n t i l e n a "Qu i me d o n n e r a , c o l o m b e s , vos a i l e s ? " A n o t h e r e f f o r t wh i ch does not d e s e r v e t o be i g n o r e d i s t h e o p e r a comique La S t a t u e . M u s i c i a n s who heard i t at t h e T h e a t r e - L y r i q u e i n t h e e a r l y 1860s seemed t o sense t h a t t h e y were i n t h e p r e s e n c e o f a v e r y unu sua l work . B e r l i o z s a i d so i n p r i n t , as we have s e e n ; even t h e r e a c t i o n a r y Scudo admi red i t ; a n o t h e r c r i t i c , F r a n c k - M a r i e , l a u d e d t h e 60 o r c h e s t r a t i o n ; and E m i l e P e r r i n was p a r t i c u l a r l y s t r u c k by t h e " g r a c e i n f i n i e " o f " s a m e l o d i e . . . i l c h e r c h e l a f o r m e , ma i s i l h a i t l a f o r -m u l e , c ' e s t - a - d i r e l a forme convenue , d i c t e e e t p r e vue a 1 ' a v a n c e . " 1 4 4 B i z e t r e g a r d e d La S t a t u e as t h e most r e m a r k a b l e m u s i c a l o f f e r i n g t h a t had been p r e s e n t e d on a F r e n c h s t a g e f o r t w e n t y o r t h i r t y y e a r s l 4 5 _ - h i g h p r a i s e f o r a work p r e m i e r e d o n l y two y e a r s a f t e r Gounod ' s F a u s t . 1 4 6 Why, we m i gh t a sk , was La S t a t u e a c c o r d e d lukewarm r e c e p t i o n s when i t was r e v i v e d a t t h e Opera -Comique i n 1878 and at t h e Opera d u r i n g t h e " s e m a i n e R e y e r " i n 1903? A p o s s i b l e answer i s t h a t t h e s e r e v i v a l s p r e -s e n t e d t h e work not i n i t s o r i g i n a l f o r m , but as an o p e r a , w i t h an i n t e r p o l a t e d b a l l e t and w i t h r e c i t a t i v e s r e p l a c i n g t h e spoken d i a l o g u e . These changes would have s l owed t h e pace o f a s t o r y t h a t , t o b e g i n w i t h , was d i s a r m i n g l y s i m p l e and na ' f ve . I f , as A r t h u r Poug i n once s u g g e s t e d , L a S t a t u e were r e v i v e d i n i t s o r i g i n a l f o rm and on a s t a ge whose s i z e would not dwar f t h i s l i t t l e o r i e n t a l p a r a b l e , i t m igh t r e c a p t u r e i t s o r i g i n a l s u c c e s s . 1 4 7 R e y e r ' s works a re not ma jo r d i s c o v e r i e s , but bo th L a S t a t u e and Salammbo m igh t w e l l be wor th r e v i v i n g , and S i g u r d has " a m a j e s t y and a l y r i c a l warmth i n c e r t a i n s c e n e s . " 1 4 8 n i S p a r a d o x i c a l t h a t S i g u r d , t h e most B e r l i o z i a n o f R e y e r ' s w o r k s , i s t h e one w h i c h , a c c o r d i n g t o h i s c o n t e m p o r a r i e s , 1 4 9 b r o k e t h e g round f o r t h e a c c e p t a n c e o f Wagne r ' s mus i c dramas i n F r a n c e . I t d i d so not o n l y because o f i t s pe rhaps u n i n t e n -t i o n a l s i m i l a r i t y o f s u b j e c t w i t h t h e R i n g but a l s o because o f i t s m u s i c a l s u b s t a n c e , f o r - - a s p r e v i o u s l y n o t e d — i n t h i s work t he number-o p e r a c o n c e p t began t o g i v e way t o a more s o p h i s t i c a t e d f o r m a l p r o c e d u r e i n wh i ch t h e b o u n d a r i e s between t h e s e t - numbe r s were b l u r r e d , t hu s 61 c r e a t i n g a more c o n t i n u o u s m u s i c a l f a b r i c . In t h e words o f Pau l Landormy, II f a u t . . . e t r e r e c o n n a i s s a n t a Reyer d ' a v o i r su marcher courageusement c o n t r e l e s p l u s d e t e s t a b l e r o u -t i n e s . II commenga d ' h a b i t u e r l e s o r e i l l e s f r a n c h i s e s a l a m e l o d i e sans c a r r u r e , a l a m e l o d i e l i b r e dans son nombre, dans son r y t h m e . II commenga d ' h a b i t u e r n o t r e e s p r i t a 1 'enchaTnement c o n t i n u e des s cenes s u b s t i t u e aux c o m p a r t i m e n t s e t a n c h e s du v i e i l o p e r a : l e drame l y r i q u e e t a i t c r e e . Wagner, a v r a i d i r e , l ' a v a i t congu l e p r e m i e r . Ma i s Reyer n ' e n s a v a i t r i e n . II a g i s s a i t de son i n i t i a t i v e p e r s o n n e l l e . II p r e p a r a i t a i n s i , sans l e s a v o i r , l e s o r e i l l e s f r a n g a i s e s a e c o u t e r Wagner.150 Le t us n o t , howeve r , v i ew Reyer m e r e l y as a f o r e r u n n e r o f Wagner, f o r he was a composer o f some s t a t u r e and h i s mus i c i s o f i n t e r e s t i n i t s own r i g h t . H i s p r i n c i p a l w o r k s — S i g u r d and S a l a m m b o — r e f l e c t a v e r y i n t e r e s t i n g p e r i o d i n F r e n c h o p e r a t i c h i s t o r y , inasmuch as t h e y a re s y n -t h e s e s o f t h e t r a g e d i e l y r i q u e o f G l u ck and B e r l i o z , M e y e r b e e r i a n g rand o p e r a , and Wagner i sm, w i t h t h e i n f l u e n c e o f B e r l i o z most d om inan t . R e y e r ' s e a r l i e r works a re more W e b e r i a n , but t h e y owe much t o t h e o r c h e s t r a t i o n a l i n n o v a t i o n s o f B e r l i o z . Reyer s h o u l d t h e r e f o r e be r e g a r d e d a s , above a l l , a d i s c i p l e o f B e r l i o z . Reyer h i m s e l f acknow-l e d g e d t h i s a l l e g i a n c e i n two o f h i s s p e e c h e s : " B e r l i o z n ' a pas f a i t d ' e l e v e s ; ma i s i l a eu des d i s c i p l e s . Nous sommes de c e u x - l a . " 1 5 l Through R e y e r , and t h r o u g h Gounod as w e l l as S a i n t - S a e n s , B e r l i o z ' s d i s -c o v e r i e s i n t h e r e a l m o f o r c h e s t r a t i o n " a c t e d upon t h e F r e n c h Impre s -s i o n i s t s f r om F a u r e t o Debu s s y . " 152 62 Endnotes 1 H i s r e a l name was L o u i s - E t i e n n e - E r n e s t Rey. We do not know e i t h e r when o r why he adopted t h e name " R e y e r . " However, one o f h i s b i o g r a p h e r s o f f e r s s e v e r a l p l a u s i b l e h y p o t h e s e s ; see Hen r i de C u r z o n , E r n e s t R e y e r , sa v i e e t ses o e u v r e s (1823 -1909) ( P a r i s : P e r r i n , 1 9 2 4 ) , p. 13 . 2 L o u i s e F a r r e n c , nee Dumont, had been a p i a no s t u d e n t o f Hummel and o f M o s c h e l e s , and had s t u d i e d harmony w i t h R e i c h a . She was bo th a no ted composer and an e x c e l l e n t t e a c h e r o f p i a n o . Her symphon ies and chamber mus i c were s u c c e s s f u l among t h e s m a l l c i r c l e o f P a r i s i a n m u s i -c i a n s who c u l t i v a t e d mus i c o u t s i d e t h e l y r i c t h e a t r e s ( see p. 1 5 ) , and had even a t t r a c t e d t h e a t t e n t i o n o f Schumann. Her c a r e e r as a t e a c h e r o f one o f t h e p i a n o c l a s s e s at t h e C o n s e r v a t o i r e had begun i n 1842, and would span t h i r t y y e a r s . See Bea F r i e d l a n d , L o u i s e F a r r e n c , 1804 -1875 : Composer , P e r f o r m e r , S c h o l a r , S t u d i e s i n m u s i c o l o g y , n o . 32 (Ann A r b o r , M i c h i g a n : UMI Re sea r ch P r e s s , 1 9 8 0 ) . 3 He a l s o t ook p l e a s u r e i n c i t i n g examples o f her f o r m a t i v e i n -f l u e n c e on o t h e r composers who had neve r s e t f o o t i n a c o n s e r v a t o r y o f m u s i c . See h i s r e v i e w o f t h e young Theodore R i t t e r ' s " S o n a t e en mi bemol pour deux p i a n o s , " RGMP 25 (8 Augus t 1 8 5 8 ) : 2 6 5 . 4 P u b l i s h e d as Chant s e t chansons ( p o e s i e e t mus ique ) de P i e r r e Dupont [. . . ] , 3 v o l s . ( P a r i s : A. H o u s s i a u x , 1 855 - 58 ; v o l s . 2 and 3 have i m p r i n t : P a r i s , L e c r i v a i n e t Toubon, 1 858 ) . The second volume i s p r e f a c e d by R e y e r ' s a r t i c l e " P i e r r e Dupont m u s i c i e n , " o r i g i n a l l y pub -l i s h e d i n A thF 1 (21 August 1 852 ) : 1 23 - 24 and r e p r i n t e d i n FM 16 (29 August 185277284-86 . 5 The t e x t s f o r f o u r o f t h e s e works were w r i t t e n by R e y e r ' s l i t e r -a r y f r i e n d s : G a u t i e r w ro t e t h e t e x t f o r Le S e l a m ; t h e l i b r e t t o o f E r o s t r a t e was t h e work o f Mery and P a c i n i ; many 1 i t t e r a t e u r s — n o t a b l y Mery , G a u t i e r , and B o c a g e — w o r k e d on t h e l i b r e t t o o f M a i t r e W o l f r a m ; and G a u t i e r w ro t e t h e s c e n a r i o o f S a c o u n t a l a . A o n e - a c t o p e r a comique e n t i t l e d Au p o r t i s l i s t e d amongst R e y e r ' s works i n The N a t i o n a l Un ion C a t a l o g : P r e - 1 9 5 6 I m p r i n t s , v o l . 4 90 , p. 683 . T h i s a t t r i b u t i o n i s e r r o n e o u s . Au p o r t i s Opus 1 o f J e a n - E t i e n n e Rey ( b . T o u l o u s e , 3 August 1 8 3 2 ) , a c c o r d i n g t o F r a n z S t i e g e r ' s O p e r n - l e x i c o n , v o l . 2 : Compon i s ten ( T u t z i n g : Hans S c h n e i d e r , 1 9 7 8 ) , p. 919 . 6 Du r i n g t h e 1850s and t h e e a r l y 1860s Reyer a l s o composed a number o f s m a l l e r wo r k s : m e l o d i e s , s i x m o t e t s , s e v e r a l c h o r u s e s , and two c a n t a t a s . Most o f t h e m e l o d i e s were p u b l i s h e d between 1853 and 1860; f o u r a p p e a r e d , t o g e t h e r w i t h e x t r a c t s f r om Le Se lam and h i s e a r l y o p e r a s , i n h i s f i r s t c o l l e c t i o n ( 1 8 5 4 ) . R e y e r ' s S i x mo te t s r e l i g i e u x 63 were p u b l i s h e d i n 1857. Three u n p u b l i s h e d c h o r u s e s — s e e m i n g l y w r i t t e n f o r v a r i o u s p o p u l a r c e l e b r a t i o n s — d a t e f r o m 1861 and 1862: "Choeur des a s s i e g e s , " " Choeu r des b u v e u r s , " and "Choeu r des m e n d i a n t s . " A f o u r t h u n p u b l i s h e d c h o r u s , " Chan t des p a y s a n s , " was composed f o r V i c t o r S e j o u r ' s drama Les V o l o n t a i r e s de 1814 ( p e r f o r m e d i n 1 8 6 2 ) . Cu r zon a l l u d e s t o t h e e x i s t e n c e o f o t h e r " C h o e u r s , que l e u r c a r a c t e r e r a t t a c h e . . . a des d r a m e s . " ( R e y e r , p. 477) R e y e r ' s f i r s t c a n t a t a was commi s s i oned i n 1859 f o r pe r f o rmance a t t h e Opera t o c e l e b r a t e t he v i c t o r i e s won at C a v r i a n o and S o l f e r i n o on 24 and 25 J u n e . T h i s c a n t a t a , e n t i t l e d " V i c t o i r e ! " , was pe r f o rmed on 27 and 29 June between a c t s o f La F a v o r i t e . A second c a n t a t a , " L ' U n i o n des a r t s , " was composed f o r a c e r e m o n i a l o c c a s i o n at M a r s e i l l e . The t e x t s f o r bo th c a n t a t a s were w r i t t e n by R e y e r ' s f r i e n d and f e l l o w - M a r s e i l 1 a i s , Mery . N e i t h e r c a n t a t a was p u b l i s h e d . 7 In h i s f e u i l l e t o n f o r t h e JD o f 13 A p r i l 1850, B e r l i o z app l auded i n p a r t i c u l a r t he i n s t r u m e n t a t i o n o f Le Se l am: " J e l o u e r a i M. Reyer de n ' a v o i r employe q u ' a v e c r e s e r v e l e s i n s t r u m e n s v i o l e n s . . . Son o r c h e s -t r e e s t doux , r e v e u r , b e r c e u r a u t a n t que s i m p l e . " 8 See t h e announcement i n t h e RGMP 26 (11 September 1 8 5 9 ) : 3 0 5 . 9 JD f e u i l l e t o n o f 15 September 1858 ( r e v i e w o f S a c o u n t a l a ) . 10 Fo r a more d e t a i l e d a c coun t o f t h e h i s t o r y o f La S t a t u e a t t he T h e a t r e - L y r i q u e , see A l b e r t S o u b i e s , H i s t o i r e du T h e a t r e - L y r i q u e : 1851 - 1870 ( P a r i s : L i b r a i r i e F i s c h b a c h e r , 1 8 9 9 ) , pp . 3 1 - 3 2 ; and C u r z o n , R e y e r , p p . 3 5 - 3 7 . Curzon s t a t e s t h a t Re ty had s u cceeded C a r v a l h o i n 1859; t h a t d a t e i s e r r o n e o u s , as i s shown by t he n o t i c e o f R e t y ' s s u c -c e s s i o n i n t h e RGMP 27 (8 A p r i l 1 8 6 0 ) : 1 2 9 - 3 0 . 11 Wi th t h e e x c e p t i o n o f t h r e e v e r y s h o r t - l i v e d r e v i v a l s o f E r o s t r a t e , La S t a t u e , and MaTt re Wo l f ram i n t he 1870s ( s ee pp . 2 2 - 2 3 ) , R e y e r ' s o p e r a s were o s t r a c i z e d u n t i l 1885 . 12 A r t h u r H e r v e y , M a s t e r s o f F r e n c h M u s i c , M a s t e r s o f c o n t e m p o r a r y mu s i c ( London : Osgood, M c l l v a i n e , & C o . , 1 8 9 4 ) , p. 209 . 13 The l i b r e t t i s t A l f r e d B l a u ( 1827 -1896 ) somet imes w ro te under t he pseudonym " B a u l , " a c i r c u m s t a n c e wh i ch s u g g e s t s t h a t he was o f German e x t r a c t i o n and/or was k e e n l y i n t e r e s t e d i n German c u l t u r e . Born at B l o i s , he went t o P a r i s t o s t u d y l a w , but was i n s t e a d drawn i n t o t he w o r l d o f t h e t h e a t r e . A f t e r c o m p l e t i n g t he s c e n a r i o o f S i g u r d , B l a u c o l l a b o r a t e d on two more l i b r e t t o s : Le C h a n t e u r f l o r e n t i n ( 1 8 6 6 ) , wh i ch he and h i s f i r s t c o u s i n — t h e l i b r e t t i s t Edouard B l a u — w r o t e f o r t he composer J u l e s D u p r a t o ; and E s c l a r m o n d e ( 1 8 8 9 ) , w r i t t e n i n c o l l a b o r a t i o n w i t h L o u i s de Grammont f o r J u l e s Ma s s ene t . A l f r e d B l a u was a l s o a c t i v e as c r i t i c f o r s e v e r a l P a r i s i a n j o u r n a l s . See h i s o b i t u a r y i n t h e ^ D , 25 F e b r u a r y 1896, p. 2 . I t i s p o s s i b l e t h a t , by t h e t i m e B l a u had f i n i s h e d t he s c e n a r i o o f S i g u r d , he had v i s i t e d Germany at l e a s t o n c e ; pe rhap s he was among the 64 many P a r i s i a n s who v a c a t i o n e d at Baden-Baden and o t h e r p o p u l a r German r e s o r t s d u r i n g t h e p e a c e f u l decades p r e c e d i n g t h e o u t b r e a k o f t h e F r a n c o - P r u s s i a n War i n 1870. B l a u m i gh t have heard a b o u t - - o r even have s e e n - - t h e t e x t o f t h e R ing as e a r l y as 1853, when Wagner had had f i f t y c o p i e s p r i n t e d f o r p r i v a t e c i r c u l a t i o n and , i n m i d - F e b r u a r y , had r ead t h e t e x t t o an i n v i t e d a u d i e n c e at t h e H o t e l Baur au Lac i n Z u r i c h . There must have been much t a l k o f t h e R i n g by 1857, because R e y e r ' s r e v i e w o f t h e Wiesbaden p r o d u c t i o n o f Tannh 'auser had a l l u d e d t o " r u m e u r s " t h a t Wagner was w o r k i n g on an o p e r a " de t r e s l ongue h a l e i n e , p u i s q u ' i l ne f a u t pas mo ins de t r o i s s o i r e e s pour l ' e x e c u t e r en e n t i e r . " (CP f e u i l l e t o n o f 30 September 1857. ) 14 A d o l p h e J u l l i e n , E r n e s t R e y e r , Les M u s i c i e n s c e l e b r e s ( P a r i s : H e n r i L a u r e n s , [ 1 9 0 9 ] ) , pTW. 15 E r n e s t Reyer t o C a m i l l e du L o c l e , 18 May 1865, L. A. S. E r n e s t Reyer 235 , B i b l i o t h e q u e de 1 ' O p e r a , P a r i s . E x c e r p t s f r om t h i s and t w e l v e o t h e r l e t t e r s s en t by Reyer t o v a r i o u s pe r s on s have been p u b l i s h e d by M a r t i a l T e n e o - - a f o r m e r b i b l i o t h e c a i r e o f t h e 0 p e r a - - i n " L e t t r e s i n -e d i t e s d ' E r n e s t R e y e r , " La Revue b l e u e ; r e v u e p o l i t i q u e e t l i t t e r a i r e 60 (21 J a n u a r y and 4 F e b r u a r y 1 9 2 2 ) : 3 3 - 3 6 and 6 9 - 7 3 . 16 The c a n t a t a - - R e y e r ' s t h i r d and l a s t - - w a s p u b l i s h e d i n 1865, as was t h e p i a n o c o m p o s i t i o n Marche t z i g a n e . (The l a t t e r was e v e n t u a l l y o r c h e s t r a t e d by R e y e r ; t h i s v e r s i o n was p u b l i s h e d i n 1882. ) The m e l o d i e " V i e i l l e c h a n s o n : Pou rquo i ne m ' a i m e z - v o u s ? " appeared i n 1869. 1 7 A c c o r d i n g t o J a cque s B a r z u n , B e r l i o z and t h e Romant i c C e n t u r y , 3d e d . , 2 v o l s . (New Y o r k : C o l u m b i a U n i v e r s i t y P r e s s , 1 9 6 9 ) , 2 : 2 52 . Ba rzun s u g g e s t s t h a t B e r l i o z h i m s e l f had recommended Reyer f o r t h e j o b o f o r g a n i z i n g and c o n d u c t i n g t h e c o n c e r t ( i b i d . , p. 2 5 7 ) . 18 F r a n c e was r e p r e s e n t e d by mu s i c o f B e r l i o z , Gounod, and M e y e r -b e e r ; Germany, by works o f L i t o l f f and Schumann, as w e l l as Wagner ' s p r e l u d e t o T r i s t a n und I s o l d e w i t h t h e c o n c e r t e n d i n g a n t i c i p a t i n g t he h e r o i n e ' s t r a n s f i g u r a t i o n . I t a l y and R u s s i a were r e p r e s e n t e d by mus i c o f R o s s i n i and G l i n k a r e s p e c t i v e l y . The program a l s o i n c l u d e d Les P r e - l u d e s by t h e H u n g a r i a n - b o r n L i s z t . For a r e v i e w o f t h e c o n c e r t , see F r . Schwab, " C o u r r i e r des Eaux: B a d e , " FM 29 (13 August 1 865 ) : 2 56 . 19 A f t e r t h e wa r , Reyer neve r t r a v e l l e d t o Germany p r o p e r , but i n September 1873 he p a i d a f i n a l v i s i t t o A l s a c e and t h e Vosges M o u n t a i n s , i n o r d e r t o b i d a n o s t a l g i c f a r e w e l l t o t h e s e b e a u t i f u l r e g i o n s wh ich F r a n c e had been f o r c e d t o cede t o Germany. H i s j o u r n e y was d e s c r i b e d i n two f e u i l l e t o n s p u b l i s h e d i n t h e JD o f 20 and 21 September 1873, and l a t e r r e p r i n t e d i n h i s c o m p i l a t i o n Notes de mus ique ( P a r i s : C h a r -p e n t i e r , 1 8 7 5 ) , pp . 1 61 - 83 . 20 Two o t h e r e l e m e n t s c o n t r i b u t e d t o t he poor r e c e p t i o n a c c o r d e d t h i s p r o d u c t i o n : (1) Reyer had d e d i c a t e d t h e s c o r e t o Queen Augu s t a o f P r u s s i a , a l b e i t n i n e y e a r s b e f o r e t h e o u t b r e a k o f t h e war ; and (2) t h e 65 a c t r e s s A g a r , who had been i n v o l v e d i n t he Commune, d e c l a i m e d a v e r s e i n t h e o p e r a . The p r e s s i n g e n e r a l was v e r y s e v e r e i n i t s t r e a t m e n t o f b o t h t h e composer and t he work . An e x c e p t i o n was R e y e r ' s l o y a l f r i e n d G a u t i e r , who d i d h i s b e s t t o c u s h i o n t h e f a l l o f E r o s t r a t e ; see h i s r e v i e w i n t h e G a z e t t e de P a r i s , 23 Oc tobe r 1871. 21 Du L o c l e ' s r e v i v a l o f MaTtre Wo l f ram i n December 1873 e v i d e n t l y a t t a i n e d o n l y a modera te s u c c e s s , f o r i t d i s a p p e a r e d f r om t h e r e p e r t o i r e b e f o r e t h e b e g i n n i n g o f t h e nex t y e a r . C a r v a l h o ' s p r o d u c t i o n o f La S t a t u e i n t h e s p r i n g o f 1878 r an f o r a mere t e n p e r f o r m a n c e s b e f o r e t h e d i r e c t o r , w a n t i n g t o appea l t o t he ho rdes o f n o n - P a r i s i a n s and f o r -e i g n e r s who would t h r o n g t o t h e F r ench c a p i t a l f o r t h e U n i v e r s a l E x p o s i -t i o n , a b r u p t l y r e p l a c e d i t w i t h a r e v i v a l o f P s y che by t h e p o p u l a r A m b r o i s e Thomas. 22 Fo r d e t a i l s c o n c e r n i n g t h e p e r f o r m a n c e s o f e x c e r p t s f r om S i g u r d see C u r z o n , R e y e r , pp. 5 0 - 5 1 . 23 The p r e m i e r e took p l a c e at P a s d e l o u p ' s c o n c e r t o f 22 March 1874, w i t h t h e c e l e b r a t e d b a r i t o n e J a c q u e s - J o s e p h - A n d r e Bouhy as s o l o i s t ( J u l l i e n , R e y e r , p. 2 9 ) . 24 " H y l a s , " t o words by C a m i l l e du L o c l e , appeared i n 1873. The p u b l i c a t i o n o f R e y e r ' s second (and l a s t ) c o l l e c t i o n o f s o n g s - - c o m p r i s i n g e l e v e n new m e l o d i e s and n i n e s e l e c t i o n s f r om h i s o p e r a s — d a t e s f rom somet ime b e f o r e 1875, a c c o r d i n g t o Cu r zon ( R e y e r , p. 2 3 7 ) . 25 F l a u b e r t ' s s c e n a r i o had been g i v e n f i r s t t o G a u t i e r . When t h e a i l i n g poet d i e d i n 1872, i t was i n h e r i t e d by h i s s o n - i n - l a w C a t u l l e Mendes, but he , t o o , n e g l e c t e d i t . F i n a l l y t he i m p a t i e n t F l a u b e r t c o n -s u l t e d R e y e r , who s ugge s ted t h a t i t be g i v e n t o du L o c l e . F l a u b e r t ' s s c e n a r i o was e v e n t u a l l y p u b l i s h e d by t h e G a u t i e r s c h o l a r V i comte de S p o e l b e r c h de L o v e n j o u l , i n L u n d i s d ' u n c h e r c h e u r ( P a r i s : C a lmann - Lev y , 1 8 9 4 ) . 26 jp_ f e u i l l e t o n o f 29 May 1892. 27 The F r ench d r a m a t i c s op rano Rose Caron ( 1857 -1930 ; nee R o s e -L u c i l l e M e u n i e z ) , had e n t e r e d t he P a r i s C o n s e r v a t o i r e i n 1880 but had l e f t i n 1882 t o s t u d y w i t h M a r i e Sas se i n B r u s s e l s . R e y e r , who had hea rd Mme Caron i n a f e s t i v a l he had d i r e c t e d at L i l l e , had recommended her t o t h e d i r e c t o r s o f t h e T h e a t r e de l a Monna ie , and i t was t h e r e t h a t she had made her debut as A l i c e i n R o b e r t l e P i a b l e ( 1 8 8 4 ) . We s h a l l see t h a t a f t e r her t r i u m p h as B r u n e h i l d i n S i g u r d she was a c c l a i m e d i n t h i s r o l e at t he P a r i s O p e r a . Reyer r e v e r e d her as h i s f i n e s t i n t e r -p r e t e r , and when he e v e n t u a l l y resumed work on Salammbo he composed t h e t i t l e r o l e " pou r c e t t e a d m i r a b l e a r t i s t e " ( i b i d T J T She c r e a t e d t h i s r o l e w i t h g r e a t s u c c e s s a t B r u s s e l s and t hen a t P a r i s ( see p. 2 6 ; f u r t h e r i n f o r m a t i o n on t h e c a r e e r o f Mme Caron i s g i v e n i n C h a p t e r IV , n . 4 1 ) . 66 ^ ° C u r z o n , R e y e r , p. 5 6 . The mak ing o f e x c i s i o n s was a l o n g -s t a n d i n g p r a c t i c e i n F r ench l y r i c t h e a t r e s . R e y e r , a sworn enemy o f " l e c u l t e des c o u p u r e s , " became so e x a s p e r a t e d by t h e demands o f R i t t and G a i l h a r d t h a t he s a r c a s t i c a l l y made numerous d e l e t i o n s i n t h e s c o r e . To h i s h o r r o r , h i s j o k e was t a k e n s e r i o u s l y . 2 9 J u l l i e n , R e y e r , p. 3 9 . 30 When t h e y had r e v i v e d S i g u r d i n O c t o b e r 1890, t h e y had announced t h a t t h e y would a l s o g i v e t h e F rench p r e m i e r e o f Salammbo. However, t h e y had been f o r c e d t o honor an e a r l i e r agreement t o mount M a s s e n e t ' s Le Mage as t h e i r new p r o d u c t i o n f o r 1891, t h e l a s t y e a r o f t h e i r c o n -t r a c t . The p r e m i e r e o f Salammbo i n F r a n c e had t a k e n p l a c e at Rouen on 22 November 1890. 31 Le s s t h a n a y e a r l a t e r - - a t t h e end o f March 1 8 9 3 — R e y e r had t h e immense s a t i s f a c t i o n o f c o n d u c t i n g t h e p r e m i e r e o f Salammbo a t t h e G r a n d - T h e a t r e i n h i s n a t i v e M a r s e i l l e ; see Gu s t a ve V a p e r e a u , D i c t i o n - n a i r e u n i v e r s e l des c o n t e m p o r a i n s , 6 t h e d . ( 1 8 9 2 ) , s . v . " R e y e r ( L o u i s -E t i e n n e - E r n e s t Rey, d i t ) . " 32 A f t e r t h e p r e m i e r e o f S i g u r d at B r u s s e l s , t h i s work was p e r -fo rmed not o n l y a t London and i n F r a n c e , but a l s o at M i l a n ( L a S e a l a , 1 8 9 4 ) , S t . P e t e r s b u r g ( 1 8 9 4 ) , Geneva ( 1 8 9 6 ) , and A l e x a n d r i a , Egypt ( 1 9 0 1 ) . S i g u r d even made i t s way t o N o r t h A m e r i c a : i t was p r e s e n t e d at M e x i c o C i t y i n 1897, and a t two Amer i c an c i t i e s — N e w O r l e a n s and P h i l a -d e l p h i a — d u r i n g t h e 1890s . E x c e r p t s f r om t h i s o p e r a were g i v e n i n New York d u r i n g t h a t d e c a d e . Salammbo neve r became as w e l l known o u t s i d e B r u s s e l s and F r a n c e as S i g u r d , b u t , l i k e t h e e a r l i e r work , was heard i n b o t h A m e r i c a and E g y p t : Salammbo was p r e m i e r e d a t New O r l e a n s and a t New Y o r k ' s M e t r o p o l i t a n Opera i n 1900 and 1901 r e s p e c t i v e l y , and at C a i r o i n 1901 ( s ee LoewAO, c o l s . 1107 and 1 137 ) . 33 A new p r o d u c t i o n o f S i g u r d , mounted on 17 O c t o b e r 1934 t o com-memorate t h e t w e n t y - f i f t h a n n i v e r s a r y o f R e y e r ' s d e a t h , r ema ined i n t he r e p e r t o i r e f o r one y e a r : i t was pe r f o rmed f o r t h e 252d and l a s t t i m e on 18 O c t o b e r 1935. Salammbo, r e v i v e d w i t h new d e c o r s and m i se en s cene f o r t h e 175th p e r f o r m a n c e on 3 June 1938, l i n g e r e d f o r n e a r l y f i v e y e a r s : t h e 196th and l a s t p e r f o r m a n c e o c c u r r e d on 26 F e b r u a r y 1943. See S tephane W o l f f , L ' O p e r a au P a l a i s G a m i e r ( 1 8 7 5 - 1 9 6 2 ) , D i s c o g r a p h i e d ' A n d r e L e j e u n e ( P a r T s l depose au j o u r n a l L ' E n t r ' a c t e , 1 9 6 2 ) , pp . 203 and 193 . S i g u r d i s " s t i l l g i v e n on F rench s t a g e s " (LoewAO, c o l . 1 107 ) . In 1974 a s t u d i o p e r f o r m a n c e o f t h i s o p e r a — c o n d u c t e d by Manuel R o s e n -t h a l , w i t h Guy C h a u v e t , A n d r e a G u i o t , e t a l . i n t h e p r i n c i p a l r o l e s - - w a s r e c o r d e d by two c o m p a n i e s , each o f wh i ch i s s u e d i t as a " p r i v a t e r e c o r d -i n g " (UORC 219 and BJRS 1411 ) . 34 A l l t h r e e m e l o d i e s - - " L e D e r n i e r r e n d e z - v o u s , " " L e Chant des S i r e n e s , " and " F l e u v e d ' o u b l i " — d a t e f r om 1896. 67 35 E r n e s t R e y e r , l e t t e r t o "Masque de F e r , " p u b l i s h e d i n t he T a t -t e r ' s co lumn " E cho s a t r a v e r s P a r i s " (Le F i g a r o , 16 September 1895, p. 1; r e p r i n t e d i n t he JTJ, 26 September 1895, p. 2 ) . R e y e r ' s l e t t e r was w r i t t e n a t " C h a t e a u du R o u z e t - e n - B e z y , 14 s ep tembre 95 [ s i c ] . " I t i s J u l l i e n who avows t h a t Le C a p u c i n e n c h a n t e was n o t h i n g more than a w i t t y s u b t e r f u g e ( R e y e r , p. 45T i 36 I am g r a t e f u l t o P r o f e s s o r Andrew Gann o f Mount A l l i s o n U n i v e r -s i t y f o r i n f o r m i n g me t h a t some l e t t e r s exchanged between G a u t i e r and Reyer c o n t a i n a few r e f e r e n c e s t o R e y e r ' s work as " c r i t i q u e b l o n d " ( g h o s t w r i t e r ) f o r t h e d i s t i n g u i s h e d 1 i t t e r a t e u r . P r o f e s s o r Gann, who i s a c o l l a b o r a t o r i n t h e p u b l i c a t i o n o f t h e T h e o p h i l e G a u t i e r C o r r e s p o n - dance g e n e r a l e , has examined t he l e t t e r s w r i t t e n by and sent t o G a u t i e r , p r e s e r v e d at t h e B i b l i o t h e q u e de l ' l n s t i t u t , q u a i C o n t i , P a r i s (Legs S p o e l b e r c h de L o v e n j o u l ) . The a r t i c l e s on Reyer i n two o f t h e ma jo r n i n e t e e n t h - c e n t u r y F r e n c h e n c y c l o p a e d i a s c i t e La P r e s s e as t h e f i r s t p u b l i c a t i o n f o r wh i ch Reyer w r o t e mus i c c r i t i c i s m . See Grand D i c t i o n n a i r e u n i v e r s e ! du X I X e s i e c l e , e d . P i e r r e L a r o u s s e , ( 1 8 6 6 - 7 9 ) , s . v . " R e y e r ( L o u i s - E t i e n n e - E r n e s t Rey, d i t ) " ; and V a p e r e a u , D i c t i o n n a i r e , s . v . " R e y e r . " A c c o r d i n g t o Georges S e r v i e r e s and M i c h a e l S p e n c e r , R e y e r ' s c o l -l a b o r a t i o n on G a u t i e r ' s f e u i l l e t o n began a round 1850. S e r v i e r e s a s s e r t s t h a t t h e c o l l a b o r a t i o n p r o b a b l y d i d not c o n t i n u e a f t e r G a u t i e r j o i n e d t h e s t a f f o f Le M o n i t e u r u n i v e r s e ! i n 1855 , because t h e r e s p o n s i b i l i t y o f w r i t i n g mus i c c r i t i c i s m f o r t h a t newspaper r e s t e d w i t h F i o r e n t i n o ( t h e pen name o f A. de R o v r a y ) . See S e r v i e r e s , " L e s R e l a t i o n s d ' E r n e s t Reyer e t de T h e o p h i l e G a u t i e r , " Revue d ' H i s t o i r e l i t t e r a i r e de l a F r a n c e , no . 24 ( 1 9 1 7 ) , p p . 7 5 - 7 6 ; and S p e n c e r , " T h e o p h i l e G a u t i e r , mus i c c r i t i c , " Mu s i c and L e t t e r s 49 ( J a n u a r y 1 9 6 8 ) : 1 5 . 37 E i g h t months a f t e r e s t a b l i s h i n g t h e RP_, G a u t i e r and t he o t h e r f o u n d e r s e v i d e n t l y d e c i d e d t h a t i t s h o u l d i n c l u d e mus i c c r i t i c i s m on a r e g u l a r b a s i s , and Reyer was chosen as c r i t i c . H i s w r i t i n g s appeared i n t h i s j o u r n a l f r o m May 1852 t h r o u g h November 1854. A few months a f t e r he had begun w r i t i n g f o r t h e RP, Reyer was h i r e d as mus i c c r i t i c f o r the new l y f ounded A t h F . H i s " C h r o n i q u e m u s i c a l e " was p u b l i s h e d i n t h i s j o u r n a l f o r f o u r y e a r s , f r o m J u l y 1852 u n t i l t he end o f June 1856 (one month b e f o r e t h e AthF was ab so rbed by t h e Revue c o n t e m p o r a i n e ) . In t h e meant ime, a few months a f t e r he had l e f t t he RP, Reyer had become mus i c c r i t i c o f t h e RF. He h e l d t h i s po s t f rom the i n c e p t i o n o f t h e j o u r n a l i n F e b r u a r y 1855 u n t i l t h e end o f A p r i l 1857, when he became f e u i l l e t o n i s t e f o r t h e CP_. See Append i x A f o r f u l l c i t a t i o n s o f R e y e r ' s w r i t i n g s i n t h e s e and i n o t h e r p e r i o d i c a l s and newspape r s . 38 i n l a t e November, L o u i s Lambert took ove r t h e r e s p o n s i b i l i t y o f p r o v i d i n g mus i c c r i t i c i s m as w e l l as c h r o n i c l i n g e v e n t s i n t he w o r l d o f t h e t h e a t r e . H i s f e u i l l e t o n , e n t i t l e d " C o u r r i e r de P a r i s , " f i r s t appea red i n t h e i s s u e o f 23 November 1859. 68 39 A f t e r h e a r i n g Tannh 'auser a t Wiesbaden i n 1857, R e y e r - - a t t h e r e -que s t o f h i s f r i e n d Pau l d ' l v o y , mus ic c r i t i c o f L ' I ndependance b e i g e - - d i s p a t c h e d t o t h i s newspaper an anonymous r e v i e w . That same y e a r , Reyer p u b l i s h e d a s i g n e d a r t i c l e on B e r l i o z i n L ' A r t i s t e . A l t h o u g h Reyer had r e s i g n e d as mus i c c r i t i c f o r t h e RF i n A p r i l 1857, he c o n t r i -bu ted t h r e e more s i g n e d a r t i c l e s t o t h i s j o u r n a l b e f o r e p u b l i c a t i o n c e a s e d i n J u l y 1859. 4 ° R e y e r ' s l a s t s i g n e d a r t i c l e f o r t h e FM appea red i n 1858. H i s o n l y s i g n e d a r t i c l e f o r t h e RGMP was c i t e d above i n n. 3. 41 In June 1863 Walewsk i had r e s i g n e d . J u r i s d i c t i o n o ve r t h e i m p e r i a l t h e a t r e s and t h e C o n s e r v a t o i r e had become p a r t o f t he domain o f t h e M i n i s t e r o f t h e I m p e r i a l Househo ld and F i n e A r t s , M a r s h a l l J ean B a p t i s t e V a i l l a n t . See T. J . W a l s h , Second Empi re O p e r a : The T h e a t r e L y r i q u e , P a r i s , 1851-1870 ( London : John C a l d e r , 1981; New Y o r k : R i v e r -r un P r e s s , 1 9 8 1 ) , p. 162 . 42 S o u v e n i r s d ' A l l e m a g n e was s e r i a l i z e d i n n i n e t e e n f e u i l l e t o n s t h a t appeared i n t h e M o n i t e u r between 19 November 1864 and 22 J a n u a r y 1865. S e r v i e r e s s p e c u l a t e s t h a t R e y e r ' s o l d f r i e n d G a u t i e r m ight have prompted Walewsk i t o g i v e Reyer t h e c h a r g e o f v i s i t i n g Germany, and t h a t t h e s e r i a l i z a t i o n o f S o u v e n i r s may a l s o have been due t o t he e f f o r t s o f G a u t i e r , a f e u i l l e t o n i s t e f o r t h e M o n i t e u r s i n c e A p r i l 1855. (See S e r v i e r e s , " R e y e r e t G a u t i e r , " p. 76 . ) " S ouven i r s i s f u r t h e r d i s c u s s e d i n C h a p t e r I I . 43 D ' O r t i g u e had s u cceeded B e r l i o z upon t h e r e t i r e m e n t o f t h e l a t -t e r i n 1863. 44 D u r i n g h i s t w e l v e y e a r s as one o f t h e e d i t o r s , Reyer d i d not w r i t e f o r t h e RGMP, but some o f h i s w r i t i n g s f o r o t h e r p u b l i c a t i o n s were r e p r i n t e d i n t h i s j o u r n a l . 45 i n t h e c o u r s e o f a l o n g m u s i c a l c a r e e r , Henry L i t o l f f ( 1 818 -1891) was a c t i v e as a p i a n i s t , c o n d u c t o r , compose r , and mus ic pub-l i s h e r . D u r i n g t h e 1850s he ran a mus ic p u b l i s h i n g b u s i n e s s i n B run sw i ck and o r g a n i z e d f e s t i v a l s wh i ch f e a t u r e d some o f t he g r e a t e s t m u s i c i a n s i n E u r o p e . Among them was B e r l i o z , who r e c i p r o c a t e d L i t o l f f s a s s i s t a n c e by h e l p i n g him t o g i v e c o n c e r t s at P a r i s i n 1858. That same y e a r L i t o l f f s e t t l e d i n t h e F r e n c h c a p i t a l , where he became known as a c o n d u c t o r and p i a n o t e a c h e r . H i s S o c i e t e des c o n c e r t s de 1 'Ope ra was f ounded t o p r e s e n t f o r t n i g h t l y c o n c e r t s on Sunday, t h e day when t h e Opera d i d not o f f e r any t h e a t r i c a l p r o d u c t i o n . See Ado l phe B o s c h o t , Le F a u s t de B e r l i o z : e t u d e su r l a "Damnat i on de F a u s t " e t s u r l ' a m e r o m a n t i q u e , C o l l e c t i o n des g r ande s oeuv re s m u s i c a l e s , p u b l i e e sous l a d i r e c t i o n de Rene Dumesn i l ( P a r i s : E d i t i o n s m u s i c a l e s de l a L i b r a i r i e de F r a n c e , 1 9 2 7 ) , p. 181 . 46 Ado l phe J u l l i e n , JD f e u i l l e t o n o f 16 August 1903 . 69 47 wh i ch was g i v e n l a t e r i n November ( see B o s c h o t , Le F a u s t , p. 182 , and J u l l i e n , R e y e r , p. 3 1 ) . I t i s J u l l i e n who c r e d i t s Reyer w i t h h a v i n g been t h e f i r s t c o n d u c t o r t o win f a v o r f o r t h e e x c e r p t s . Reyer h i m s e l f d i d not even men t i on t h a t he had appeared as gues t c o n d u c t o r ; he s i m p l y remarked t h a t t h e a u d i e n c e s had been d e l i g h t e d by B e r l i o z ' s mus i c (JD f e u i l l e t o n o f 23 November 1 8 6 9 ) . In a n o t i c e p u b l i s h e d by a n o t a b l e c o n t e m p o r a r y s o u r c e , Reyer was p r a i s e d as " [ u n ] c h e f d ' o r c h e s t r e accom-p l i " who, at t h e second c o n c e r t , had r e c e i v e d a w e l l - d e s e r v e d o v a t i o n (RGMP 36 [28 November 1 8 6 9 ] : 3 8 9 ) . 48 Fo r e xamp le , on h i s way back t o P a r i s a f t e r a p l e a s u r e t r i p t h r o u g h S w i t z e r l a n d i n t h e summer o f 1859, he had gone t o Baden-Baden t o hear t h e annual i n t e r n a t i o n a l c o n c e r t c o n d u c t e d by B e r l i o z . See t he CP f e u i l l e t o n s o f 23 August and 6 and 7 September f o r R e y e r ' s d e l i g h t f u l d e s c r i p t i o n s o f h i s t r a v e l s as w e l l as t h e c o n c e r t . 49 As l a t e as 1886--when he was i n h i s e a r l y s i x t i e s — h e d e c l a r e d : " J ' a i m e a v o y a g e r . Pour un r i e n j e p rend s ma v a l i s e e t j e p a r s . " (JD f e u i l l e t o n o f 28 March 1886. ) 50 W i t n e s s h i s a c c e p t a n c e o f t h e o f f i c i a l m i s s i o n t o Germany i n 1863. Curzon a s s e r t s t h a t "une a u t r e m i s s i o n o f f i c i e l l e , en 1865 , l ' a v a i t c o n d u i t pour t r o i s mo i s a Rome." ( R e y e r , p. 4 2 . ) However , I have not e n c o u n t e r e d a s t a t e m e n t t o t h a t e f f e c t i n any o t h e r s o u r c e . Two l e t t e r s d i s p a t c h e d by Reyer f r om F l o r e n c e and Pompe i i i n 1865 a r e e x t a n t , but t h e y c o n t a i n no i n d i c a t i o n t h a t he was on an o f f i c i a l m i s -s i o n . The c o n t e n t s o f t h e l e t t e r s s ugge s t t h a t t h e y were add re s s ed t o C a m i l l e du L o c l e . Both l e t t e r s a re p r e s e r v e d i n t h e c o l l e c t i o n o f Reyer c o r r e s p o n d e n c e at t h e B i b l i o t h e q u e de 1 ' O p e r a ; see L. A. S. E r n e s t Reyer 235 and 236. 51 D e f i n e d i n n. 20 o f t h e P r e f a c e . 52 See t h e f o l l o w i n g i t ems i n t h e jJD: f e u i l l e t o n o f 16 J a n u a r y 1872 ( A T d a ) ; l e t t e r - a r t i c l e s f r om F l o r e n c e i n t he i s s u e s o f 16 and 18 September 1875 , pp . 2 and 3 r e s p e c t i v e l y ( M i c h e l a n g e l o C e n t e n a r y ) ; f e u i l l e t o n s o f 27 and 28 J u l y 1880 (Handel F e s t i v a l ) ; f e u i l l e t o n o f 23 May 1897 ( i n wh i ch he r e c a l l s h e a r i n g Ho iTande r i n F r ench t r a n s l a t i o n " i l y a q u e l q u e s annee s , a B r u x e l l e s " ) ; and a r e v i e w o f D i e M e i s t e r - s i n g e r i n an anonymous l e t t e r - a r t i c l e f r o m London , p u b l i s h e d i n t h e i s s u e o f 18 June 1882, p. 2 . ( Reye r l a t e r acknowledged i t s a u t h o r s h i p i n h i s f e u i l l e t o n o f 8 May 1887 . ) 53 See , f o r e x a m p l e , h i s f e u i 1 l e t o n o f 21 August 1882, i n wh ich he c a l l s a t t e n t i o n t o t h r e e young s i n g e r s whom he heard at T o u l o u s e , then a rgues t h a t t h e P a r i s C o n s e r v a t o i r e s h o u l d r e e s t a b l i s h i t s p e n s i o n n a t ( w h i c h p r o v i d e d f r e e room, b o a r d , and t u i t i o n f o r o u t s t a n d i n g s t u d e n t s f r om t h e F rench p r o v i n c e s ) . 54 My e x a m i n a t i o n o f t h e J ID—us i ng methods d e s c r i b e d i n Append i x A - - u n c o v e r e d s e ven teen c o m m u n i c a t i o n s f r om t h e R i v i e r a , d a t i n g f rom 1880 70 t o 1895. The f i r s t f i f t e e n , a l l o f wh i ch were w r i t t e n f rom Monaco, were p u b l i s h e d as anonymous l e t t e r - a r t i c l e s ; t h e y can be a t t r i b u t e d t o Reyer on t h e s t r e n g t h o f C u r z o n ' s s t a t e m e n t t h a t t h e c r i t i c sent t o the JD " d e s L e t t r e s . . . chaque annee , de Monaco (en f e v r i e r - m a r s , d e p u i s 1 8 8 0 ) " ( R e y e r , p. 1 9 1 ) . The l a s t two c o m m u n i c a t i o n s — o n e f rom Monaco, and one f r o m N i c e — w e r e p u b l i s h e d as s i g n e d f e u i l l e t o n s (8 March 1894 and 16 March 1 8 9 5 ) . In t h e s e s e v e n t e e n c o m m u n i c a t i o n s Reyer w ro te not o n l y about o p e r a a t t h e T h e a t r e de M o n t e - C a r l o , bu t a l s o about o t h e r f a c e t s o f m u s i c a l l i f e at t h e r e s o r t c i t i e s . For e x a m p l e , i n h i s f i r s t l e t t e r - a r t i c l e f r om Monaco he d e v o t e d as much space t o a c o n c e r t g i v e n at Cannes by t he F r ench h a r p i s t Hasse lmans as t o a p e r f o r m a n c e o f Gounod ' s F au s t at t h e T h e a t r e de M o n t e - C a r l o (JD_, 7 F e b r u a r y 1880 , p. 3 ) . 55 A c c o r d i n g t o A d o l p h e J u l l i e n , JD f e u i l l e t o n o f 14 November 1909. 55 Fo r f u r t h e r i n f o r m a t i o n on t he c o n t e n t s o f and c r i t i c a l r e a c t i o n t o Notes de mu s i que , see C h a p t e r I I . 57 Tom S. W o t t o n , H e c t o r B e r l i o z ( London : O x f o r d U n i v e r s i t y P r e s s , Humphrey M i l f o r d , 1 9 3 5 ) , p. 176. The two commemorat ive c o n c e r t s o r " f e s t i v a l s " w i l l be d i s c u s s e d i n C h a p t e r V I I . 58 F e l i c i e n Dav id and Reyer had each been nominated t o s u c c e e d B e r l i o z i n 1869, but Reyer had w i t h d r a w n , out o f r e s p e c t bo th f o r Da v i d and f o r t h e memory o f B e r l i o z . (See R e y e r ' s l e t t e r t o t h e e d i t o r o f t h e JD , p u b l i s h e d i n t he i s s u e o f 15 March 1869, p. 2; t h e same l e t t e r was s en t t o t h e e d i t o r s o f t h e newspaper s Le F i g a r o and La F r a n c e . ) On t he f i r s t a n n i v e r s a r y o f R e y e r ' s e l e c t i o n t o t he I n s t i t u t , he p r e s e n t e d a speech h o n o r i n g t h e memory o f D a v i d . T h i s speech was pub -l i s h e d w i t h t he t i t l e I n s t i t u t de F r a n c e . Academie des B e a u x - A r t s . N o t i c e s u r F e l i c i e n D a v i d , p a r M. E. R e y e r , membre de 1 ' A c a d e m i e . Lue dans l a seance du 17 novembre 1877 ( P a r i s ! F i r m i n - D i d o t , 1 8 7 7 ) . The speech was a l s o p r i n t e d ( w i t h t h e e r r o n e o u s d a t e "22 novembre" i n t h e t i t l e ) i n t h e RGMP 44 (25 November 1 8 7 7 ) : 3 7 0 - 7 2 . 59 See t h e f o l l o w i n g JD f e u i l l e t o n s : 11 F e b r u a r y 1887 ( O t e l l o a t M i l a n ) , and 20 March 1887 as w e l l as 18 J a n u a r y 1891 ( L a V a l k y r i e and S i e g f r i e d , r e s p e c t i v e l y , a t B r u s s e l s ) . 6 0 I b i d . , 20 September 1891. 61 See R e y e r ' s r e v i e w o f t h e O p e r a ' s V a l k y r i e i n i b i d . , 13 May 1893. 62 See E r n e s t R e y e r , " L a C r i t i q u e m u s i c a l e : C a s t i 1 - B l a z e , H. B e r l i o z , " i n Le L i v r e du c e n t e n a i r e du " J o u r n a l des D e b a t s , " 1789-1889 ( P a r i s : L i b r a i r i e P l o n , 1 8 8 9 ) , p p . 4 2 7 - 4 0 . The e s s a y c o n c l u d e s w i t h a few p a r a g r a p h s about t h e w r i t i n g s o f d ' O r t i g u e , who had h e l d the pos t o f f e u i 1 l e t o n i s t e f o r o n l y t h r e e y e a r s . 71 63 Both o f R e y e r ' s speeches were p u b l i s h e d . The one wh ich he d e l i v e r e d a t t h e ceremony i n P a r i s on 17 O c t o b e r 1886 was p r i n t e d t h a t v e r y day as t h e JD f e u i l l e t o n , and was l a t e r p u b l i s h e d i n I n s t i t u t de F r a n c e . Academie des B e a u x - A r t s . I n a u g u r a t i o n de l a s t a t u e de B e r l i o z a P a r i s , l e 17 o c t o b r e 1886. D i s c o u r s de M. l e V L e H. D e l a b o r d e . . . L e t d i s c o u r s de MM. C h a r l e s G a m i e r e t R e y e r J ( P a r i s : F i r m i n - D i d o t , 1 8 8 6 ) . The speech g i v e n by Reyer at La Cote S a i n t - A n d r e on 28 September 1890 was p r i n t e d i n t h e _JD o f 29 September ( p p . 2 - 3 ) . 64 The s h a r i n g o f t h e d u t i e s o f f e u i l l e t o n i s t e i s not men t i oned i n any o f t he l i t e r a t u r e on Reyer t h a t I have e n c o u n t e r e d ; I d i s c o v e r e d J u l l i e n ' s p a r t i c i p a t i o n i n t h e c o u r s e o f e x a m i n i n g t h e JD ( see Append i x A ) . J u l l i e n f i r s t s u b s t i t u t e d f o r Reyer i n 1893, when t he e l d e r c r i t i c t ook h i s w i n t e r and summer v a c a t i o n s . In l a t e r y e a r s , J u l l i e n c o n t i n u e d t o s u b s t i t u t e f o r Reyer when t h e l a t t e r was on h o l i d a y ; d u r i n g the r e s t o f each y e a r , t h e f e u i l l e t o n was w r i t t e n somet imes by R e y e r , somet imes by J u l l i e n . As t h e y e a r s p a s s e d , Reyer w ro te f ewer and fewer f e u i H e - t o n s . In 1898, t h e y e a r o f h i s r e t i r e m e n t , he w ro t e o n l y two ( p u b l i s h e d i n t h e i s s u e s o f 12 and 26 J u n e ) . 65 As p r e v i o u s l y i n d i c a t e d ( see above , n. 5 4 ) , I l o c a t e d i n t he JD s e v e n t e e n c o m m u n i c a t i o n s d i s p a t c h e d by Reyer f rom t h e R i v i e r a d u r i n g F e b r u a r y - M a r c h o f t h e y e a r s 1 880 - 95 . S i n c e my e x a m i n a t i o n s o f t h i s p e r i o d i n 1896 and 1897 d i d not b r i n g t o l i g h t any such w r i t i n g s , I c o n -c l u d e d t h a t t h e a g i n g c r i t i c had s t opped t a k i n g h i s annual w i n t e r v a c a -t i o n on t h e R i v i e r a . T h i s s u p p o s i t i o n was c o n f i r m e d by h i s f e u i l l e t o n o f 25 A p r i l 1897, i n wh i ch he l o v i n g l y d e s c r i b e d L a vandou , where he had s pen t t h e w i n t e r . A c c o r d i n g t o Ado lphe J u l l i e n , Reyer r e t u r n e d t o Lavandou e v e r y w i n t e r f o r t he r e s t o f h i s l i f e ( R e y e r , pp . 4 4 - 4 5 ) . 66 The bu s t was i n a u g u r a t e d sometime between 1900 and R e y e r ' s dea th i n 1909. See A d o l p h e B o s c h o t , " L a V i e de P a r i s : l a B i b l i o t h e q u e de 1 ' O p e r a , " Le F i g a r o , 20 J a n u a r y 1909 , p. 1. 6 7 The t h r e e o t h e r m u s i c i a n s who had a t t a i n e d t h i s r ank were V e r d i , Gounod, and A m b r o i s e Thomas. 68 The p e r f o r m a n c e s o f Salammbo and L a S t a t u e took p l a c e as s c h e -d u l e d : d u r i n g t he f i r s t week i n March 1903 Salammbo was p r e s e n t e d on Monday and a g a i n on S a t u r d a y , and L a S t a t u e was s t aged on F r i d a y . How-e v e r , t he p e r f o r m a n c e o f S i g u r d — s c h e d u l e d f o r Wednesday, 4 M a r c h — h a d t o be po s tponed a t l e a s t t w i c e because o f t h e i l l n e s s o f Jean de R e s z k e , t h e c e l e b r a t e d t e n o r who was t o s i n g t h e t i t l e r o l e . (See the announce-ments i n t h e co lumn " C o u r r i e r des t h e a t r e s , " Le F i g a r o , 4 and 22 March 1903 . ) 69 As Reyer was t o o f r a i l t o make t h e j o u r n e y t o G r e n o b l e f o r t he u n v e i l i n g o f t h e B e r l i o z Monument, he was r e p r e s e n t e d by a f r i e n d , t h e m u s i c o l o g i s t J u l i e n T i e r s o t . A heavy r a i n f a l l d u r i n g t he ceremony p r e -v e n t e d t h e d e l i v e r i n g o f any o f t he s p e e c h e s , and a l l were t h e r e f o r e p u b l i s h e d t he n e x t mo rn i ng i n t h e l o c a l p a p e r s . R e y e r ' s was r e p r i n t e d 72 i n bo th Le Gu i de m u s i c a l 49 (23 and 30 Augus t 1 9 0 3 ) : 6 0 5 - 7 , and Le Monde m u s i c a l 15 (30 Augus t 1 9 0 3 ) : 2 4 5 - 4 6 . R e y e r ' s a r t i c l e , e n t i t l e d " B e r l i o z . - - S o u v e n i r s i n t i m e s , " was p u b l i s h e d i n i b i d . , B e r l i o z number (30 Novem-be r 1 9 0 3 ) : 3 3 5 . 7 0 E d i t o r s ' i n t r o d u c t o r y remark s t o R e y e r ' s " B e n j a m i n G o d a r d , " Le F i g a r o , 22 November 1904, p. 1. Much o f R e y e r ' s a r t i c l e was r e p r i n t e d i n " P o u r Ben jamin G o d a r d , " Le Monde m u s i c a l 17 (30 J a n u a r y 1 9 0 5 ) : 1 4 . 71 The " L e t t r e en g u i s e de p r e f a c e , a M o n s i e u r Hen r i M a r e c h a l , " c o m p r i s e s pp. v - x v i n M a r e c h a l ' s P a r i s , s o u v e n i r s d ' u n m u s i c i e n : 185 1870 ( P a r i s : L i b r a i r i e H a c h e t t e , 1 9 0 7 ) . 72 E r n e s t R e y e r , Qua ran te ans de m u s i q u e , c o m p i l e d , w i t h a p r e f a c e and n o t e s , by E m i l e H e n r i o t ( P a r i s : C a l m a n n - L e v y , 1 9 0 9 ) . See my C h a p t e r I I f o r an a ccoun t o f H e n r i o t ' s r o l e i n t h e p r e p a r a t i o n o f t h e v o l u m e , a f u l l e r d e s c r i p t i o n o f t h e c o n t e n t s , and a d i s c u s s i o n o f c r i t i c a l r e a c t i o n t o t h i s work . 73 Fo r d e s c r i p t i o n s o f t h e s e r v i c e s a t Lavandou and at M a r s e i l l e , see " L e s Obseques de M. E r n e s t R e y e r , " JD o f 18 , 19 , and 20 J a n u a r y 1909 ( p . 2 i n each i s s u e ) . 74 T h i s i n f o r m a t i o n o c c u r s i n t h e memoirs o f Andre G e r m a i n , g r a n d -son o f one o f R e y e r ' s c o n t e m p o r a r i e s ; see Les C l e s de P r o u s t ( P a r i s : E d i t i o n s Sun, 1 9 5 3 ) , p. 106. V i r t u a l l y n o t h i n g i s known about R e y e r ' s w i f e and d a u g h t e r . They were not even men t i oned i n a c c o u n t s o f t he f u n e r a l s e r v i c e s f o r t h e c r i t i c . When H e n r i o t t hanked t he s e v e r a l p e r -sons whose " o b l i g e a n c e " f a c i l i t a t e d t h e c o m p i l i n g o f Q u a r a n t e , he named R e y e r ' s d a u g h t e r ( p . x v i i i ) but no t t h e w i f e o f t h e l a t e c r i t i c . 75 Henry R o u j o n , I n s t i t u t de F r a n c e . Academie des B e a u x - A r t s . N o t i c e s u r l a v i e e t l e s t r a v a u x de M. E r n e s t Reyer ( 1 8 2 3 - 1 9 0 9 ) , membre de 1 ' A cadem ie ( P a r i s : F i r m i n - D i d o t , 1 9 1 1 ) . R o u j o n ' s t r i b u t e was a l s o p r i n t e d i n t he Sunday Supp lement t o t he JD o f 12 November 1911 , and was r e p r i n t e d as t h e c h a p t e r " R e y e r : N o t i c e ~ T u e a 1 ' Academie des B e a u x - A r t s dans l a seance de 11 novembre 1 9 1 1 , " i n R o u j o n ' s A r t i s t e s e t amis des a r t s ( P a r i s : H a c h e t t e , 1 9 1 2 ) , p p . 196 -224 . 76 The " ' S a l u t ' E r n e s t R e y e r , " h e l d at t h e Opera on 25 November 1920, began w i t h L o u i s V u i l l e m i n ' s r e a d i n g o f h i s a c coun t o f R e y e r ' s c a r e e r as a compose r . T h i s d i s c o u r s e was s u b s e q u e n t l y p u b l i s h e d as " E r n e s t R e y e r , 1 8 2 3 - 1 9 0 9 , " Le M e n e s t r e l 82 (3 and 10 December 1 9 2 0 ) : 4 6 9 -72 and 4 8 1 - 8 3 . 77 Rev iews o f t h e r e v i v a l o f S i g u r d at t h e Opera i n c l u d e J u l l i e n ' s f e u i l l e t o n i n t h e JTJ o f 9 December 1923 , and Pau l B e r t r a n d ' s " L a Semaine m u s i c a l e . Ope ra : r e p r i s e de S i g u r d , " Le M e n e s t r e l 85 (7 December 1 9 2 3 ) : 5 1 4 - 1 5 . The e v e n t s h e l d at M a r s e i l l e were d e s c r i b e d i n E m i l e de V i r e u i l ' s " M a r s e i l l e : c e n t e n a i r e de R e y e r , " i b i d . (21 December 1 9 2 3 ) : 543 . 73 / a As i n d i c a t e d above i n n. 3 3 , t h e r e v i v a l was s t a g e d on 17 O c t o -b e r . See t h e f o l l o w i n g i t e m s i n Le F i g a r o : a b r i e f r e v i e w ( " Le R e p r i s e de S i g u r d a 1 ' O p e r a , " 19 O c t o b e r 1934, p. 6 ) , and R e y n a l d o Hahn ' s f e u i l - l e t o n o f 24 O c t o b e r 1934. 79 At t h e i n a u g u r a t i o n o f t h e monument, a speech was g i v e n by Ado l phe Bo s cho t on b e h a l f o f t h e I n s t i t u t ; i t was l a t e r p u b l i s h e d as I n s t i t u t de F r a n c e . Academie des B e a u x - A r t s . I n a u g u r a t i o n du monument d ' E r n e s t Reyer a M a r s e i l l e , l e 16 decembre 1934 ( P a r i s : F i r m i n - D i d o t , 1 934 ) . The p e o p l e o f Lavandou had not f o r g o t t e n R e y e r : t h e y had i n a u g u -r a t e d a s m a l l monument and a commemorat ive p l a q u e i n 1913 and 1929 r e s p e c t i v e l y . A pho tog r aph o f t h e monument accompan ie s t h e a r t i c l e "Un Monument a E r n e s t R e y e r , " L ' I l l u s t r a t i o n 71 (8 F e b r u a r y 1 9 1 3 ) : 1 2 0 -The re i s a r e f e r e n c e t o t h e i n a u g u r a t i o n o f t h e p l a q u e on t h e " V i l l a R e y e r " i n an a r t i c l e e n t i t l e d " S o u v e n i r s s u r Georges L e y g u e s , " p u b l i s h e d i n t h e T o u l o n newspaper o f 4 September 1933. T h i s a r t i c l e and s e v e r a l documents c o n c e r n i n g t h e e r e c t i o n o f t h e Reyer Monument at M a r s e i l l e a r e a l l i n c l u d e d i n t h e Reye r " D o s s i e r d ' A r t i s t e " at t h e B i b l i o t h e q u e de 1 ' O p e r a . 8 0 JTJ f e u i l l e t o n o f 29 May 1892. 8 1 B i b l i o t h e q u e de T O p e r a , L. A. S. E r n e s t R e y e r , no s . 1 -224, 2 2 9 -68 , and 271 - 74 . The c o l l e c t i o n a l s o i n c l u d e s s i x c a r t e s de v i s i t e ( no s . 2 2 5 - 2 8 , 2 69 - 70 , and 2 7 5 - 7 6 ) , f o u r t e l e g r a m s ( n o s . 2 7 7 - 8 0 ) , and MSS o f t h r e e f e u i l l e t o n s ( no s . 2 8 1 - 8 3 ; i d e n t i f i e d be low i n n. 9 9 ) . 8 2 P i e r r e L a l o , De Rameau a R a v e l : p o r t r a i t s e t s o u v e n i r s , c o m p i l e d , w i t h a p r e f a c e , by G u s t a v e S a m a z e u i l h ( P a r i s : E d i t i o n s A l b i n M i c h e l , 1 9 4 7 ) , p. 8 5 . The c h a p t e r " E r n e s t R e y e r " ( pp . 83 -93 i n t h i s posthumous c o l l e c t i o n ) was o r i g i n a l l y p u b l i s h e d i n Le Temps, 6 August 1941. 8 3 M a u r i c e D r e y f o u s , Ce que j e t i e n s a d i r e : un d e m i - s i e c l e de cho se s vues e t e n t e n d u e s , 1862 -1872 , 5 th e d . ( P a r i s : L i b r a i r i e Pau l O l l e n d o r f f , n . d . ; o r i g i n a l l y p u b l i s h e d i n 1 912 ) , pp. 8 9 - 9 0 . 84 E r n e s t R e y e r , CP f e u i l l e t o n o f 11 September 1857. 85 Quoted by L a l o , De Rameau a R a v e l , p. 90 . 86 R e y e r , Notes (page i s not numbered ) . 87 Quoted by Georges P i o c h , " E r n e s t Reyer c ampagna rd , " M u s i c a 5, Reyer number ( F e b r u a r y 1 9 0 7 ) : 2 9 . 88 C u r z o n , R e y e r , p. 64 . 89 L a l o , De Rameau a R a v e l , p. 8 4 . 74 9 0 NG, s . v . " M a s s e n e t , J u l e s ( E m i l e F r e d e r i c ) , " t e x t by M a r t i n Coope r , p. 8 0 1 . 91 M a r i e - M a g d e l e i n e , w h i c h so i m p r e s s e d t h e g r e a t m e z z o - s o p r a n o P a u l i n e V i a r d o t - G a r c i a t h a t she came out o f r e t i r e m e n t t o s i n g t h e t i t l e r o l e , was p r a i s e d by Reyer as " [ u n e ] o e u v r e g r a c i e u s e e t f o r t e , p l e i n e d ' e l e v a t i o n e t de p o e s i e c h r e t i e n n e q u i , t o u t e p r o p o r t i o n g a r d e e , f e r a pour l a j e u n e renommee de M. J u l e s Massenet ce que 1 ' E n f a n c e du C h r i s t a f a i t pour l a g l o i r e d ' H e c t o r B e r l i o z . Que l e c i e l vous r ecompense , mon j e u n e e t v a i l l a n t c o n f r e r e . " (JD f e u i l l e t o n o f 23 A p r i l 1873) See a l s o t h e r e v i e w s o f Manon and Wer the r i n i b i d . , 26 J a n u a r y 1884 and 22 J a n u a r y 1893 r e s p e c t i v e l y . ( A l l t h r e e r e v i e w s were r e p r i n t e d i n Q u a r a n t e , p p . 3 2 9 - 3 7 , 3 49 - 57 , and 3 5 8 - 7 2 . ) 92 " R e y e r i n t i m e , " Le F i g a r o , 19 J a n u a r y 1909, p. 1. T h i s a r t i c l e , s i g n e d "Un t e m o i n , " was a t t r i b u t e d t o Widor by Cu rzon ( R e y e r , p. 6 5 ) . 93 J u l l i e n , R e y e r , p. 4 5 . R e y e r ' s l e t t e r s t o J u l l i e n c o n s t i t u t e much o f t h e c o l l e c t i o n L. A. S. E r n e s t Reyer i n t h e B i b l i o t h e q u e de 1 ' O p e r a . 94 P i o c h , " R e y e r c ampagna rd , " p. 28 . 95 Quoted by C u r z o n , R e y e r , p. 67 . Cu r zon d i d not i d e n t i f y t h e f r i e n d . 96 J u l l i e n , JD f e u i l l e t o n o f 14 November 1909. 97 H e n r i o t , P r e f a c e t o Q u a r a n t e , p. i v . 98 i n 1909 H e n r i o t d e c l a r e d t h a t " l e s f e u i l l e t o n s que Reyer p u b l i a au C o u r r i e r de P a r i s de 1857 a 1860 e t au J o u r n a l des Debat s de 1866 a 1899 e t dont i l donna sa p r o p r e c o l l e c t i o n a l a b i b l i o t h e q u e de l ' O p e r a . . . s on t t o u s s o i gneu sement r e v u s , c o r r i g e s , annote s de sa m a i n . " ( I b i d . ) By 1924, however , t h e C o u r r i e r f e u i l l e t o n s had e v i d e n t l y d i s a p p e a r e d f rom t h e c o l l e c t i o n , f o r H e n r i de Cu r zon o b s e r v e d : "I I e s t a s s e z m a l a i s e de r e t r o u v e r ses a r t i c l e s du C o u r r i e r de P a r i s . . . , ma i s ceux du J o u r n a l des Debat s . . . s on t p l u s a c c e s s i b l e s : l a c o l l e c t i o n en e s t a l a b i b l i o t h e q u e de l ' O p e r a . " ( " L e C e n t e n a i r e d ' E r n e s t R e y e r , " Le Monde m u s i c a l 35 [ J a n u a r y 1 9 2 4 ] : 7 . ) C u r z o n ' s r e f e r e n c e t o t h e c o l l e c t i o n i s t h e l a s t t h a t I have e n c o u n t e r e d . When I made e n q u i r i e s a t t h e B i b l i o t h e q u e de l ' O p e r a , t h e p r o f e s s i o n a l s t a f f i n f o r m e d me t h a t t h e y knew n o t h i n g about such a c o l l e c t i o n . 99 P u b l i s h e d i n t h e i s s u e s o f 8 March 1894, 16 March 1895, and 8 Augus t 1897. The MSS a r e i n t h e B i b l i o t h e q u e de l ' O p e r a , L. A. S. E r n e s t R e y e r , n o s . 2 8 1 , 283 , and 282 r e s p e c t i v e l y . 75 1 U U F o r e x a m p l e , s t a t e m e n t s about Weber i n F e t i s B were quoted and d i s p u t e d by Reyer i n h i s r e v i e w s o f Oberon and E u r y a n t h e (RF Annee 3, Tome 8 [20 March 1 8 5 7 ] : 3 8 2 - 8 3 , and CP f e u i l l e t o n o f 30 September 1 857 ) . Reyer quo ted Wagner on R i e n z i and B e r l i o z on Romeo e t J u l i e t t e (JD f e u i l l e t o n s o f 18 A p r i l 1869 and 8 December 1894 r e s p e c t i v e l y ) . In a d i s c u s s i o n o f t h e f o r t h c o m i n g P a r i s i a n p r e m i e r e o f Schumann ' s Das P a r a d i e s und d i e P e r i ( i b i d . , 31 O c t o b e r 1 8 6 9 ) , Reyer o f f e r e d one e x c e r p t — a l r e a d y g i v e n i n F rench t r a n s l a t i o n i n Le M e n e s t r e l - - f r o m Joseph W a s i e l e w s k i 1 s b i o g r a p h y o f t he compose r , and one e x c e r p t f r om the a r t i c l e i n F e t i s B . 1 Q 1 JD f e u i l l e t o n o f 8 December 1894. 102 J u l l i e n , R e y e r , p. 6 3 . 103 R e y e r , JD f e u i l l e t o n o f 8 December 1894 ; see t h e l o n g e r e x c e r p t g i v e n above on p. 4 7 . 1 0 4 L a l o , De Rameau a R a v e l , p. 88 . 105 A modern s c h o l a r o b s e r v e s t h a t " t o n i n e t e e n t h - c e n t u r y F r a n c e , o r i e n t a l i s m meant not C h i n a and J a p a n , but r a t h e r T u r k e y , t o a c e r t a i n deg ree G r e e c e , t h e H o l y L a n d s , A r a b i a , E g y p t , A l g e r i a and Moslem N o r t h A f r i c a . " (Mo r ton J a y A c h t e r , " F e l i c i e n D a v i d , Amb ro i s e Thomas, and F r e n c h Opera L y r i q u e , 1850 -1870 " [ Ph .D . d i s s e r t a t i o n , U n i v e r s i t y o f M i c h i g a n , 1 9 7 2 J , p. 10 . ) I n t e r e s t i n t h e Near Eas t and No r th A f r i c a was pe rhap s s t i m u l a t e d by F r a n c e ' s c o l o n i a l a d v e n t u r e s . Apropos o f Le D e s e r t , A c h t e r r e m a r k s : "The t e rm ode - s ymphon ie appea r s t o be D a v i d ' s own . " ( I b i d . , p. 12n . ) Reyer s u b t i t l e d Le Se lam " s ymphon ie o r i e n t a l e en q u a t r e p a r t i e s , " but many c r i t i c s p o i n t e d ou t t h a t t h i s work was a no the r example o f " 1 ' o d e - s y m p h o n i e , oh l a symphonie e s t e n t r e c o u p e e de s t r o p h e s d e c l a m e e s " ( A d o l p h e J u l l i e n , A i r s v a r i e s [ P a r i s : G. C h a r p e n t i e r , 1 8 7 7 ] , p. 1 6 6 ) . 1 0° Georges S e r v i e r e s , La Mus ique f r a n g a i s e moderne: Ce sa r F r a n c k ; Edouard L a l o ; J u l e s M a s s e n e t ; E r n e s t R e y e r ; C a m i l l e S a i n t - S a e n s ( P a r i s : G. Havard f i l s , 1 8 9 7 ) , p. 255 . Le D e s e r t c o n s i s t s o f t h r e e p a r t s wh i ch a r e c o n n e c t e d by a " p l o t " ( A c h t e r , " O p e r a L y r i q u e , " p. 5 0 ) , whereas Le Se lam c o n s i s t s o f f o u r p a r t s wh i ch d e p i c t " d i v e r s e p i s o d e s de l a v i e a r a b e " ( J u l l i e n , R e y e r , p. 1 2 ) . 1 ° 7 As p r e v i o u s l y i n d i c a t e d , Reyer l i v e d i n A l g i e r s f r om the age o f s i x t e e n u n t i l h i s m i d - t w e n t i e s . When he l a t e r went t o C a i r o t o r e v i e w t h e w o r l d p r e m i e r e o f ATda f o r r e a d e r s o f t h e JD, he t r a v e l l e d e x t e n -s i v e l y i n Egypt ( s ee t he f e u i l l e t o n s o f 16 J a n u a r y and 17 F e b r u a r y 1 8 7 2 ) . 1 ° 8 I b i d . , 3 May 1878. 109 i b i d . , 21 June 1885 . 76 H O Quoted by C a m i l l e Le Ser ine, " P e r i o d e c o n t e m p o r a i n e : E r n e s t Reyer ( 1 8 2 3 - 1 9 0 9 ) , " i n EMDC I, 3 :1723 . H I C u r z o n , R e y e r , p. 135, and S e r v i e r e s , Mus ique f r a n g a i s e moderne, p. 247 . 112 Raoul B r e v a n n e s , " S i g u r d , " M u s i c a 5, Reyer number ( F e b r u a r y 1 9 0 7 ) : 2 2 . 113 Eugene de S o l e n i e r e , " E r n e s t R e y e r , " Le Monde m u s i c a l 15 (15 March 1 9 0 3 ) : 7 0 . H 4 Quoted by C u r z o n , R e y e r , p. 8 2 . The au tho r o f t he second quo -t a t i o n i s i d e n t i f i e d by Curzon as " F i o r e n t i n o " (pen name o f A. de R o v r a y , m u s i c c r i t i c f o r t h e M o n i t e u r u n i v e r s e l ) . 1 1 5 JD f e u i l l e t o n o f 24 A p r i l 1861 . H 6 S o l e n i e r e , " R e y e r , " p. 70 . H 7 S e r v i e r e s , Mus ique f r a n g a i s e moderne, p. 225 . B e r l i o z , i n h i s v e r y c o m p l i m e n t a r y r e v i e w o f t h e p r e m i e r e o f Le Se l am, p r a i s e d t he " C o n -j u r a t i o n " as " f o r t c u r i e u x e t d ' u n e f f e t v r a i m e n t o r i g i n a l " (JD f e u i l i e - t o n o f 13 A p r i l 1 8 5 0 ) . More t han f i f t y y e a r s l a t e r , both o f R e y e r ' s b i o g r a p h e r s ag reed t h a t t h e " C o n j u r a t i o n " was t h e f i n e s t p a r t o f t h e work ( s ee J u l l i e n , R e y e r , p. 52 , and C u r z o n , R e y e r , p. 7 3 ) . 118 Re se r ve des MSS a u t o g r a p h e s , A. 598 a 1 - 1 1 . H 9 JD f e u i l l e t o n o f 15 September 1858. 1 2 ° S e r v i e r e s , Mus ique f r a n g a i s e moderne, p p . 249 and 264 . 121 P a t r i c k J . S m i t h , "The m u s i c a l u n d e r g r o u n d : a c ompa r i s on o f p i r a t e r e c o r d i n g s . E r n e s t R e y e r : S i g u r d ( 1 8 8 4 ) , " M u s i c a l N e w s l e t t e r 5 (Summer 1 9 7 5 ) : 2 0 . 122 S e r v i e r e s , Mus ique f r a n g a i s e moderne, p. 225 . 123 i n A c t I a l o n e t h e r e a r e t h r e e e f f e c t s wh i ch p a r t i c u l a r l y imp re s s ed B e r l i o z : t h e use o f t h e c o r a n g l a i s t o accompany M a r g y a n e ' s c o u p l e t s , g i v i n g them "une p h y s i o n o m i e s p e c i a l e , un peu t r i s t e , p a r -f a i t e m e n t m o t i v e e par l a s i t u a t i o n " ; i n t h e mus ic f o r t h e p a s s i n g o f t h e c a r a v a n , B e r l i o z no ted " de s d e s s i n s de f l u t e s e t un t r a i t c o n t i n u e de ba s sons du p l u s p i q u a n t e f f e t " ; a nd , i n t h e accompaniment t o S e l i m ' s n a r r a t i o n o f h i s a d v e n t u r e s , t h e t r o m b o n e s ' a s c e n d i n g p r o g r e s s i o n , " q u i e s t une t r o u v a i l l e m u s i c a l e . " (JD f e u i l l e t o n o f 24 A p r i l 1861. ) 124 H. Robe r t Cohen, " B e r l i o z on t h e Opera ( 1 8 2 9 - 1 8 4 9 ) : A S t udy i n Mu s i c C r i t i c i s m " ( Ph .D . d i s s e r t a t i o n , New York U n i v e r s i t y , 1 973 ) , p. 84 . 77 See t h e c h a p t e r on L a l o ' s o p e r a i n S t e w a r t W a l t e r S h a r p , J r . , " The T w i l i g h t o f F r e n c h Opera L y r i q u e , 1880 -1900 " (D.M.A. d i s s e r t a t i o n , U n i v e r s i t y o f K e n t u c k y , 1 9 7 5 ) , pp. 2 2 3 - 7 3 . 126 S m i t h , " P i r a t e r e c o r d i n g s , " p. 20 . 127 A c c o r d i n g t o S e r v i e r e s , " C e r t a i n e s s cenes de S i g u r d , l a c e l e -b r a t i o n des noces de Gun the r e t de B r u n e h i l d , pa r e xemp l e , r a p p e l l e n t de f o r t p r e s q u e l q u e s pages du p r e m i e r a c t e des T r o y e n s " (Mus ique f r a n g a i s e moderne, p. 2 7 3 ) . Sm i th n o t e s t h a t , i n t h e f i n a l s cene o f S i g u r d , H i l d a has a " D i d o - l i k e c l i m a c t i c v i s i o n o f t h e r u i n a t i o n o f t h e House o f Gun-t h e r " ( " P i r a t e r e c o r d i n g s , " p. 2 0 ) . We m igh t add t h a t t h e f i n a l s cene o f R e y e r ' s o p e r a has o t h e r s t r i k i n g r e s e m b l a n c e s t o t h a t o f B e r l i o z ' s m a s t e r p i e c e : i n Les T r o y e n s , a v i s i o n o f Rome r i s e s above D i d o ' s p y re w h i l e t h e T r o j a n March r i n g s ou t i n t h e o r c h e s t r a ; i n S i g u r d , a v i s i o n o f t h e s p i r i t s o f S i g u r d and B r u n e h i l d g lows above t h e i r p y re w h i l e one o f t h e o p e r a ' s p r i n c i p a l m o t i f s s u r ge s t h r o u g h t h e o r c h e s t r a . S i g u r d i s d i s c u s s e d a t l e n g t h i n C u r z o n ' s Reyer ( p p . 111-58 ) and i n h i s La Legende de S i g u r d dans l ' E d d a : 1 ' o p e r a d ' E . Reyer ( P a r i s : L i b r a i r i e F i s c h b a c h e r , 1 890 ) . However, Curzon i s — i n t h e words o f h i s c o n t e m p o r a r y S e r v i e r e s — " [ u n ] p a n e g y r i s t e c o n v a i n c u " (Mus ique f r a n g a i s e moderne, p. 2 5 1 ) . The b e s t a n a l y s e s o f t h e l i b r e t t o and mus i c o f S i g u r d a r e by S e r v i e r e s ( i b i d . , pp. 2 4 1 - 5 4 ) , J u l l i e n ( R e y e r , pp . 6 7 - 7 9 ) , and Sm i t h ( " P i r a t e r e c o r d i n g s , " p p . 1 9 - 2 1 ) . My comments a re based on t h e s e s o u r c e s . 128 R e y e r , JD f e u i l l e t o n o f 21 June 1885. ( A f t e r t h e P a r i s i a n p r e -m i e r e o f S i g u r d , Reyer d e s c r i b e d f o r h i s r e a d e r s t h e l o n g g e s t a t i o n o f t h i s wo r k . ) 129 S m i t h , " P i r a t e r e c o r d i n g s , " p. 20 . 130 i b i d . Sm i th e x p r e s s e s a s i m i l a r judgement i n h i s book: " . . . S i g u r d , a l t h o u g h c l o s e l y l i n k e d t h e m a t i c a l l y t o Wagner, i s p r o b a b l y t h e l e a s t a f f e c t e d by t h e German o f t h e l a t e r F r e n c h Grands O p e r a s " (The Ten th Muse: A H i s t o r i c a l S t udy o f t h e Opera L i b r e t t o [New Y o r k : A l f r e d A. K n o p f , 1 9 7 0 J , p. 3 1 2 ) . 131 Idem, " P i r a t e r e c o r d i n g s , " p. 20 , and J u l l i e n , R e y e r , p. 72 . 132 JD f e u i l l e t o n o f 21 June 1885. See a l s o Edmond L o c a r d , "Y a -t - i l des l e i t m o t i v e n dans S i g u r d ? " Revue m u s i c a l e de Lyon 3 (22 O c t o b e r 1 9 0 5 ) : 4 1 - 5 2 . 133 V i c t o r Debay, " R e y e r , " Le C o u r r i e r m u s i c a l 6 (15 March 1 9 0 3 ) : 8 1 . 134 The b e s t a n a l y s e s o f bo th t h e l i b r e t t o and t h e mus ic o f Salammbo a r e t h o s e o f S e r v i e r e s (Mus ique f r a n g a i s e moderne, pp . 258 -69 ) and J u l l i e n ( R e y e r , p p . 8 4 - 9 1 ) . My resume i s based on t h e s e two s o u r c e s . Salammbo i s d i s c u s s e d at l e n g t h i n C u r z o n ' s Reyer ( pp . 165 -85 ) 78 and i n h i s s t u d y " Sa l ammbo " : l e poeme e t 1 ' o p e r a ( P a r i s : L i b r a i r i e F i s c h b a c h e r , 1890 ; r e p r i n t e d f r om t h e March 1890 i s s u e o f Revue de l a F r a n c e m o d e r n e ) . However, f o r Salammbo as f o r S i g u r d , Curzon demon-s t r a t e s an e f f u s i v e n e s s wh i ch r e n d e r s h i s o p i n i o n s s u s p e c t . 135 Dona ld J a y G r o u t , A S h o r t H i s t o r y o f O p e r a , 2d e d . , 2 v o l s . (New Y o r k : C o l u m b i a U n i v e r s i t y P r e s s , 1 9 6 5 ) , 2 : 248 . 136 see t h e f o l l o w i n g : L a l o , De Rameau a R a v e l , p. 8 6 ; S e r v i e r e s , Mus ique f r a n g a i s e moderne, pp . 2 6 2 - 6 3 ; J u l l i e n , JD f e u i l l e t o n o f 2 December 1923; i dem, R e y e r , p. 84 ; C u r z o n , R e y e r , p. 159 ; and L o u i s de F o u r c a u d , quo ted i n i b i d . , p p . 163 -64 . One o f t h e few c r i t i c s who, w h i l e a c k n o w l e d g i n g t h e f l a w s i n S i g u r d , n e v e r t h e l e s s p r e f e r r e d t h i s work t o Salammbo, was Jean C h a n t a v o i n e . See h i s " L e C e n t e n a i r e d ' E r n e s t R e y e r , " Le M e n e s t r e l 85 (30 November 1 9 2 3 ) : 4 9 7 - 5 0 1 . 137 S e r v i e r e s , Mus ique f r a n g a i s e moderne , p. 263 . 138 L a l o , De Rameau a R a v e l , p. 8 7 . 139 J u l l i e n , JD f e u i l l e t o n o f 2 December 1923. 140 My remark s on t h e s h o r t c o m i n g s i n R e y e r ' s c o m p o s i t i o n a l t e c h -n i q u e a r e based on t h e f o l l o w i n g s o u r c e s : S e r v i e r e s , Mus ique f r a n g a i s e moderne, pp . 245-46 and 252 - 54 ; La Grande E n c y c l o p e d i e : i n v e n t a i r e r a i s o n n e des s c i e n c e s , des l e t t r e s e t des a r t s , s . v . " R e y e r ( L o u i s -E t i e n n e - E r n e s t Rey, d i t ) , " by Hen r i Q u i t t a r d , pp . 5 6 1 - 6 2 ; L a l o , De Rameau a R a v e l , p. 89 ; S m i t h , " P i r a t e r e c o r d i n g s , " pp . 2 0 - 2 1 ; and NG, s . v . " R e y e r L R e y ] , ( L o u i s - E t i e n n e - ) E r n e s t , " by Hugh M a c d o n a l d , p. 783. 141 Max L o p p e r t , "On R a d i o : A rm ide ( G l u c k ) , Rad io 3 , December 29 ; S i g u r d ( R e y e r ) , R a d i o 3 , J a n u a r y 2 , " Opera 26 ( A p r i l 1 9 7 5 ) : 4 0 7 . 142 See t h e a n a l y s e s by S e r v i e r e s and J u l l i e n ( c i t e d above i n n. 1 3 4 ) , and t h e f o l l o w i n g a r t i c l e s : A r t h u r P o u g i n , " Sema ine t h e a t r a l e : Ope ra . Salammbo, o p e r a en c i n q a c t e s e t h u i t t a b l e a u x , p a r o l e s de M. C a m i l l e du L o c l e , d ' a p r e s l e roman de G u s t a v e F l a u b e r t , mus ique de M. E r n e s t R e y e r , " Le M e n e s t r e l 58 (22 May 1 8 9 2 ) : 1 6 3 - 6 5 ; Pau l Dukas , " L e s Seances du Qua tuo r Y s a y e . - - Sa lammbo, " r e p r i n t e d i n t he c o l l e c t i o n Les E c r i t s de P a u l Dukas s u r l a mu s i que , c o m p i l e d , w i t h a p r e f a c e , by G. S a m a z e u i l h ( P a r i s : S o c i e t e d ' e d i t i o n s f r a n g a i s e s e t i n t e r n a t i o n a l e s , 1 9 4 8 ) , p p . 3 7 - 3 9 ; and F e l i c i e n G r e t r y , " Sa lammbo, " M u s i c a 5, Reyer number ( F e b r u a r y 1 9 0 7 ) : 2 3 . 143 S e r v i e r e s , Mus ique f r a n g a i s e moderne , p. 260. 144 Quoted by Le senne , EMDC I, 3 : 1725 . 145 B i z e t ' s remark has been p a r a p h r a s e d i n such d i v e r s e s o u r c e s as t h e f o l l o w i n g : James Huneke r , O v e r t o n e s , a Book o f Temperaments : R i c h a r d S t r a u s s ; P a r s i f a l ; V e r d i ; B a l z a c ; F l a u b e r t ; N i e t z s c h e ; and 79 T u r g e n i e f f (New Y o r k : C. S c r i b n e r ' s S on s , 1 9 1 2 ) , p. 248 ; He r vey , M a s t e r s , p p . 2 1 1 - 1 2 ; and J u l l i e n , JD f e u i l l e t o n o f 2 December 1923. 146 J u l l i e n s p e c u l a t e d t h a t i f L a S t a t u e had been p r e m i e r e d two y e a r s b e f o r e — i n s t e a d o f a f t e r — F a u s t , " I I e s t t r e s p o s s i b l e que V o p e r a de Gounod se f u t pe rdu dans l e rayonnement de c e l u i de R e y e r " (JD f e u i l - l e t o n o f 2 December 1 9 2 3 ) . 147 A r t h u r P o u g i n , " E r n e s t R e y e r , " Le M e n e s t r e l 75 (23 J a n u a r y 1 9 0 9 ) : 2 6 . In P o u g i n ' s o p i n i o n , La S t a t u e e x e m p l i f i e d b e t t e r than any o t h e r work " l a no te e x a c t e du temperament s c e n i q u e e t m u s i c a l e de R e y e r , " because " a c o t e du l y r i s m e e t du p a t h e t i q u e , l e c o m p o s i t e u r a p rouve que V e l e m e n t comique ne manqua i t pas a sa p e r s o n n a l i t e . " 1 4 8 L o p p e r t , "On R a d i o , " p. 4 07 . 149 See , f o r e x a m p l e , J u l l i e n ' s JD f e u i l l e t o n o f 2 December 1923. 150 Pau l Landormy, La Mus ique f r a n g a i s e de F r anck a Debus sy , 10 th e d . ( P a r i s : G a l l i m a r d , 1 9 4 3 ) , p. 132. 151 Speech d e l i v e r e d at t h e i n a u g u r a t i o n o f t h e s t a t u e o f B e r l i o z a t P a r i s ; r e p e a t e d v e r b a t i m i n t h e speech w r i t t e n f o r t he u n v e i l i n g o f t h e B e r l i o z Monument a t G r e n o b l e ( c i t e d above , n n . 63 and 69 r e s p e c t i v e -l y ) . 152 B a r z u n , B e r l i o z , 1 :464. 80 CHAPTER I I AN INTRODUCTION TO REYER AS CRITIC E x t e n t o f R e y e r ' s Ou tpu t R e y e r ' s a c t i v i t y as a w r i t e r on mus i c spanned more than h a l f a c e n -t u r y : as i n d i c a t e d i n C h a p t e r I, he began h i s c a r e e r i n 1850 by g h o s t -w r i t i n g f o r G a u t i e r , and h i s l a s t e f f o r t , d a t e d 9 December 1906, was t he " l e t t r e - p r e f a c e " f o r M a r e c h a l ' s book. In t h e c o u r s e o f R e y e r ' s l o n g and d i s t i n g u i s h e d p r o f e s s i o n a l l i f e , he worked p r i m a r i l y as a j o u r n a l i s t , but a l s o made s e v e r a l n o t a b l e c o n t r i b u t i o n s t o n o n - p e r i o d i c a l l i t e r a -t u r e . The q u a n t i t y o f R e y e r ' s work as a mus i c c r i t i c i s immense. News-p a p e r s and p e r i o d i c a l s y i e l d a t l e a s t 715 i t e m s — d a t i n g f r om 1852 t o 1 9 0 4 1 — w h i c h can be p o s i t i v e l y i d e n t i f i e d as h a v i n g been w r i t t e n by Reyer e x p r e s s l y f o r such p u b l i c a t i o n s . 2 The b u l k o f t h i s m a t e r i a l appeared i n t h e two newspapers and f o u r j o u r n a l s f o r wh i ch he w ro t e on a r e g u l a r b a s i s : 53 f e u i l l e t o n s i n t h e C o u r r i e r de P a r i s ; 473 f e u i l l e - t o n s , 11 o t h e r t i t l e d a r t i c l e s , and 26 l e t t e r - a r t i c l e s i n t h e J o u r n a l des D e b a t s ; and a t o t a l o f 116 t i t l e d a r t i c l e s i n [. 'Athenaeum f r a n g a i s , t h e Revue f r a n g a i s e , t h e Revue de P a r i s , and La G a z e t t e du N o r d . 3 He a l s o c o n t r i b u t e d one s h o r t i t e m t o t h e C o u r r i e r , and sent t o the Debat s a h o s t o f d i v e r s e w r i t i n g s , i n c l u d i n g u n t i t l e d a r t i c l e s , n o t i c e s , announcement s , o b i t u a r i e s , and l e t t e r s . Seven t i t l e d a r t i c l e s , two l e t t e r - a r t i c l e s , and two l e t t e r s appeared i n s e v e r a l o t h e r p u b l i c a t i o n s , 81 n o t a b l y t h r e e o f t h e most i n f l u e n t i a l n i n e t e e n t h - c e n t u r y P a r i s i a n mus i c j o u r n a l s : La F r a n c e m u s i c a l e , t h e Revue e t G a z e t t e m u s i c a l e de P a r i s , and Le Monde m u s i c a l . La P r e s s e and La F r a n c e m u s i c a l e - - t w o o f t h e p u b l i c a t i o n s i n wh i ch we f i n d w r i t i n g s s i g n e d by R e y e r 4 _ - e a c h p r i n t e d s e v e r a l i t ems wh i ch c a n , w i t h v i r t u a l c e r t a i n t y , be a t t r i b u t e d t o h i m . Georges S e r v i e r e s a rgues c o n v i n c i n g l y t h a t at l e a s t t w e n t y - o n e o f t h e f e u i l l e t o n s p u b l i s h e d i n La P r e s s e d u r i n g G a u t i e r ' s t e n u r e as f e u i 1 l e t o n i s t e were g h o s t w r i t t e n e i t h e r w h o l l y o r i n p a r t by R e y e r . 5 The pages o f La F r a n c e m u s i c a l e c o n t a i n f o u r i t e m s , each s i g n e d " R . " and p u b l i s h e d d u r i n g t h e 1850s , w h i c h may be a s c r i b e d t o Reyer f o r t h e f o l l o w i n g r e a s o n s : (1 ) a l l are r e v i e w s o f p r i v a t e c o n c e r t s at t h e homes o f t h e F a r r e n c s and t h e i r f r i e n d s ; and (2) most o f t h e programs i n c l u d e d mus ic by Mme F a r r e n c . ^ I f t h e g h o s t w r i t t e n p i e c e s i n La P r e s s e and t h e r e v i e w s i n La F r a n c e m u s i c a l e a r e t a k e n i n t o a c c o u n t , R e y e r ' s j o u r n a l i s t i c o u t p u t c o m p r i s e s a p p r o x i m a t e l y 740 i t e m s . Reyer was a l s o t h e a u t h o r o f f i v e l i t e r a r y c o m p o s i t i o n s wh ich were not w r i t t e n f o r p e r i o d i c a l p u b l i c a t i o n s : a t r i b u t e t o F e l i c i e n D a v i d ; t h r e e d i s c o u r s e s on B e r l i o z ; and an e s s a y on t h e h i s t o r y o f t he m u s i c a l f e u i 1 l e t o n o f t h e D e b a t s . 7 Reyer w ro t e t h e t r i b u t e t o Dav id f o r a m e e t -i n g o f t h e I n s t i t u t ' s Academie des B e a u x - A r t s , because i t was c u s t o m a r y f o r a n e w l y - e l e c t e d member t o g i v e a speech h o n o r i n g h i s p r e d e c e s s o r . S i m i l a r l y , R e y e r ' s d i s c o u r s e s on B e r l i o z were i n t e n d e d f o r p u b l i c c e r e -mon ies h o n o r i n g t h e c o m p o s e r ' s memory. Reyer was one o f t he f i r s t Frenchmen who o f f e r e d a p p r e c i a t i o n s o f B e r l i o z ' s work as a c r i t i c : 8 i n t h e t h r e e speeches and i n t h e e s s a y on t h e m u s i c a l f e u i l l e t o n o f t h e 82 Debats he p a i d hommage t o B e r l i o z f o r s t r u g g l i n g on b e h a l f o f " l e g rand a r t " a g a i n s t " l e s a s p i r a t i o n s v u l g a i r e s du p u b l i c p a r i s i e n . " 9 The e s s a y i s a l s o n o t e w o r t h y f o r t h e b a l a n c e d judgment r e n d e r e d on C a s t i 1 - B l a z e , t h e p o w e r f u l c r i t i c who had p r e c e d e d B e r l i o z at t h e D e b a t s . Reyer d i d no t excu se C a s t i 1 - B l a z e f o r b e i n g " [ u n ] f e r o c e a r r a n g e u r " 1 0 o f ope ra s by Weber, R o s s i n i , and o t h e r s , but app l auded him f o r i n a u g u r a t i n g a new e r a i n mus i c c r i t i c i s m i n t h e F r e n c h d a i l y p r e s s by both i n i t i a t i n g and e s t a b l i s h i n g a f e u i l l e t o n d e v o t e d t o m u s i c . H e n c e f o r t h , as Reyer p o i n t -ed o u t , mu s i c c r i t i c i s m was no l o n g e r t h e p r e s e r v e o f drama c r i t i c s . S o u v e n i r s d ' A 1 1 e m a g n e - - R e y e r ' s o f f i c i a l r e p o r t on h i s t r a v e l s t h r o u g h Germany and p a r t s o f A u s t r i a and I t a l y i n 1 8 6 3 - 6 4 - - i s a s p e c i a l c a s e : we canno t h e l p but assume t h a t , a l t h o u g h t h i s 233-page m a n u s c r i p t was w r i t t e n o s t e n s i b l y f o r t h e gove rnment , Reyer a c t u a l l y i n t e n d e d i t f o r p u b l i c a t i o n . Why e l s e would he have t a k e n t he t i m e and t r o u b l e t o d e s c r i b e h i s j o u r n e y i n such d e t a i l ? S o u v e n i r s was neve r p u b l i s h e d as a book , b u t , as no ted i n C h a p t e r I, i t was both s e r i a l i z e d i n t h e M o n i t e u r u n i v e r s e ! and r e p r i n t e d i n R e y e r ' s f i r s t c o m p i l a t i o n , Notes de m u s i - que . H L i k e B e r l i o z ' s e a r l i e r Voyage m u s i c a l en A l l e m a g n e e t en I t a l i e , R e y e r ' s S o u v e n i r s i s t h e work o f a man who was w r i t i n g as both m u s i c i a n and t o u r i s t : t h e s u b j e c t s d i s c u s s e d range f rom the c h o i r o f B e r l i n ' s r o y a l c h a p e l t o t h e mus i c p l a y e d i n German t a v e r n s ; f r o m s o i r e e s m u s i - c a l e s at t h e home o f R i c h a r d Poh l at Weimar t o o u t d o o r c o n c e r t s at V i e n n a ' s V o l k s g a r t e n ; f r o m mus i c m a n u s c r i p t s i n t h e B e r l i n l i b r a r y t o c a s t l e s i n Baden and W u r t t e m b e r g . However, t h e main f o c u s o f R e y e r ' s a t t e n t i o n was t h e l y r i c t h e a t r e s o f Germany. In h i s o p i n i o n , t h e h i g h s t a n d a r d s m a i n t a i n e d by t h e a d m i n i s t r a t i o n s , o r c h e s t r a s , s i n g e r s , and 83 r e p e r t o i r e s o f t h e t h e a t r e s i n t h e " p l u s p e t i t e s c a p i t a l e s " - - a s i n t h e " p l u s g randes v i l l e s " - - w e r e l a r g e l y r e s p o n s i b l e f o r a " d e c e n t r a l i s a t i o n a r t i s t i q u e " w h i c h F r a n c e s h o u l d emu1 a t e . ^ The l a s t i t e m i n R e y e r ' s l i t e r a r y o e u v r e — n a m e l y , t h e l e t t e r -p r e f a c e t o a book o f r e m i n i s c e n c e s by h i s comrade H e n r i M a r e c h a l - - c a n be d e s c r i b e d as a g e s t u r e o f f r i e n d s h i p r a t h e r t han t h e work o f a mus i c c r i t i c . The e i g h t y - t h r e e - y e a r - o l d Reyer e x p l a i n s t o t he r e a d e r t h a t , at M a r e c h a l ' s r e q u e s t , he d i d not s e t ou t t o w r i t e an a n a l y s i s o f t h e book . H i s p r e f a c e i s i n s t e a d a d i s a r m i n g l y i n f o r m a l " l e t t r e en g u i s e de p r e f a c e , " i n wh i ch he e x p r e s s e s d e l i g h t at M a r e c h a l ' s v i g n e t t e s c o n c e r n -i n g t h e i r mutua l f r i e n d s and a c q u a i n t a n c e s — i n c l u d i n g L i s z t , B e r l i o z , and B i z e t — a n d adds h i s own r e m i n i s c e n c e s o f t h e abbe L i s z t , whom he had v i s i t e d at Rome d u r i n g t h e summer o f 1865. He s ucceed s a d m i r a b l y i n p r o v i d i n g "une s i m p l e i n t r o d u c t i o n " ^ wh ich i n v i t e s t h e r e a d e r t o e n j o y f o r h i m s e l f M a r e c h a l ' s c ha rm ing r e c o l l e c t i o n s . Compar i son o f R e y e r ' s P o s i t i o n w i t h That o f B e r l i o z In s e v e r a l o f h i s w r i t i n g s Reyer f r e e l y a d m i t t e d t h a t he had v e r y d i s t i n c t m u s i c a l p r e f e r e n c e s . 1 ^ I t i s i n t e r e s t i n g t o compare t h e s e l i k e s and d i s l i k e s w i t h t h o s e o f one o f t h e most i m p o r t a n t mus ic c r i t i c s o f t h e c e n t u r y , who a l s o e x p r e s s e d h i s p r e f e r e n c e s w i t h a p a s s i o n : H e c t o r B e r l i o z . As c o m p o s e r s , bo th B e r l i o z and Reyer were n a t u r a l l y i n c l i n e d t owa rd m u s i c a l d rama, wh i ch p r o b a b l y a c c o u n t s f o r t h e f a c t t h a t , as c r i t i c s , t h e y were p r i n c i p a l l y c o n c e r n e d w i t h o p e r a . They were a l s o k e e n l y i n t e r e s t e d i n c o n c e r t works f o r massed v o i c e s and i n s t r u m e n t s ; i n d e e d , 84 R e y e r ' s p a r t i a l i t y f o r "de g randes o e u v r e s de c o n c e r t , symphonies d rama-t i q u e s ou o r a t o r i o s " 1 ^ prompted him on many o c c a s i o n s t o demand t h a t P a r i s i a n s b u i l d a c o n c e r t h a l l s u i t a b l e f o r t h e pe r f o rmance o f such wo rk s . 16 B e r l i o z and Reyer a l s o s ha red a f ondne s s f o r chamber m u s i c , and each d i d h i s b e s t t o encou rage t h i s genre i n F r a n c e . I 7 N e i t h e r B e r l i o z no r Reyer t o t a l l y r e j e c t e d I t a l i a n o p e r a , but bo th p r e f e r r e d t h e German and t h e F r e n c h t r a d i t i o n s o f o p e r a t i c c o m p o s i -t i o n . 18 L i k e B e r l i o z , Reyer p r o f o u n d l y admi red t h r e e m a s t e r s o f German o p e r a — M o z a r t , B e e t h o v e n , and W e b e r — a s w e l l as two exponen t s o f t he F rench o p e r a t r a d i t i o n i n t h e l i n e o f d e s c e n t f r o m Rameau: G luck and h i s n e o - c l a s s i c f o l l o w e r , S p o n t i n i . Of a l l t h e s e c ompo se r s , B e r l i o z ' s h i g h e s t gods were G l u c k , S p o n t i n i , Weber, and B e e t h o v e n . These m a s t e r s , t o g e t h e r w i t h B e r l i o z — w h o m Reyer v iewed as an exponent o f t h e F r ench t r a d i t i o n o f G l u c k — w e r e among t h o s e who s t ood at t h e f o r e f r o n t o f R e y e r ' s m u s i c a l p a n t h e o n . L i k e B e r l i o z , Reyer e x p r e s s e d a v e r y q u a l i f i e d a p p r o v a l o f t h e works o f M e y e r b e e r . To R e y e r , t h e genre o f wh i ch Meye rbeer was t h e p r i n c i p a l e x p o n e n t — n a m e l y , g rand o p e r a — w a s a c o m m e r c i a l l y s u c c e s s f u l b a s t a r d i z a t i o n o f I t a l i a n and German e l e m e n t s , 1 9 and t h u s d i d not b e l o n g t o t h e F r ench o p e r a t r a d i t i o n i n d e s c e n t f r o m Rameau and G l u c k . Reyer c r i t i c i z e d t h e I t a l i a n a t e m e l o d i c w r i t i n g t h a t c h a r a c t e r i z e d grand o p e r a , o b j e c t i n g e s p e c i a l l y t o u n m o t i v a t e d c o l o r a t u r a pas sages and l a n -g u i s h i n g c a d e n z a s . 2 0 However, he was p l e a s e d t h a t both Meyerbeer and H a l e v y — a n o t h e r exponent o f t h e g e n r e — h a d g e n e r a l l y c o n s e r v e d t h e t r a -d i t i o n o f r i c h o r c h e s t r a t i o n wh i ch Reyer r e g a r d e d as a d i s t i n g u i s h i n g f e a t u r e o f t h e German s c h o o l o f o p e r a t i c c o m p o s i t i o n . 2 1 85 R e y e r - - a g a i n , l i k e B e r l i o z - - h a d a p r e d i l e c t i o n not s i m p l y f o r G e r -man o p e r a , but f o r t h e German m u s i c a l t r a d i t i o n . 2 2 Both c r i t i c s r e v e r e d B e e t h o v e n ' s symphon ies and chamber m u s i c , and p r o c l a i m e d i n p a r t i c u l a r t h e g r e a t n e s s o f t h e N i n t h Symphony and t h e l a t e q u a r t e t s . 2 3 Both a l s o r e g a r d e d Mende l s sohn and Schumann as m a s t e r s , w h i l e at t h e same t i m e p l a c i n g Mende l s sohn above Schumann as a c r a f t s m a n . 2 4 The f e a t u r e wh i ch Reyer most admi red i n German o p e r a — r i c h n e s s o f o r c h e s t r a t i o n — h e c l e a r -l y r e g a r d e d as b e i n g a d i s t i n g u i s h i n g c h a r a c t e r i s t i c o f t h e German m u s i -c a l t r a d i t i o n , f o r he p r a i s e d t h i s t r a i t i n a v a r i e t y o f n o n - o p e r a t i c works by such composers as B e e t h o v e n , Weber, and Schumann.25 A l t h o u g h he s ha red many o f B e r l i o z ' s t a s t e s , R e y e r ' s m u s i c a l i n t e r -e s t s were somewhat d i f f e r e n t f rom t h o s e o f h i s r e v e r e d f r i e n d . A c a s e i n p o i n t i s t h e a t t i t u d e o f each c r i t i c t oward t h e mus ic o f Wagner. Whereas B e r l i o z had mixed f e e l i n g s about t h i s c o n t r o v e r s i a l German com-p o s e r , Reyer s t a u n c h l y championed Wagne r ' s ope ra s f o r decades b e f o r e t h e y g a i n e d g r e a t p o p u l a r i t y i n P a r i s . As e a r l y as 1864, Reyer b o l d l y a s s e r t e d t h a t Wagne r ' s works — as w e l l as t h o s e o f B e r l i o z — w o u l d one day be esteemed as t i m e l e s s " c l a s s i e s . " 2 5 U n l i k e B e r l i o z , Reyer devo ted l i t t l e a t t e n t i o n t o c o n t e m p o r a r y f o r e i g n composers a p a r t f r o m Wagner. Whether by d e l i b e r a t e c h o i c e o r n a t u r a l i n c l i n a t i o n , he f o c u s e d h i s a t t e n t i o n on t h e mus ic o f h i s c o u n -t r y m e n . As a l i f e l o n g a p o s t l e o f t h e works o f B e r l i o z , he d i d much t o i n s t i l i n t h e F r e n c h p u b l i c an a d m i r a t i o n f o r " [ l e ] p l u s beau g e n i e m u s i c a l que l a F r a n c e a i t p r o d u i t . " 2 7 We s h a l l see t h a t Reyer s t r o v e w i t h equa l v i g o u r t o c u l t i v a t e among h i s r e a d e r s an a p p r e c i a t i o n f o r t h e mus i c o f younger composers a c t i v e i n F r a n c e . 86 R e y e r ' s i n t e r e s t i n e i g h t e e n t h - c e n t u r y mus i c was more e x t e n s i v e t h a n t h a t o f B e r l i o z . T r u e , bo th men e x a l t e d G l u c k and S p o n t i n i , and r e v e r e d Moza r t as w e l l as t h e F r e n c h m a s t e r s G r e t r y , D a l a y r a c , and L e s u e u r . 2 8 However , J . S. Bach , whose mus ic rema ined a l i e n t o B e r l i o z u n t i l t h e l a s t few y e a r s o f h i s l i f e , 2 9 w a s esteemed by Reyer as one o f t h e g r e a t e s t composers o f a l l t i m e . I n s t e a d o f s u b s c r i b i n g t o t he t hen not uncommon v i e w o f Bach as s i m p l y a ma s te r o f c o n t r a p u n t a l t e c h n i q u e , Reyer i n s i s t e d t h a t Bach was both an e x p e r t c o n t r a p u n t i s t and a c o n -summate m u s i c a l d r a m a t i s t . He was p a r t i c u l a r l y i m p r e s s e d by " V i m p o -s a n t e a l l u r e de c e t t e d e c l a m a t i o n , . . . l ' a m p l e u r de ces r e c i t s " 3 0 i n t h e S t . Matthew P a s s i o n , and avowed t h a t t h i s work had a l l t h e e l emen t s o f l y r i c d rama. H a n d e l , whose mus i c s t r u c k B e r l i o z as r a t h e r p e d e s t r i -a n , 31 was r e g a r d e d by Reyer as one o f t h e m a s t e r s o f t h e German s c h o o l . A l t h o u g h he neve r p r a i s e d Handel as a r d e n t l y as he d i d Bach, h i s a s s e s s -ment o f H a n d e l ' s o r a t o r i o s and o r a t o r i o - l i k e works was s t e a d i l y i n t e l l i -gent and f u l l o f warmth. For e x a m p l e , apropos o f Judas Maccabeus he o b s e r v e d : " . . . o n d i r a i t que l e s u j e t 1 ' a emporte au d e l a des l i g n e s a u s t e r e s de 1 ' o r a t o r i o dans l e domaine du drame, t a n t i l y a de f o u g u e , de p a s s i o n , de t e n d r e s s e e t de charme dans c e t t e s u b l i m e c o m p o s i t i o n . " 3 2 Reyer was n e i t h e r an a r d e n t a d v o c a t e o f nor r e s e a r c h e r i n t o p r e -e i g h t e e n t h - c e n t u r y m u s i c , but he e x p r e s s e d more c u r i o s i t y about i t t han d i d B e r l i o z . R e y e r ' s a t t i t u d e t owa rd P a l e s t r i n a , f o r i n s t a n c e , was v e r y d i f f e r e n t f r o m t h a t o f B e r l i o z . Whereas t h e l a t t e r f ound some o f P a l e s t r i n a ' s s a c r e d c o m p o s i t i o n s t o be " l e s s than works o f a r t , " 3 3 Reyer p r o f o u n d l y admi red 87 l ' i m m o r t e l a u t e u r de l a Messe du Pape M a r c e l , l e q u e l a m e r i t e d ' e t r e inhume dans l a b a s i l i q u e de S a i n t - P i e r r e , e t d ' a v o i r g r a v e e su r son tombeau c e t t e i n s c r i p t i o n : J o h a n n e s - P e t r u s - A l o y g s i u s - P r a e n e s t i n u s mu s i c ae p r i n c e p s . 3 4 Reyer a l s o took an i n t e r e s t i n h i s t o r i c a l a n t h o l o g i e s , i n c l u d i n g D e l -s a r t e ' s A r c h i v e s du c h a n t , L a j a r t e ' s c o l l e c t i o n o f a i r s a d a n s e r by com-p o s e r s r a n g i n g f r om L u i l y t o M e h u l , and , o f c o u r s e , t h e F a r r e n c s ' T r e s o r des p i a n i s t e s . 3 ^ N 0 doubt h i s a t t e n t i o n t o such works was s pa r ked by h i s aunt and u n c l e . F u r t h e r p r o o f o f R e y e r ' s i n t e r e s t i n e a r l y mus ic i s t h e f a c t t h a t , when s t u d y i n g w i t h h i s aunt and t h e r e f o r e e x p l o r i n g h i s u n c l e ' s r e m a r k a b l e l i b r a r y o f s c o r e s and mus i c l i t e r a t u r e , he j o t t e d i n a notebook many o f t h e m e l o d i e s he e n c o u n t e r e d i n o l d t r e a t i s e s and a n t h o l o g i e s . He e v e n t u a l l y ha rmon i zed them and p u b l i s h e d t h e c o l l e c t i o n as Qua ran te v i e i l l e s chan son s de X 1 1 e au X V 1 1 1 e s i e c l e . 3 ^ A r e a s T r e a t e d by Reyer i n H i s C r i t i c a l W r i t i n g s S i n c e o p e r a was bo th t h e monarch o f F r e n c h m u s i c a l l i f e and t he main i n t e r e s t o f Reyer t h e compose r , most o f h i s c r i t i c a l w r i t i n g s p e r -t a i n t o t h i s genre and t o t h e t h e a t r e s a t wh i ch i t was p e r f o r m e d . H i s r e v i e w s o f c o u n t l e s s o p e r a s r e v e a l how h i s a e s t h e t i c d e t e r m i n e d what he r e q u i r e d f r om t h e l i b r e t t i s t , t h e compose r , and t he o p e r a t i c v o c a l i s t , as w e l l as t h e r e a s o n s u n d e r l y i n g h i s p r e f e r e n c e f o r t h e German and t h e F r e n c h — r a t h e r than t he I t a l i a n — o p e r a t i c t r a d i t i o n s . R e y e r ' s numerous and e x t e n s i v e s t a t e m e n t s c o n c e r n i n g c o n t e m p o r a r y p r a c t i c e s i n P a r i s i a n l y r i c t h e a t r e s p r o v i d e c l e a r i n d i c a t i o n s o f h i s c o n c e p t o f t he m i s s i o n o f a r e e s t a b l i s h e d T h e a t r e - L y r i q u e and o f t h e v e r y d i f f e r e n t m i s s i o n s o f t h e Ope ra and t h e Ope ra -Com ique . He a l s o d e s c r i b e s t h e f u n c t i o n s wh i ch 88 he r e g a r d s as b e i n g a p p r o p r i a t e t o t h e key m u s i c a l p e r s o n n e l i n v o l v e d i n t h e p r o d u c t i o n o f an o p e r a . H i s w r i t i n g s apropos o f t h e s e d i v e r s e ma t -t e r s , t o g e t h e r w i t h h i s comments on t h e u n s u c c e s s f u l a t t e m p t s t o r e -e s t a b l i s h a T h e a t r e - L y r i q u e , p r o v i d e a d e t a i l e d p i c t u r e o f h i s c o n c e p t o f an i d e a l l y r i c t h e a t r e . Reyer a l s o w ro te e x t e n s i v e l y about t h e mus i c o f G l u c k , S p o n t i n i , Weber, B e r l i o z , and W a g n e r - - t h e composer s whom he esteemed most h i g h l y but who were by no means p o p u l a r i n m i d - c e n t u r y P a r i s . L i k e B e r l i o z , Reyer r e v e r e d and c e l e b r a t e d G l u c k , S p o n t i n i , and Weber as n e g l e c t e d m a s t e r s o f l y r i c d rama, and de fended them a g a i n s t c r i t i c s who r i d i c u l e d what were g e n e r a l l y v i ewed as t e c h n i c a l i m p e r f e c t i o n s i n t h e i r o p e r a s . Reyer adm i red B e r l i o z h i m s e l f as t h e c r e a t o r o f m a s t e r p i e c e s f o r bo th t h e c o n c e r t s t a g e and t h e l y r i c t h e a t r e , and t h e r e f o r e c r u s a d e d a g a i n s t t h e n o t i o n t h a t " l ' a u t e u r des T royen s n ' e t a i t p o i n t un g e n i e d r ama -t i q u e . " 3 7 He a l s o f o u g h t t o d i s p e l o t h e r p o p u l a r l y h e l d v i ews about t h i s compose r , a n d - - a s p r e v i o u s l y m e n t i o n e d — w a s among t h o s e who o f f e r e d t h e e a r l i e s t a p p r e c i a t i o n s o f B e r l i o z ' s c r i t i c a l w r i t i n g s . The g e n i u s o f Wagner, t o o , was q u i c k l y d i v i n e d by R e y e r , who d e s e r v e s c r e d i t not o n l y f o r b e i n g one o f t h e f i r s t i n F r a n c e t o h a i l t h e c o n t r o v e r s i a l German compose r , but a l s o f o r r e m a i n i n g a d e t e r m i n e d d e f e n d e r o f h i s m u s i c a f t e r t h e F r a n c o - P r u s s i a n War. Both b e f o r e and a f t e r t h i s com-po se r became so p o p u l a r i n P a r i s , Reyer t r i e d t o d e m o n s t r a t e t h a t Wagne r ' s o p e r a s and h i s d o c t r i n e s owed much t o t h o s e o f e a r l i e r com-p o s e r s . T h i s p e r c e p t i o n however d i d not p r e v e n t Reyer f r om r e c o g n i z i n g Wagner as a g r e a t r e f o r m e r . 89 The z e a l w i t h wh i ch Reyer championed t h e mus ic o f G l u c k , S p o n t i n i , Weber, B e r l i o z , and Wagner, was e q u a l l e d by t h e e n t h u s i a s m w i t h wh ich he s u p p o r t e d t h e e f f o r t s o f t a l e n t e d young composers a c t i v e i n F r a n c e . Gounod, B i z e t , Ma s s ene t , and S a i n t - S a e n s were a l l i n d e b t e d t o Reyer f o r h i s c o n s t a n t encouragement d u r i n g t h e 1850s and 1860 s , w h e n - - l i k e Reyer h i m s e l f — t h e y were t r y i n g t o e s t a b l i s h t h e i r c a r e e r s . D u r i n g t h e l a s t t h r e e decades o f t h e c e n t u r y , h i s f r a t e r n a l s u p p o r t h e l p e d l a u n c h and s u s t a i n t h e c a r e e r s o f s e v e r a l i m p o r t a n t newcomers t o t h e F rench m u s i c a l s c e n e , n o t a b l y F r a n c k , L a l o , C h a b r i e r , and B r u n e a u . A l l t o l d , n e a r l y a dozen o f t h e p r i n c i p a l F r ench composers o f t h e l a t t e r h a l f o f t h e c e n t u r y owed Reyer a debt o f g r a t i t u d e f o r h a v i n g c o n t i n u a l l y f o c u s e d p u b l i c a t t e n t i o n on t h e i r wo r k s . As m i gh t be e x p e c t e d o f a c r i t i c who d e m o n s t r a t e d such s o l i c i t u d e f o r t h e c a r e e r s o f young composers i n h i s c o u n t r y , Reyer had much t o say c o n c e r n i n g t h e t r a i n i n g o f t h e s e and o t h e r m u s i c i a n s . He was e s p e c i a l l y c o n c e r n e d w i t h t h e c u r r i c u l u m o f s t u d i e s at t h e P a r i s C o n s e r v a t o i r e -F r a n c e ' s l a r g e s t i n s t i t u t i o n o f mus i c e d u c a t i o n — a n d at t h e c o n s e r v a -t o r i e s i n t h e p r o v i n c e s , wh i ch he v i s i t e d r e g u l a r l y a f t e r b e i n g a p p o i n t -ed I n s p e c t e u r g e n e r a l des E c o l e s de mus ique des depa r t emen t s i n 1880. Both b e f o r e and a f t e r r e c e i v i n g t h i s a p p o i n t m e n t , Reyer e x p r e s s e d d i smay t h a t t h e o p e r a s o f " de s a n c i e n s m a T t r e s " 3 8 - _ i n c l u d i n g M o z a r t , G l u c k , S p o n t i n i , Weber, and B e e t h o v e n — w e r e v i r t u a l l y unknown t o s t u d e n t s at t h e c o n s e r v a t o r i e s . He i n s i s t e d t h a t , f o r v a r i o u s r e a s o n s , t h e s e works must be made t h e b a s i s o f mus i c e d u c a t i o n . 3 9 The annua l c o m p e t i t i o n s o f t h e P a r i s C o n s e r v a t o i r e a f f o r d e d him ample o p p o r t u n i t y t o make t o p i c a l 90 o b s e r v a t i o n s c o n c e r n i n g t h e need f o r a number o f s p e c i a l r e f o r m s at t h i s i n s t i t u t i o n . 4 0 R e y e r ' s deep d i s t r e s s at t h e n e g l e c t o f t h e w i n n e r s o f t h e P r i x de Rome prompted him r e p e a t e d l y t o p ropo se a p l a n o f p r o t e c t i o n and d e -c e n t r a l i z a t i o n t h a t would have been p r o f i t a b l e both t o t h e s e l a u r e a t e s and t o t h e p r o g r e s s o f mus i c e d u c a t i o n i n F r a n c e . 4 1 He wanted t o see t h e w i n n e r s work i n t h e F r e n c h p r o v i n c e s , where each would be a p p o i n t e d c o n d u c t o r o f a m u n i c i p a l l y r i c t h e a t r e and be g i v e n t he r i g h t t o p roduce a t h r e e - a c t o p e r a . Such a c o m p o s i t i o n by a w i n n e r o f t h e P r i x de Rome would a t t r a c t much a t t e n t i o n i n t h e p r o v i n c i a l p r e s s , and t h e young composer would f i n d h i m s e l f " l a n c e , . . . p r e sque c e l e b r e . " 4 2 T h i s r enown, s a i d R e y e r , would e n s u r e t h e composer a c o r d i a l r e c e p t i o n f rom t h e d i r e c t o r s o f P a r i s i a n l y r i c t h e a t r e s . Reyer p o i n t e d out t h a t i f t he P r i x de Rome w i n n e r d e c i d e d not t o pu r sue a c a r e e r as a compose r , he c o u l d i n s t e a d b u i l d one as a c o n d u c t o r , f o r h i s e x p e r i e n c e at a p r o v i n -c i a l l y r i c t h e a t r e would have both f a m i l i a r i z e d h im w i t h t he c u r r e n t r e p e r t o i r e and p o l i s h e d h i s s k i l l s . A n o t h e r a l t e r n a t i v e wh ich Reyer s u gge s t ed f o r P r i x de Rome w i n n e r s was t o j o i n t h e f a c u l t i e s o f p r o v i n -c i a l c o n s e r v a t o r i e s . " E t quo i de p l u s n a t u r e l , " he once added, " que de l e s p l a c e r p l u s t a r d . . . a l a t e t e de ce s e c o l e s de mus ique dont i l s c o n n a i s s e n t s i b i e n l e f o n c t i o n n e m e n t . . . [ s i c ] e t l e s d e t o u r s ? " 4 3 R e y e r ' s L i t e r a r y S t y l e R e y e r ' s l i t e r a r y s t y l e was w i d e l y admi red by h i s c o n t e m p o r a r i e s , amongst whom t h e r e were t w o - - E m i l e H e n r i o t and t h e d i s t i n g u i s h e d c o m p o s e r - c r i t i c G a b r i e l F au r e - -who f e l t t h a t Reyer had somet imes 91 a t t a i n e d g r e a t n e s s as a w r i t e r . H e n r i o t d e c l a r e d t h a t bo th t h e a r t i c l e " H i s t o i r e d ' u n m u s i c i e n " and S o u v e n i r s d ' A l l e m a g n e n o b l y e x e m p l i f y t h e c l a s s i c a l t r a d i t i o n o f F r e n c h l i t e r a t u r e , 4 4 and F a u r e r anked R e y e r ' s w r i t i n g s on F i d e l i o , L o h e n g r i n , and t h e d e a t h o f B e r l i o z as " pa rm i l e s p l u s b e l l e s pages de l a c r i t i q u e f r a n g a i s e . " 4 5 A l a t e r c r i t i c , P i e r r e L a l o , was e q u a l l y f e r v e n t i n h i s p r a i s e o f R e y e r ' s l i t e r a r y t a l e n t : "I I e t a i t . . . un e c r i v a i n e x c e l l e n t , e t p a r f o i s un g rand e c r i v a i n . " 4 ^ Both Ado l phe Boschot and H e n r i o t o b s e r v e d t h a t t h e f o r m a t i o n o f R e y e r ' s l i t e r a r y s t y l e had been i n f l u e n c e d by h i s f r i e n d s h i p w i t h G a u t i e r . The s t y l i s t i c f e a t u r e wh i ch Boschot a t t r i b u t e d t o t h i s i n f l u e n c e i s R e y e r ' s use o f t h e f i r s t pe r son p i u r a l - - r a t h e r t h a n t h e s i n g u l a r — i n w r i t i n g s d a t i n g f rom t h e f i r s t h a l f - d o z e n y e a r s o f h i s l i t e r a r y c a r e e r , and i n some l a t e r w r i t i n g s i n wh i ch he wanted t o s t r i k e a f o r m a l t o n e . 4 7 H e n r i o t , i n t u r n , o b s e r v e d t h a t " s a c r i t i q u e e s t . . . t r e s l i t t e r a i r e — p l u s l i t t e r a i r e que m u s i c a l e , p l u s p o e t i q u e que t e c h -n i q u e . " 4 8 R e y e r ' s c r i t i c i s m i s i n d e e d " p l u s l i t t e r a i r e que m u s i c a l e " inasmuch as h i s a n a l y s e s a re more d e s c r i p t i v e t h a n t e c h n i c a l . I n s t e a d o f d i s p l a y i n g h i s t e c h n i c a l competence by means o f an abundance o f a b s t r u s e d e t a i l s and s p e c i a l i z e d t e r m s , R e y e r — a s we s h a l l see i n Chap-t e r I I I — s t r o v e t o make h i s a n a l y s e s u n d e r s t a n d a b l e t o t he layman by f o c u s i n g on o n l y a few c a r e f u l l y s e l e c t e d t e c h n i c a l d e t a i l s wh i ch he d e s c r i b e d w i t h a minimum o f s p e c i a l i z e d t e r m s . In t h e pages t h a t f o l l o w , we s h a l l o b s e r v e t h a t Reyer b l e n d e d l i v e -l y w i t and d e f t i r o n y w i t h o u t b u r s t s o f e n t h u s i a s m and a t a s t e f o r t h e p i c t u r e s q u e , and t h u s a c h i e v e d a l i t e r a r y s t y l e t h a t has t he tone o f f a m i l i a r c o n v e r s a t i o n . S i n c e he d i d not h e s i t a t e t o l i g h t e n m u s i c a l 92 i n s t r u c t i o n w i t h w i t and d i v e r s i o n , he o f t e n made a c r u c i a l p o i n t by u s i n g d e v i c e s t h a t were i m a g i n a t i v e and f i c t i o n a l . Because R e y e r ' s w r i t i n g s were engag i n g as w e l l as i n f o r m a t i v e , he e n j o y e d a l a r g e r e a d e r s h i p among m u s i c i a n s and n o n - m u s i c i a n s a l i k e , and was w i d e l y r e g a r d e d as a w o r t h y s u c c e s s o r t o B e r l i o z . 4 9 L i k e h i s i l l u s t r i o u s p r e d e c e s s o r at t h e D e b a t s , Reyer was a g r e a t w i t , "un m a t t r e r a i l l e u r " 5 0 whose w i t t i c i s m s run t h e gamut f r o m s l y u n d e r s t a t e m e n t t o i n c i s i v e a t t a c k . R e y e r ' s " a r t de s o u s - e n t e n d u l e p l u s a d r o i t et l e p l u s s p i r i t u e l du monde"51 i s s u p e r b l y d e m o n s t r a t e d i n t h e f o l l o w i n g e x c e r p t f r om h i s r e v i e w o f A m b r o i s e Thomas ' s b a l l e t La Tempete. Here Reyer h i n t s t h a t t h e a g i n g Thomas s h o u l d not f o l l o w i n t h e f o o t s t e p s o f A u b e r , c o n t i n u i n g t o compose even though he had pa s sed h i s m u s i c a l p r i m e . Je r e n c o n t r a i M. Auber que l que s j o u r s ap re s l a p r e -m i e r e r e p r e s e n t a t i o n de l a F i a n c e e du r o i de G a r b e , e t , comme i l r e p o n d a i t a mes f e l i c i t a t i o n s en m ' a s s u r a n t que c ' e t a i t l a son d e r n i e r o u v r a g e , q u ' i l e t a i t b i e n r e s o l u de ne p l u s r i e n e c r i r e pour l e t h e a t r e , j e l u i d i s : " N ' e n f a i t e s r i e n , c h e r m a t t r e , s i vous ne v o u l e z pas q u ' o n vous r e p r o c h e , comme a R o s s i n i , de vous e t r e r e p o s e t r o p j e u n e . " II a v a i t a l o r s q u a t r e - v i n g t - d e u x an s , e t donna e n c o r e , dans l e s c i n q annees qu i s u i v i -r e n t , deux o u v r a g e s , l e P r e m i e r J o u r de bonheur e t Reve d ' amour, a 1 ' O p e r a - C o m i q u e . M. Ambro i s e Thomas e s t l o i n d ' e t r e a u s s i age que l ' e t a i t M. Auber au mois de J a n v i e r 1864; ma i s j e l u i r e p e t e r a i s ce que j e d i s a son i l l u s t r e p r e d e c e s s e u r , s ' i l m a n i f e s t a i t , . . . a p r e s l a Tempete, l e d e s i r de se condamner a une r e t r a i t e p r e m a t u r e e . 5 2 Many o f R e y e r ' s w i t t i c i s m s a re much more o b v i o u s t han t h i s i n s i n u a -t i o n t h a t Thomas s h o u l d put down h i s pen . For e x a m p l e , a f t e r a t t e n d i n g t h e p r e m i e r e o f B i z e t ' s o p e r a La J o l i e F i l l e de P e r t h , Reyer mused t h a t t h e l i b r e t t o o f a new o p e r a s h o u l d be g i v e n t o c r i t i c s t h e n i g h t b e f o r e 93 t h e p r e m i e r e - - a s was t he cus tom w i t h t h e s c e n a r i o s o f b a l l e t s — b e c a u s e some p r i m a donnas " o n t une a r t i c u l a t i o n t e l l e m e n t d e f e c t u e u s e , que l o r s -q u ' e l l e s c h a n t e n t c ' e s t ab so lument comme s i e l l e s d a n s a i e n t . " 5 3 The f o l l o w i n g c u t t i n g l y s a r c a s t i c d e n u n c i a t i o n o f P a r i s i a n d i l e t t a n t i s m e x e m p l i f i e s R e y e r ' s a b i l i t y t o use w i t as a v e r i t a b l e r a p i e r i n an a t t a c k on a g a l l i n g c o n t e m p o r a r y s i t u a t i o n . D e s c r i b i n g f o r t he r e a d e r an i n c i d e n t t h a t s u p p o s e d l y t a k e s p l a c e w h i l e he i s i n t h e m i d s t o f w r i t i n g h i s f e u i l l e t o n , he quo te s a l i n e f r o m A l f r e d de M u s s e t ' s L o r e n z a c c i o , b e c a u s e — h e c o n c l u d e s a c i d l y — t h e i n c i d e n t i s " h i g h d r a m a . " V o i l a q u ' o n sonne a ma p o r t e . C ' e s t un i n t e r v i e w e r . . . qu i v i e n t me demander s ' i l e s t v r a i q u ' i l y a i t dans p l u s i e u r s g randes v i 1 1 e s d ' E u r o p e , - - P a r i s e x c e p t e - - d e s gens dont l a s p e c i a l i t e ' e s t de j u g e r un o p e r a ap re s une s e u l e a u d i t i o n , qu i l e c r i t i q u e n t , l ' e x a l t e n t ou 1 ' a p l a t i s s e n t au g r e de l e u r f a n t a i s i e , e t c e l a sans s a v o i r une no te de mu s i que . Je p rends pour r e p o n d r e a c e t t e q u e s t i o n un t o n l e g e r e m e n t emphat ique e t j e d i s a mon a i m a b l e i n t e r l o c u t e u r comme l e L o r e n z a c c i o de Musset au due A l e x a n d r e : " S e i g n e u r n ' e n d o u t e z - p a s . " Car c e c i e s t de l a haute comed i e . 54 S e v e r a l c r i t i c s r e g a r d e d R e y e r ' s i r o n i e s as b e i n g c o m p a r a b l e — o r even s u p e r i o r — t o t h o s e o f B e r l i o z . 5 5 L i k e t h e l a t t e r , Reyer e x c e l l e d i n weav ing a s u b t l e i r o n y i n t o s m i l i n g p h r a s e s , as i s e x q u i s i t e l y demon-s t r a t e d by h i s s e e m i n g l y i n n o c e n t r e p l y t o an i n s u l t i n g remark t h a t S a i n t - S a e n s had made c o n c e r n i n g S i g u r d : M. C a m i l l e S a i n t - S a e n s . . . s ' e x p r i m a a i n s i : " C ' e s t p l e i n d ' i d e e s , ma i s c ' e s t f . . t u comme q u a t ' s o u s . " A s s u r emen t , e t j e s u i s l e p r e m i e r a l e r e c o n n a t t r e , on n ' e n p o u r r a i t d i r e a u t a n t des ouv rage s de M. C a m i l l e S a i n t - S a e n s qu i t o u s , d e p u i s ceux de sa p r e m i e r e j e u -ne s se . . . , s on t t r e s c o r r e c t e m e n t e c r i t s . 5 6 94 In t h e same s p i r i t o f c o v e r t s a t i r e , Reyer would make a l i b r e t t o wh ich s t r u c k h im as r i d i c u l o u s seem a l l t h e more s o , by r e t e l l i n g t h e s t o r y w i t h i m p e r t u r b a b l e s e r i o u s n e s s and l i b e r a l l y a d o r n i n g h i s n a r r a t i v e w i t h p a t e n t l y i n a n e e x c e r p t s f r o m t h e t e x t . 5 7 O c c a s i o n a l l y Reyer used i r o n y not t o c r i t i c i z e , but t o p r a i s e . Fo r e x a m p l e , i n t h e m i d d l e o f h i s r e v i e w o f L a l o ' s Le Ro i d ' Y s , Reyer paused t o e x p r e s s mock c o n c e r n o v e r t h e c o m p o s e r ' s i n d i f f e r e n c e t o p u b l i c a c -c l a i m . Pour e t r e c e l e b r e , i l ne s u f f i t pas d ' a v o i r e c r i t p l u -s i e u r s b e l l e s o e u v r e s ou une b e l l e oeuv re s e u l e m e n t : i l f a u t a v o i r son p o r t r a i t a l a v i t r i n e des p h o t o g r a p h e s , son b u s t e a l a d e v a n t u r e des magas in s de mus ique et son nom aux " dep l a cemen s e t v i l l e g i a t u r e s " . . . C e l a n ' e s t n i b i e n d i f f i c i l e , n i b i e n c o u t e u x , ma i s c e l a e s t t o u t a f a i t i n d i s p e n s a b l e e t , pour l e s m u s i c i e n s s u r t o u t , l a c e l e b r i t e e s t a ce p r i x . O r , j e c r o i s q u e , j u s q u ' a p r e s e n t , M. L a l o n ' a v a i t pas a s s e z p r i s s o i n de sa renommee. Le mal peut se r e p a r e r . II e s t a c r a i n d r e p o u r t a n t que M. L a l o , ap re s comme avant l e Roi d ' Y s , ne r e s t e un a r t i s t e mode s t e , i n d i f f e r e n t a l a r e c l a m e , a b s o r b e dans son a r t et se donnant a l u i sans a r r i e r e -p e n s e e . 58 W h i l e R e y e r ' s w r i t i n g s abound i n i r o n i e s , t h e y a re e q u a l l y r i c h i n p o e t i c o u t b u r s t s o f g e n u i n e e n t h u s i a s m . There can be no doubt as t o t h e s i n c e r i t y o f h i s p r a i s e i n such pa s sages as t h e f o l l o w i n g , drawn f r om r e v i e w s o f mus i c by Bach and Weber: . . . g r and S e b a s t i a n B a c h , l e J u p i t e r de l a mu s i que . C e l u i - l a e s t l e p l u s f o r t parmi l e s p l u s f o r t s , l e p l u s i l l u s t r e parmi l e s p l u s i l l u s t r e s . . . . C ' e s t avec r a i s o n et avec une r a r e v e r i t e d ' e x p r e s -s i o n q u ' o n a a p p e l e Bach l e pe re n o u r r i c i e r des p l u s g r and s m u s i c i e n s . Tous se sont ab reuve s a l a s o u r c e f e c o n d e e t i n t a r i s s a b l e de ce v a s t e g e n i e . 5 9 * * * S i de t o u t ce que j e v i e n s de d i r e e t de ce que j ' a i e c r i t precedemment ne r e s s o r t a i t pas a s s e z ma p a s s i o n 95 pour Weber, j e l ' a v o u e r a i s b i e n h a u t , e t p l u s haut e n -c o r e , e t j 1 a f f i r m e r a i s q u ' a mes yeux i l n ' e s t pas de p i e d e s t a l a s s e z e l e v e , pas de marb re a s s e z pur pour une p a r e i l l e s t a t u e . 6 0 F e r v e n t d e c l a r a t i o n s o f a d m i r a t i o n a re l i k e w i s e p l e n t i f u l i n R e y e r ' s w r i t i n g s about G l u c k , S p o n t i n i , and B e r l i o z . For e xamp le , when r e v i e w i n g t he program w h i c h he had s e l e c t e d and c o n d u c t e d t o commemorate t h e t e n t h a n n i v e r s a r y o f B e r l i o z ' s d e a t h — a program wh i ch had i n c l u d e d an e x c e r p t f r om S i g u r d — R e y e r humbly avowed: Quant a m o i , j e ne f i g u r a i s au m i l i e u de ces g l o r i e u x r e p r e s e n t a n s du g rand a r t l y r i q u e e t de l a s ymphon ie : G l u c k , S p o n t i n i , e t B e r l i o z , que comme l e u r o b s c u r d i s c i p l e , comme l e f e r v e n t a d m i r a t e u r de l e u r g e n i e e t des c h e f s - d ' o e u v r e q u ' i l s nous on t l a i s s e s . A t o u t t a b l e a u i l f a u t une ombre, e t j ' e t a i s , s i l ' o n v e u t , 1 'ombre de ce m a g n i f i q u e t a b l e a u . 6 1 Wagner, t o o , i s g r a ced by some o f R e y e r ' s most d e c o r a t i v e w r i t i n g and u n r e s e r v e d p r a i s e , 6 2 a s a re a few F rench composers a c t i v e d u r i n g t h e l a s t t h i r d o f t h e c e n t u r y . An e l o q u e n t i l l u s t r a t i o n o f such w r i t i n g i s R e y e r ' s f i r s t r e a c t i o n t o t h e mus i c o f F r a n c k . A f t e r h e a r i n g e x c e r p t s f r o m F r a n c k ' s e g l o g u e b i b l i q u e Ruth i n 1871, R e y e r — w i t h o u t w a i t i n g f o r t h e day when h i s f e u i l l e t o n would appear i n t h e D e b a t s - - i m m e d i a t e l y pub -l i s h e d a n o t i c e h a i l i n g t he t h e n - o b s c u r e compose r . Je s o r s du c o n c e r t des C h a m p s - E l y s e e s , t r e s i m p r e s s i o n n e par l ' o e u v r e r e m a r q u a b l e que j e v i e n s d ' e n t e n d r e . M. Ce sa r F r a n c k , 1 ' a u t e u r de R u t h , e s t a p e i n e connu de que l que s a r t i s t e s . Et v o i l a v i n g t ans au moins q u ' i l a e c r i t c e t t e b e l l e p a r t i t i o n s i c o l o r e e e t d ' u n s i g rand s t y l e . N ' e s t - i l pas p ro fondement r e g r e t -t a b l e q u ' a P a r i s un m u s i c i e n p u i s s e r e s t e r a peu p r e s i g n o r e quand i l a p r o d u i t une t e l l e oeuv re ? Et n ' e s t - i l pas j u s t e q u ' i l s o i t c e l e b r e l e l e ndema i n du j o u r ou e l l e a e t e en tendue ?63 R e y e r ' s l i t e r a r y s t y l e i s d i s t i n g u i s h e d not o n l y by t h e s e and o t h e r o u t b u r s t s o f e n t h u s i a s m , as w e l l as by w i t t i c i s m s and i r o n i e s such as 96 t h e ones p r e v i o u s l y c i t e d , bu t a l s o by a t a s t e f o r t h e p i c t u r e s q u e . T h i s i s s t r i k i n g l y e x e m p l i f i e d i n many d e l i g h t f u l s k e t c h e s o f t he c o u n -t r y s i d e , t o w n s , and c i t i e s he t r a v e r s e d d u r i n g h i s f r e q u e n t j o u r n e y s . These l i t e r a r y l a n d s c a p e s e n l i v e n S o u v e n i r s d ' A l l e m a g n e and c o u n t l e s s a r t i c l e s s p ann i n g n e a r l y h i s e n t i r e c a r e e r as a c r i t i c . Two such d e p i c -t i o n s a r e g i v e n b e l o w : t h e f i r s t , e x c e r p t e d f r om an a r t i c l e w r i t t e n i n 1855, i s a b r i e f d e s c r i p t i o n o f t h e v i e w f rom t h e famous s ou r ce a t S a i n t - D e n y s - l e s - B o i s ; t h e s e c o n d , d a t i n g f r o m 1897, l o v i n g l y p o r t r a y s L a v a n d o u , t h e f i s h i n g v i l l a g e where Reyer would spend most o f h i s r e -t i r e m e n t . Le s i t e [de l a f o n t a i n e de S a i n t - D e n y s ] e s t d e l i c i e u x ; . . . l a L o i r e bo rde l a p r a i r i e , et l ' o e i l a p e r g o i t au l o i n l e s t o u r e l l e s g o t h i q u e s du c h a t e a u de Chambord, l e s f l e c h e s de l a c a t h e d r a l e de B l o i s , 1 ' a r c h i t e c t u r e p l u s m a s s i v e e t l e s v a s t e s j a r d i n s du c h a t e a u de Mena r s , . . . e t t o u t e c e t t e b e l l e v a l l e e de l a L o i r e , et l e s p l a i n e s b o i s e e s de l a S o l o g n e . Ce p o i n t de vue e s t m a g n i f i q u e . 6 4 * * * A quo i bon vous d i r e l e nom b i e n i g n o r e de l a r e t r a i t e que j ' a v a i s c h o i s i e e t que l e h a s a r d m ' a v a i t f a i t r e n -c o n t r e r ? P e t i t c o i n de ma b e l l e P r o v e n c e , que l e c i e l t e ga rde l e p l u s l ong temps p o s s i b l e des b r e a c k s a n g l a i s e t des c a s i n o s a r o u l e t t e ! L ' a n s e e s t a s s e z s p a c i e u s e , e t l e s T i e s d ' e n f a c e l ' a b r i t e n t c o n t r e l a v i o l e n c e du v e n t . Une c e n t a i n e de ma i son s r u s t i q u e s , t r o i s ou q u a t r e v i l l a s de modeste appa rence a p p a r t e n a n t a des n o t a b l e s du p a y s , une p e t i t e e g l i s e , une auberge s u f f i -samment c o n f o r t a b l e , e t e ' e s t t o u t . Le m a t i n , e t a l e s su r l a p l a g e , de l o u r d s f i l e t s que raccommodent l e s p e c h e u r s dont l e s ba rques sont r angees p l u s l o i n , f r a t e r n e l l e m e n t , c o t e a c o t e . De j o l i s e n f a n t s j o u e n t su r l e s a b l e . Et des b o i s de p i n s e t a g e s su r l e s c o l l i n e s e n v i r o n n a n t e s de s cenden t par e n d r o i t s j u s q u ' a u bo rd de l a mer, h a rd imen t p i an te s s u r des r o c h e r s avec l e s q u e l s i l s f o rmen t de v e r d o y a n t s p r o m o n t o i r e s et des c r i q u e s p l e i n e s d ' o m b r e . 6 5 97 R e y e r ' s t a s t e f o r t h e p i c t u r e s q u e i s m a n i f e s t e d a l s o by t h e c o l o r -f u l s o u v e n i r s and anecdo te s w i t h wh ich he l o v e d t o e m b e l l i s h h i s w r i t -i n g s . One o f h i s most amusing anecdo te s i s a r e c o l l e c t i o n o f how a " f r i e n d " had c l e v e r l y p r e v e n t e d a famous d i v a f r om s i n g i n g her e l a b o -r a t e l y e m b e l l i s h e d v e r s i o n o f an a r i a f r om C a s t i 1 - B l a z e ' s a d a p t a t i o n o f Weber ' s Pe r F r e i s c h u ' t z . . . . un de mes a m i s , t r e s g rand melomane, i n v i t e a une s o i r e e m u s i c a l e donnee en l ' h o n n e u r d ' u n e c a n t a t r i c e c e l e b r e , ape r gu t s u r l e p i a n o l ' a i r d ' A n n e t t e de Rob in des B o i s , ce qu i n ' e s t pas t o u t a f a i t l ' a i r d ' A g a t h e du F r e i s c h u ' t z , t o u t b a r b o u i l l e de p o i n t s d ' o r g u e , d ' a p p o -g i a t u r e s , de r a l l e n t a n d o et a u t r e s m o d i f i c a t i o n s p l u s g r o t e s q u e s l e s unes que l e s a u t r e s . II m i t t r a n q u i l l e -ment l e r o u l e a u de mus ique dans sa poche . On l e c h e r c h a p a r t o u t , on ne l e t r o u v a n u l l e p a r t , e t l a c e l e b r e c a n t a t r i c e ne c h a n t a pas son a i r de Rob i n des B o i s ce s o i r - 1 a . 6 6 R e y e r ' s w r i t i n g s a r e p a r t i c u l a r l y r i c h i n s o u v e n i r s and a n e c d o t e s ap ropos o f t h e m u s i c i a n s — p e d a g o g u e s , c o n d u c t o r s , s i n g e r s , and numerous c o m p o s e r s — w i t h whom he was a c q u a i n t e d . 6 7 R e m i n i s c e n c e s o f h i s b e l o v e d f r i e n d B e r l i o z , whom Reye r knew p r o b a b l y as w e l l as any o t h e r man o f h i s g e n e r a t i o n , a r e e s p e c i a l l y p l e n t i f u l . 6 8 R e y e r ' s use o f i m a g i n a t i v e and f i c t i o n a l d e v i c e s as an a i d t o c r i t -i c a l argument i s an a s p e c t o f h i s l i t e r a r y s t y l e wh i ch reminds us o f B e r l i o z and t h e German Romant i c c o m p o s e r - c r i t i c s , such as E. T. A. H o f f -mann, Weber, and Schumann. For e x a m p l e , j u s t as B e r l i o z w r o t e t o n g u e -i n - c h e e k about laws wh i ch t h e C h i n e s e had pas sed c o n c e r n i n g t h e p r o f e s -s i o n a l c o n d u c t o f s i n g e r s and t h e a t r e d i r e c t o r s , so Reyer c r i t i c i z e d c o n t e m p o r a r y p r a c t i c e s at t h e Opera by p r i n t i n g a l e t t e r s u p p o s e d l y w r i t t e n by a r e s i d e n t o f B e n a r e s — a n I n d i a n c i t y s a c r e d t o t h e H indus — about a c e r t a i n pagoda : 98 Une de nos p l u s g r andes pagodes . . . [ e s t un] t e m p l e , c o n s a c r e au c u l t e de l a mus ique . . . . . . dans l a pagode . . . i l se commet d e p u i s un temps immemor ia l des a c t e s f o r t r e p r e h e n s i b l e s e t meme a t t e n t o i r e s a l a d i g n i t e du c u l t e auquel e l l e e s t c o n -s a c r e e : par e x e m p l e , on y a r e p r e s e n t s pendant b i e n l o n g t e m p s , m u t i l e e t e x e c u t e par des c o r y p h e e s , l e c h e f -d ' o e u v r e d ' u n c e l e b r e c o m p o s i t e u r nomme R o s s i n i d a s a , e t on y donne des b a l s masques e t p u b l i c s qu i o f f e n s e n t l a m o r a l e , l a d e c e n c e , e t s on t un v e r i t a b l e o u t r a g e a l a r e l i g i o n de l ' a r t p u r . 6 9 One f e u i l l e t o n i n p a r t i c u l a r i s r e m i n i s c e n t o f t h e f a n t a s t i c s t y l e o f Hoffmann and t h e German w r i t e r s : a d i s e m b o d i e d v o i c e , " p e u t - e t r e . . . d ' u n m u s i c i e n , " 7 0 d i c t a t e s t o Reyer a l e t t e r l a m e n t i n g t h e P a r i s i a n pub -l i c ' s c r a z e f o r o p e r e t t a s and i t s l a c k o f i n t e r e s t i n m a s t e r p i e c e s o f t h e p a s t . The l o n g e s t example o f R e y e r ' s d i s c u s s i n g a c r u c i a l i s s u e i n a h i g h l y i m a g i n a t i v e way i s " H i s t o i r e d ' u n m u s i c i e n , " one o f h i s a r t i c l e s i n t h e Revue f r a n g a i s e . T h i s , s u p p o s e d l y , i s t he s t o r y t o l d t o Reyer by a s t r a n g e r whom he met w h i l e ou t w a l k i n g one day . The s t r a n g e r - - a young composer f r om an u n s p e c i f i e d c o u n t r y — d e s c r i b e d i n d e t a i l t he happy e v e n t s t h a t c u l m i n a t e d i n t h e s u c c e s s f u l p r e m i e r e o f h i s f i r s t o p e r a a t " l e g rand t h e a t r e n a t i o n a l . " The s t r a n g e r d e p a r t e d and Reyer resumed h i s w a l k , t hen e n c o u n t e r e d a d o c t o r who i n f o r m e d him t h a t t h e " m u s i c i e n " was a h o p e l e s s l y de ranged menta l p a t i e n t . At t h i s p o i n t t he message o f t h e a r t i c l e becomes c l e a r : t h e P a r i s O p e r a — F r a n c e ' s n a t i o n a l t h e a t r e - - i s i n h o s p i t a b l e t o young compose r s .71 Reyer n e v e r took advan tage o f t h e d o u b l e f u n c t i o n o f composer and c r i t i c i n o r d e r t o promote h i s own m u s i c . Fo r e x a m p l e , a l t h o u g h he w i t -ne s sed t h e t r i u m p h a n t p r e m i e r e s o f S i g u r d and Salammbo at B r u s s e l s , on b o t h o c c a s i o n s he r e q u e s t e d t h a t a B e l g i a n c r i t i c — G u s t a v e F r e d e r i x - -99 w r i t e t h e r e v i e w f o r t h e D e b a t s . W h e n Reyer d i s c u s s e d t h e P a r i s i a n p r o d u c t i o n s o f h i s f i v e o p e r a s , he d i d so w i t h t a c t , t a s t e f u l r e s e r v e , and s i n c e r e modes t y , as i s s u p e r b l y d e m o n s t r a t e d by h i s r e v i e w o f t h e O p e r a ' s Salammbo. A l t h o u g h t h i s work was e n t h u s i a s t i c a l l y a c c l a i m e d by t h e p u b l i c , t h e P a r i s i a n c r i t i c s d i d not p r a i s e i t u n a n i m o u s l y , as Reyer r e a d i l y a d m i t t e d t o h i s r e a d e r s . Je commence par r e m e r c i e r ceux de mes c o n f r e r e s qu i m 'ont c o u v e r t de f l e u r s ; j e r e m e r c i e a u s s i ceux q u i m ' on t t r e s s e des cou ronne s de r o s e s dont i l s a v a i e n t , avec une i n t e n t i o n que j e r e s p e c t e , n e g l i g e de r e t i r e r l e s e p i n e s . J ' e n a i t r e s s e moi-meme q u e l q u e s - u n e s de t o u t e s s e m b l a b l e s en m a i n t e o c c a s i o n . Les p i q u r e s n ' e n s on t pas t r o p d o u l o u r e u s e s e t se c i c a t r i s e n t v i t e . Ce s e r a i t un pauv re t r i o m p h a t e u r que c e l u i qu i r e v i e n d r a i t de l a b a t a i l l e e s c o r t e seu lement par des j o u e u r s de f l u t e . 7 3 I n s t e a d o f e i t h e r k e e p i n g s i l e n t about h i s d e f e a t s o r b i t t e r l y b l a m i n g them on v a r i o u s pe r s on s and/or c i r c u m s t a n c e s , Reyer r e c o u n t e d them w i t h i n e x h a u s t i b l e good humor. Thus , when r e v i e w i n g t h e r e s o u n d i n g f a i l u r e o f E r o s t r a t e at t h e Opera i n 1871 , t h e c o m p o s e r - c r i t i c r e f l e c t e d : Ce qu i s a u v e r a p e u t - e t r e ma p a r t i t i o n de 1 ' o u b l i , e ' e s t q u ' e l l e p o u r r a s e r v i r de p o i n t de c o m p a r a i s o n : on d i r a , en p a r l a n t d ' u n o p e r a ennuyeux : C ' e s t p r e sque a u s s i ennuyeux ou beaucoup p l u s ennuyeux q u ' E r o s t r a t e . 7 4 C o n t e n t s o f and C r i t i c a l R e a c t i o n t o " N o t e s de m u s i q u e " and " Q u a r a n t e ans de mu s i que " Notes de mus ique and Qua ran te ans de m u s i q u e , t h e o n l y c o l l e c t e d s o u r c e s o f R e y e r ' s c r i t i c i s m , c o m p r i s e l e s s than t e n p e r c e n t o f h i s l i t e r a r y o u t p u t . 7 5 /\s we o b s e r v e d i n C h a p t e r I, t h e mak ing o f each com-p i l a t i o n was due p r i m a r i l y t o t h e e f f o r t s o f R e y e r ' s f r i e n d s , because he h i m s e l f had l i t t l e c o n c e r n f o r t h e f a t e o f h i s w r i t i n g s . 100 Notes b e g i n s and ends i n a humorous v e i n : t h e f i r s t i t e m i s t h e t o u c h i n g and w i t t y " H i s t o i r e d ' u n m u s i c i e n " ; t h e l a s t , e n t i t l e d " P e t i t e s n o t e s , " i s a s e l e c t i o n o f amusing r e v i e w s , w h i m s i c a l s a l l i e s , and d r o l l a n e c d o t e s . " H i s t o i r e " and " P e t i t e s n o t e s " f rame t h e two p r i n c i p a l s e c -t i o n s o f t h e book, each o f wh i ch o c c u p i e s a p p r o x i m a t e l y two hundred page s : " V o y a g e s " and " E t u d e s e t P o r t r a i t s . " The f o r m e r s e c t i o n i n -c l u d e s S o u v e n i r s d ' A l l e m a g n e and R e y e r ' s a ccoun t o f t h e p r e m i e r e o f ATda at C a i r o as w e l l as h i s subsequent j o u r n e y s i n E g y p t . " E t u d e s e t P o r -t r a i t s " c o n s i s t s o f w r i t i n g s on a v a r i e t y o f s u b j e c t s : t h e r e a re s t u -d i e s o f works f o r t h e l y r i c t h e a t r e ; e s s a y s on B e r l i o z , wh ich c o n s t i t u t e n e a r l y o n e - f i f t h o f t h e vo lume; p o r t r a i t s o f o t h e r p r om inen t f r i e n d s and a c q u a i n t a n c e s o f R e y e r ; and a r e v i e w o f one o f t h e annua l c o m p e t i t i o n s o f t h e P a r i s C o n s e r v a t o i r e . S e v e r a l eminent c r i t i c s p r a i s e d Notes as b e i n g both d i v e r t i n g and i n s t r u c t i v e . E r n e s t Legouve went so f a r as t o d e c l a r e t h a t Reyer d e s e r v e d t o be r anked a l o n g s i d e o t h e r d i s t i n g u i s h e d c o m p o s e r - c r i t i c s , i n c l u d i n g B e r l i o z . 7 6 As we o b s e r v e d i n t h e P r e f a c e o f t h i s d i s s e r t a -t i o n , o t h e r c r i t i c s e x c l a i m e d at t h e t i m e o f R e y e r ' s dea th t h a t t h e a u t h o r o f Notes s h o u l d have been e l e c t e d t o t h e Academie f r a n g a i s e . A f t e r t h e p u b l i c a t i o n o f R e y e r ' s c o l l e c t i o n , c r i t i c s u rged him t o f u l f i l h i s vow t h a t he would c o m p i l e a second " s i ce p r e m i e r volume a q u e l q u e s u c c e s . " 7 7 However, d e s p i t e t h e h i g h l y f a v o r a b l e r e v i e w s o f N o t e s , t h e p r om i sed c o m p i l a t i o n had not appeared when t he v e n e r a b l e c o m p o s e r - c r i t i c d i e d t h i r t y - f o u r y e a r s l a t e r , i n 1909. The s e v e r a l c r i t i c s who, at t h e t i m e o f h i s d e a t h , c a l l e d f o r t h e making o f a second c o m p i 1 a t i o n - - a n d even a t h i r d o r f o u r t h 7 8 - - w e r e e v i d e n t l y unaware t h a t 101 R e y e r ' s young f r i e n d E m i l e H e n r i o t had o b t a i n e d t h e aged c r i t i c ' s p e r -m i s s i o n t o u n d e r t a k e t h e p r o j e c t . Reyer had c o n s e n t e d t o t h e p r e p a r a t i o n o f a second c o m p i l a t i o n on c o n d i t i o n t h a t he would not have t o c o n c e r n h i m s e l f w i t h t h e work , e x -c e p t t o l ook at t h e p r o o f s i n o r d e r t o d e t e r m i n e t h e sequence i n wh i ch he wanted t h e s e l e c t i o n s t o a p p e a r . U n f o r t u n a t e l y , he had d i e d b e f o r e H e n r i o t had found a p u b l i s h e r o r had even begun s e l e c t i n g t h e w r i t -i n g s . 7 9 T h e r e f o r e , t h e c h o i c e and o r d e r o f t he s e l e c t i o n s i n t he second vo l ume , p u b l i s h e d l a t e i n 1909 as Qua r an te ans de m u s i q u e , a re a t t r i b u -t a b l e s o l e l y t o H e n r i o t . He must a l s o be h e l d r e s p o n s i b l e f o r t he o b v i -o u s l y c a r e l e s s p r o o f r e a d i n g wh i ch a l l o w e d many t y p o g r a p h i c a l e r r o r s - -e s p e c i a l l y i n t h e s p e l l i n g o f p r o p e r n ames - - t o s t and i n R e y e r ' s w r i t -i n g s . 80 These w r i t i n g s a re supp lemented by two i t ems by H e n r i o t : a l e n g t h y p r e f a c e d e a l i n g w i t h R e y e r ' s c a r e e r as a c r i t i c , and a " T a b l e c h r o n o l o g i q u e des f e u i l l e t o n s d ' E r n e s t Reyer pa ru s dans l e C o u r r i e r de P a r i s e t l e J o u r n a l des D e b a t s . " The p r e f a c e , however , i s f l a w e d by m i s i n f o r m a t i o n and o v e r s i g h t s , 8 1 w h i l e t h e " T a b l e " i s not o n l y i n com-p l e t e but a l s o mar red by dozens o f e r r o r s wh i ch i n d i c a t e h a s t e i n t h e t r a n s c r i b i n g o f t h e d a t e s and s u b t i t l e s o f R e y e r ' s f e u i l l e t o n s . 8 2 Whereas Notes i n c l u d e s some o f R e y e r ' s d e s c r i p t i o n s o f h i s t r a v e l s , Qua ran te i s d e v o t e d e n t i r e l y t o h i s w r i t i n g s on mus ic and m u s i c i a n s . Most o f t h e i t ems chosen by H e n r i o t c o n c e r n composers who were p r o m i n e n t i n R e y e r ' s day : Wagner, B e r l i o z , and many o t h e r c o n t e m p o r a r y F rench c o m p o s e r s , i n c l u d i n g Gounod, Reyer h i m s e l f , and s e v e r a l young compa-t r i o t s . Two composers o f t h e p a s t - - G l u c k and W e b e r - - a r e each r e p r e s e n t -ed by one a r t i c l e . R e y e r ' s r e c o l l e c t i o n o f h i s m e e t i n g s w i t h L i s z t a t 102 Rome i n t h e summer o f 1865 , and h i s r e v i e w o f t h e w o r l d p r e m i e r e o f V e r d i ' s O t e l l o , a re a l s o i n c l u d e d i n t h e c o l l e c t i o n . S e v e r a l c r i t i c s r e j o i c e d when Qua ran te a p p e a r e d , f o r i t p r e s e r v e d some more o f what t h e y r e g a r d e d as a p r e c i o u s l i t e r a r y l e g a c y . 8 3 A few f a u l t e d H e n r i o t f o r not h a v i n g o r g a n i z e d t h e c o m p i l a t i o n a c c o r d i n g t o a d i s c e r n i b l e p l a n , such as c h r o n o l o g i c a l o r even a l p h a b e t i c a l o r d e r , bu t most were p l e a s e d by t h e s e l e c t i o n s he had m a d e . 8 4 He had s t a t e d i n h i s p r e f a c e t h a t " s i ce volume r e u s s i t , nous en p u b l i e r o n s un a u t r e , " 8 5 and c r i t i c s u rged him t o keep h i s p r o m i s e . D e s p i t e t h e i r u n d e r s t a n d a b l e c o m p l a i n t s about t he v o l u m e ' s l a c k o f o r g a n i z a t i o n , c r i t i c s commended H e n r i o t f o r h i s s e l e c t i o n o f R e y e r ' s w r i t i n g s on Wagner and on c o n t e m p o r a r y F rench compo se r s . The n i n e a r t i c l e s on W a g n e r — c o m p r i s i n g more t h a n o n e - q u a r t e r o f t h e v o l u m e -p r o v i d e an e x c e l l e n t s a m p l i n g o f R e y e r ' s v i ews on many o f Wagne r ' s o p e r a s , and o f f e r a c l e a r p i c t u r e o f t h e c r i t i c ' s a t t i t u d e toward t h e pro-Wagner movement t h a t dom ina ted P a r i s i a n m u s i c a l l i f e f r om the m i d -18805 u n t i l t h e t u r n o f t h e c e n t u r y . 8 & W r i t i n g s on f i v e F r ench com-p o s e r s whom Reyer encou raged f r om t h e o u t s e t o f t h e i r c a r e e r s — n a m e l y , B i z e t , M a s s e n e t , L a l o , Gounod, and S a i n t - S a e n s — c o n s t i t u t e more t han h a l f t h e v o l ume , and , as Hen r i de Curzon n o t e s , a f f o r d une i d e e a s s e z bonne de c e t t e i ndependance de c r i t i q u e , de c e t t e s o l i d i t e de c o n v i c t i o n , de c e t t e s y m p a t h i e n a t u r e l l e pour l e s n o u v e a u x - v e n u s , . . . de c e t t e p a r -f a i t e s i m p l i c i t y , ma i s de c e t t e v e r v e s i s p i r i t u e l l e , qu i c a r a c t e r i s e n t l a man i e r e de Reyer e c r i v a i n . 8 7 The w r i t i n g s on B e r l i o z and on Reyer i n Quarante seem t o have been cho sen f o r t h e pu rpo se o f c omp lemen t i n g t h o s e i n N o t e s . In Qua ran te t h r e e o f t h e f o u r i t ems c o n c e r n i n g B e r l i o z a re r e v i e w s o f c o m p o s i t i o n s , 103 whereas i n t h e e a r l i e r c o m p i l a t i o n f i v e o f t h e h a l f - d o z e n s e l e c t i o n s about t h i s composer a r e o f p r i m a r i l y b i o g r a p h i c a l i n t e r e s t . 8 8 T o g e t h e r , t h e two volumes r e p r e s e n t R e y e r ' s w r i t i n g s on a l l o f h i s own works f o r t h e l y r i c t h e a t r e : r e v i e w s o f MaT t re Wo l f ram and E r o s t r a t e i n t he f i r s t volume a re complemented i n t h e second by f e u i l l e t o n s on La S t a t u e , S i g u r d , and Salammbo. In o t h e r r e s p e c t s , t o o , t h e second volume complements t h e f i r s t . The r e v i e w o f V e r d i ' s O t e l l o i n Qua ran te supp lement s t h o s e o f two o f h i s e a r l i e r w o r k s - - A T d a and t h e R e q u i e m - - i n N o t e s . F u r t h e r m o r e , R e y e r ' s r e v i e w o f B e e t h o v e n ' s F i d e l i o i n t h e f i r s t c o m p i l a t i o n i s complemented i n t h e second by w r i t i n g s on G l u c k and Weber.89 F i n a l l y , t he second v o l u m e — a s p r e v i o u s l y no t ed — i s l a r g e l y c o n c e r n e d w i t h R e y e r ' s c o n t e m -p o r a r i e s , whereas t h e f i r s t volume f o c u s e s on an e a r l i e r g e n e r a t i o n , i n c l u d i n g not o n l y Beethoven but a l s o A u b e r , F e t i s , C a r a f a , M e y e r b e e r , R o s s i n i , and B e r l i o z . W h i l e Qua ran te i s i n many r e s p e c t s a wo r t hy complement t o N o t e s , c r i t i c s r e g r e t t e d t h a t H e n r i o t had not p r e s e n t e d more o f R e y e r ' s w r i t -i n g s . 90 S e v e r a l o b v i o u s l a c u n a e i n t h e s e l e c t i o n were c i t e d by Georges S e r v i e r e s : P ou rquo i nous donner s eu lement l e c ompte - r endu de F a u s t [de Gounod] e t p o i n t c e l u i de Romeo e t J u l i e t t e ? P o u r -q u o i O t h e l l o [ s i c ] e t non F a l s t a f f ? Pou rquo i a v o i r l a i s s e de c o t e l e f e u i l l e t o n su r Namouna [de L a l o ] , a l o r s que Reyer f u t un des r a r e s c r i t i q u e s qu i p r o c l a -merent l a v a l e u r m u s i c a l e de ce b a l l e t ? E n f i n pou rquo i n ' a v o i r p o i n t p u b l i e l e s a p p r e c i a t i o n s de Reyer s u r C. F r a n c k , quand i l e s t des p r e m i e r s a a v o i r r e connu l e m e r i t e des o r a t o r i o s Ruth e t Re*demption?91 We m igh t add t h a t H e n r i o t s h o u l d have i n c l u d e d more t han one a r t i c l e on G l u ck and one on Weber, and s h o u l d not have o v e r l o o k e d S p o n t i n i ; h i s n e g l e c t o f t h e s e t h r e e composers seems a l l t h e more r e g r e t t a b l e when o b s e r v e t h a t none was r e p r e s e n t e d i n N o t e s . A c o m p i l a t i o n (o r c o m p i l t i o n s ) w h i c h would f i l l a l l o f t h e s e l a c u n a e i s s u r e l y a d e s i d e r a t u m . 105 Endnotes 1 To my know ledge , t h e f i r s t c r i t i c a l w r i t i n g s i g n e d by Reyer i s a r e v i e w o f H a l e v y ' s o p e r a Le J u i f e r r a n t ( 1 8 5 2 ) ; t h e l a s t i s a t r i b u t e t o Ben jamin Godard ( 1 9 0 4 ) . See Append i x A f o r a b i b l i o g r a p h y o f R e y e r ' s c r i t i c a l w r i t i n g s . 2 The v a s t m a j o r i t y o f t h e s e 715 were p u b l i s h e d w i t h R e y e r ' s s u r -name o r w i t h bo th i n i t i a l s . However , more t han two dozen were anony -mous. They can be p o s i t i v e l y i d e n t i f i e d as b e i n g by Reyer e i t h e r becau se he e v e n t u a l l y acknowledged t h e i r a u t h o r s h i p , o r because t h e y were a s c r i b e d t o him by h i s c l o s e f r i e n d s H e n r i o t , J u l l i e n , and/or C u r z o n . 3 Reyer w r o t e 58 a r t i c l e s f o r t h e A t h F , 23 f o r t h e RF, 24 f o r t h e RP, and 11 f o r t h e GN. 4 In La P r e s s e I have e n c o u n t e r e d o n l y one i t e m s i g n e d by R e y e r : a l e t t e r - a r t i c l e r e p l y i n g t o t h e f i r s t i n s t a l l m e n t o f J u d i t h Mende s ' s a r t i c l e " R i c h a r d Wagner e t l a c r i t i q u e " ( see C h a p t e r V I I I , p. 3 3 2 ) . In FM t h e r e a r e two i t ems b e a r i n g e i t h e r R e y e r ' s surname or h i s i n i t i a l s : " P i e r r e Dupont , m u s i c i e n , " FM 16 (29 Augus t 1852 ) : 284 - 86 ( r e p r i n t e d f rom A thF 1 [21 August 1 8 5 2 ] : 1 2 3 - 2 4 ) ; and " L e s S o i r e e s de M. M a r m o n t e l , " FM 22 (6 June 1 8 5 8 ) : 1 8 1 - 8 2 . The l a t t e r , s i g n e d " E . R.," i s a resume o f a s e r i e s o f p r i v a t e c o n c e r t s g i v e n at t h e home o f t h e p i a n i s t and p e d a -gogue A n t o i n e - F r a n g o i s M a r m o n t e l - - c o n c e r t s wh ich i n c l u d e d p i a n o works and chamber mus ic by Mme F a r r e n c and o t h e r c o n t e m p o r a r y F rench com-p o s e r s . 5 See Georges S e r v i e r e s , " L e s R e l a t i o n s d ' E r n e s t Reyer et de Theo -p h i l e G a u t i e r , " Revue d ' H i s t o i r e l i t t e r a i r e de l a F r a n c e , no . 24 ( 1 9 1 7 ) , pp . 6 5 - 7 9 . R e y e r ' s w r i t i n g s , says S e r v i e r e s , are d i s t i n g u i s h a b l e by t h e f o c u s i n g o f a t t e n t i o n on h i s own mus i c and t h a t o f h i s aunt as w e l l as h i s f e l l o w - M a r s e i 1 1 a i s , such as L. Amat, A r n a u d , and X. B o i s s e l o t , " e t s u r t o u t par une t e c h n i c i t e qu i n ' e t a i t n i du gout de T h e o p h i l e G a u t i e r , n i dans ses f a c u l t e s . " ( I b i d . , p. 71 . ) S e r v i e r e s d e a l s s p e c i f i c a l l y w i t h e i g h t e e n f e u i 1 l e t o n s ( o f wh i ch o n l y t e n a r e g i v e n c o m p l e t e b i b l i o g r a p h i c c i t a t i o n s ) . He does not c l a i m t h a t t h e s e e i g h t e e n a r e t he o n l y ones i n wh i ch Reyer had a hand : at t h e c o n c l u s i o n o f t h e a r t i c l e he d e c l a r e s n o n - c o m m i t t a l l y t h a t " l a ' c o p i e ' [ de R e y e r ] f u t t e x t u e l l e m e n t i n s e r e e dans l e s f e u i l l e t o n s de 1 a P r e s s e , " and t h a t R e y e r ' s " c o p y " was " q u e l q u e f o i s meme r e j e t e e a l a f i n du f e u i l -l e t o n , avec un s o u s - t i t r e , ma i s avant l a s i g n a t u r e : T h e o p h i l e G a u t i e r . " ( I b i d . , pp . 79 and 79n . ) By e x a m i n i n g s i x - m o n t h p e r i o d s f r om two o f t he y e a r s d u r i n g wh i ch Reyer a l l e g e d l y g h o s t w r o t e f o r La P r e s s e ( s ee Appen -d i x A ) , I u n cove red t h r e e f e u i 1 l e t o n s i n wh i ch a s e c t i o n o f mus ic c r i t i -c i s m does i ndeed appear w i t h a s u b t i t l e but ahead o f G a u t i e r ' s s i g n a t u r e 106 ( o r t h a t o f L o u i s de C o r m e n i n , who s u b s t i t u t e d f o r t h e v a c a t i o n i n g G a u t i e r ) . These f e u i l l e t o n s a re d a t e d 6 J u l y 1852 , 15 November 1852, and 5 December 1854; i n a l l t h r e e , t h e s u b t i t l e i s " C h r o n i q u e m u s i c a l e . " 6 The f o u r r e v i e w s a r e : " M a t i n e e m u s i c a l e de Mme P i e r s o n - B o d i n . [ - - S o i r e e m u s i c a l e at t h e home o f M. L e t e l l i e r ] , " £M 19 (22 A p r i l 1 8 5 5 ) : 1 2 5 ; t h e s e r i a l i z e d a r t i c l e " L e s C o n c e r t s h i s t o r i q u e s du c l a v e c i n e t du p i a n o pa r M. e t Mme F a r r e n c , " _FM 21 (6 and 20 December 1 857 ) : 395-96 and 4 1 0 - 1 1 ; and " Seance s m u s i c a l e s . Deuxieme m a t i n e e de Mme P i e r s o n - B o d i n . - - P r e m i e r e s o i r e e de M. M a r m o n t e l . — P r e m i e r e s o i r e e de M. B a i l l o t , " FM 22 (10 J a n u a r y 1 8 5 8 ) : 1 0 - 1 1 . The p r o b a b i l i t y t h a t Reyer r e v i e w e d t h e m a t i n e e s o f Mme P i e r s o n - B o d i n i s s t r e n g t h e n e d by t he f a c t t h a t Mme F a r r e n c o f t e n pe r f o rmed i n t h e s e p r i v a t e c o n c e r t s , and was " e v i d e n t l y a c l o s e f r i e n d o f Mme P i e r s o n - B o d i n . " ( J e f f r e y C o o p e r , The R i s e o f I n s t r u m e n t a l Mu s i c and C o n c e r t S e r i e s i n P a r i s , 1 828 - 1871 , S t u d i e s i n M u s i c o l o g y , n o . 65 |_Ann A r b o r , M i c h i g a n : UMI R e s e a r c h P r e s s , 1 9 8 3 ] , p. 73 . ) We can a l s o be r e a s o n a b l y c e r t a i n t h a t Reyer r e v i e w e d M a r m o n t e l ' s f i r s t s o i r e e o f 1858, b e c a u s e — a s s t a t e d above i n n . 4 — a resume o f t h e e n t i r e s e r i e s was l a t e r p u b l i s h e d w i t h R e y e r ' s i n i t i a l s . 7 The speech on F e l i c i e n Dav i d d a t e s f r o m 1877 ; t h o s e on B e r l i o z were w r i t t e n i n 1866 , 1890, and 1903 ; and t h e e s s a y was p u b l i s h e d i n 1889. A l l a re c i t e d i n A p p e n d i x B. 8 A c c o r d i n g t o H. Robe r t Cohen, " B e r l i o z on t h e Ope ra ( 1 8 2 9 - 1 8 4 9 ) : A S tudy i n M u s i c C r i t i c i s m " ( Ph .D . d i s s e r t a t i o n , New York U n i v e r s i t y , 1 9 7 3 ) , p. 5. As we s h a l l see i n C h a p t e r V I I , p. 276 , Reyer began e x p r e s s i n g a d m i r a t i o n f o r B e r l i o z t h e c r i t i c d u r i n g t h e 1850s , at t h e o u t s e t o f h i s own c a r e e r . 9 Speech d e l i v e r e d at t h e i n a u g u r a t i o n o f t h e s t a t u e o f B e r l i o z at P a r i s on 17 O c t o b e r 1886 ( p u b l i s h e d i n t h e JD f e u i l l e t o n t h a t same d a y ) . 10 " L a C r i t i q u e m u s i c a l e : C a s t i l - B l a z e , H. B e r l i o z , " i n Le L i v r e du c e n t e n a i r e du " J o u r n a l des D e b a t s , " 1789-1889 ( P a r i s : L i b r a i r i e P l o n , 1 8 8 9 ) , p. 4 3 1 . F r a n c o i s - H e n r i - J o s e p h B l a z e ( 1 7 8 4 - 1 8 5 7 ) , known as C a s t i l - B l a z e , was a mus i c c r i t i c , compose r , a r r a n g e r , and t r a n s l a t o r . He s e r v e d as c r i t i c f o r t h e ^JD f r o m 1822 u n t i l 1832, d u r i n g wh i ch t i m e he e x e r c i s e d much i n f l u e n c e on m u s i c a l a f f a i r s i n P a r i s . A l t h o u g h he was a man o f c o n s i d e r a b l e l e a r n i n g , he had a penchant f o r mak ing i r r e -s p o n s i b l e a r r angement s o f famous c o m p o s e r s ' w o r k s . Ap ropos o f h i s a r r angement s o f W e b e r ' s Pe r F r e i s c h u ' t z and E u r y a n t h e , see C h a p t e r V I , p. 2 15 . 11 The m a n u s c r i p t o f S o u v e n i r s d ' A l l e m a g n e i s c o n s e r v e d as p a r t o f t h e Reyer " P o s s i e r d ' A r t i s t e " i n t h e B i b l i o t h e q u e de l ' O p e r a . Near t h e b e g i n n i n g o f h i s r e p o r t , Reyer r e c a l l s t h a t he had been t o Germany many t i m e s b e f o r e r e c e i v i n g t h e c h a r g e f r om t h e government i n 1863 ; i n 1862, f o r e xamp le , he had v i s i t e d s e v e r a l s o u t h e r n and w e s t e r n c e n t e r s ( S t u t t -g a r t , Aug sbu r g , Nuremburg, M u n i c h , F r a n k f o r t , and O a r m s t a d t ) . He t h e n e x p l a i n s t h a t , b e f o r e w r i t i n g h i s r e p o r t on m u s i c a l l i f e i n Germany, 107 " j ' a i v o u l u . . . 1 ' a v o i r v i s i t e e t o u t e n t i e r e , e t j ' a i commence par B e r l i n . " ( S o u v e n i r s d ' A l l e m a g n e , r e p r i n t e d i n Notes de mus ique [ P a r i s : C h a r p e n t i e r , 1 8 7 5 ] , p. 37 . ) Reyer t r a v e l l e d f r o m B e r l i n i n t o e a s t c e n t r a l Germany (Weimar, E i s e n a c h , L e i p z i g , and D r e s d e n ) , t hen t h r o u g h C z e c h o s l o v a k i a ( P r ague and Brno) i n t o n o r t h e a s t e r n A u s t r i a ( V i e n n a and G r a z ) and n o r t h e a s t e r n I t a l y ( T r i e s t e ) . A f t e r r e a c h i n g V e n i c e he t u r n e d n o r t h , j o u r n e y i n g t h r o u g h Ve rona and t he T y r o l i n t o S a l z b u r g , and f rom t h e r e i n t o s o u t h e r n and s o u t h w e s t e r n Germany ( M u n i c h , Baden -Baden , Mannheim, and K a r l s r u h e ) . 12 i b i d . , p. 154. Reyer p o i n t e d ou t t h a t "un ouv rage j o u e pour l a p r e m i e r e f o i s a Mannheim, a Weimar, a P rague ou a C a r l s r u h e peut se r e p a n d r e e n s u i t e dans t o u t e l ' A l l e m a g n e e t a r r i v e r su r l e s g randes s cene s de V i enne e t de B e r l i n , " whereas an o p e r a p r e m i e r e d at one o f t h e p r o v i n c i a l c e n t e r s i n F r a n c e had l i t t l e chance o f r e a c h i n g P a r i s . He added t h a t , even i f a F r ench o p e r a d i d f i n d i t s way f rom the p r o v i n c e s t o t h e c a p i t a l , i t was u s u a l l y g r e e t e d w i t h " c e t t e i n d i f f e r e n c e qu i peut p re sque s ' a p p e l e r du d e d a i n " ( i b i d . , p p . 1 5 4 - 5 5 ) . 13 " L e t t r e en g u i s e de p r e f a c e , a M o n s i e u r Hen r i M a r e c h a l , " i n P a r i s , s o u v e n i r s d ' u n m u s i c i e n : 185 . - 1 8 7 0 , by H e n r i Ma recha l ( P a r i s : L i b r a i r i e H a c h e t t e , 1 9 0 7 ) , p. x i i i . 14 In t h e JD f e u i l l e t o n o f 16 November 1871 , f o r e x a m p l e , he r e -ma rked : " J e s u i s f o r t e n t e t e dans mes a d m i r a t i o n s e t j ' a i m e q u ' o n l e s p a r t a g e . " See a l s o t h e e x c e r p t f r om h i s " p r o f e s s i o n de f o i " ( i b i d . , 2 December 1 8 6 6 ) , quo ted i n C h a p t e r I I I , pp . 1 29 - 30 . 15 i b i d . , 8 December 1894. R e y e r ' s i n t e r e s t i n such works was p e r -haps most s t r o n g l y e x p r e s s e d i n t h e f o l l o w i n g r e m a r k , w r i t t e n more t h a n t h i r t y y e a r s e a r l i e r : " S e l o n m o i , i l n ' e s t r i e n de p l u s b e a u , de p l u s i m p o s a n t , de p l u s g r a n d i o s e q u ' u n e armee d ' e x e c u t a n t s . . . e c h e l o n n e s s u r une v a s t e e s t r a d e " ( " C h r o n i q u e m u s i c a l e , " GN 2 [4 F e b r u a r y 1 8 6 0 ] : 5 ) . 16 Reyer p e r s i s t e n t l y c a l l e d f o r a s p a c i o u s , c o m f o r t a b l e h a l l w i t h e x c e l l e n t a c o u s t i c s - - a b u i l d i n g t h a t would be c o m p a r a b l e t o L o n d o n ' s A l b e r t H a l l o r E x e t e r H a l l . The f o l l o w i n g a re among t he w r i t i n g s i n wh i ch he drew a t t e n t i o n t o t h e need f o r such a h a l l i n P a r i s : " C h r o n i q u e m u s i c a l e , " RF Annee 1, Tome 1 (1 December 1 8 5 5 ) : 2 5 1 - 5 2 ; CP f e u i l l e t o n o f 25 O c t o b e r 1859; " C h r o n i q u e m u s i c a l e , " GN 2 (4 F e b r u a r y 1 8 6 0 ) : 5 ; i b i d . (14 A p r i l 1 8 6 0 ) : 5 ; and t he JD f e u i l l e t o n s o f 8 and 27 September 1867 , 30 A p r i l 1869 , 16 November "T871 , 18 May 1872, and 23 May 1877. 17> Of t h e t w e n t y - t h r e e a r t i c l e s wh i ch Reyer c o n t r i b u t e d t o the RF_, f o r e x a m p l e , f i v e i n c l u d e m a t e r i a l p e r t a i n i n g t o chamber m u s i c . See h i s " C h r o n i q u e m u s i c a l e " i n t he f o l l o w i n g : Annee 1, Tome 3 (1 December 1855) : 256 ; i b i d . (20 J a n u a r y 1 8 5 6 ) : 5 1 5 - 1 6 ; Annee 2, Tome 7 (20 December 1856) : 3 83 - 84 ; i b i d . (20 J a n u a r y 1 8 5 7 ) : 5 7 1 ; and Annee 3, Tome 8 (10 A p r i l 1857) : 5 1 1 - 1 2 . 108 18 R e y e r ' s v i ews on I t a l i a n , German, and F r e n c h o p e r a a re d i s c u s s e d i n C h a p t e r IV, pp . 1 6 1 - 6 3 . 19 " L o r s q u e M. M e y e r b e e r , empruntant a 1 ' e c o l e i t a l i e n n e ses m e l o -d i e s f a c i l e s e t e l e g a n t e s , e t a V e c o l e a l l e m a n d e l a r i c h e s s e de son i n s t r u m e n t a t i o n , eu t p o r t e a l e u r paroxysme ces deux e l e m e n t s du drame l y r i q u e , i l c r e a un genre b a t a r d qu i f i t r e v o l u t i o n en F r a n c e . . . La p l u p a r t de nos c o m p o s i t e u r s , t e m o i n s du s u cce s qu i a c c u e i l l i t l e s ouv rage s du c e l e b r e m a e s t r o , e n t r e r e n t dans c e t t e v o i e n o u v e l l e " ( " C h r o n i q u e m u s i c a l e , " A t hF 1 [10 and 17 J u l y 1 8 5 2 ] : 3 1 ) . 2 0 Reyer f e l t t h a t , o f a l l M e y e r b e e r ' s w o r k s , R o b e r t l e D i a b l e and Les Huguenots were t h e ones i n wh i ch t h e m e l o d i c w r i t i n g showed most s t r o n g l y t h e i n f l u e n c e o f " l a m a n i e r e i t a l i e n n e . " See " M u s i q u e . O p e r a , " RP 8 (May 1 8 5 2 ) : 1 5 6 . 21 I b i d . L i k e B e r l i o z , Reyer was p a r t i c u l a r l y imp re s sed by Meye r -b e e r ' s e x p e r t i s e i n t h e t r e a t m e n t o f t h e o r c h e s t r a . As an example o f t h e " s o i n e x t r e m e " w i t h wh i ch Meye rbeer c r e a t e d o r c h e s t r a l e f f e c t s t h a t would be c o n s i s t e n t w i t h t h e d r a m a t i c i d e a s o f t h e t e x t , Reyer c i t e d t h e use o f t h e bass c l a r i n e t t o a c h i e v e a l u g u b r i o u s mood i n t h e a c c o m p a n i -ment t o t h e t r i o i n A c t V o f Les Huguenots (JD f e u i l l e t o n o f 25 March 1 8 7 3 ) . 22 The p r e f e r e n c e o f bo th men f o r t h e German m u s i c a l t r a d i t i o n was p r o b a b l y s t r e n g t h e n e d by t h e many v i s i t s made by each t o Germany. 23 As e a r l y as 1854 Reyer w h o l e h e a r t e d l y s u p p o r t e d p e r f o r m a n c e s o f B e e t h o v e n ' s l a s t q u a r t e t s ; see " C h r o n i q u e de l a q u i n z a i n e : Revue m u s i -c a l e , " RP 20 (15 F e b r u a r y 1 8 5 4 ) : 6 7 1 . The " c o l o s s a l e g r a n d e u r " o f Bee -t h o v e n ' s N i n t h Symphony - -and , i n p a r t i c u l a r , t h e " m e r v e i l l e u s e , s u b l i m e " A d a g i o — p r o f o u n d l y i m p r e s s e d Reyer (JD f e u i l l e t o n o f 18 F e b r u a r y 1 8 7 7 ) . 24 In a r e v i e w o f t h e p r e m i e r e o f Schumann ' s Das P a r a d i e s und d i e P e r i i n F r e n c h t r a n s l a t i o n , Reyer d i s c u s s e d what he r e g a r d e d as t he s t r e n g t h s and weaknesses o f t h e compose r , t hen c o n c l u d e d : " C ' e s t un m a T t r e , ma i s un maTtre p l e i n de d e f a i l l a n c e s , d ' i n e g a l i t e s e t d ' i n c o r r e c t i o n s qu i ne s a u r a i e n t e t r e p r i s e s pour des e c l a i r s de g e n i e . Schumann, b i e n q u ' i n f e r i e u r a Mende l s sohn e t a Weber, s ' e s t p o u r t a n t r a p p r o c h e d ' e u x q u e l q u e f o i s , e t dans l e Pa rad i s e t l a P e r i , par e x e m p l e , des r e m i n i s c e n c e s du Songe d ' u n e n u i t d ' e t e e t d 'Obe ron v i e n n e n t a t t e s t e r ce r approchement de l a f agon l a p l u s e v i d e n t e . " (JD f e u i l l e t o n o f 15 December 1869) Reyer es teemed Mende l s sohn p r i m a r i l y as a composer o f c h o r a l and o r c h e s -t r a l mus i c d i s t i n g u i s h e d by " 1 ' e l e v a t i o n du s t y l e , l ' a m p l e u r des i d e e s e t l e s s a v a n t e s c o m b i n a i s o n s de l ' o r c h e s t r e " ( i b i d . , 3 J a n u a r y 1 8 6 7 ) . 25 Reyer app l auded t h e c o l o r f u l i n s t r u m e n t a t i o n o f such d i v e r s e work s as t h e o v e r t u r e s o f Weber, B e e t h o v e n ' s N i n t h Symphony, and 109 Schumann ' s M a n f r e d ; see t h e CP f e u i l l e t o n o f 11 September 1857 and t he JD f e u i l l e t o n s o f 22 J a n u a r y 1888 and 18 F e b r u a r y 1877 r e s p e c t i v e l y . 26 D i s t r e s s e d by t h e f a i l u r e s o f t h e P a r i s i a n p r e m i e r e s o f f i r s t Tannh'auser (1861) and t hen Les T royen s a C a r t h a g e ( 1 8 6 3 ) , Reyer e x -c l a i m e d t o h i s r e a d e r s : " L e s c l a s s i q u e s ! l e s c l a s s i q u e s ! d i t e s - v o u s ; t e n o n s - n o u s - e n aux c l a s s i q u e s ! Ma i s Wagner e t B e r l i o z , dans q u e l q u e s annees d ' i c i , s e r o n t des c l a s s i q u e s ! . . . [ s i c ] " ( S o u v e n i r s , r e p r i n t e d i n N o t e s , p. 2 6 ; see t h e l o n g e r e x c e r p t g i v e n be low i n C h a p t e r V I I , p. 2 8 8 ) 7 2 7 JD f e u i l l e t o n o f 8 December 1894. 2 8 Apropos o f two o f t h e F r ench m a s t e r s , Reyer once r e m a r k e d : " J e c r o i s que G r e t r y , en d e p i t de sa f a i b l e i n s t r u c t i o n m u s i c a l e , e t a i t cependan t ce q u ' o n peut a p p e l e r un g rand m u s i c i e n . . . . Je c r o i s que 1 ' a r t i s t e qu i a e c r i t l a t o u c h a n t e e t p a l p i t a n t e romance de N i n a [ D a l a y r a c ] e t a i t , l u i a u s s i , un g rand a r t i s t e " ( f r om a c o n v e r s a t i o n w i t h A r t h u r P o u g i n on 14 December 1891 , quo ted by P o u g i n i n " E r n e s t R e y e r , " Le M e n e s t r e l 75 [23 J a n u a r y 1 9 0 9 ] : 2 7 ) . Reyer o f t e n c i t e d G r e t r y ' s L e t t r e su r l a mus ique when a d v i s i n g young composer s a g a i n s t t h e o v e r - u s e o f b r a s s and p e r c u s s i o n ; s e e , f o r e x a m p l e , t h e CP f e u i 1 l e t o n o f 29 A p r i l 1857 ( f r o m wh i ch an e x c e r p t i s g i v e n i n C h a p t e r V I , p. 2 3 7 ) . L e s u e u r — B e r l i o z ' s f i r s t t e a c h e r a t P a r i s — w a s admi red by Reyer as both composer and " l ' u n des p l u s g rands t h e o r i c i e n s que l a F r ance a i t p r o d u i t s " ( i b i d . ) . 2 9 See J a cque s B a r z u n , B e r l i o z and t h e Romant i c C e n t u r y , 3d e d . , 2 v o l s . (New Y o r k : C o l u m b i a U n i v e r s i t y P r e s s , 1 9 6 9 ) , 1:345 and 3 4 5 n . , 2 : 264 . 3 0 JD f e u i l l e t o n o f 31 May 1868; see t h e l o n g e r e x c e r p t g i v e n i n C h a p t e r I I I , p. 126. 31 Ba r zun m a i n t a i n s t h a t B e r l i o z knew H a n d e l ' s mus i c " o n l y t h r o u g h bad and d u l l p e r f o r m a n c e s , t h e k i n d Shaw was t o c a l l ' i n - c h u r c h y ' " ( B e r l i o z , 2 : 2 6 4 ) . 3 2 JD f e u i l l e t o n o f 24 November 1874 ( r e v i e w o f t h e P a r i s i a n p r e -m i e r e , g i v e n by C h a r l e s L a m o u r e u x ' s S o c i e t e de l ' H a r m o n i e s a c r e e ) . A f t e r t h i s p e r f o r m a n c e , Reyer e x p r e s s e d t h e o p i n i o n t h a t Judas Maccabeus was H a n d e l ' s m a s t e r p i e c e . However, when he hea rd Me s s i ah and I s r a e l i n Egypt a t t h e Handel F e s t i v a l at London i n 1880, t h e y became h i s f a v o r -i t e s ( s ee i b i d . , 27 and 28 J u l y 1 8 8 0 ) . He a f f i r m e d h i s p r e f e r e n c e f o r t h e s e two works when he r e v i e w e d t h e P a r i s i a n p r e m i e r e o f I s r a e l i n E g y p t , p r e s e n t e d under t h e a e g i s o f t h e S o c i e t e des g randes a u d i t i o n s m u s i c a l e s de l a F r a n c e ( i b i d . , 7 June 1 8 9 1 ) . The S o c i e t e i s i d e n t i f i e d i n C h a p t e r V I I , n . 39 . 3 3 A c c o r d i n g t o B a r z u n , B e r l i o z , 2 : 264 . 110 3 4 JD f e u i l l e t o n o f 28 F e b r u a r y 1867. 3 5 R e y e r ' s r e v i e w o f D e l s a r t e ' s A r c h i v e s — a s e l e c t i o n o f mus i c r a n g i n g f r o m t h e hymns o f SS. Ambrose and G r e g o r y t o e x c e r p t s f r om t h e o p e r a s o f L u i 1 y and R a m e a u — c o n s t i t u t e s p a r t o f " C h r o n i q u e m u s i c a l e , " A t hF 5 (26 A p r i l 1 8 5 6 ) : 3 5 8 . L a j a r t e ' s a i r s a dan se r i s b r i e f l y d e s c r i b e d by Reyer i n t h e JD f e u i l l e t o n o f 9 November 1875 . When t h e f i r s t vo lume o f t h e F a r r e n c s ' T r e s o r des p i a n i s t e s a p p e a r e d , Reyer d e v o t e d n e a r l y h a l f a f e u i l l e t o n t o t h e i r p r o j e c t o f p u b l i s h i n g a c o l l e c t i o n o f c l a v e c i n , o r g a n , and p i a n o mus ic d a t i n g f r om t h e s i x t e e n t h c e n t u r y t o t h e t i m e o f Mende l s sohn and C h o p i n . He c o n c l u d e d : "I I me semble que l e T r e s o r des p i a n i s t e s p o u r r a i t b i e n e t r e a u s s i l e T r e s o r des c o m p o s i t e u r s . " (CP f e u i l l e t o n of" 18 O c t o b e r 1859. ) Upon c o m p l e t i o n o f t h e s e r i e s w i t h t h e p u b l i c a t i o n o f t h e t w e n t i e t h vo lume i n 1872, Reyer a g a i n c a l l e d a t t e n t i o n t o " c e m a g n i f i q u e o u v r a g e " (JD f e u i l l e t o n o f 29 December 1 872 ) . 3 6 N e i t h e r t h e B i b l i o t h e q u e N a t i o n a l e , t h e B i b l i o t h e q u e de l ' O p e r a , nor t h e B i b l i o t h e q u e S a i n t e G e n e v i e v e ( P a r i s ) p o s s e s s e s a copy o f t h i s c o l l e c t i o n , wh i ch pe rhaps i s no l o n g e r e x t a n t . I am g r a t e f u l t o M i s s D i a n a S n i g u r o w i c z — a g r a d u a t e f e l l o w o f t h e RIPM r e s e a r c h c e n t e r at t h e U n i v e r s i t y o f M a r y l a n d , C o l l e g e P a r k — f o r c a l l i n g my a t t e n t i o n t o an a d v e r t i s e m e n t f o r and r e p r i n t s f r om t h e c o l l e c t i o n , i n L ' A r t m u s i c a l . On p. 96 o f t h e i s s u e o f 30 June 1885 , Qua r an te v i e i l l e s chansons i s a d v e r t i s e d as b e i n g one o f t h e " vo l umes nouveaux " p u b l i s h e d by t h e B i b l i o t h e q u e - L e d u c . The m u s i c a l supp lement f o r t h a t month o f L ' A r t m u s i c a l i n c l u d e s r e p r i n t s o f f o u r i t e m s f r o m Qua ran te v i e i l l e s c h a n s o n s : t h e t a b l e o f c o n t e n t s , p r e f a c e , and two song s . The one-page p r e f a c e c a n n o t be c o u n t e d amongst R e y e r ' s c r i t i c a l w r i t i n g s , f o r i t p e r t a i n s o n l y t o h i s work as c o m p i l e r o f t h e c o l l e c t i o n . He c i t e s t h e s o u r c e s i n w h i c h he f ound t h e m e l o d i e s ; r e g r e t s t h a t he was not a lways a b l e t o a s c e r t a i n t h e names and d a t e s o f t h e c o m p o s e r s ; men t i on s t h a t t he pub -l i s h e r changed t h e t i m e s i g n a t u r e s o f t h r e e m e l o d i e s f r om 6/4 o r 3/2 t o t h e f a m i l i a r 6/8; and e x p l a i n s t h a t t h e p i a n o accompaniments wh i ch he p r o v i d e d were w r i t t e n " s a n s aucune p r e t e n t i o n a l ' a r c h a ' t s m e . . . j e me s u i s a p p l i q u e s eu l ement a r e s t e r , a u t a n t que j e l ' a i p u , dans l e s e n t i m e n t e t dans l a c o u l e u r du s u j e t . " 3 7 JD f e u i l l e t o n o f 12 December 1879. 3 8 I b i d . , 29 June 1872. 3 9 Reye r m a i n t a i n e d t h a t t h e s e o l d m a s t e r p i e c e s would f a m i l i a r i z e young composer s w i t h t h e immutab le p r i n c i p l e s o f t h e i r a r t , would deepen t h e i r u n d e r s t a n d i n g o f o u t s t a n d i n g c o n t e m p o r a r y c ompo se r s , and wou ld i m -p r o v e t h e s k i l l s o f s i n g e r s . I n deed , he recommended t h e s t u d y o f t h e s e works as t h e b a s i s o f m u s i c a l e d u c a t i o n f o r n o n - m u s i c i a n s and m u s i c i a n s a l i k e , becau se he b e l i e v e d t h a t " c e s e r a i t l a l e v r a i moyen . . . de p e r f e c t i o n n e r l e gout m u s i c a l " ( i b i d . , 18 June 1881 ; see a l s o t h e quo -t a t i o n g i v e n i n C h a p t e r V, p p . 1 8 8 - 8 9 ) . The w r i t i n g s i n wh i ch Reyer e x -p r e s s e d t h i s v i e w a re t o o numerous t o c i t e , f o r t h e y r ange f r o m a r t i c l e s I l l p u b l i s h e d i n t h e 1850s t o a f e u i l l e t o n t h a t appeared i n the JD i n 1898, t h e y e a r o f h i s r e t i r e m e n t : see " C h r o n i q u e de l a q u i n z a i n e . Revue m u s i c a l e , " RP 22 (15 J u l y 1 8 5 4 ) : 3 1 4 ; and t h e JD f e u i l l e t o n o f 12 June 1898. 40 Among t h e changes recommended by Reyer were t h e i n t r o d u c t i o n o f two new c o u r s e s : one i n c o n d u c t i n g , w h i c h he r e g a r d e d as an e x a c t i n g a r t ( i b i d . , 29 June 1872 , 8 J u l y 1879 , 26 March and 18 A p r i l 1 8 8 0 ) ; and an a n a l y s i s c l a s s wh i ch would embrace " l e s c h e f s - d ' o e u v r e c l a s s i q u e s de t o u t e s l e s e c o l e s " as w e l l as " de s oeuv re s moderne s , t o u j o u r s sans d i s -t i n c t i o n d ' e c o l e , p r o d u i t e s par l e s m a i t r e s aux t e n d a n c e s l e s p l u s e x t r e m e s , pa r l e s maTt re s l e s p l u s d i s c u t e s , " such as Wagner and B e r l i o z ( i b i d . , 19 Augus t 1 8 7 8 ) . Reyer a l s o urged t he f o l l o w i n g : t h e r e v i v i n g o f a s t u d e n t o r c h e s t r a , such as had been founded by P a s d e l o u p i n 1852 ( i b i d . , 29 June 1 8 7 2 ) ; and t h e r e e s t a b l i s h m e n t o f t h e p e n s i o n n a t ( i b i d . , 21 August 1 8 8 2 ) . 41 Apropos o f t h i s p l a n , see i b i d . , 29 June 1872 , 6 November 1887, 8 A p r i l 1888, and 10 November 1894. R e y e r ' s keen i n t e r e s t bo th i n t he t r a i n i n g o f young composer s and i n t h e i r c a r e e r s may be a t t r i b u t e d p a r t -l y t o t h e f a c t t h a t he had r e c e i v e d a lmos t no f o r m a l i n s t r u c t i o n i n m u s i c , and p a r t l y t o h i s awareness o f t h e d i f f i c u l t i e s c o n f r o n t i n g any composer w h o — l i k e h i m s e l f — w a n t e d t o have a c a r e e r i n P a r i s . 4 2 I b i d . , 10 November 1894. 4 3 I b i d . , 8 A p r i l 1888. 4 4 " Q u ' o n 1 i s e . . . 1 ' H i s t o i r e d ' u n m u s i c i e n e t l e s S o u v e n i r s d ' A l l e m a g n e . C e l a e s t d ' u n g rand e c r i v a i n , d ' u n g rand e c r i v a i n c l a s -s i q u e . La ph ra se e s t n e r v e u s e , p i t t o r e s q u e , amusante, c o l o r e e , v i v e . " E m i l e H e n r i o t , P r e f a c e t o Qua r an te ans de mu s i que , by E r n e s t Reyer ( P a r i s : C a l m a n n - L e v y , 1 9 0 9 ) , p. x v i . 4 5 G a b r i e l F a u r e , " E r n e s t R e y e r , " Le F i g a r o , 16 J a n u a r y 1909, p. 1. The w r i t i n g s s i n g l e d ou t by Fau re were t he f o l l o w i n g : a s t u d y o f L o h e n g r i n , p u b l i s h e d as t he JD f e u i l l e t o n s o f 30 September and 7 O c t o b e r 1868 ( see C h a p t e r V I I I , p. 3 2 3 ) ; t h e o b i t u a r y " H e c t o r B e r l i o z " {JD, 31 March 1869, p. 3 ) ; and t he r e v i e w o f F i d e l i o i n t r a n s l a t i o n at t he T h e a t r e - I t a l i e n (JD f e u i l l e t o n o f 2 December 1 8 6 9 ) . A l l had been r e -p r i n t e d i n R e y e r ' s N o t e s . F a u r e ' s a r t i c l e was r e p r i n t e d i n a posthumous c o l l e c t i o n o f h i s c r i t i c a l w r i t i n g s : O p i n i o n s m u s i c a l e s , c o m p i l e d , w i t h a p r e f a c e , by P. G. Gheus i ( P a r i s : Les E d i t i o n s R i e d e r , 1 9 3 0 ) , pp . 118 - 22 . 4 6 P i e r r e L a l o , De Rameau a R a v e l : p o r t r a i t s e t s o u v e n i r s , c o m p i l e d , w i t h a p r e f a c e , by Gu s t a ve S a m a z e u i l h ( P a r i s : E d i t i o n s A l b i n M i c h e l , 1 9 4 7 ) , p. 9 1 . 4 7 See A d o l p h e B o s c h o t , I n s t i t u t de F r a n c e . Academie des Beaux -A r t s . I n a u g u r a t i o n du monument d ' E r n e s t Reyer a M a r s e i l l e , l e 16" 112 decembre 1934 ( P a r i s : F i r m i n - D i d o t , 1 9 3 4 ) , p. 5 . The use o f t h e f i r s t pe r s on p l u r a l , an o l d cus tom o f t h e w e l l - b r e d , was h a b i t u a l i n G a u t i e r ' s w r i t i n g s . I t i s f ound i n most o f R e y e r ' s a r t i c l e s f o r both t he RP and t h e A t h F , as w e l l as i n h i s e a r l y ones f o r t h e RF_; s e e , f o r e x a m p l e , " C h r o n i q u e m u s i c a l e . Les Vep re s s i c i l i e n n e s , " RF Annee 1, Tome 2 (20 J u l y 1 8 5 5 ) : 1 86 - 92 . Among t h e l a t e r w r i t i n g s i n wh i ch Reyer r e s o r t e d t o t h i s p r a c t i c e a re t h e f o l l o w i n g : t h e r e v i e w o f B e r l i o z ' s Memo i r e s (JD f e u i 1 l e t o n s o f 15 and 16 M a r c h , 4 and 5 June 1 8 7 1 ) ; t h e o b i t u a r y o f G a u t i e r ( i n i b i d . , 1 November 1 872 ) ; t h e e s s a y on t h e h i s t o r y o f t h e m u s i c a l f e u i l l e t o n o f t h e ( i n Le L i v r e du c e n t e n a i r e , pp . 4 2 7 - 4 0 ) ; and t h e t h r e e speeches h o n o r i n g t h e memory o f B e r l i o z . 4 8 H e n r i o t , P r e f a c e t o Q u a r a n t e , p. x i i . 4 9 i n a d e l i g h t f u l c h a r a c t e r s k e t c h o f Reyer w r i t t e n i n 1876, C h a r l e s M o n s e l e t - - a w e l l - k n o w n P a r i s i a n t h e a t r e c r i t i c — r e m a r k e d t h a t " E r n e s t R e y e r , qu i a s uccede a B e r l i o z dans ces memes f o n c t i o n s [de c r i t i q u e au J o u r n a l des D e b a t s ] , a de p l u s que l u i l a t enue et 1 ' i m p a r -t i a l i t e . " (Quoted by P o u g i n , " R e y e r , " p. 2 6 . ) Many y e a r s l a t e r , an o b i t u a r y o f Reyer i n a p r o m i n e n t E n g l i s h r e v i e w s t a t e d t h a t " h i s a r t i c l e s , not unwor thy o f h i s p r e d e c e s s o r B e r l i o z as r e g a r d s s t y l e and e s p r i t , p r o v i d e d h i g h l y i n t e r e s t i n g r e a d i n g . " ( " O b i t u a r y , " The M u s i c a l T imes 50 [1 F e b r u a r y 1 9 0 9 ] : 1 0 4 . ) 50 E r n e s t L e gouve , r e v i e w o f Notes de m u s i q u e , by E r n e s t R e y e r , i n t h e J D , 4 May 1875 , p. 3. 51 Hen r i de C u r z o n , E r n e s t R e y e r , s a v i e e t ses o e u v r e s ( 1823 -1909 ) ( P a r i s : P e r r i n , 1 9 2 4 ) , p. 187 . 52 j p f e u i l l e t o n o f 30 June 1889. T h i s b a l l e t , composed when A m b r o i s e Thomas was s e v e n t y - s e v e n , p roved t o be h i s l a s t ma jo r work . 5 3 I b i d . , 6 J a n u a r y 1868. 5 4 I b i d . , 29 May 1892. 55 Legouve d e c l a r e d t h a t Reyer seemed t o have i n h e r i t e d P r e v o s t -P a r a d o l ' s g i f t f o r i r o n y , " c e t a r t t o u t f r a n g a i s [ q u i ] e s t p re sque perdu en F r a n c e . " (Rev iew o f N o t e s , JD o f 4 May 1875. ) Both Georges S e r v i e r e s and t h e c o m p o s e r - c r i t i c Ga s ton C a r r a u d o b s e r v e d t h a t R e y e r ' s i r o n i e s were l e s s b i t t e r t han t h o s e o f B e r l i o z . See S e r v i e r e s , La Mus ique f r a n g a i s e moderne: Ce sa r F r a n c k ; Edouard L a l o ; J u l e s M a s s e n e t ; E r n e s t R e y e r ; C a m i l l e S a i n t - S a ' e n s ( P a r i s : G. Havard f i l s , 1 8 9 7 ) , p. 276 ; and a remark by Ca r r aud quo ted i n C u r z o n , R e y e r , p. 189. 56 JD f e u i l l e t o n o f 30 March 1890. Thus Reyer conveyed h i s o p i n i o n t h a t , a l t h o u g h S a i n t - S a e n s was an i m p e c c a b l e t e c h n i c i a n , h i s works some-t i m e s l a c k e d i n s p i r a t i o n . 113 57 C o n s i d e r , f o r e x a m p l e , t h e r e v i e w o f Gounod ' s Le T r i b u t de Zamora. R e y e r ' s r e t e l l i n g o f t h e s t o r y i s g e n e r o u s l y s p r i n k l e d w i t h q u o t a t i o n s o f f e e b l e v e r s e s such as t h e f o l l o w i n g ( t h e song o f Ben S a T d ' s ha rem) : "Heu reu se v i e , D igne d ' e n v i e , T o u j o u r s s u i v i e D 'un songe d ' o r , P l u s doux e n c o r e . " ( I b i d . , 7 A p r i l 1881) 5 8 I b i d . , 13 May 1888. 5 9 I b i d . , 25 March 1873 . 6 0 CP f e u i l l e t o n o f 11 September 1857. 61 JD f e u i 1 l e t o n o f 22 March 1879. ( F o r f u r t h e r i n f o r m a t i o n on t h i s " f e s t i v a l , " see C h a p t e r V I I , pp . 2 7 1 - 7 2 . ) 62 Even i n t h e m i d - 1 8 9 0 s - - n e a r l y f o u r decades a f t e r a p r o d u c t i o n o f Tannh 'auser at Wiesbaden had i n t r o d u c e d him t o Wagner ' s m u s i c - - R e y e r was s t i l l e x p r e s s i n g a d m i r a t i o n f o r " l a h a u t e , l a c o l o s s a l e p e r s o n n a l i t e du maTt re s a x o n . " ( I b i d . , 8 December 1894 . ) 63 J D , 16 O c t o b e r 1871 , p. 3 . 6 4 " C h r o n i q u e m u s i c a l e , " A thF 4 (22 September 1 8 5 5 ) : 8 1 7 . 65 JD f e u i l l e t o n o f 25 A p r i l 1897 . 66 i b i d . , 9 March 1873. Ten y e a r s l a t e r , Reyer r e c a l l e d t h e i n c i -den t and a d m i t t e d t h a t he h i m s e l f had c o n c e a l e d t h e mus i c ( i b i d . , 28 O c t o b e r 1 8 8 3 ) . 67 See , f o r e x a m p l e , h i s r e c o l l e c t i o n s o f t h e f o l l o w i n g p e r s o n s : t h e v i o l i n pedagogue Hube r t L eona rd ( i b i d . , 1 June 1890 ) ; t h e eminent c o n d u c t o r P a s d e l o u p ( i b i d . , 18 Augus t 1887 and 10 November 1 8 9 4 ) ; v a r i -ous s i n g e r s ( i b i d . , 9 March 1 8 7 3 ) , i n c l u d i n g Rose Caron ( i b i d . , 28 S ep -tember 1 8 8 5 ) ; and t h e composer s R o s s i n i (CP f e u i l l e t o n o f 15 May 1857; JD f e u i l l e t o n o f 7 March 1 8 8 0 ) , F e l i c i e n Dav i d ( l e t t e r - a r t i c l e , JD o f 3 September 1876, p. 3 ) , Meye rbeer (JD f e u i l l e t o n s o f 27 M a r c h , 29 M a r c h , and 29 A p r i l 1 8 8 1 ) , L i s z t ( i b i d . , 28 March 1 8 8 6 ) , V e r d i ( i b i d . , 13 June 1886 and 11 F e b r u a r y 1 8 8 7 ) , and A m b r o i s e Thomas ( l e t t e r - a r t i c l e , JID o f 18 F e b r u a r y 1896 , p. 2 ) . 68 The l o n g f r i e n d s h i p o f B e r l i o z and Reye r i s d i s c u s s e d i n C h a p t e r V I I . A l l o f R e y e r ' s p r i n c i p a l w r i t i n g s on B e r l i o z t he man were pub -l i s h e d i n t h e JD: t h e o b i t u a r y " H e c t o r B e r l i o z " (31 March 1869 , p. 3 ) ; t h e s e r i a l i z e d r e v i e w o f B e r l i o z ' s Memoi res ( f e u i l l e t o n s o f 15 and 16 114 M a r c h , 4 and 5 June 1 8 7 1 ) ; and t he r e v i e w o f Ado lphe J u l l i e n ' s b i o g r a p h y o f B e r l i o z ( f e u i 1 l e t o n o f 3 F e b r u a r y 1 8 8 9 ) . 6 9 I b i d . , 29 June 1873 . " L e c h e f - d ' o e u v r e d ' u n c e l e b r e c o m p o s i t e u r nomme R o s s i n i d a s a " i s an a l l u s i o n t o R o s s i n i ' s G u i l l a u m e T e l l ( 1 8 2 9 ) , w h i c h had l o n g been a m a i n s t a y i n t h e r e p e r t o i r e o f t h e P a r i s O p e r a . 7 0 I b i d . , 27 September 1874. 7 1 " H i s t o i r e d ' u n m u s i c i e n , " RF Annee 3, Tome 9 (20 June 1 8 5 7 ) : 3 2 1 -29. 7 ^ See F r e d e r i x ' s r e v i e w o f S i g u r d ("Une P r e m i e r e r e p r e s e n t a t i o n a B r u x e l l e s , " 3D o f 16 J a n u a r y 1884, p. 3 ) , and h i s f e u i l l e t o n on Salammbo ( i b i d . , 18 F e b r u a r y 1 8 9 0 ) . F r e d e r i x was t hen mus i c c r i t i c f o r t h e news-pape r L ' I n d e p e n d a n c e b e i g e . 7 3 JD f e u i l l e t o n o f 29 May 1892. R e y e r ' s r e v i e w s o f h i s o t h e r o p e r a s appea red i n i b i d . , 24 O c t o b e r 1871 ( P a r i s i a n p r e m i e r e o f E r o s - t r a t e ) , 13 December 1873 ( r e v i v a l o f MaT t re W o l f r a m ) , 5 May 1878 ( P a r i s i a n p r e m i e r e o f La S t a t u e as an o p e r a i n s t e a d o f an o p e r a c o m i q u e ) , and 21 June 1885 ( P a r i s i a n p r e m i e r e o f S i g u r d ) . The r e v i e w s o f E r o s t r a t e and MaTt re Wo l f ram each c o n s t i t u t e o n l y p a r t o f t h e f e u i l - l e t o n . 7 4 I b i d . , 24 Oc tobe r 1871 . 7 5 F o r t u n a t e l y , one o f t h e r e p r i n t e d i t ems i s S o u v e n i r s d ' A l l e - magne, R e y e r ' s l o n g e s t l i t e r a r y e f f o r t and one o f h i s f i n e s t . I t o c c u p i e s 140 pages i n N o t e s , wh i ch a l s o o f f e r s 13 f e u i l l e t o n s , 2 o t h e r t i t l e d a r t i c l e s , and e x c e r p t s f r om 13 f e u i 1 l e t o n s . Qua ran te i s a s l i g h t l y s m a l l e r c o l l e c t i o n , c o n s i s t i n g o f 19 f e u i l l e t o n s and e x c e r p t s f r om 14 o t h e r s . The two vo lumes c o m p r i s e r e s p e c t i v e l y 438 and 397 pages o f t e x t . The c o n t e n t s o f e a c h , and t h e s o u r c e s i n wh i ch t h e w r i t i n g s were o r i g i n a l l y p u b l i s h e d , a re i t e m i z e d at t h e end o f Append i x A. 7 6 Legouve , r e v i e w o f Notes (JD o f 4 May 1 8 7 5 ) . L i k e Legouve , Poug i n p r a i s e d R e y e r ' s l i t e r a r y s t y l e as b e i n g w i t t y and o f t e n m o r d a n t , bu t added t h a t i t was a l s o d i s t i n g u i s h e d by cha rm. Ado l phe J u l l i e n , i n h i s r e v i e w o f " c e t e x c e l l e n t l i v r e , " e x p r e s s e d p a r t i c u l a r a d m i r a t i o n f o r S o u v e n i r s d ' A l l e m a g n e , f o r t h e " r e m a r q u a b l e s e t ude s su r B e r l i o z , " and f o r t h e w r i t i n g s on L o h e n g r i n , S t r u e n s e e , F i d e l i o , E r o s t r a t e , and MaTt re W o l f r a m . See P o u g i n ' s announcement and r e v i e w o f Notes i n Le Gu ide m u s i c a l 21 (22 and 29 A p r i l 1 8 7 5 ) : 6 , 7; and J u l l i e n ' s r e v i e w i n Le F r a n - g a i s , 5 J u l y 1875. 7 7 P r e f a c e t o Notes (page i s no t numbered ) . 7 8 P o u g i n remarked t h a t R e y e r ' s w r i t i n g s p r o v i d e d ample m a t e r i a l f o r a s e c o n d , t h i r d , and f o u r t h c o m p i l a t i o n " q u i s e r a i e n t l o i n de manquer d ' i n t e r e t . " ( " R e y e r , " p. 2 7 . ) Ga s ton C a r r a u d a l s o urged t h a t a 115 second c o m p i l a t i o n be made (as J u l l i e n r e c a l l e d i n t he JD f e u i l l e t o n o f 14 November 1 9 0 9 ) . 7 9 See H e n r i o t ' s p r e f a c e t o Q u a r a n t e , p. i v . 80 For e x a m p l e , i n t h e r e p r i n t o f one f e u i l l e t o n we see " l ' a b b e W a y l e r " i n s t e a d o f " l ' a b b e V o g l e r " ( Q u a r a n t e , p. 2 2 5 ) . E l s e w h e r e i n t h e c o m p i l a t i o n we f i n d e r r o r s such as t he f o l l o w i n g : "Gurnemauy" i n s t e a d o f "Gu rnemanz , " " M a r o l d " i n s t e a d o f " M o r o l d , " " S h u r e " i n s t e a d o f " S c h u r e , " " M i l e L a u d i " i n s t e a d o f " M i l e L a n d i , " and " F a r a v e y " i n s t e a d o f " P a r a v e y . " 81 There a re t h r e e s e r i o u s d e f e c t s . The f i r s t i s H e n r i o t ' s c l a i m t h a t Reyer p u b l i s h e d some w r i t i n g s i n t h e M o n i t e u r u n i v e r s e l b e f o r e 1857. I have not e n c o u n t e r e d such a s t a t e m e n t i n any o t h e r s o u r c e , and my e x a m i n a t i o n o f t h e annua l t a b l e s o f t h e M o n i t e u r f o r t h e y e a r s 1850 -71 y i e l d e d n o t h i n g s i g n e d by Reyer e x c e p t S o u v e n i r s d ' A l l e m a g n e ( s e r i a l -i z e d d u r i n g 1 8 6 4 - 6 5 ) . The second d e f e c t i n H e n r i o t ' s p r e f a c e i s t h a t he names o n l y f i v e o f t h e f i f t e e n newspaper s and p e r i o d i c a l s w i t h w h i c h - - I have d i s c o v e r e d - - R e y e r was a s s o c i a t e d as e d i t o r and/or w r i t e r ( s ee Append i x A ) . The t h i r d d e f e c t w h i c h w a r r a n t s a t t e n t i o n i s H e n r i o t ' s s t a t e m e n t t h a t Jo seph d ' O r t i g u e , R e y e r ' s p r e d e c e s s o r as mu s i c f e u i l l e - t o n i s t e f o r t h e JTJ, h e l d t h i s p o s t f o r " q u e l q u e m o i s " ( p r e f a c e t o Qua- r a n t e , p. i i ) . In f a c t , d ' O r t i g u e was f e u i l l e t o n i s t e f o r a p p r o x i m a t e l y t h r e e y e a r s , f r om 1863 u n t i l h i s dea th i n November 1866. 82 The p r e f a c e and t h e " T a b l e " c o m p r i s e pp . i - x i x and 401 -29 r e s p e c t i v e l y . The " T a b l e " i s i n t r o d u c e d by a few r e m a r k s , i n c l u d i n g t he e r r o n e o u s s t a t e m e n t t h a t t h e t h e newspapers ^ P and JD were t h e o n l y pub -l i c a t i o n s f o r wh i ch Reyer w ro t e " d ' u n e f agon r e g u l i e r e . " As i n d i c a t e d on p. 80 o f t h i s c h a p t e r , Reyer w r o t e on a r e g u l a r b a s i s f o r f o u r j o u r -n a l s as w e l l as t h e two newspape r s . There a re many f l a w s i n t h e " T a b l e " i t s e l f . Fo r e x a m p l e , one f e u i 1 l e t o n i s l i s t e d t w i c e : once f o r t h e y e a r 1872, as " s e p t e m b r e . Les M a l h e u r s d ' E u t e r p e " ( d a t e i s i n c o r r e c t ) ; and once f o r t h e y e a r 1874, as "27 s e p t e m b r e . Les M a l h e u r s d ' E u t e r p e . - - A p ropos de 1 'Ope ra -Comique e t de 1 ' O p e r a . - - R e c u e i l de c h a n t s r e l i g i e u x i s r a e l i t e s , pa r M. Naum-b o u r g " ( d a t e i s c o r r e c t , but some s u b t i t l e s have been o m i t t e d and t h e o t h e r s have been s h o r t e n e d ) . One f e u i ! 1 e t o n - - t h a t o f 29 J a n u a r y 1882 i n t h e J D - - i s not l i s t e d by H e n r i o t . The " T a b l e " i s f u r t h e r mar red by many e r r o r s such as t h e f o l l o w i n g , wh i ch seem t o be mere i n a d v e r t e n c e s ( u n d e r l i n e d he re f o r e m p h a s i s ) : "Une pensee p a r j o u r " i n s t e a d o f "Une p r e m i e r e par j o u r " ; " R e p e r t o i r e s ymphon ique " i n s t e a d o f " O u v e r t u r e s y m p h o n i q u e " ; and " I n t e r i e u r d ' u n t e n o r " i n s t e a d o f " I n t e r v i e w d ' u n t e n o r . " In a d d i t i o n , t h e r e a re i n -numerab l e t y p o g r a p h i c a l e r r o r s i n t h e s p e l l i n g o f p r o p e r names: " G a s t i n e t " i n s t e a d o f " G a s t i n e l " ; " A l b e r t Cohen" i n s t e a d o f " A l b e r t C a h e n " ; " B o r d i e r d ' A n g e n " i n s t e a d o f " B o r d i e r d ' A n g e r s " ; "Mougnet " i n s t e a d o f " M o u q u e t " ; and M a t h i a s Cornu i n s t e a d o f M a t h i a s C o r v i n , e t c . 116 °3 As Ga s ton C a r r a u d r e m a r k e d , " c e s d e l i c i e u x f e u i l l e t o n s de Reyer . . . ne m e r i t e n t v e r i t a b l e m e n t pas de s ' e n a l l e r t o u t e n t i e r s au v e n t avec l e x v i e u x j o u r n a u x . " (Quoted by Ado l phe J u l l i e n i n t h e JD f e u i l l e - t o n o f 14 November 1909 . ) S i m i l a r s e n t i m e n t s were e x p r e s s e d "By M i c h e l B r e n e t , " L e s F e u i l l e t o n s d ' E r n e s t R e y e r , " Le C o u r r i e r m u s i c a l 13 (15 J a n u a r y 1 9 1 0 ) : 5 4 ; by an anonymous a r t i c l e e n t i t l e d " R e y e r c r i t i q u e , " Le Monde m u s i c a l 21 (30 December 1 9 0 9 ) : 2 5 2 ; and by at l e a s t two c r i t i c s wh~o r e v i e w e d Q u a r a n t e : S e r v i e r e s i n B u l l e t i n f r a n g a i s de l a S . I .M . 5 (15 December 1 909 ) : 1 052 ; and Cu r zon i n Le Gu i de m u s i c a l 56 (2 J a n u a r y 1 9 1 0 ) : 18. 8 4 The s e c t i o n s wh i ch c o m p r i s e Qua ran te appear i n t he f o l l o w i n g s u c c e s s i o n : " E r n e s t R e y e r " ; " W a g n e r " ; " B e r l i o z " ; " G l u c k " ; " L i s z t " ; " W e b e r " ; " F e l i c i e n D a v i d " ; " G o u n o d " ; "Geo rge s B i z e t " ; " V e r d i " ; " M a s s e n e t " ; " S a i n t - S a e n s " ; and " L a l o . " The c r i t i c s who o b j e c t e d t o t h i s o b v i o u s l a c k o f o r g a n i z a t i o n i n c l u d e d B r e n e t ( " F e u i l l e t o n s , " p. 5 4 ) , S e r v i e r e s ( r e v i e w o f Q u a r a n t e , p. 1 0 5 3 ) , and J u l l i e n (JD f e u i l l e t o n o f 14 November 1 909 ) . J u l l i e n n e v e r t h e l e s s p r a i s e d t h e c o m p i l a t i o n as "un c h o i x t r e s j u d i c i e u x " ( i b i d . ) . H i s o p i n i o n was seconded by Curzon ( r e v i e w o f Q u a r a n t e , p. 1 9 ) , and by E m i l e V u i l l e r m o z , " L e R e s c a p e , " Les Ma rge s , no. 5 ( J a n u a r y - J u n e 1 9 1 0 ) , p. 62 . 85 H e n r i o t , P r e f a c e t o Q u a r a n t e , p. x v i i i . 8 6 H e n r i o t ' s f i r s t s e l e c t i o n i n t h e "Wagner " s e c t i o n i s t h e f e u i l - l e t o n i n w h i c h Reyer s a l u t e d Wagner ' s g e n i u s a f t e r h e a r i n g a p e r f o r m a n c e o f Tannhause r a t Wiesbaden ( 1 8 5 7 ) . The r e v i e w o f t h e P a r i s i a n p r e m i e r e o f R i e n z i (1869) e x e m p l i f i e s t h e p e r c e p t i v e n e s s w i t h wh i ch Reyer- d e -f e n d e d Wagne r ' s mus i c when i t was b e i n g a n a t h e m a t i z e d by many F r ench c r i t i c s . Rev iews o f L a m o u r e u x ' s p r e s e n t a t i o n o f A c t I o f T r i s t a n und I s o l d e i n c o n c e r t (1884) and o f t h e P a r i s i a n p r e m i e r e o f Pe r f l i e g e n d e Hoi l a n d e r (1897) a r e made p a r t i c u l a r l y i n t e r e s t i n g by R e y e r ' s d e s c r i p -t i o n s o f how h i s p e r c e p t i o n o f each work had changed ove r t he decades ( s ee C h a p t e r I I I , p p . 1 3 1 - 3 2 ) . Rev iews o f S i e g f r i e d at B r u s s e l s (1891) and bo th D i e Wa l ku re and D ie M e i s t e r s i n g e r von NLirnberg a t P a r i s (1893 and 1897) t e s t i f y t o R e y e r ' s a p p r e c i a t i o n f o r Wagner ' s l a t e r w o r k s . Two o f t h e i t ems s e l e c t e d by H e n r i o t e x e m p l i f y R e y e r ' s a t t i t u d e t owa rd t h e pro-Wagner movement. In t h e f i r s t o f t h e s e — a r e v i e w o f a c o n c e r t p e r f o r m a n c e o f t h e p r e l u d e t o P a r s i f a l ( 1 8 8 2 ) — R e y e r summarized h i s p o s i t i o n c o n c e r n i n g p r e j u d i c e both f o r and a g a i n s t Wagner ' s mus i c ( s ee t h e e x c e r p t s g i v e n i n C h a p t e r s I I I and V I I I , pp . 130 and 3 2 1 ) . The second s e l e c t i o n — t o w h i c h H e n r i o t t a c i t l y added t h e t i t l e " E t u d e s c l a s -s i q u e s e t wagne r i sme " — i s one o f R e y e r ' s c h a r a c t e r i s t i c w a r n i n g s t h a t young F r ench composers who adm i red Wagner s h o u l d guard a g a i n s t s e r v i l e l y i m i t a t i n g h im, and s h o u l d r e a l i z e t h a t he had l e a r n e d much f r om e a r l i e r m a s t e r s ( see t h e e x c e r p t g i v e n i n C h a p t e r V I I I , p. 3 4 6 ) . 8 7 C u r z o n , r e v i e w o f Q u a r a n t e , p. 19. R e y e r ' s w r i t i n g s on B i z e t and Mas senet a re p a r t i c u l a r l y w e l l r e p r e s e n t e d . We f i n d r e v i e w s o f t h r e e works by B i z e t wh i ch span v i r t u a l l y h i s e n t i r e c a r e e r : t h e o p e r a La J o l i e F i l l e de P e r t h ( 1 8 6 7 ) ; t h e i n c i d e n t a l mus i c f o r D a u d e t ' s p l a y 117 L ' A r l e s i e n n e ( 1 8 7 2 ) ; and Carmen ( 1 8 7 5 ) . T h i s s a m p l i n g o f r e v i e w s c o n -c l u d e s , a p p r o p r i a t e l y , w i t h t h e t o u c h i n g t r i b u t e w r i t t e n by Reyer when B i z e t d i e d . M a s s e n e t , t o o , can be f o l l o w e d f rom h i s e a r l y y e a r s t o h i s m a t u r i t y , t h r o u g h r e v i e w s o f f o u r w o r k s : t h e o r a t o r i o M a r i e - M a g d e l e i n e ( 1 8 7 3 ) ; t h e o p e r a H e r o d i a d e ( 1 8 8 1 ) ; h i s g r e a t e s t wo rk , Manon ( 1 8 8 4 ) ; and one o f h i s f i n e s t l a t e o p e r a s , Wer the r ( 1 8 9 3 ) . R e y e r ' s w r i t i n g s about t h e mus i c o f Gounod, L a l o , and S a i n t - S a e n s a r e r e p r e s e n t e d by o n l y a h a n d f u l o f i t e m s : r e v i e w s o f t h e P a r i s i a n p r e m i e r e s o f Fau s t ( 1 8 5 9 ) , Le Ro i d ' Y s ( 1 8 8 8 ) , and Samson e t D a l i 1 a ( 1 8 9 0 ) ; and t h e o b i t u a r y f e u i l l e t o n on Gounod. 8 8 In Notes we f i n d R e y e r ' s o b i t u a r y " H e c t o r B e r l i o z , " and t h e f o u r f e u i l l e t o n s d e v o t e d t o t h e c o m p o s e r ' s Memo i r e s . (The s i x t h s e l e c t i o n p e r t a i n i n g t o B e r l i o z i s R e y e r ' s f e u i l l e t o n on t he " f e s t i v a l " wh ich he o r g a n i z e d and c o n d u c t e d t o commemorate t h e f i r s t a n n i v e r s a r y o f t h e c o m p o s e r ' s d e a t h . ) These s e l e c t i o n s a re complemented i n Qua ran te by t h r e e r e v i e w s o f p e r f o r m a n c e s o f B e r l i o z ' s m u s i c : La Damnat ion de F a u s t , r e v i v e d i n i t s e n t i r e t y i n 1877; La P r i s e de T r o i e , p r e m i e r e d i n c o n c e r t i n 1879; and B e a t r i c e e t B e n e d i c t , p r e m i e r e d at P a r i s i n 1890. (The f o u r t h i t e m i n t h e " B e r l i o z s e c t i o n " o f t h i s c o m p i l a t i o n i s a d e s c r i p t i o n o f t h e a n n o t a t i o n s - - i n c l u d i n g a f r a gment o f mu s i c - -made by B e r l i o z i n h i s copy o f one o f h i s f a v o r i t e t a l e s , B e r n a r d i n de S a i n t -P i e r r e ' s Pau l e t V i r g i n i e , wh ich he had bequeathed t o R e y e r . ) 8 9 Namely , t h e f e u i l l e t o n commemorat ing t h e c e n t e n a r y o f t h e dea th o f G l u c k ( 1 8 8 7 ) , and t h e r e v i e w o f W e b e r ' s E u r y a n t h e at t h e T h e a t r e -L y r i q u e ( 1 8 5 7 ) . 90 For e xamp le , Curzon c o n c l u d e d h i s r e v i e w o f Qua r an te by e x c l a i m -i n g : " . . . que d ' o m i s s i o n s on r e g r e t t e r a ! " ( p . 1 9 ) . S e r v i e r e s , r e v i e w o f Q u a r a n t e , p. 1053 . 118 CHAPTER I I I REYER 'S APPROACH TO CRITICAL WRITING H i s " P r o f e s s i o n de F o i " A d i s c u s s i o n o f R e y e r ' s app roach t o c r i t i c a l w r i t i n g must b e g i n w i t h an e x a m i n a t i o n o f t h e " p r o f e s s i o n de f o i " wh i ch he s o l e m n l y p r e s e n t s i n h i s f i r s t f e u i 1 l e t o n f o r t he Debat s (2 December 1 8 6 6 ) . We a re i ndeed f o r t u n a t e t o po s s e s s such a c r e d o , f o r i t p r o v i d e s v a l u a b l e i n s i g h t s i n t o R e y e r ' s m o t i v a t i o n f o r becoming a c r i t i c , h i s c o n c e p t o f t h e pu rpo se o f c r i t i c i s m , and h i s p e r c e p t i o n o f t h e r o l e o f t h e c r i t i c . R e y e r ' s m o t i v a t i o n f o r becoming a c r i t i c i s i m p l i c i t i n the o p e n i n g s e c t i o n o f h i s " p r o f e s s i o n de f o i , " i n wh i ch he d i s c u s s e s t h e d i l e t t a n -t i s m w h i c h c h a r a c t e r i z e s t h e a t t i t u d e o f t he F r e n c h p u b l i c toward m u s i c . A f t e r c i t i n g e c l e c t i c i s m and an i n f a t u a t i o n w i t h " l e s p a u v r e t e s m u s i c a l e s " as m a n i f e s t a t i o n s o f t h i s d i l e t t a n t i s m , he a t t r i b u t e s i t s p r e v a l e n c e t o t h e F r ench h a b i t o f c o n f u s i n g t h e u n d e r s t a n d i n g o f mu s i c w i t h t h e s e e k i n g o f s e n s o r y p l e a s u r e s w h i c h , f o r R e y e r , a re mere b y - p r o d u c t s o f t h e m u s i c a l e x p e r i e n c e . T h i s h a b i t , says t he c r i t i c , i s i n t u r n due t o t he f a c t t h a t t he F r e n c h i n g e n e r a l f e e l c a p a b l e o f j u d g -i n g t h e a r t s " a v e c nos s e n s , sans e d u c a t i o n p r e a l a b l e . " He i l l u s t r a t e s h i s s t a t e m e n t by p o i n t i n g out t h a t many Frenchmen d i s m i s s a s e r i o u s m u s i c a l work on g rounds t h a t i t does not happen t o p l e a s e them, but e x u l t "un p e t i t o p u s c u l e b u r l e s q u e " f o r t he s i m p l e r e a s o n t h a t t h e y e n j o y i t . The u l t i m a t e o r i g i n o f what Reyer r e g a r d s as t he p e c u l i a r l y 119 F r e n c h h a b i t o f f o r m i n g a r t i s t i c j udgment s based s o l e l y on i n s t i n c t i s , he s u g g e s t s , t h e t r a d i t i o n a l F rench a t t i t u d e t h a t " p u i s q u e l a mus ique e s t un a r t d ' a g r e m e n t , i l n ' y a pas d ' a u t r e mus ique que l a mus ique a g r e a b l e . " C l e a r l y , h i s m o t i v a t i o n f o r becoming a c r i t i c i s a d e s i r e t o combat t h e p u b l i c ' s b e l i e f i n t h i s " v i e i l l e e t s o t t e q u a l i f i c a t i o n de l a m u s i q u e . " I R e y e r ' s c o n c e p t o f t h e pu rpo se o f c r i t i c i s m becomes appa ren t i n t h e nex t s e c t i o n o f h i s " p r o f e s s i o n de f o i . " He e x p l a i n s t h a t h i s d i s l i k e o f t h e o l d F r e n c h a t t i t u d e t owa rd mus ic does not mean t h a t he f e e l s i t must be c o u n t e r a c t e d by making e v e r y member o f t h e p u b l i c a c q u i r e a t h o r o u g h m u s i c a l e d u c a t i o n . He w i s h e s o n l y t h a t t h e p u b l i c , " p r e c h e p l u s s ouven t par des gens competens et d e s i r e u x de 1 ' i n s t r u i r e , " be made t o u n d e r s t a n d t h a t i t must be wary o f i t s n a t u r a l p r e f e r e n c e f o r " l e j o l i , l e f a c i l e , l e t r i v i a l meme," and t h a t — above a l l — i t must guard a g a i n s t t h e t e n d e n c y t o make s u p e r f i c i a l and p rematu re judgments o f both a s e r i o u s m u s i c a l work and i t s c o m p o s e r . 2 Thus , Reyer e v i d e n t l y t h i n k s t h a t mus i c c r i t i c i s m must be e d u c a t i v e i n p u r p o s e : i t must f o s t e r u n d e r s t a n d i n g by p r o v i d i n g i n f o r m a t i o n , showing t h e r e a d e r t h i n g s t h a t he o r she wou ld o t h e r w i s e not see o r would be u n a b l e t o f o r m u l a t e i n t he absence o f c r i t i c i s m . The i m p l i c a t i o n o f R e y e r ' s l i n e o f r e a s o n i n g i s t h a t t h e c r i t i c ' s r o l e must be t o e d u c a t e t h e p u b l i c , a p o i n t o f v i ew h e l d a l s o by two p i o n e e r s o f mus i c c r i t i c i s m i n t h e F r e n c h p r e s s : F r a n g o i s - J o s e p h F e t i s and H e c t o r B e r l i o z . F e t i s f ounded t h e Revue M u s i c a l e — t h e f i r s t s i g n i f i c a n t n i n e t e e n t h - c e n t u r y P a r i s i a n mus ic j o u r n a l - - t o f o s t e r w i d e -s p r ead m u s i c a l e d u c a t i o n , as he e x p l a i n e d i n t h e t h r e e - p a g e p r o s p e c t u s 120 p u b l i s h e d at t h e b e g i n n i n g o f F e b r u a r y 1 8 2 7 . 3 He l a t e r e x p r e s s e d t h i s g o a l more s u c c i n c t l y : "Our pu rpo se as c r i t i c s i s t o t e a c h , and t o t e a c h you must k n o w . " 4 B e r l i o z ' s r e a s o n s f o r t a k i n g on t h e o c c u p a t i o n o f c r i t i c may have been f i n a n c i a l n e c e s s i t y and a d e s i r e t o keep h i s name b e f o r e t h e p u b l i c , b u t , l i k e F e t i s , he e v i d e n t l y f e l t t h a t t h e n a t u r e o f t h e e n t e r p r i s e was p e d a g o g i c a l . The f a v o r a b l e r e c e p t i o n a c c o r d e d L ' E n f a n c e du C h r i s t i n 1855 was , i n R e y e r ' s e y e s , p r o o f t h a t B e r l i o z ' s c r i t i c a l w r i t i n g s were i ndeed h a v i n g an e d u c a t i v e i m p a c t : . . . p e u t - e t r e . . . 1 ' e d u c a t i o n du p u b l i c e s t - e l l e en v o i e de p r o g r e s : i l en e s t temps ! B e r l i o z y e s t b i e n pour q u e l q u e c h o s e : a - t - i l a s s e z p r e c h e 1 'amour du g rand e t du b e a u , l e m e p r i s du p o n t - n e u f e t de l ' a r i e t -t e , du mesqu in e t du v u l g a i r e ! 5 S i n c e Reyer had g r e a t a d m i r a t i o n f o r bo th F e t i s and B e r l i o z - - r e s p e c t i n g F e t i s ' s " e r u d i t i o n . . . v a s t e e t p r o f o n d e " and d e c l a r i n g B e r l i o z " n o t r e maTt re a t o u s dans 1 ' a r t de l a c r i t i q u e " 5 - - i t i s not s u r p r i s i n g t h a t he , t o o , e n v i s i o n e d f o r h i m s e l f an e d u c a t i v e r o l e . The Th ree B a s i c T e n e t s o f R e y e r ' s C r i t i c i s m In m i d - c e n t u r y P a r i s , many w r i t e r s o f mus i c c r i t i c i s m f o r t h e news-pape r s were men o f l e t t e r s - - s u c h as G a u t i e i — w h o were h i r e d t o w r i t e not o n l y about mu s i c but a l s o about l i t e r a t u r e , d r ama, and t h e o t h e r a r t s . 7 Most o f t h e s e l i t t e r a t e u r s had l i t t l e o r no m u s i c a l t r a i n i n g , and t h e r e -f o r e were bo th u n i n t e r e s t e d i n t e c h n i c a l d e t a i l and i n c a p a b l e o f p r o v i d -i n g i t . They e i t h e r t ook r e f u g e i n g e n e r a l i t i e s o r i n l i t e r a r y p a r a -p h r a s e s , o r e x p r e s s e d t h e m s e l v e s i n e v a s i v e t e r m s . 8 R e y e r ' s w i sh t h a t t h e P a r i s i a n p u b l i c be " p r e c h e p l u s s ouven t par des gens competen s " i n d i c a t e s t h a t he b e l i e v e d i n p r o f e s s i o n a l t r a i n i n g as a b a s i s f o r 121 c r i t i c i s m , as opposed t o " t h e common f e u i l l e t o n m i x t u r e o f a u d i e n c e r e -a c t i o n , p u b l i c i t y , [ a n d ] p o l e m i c s . " 9 R e y e r ' s c r i t i c i s m was founded not o n l y on h i s p r o f e s s i o n a l u n d e r -s t a n d i n g o f m u s i c , but a l s o on i n t e l l e c t u a l i n t e g r i t y . B e l i e v i n g t h a t h i s r e s p o n s i b i l i t y was t o o f f e r t h e r e a d e r "mon o p i n i o n et non c e l l e des a u t r e s , " 1 0 he d i s r e g a r d e d e x t e r n a l i n f l u e n c e s such as t h e m a t e r i a l a l l u r e m e n t s o f f e r e d by c ompo se r s , t h e r e a c t i o n s o f a u d i e n c e s , and t h e p r e j u d i c e s o f t h e g e n e r a l p u b l i c . He a l s o r e s i s t e d t h e t e m p t a t i o n t o h a r b o u r any p r e j u d i c e s o f h i s own. F u r t h e r m o r e , because o f h i s c o n v i c -t i o n t h a t t h e r o l e o f a c r i t i c must be p e d a g o g i c a l , Reyer c a r e f u l l y c o n -s i d e r e d h i s o p i n i o n s and d i d not s h r i n k f r om amending them. E q u a l l y i m p o r t a n t as a b a s i s o f R e y e r ' s c r i t i c i s m i s h i s a e s t h e t i c , t h e u n d e r s t a n d i n g o f wh i ch i s e s s e n t i a l because h i s judgments may seem a r b i t r a r y u n l e s s we r e a l i z e t h a t t h e y were m o t i v a t e d by a d i s c e r n i b l e c r i t i c a l p h i l o s o p h y . Reyer d i d not g i v e a d e t a i l e d p r e s e n t a t i o n o f h i s a e s t h e t i c i n one p l a c e , but h i s p r i n c i p l e s can be r e a d i l y deduced f r o m v a r i o u s w r i t i n g s . R e c o g n i t i o n o f t h e s e p r i n c i p l e s , and o f t he c o n s i s -t e n c y w i t h wh i ch t h e y were a p p l i e d , d e m o n s t r a t e s t h e u n i t y o f t h o u g h t t h a t g u i d e d him i n t h e a r t o f j u d g i n g m u s i c . P r o f e s s i o n a l U n d e r s t a n d i n g o f Mu s i c F e t i s ' s d i c t u m t h a t " t o t e a c h , you must know" c o u l d have come f r om t h e pen o f R e y e r , who t r i e d t o i n s t r u c t r e a d e r s by u t i l i z i n g h i s m u s i c a l t r a i n i n g i n o r d e r t o a n a l y z e t h e works t h e y e n c o u n t e r e d . From 1857 o n -wards Reyer c i t e d few t e c h n i c a l d e t a i l s i n h i s a n a l y s e s , but t h i s does no t mean t h a t he no l o n g e r e x p l o i t e d h i s t r a i n i n g ; on t h e c o n t r a r y , he 122 used i t t o f o c u s on t h o s e d e t a i l s wh i ch m igh t l e a d r e a d e r s c l o s e r t o a g enu i ne u n d e r s t a n d i n g o f t h e c o m p o s i t i o n . Reyer and " 1 ' a n a l y s e t e c h n i q u e " Reyer c o n s i s t e n t l y made a d i s p l a y o f h i s p r o f e s s i o n a l u n d e r s t a n d i n g o f mus i c i n a r t i c l e s d a t i n g f r om t h e e a r l y and m i d d l e 1850s , when he was b e g i n n i n g h i s c a r e e r as c r i t i c . S e e m i n g l y w a n t i n g t o p r ove t h a t he was as k n o w l e d g e a b l e as any l a u r e a t e o f t h e C o n s e r v a t o i r e , t he young a u t h o r u t i l i z e d s p e c i a l i z e d t e r m s , s i g n a l l e d many d e t a i l s o f harmony and i n s t r u m e n t a t i o n , c i t e d t o n a l i t i e s , and - -on o c c a s i o n — d i s c u s s e d t u n i n g s and t e s s i t u r a s . C o n s i d e r , f o r e x a m p l e , t h e f o l l o w i n g e x c e r p t s f r om two r e v i e w s w r i t t e n i n 1855, t h e f i r s t c o n c e r n i n g B e r l i o z ' s L ' E n f a n c e du C h r i s t , and t h e s e c o n d , Gounod ' s Messe de S a i n t e - C e c i l e . Le choeu r des b e r g e r s , accompagne par l e q u a t u o r , e t dont l e s s t r o p h e s son t s e p a r e e s par une c o u r t e r i t o u r n e l l e de h a u t b o i s e t de c l a r i n e t t e s employees dans l e r e g i s t r e du c h a l u m e a u , e s t r ema rquab l e par de p i -q u a n t e s m o d u l a t i o n s t o u t a f a i t i n a t t e n d u e s . . . Ce c h o e u r e s t p r e c e d e d ' u n e b e l l e i n t r o d u c t i o n en s t y l e f u g u e , e t dans l a q u e l l e l a no te s e n s i b l e non a t t e n u e e monte su r l a t o n i q u e , e f f e t que nous avons d e j a s i g n a l e dans l e c a n t a b i l e du r o i Herode [ 0 m i s e r e des r o i s ! ] . H * * * Des v o i x d ' a n g e s , accompagnees pa r des t r e m o l o de v i o -l o n s a l ' a i g u , c h a n t e n t l a p r e m i e r e s t r o p h e du G l o r i a i n e x c e l s i s; . . . j ' a i remarque dans l e K y r i e l e d e s s i n c o n t i n u e e x e c u t e par l e s p r e m i e r s v i o l o n s , et comme s e u l e c r i t i q u e j e demandera i t r e s - t i m i d e m e n t a M. Gounod s ' i l n ' a pas un peu abu se , en g e n e r a l , de l a meme c a -dence p l a g a l e ; . . . l a messe e s t p re sque e n t i e r e m e n t e c r i t e avec accompagnement d ' o r g u e o b l i g e ; j e ne s a i s pas s i M. Gounod e s t de mon a v i s , ma i s j e t r o u v e q u ' i l e s t f o r t d i f f i c i l e d ' o b t e n i r une t r e s - g r a n d e j u s t e s s e dans l a c o m b i n a i s o n de l ' o r g u e e t des i n s t r u m e n t s a v e n t . 12 123 As R e y e r ' s c a r e e r began t o f l o u r i s h i n t h e c o u r s e o f t h e d e c a d e , he i n c o r p o r a t e d f ewer and f e w e r s p e c i a l i z e d te rms i n h i s w r i t i n g s . W h i l e t h i s d e c r e a s e i n t h e use o f t e c h n i c a l l anguage may be a s c r i b e d p a r t l y t o i n c r e a s i n g s e l f - c o n f i d e n c e , i t must be a t t r i b u t e d p r i n c i p a l l y t o h i s g r o w i n g m i s g i v i n g s about t h e v a l u e o f t e c h n i c a l a n a l y s i s f o r s t i m u l a t i n g t h e r e a d e r ' s i n t e r e s t i n a work . Reyer began e x p r e s s i n g t h i s f e e l i n g o f doubt i n t h e m i d - 1 8 5 0 s , as f o r example i n t h e p r e f a t o r y remarks t o h i s a n a l y s i s o f Gounod ' s g rand o p e r a La Nonne s a n g l a n t e . . . . quand i l s ' a g i t de mus ique d r a m a t i q u e ou de symphonie d e s c r i p t i v e , l a plume ne peut guere que d e -t a i n e r f r o i d e m e n t l e s i m p r e s s i o n s que l ' o n a r e g u e s ; . . . nous dou ton s que l e l e c t e u r p u i s s e se f a i r e une i d e e d ' u n chan t ou meme d ' u n accompagnement quand on l u i d i t que l a ph ra se e s t d e l i c i e u s e ou v u l g a i r e , que l e s ba s son s ou l e s c l a r i n e t t e s d e s s i n e n t un c o n t r e - s u j e t sans l a m e l o d i e , d u t - o n a j o u t e r que l e morceau e s t en mi b e m o l , ou ]a_ m i n e u r , ou en s o l n a t u r e ! . 1 3 When Reyer became mus i c c r i t i c f o r t he d a i l y C o u r r i e r de P a r i s i n 1857, he e v i d e n t l y d e c i d e d t h a t h i s e d u c a t i v e pu rpose would not be s e r v e d by t e c h n i c a l a n a l y s i s , f o r he d e c l a r e d i n one o f h i s e a r l i e s t f e u i l l e t o n s : Je ne veux pas p r e n d r e l a p a r t i t i o n d ' E u r y a n t h e d e p u i s l a p r e m i e r e no te j u s q u ' a l a d e r n i e r e e t e s s a y e r une a n a l y s e t e c h n i q u e de ce c h e f - d ' o e u v r e ; i l m 'a semble . . . f o r t p r o b l e m a t i q u e q u ' u n t e l t r a v a i l o f f r T t au l e c t e u r beaucoup d ' i n t e r e t . 1 4 In l a t e r w r i t i n g s f o r t h e C o u r r i e r , f o r t h e s h o r t - l i v e d w e e k l y G a z e t t e du N o r d , and f i n a l l y f o r t h e J o u r n a l des D e b a t s , Reyer gave s e v e r a l r e a -sons why t e c h n i c a l a n a l y s i s would be o f dub i ou s i n t e r e s t . I t w o u l d , o f c o u r s e , n e c e s s i t a t e t h e use o f s p e c i a l i z e d te rms wh i ch would m y s t i f y " c e u x qu i . . . n ' o n t j a m a i s a p p r i s meme a s o l f i e r . " l 5 F u r t h e r m o r e , a t e c h n i c a l a n a l y s i s w i t h i n t h e c o n f i n e s o f a s i n g l e a r t i c l e i n a 124 newspaper o r j o u r n a l would be u n f e a s i b l e and, i n d e e d , u n n e c e s s a r y , as Reyer i n d i c a t e d i n t h e f o l l o w i n g e x c e r p t f r om a r e v i e w i n t h e G a z e t t e : Je n ' e n t r e p r e n d r a i p o i n t 1 ' a n a l y s e de l a p a r t i t i o n de F i d e l i o pour l a q u e l l e i l me f a u d r a i t non pas l e s c o l o n -nes d ' u n j o u r n a l , ma i s l e s pages d ' u n l i v r e ; d ' a i l l e u r s , l e s amateurs qu i s on t f r i a n d s de ces s o r t e s de d i s s e r t a -t i o n s . . . o n t T h a b i t u d e de l e s a l l e r c h e r c h e r dans l e s j o u r n a u x s p e c i a u x . 1 6 Reyer t hu s made a s t r o n g ca se f o r h i s a s s umpt i on t h a t " 1 ' a n a l y s e t e c h -n i q u e . . . [ e s t un] gen re d ' a n a l y s e a l a q u e l l e l e s l e c t e u r s des g rands j o u r n a u x p r ennen t p e u t - e t r e moins de gout que ceux des f e u i l i e s s p e -c i a l e s . " ! 7 As H e n r i o t o b s e r v e d , t h e r e a re so few s p e c i a l i z e d terms i n R e y e r ' s w r i t i n g s f o r t h e D e b a t s - - a n d , we m i gh t add , t h e C o u r r i e r and t h e G a z e t t e - - t h a t t he v a s t m a j o r i t y can be r ead "en e n t i e r " by " l e moins m u s i c i e n . " 1 8 We s h a l l see t h a t R e y e r ' s s p a r i n g use o f s p e c i a l i z e d te rms goes h a n d - i n - h a n d w i t h t he c a r e f u l s e l e c t i o n o f a few t e c h n i c a l d e t a i l s . R e y e r ' s d e s c r i p t i v e app roach t o a n a l y s i s The a b o v e - g i v e n e x c e r p t s f r om R e y e r ' s r e v i e w s o f La Nonne s a n g -1 a n t e , E u r y a n t h e , and F i d e l i o m a n i f e s t h i s r e a l i z a t i o n t h a t t h e w r i t i n g o f m u s i c a l a n a l y s i s f o r c o n s u m p t i o n by t h e g e n e r a l p u b l i c i s a d i f f i c u l t a r t , inasmuch as t h e a n a l y s i s must be m e a n i n g f u l t o n o n - m u s i c i a n s as w e l l as m u s i c i a n s . In h i s r e v i e w o f t he w o r l d p r e m i e r e o f ATda he p o i n t e d ou t t h a t t h e d i f f i c u l t y l i e s i n a v o i d i n g t h o s e d e t a i l s wh i ch wou ld be o f no i n t e r e s t t o n o n - m u s i c i a n s : . . . e c r i r e du C a i r e a P a r i s que l a romance de Rhadames e s t en s i bemol e t que l e c h a n t de T e r m u t h i s , a l a f i n du d e r n i e r a c t e , r e p a r a T t dans l e t on de s o l bemol m i n e u r , c ' e s t t r empe r dans l ' e n c r e une mechante plume d ' a u b e r g e pour ne r i e n d i r e du t o u t . 1 9 125 A c c o r d i n g t o R e y e r , t h e a r t o f w r i t i n g an a n a l y s i s t h a t would appea l t o bo th n o n - m u s i c i a n s and m u s i c i a n s r e s i d e s i n d i s t i n g u i s h i n g t h o s e d e t a i l s w h i c h can s e r v e an e d u c a t i v e f u n c t i o n by showing how t h e composer uses s p e c i f i c m u s i c a l f o r c e s i n o r d e r t o c r e a t e c e r t a i n e f f e c t s . Reyer no ted t h a t " B e r l i o z a e c r i t d ' a d m i r a b l e s pages en ce genre su r l ' o e u v r e de S p o n t i n i , de G l u c k , e t de B e e t h o v e n . " 2 0 L i k e B e r l i o z , Reyer b e l i e v e d t h a t i f he c i t e d o n l y " l e s d e t a i l s que j ' a i l e p l u s r ema rque s " 21 he c o u l d p r o v i d e some i n s i g h t i n t o t he m u s i c a l f o r c e s t h a t he r e g a r d e d as b e i n g r e s p o n s i b l e f o r t h e impac t o f t h e work , w h i l e at t h e same t i m e s p a r i n g h i s r e a d e r s " I ' e n n u i d ' u n e a n a l y s e t e c h -n i q u e . "22 T h e r e f o r e , as B e r l i o z had done , Reyer c a r e f u l l y s e l e c t e d a few t e c h n i c a l d e t a i l s and b l e n d e d them i n t o a n a l y s e s t h a t a re more d e -s c r i p t i v e t h a n t e c h n i c a l . He o f t e n e x p l a i n e d t h a t t h e pu rpose o f such an a n a l y s i s was s i m p l y t o p i q u e t he r e a d e r ' s i n t e r e s t : Vous c o n n a i s s e z mes p r i n c i p e s en m a t i e r e d ' a n a l y s e m u s i c a l e ; j e supp r ime dans mon d i s c o u r s l e s d i e z e s e t l e s bemo l s , ayant l e pedan t i sme en h o r r e u r , e t , b i e n v i t e a bout d ' a r gumens e t de m e t a p h o r e s , i m p u i s s a n t a r a c o n t e r ce qu i d o i t e t r e c h a n t e , j e r e n v o i e l e l e c -t e u r . . . a l a l e c t u r e , o u , mieux e n c o r e , a 1 ' a u d i t i o n de l a p a r t i t i o n , me c o n t e n t a n t de l u i en s i g n a l e r l e s p a s -sages s a i l l a n s et de l u i donner une i d e e du s t y l e qu i l a c a r a c t e r i s e . 2 3 The s t r u c t u r e o f R e y e r ' s a n a l y s i s i s b e s t summarized by the q u o t a -t i o n c i t e d d i r e c t l y above. He u s u a l l y b e g i n s by g i v i n g t h e r e a d e r "une i d e e du s t y l e " - - t h a t i s , he d e s c r i b e s h i s g e n e r a l i m p r e s s i o n o f t he work and c i t e s t h e m u s i c a l f o r c e ( s ) w h i c h he r e g a r d s as b e i n g most r e s p o n -s i b l e f o r c r e a t i n g t h i s i m p r e s s i o n . Fo r e xamp le , i n h i s r e v i e w o f M a s s e n e t ' s H e r o d i a d e he a t t r i b u t e s t h e o p e r a ' s l a n g u i d and v o l u p t u o u s ambience t o t h e use o f a p a r t i c u l a r rhy thm i n t h e s o l o s sung by t h e 126 p r i n c i p a l c h a r a c t e r s . Vous l e s a v e z , n ' e s t - c e pas? j ' a i peu de gout pou r l e s a n a l y s e s t e c h n i q u e s avec b e c a r r e s e t bemo l s . Ma i s j e veux p o u r t a n t vous d i r e q u ' u n e chose m'a f r a p p e dans l a p a r t i t i o n d ' H e r o d i a d e : c ' e s t l ' e m p l o i t r e s f r e q u e n t f a i t par l e c o m p o s i t e u r du meme r y t h m e , du ry thme m o l l e -ment c a d e n c e , du ry thme amoureux pa r e x c e l l e n c e , de c e l u i qu i se d e v e l o p p e dans une mesure a n e u f - h u i t ou a d o u z e - h u i t . J ' e s p e r e que l e s m u s i c i e n s ne s e r o n t pas l e s s e u l s a me comprend re . C ' e s t s u r ce ry thme que c h a n t e n t t o u r a t o u r P h a n u e l , Herode e t H e r o d i a d e , J e a n , Salome e t meme V i t e l l i u s . Ah! mon c h e r M a s s e n e t , vous e t e s un g rand charmeur e t vous avez mis dans ces r o -mances , dans ces c a n t i l e n e s une t e n d r e s s e , une l a n g u e u r , une v o l u p t e q u i , meme a i l l e u r s q u ' a u t h e a t r e , l e s f e r o n t a p p l a u d i r , l e s f e r o n t a i m e r . 2 4 Reyer somet imes waxes p o e t i c when d e s c r i b i n g h i s i m p r e s s i o n , as i s dem-o n s t r a t e d by t h e f o l l o w i n g e x c e r p t f r om h i s r a p t u r o u s r e v i e w o f B a c h ' s S t . Matthew P a s s i o n . Here he c i t e s t h e e l e m e n t s o f harmony and l y r i c d e c l a m a t i o n as b e i n g r e s p o n s i b l e f o r t h e d r a m a t i c impact o f t h e work . La sont j e t e s a p l e i n e s mains t o u s l e s t r e s o r s de l a s c i e n c e , t o u t e s l e s r i c h e s s e s de 1 ' i m a g i n a t i o n . Et s i l ' a r t moderne nous a c r e e des r e s s o u r c e s p l u s g r a n d e s , au p o i n t de vue des c o m b i n a i s o n s et des s o n o r i t e s de l ' o r c h e s t r e , i l ne nous a r e v e l e , dans l e domaine de 1 ' h a r m o n i e , aucun s e c r e t que ne connut l ' i m m o r t e l a u t e u r de c e t t e oeuv re immense. A u j o u r d ' h u i e n c o r e nous sommes f r a p p e s de l ' i m p o s a n t e a l l u r e de c e t t e d e c l a m a t i o n , de l ' a m p l e u r de ce s r e c i t s , qu i sont r e s t e s des modeles i n i m i t a b l e s ap re s a v o i r e t e s i s ouven t i m i t e s ; 1 ' e s p r i t du c o m p o s i t e u r , de c e l u i qu i pense e t qu i a n a l y s e , de c e l u i qu i aime a s ' a b r e u v e r aux s o u r c e s f e c o n d a n t e s du b e a u , r e s t e e b l o u i pa r l a g r a n d e u r e t 1 ' u n i t e de ce s t y l e , par l a p u i s s a n c e et l a v a r i e t e de ces c h a n t s i n -s p i r e s . Le drame l y r i q u e e t l a t o u t e n t i e r , dans ces e l a n s s u p e r b e s , dans ce s m e l o d i e s o n c t u e u s e s et t e n d r e s , dans ces a p p a r i t i o n s s i v i g ou reu semen t et s i h a b i l e m e n t c a l c u l e e s . Bach , en a l l e m a n d , veu t d i r e r u i s s e a u , r u i s s e a u dont l ' o n d e e s t pure e t f o r t i f i a n t e , r u i s s e a u p l e i n de doux murmures et de debo rdemen t s , r u i s s e a u p l u s l a r g e q u ' u n f l e u v e , p l u s impetueux q u ' u n t o r r e n t . 2 5 R e y e r ' s app roach t o t h e a n a l y s i s o f " l e s pa s sages s a i l l a n s " i s t h e same as f o r an e n t i r e work : he d e s c r i b e s h i s i m p r e s s i o n s and s t r i v e s t o 127 e x p l a i n how t h e y were c r e a t e d by s p e c i f i c m u s i c a l f o r c e s . For e xamp le , i n t h e f o l l o w i n g c i t a t i o n he i s o l a t e s i n s t r u m e n t a t i o n as t he e l ement most r e s p o n s i b l e f o r t he e f f e c t i v e n e s s o f t h e d e p i c t i o n o f t he G o l g o t h a t a b l e a u i n M a s s e n e t ' s o r a t o r i o M a r i e - M a g d e l e i n e . As i s t y p i c a l o f R e y e r ' s d e s c r i p t i v e s t y l e o f a n a l y s i s , a few t e c h n i c a l d e t a i l s a re em-bedded i n r i c h l y p i c t o r i a l p r o s e : . . . l a M a d e l e i n e s ' a p p r o c h e de l a c r o i x pour r e -c u e i l l i r l e d e r n i e r s o u p i r de J e s u s . La t e r r e t r e m b l e , l e c i e l se c o u v r e de t e n e b r e s , l ' o r c h e s t r e s ' a g i t e e t g r o n d e , l e son l u g u b r e du tamtam se mele a l ' e c l a t des i n s t r u m e n s de c u i v r e , e t , au m i l i e u de ce g rand c a t a c l y s m e . . . s ' e x h a l e l a p l a i n t e supreme du d i v i n r e d e m p t e u r : Consummatum e s t ! 2 6 As p r e v i o u s l y i n d i c a t e d , Reyer knew t h a t t h e c o n f i n e s o f a s i n g l e a r t i c l e p r e c l u d e d t he p o s s i b i l i t y o f t r e a t i n g a l l t h e p a r t s o f t h e work w h i c h - - i n h i s o p i n i o n — w e r e s t r i k i n g l y e f f e c t i v e . T h e r e f o r e , a f t e r a n a l y z i n g a few i n t he manner e x e m p l i f i e d by t h e p r e c e d i n g e x c e r p t , he s i m p l y c i t e s t h e o t h e r s . Such an e n u m e r a t i o n i s i l l u s t r a t e d by t he f o l -l o w i n g e x t r a c t f r om a f e u i l l e t o n on B e r l i o z ' s Romeo e t J u l i e t t e . A f t e r o f f e r i n g an a n a l y s i s o f s e v e r a l s e c t i o n s w i t h i n t h e f i r s t f o u r move-m e n t s , Reyer h a s t e n s t o add t h a t t he r e m a i n i n g t h r e e i n c l u d e some o u t -s t a n d i n g l y b e a u t i f u l m u s i c . II f a u t . . . que j ' e g r e n e mon c h a p e l e t j u s q u ' a u bou t e t que j e vous d i s e t o u t ce q u ' i l y a d ' o n c t i o n t o u c h a n t e dans l e s e x h o r t a t i o n s du F r e r e ou du P e r e L a u r e n c e , dans l e m a g n i f i q u e a i r qu i p r e c e d e l e se rment de r e c o n c i l i a t i o n e t combien e s t d r a m a t i q u e 1 ' i n t e r v e n -t i o n du choeu r dans c e t t e scene s i mouvementee q u i a b o u t i t a l a p e r o r a i s o n l a p l u s g r a n d i o s e , l a p l u s m a g i -s t r a l qu i se p u i s s e c o n c e v o i r pour une oeuv re t o u t e p l e i n e d ' i n s p i r a t i o n s g e n i a l e s . 2 7 D e s p i t e h i s avowed d e t e r m i n a t i o n t o a v o i d u s i n g t e c h n i c a l l anguage i n a n a l y s e s w r i t t e n f o r t he g e n e r a l p u b l i c , Reyer r e v e r t e d t o such 128 l a nguage on t h e r a r e o c c a s i o n s when he f e l t t h a t t h e ha rmon ic l i b e r t i e s t a k e n i n a c o m p o s i t i o n s h o u l d not be c o u n t e n a n c e d . T h i s i s i l l u s t r a t e d by h i s r e a c t i o n t o t h e "drame a l l e g o r i q u e " Les Sept Peches c a p i t a u x , t h e f i r s t work by A d a l b e r t von G o l d s c h m i d t , a young V i e n n e s e d i s c i p l e o f Wagner. Des l a h u i t i e m e mesure du p r e l u d e . . . nous voyons a r r i v e r l e s d o u b l e s b e m o l s . Nous en v e r r o n s b i e n d ' a u t r e s . S i j e v o u l a i s f a i r e une a n a l y s e t e c h n i q u e , ce q u i , vous l e s a v e z , n ' e s t guere dans mes h a b i t u d e s , j e vous p a r l e r a i s de d i s s o n a n c e s , d ' a c c o r d s a l t e r e s , de f a u s s e s r e l a t i o n s e t de c r o i s e m e n s des p a r t i e s . . . Vous n ' a v e z pas b e s o i n d ' a l l e r c h e r c h e r b i e n l o i n : l i s e z seu lement l e s p r e m i e r e s mesures du p r e m i e r c h o e u r : . . . A l a page s u i v a n t e vous t r o u v e r e z une ph ra se de d i x mesures seu lement que debu te en mi ma jeu r e t f i n i t en ut m ineur su r un a c c o r d de s ep t i eme d i m i n u e e . . . . J ' a d m e t s t o u t e s l e s h a r d i e s s e s , t o u t e s l e s l i c e n c e s meme dans ce g e n r e , ma i s a l a c o n d i t i o n q u ' i l en r e s u l t e r a a u t r e chose q u ' u n e i m p r e s s i o n peu a g r e a b l e pour l ' o r e i l l e . 2 8 Pas sages i n some o f R e y e r ' s a r t i c l e s i n d i c a t e t h a t , b e f o r e w r i t i n g a d e s c r i p t i v e a n a l y s i s , f o r h i s r e a d e r s , he had done a t e c h n i c a l a n a l y s i s f o r h i m s e l f . For e x a m p l e , i n h i s r e v i e w o f t h e P a r i s i a n p r e m i e r e o f Johann J o s e f A b e r t ' s o p e r a A s t o r g a , Reyer r e f l e c t e d : " S i j e ne s a v a i s combien e s t seche e t a r i d e pour l e l e c t e u r 1 ' a n a l y s e t e c h n i q u e d ' u n e p a r t i t i o n , j ' e n t r e r a i s dans des d e t a i l s qu i i n d i q u e r a i e n t c e r t a i n e m e n t t o u t l e s o i n que j ' a i mis a e t u d i e r l ' o e u v r e de M. A b e r t . " 2 9 Remarks o f t h i s n a t u r e s ugge s t t h a t , f o r R e y e r , a t e c h n i c a l a n a l y s i s was o f t e n a n e c e s s a r y p r e l i m i n a r y t o t h e c h o o s i n g o f t h e few d e t a i l s on wh i ch t o f o c u s i n h i s d e s c r i p t i v e a n a l y s i s . 129 I n t e l l e c t u a l I n t e g r i t y O b j e c t i v i t y S e v e r a l o f R e y e r ' s c o n t e m p o r a r i e s a d m i r i n g l y d e c l a r e d t h a t he never compromised h i s i n t e l l e c t u a l i n t e g r i t y f o r t he sake o f t he m a t e r i a l r e -wards w i t h wh i ch some composer s d i s c r e e t l y sought t o w in t h e f a v o r o f c r i t i c s . 3 0 H i s own w r i t i n g s p r o v i d e abundant e v i d e n c e o f a r e s o l v e not t o p e r m i t h i s o p i n i o n s t o be a f f e c t e d by o t h e r e x t e r n a l f a c t o r s . For e x a m p l e , he o f t e n began a r e v i e w by s t a t i n g t h a t he had not a l l o w e d h i s judgment t o be swayed by t h e r e s p o n s e s o f e i t h e r t h e c l a q u e or t h e r e s t o f t h e a u d i e n c e . 3 1 E q u a l l y a p p a r e n t was h i s d e t e r m i n a t i o n not t o be i n -f l u e n c e d by t h e p r e j u d i c e s o f t h e p u b l i c o u t s i d e t h e t h e a t r e — a d e t e r -m i n a t i o n s t r i k i n g l y d e m o n s t r a t e d by h i s r e a c t i o n t o t h e p r e m i e r e o f S i e g f r i e d a t B r u s s e l s i n 1891. A l t h o u g h e x c e r p t s f r om Wagne r ' s mus ic dramas were t hen v e r y p o p u l a r w i t h P a r i s i a n c o n c e r t s o c i e t i e s , Reyer b r a v e l y e x p r e s s e d t h e o p i n i o n t h a t c e r t a i n p a r t s o f t h i s work are t oo l o n g , and i s s u e d t h e f o l l o w i n g c h a l l e n g e t o h i s r e a d e r s : "Que ceux qu i son t de mon a v i s l e d i s e n t , comme j e l e d i s moi-meme, sans me s o u c i e r des c o l e r e s ou des r e p r e s a i l l e s que c e t exce s de f r a n c h i s e p o u r r a m ' a t t i r e r . " 3 2 Reyer not o n l y i g n o r e d t h e p r e j u d i c e s o f t h e p u b l i c , but a l s o r e -f u s e d t o e n t e r t a i n p e r s o n a l p r e j u d i c e s . As e a r l y as 1855 he e m p h a t i c a l -l y d e c l a r e d t h a t he was not opposed t o any composer o r t o any s c h o o l o f c o m p o s i t i o n , 3 3 a n d n e made a s i m i l a r avowal e l e v e n y e a r s l a t e r , i n h i s " p r o f e s s i o n de f o i " : " . . . s i j ' a i de t r e s v i v e s p r e d i l e c t i o n s , j e n ' a i pas de p a r t i p r i s , pas de p r e v e n t i o n s s y s t e m a t i q u e s , et j e s a i s 130 r e c o n n a T t r e l e b e a u , p a r t o u t ou i l e s t . " - 3 4 The i m p l i c a t i o n t h a t a p r e -j u d i c e d m u s i c i a n f a i l s t o " r e c o g n i z e t he b e a u t i f u l , whe reve r i t e x i s t s , " was l a t e r made e x p l i c i t i n t h e f o l l o w i n g d e n u n c i a t i o n o f t h e e x c l u s i v i s m o f Wagner ' s f a n a t i c a l a d m i r e r s . Les w a g n e r i e n s . . . on t f a i t en F r a n c e t a n t de t o r t a Wagner par l e u r e x c l u s i v i s m e i n e p t e . . . mon a d m i r a t i o n pour Wagner ne m'empeche pas d ' a d m i r e r [ d ' a u t r e s c o m p o s i t e u r s ] . . . p a r ce q u ' e n a r t i l f a u t . . . s a v o i r comprendre e t a p p r e c i e r l e beau p a r t o u t ou i l se t r o u v e . 3 5 Reyer e v i d e n t l y b e l i e v e d t h a t , s i n c e a p r e j u d i c e d m u s i c i a n e i t h e r canno t o r w i l l not r e c o g n i z e t h e b e a u t i f u l whe reve r i t e x i s t s i n m u s i c , h i s c r e d i b i l i t y i s s u s p e c t . 3 6 p o r t h i s r e a s o n Reyer shunned a l l p r e j u d i c e s , as he e x p l a i n e d i n h i s r e v i e w of t h e p r e l u d e t o P a r s i f a l . J e ne s u i s p o i n t un w a g n e r i e n e n r a g e , e t pas p l u s un w a g n e r i e n de p a r t i p r i s q u ' u n wagne r i en sans l e s a v o i r . J ' a i eu e t j ' a i e n c o r e des en t hou s i a sme s t r e s s i n c e r e s , t r e s j u s t i f i e s , du moins a mes y e u x ; mais j e ne me s u i s j a m a i s e n r o l e sous l a b a n n i e r e de qu i que ce s o i t , dans l a c o n f r e r i e des d i s c i p l e s et des t h u r i f e -r a i r e s . . . . C e l a s o i t d i t dans l e s e u l but de b i e n e t a b l i r , en t o u t e c i r c o n s t a n c e , l a l i b e r t e de mes a p p r e -c i a t i o n s et l ' e n t i e r e s i n c e r i t e de mes c r i t i q u e s et de mes e l o g e s . 3 7 R e y e r ' s c a r e f u l c o n s i d e r a t i o n o f h i s j udgment s R e y e r ' s i n t e l l e c t u a l i n t e g r i t y i s m a n i f e s t e d a l s o by h i s w a r i n e s s o f mak ing p r ematu re j u d g m e n t s . He o f t e n v o i c e d h i s r e l u c t a n c e t o e x -p r e s s an o p i n i o n o f a work wh i ch he had hea rd o n l y once,3°* a n d - - i n a c c o r d a n c e w i t h t h i s p o s i t i o n — h e made e v e r y e f f o r t t o o f f e r h i s r e a d e r s s ometh ing more t han h i s " f i r s t i m p r e s s i o n . " I f he had t h e o p p o r t u n i t y t o a t t e n d more t h a n one p e r f o r m a n c e o f a wo rk , he would do so b e f o r e a t t e m p t i n g t o a s s e s s i t , and he recommended t h a t h i s r e a d e r s do l i k e -131 w i s e l y I f t h e work had been p u b l i s h e d , Reyer would s t u d y t h e s c o r e i n a d d i t i o n t o a t t e n d i n g — i f p o s s i b l e — m o r e t han one p e r f o r m a n c e . 4 0 £ v e n a f t e r he had w r i t t e n t h e r e v i e w o f a wo r k , he somet imes r e t u r n e d t o t h e s c o r e r e p e a t e d l y o ve r a p e r i o d o f y e a r s . 4 1 In h i s " p r o f e s s i o n de f o i " Reyer e x p l a i n e d t h a t he had m i s t r u s t e d h i s i n i t i a l o p i n i o n e ve r s i n c e 1849, when t h e contempt he had f e l t f o r M e y e r b e e r ' s Le P r o p h e t e had been t r a n s f o r m e d i n t o a d m i r a t i o n as he hea rd t h i s o p e r a f o r t h e second t i m e . 4 2 I f , i n t h e c o u r s e o f y e a r s o r d e c a d e s , Reyer became d i s s a t i s f i e d w i t h h i s a s se s sment o f a work , he f o r t h r i g h t l y amended i t and e x p l a i n e d h i s r e a s o n ( s ) f o r so d o i n g . T h i s r e f u s a l t o f e i g n i n f a l l i b i l i t y i s i m p l i c i t i n t h e remarks wh i ch p r e f a c e h i s f i r s t r e v i e w f o r t h e D e b a t s : . . . a s su rement l e p u b l i c e s t l e s e u l j u g e ; ses i n -s t i n c t s l e menent ; mais l a m i s s i o n de l a c r i t i q u e n ' e s t e l l e p o i n t de l e g u i d e r e t de l u i donner 1 ' e xemp le de l a r e f l e x i o n , de l a c i r c o n s p e c t i o n et du dou te ? Somrnes-nous v r a i m e n t i n f a i 1 1 i b l e s , e t l e s augures de t o u s l e s temps n ' o n t - i l s done l a i s s e s o r t i r que des v e r i t e s de l e u r s bouches? C r o y e z - b i e n . . . que p l u s d ' u n [de mes c o n f r e r e s ] m 'ont c o n f i e combien i l l u i en c o u t a i t de r e n d r e ses o r a c l e s avec t r o p de p r e c i p i t a t i o n pour c e d e r a de r e g r e t t a b l e s e x i g e n c e s , pour se c o n f o r m e r a de f a c h e u s e s t r a d i t i o n s . 4 3 R e y e r ' s w i l l i n g n e s s t o acknowledge h i s e r r o r s i s e x e m p l i f i e d by h i s w r i t i n g s on Wagne r ' s T r i s t a n und I s o l d e and Pe r f l i e g e n d e H o l l a n d e r , bo th o f wh i ch he f i r s t hea rd d u r i n g h i s v i s i t t o Germany i n 1863 -64 . He became a c q u a i n t e d w i t h T r i s t a n by r e a d i n g t h e s c o r e at t h e p i a no w i t h a f r i e n d , and f ound t h e work t h o r o u g h l y d i s t a s t e f u l . Twenty y e a r s l a t e r , a f t e r h e a r i n g t h e f i r s t P a r i s i a n p e r f o r m a n c e o f Ac t I i n c o n c e r t , he c o u r a g e o u s l y c i t e d t h e judgment he had p r e v i o u s l y e x p r e s s e d , t hen g r a -c i o u s l y r e v i s e d i t by d e s c r i b i n g T r i s t a n as t h e c u l m i n a t i n g p o i n t o f 132 Wagne r ' s a r t . He o f f e r e d t h e f o l l o w i n g e x p l a n a t i o n f o r t h e change i n h i s a p p r a i s a l o f t h e work: Q u e l l e metamorphose s ' e t a i t ope ree d e p u i s v i n g t ans dans mes f a c u l t e s m u s i c a l e s ! Ma i s a u s s i q u e l l e d i f f e r e n c e dans l e s moyens d ' e x e c u t i o n ! C ' e t a i t l a p r e m i e r e f o i s que j ' e n t e n d a i s T r i s t a n e t I s e u l t a l ' o r c h e s t r e . 4 4 A f t e r t h e P a r i s i a n p r e m i e r e o f Per f l i e g e n d e H o l l a n d e r i n 1897 Reyer remarked t h a t , when he had hea rd t h i s work more t h a n t h i r t y y e a r s ago, he had f a i l e d t o a p p r e c i a t e i t f u l l y . A g a i n , he quo ted h i s o r i g i n a l a s se s sment " a t i t r e de s i m p l e document et un peu a u s s i pour f a i r e a c t e d 1 h u m i 1 i t e . " 4 5 T h i s e x p r e s s i o n o f h u m i l i t y d e m o n s t r a t e s t h a t , even d u r -i n g h i s l a s t y e a r s as a w r i t e r on m u s i c , Reyer c o n t i n u e d t o r e g a r d h i s c r i t i c a l f u n c t i o n s c r i t i c a l l y , i n s t e a d o f p re suming t h a t age and e x p e r i -ence r e n d e r e d him i n c a p a b l e o f e r r o r . Reyer d e l i b e r a t e l y t r i e d t o make h i s r e a d e r s r e a l i z e t h a t he was u t t e r i n g h i s p e r s o n a l o p i n i o n s , not p r o p h e c i e s o r i m p e r s o n a l j u d g -men t s . 46 T h i s e f f o r t was m a n i f e s t e d not o n l y by h i s w i l l i n g n e s s t o amend h i s v i e w s , but a l s o by h i s use o f t he f i r s t pe r son s i n g u l a r - -i n s t e a d o f t h e p l u r a l - - i n a lmos t a l l o f h i s w r i t i n g s , 4 7 and by h i s f r e -quent employment o f such e x p r e s s i o n s as "mon a v i s , " "mon i m p r e s s i o n , " o r "mon o p i n i o n . " 4 8 M u s i c a l t a s t e s , he d e c l a r e d , were i n t r i n s i c a l l y p e r -s o n a l : " . . . en m a t i e r e d ' o p i n i o n s m u s i c a l e s . . . i l e s t f o r t d i f f i -c i l e de s ' e n t e n d r e e t d ' e t r e du meme a v i s . " 4 9 T h i s c o n v i c t i o n d o u b t l e s s a c c o u n t s f o r h i s r e f u s a l t o pose as an i m p e r s o n a l and i n f a l l i b l e j u d g e o r p r o p h e t . 133 A e s t h e t i c R e y e r ' s c o n c e p t o f b e a u t y Reyer e v i d e n t l y b e l i e v e d t h a t a m u s i c a l c o m p o s i t i o n - - ! i k e any work o f a r t - - m u s t be j udged a c c o r d i n g t o t h e c r i t e r i a o f an i d e a l b e a u t y , a b e a u t y wh i ch i s d i v i n e i n o r i g i n and , t h e r e f o r e , r e n d e r s t h e t r u e work o f a r t t i m e l e s s . The c o n c e p t t h a t b e a u t y i s i n s p i r e d by t h e D i v i n i t y , and i s t h e r e f o r e an a b s o l u t e and i m p e r i s h a b l e q u a l i t y , i s p o e t i c a l l y e x p r e s s e d i n a r e v i e w o f B e r l i o z ' s Romeo e t J u l i e t t e . Reyer f i r s t c i t e s f r o m t h e c o m p o s e r ' s Memoires t h e pa s sage i n wh i ch he m e t a p h o r i c a l l y d e s c r i b e s h i s e f f o r t t o c r e a t e a w o r t h y m u s i c a l t r a n s l a t i o n o f S hake -s p e a r e ' s t r a g e d y , and t h u s t o r e a c h " t h e enchan ted i s l a n d upon wh i ch s t a n d s t h e t e m p l e o f pu re a r t . " Reyer t hen e x p r e s s e s t he o p i n i o n t h a t B e r l i o z had succeeded i n f a i t h f u l l y t r a n s l a t i n g i n t o s u b l i m e l y b e a u t i f u l mus i c t h e s u b l i m e b e a u t i e s o f S h a k e s p e a r e ' s work , a n d — c o n t i n u i n g t h e c o m p o s e r ' s l o v e l y m e t a p h o r — h a d t h u s r e a c h e d t h e enchan ted i s l a n d and had i n s c r i b e d h i s name on t h e ped iment o f t h e t e m p l e . "De q u e l l e a r d e n t e v i e j e vecus pendant t o u t ce t e m p s ! [ " ] e c r i t - i l dans ses Memo i re s ; [ " ] a v e c q u e l l e v i g u e u r j e nagea i s u r c e t t e g rande mer de p o e s i e , c a r e s s e par l a f o l l e b r i s e de l a f a n t a i s i e , dans l e s chauds r a yon s de ce s o l e i l d ' amour q u ' a l l u m a Shake -s p e a r e , et me c r o y a n t l a f o r c e d ' a r r i v e r a l ' T l e mer -v e i l l e u s e oh s ' e l e v e l e t e m p l e de l ' a r t p u r ! . . . " S i l a f a n t a i s i e t i e n t une l a r g e p l a c e dans l a sym-p h o n i e de B e r l i o z , l e c o m p o s i t e u r n ' e n a pas moins t r a -d u i t p l u s f i d e l e m e n t que ne l ' a j a m a i s f a i t e t que ne l e f e r a j a m a i s aucun m u s i c i e n , e t dans un l angage s u b l i m e , l e s s u b l i m e s b e a u t e s de l ' o e u v r e du p o e t e . II a done f r a n c h i l e s e c u e i l s qu i e n t o u r e n t l ' T l e m e r v e i l l e u s e e t i n s c r i t son nom sur l e f r o n t o n du t emp l e de l ' a r t p u r . 5 0 134 The c r i t e r i a o f b e a u t y What, i n R e y e r ' s o p i n i o n , were t he c r i t e r i a o f b e a u t y i n a m u s i c a l c o m p o s i t i o n ? T h i s q u e s t i o n can o n l y be answered w i t h r e g a r d t o t h e t y p e s o f works wh i ch were t h e m a i n s t a y s o f m u s i c a l l i f e i n n i n e t e e n t h -c e n t u r y F r a n c e , and were t h e r e f o r e d i s c u s s e d at l e n g t h by R e y e r : gen re s t h a t combine mus i c and t e x t . As s h a l l be shown b e l o w , Reyer o b v i o u s l y t h o u g h t t h a t t h e p r i n c i p a l c r i t e r i o n o f b e a u t y i n a l l such gen re s was c o n s i s t e n c y between t h e e f f e c t o f t h e mus ic and t h e i d e a s o f t h e t e x t . I f t h e gen re i s s e c u l a r , Reyer m a i n t a i n s t h a t c o n s i s t e n c y i s m a n i -f e s t e d when t h e mus i c f a i t h f u l l y d r a m a t i z e s t h e i m p l i c a t i o n s o f t h e t e x t : "Ce qu i c a r a c t e r i s e a mes yeux l e p l u s g rand m e r i t e d ' u n e oeuv re l y r i q u e , e ' e s t l a v e r i t e de 1 ' e x p r e s s i o n d r a m a t i q u e . " 5 1 Fo r R e y e r , t h i s " v e r i t e " i s not a c h i e v e d by w o r d - p a i n t i n g and o t h e r i m i t a t i v e e f f e c t s , as he i n d i c a t e s i n t h e f o l l o w i n g e x c e r p t f r om h i s r e v i e w o f B r u n e a u ' s Le Reve: . . . p o u r q u o i t a n t de mots s o u l i g n e s par des e f f e t s i m i t a t i f s d ' o r c h e s t r e qu i tombent l e p l u s souvent dans l a p u e r i l i t e ? II y a un e f f e t pour l e f an tome qu i a p p a r a t t a 1 ' i m a g i n a t i o n un peu e x a l t e e , comme vous s a v e z , de l ' a m a n t e de F e l i c i e n ; i l y en a un a u t r e pour l e s S a i n t e s qu i s ' e v a n o u i s s e n t dans l ' a i r ; i l y a un e c l a t de v o i x s u r l e mot " e c l a t a n t e " ( " V i e r g e e c l a t a n t e de b l a n c h e u r " ) , e t A n g e l i q u e se c r o i t o b l i g e e de pou s se r un c r i su r une n o t e hau te a l a f i n de c e t a u t r e v e r s : E l l e s ne m 'ont j a m a i s p a r l e s i h a u t ! . . . Ce s on t l a de s i m p l e s e n f a n t i l l a g e s . 5 2 R e y e r ' s i d e a l o f " l a v e r i t e de 1 ' e x p r e s s i o n d r a m a t i q u e " i s a t t a i n e d when t h e composer f a i t h f u l l y i l l u s t r a t e s and e n r i c h e s not t h e i n d i v i d u a l w o r d s , bu t r a t h e r t h e emot i on s and s i t u a t i o n s p r o v i d e d by t h e t e x t , t hu s r e a l i z i n g i t s d r a m a t i c p o t e n t i a l . For e xamp le , i n a r e v i e w o f B e r l i o z ' s 135 Romeo e t J u l i e t t e he app l aud s t h e composer f o r h a v i n g succeeded com-p l e t e l y i n d r a m a t i z i n g t h e l o v e s cene by u t i l i z i n g i n s t r u m e n t s a l o n e . Les deux amoureux . . . j e vous a s s u r e q u ' o n l e s e n t e n d , e t que , dans ses mo i nd re s p e r i p e t i e s , c e t t e scene " d ' a m o u r e t de d e s e s p o i r " e s t b i e n c o m p l e t e , e t t e l l e q u ' i l n ' e n a j a m a i s ete ' e c r i t de p a r e i l l e . II y a dans l a ph ra se p r i n c i p a l e un e l a n p a s s i o n n e que vous ne r e t r o u v e r e z n u l l e p a r t . . . . E c o u t e z J u l i e t t e d i r e a Romeo: "Mon amour, j e t e l ' a i donne avant que t u l ' a i e s demande, e t p o u r t a n t j e v o u d r a i s q u ' i l f u t e n c o r e a d o n n e r . . . r i e n que pour e t r e gene reu se e t t e l e donner e n c o r e . " 5 3 R e y e r ' s c o n c e p t i o n o f c o n s i s t e n c y between mus i c and t e x t i n a s a c r e d work stems f r o m what he r e g a r d s as a t r a d i t i o n t h a t o r i g i n a t e d w i t h P a l e s t r i n a - - a t r a d i t i o n o f a v o i d i n g s e c u l a r s u g g e s t i o n , e s p e c i a l l y i n t h e m e l o d i c 1 i n e . Les m u s i c i e n s q u i , d e p u i s l a r e v o l u t i o n a c c o m p l i e par P a l e s t r i n a , se s on t i n s p i r e s des t e x t e s l i t u r g i q u e s , on t c r u d e v o i r s ' a s t r e i n d r e , dans des l i m i t e s d i f f e r e n t e s , a ce que l ' o n a p p e l l e l e s e x i g e n c e s du s t y l e r e l i g i e u x . Ces e x i g e n c e s ne c o m p o r t e n t pas s eu l ement l ' e m p l o i du c o n t r e - p o i n t , de l a f u g u e , des i m i t a t i o n s , en un mot , de t o u s l e s a r t i f i c e s de l a s c i e n c e s c o l a s t i q u e ; ma i s e l l e s imposent a l a m e l o d i e une forme e t un c a r a c t e r e p a r t i c u -l i e r s . 5 4 Reyer does no t o b j e c t when " l e s p r o c e d e s de l ' a r t moderne . . . t e m -p e r e n t q u e l q u e peu l e s s e v e r i t e s du s t y l e r e l i g i e u x , " 5 5 as l o n g as t h e m u s i c a l s e t t i n g empha s i ze s t h e e t h i c a l r a t h e r t han t h e p u r e l y a e s t h e t i c f u n c t i o n o f r e l i g i o u s m u s i c . In s h o r t , t h e mus i c must u p l i f t t he s ou l t o c o n t e m p l a t i o n i n o r d e r t o be c o n s i s t e n t w i t h " [ l e ] sens que l e s p a r o l e s v e u l e n t e x p r i m e r . " 5 6 T h i s p o s i t i o n i s e x e m p l i f i e d by h i s r e s p o n s e t o a d i s t i n g u i s h e d a m a t e u r ' s s e t t i n g o f t h e S t a b a t m a t e r . Du moment que l ' o n a p p l i q u e a une oeuv re r e l i g i e u s e l e s r e s s o u r c e s de l ' h a r m o n i e e t de 1 ' i n s t r u m e n t a t i o n moderne s , i l n ' y a p l u s , a p roprement p a r l e r , de s t y l e r e l i g i e u x . Ma i s on peut c e p e n d a n t , . . . t o u t en u san t 136 d ' u n e t r e s g rande v a r i e t e de nuances e t d ' o p p o s i t i o n s , c o n s e r v e r a l a t r a d u c t i o n m u s i c a l e d ' u n t e x t e l i t u r g i q u e q u e l q u e chose de ce par fum d ' e g l i s e qu i d i s p o s e a l a p r i e r e e t au r e c u e i l l e m e n t . A i n s i a f a i t Mme l a v i c o m -t e s s e de G r a n d v a l , a l ' e x e m p l e de maTt re s i l l u s t r e s qu i l ' o n t p r e c e d e e t l u i on t f r a y e l e chemin .57 W h i l e Reyer p r a i s e s mus i c t h a t he r e g a r d s as b e i n g c o n s i s t e n t w i t h t h e i d e a s o f t h e t e x t , he condemns mus i c t h a t — i n h i s o p i n i o n — i s u n -s u i t a b l e i n t h i s r e s p e c t . When r e v i e w i n g a s e c u l a r work , he r e a c t s n e g a t i v e l y i f he b e l i e v e s t h e composer has f a i l e d t o d e v e l o p t he f u l l p o t e n t i a l o f t h e d r a m a t i c o p p o r t u n i t i e s i n h e r e n t i n t he t e x t . Such a r e a c t i o n i s i l l u s t r a t e d by t h e f o l l o w i n g e x c e r p t f r o m R e y e r ' s r e v i e w o f M a s s e n e t ' s M a r i e - M a g d e l e i n e . H e r e , t h e m u s i c a l p o r t r a y a l o f t h e c h a r a c -t e r o f Judas i s c e n s u r e d as b e i n g u n d e r d e v e l o p e d . M. M a s s e n e t , en t r a i t a n t l e r o l e du f a u x d i s c i p l e un peu dans l a m a n i e r e de H a e n d e l , a rompu 1 ' u n i t e de s t y l e de son o e u v r e sans donner au c a r a c t e r e du pe r sonnage un r e l i e f s u f f i s a n t . Judas n ' e s t n i a s s e z humble avec J e s u s , n i a s s e z p e r f i d e avec M a r t h e , n i a s s e z t e n d r e avec Meryem.58 S i n c e Reyer b e l i e v e s t h a t t h e f u n c t i o n o f s a c r e d mus i c i s t o u p l i f t t he s o u l , he i s c r i t i c a l o f s e t t i n g s w h i c h , i n h i s o p i n i o n , sound " t r o p mon-d a i n e , c ' e s t - a - d i r e t r o p d r a m a t i q u e . " 5 9 T h i s d i s l i k e o f p a t e n t t h e a t r i -c a l i t y i s m a n i f e s t e d by h i s r e s e r v a t i o n s c o n c e r n i n g s e v e r a l p a r t s o f V e r d i ' s Requ iem. [ L e ] Qui Mar iam a b s o l v i s t i . . . l ' o n d i r a i t d e t a c h e de l a p a r t i t i o n d ' A T d a ; ce s t r e m o l o s de v i o l o n s d i v i s e s , c e s t r a i t s de ba s sons e t de c l a r i n e t t e s , e t l a fo rme m e l o d i q u e e l l e - m e m e , m ' o n t f a i t songer a l a g rande scene e n t r e Amner i s e t l e s p r e t r e s qu i v i e n n e n t de condamner Rhadames. . . . Nous r e n t r o n s dans l e s t y l e t h e a t r a l avec l e Lux e t e r n a , du moins quant aux p r e m i e r e s mesures du mo rceau : t r e m o l o s des v i o l o n s d i v i s e s e t marches d ' h a r m o n i e r a p p e l a n t l a scene de 1 ' i n v o c a t i o n du P r o p h e t e . . . . 137 [ E t ] a l a r e p r i s e du Requiem e t e r n a m , . . . i l nous f a u t s i g n a l e r e n c o r e une n o u v e l l e r e m i n i s c e n c e d ' A T d a dans l a ph r a s e du s o p r a n o : Q u i a p i us e s . ° 0 Whether d e a l i n g w i t h a s e c u l a r o r a s a c r e d work , Reyer i s a h a r s h c r i t i c o f any e f f e c t f o r wh i ch he i s u n a b l e t o f i n d t e x t u a l m o t i v a t i o n . For e xamp le , he f a u l t s B e r l i o z f o r h a v i n g somet imes p a i d s c a n t heed t o t h e i n t e n t o f t h e t e x t i n h i s Requ iem. Lance dans l e s deve loppemens d ' u n e ph ra se ou a l a p o u r -s u i t e d ' u n r y t h m e , i l ne s ' a r r e t e p l u s ; ap re s a v o i r c h a n t e i l p s a l m o d i e , e t souvent meme on d i r a i t que l e s mots ne sont que l e s t r e s humbles e s c l a v e s de sa f a n -t a i s i e ou de son i n s p i r a t i o n . T e l l e s p a r o l e s s candees pa r l e s b a s s e s , dans l e p r e m i e r morceau par e x e m p l e , son t v o c a l i s e e s amorosemente par l e s s o p r a n i , t a n d i s que dans l e Quantus t r e m o r e t f u t u r u s , c ' e s t au t o u r des t e n o r s de v o c a l i s e r . E s t - i l p o s s i b l e d ' e x p l i q u e r de p a r e i l l e s n e g l i g e n c e s de s t y l e aut rement que par 1 ' i n -t e n t i o n b i e n a r r e t e e chez l e c o m p o s i t e u r de se p r e g c -c u p e r s u r t o u t de l ' e f f e t purement m u s i c a l e . . . ? ° 1 In R e y e r ' s a e s t h e t i c , a f u r t h e r t e n e t r e l a t i n g t o t he t e x t i s t h a t i t be s e t i n such a way as t o be e a s i l y u n d e r s t o o d by t h e a u d i e n c e . T h i s c o n v i c t i o n i s i m p l i c i t i n t he r e v i e w o f B e r l i o z ' s Requ iem, i n wh i ch Reyer d i s a p p r o v i n g l y no te s t h a t t h e " n e g l i g e n c e s de s t y l e " c i t e d above c o n s t i t u t e " de s l i c e n c e s qu i t o u c h e n t ega lement a l a p r o s o d i e du t e x t e e t au sens que l e s p a r o l e s v e u l e n t e x p r i m e r . " 6 ? The i m p l i c a t i o n i s t h a t t h e words w i l l be d i f f i c u l t — i f not i m p o s s i b l e — f o r t he l i s t e n e r s t o u n d e r s t a n d . Thus , R e y e r ' s a e s t h e t i c demands t h a t a m u s i c a l s c o r e not o n l y c r e a t e e f f e c t s t h a t a re c o n s i s t e n t w i t h t h e i m p l i c a t i o n s o f t h e s e c u l a r o r s a c r e d t e x t , but a l s o p r e s e r v e t h e i n t e l l i g i b i l i t y o f t h e l a n g u a g e . 138 We have seen t h a t Reye r b e l i e v e d c r i t i c i s m must be e d u c a t i v e i n f u n c t i o n and t h e r e f o r e e n v i s i o n e d f o r h i m s e l f an e d u c a t i v e r o l e , wh i ch he f i l l e d by b a s i n g h i s c r i t i c i s m upon p r o f e s s i o n a l t r a i n i n g , i n t e l l e c -t u a l i n t e g r i t y , and a c o n s i s t e n t l y a p p l i e d a e s t h e t i c . H i s t r a i n i n g e q u i p p e d him w i t h t h e t e c h n i c a l e x p e r t i s e — a p t l y p r a i s e d by one con tem-p o r a r y as " s a v o i r t e c h n i q u e a u s s i e l o i g n e de l a r i g u e u r dogmat ique que du p e d a n t i s m e " 6 3 _ _ t o make h i s a n a l y s e s i n f o r m a t i v e f o r m u s i c i a n s and n o n - m u s i c i a n s a l i k e . I f , as J acque s Barzun has s a i d , t h i s " s p e c i a l a r t " has been ma s te red by " o n l y a s c an t h a l f dozen men b e s i d e s B e r l i o z , " 6 4 t h e n Reyer s u r e l y d e s e r v e s t o be i n c l u d e d i n t h e g r o u p . He a ga i n shows h i m s e l f t o be a d i s c i p l e o f B e r l i o z i n t h e uncompromi s i ng i n t e g r i t y w i t h wh ich he d i s c h a r g e d h i s r e s p o n s i b i l i t i e s as a c r i t i c . I ndeed , B a r z u n ' s words c o n c e r n i n g B e r l i o z a p p l y e q u a l l y w e l l t o R e y e r : " [ H e ] c o u l d not brook any i n t e r f e r e n c e w i t h t h e a c t o f j u d g m e n t ; e v e r y o t h e r emot i on must y i e l d t o t h e e s t h e t i c . " 6 5 139 Endnotes 1 "Quant a ma p r o f e s s i o n de f o i , . . . 1 'amour du beau ne m'empeche p o i n t de c o n v e n i r que l e j o l i e s t a i m a b l e ; j ' a i 1 ' e s t omac a s s e z com-p l a i s a n t pour p o u v o i r d t n e r d ' u n e symphonie e t s ouper d ' u n e c h a n s o n . De l a a e t r e e c l e c t i q u e , i l y a l o i n ; de l a a a p p l a u d i r l e s p a u v r e t e s m u s i -c a l e s pour l e s q u e l l e s une f r a c t i o n beaucoup t r o p c o n s i d e r a b l e du p u b l i c p a r i s i e n se p a s s i o n n e d e p u i s q u e l q u e s annee s , l a d i s t a n c e e s t p l u s g rande e n c o r e . P u i s q u e j e v i e n s de p a r l e r des t e n d a n c e s a c t u e l l e s du d i l e t t a n t i s m e p a r i s i e n ( j e d i s a c t u e l l e s , ma i s e l l e s son t d e j a de v i e i l l e d a t e ) , q u ' i l me s o i t pe rm i s de f a i r e une r e f l e x i o n qu i t r o u v e i c i t o u t n a t u r e l l e m e n t sa p l a c e : on c o n f o n d chez nous l e s e n t i m e n t m u s i c a l avec l a r e c h e r c h e de c e r t a i n e s s e n s a t i o n s que j e ne veux pas q u a l i f i e r d ' u n e f agon t r o p b r u t a l e , a u x q u e l l e s l a mus ique s e r t de p r e -t e x t e e t a u x q u e l l e s cependan t e l l e e s t t o u t a f a i t e t r a n g e r e . P o u r q u o i c e t t e c o n f u s i o n e t d ' o u v i e n t - e l l e ? Je ne p u i s guere me l ' e x p l i q u e r que pa r l a p r e t e n t i o n que nous avons en g e n e r a l de v o u l o i r j u g e r e t com-p r e n d r e l e s a r t s s p e c i a u x ( l a mus ique s u r t o u t ) avec nos n e r f s , avec nos s e n s , sans e d u c a t i o n p r e a l a b l e , sans l ' a i d e de c o n n a i s s a n c e s a c q u i s e s . Quand on p a r l e a c e r t a i n e s gens de l a v a l e u r d ' u n e oeuv re qu i n ' e s t p o i n t de l e u r g o u t , i l s vous r e p o n d e n t sans l a mo i nd r e h e s i t a t i o n que c e t t e o e u v r e ne l e u r a pas p l u , q u ' i l s y on t b a i l i e ou d o r m i , e t , p a r -t a n t , q u ' e l l e e s t m a u v a i s e . O n t - i l s p r i s p l a i s i r a 1 ' a u d i t i o n d ' u n p e t i t o p u s c u l e b u r l e s q u e , de q u e l q u ' u n e de ce s b o u f f o n n e r i e s que l e s A l l e m a n d s a p p e l l e n t P o s s e n , qu i l e s d i v e r t i s s e n t f o r t , ma i s q u ' i l s t i e n -nen t pour ce q u ' e l l e s v a l e n t , a u s s i t o t vous voyez ce s melomanes t r o p f a c i l e s a emouvo i r p r o c l a m e r q u ' i l s on t t r o u v e l e u r c r i t e r i u m m u s i c a l , vous r a p p e l e r s e n t e n c i e u s e m e n t l a v i e i l l e e t s o t t e q u a l i f i c a t i o n de l a m u s i q u e , e t en c o n c l u r e que p u i s q u e l a mus ique e s t un a r t d ' a g r e m e n t , i l n ' y a pas d ' a u t r e mus ique que l a mus ique a g r e a b l e . " (JD f e u i l l e t o n o f 2 December 1866 . ) 2 " E s t - c e a d i r e pour c e l a q u ' i l f a i l l e f a i r e s u b i r un examen de s o l f e g e ou de c o n t r e - p o i n t a t o u t e pe r sonne qu i se p r e s e n t e a l a p o r t e d ' u n e s a l l e de c o n c e r t ou d ' u n t h e a t r e l y r i q u e oi l I ' o n e x e c u t e une o e u v r e s e r i e u s e ? A s su rement non ; ma i s j e v o u d r a i s que l e p u b l i c , p r e c h e p l u s s ouven t par des gens competens e t d e s i r e u x de 1 ' i n s t r u i r e , c o m p r i t q u ' i l d o i t se d e f i e r un peu p l u s de ses gou t s n a t u r e l s , de ses p r e -f e r e n c e s pour l e j o l i , l e f a c i l e , l e t r i v i a l meme; se d e f i e r de ses i m p r e s s i o n s du moment quand i l en tend pour l a p r e m i e r e f o i s une oeuv re s a v a n t e e t f o r t e , e t q u ' i l d o i t s u r t o u t ne pas se h a t e r d ' a f f i r m e r son o p i n i o n su r 1 ' o e u v r e e l l e - m e m e e t s u r 1 ' a r t i s t e c o n v a i n c u qu i l ' a p e n i b l e m e n t e t c o n s c i e n c i e u s e m e n t e l a b o r e e . " ( I b i d . ) 3 A s u b s t a n t i a l e x c e r p t f r om t h e p r o s p e c t u s i s bo th quoted and t r a n s l a t e d by P e t e r Bloom i n " F r a n g o i s - J o s e p h F e t i s and t he Revue M u s i c a l e ( 1 8 2 7 - 1 8 3 5 ) " ( Ph .D . d i s s e r t a t i o n , U n i v e r s i t y o f P e n n s y l v a n i a , 1 9 7 2 ) , pp . 2 6 - 2 7 . 140 4 T r a n s l a t e d i n i b i d . , p. 6 2 . The o r i g i n a l F r e n c h i s as f o l l o w s : "De quo i s ' a g i t - i l , au f a i t [ , ] dans un j o u r n a l de mus ique? D ' i n s t r u i r e . O r , pour i n s t r u i r e a u t r u i , i l f a u t s a v o i r so i -meme" ("De l ' u t i l i t e d ' u n j o u r n a l de m u s i q u e , " RGMP 6 [4 September 1 8 3 9 ] : 3 4 8 ) . 5 " C h r o n i q u e m u s i c a l e , " RF Annee 1, Tome 1 (10 F e b r u a r y 1 8 5 5 ) : 7 4 . 6 CP f e u i l l e t o n o f 11 September 1857. 7 See t h e r e c o l l e c t i o n s c o n c e r n i n g mus i c c r i t i c i s m i n t h e F r e n c h p r e s s " d e p u i s une t r e n t a i n e d ' a n n e e s , " i n A l b e r t de L a s a l l e and E r n e s t T h o i n a n [ A n t o i n e - E r n e s t R o q u e t ] , La Mus ique a P a r i s pendant 1 ' annee 1862 ( P a r i s : M o r i z o t , L i b r a i r e - E d i t e u r , 1 8 6 3 ) , pp. 2 57 - 58 . 8 G a u t i e r , f o r e xamp le , o f t e n r e s o r t e d t o what have been d e s c r i b e d as " s e s f o r m u l e s f a v o r i t e s " ; see Georges S e r v i e r e s , " L e s R e l a t i o n s d ' E r n e s t Reyer e t de T h e o p h i l e G a u t i e r , " Revue d ' H i s t o i r e l i t t e r a i r e de l a F r a n c e , no . 24 ( 1 9 1 7 ) , p. 7 1 . 9 D o r o t h y V e i n u s Hagan, " F r e n c h M u s i c a l C r i t i c i s m Between t h e R e v o l u t i o n s ( 1 8 3 0 - 1 8 4 8 ) " (Ph .D . d i s s e r t a t i o n , U n i v e r s i t y o f I l l i n o i s , 1 9 6 5 ) , p. 3. 10 " J e ne m ' e xage r e c e r t e s pas l a v a l e u r e t l a p o r t e e de mon o p i -n i o n p e r s o n n e l l e ; ma i s e n f i n j e d o i s au p u b l i c mon o p i n i o n e t non c e l l e des a u t r e s . " (CP f e u i l l e t o n o f 13 September 1859. ) H " C h r o n i q u e m u s i c a l e , " Rf_ Annee 1, Tome 1 (10 F e b r u a r y 1 8 5 5 ) : 7 5 . 1 2 " C h r o n i q u e m u s i c a l e , " A t h F 4 (15 December 1 855 ) : 1 082 . 1 3 I b i d . , 3 (28 O c t o b e r 1 854 ) : 1 014 . 1 4 CP f e u i l l e t o n o f 11 September 1857. 15 JD f e u i l l e t o n o f 1 November 1867. 1 6 " C h r o n i q u e m u s i c a l e , " GN 2 (12 May 1 8 6 0 ) : 5 . 1 7 From R e y e r ' s r e v i e w o f t h e p r e m i e r e o f A m b r o i s e Thomas ' s M i gnon , i n h i s f i r s t f e u i l l e t o n f o r t h e JD_ (2 December 1 8 6 6 ) . 18 E m i l e H e n r i o t , P r e f a c e t o Qua r an te ans de m u s i q u e , by E r n e s t Reyer ( P a r i s : C a l m a n n - L e v y , 1 9 0 9 ) , p. x v i . 1 9 JD f e u i l l e t o n o f 16 J a n u a r y 1872 . 20 i b i d . 21 " C h r o n i q u e m u s i c a l e , " RF_ Annee 4, Tome 12 (10 F e b r u a r y 1 8 5 8 ) : 122 . 141 2 2 JD f e u i l l e t o n o f 15 December 1869. 2 3 I b i d . , 19 May 1889. 2 4 I b i d . , 25 December 1881. 2 5 I b i d . , 31 May 1868. 2 6 I b i d . , 23 A p r i l 1873. 2 7 I b i d . , 8 December 1894. 2 8 I b i d . , 30 March 1885. 2 9 I b i d . , 3 J a n u a r y 1867. 3 0 H e n r i o t o f f e r e d t he f o l l o w i n g t e s t i m o n y t o R e y e r ' s i n t e g r i t y : " L a c r i t i q u e d ' E r n e s t Reyer vau t par son a b s o l u e , son a d m i r a b l e s i n c e r i t e . Ceux qu i l ' o n t vu de p re s peuvent c o n f i r m e r ce que j ' a v a n c e . J ama i s Reyer n ' a d i t ou n ' a e c r i t q u e l q u e chose qu i f u t c o n t r a i r e a son s e n t i m e n t . " ( P r e f a c e t o Q u a r a n t e , p. v) H e n r i o t ' s a s s e r t i o n was echoed two y e a r s l a t e r by Henry R o u j o n : " S ' i l f a l l a i t re sumer c e t t e e x i s t e n c e ce s e r a i t dans ce mot : h o n n e t e t e . " ( I n s t i t u t de F r a n c e . Academie des B e a u x - A r t s . N o t i c e su r l a v i e e t l e s t r a v a u x de M. E r n e s t Reye r ( 1 8 2 3 - 1 9 0 9 ) , membre de V A c a d e m i e [ .Pa r i s : F i r m i n - D i d o t , 1 9 1 1 J , p. 28 . ) 3 * The f o l l o w i n g r e p u d i a t i o n o f such e x t e r n a l i n f l u e n c e s i s t y p i c a l o f R e y e r : " Sans me p r e o c c u p e r des f l u c t u a t i o n s de 1 ' o p i n i o n p u b l i q u e pendant l e c o u r s de l a r e p r e s e n t a t i o n , sans me s o u c i e r davan tage des d i s s o n a n c e s de l a c l a q u e , j e v a i s e s s a y e r de d i r e q u e l l e i m p r e s s i o n m 'a l a i s s e e 1 ' o e u v r e . " ( " C h r o n i q u e m u s i c a l e , " Rf_ Annee 4, Tome 12 [10 F e b r u a r y 1858 ] : 122 ) 3 2 JD f e u i l l e t o n o f 18 J a n u a r y 1891 . 3 3 In h i s r e v i e w o f t h e p r e m i e r e o f V e r d i ' s Les Vep re s s i c i l i e n n e s , t h e young R e y e r - - w r i t i n g i n t h e f i r s t pe r son p l u r a l , i n t h e manner o f G a u t i e r — e x p r e s s e d p l e a s u r e at what he r e g a r d e d as advances i n t he I t a l -i a n c o m p o s e r ' s s t y l e : "Nous avons e t e a g r eab l emen t s u r p r i s , e t comme nous ne sommes s y s t e m a t i q u e m e n t oppose a aucun m a T t r e , a aucune e c o l e , nous avons a p p l a u d i avec bonheu r , avec s i n c e r i t e . " ( " C h r o n i q u e m u s i -c a l e , " RF Annee 1, Tome 2 [20 J u l y 1 8 5 5 ] : 1 8 8 . ) 3 4 JD f e u i l l e t o n o f 2 December 1866. 142 J b From a c o n v e r s a t i o n w i t h A r t h u r P o u g i n on 14 December 1891; quoted by Poug i n i n " E r n e s t R e y e r , " Le M e n e s t r e l 75 (23 J a n u a r y 1 9 0 9 ) : 27 . See t h e l o n g e r e x c e r p t g i v e n i n n. 217 o f C h a p t e r V I I I . 36 T h i s v i e w i s i m p l i c i t i n t h e f o l l o w i n g e x c e r p t f rom R e y e r ' s r e v i e w o f t h e w o r l d p r e m i e r e o f A ' fda : " L o r s q u e j ' a i a c c e p t e de v e n i r en E g y p t e , a s s i s t e r a l a p r e m i e r e r e p r e s e n t a t i o n d ' A T d a , i l a e t e b i e n convenu que j e ne s u b i r a i s aucune i n f l u e n c e e t que j ' e x p r i -m e r a i s mon o p i n i o n avec l a p l u s e n t i e r e f r a n c h i s e . L ' o p e r a de V e r d i eu t e t e m e d i o c r e , j e I ' e u s s e d i t sans d e t o u r ; i l a r e u s s i , i l m e r i t a i t de r e u s s i r : j e s u i s heureux d ' e n r e p a n d r e l a bonne n o u v e l l e , e t de f e l i -c i t e r l e mae s t r o a u q u e l , on l e s a i t , j e n ' a i j a m a i s t emo i gne n i beaucoup d ' a d m i r a t i o n n i une b i e n g rande s y m p a t h i e . . . . . . . e ' e s t , j e l e r e p e t e , une oeuv re des p l u s r e m a r q u a b l e s e t a l a q u e l l e l e s m u s i c i e n s , que l que s o i t l e d rapeau sous l e q u e l i l s s ' a b r i t e n t , p r e n d r o n t , i l n ' e n f a u t pas d o u t e r , un t r e s v i f i n t e r e t . Je p a r l e des m u s i c i e n s qu i n ' o n t pas de p a r t i p r i s : c e l u i qu i dans l e s q u e s t i o n s d ' a r t ne mont re n i s i n c e r i t e n i bonne f o i , n ' e s t p o i n t un a r t i s t e . " (JD f e u i l l e t o n o f 16 J a n u a r y 1872) 3 7 I b i d . , 12 November 1882. In t h i s f e u i l l e t o n Reyer d e p l o r e d t h e v i o l e n t l y p r o - and a n t i - W a g n e r s e n t i m e n t s t h a t t h e p e r f o r m a n c e s o f t h e p r e l u d e had evoked f r o m P a r i s i a n a u d i e n c e s and f rom members o f t he p r e s s ( s ee C h a p t e r V I I I , p. 3 2 1 ) . 3 8 When he r e v i e w e d Tannh 'auser i n 1857, he f r e e l y a d m i t t e d t h a t " i l me f a u d r a i t p l u s d ' u ne a u d i t i o n pour p o u v o i r me l i v r e r sans t r o p de d e f i a n c e a une a p p r e c i a t i o n c o m p l e t e de 1 ' o e u v r e de M. R i c h a r d Wagner . " (CP f e u i l l e t o n o f 30 September 1857 . ) T h i s s e n t i m e n t was echoed i n many o t h e r r e v i e w s , i n c l u d i n g t h e one wh i ch Reyer w ro t e a f t e r h e a r i n g t h e p r e m i e r e o f V e r d i ' s O t e l l o t h i r t y y e a r s l a t e r : "Me v o i l a e n c o r e en p r e s e n c e d ' u ne oeuv re qu i . . . e s t t r o p c o n s i d e r a b l e pour que j e me p e r m e t t e de 1 ' a n a l y s e r e t s u r t o u t de l a j u g e r ap re s ne 1 ' a v o i r en tendue q u ' u n e s e u l e f o i s . " (JD f e u i l l e t o n o f 11 F e b r u a r y 1887 . ) 3 y A f t e r d e c l a r i n g t h a t he had a t t e n d e d a second p e r f o r m a n c e o f t h e o p e r a comique D j a m i l e h by t h e young B i z e t , Reyer r e m a r k e d : " C ' e s t un exemple q u ' e n p l u s d ' u ne c i r c o n s t a n c e d ' a u t r e s m 'ont donne, e t que j e donne a d ' a u t r e s : i l e s t bon a s u i v r e " (JD f e u i l l e t o n o f 31 May 1 8 7 2 ) . 40 W h i l e i n C a i r o f o r t h e p r e m i e r e o f A i d a , f o r e xamp le , he a t t e n d e d t h r e e p e r f o r m a n c e s o f t h e new work and s t u d i e d t h e s c o r e : " C e t t e p a r t i t i o n , j e l ' a i l u e t r e s a t t e n t i v e m e n t e t j e 1 ' a i en tendue t r o i s f o i s , y p r enan t chaque f o i s un p l a i s i r n o u v e a u . " ( I b i d . , 16 J a n u a r y 1872 . ) Numerous w r i t i n g s i n d i c a t e t h a t , i f Reyer had heard o n l y one p e r f o r m a n c e o f a p u b l i s h e d work , he wou ld s t u d y t h e s c o r e b e f o r e 143 w r i t i n g t h e r e v i e w . See e s p e c i a l l y t h e f o l l o w i n g f e u i 1 l e t o n s i n t h e ^JP: 15 December 1869 ( P a r i s i a n p r e m i e r e o f Schumann ' s c h o r a l work Das P a r a d i e s und d i e P e r i ) ; 11 F e b r u a r y 1887 ( p r e m i e r e o f V e r d i ' s O t e l l o a t M i l a n ) ; and 8 March 1894 ( p r e m i e r e o f F r a n c k ' s o p e r a Hu lda at Monte C a r l o ) . 41 Two i l l u s t r a t i o n s o f t h i s p o i n t w i l l s u f f i c e : Per f l i e g e n d e Hoi 1'ander ( see b e l o w , n. 45) and P i e M e i s t e r s i n g e r von N l i r n b e r g . R e y e r ' s f i r s t r e v i e w o f M e i s t e r s i n g e r - - w h i c h he heard at L ondon—was p u b l i s h e d as an anonymous l e t t e r - a r t i c l e i n t h e ^ P o f 18 June 1882, p. 2. When Reye r r e v i e w e d t h e P a r i s i a n p r e m i e r e f i f t e e n y e a r s l a t e r , he r e c a l l e d h i s d e l i g h t at t h e London p e r f o r m a n c e , t hen added t h a t , o v e r t h e y e a r s , he had had " l e temps d ' e t u d i e r l a p a r i t i t i o n . . . e t de m ' i m p r e g n e r des nombreuses beau te s de c e t o u v r a g e " ( JD f e u i l l e t o n o f 21 November 1 8 9 7 ) . 42 Reyer r e c a l l e d t h a t he had o c c u p i e d a v e r y poor sea t at t h e p r e m i e r e . A f t e r t h e p e r f o r m a n c e , he had e x p r e s s e d h i s d i s g u s t f o r t h e o p e r a t o a f r i e n d , who had made him p r o m i s e t o hea r i t a second t i m e , under b e t t e r c o n d i t i o n s . Reyer d i d s o , " e t mieux p l a c e , mieux d i s p o s e , j e c o m p r i s a l o r s ce que j e n ' a v a i s pas c o m p r i s l a v e i l l e : l e s beau te s de l ' o e u v r e m ' a p p a r u r e n t dans t o u t e l e u r s p l e n d e u r ; . . . c ' e t a i t l a r e v e l a t i o n d ' u n c h e f - d ' o e u v r e . " ( J P f e u i l l e t o n o f 2 Pecember 1866. ) 43 I b i d . (These comments p r e c e d e h i s r e v i e w o f Thomas ' s M i gnon . ) 44 I b i d . , 22 March 1884. 45 i b i d . , 23 May 1897. Reyer t h e n i n d i c a t e d t h a t he had a l s o hea rd Hoi l a n d e r at B r u s s e l s , and t h a t t h i s second e x p e r i e n c e o f t h e work had a f f e c t e d him i n much t h e same way as h i s second h e a r i n g o f Le P r o p h e t e : " L a seconde f o i s que j ' e n t e n d i s l e V a i s s e a u - Fantome, ce f u t , i l y a q u e l q u e s annee s , a B r u x e l l e s , et 1 ' i n t e r p r e t a t i o n , qu i e t a i t e x c e l l e n t e , me r e v e l a , dans l e chan t comme dans 1 ' o r c h e s t r e , des d e t a i l s q u ' a Weimar j e n ' a v a i s pas s u f f i s a m m e n t a p p r e c i e s . Ce f u r e n t pour moi a u t a n t de s u r p r i s e s et j ' e n r e s s e n t i s comme une i m p r e s s i o n n o u v e l l e , un charme nouveau . P e p u i s , sans f a i r e de l a p a r t i t i o n du V a i s s e a u - F a n t o m e mon b r e v i a i r e , j e l a l i s de temps en temps et j e p rend s a c e t t e l e c t u r e un p l a i s i r e x t r e m e . " ( I b i d . ) 46 He once avowed: " A s su rement j e ne veux p o i n t me f a i r e p a s s e r pour p r o p h e t e " ( i b i d . , 17 November 1 8 7 2 ) . 47 As was e x p l a i n e d i n C h a p t e r I I , Reyer w r o t e i n t h e f i r s t pe r son p l u r a l d u r i n g t h e e a r l y y e a r s o f h i s c a r e e r , t hen adopted t h e f i r s t pe r s on s i n g u l a r , r e v e r t i n g t o t h e p l u r a l on t h e r a r e o c c a s i o n s when he wanted t o s t r i k e a f o r m a l t o n e . 144 4 8 A f t e r h i s f i r s t few y e a r s as a c r i t i c , Reyer made a h a b i t o f q u a l i f y i n g h i s s t a t e m e n t s by means o f such e x p r e s s i o n s . The f o l l o w i n g a s se s sment o f A c t I I I o f V e r d i ' s O t e l l o i s but one o f c o u n t l e s s exam-p l e s : " . . . i l ne me r e s t e a s i g n a l e r que l e f i n a l e de l ' a c t , qu i e s t a mon a v i s un des morceaux d ' e n s e m b l e l e s p l u s g r a n d i o s e s e t l e s p l u s h a b i l e m e n t t r a i t e s q u ' a i t e c r i t s l a plume m a g i s t r a l e de 1 ' i l l u s t r e com-p o s i t e u r . " (JD f e u i l l e t o n o f 11 F e b r u a r y 1887 . ) 49 I b i d . , 16 May 1883. 50 I b i d . , 8 December 1894. 51 I b i d . , 1 September 1868. 52 I b i d . , 21 June 1891. 53 I b i d . , 8 December 1894. 54 I b i d . , 14 June 1874. 55 I b i d . , 30 November 1871. 56 I b i d . , 30 March 1878. 57 I b i d . , 1 May 1870. 58 I b i d . , 23 A p r i l 1873. 59 I b i d . , 30 November 1871. 60 I b i d . , 14 June 1874. These ed as " l e s t y l e t h e a t r a l " prompted him t o p ronounce V e r d i ' s Requiem " b i e n p l u s une oeuv re d r a m a t i q u e q u ' u n e oeuv re r e l i g i e u s e . . . . Une f o i s c e t t e r e s e r v e f a i t e , j e s e r a i p l u s a l ' a i s e pour l o u e r comme e l l e l e m e r i t e l a b e l l e e t s a v a n t e c o m p o s i t i o n de 1 ' a u t e u r d ' A T d a . " 6 1 I b i d . , 30 March 1878. 6 2 I b i d . ° 3 Georges S e r v i e r e s , La Mus ique f r a n g a i s e moderne: Ce sa r F r a n c k ; Edouard L a l o ; J u l e s M a s s e n e t ; E r n e s t R e y e r ; C a m i l l e S a i n t - S a e n s ( P a r i s : G. Havard f i l s , 1 8 9 7 ) , p. 2 75 . 6 4 J a c q u e s B a r z u n , B e r l i o z and t h e Romant i c C e n t u r y , 3d e d . , 2 v o l s . (New Y o r k : C o l u m b i a U n i v e r s i t y P r e s s , 1 9 6 9 ) , 2 : 266 . Barzun does no t name t h e s e men. 6 5 I b i d . , 2 : 2 6 1 . 145 CHAPTER IV REYER 'S VIEWS ON OPERA The p r i n c i p l e s o f R e y e r ' s c r i t i c a l a e s t h e t i c and t h e c o n s i s t e n c y o f t h e i r a p p l i c a t i o n can b e s t be i l l u s t r a t e d by an i n v e s t i g a t i o n o f h i s w r i t i n g s about o p e r a , t h e gen re on wh i ch he most f r e q u e n t l y f o c u s e d h i s a t t e n t i o n . H i s r e v i e w s o f c o u n t l e s s o p e r a s e n a b l e us t o see c l e a r l y how h i s a e s t h e t i c m o t i v a t e d h i s judgment s o f o p e r a t i c c o m p o s i t i o n and p e r -f o r m a n c e , as w e l l as h i s v i ews on I t a l i a n , F r e n c h , and German o p e r a t i c t r a d i t i o n s . O p e r a t i c C o m p o s i t i o n and P e r f o r m a n c e Fo r R e y e r , t h e drama i s t h e e s s e n c e o f an o p e r a . " L a v e r i t e d rama-t i q u e " l - - d r a m a t i c t r u t h or r e a l i s m - - i s h i s o v e r r i d i n g c o n c e r n when he a s s e s s e s any a s p e c t o f an o p e r a : t he l i b r e t t o , the m u s i c , o r t he p e r -f o r m a n c e . A c c o r d i n g t o R e y e r , t h e l i b r e t t o i s s u c c e s s f u l o n l y i f i t p r e s e r v e s d r a m a t i c v e r a c i t y w h i l e o f f e r i n g d r a m a t i c v a r i e t y ; t he e f f e c t o f t h e mus i c must be c o n s i s t e n t w i t h t h e e v e n t s and emot i on s p r o v i d e d by t h e l i b r e t t o ; and t h e d r a m a t i c i n t e g r i t y o f t he m a r r i a g e o f words and mus i c must be uphe l d by t h e p e r f o r m e r ' s v o c a l c h a r a c t e r i z a t i o n and a c t -i n g . The L i b r e t t o We o b s e r v e d i n C h a p t e r I I I t h a t t h e t e x t o f any c o m p o s i t i o n i s o f f u n d a m e n t a l i m p o r t a n c e i n R e y e r ' s a e s t h e t i c . He t h e r e f o r e c o n s i s t e n t l y 146 a t t a c h e s g r e a t s i g n i f i c a n c e t o t he l i b r e t t o o f an o p e r a . Fo r e xamp le , when d i s c u s s i n g a p r e m i e r e he f r e q u e n t l y d e v o t e s a p p r o x i m a t e l y h a l f o f h i s a r t i c l e t o t h e o p e r a t i c poem; r e v i e w s o f V e r d i ' s A i d a and F a l s t a f f , as w e l l as Wagne r ' s L o h e n g r i n , S i e g f r i e d , and D i e W a l k l i r e , a re p r i m e e x a m p l e s . 2 The s i g n i f i c a n c e he a t t a c h e s t o t he l i b r e t t o e v i d e n t l y stems f r o m what he r e g a r d s as t h e t r a d i t i o n a l F r ench approach t o t he a p p r e c i a -t i o n o f o p e r a - - a n app roach wh i ch he c o n t r a s t s w i t h t h a t o f t he I t a l i a n s : Les I t a l i e n s , p l u s m u s i c i e n s ou p l u s mus i caux que nou s , f o n t v o l o n t i e r s bon marche du poeme. Nous a u t r e s F r a n g a i s , par l a pen te de n o t r e e s p r i t p h i l o s o p h i q u e , r a i s o n n e u r , m e t t a n t l e s p o i n t s s u r l e s j _ , e t c h e r c h e u r s d ' e t e r n e l s p o u r q u o i , nous nous a t t a c h o n s a l a f a b l e , l a mus ique pas se a p r e s . 3 A c c o r d i n g t o R e y e r , t h e n , t h e F rench do not v i e w t h e l i b r e t t o as an i n s i g n i f i c a n t t e x t s u p p l i e d f o r a p r e d o m i n a n t l y m u s i c a l e x p e r i e n c e ; r a t h e r , t h e y r e g a r d t h e l i b r e t t o as t h e b a s i s o f t h e o p e r a t i c e x p e r i -e n c e . T h i s v i e w o f t h e i m p o r t a n c e o f t h e l i b r e t t o r e q u i r e s t h a t t h e r e a d e r f u l l y u n d e r s t a n d i t b e f o r e a t t e n d i n g a p e r f o r m a n c e o f t he o p e r a . Reyer o b v i o u s l y b e l i e v e s t h a t he i s e x p e c t e d t o s u p p l y t he i n f o r m a t i o n n e c e s s a r y f o r such u n d e r s t a n d i n g ; f o r e xamp le , a f t e r t he P a r i s i a n p r e -m i e r e o f R i e n z i by t h e t h e n - c o n t r o v e r s i a l Wagner, t h e c r i t i c r e m a r k s : "Ca lmons 1 ' i m p a t i e n c e du l e c t e u r e t d o n n o n s - l u i une c o u r t e a n a l y s e du p o e m e . " 4 In R e y e r ' s c r i t i c a l f r amework , an u n d e r s t a n d i n g o f t h e l i b r e t -t o i s e s s e n t i a l bo th f o r t he comprehen s i on o f t he d r a m a t i c e v e n t s t h a t u n f o l d on t h e s t a g e , and f o r t h e a p p r e c i a t i o n o f t h e m u s i c , b e c a u s e — a s we saw i n C h a p t e r I I I — h i s a e s t h e t i c demands t h a t t h e m u s i c a l s e t t i n g o f any s e c u l a r t e x t f a i t h f u l l y i l l u s t r a t e and e n r i c h t h e emot i on s and 147 s i t u a t i o n s p r o v i d e d by t h e t e x t . C o n s e q u e n t l y , t h e p r i n c i p a l e lement o f R e y e r ' s " a n a l y s e du poeme" i s a lways a f a i r l y d e t a i l e d r e t e l l i n g o f t h e s t o r y . In a d d i t i o n t o r e l a t i n g t h e d r a m a t i c e v e n t s , Reyer a s s e s s e s t h e q u a l i t y o f t h e l i b r e t t o by c o n c e r n i n g h i m s e l f w i t h t h e f o l l o w i n g q u e s -t i o n s : Does t h e l i b r e t t o p r o v i d e s i t u a t i o n s wh ich l e n d t h e m s e l v e s t o m u s i c a l e x p r e s s i o n ? Is t h e deve lopment o f t h e drama l o g i c a l ? There are c l e a r i n d i c a t i o n s t h a t he r e g a r d s a c o m b i n a t i o n o f t h e s e two e l e m e n t s as e s s e n t i a l t o a s u c c e s s f u l l i b r e t t o . One theme p r e s e n t t h r o u g h o u t R e y e r ' s w r i t i n g s i s t h a t a key e l emen t o f a good l i b r e t t o i s a v a r i e t y o f d r a m a t i c s i t u a t i o n s and emot i on s t h a t l e n d t h e m s e l v e s t o m u s i c a l d e v e l o p m e n t . Such a c o n v i c t i o n i s o b v i o u s l y engendered by h i s a e s t h e t i c p r i n c i p l e t h a t t h e mus i c must r e f l e c t t h e d r a m a t i c a c t i o n : i f t h e l i b r e t t o l a c k s v a r i e t y , t h e m u s i c , t o o , w i l l l a c k i n t e r e s t . T h i s c o n v i c t i o n i s most c l e a r l y m a n i f e s t e d by h i s a t t i -t u d e t oward l i b r e t t o s based on p r e - e x i s t e n t s o u r c e s — l e g e n d , h i s t o r y , o r a l i t e r a r y wo rk . Whether o r not t h e l i b r e t t i s t chooses t o r e s p e c t t he s o u r c e depends f o r Reyer on t h e scope i t o f f e r s f o r m u s i c a l d e v e l o p m e n t , as i s i n d i c a t e d by t h e f o l l o w i n g comments c o n c e r n i n g t h e l i b r e t t o o f Gounod ' s Romeo e t J u l i e t t e . Dans l a v e r s i o n de MM. M i c h e l C a r r e e t J u l e s B a r b i e r , e ' e s t au m i l i e u de l a f e t e n u p t i a l e que J u l i e t t e tombe i n an imee dans l e s b r a s de son p e r e . Je ne c r o i s pas que pe r sonne songe a r e p r o c h e r aux a u t e u r s du l i b r e t t o . . . l e s q u e l q u e s m o d i f i c a t i o n s q u ' i l s ont c r u d e v o i r a p p o r t e r a l a marche du drame t e l l e q u ' e l l e e x i s t e dans 1 ' o e u v r e du p o e t e . H a b i l e s et e x p e r i m e n t e d en l ' a r t d ' e c r i r e pour l e t h e a t r e , i l s ont p a r f a i t e m e n t r e m p l i l e but que t o u t l i b r e t t i s t e d o i t se p r o p o s e r d ' a t t e i n d r e : i n t e r e s s e r l e p u b l i c e t f o u r n i r l e s 148 s i t u a t i o n s l e s p l u s v a r i e e s e t l e s p l u s m u s i c a l e s au c o m p o s i t e u r . 5 Thus , i n R e y e r ' s v i e w , d e p a r t u r e s f r o m the s o u r c e — e v e n i f i t be a 1 i t e r a r y m a s t e r p i e c e — a r e a c c e p t a b l e when t h e y c r e a t e " m u s i c a l s i t u a -t i o n s . " H i s b e l i e f t h a t a l i b r e t t o must o f f e r o p p o r t u n i t i e s f o r m u s i c a l deve lopment e x p l a i n s not o n l y h i s w i l l i n g n e s s t o a c c e p t d e v i a t i o n s f r om a p r e e x i s t e n t s o u r c e , but a l s o h i s p r e f e r e n c e f o r l e g e n d , r a t h e r than h i s t o r y , as t h e b a s i s f o r a l i b r e t t o . He e v i d e n t l y f e e l s t h a t h i s t o r y c a n n o t be t r e a t e d as f r e e l y as l e g e n d : "On ne d o i t v i o l e r 1 ' h i s t o i r e , a d i t A l e x a n d r e Dumas, q u ' a c o n d i t i o n de l u i f a i r e un e n f a n t . " 6 The o t h e r e l ement w h i c h Reyer r e g a r d s as b e i n g e s s e n t i a l t o a s u c -c e s s f u l l i b r e t t o i s d r a m a t i c v e r a c i t y — t h e d e v e l o p i n g o f t h e drama w i t h an i n t e l l i g i b i l i t y and n a t u r a l n e s s o f a c t i o n . 7 T h i s theme, t o o , i s w e l l i l l u s t r a t e d by h i s a s se s sment s o f l i b r e t t o s based on p r e e x i s t e n t s o u r c e s . In t h e f i r s t e x c e r p t g i v e n b e l o w , he e x cu se s BoTto f o r not a l -ways a d h e r i n g t o S h a k e s p e a r e ' s p l a y The Me r r y Wives o f W i n d s o r ; i n t h e s e c o n d , he c r i t i c i z e s Wagner f o r a d h e r i n g t oo c l o s e l y t o S i r Edward Bu lwe r L y t t o n ' s n o v e l R i e n z i , t h e L a s t o f t h e T r i b u n e s . Both judgment s a r e m o t i v a t e d by R e y e r ' s c o n v i c t i o n t h a t a l i b r e t t o must d i s p l a y d rama-t i c v e r a c i t y w h i l e s u p p l y i n g a v a r i e t y o f p o s s i b i l i t i e s f o r m u s i c a l d e v e l o p m e n t . F a l s t a f f t o u c h e . . . p r e s a l a comed ie de S h a k e s p e a r e , b i e n que l ' a u t e u r du l i v r e t a i t l a i s s e de c o t e que l que s pe r sonnage s s e c o n d a i r e s , q u e l q u e s s cenes e p i s o d i q u e s don t 1 ' a b s e n c e , ne p o r t a n t aucun p r e j u d i c e a l a marche de T a c t i o n , l ' a l l e g e a n t , au c o n t r a i r e , dans ce q u ' e l l e peut a v o i r d ' u n peu s u b s t a n t i a l , d ' u n peu l o u r d , n ' e s t pas au t rement r e g r e t t a b l e . D i f f e r e n t s emprunt s ont e t e f a i t s a l a t r a g e d i e de H e n r i IV , . . . e t , s i M. BoTto a p r i s de temps en temps l a l i b e r t e de s u b s t i t u e r t e l 149 pe r sonnage a t e l a u t r e , i l l ' a f a i t a s se z d i s c r e t e m e n t pour que l a v r a i s e m b l a n c e n ' a i t r i e n a y p e r d r e . 8 * * * V o u l a n t f a i r e de R i e n z i l e he ro s d ' u n drame l y r i q u e , l e p o e t e - m u s i c i e n ne p o u v a i t guere r e s t e r f i d e l e a l a v e r i t e de l ' h i s t o i r e ; ma i s p e u t - e t r e a u r a i t - i l du s ' a p e r c e v o i r du d e f a u t d ' i n t e r e t q u ' i l e s t s i a i s e de remarque r dans l e roman a n g l a i s . . . e t y s u p p l e e r pa r q u e l q u e s e f f o r t s d ' i m a g i n a t i o n . De c e t t e f a g o n , nous e u s s i o n s eu b i e n c e r t a i n e m e n t un m e i l l e u r l i v r e t , . . . p l u s i n t e l l i g i b l e et p l u s v a r i e . 9 The M u s i c a l R e a l i z a t i o n o f t h e L i b r e t t o As was i n d i c a t e d i n C h a p t e r I I I , R e y e r ' s a e s t h e t i c demands t h a t t h e m u s i c a l s c o r e o f a work based on a s e c u l a r t e x t f a i t h f u l l y d r a m a t i z e t h e e m o t i o n s and s i t u a t i o n s p r o v i d e d by t h e t e x t . T h e r e f o r e , when a n a l y z i n g t h e s c o r e o f an o p e r a , he c o n c e n t r a t e s on two i s s u e s : does t h e e f f e c t o f t h e mus i c r e i n f o r c e t h e i d e a s o f t h e t e x t ; and w i t h what s p e c i f i c m u s i c a l e l e m e n t s has t h e composer c r e a t e d t h i s e f f e c t ? When d e s c r i b i n g t h e m u s i c a l e l e m e n t s w i t h wh i ch t h e composer has r e i n f o r c e d t h e d r a m a t i c i d e a s o f t h e l i b r e t t o , Reyer d e v o t e s c o n s i d e r -a b l e a t t e n t i o n t o t h e s u b j e c t o f i n s t r u m e n t a t i o n . He w h o l e h e a r t e d l y champions a c o n c e p t p i o n e e r e d by h i s r e v e r e d f r i e n d B e r l i o z - - " t h e c o n -c e p t t h a t i n s t r u m e n t a t i o n was an a r t t h a t o f f e r e d a new d i m e n s i o n t o t h e shape o f o p e r a t i c d r a m a . F o r e x a m p l e , i n t he f o l l o w i n g e x c e r p t f r o m h i s r e v i e w o f M a s s e n e t ' s Manon, Reyer a p p l a u d s t h e composer f o r mak ing t h e o r c h e s t r a an exponent o f t h e d r a m a t i c a c t i o n , i n s t e a d o f u s i n g i t m e r e l y t o p r o v i d e an accompaniment f o r t h e v o i c e s . As i f t o emphas i ze h i s c o n v i c t i o n t h a t t h e r e s t r i c t i n g o f t he o r c h e s t r a t o an a c c o m p a n i -menta l f u n c t i o n i s an a n t i q u a t e d t r a d i t i o n , Reyer a d d r e s s e s some o f h i s 150 r emark s t o t h e o l d e s t c h a r a c t e r i n t h e o p e r a . L ' i n s t r u m e n t a t i o n de M. Massenet e s t p l e i n e de c a r e s s e s , de c o q u e t t e r i e s e t de s e d u c t i o n s : e l l e vous e n v e l o p p e , vous f a s c i n e , vous s e d u i t . C ' e s t un o r c h e s t r e i r r e s i s -t i b l e que l e s i e n . Ah! mon bon m o n s i e u r des G r i e u x ( c ' e s t au pe re que j e m ' a d r e s s e ) , vous pouvez b i e n c h a n t e r ce que vous v o u d r e z et comme vous v o u d r e z : c ' e s t ce d e s s i n de v i o l o n c e l l e s , c ' e s t ce c o n t r e - s u j e t de c l a r i n e t t e s que j ' e c o u t e e t qu i en d i t p l u s a mon ame e t a mes o r e i l l e s que t o u t e v o t r e c h a n s o n . Vous m ' o b j e c t e r e z [ , ] en vous appuyant s u r des t h e o r i e s s u r a n -n e e s , s u r des t r a d i t i o n s d e j a f o r t a n c i e n n e s , que c e l a ne d o i t p o i n t se p a s s e r a i n s i dans une oeuv re d rama-t i q u e , que l a c l a r i n e t t e ou l e v i o l o n c e l l e ont l e u r r o l e dans 1 ' o r c h e s t r e e t q u ' i l s n ' o n t que f a i r e de se s ub -s t i t u e r au c h a n t e u r . Mais j e s u i s d ' u n a v i s t o u t d i f -f e r e n t , e t i l ne me d e p l a T t pas a 1 ' o c c a s i o n de v o i r l a c l a r i n e t t e , l e v i o l o n c e l l e ou l e c o r , i n s t r u m e n s au t i m b r e p o e t i q u e , m y s t e r i e u x e t t e n d r e , p r e n d r e l a p l a c e d ' u n c h a n t e u r . . . [ E t ] j e v o u d r a i s que l e p u b l i c s ' h a b i t u a t a t e n i r un peu p l u s compte de 1 ' i m p o r t a n c e que d o i v e n t a v o i r , meme au t h e a t r e , l e s i n s t r u m e n s de 1 ' o r c h e s t r e e t a ne pas t r a i t e r deda i gneusement de s y m p h o n i s t e s a c o u r t de m e l o d i e s l e s m u s i c i e n s qu i l e u r donnent q u e l q u e f o i s (pas t o u j o u r s , c e l a va sans d i r e ) un r o l e p r e p o n d e r a n t . ! ! F r e q u e n t l y , Reyer c i t e s i n s t r u m e n t a t i o n as a c c o u n t i n g f o r t h e i m -p a c t o f a s p e c i f i c s egment ( s ) o f an o p e r a . He may f e e l , f o r e x a m p l e , t h a t an o r c h e s t r a l accompaniment o f f e r s i n s i g h t i n t o a c h a r a c t e r by c o n -v e y i n g i d e a s o r emot i on s t h a t a re not e x p r e s s e d i n w o r d s ; such i s t h e c a s e i n t h e famous d r i n k i n g - s o n g i n A c t I o f Pe r F r e i s c h u t z , i n wh i ch he f i n d s t h a t t h e s h r i l l n o te s o f t h e p i c c o l o sugge s t " l e c a r a c t e r e d i a b o -l i q u e " 1 2 o f C a s p a r . O r , Reyer may be s t r u c k by t h e e f f e c t i v e n e s s w i t h wh ich an i n s t r u m e n t c r e a t e s an a p p r o p r i a t e mood. T h i s i s i l l u s t r a t e d by t h e f o l l o w i n g pa s sages f rom h i s r e v i e w s o f Gounod ' s Le Medec in m a l g r e l u i and Wagne r ' s P e r f l i e g e n d e H o l l a n d e r . In t he f i r s t e x c e r p t , Reyer n o t e s t h a t t h e f l u t e and t h e bas soon c o n t r i b u t e i n t u r n t o t he i r r e s i s -t i b l e humor o f two i n c i d e n t s i n M o l i e r e ' s s a t i r i c a l p l a y ; i n t h e second 151 p a s s a g e , he p r a i s e s t h e d r a m a t i c e f f e c t o f t he s o l o f o r k e t t l e d r u m s wh i ch accompan ie s t h e e n t r y o f t h e Dutchman i n A c t I I . J ' e n t e n d s l a f l u t e e x e c u t e r une gamme c h r o m a t i q u e i s o l e e [ s i c ] e t l e c y n i q u e d o c t e u r e x p l i q u e ce q u ' i l f a i s a i t dans l a c o u r de G e r o n t e ; p u i s c ' e s t l e t o u r du b a s s o n , dont l e s n o t e s p l a i n t i v e s e t s a c cadee s accom-pagnent l a pantomime de S g a n a r e l l e , a 1 ' e n t r e e de 1 ' a p o t h i c a i r e Je ne s a i s s i l e s dames qu i ont l e s p l u s r i e t a i e n t p r e c i s e m e n t e e l l e s qu i p o u v a i e n t c a c h e r l e u r h i l a r i t e d e r r i e r e un moucho i r e t un e v e n t a i l . ^ 3 * * * Ce s o l o de t i m b a l e s , avec ses n o t e s r e p e r c u t e e s e t son t r e m o l o en s o u r d i n e , e s t un des e f f e t s l e s p l u s d rama-t i q u e s qu i s o i e n t au t h e a t r e . A c e t t e scene emouvante, a c e t t e a p p a r i t i o n v i v a n t e de l 'homme au sombre r e g a r d . . . i l ne f a l 1 a i t pas d ' a u t r e echo dans 1 ' o r c h e s t r e ; l e s a c c o r d s l e s p l u s f a n t a s t i q u e s n ' y e u s s e n t pas p r o -d u i t l ' e f f e t de ces q u e l q u e s n o t e s de t i m b a l e s . ^ Harmony, t o o , r e c e i v e s R e y e r ' s a t t e n t i o n when he i s c i t i n g t he e l e -ments t h a t he f e e l s a r e r e s p o n s i b l e f o r t h e impac t o f t h e m u s i c . He o c c a s i o n a l l y i s o l a t e s harmony as t h e dominant cau se f o r the c r e a t i o n o f a s p e c i f i c m u s i c a l e x p r e s s i o n , as i n h i s d e s c r i p t i o n o f t h e h e r o ' s " t o u -c h a n t e p r i e r e " i n A c t V o f R i e n z i : " . . . i l f a u t l a l o u e r comme une des p l u s b e l l e s i n s p i r a t i o n s de Wagner . . . d e p u i s l e p r e m i e r a c co rd de l ' o r c h e s t r e j u s q u ' a c e t t e p e d a l e de s i bemol s u r l a q u e l l e pa s s en t de s i p e n e t r a n t e s h a r m o n i e s . " 1 5 Reyer o f t e n r e f e r s t o harmony and o r c h e s t r a t i o n i n v i r t u a l l y t h e same b r e a t h , as i f t o s u gge s t t h a t t h e two go h a n d - i n - h a n d i n p r o d u c i n g t h e e f f e c t o f t h e m u s i c . For e xamp le , i n t he f o l l o w i n g e x c e r p t he i n d i c a t e s t h a t t h e c o m b i n a t i o n o f r i c h ha rmon ie s and l u x u r i a n t o r c h e s -t r a t i o n i s o f p r i m a r y i m p o r t a n c e i n g e n e r a t i n g t he e m o t i o n a l i n t e n s i t y o f T r i s t a n und I s o l d e : 152 Ce t r a v a i l i n s t r u m e n t a l , p o u r t a n t s i c o m p l i q u e , e s t d ' u n e beau te r e e l l e . N ' y c h e r c h e z p o i n t l e s p i q u a n t e s s o n o r i t e s , l e s i n g e n i e u s e s o p p o s i t i o n s de t i m b r e s que vous a i m e r i e z p e u t - e t r e a y r e n c o n t r e r et a u x q u e l l e s d ' a u t r e s o e u v r e s [ , ] qu i c e r t a i n e m e n t ne v a l e n t pas c e l l e - l a e t ne sont pas congues dans l e meme e s p r i t [ , ] vous ont h a b i t u e s . Ce sont des f l o t s d ' h a r m o n i e qu i vous e n v e l o p p e n t avec des i n t e n s i t e s d i v e r s e s . 1 6 When e x p l a i n i n g and a n a l y z i n g t h e r e a s o n s f o r t h e impac t o f a p a r t i c u l a r segment o f an o p e r a , Reyer does not n e c e s s a r i l y l i m i t h i s d i s c u s s i o n t o one o r two m u s i c a l e l e m e n t s . I f , i n h i s o p i n i o n , a com-b i n a t i o n o f s e v e r a l e l e m e n t s i s i n v o l v e d , he i d e n t i f i e s each o f them. T h i s p r o c e d u r e i s d e m o n s t r a t e d by a pa s sage f rom h i s r e v i e w o f B e r l i o z ' s La P r i s e de T r o i e : Pendant 1 ' a p p a r i t i o n d ' H e c t o r au t r o i s i e m e a c t e , l e s sombres a c c o r d s des c o n t r e b a s s e s et des v i o l o n -c e l l e s d i v i s e s , l e s no te s bouchees du c o r e t l a p r o g r e s -s i o n d e s c e n d a n t s de l a v o i x par i n t e r v a l l e s c h r o m a t i q u e s donnent a c e t t e scene un c a r a c t e r e f a n t a s t i q u e d ' u n e e f f r a y a n t e r e a l i t e . II e s t i m p o s s i b l e , par des moyens a u s s i s i m p l e s , d ' a r r i v e r a un a u s s i g rand e f f e t . 1 7 Fo r R e y e r , t h e n , t h e impact o f t h i s moment i n t h e s c o r e i s due t o t h e s u c c e s s f u l m u s i c a l e x p r e s s i o n o f t h e d r a m a t i c i n t e n t o f t he t e x t : t h e e l e m e n t s o f harmony, o r c h e s t r a t i o n , and me lody a r e e f f e c t i v e l y combined t o convey a f e e l i n g o f s u p e r n a t u r a l h o r r o r . W h i l e Reyer p r a i s e s t h e use o f m u s i c a l e l e m e n t s when he r e g a r d s them as b e i n g a p p r o p r i a t e t o t h e i m p l i c a t i o n s o f t h e t e x t , he c r i t i c i z e s what he f e e l s i s i n a p p r o p r i a t e i n t h i s r e s p e c t . H i s s e n s i t i v i t y t o t h o s e s i t u a t i o n s i n wh i ch a m u s i c a l e f f e c t i s at odds w i t h d r a m a t i c r e -a l i t y i s i l l u s t r a t e d by h i s o b j e c t i o n t o one p a r t i c u l a r i m i t a t i v e d e v i c e i n an o p e r a comique by S a i n t - S a e n s . 153 L ' i n s t r u m e n t a t i o n de l a P r i n c e s s e j a u n e e s t r e m p l i e . . . d ' e f f e t s i m i t a t i f s on ne peut mieux r e u s s i s . C e -pendant j e v a i s p r e n d r e l a l i b e r t e de f a i r e une r e s e r v e . Quand K o r n e l i s v i d e l a coupe au f ond de l a q u e l l e i l va t r o u v e r V o u b l i de l a r e a l i t e e t l e commencement du r e v e , p o u r q u o i l ' o r c h e s t r e f a i t - i l e n t e n d r e une gamme c h r o m a t i q u e a s c e n d a n t e , p u i s q u ' i l e s t i n c o n t e s t a b l e q u ' u n e b o i s s o n descend a mesure q u ' o n l ' a v a l e ? Je t r o u v e b i e n p l u s c a r a c t e r i s t i q u e et d ' u n e r e a l i t e b i e n au t rement s a i s i s s a n t e , l e t r a i t de f l u t e que M, Gounod a p l a c e au t r o i s i e m e a c t e du Medec in m a l g r e l u i . 1 8 Reyer h o l d s t h e s i n g e r s t h e m s e l v e s r e s p o n s i b l e f o r many a c o n t r a -d i c t i o n between t h e m u s i c a l s e t t i n g and t h e d r a m a t i c i n t e n t o f t h e t e x t . For e x a m p l e , a f t e r r e m a r k i n g t h a t he f i n d s t h o r o u g h l y i n c o n g r u o u s t h e p r e s e n c e o f a l o n g and v i r t u o s i c a r i a i n Pau l L a come ' s o p e r a b o u f f e La Dot mal p l a c e e , Reyer adds t h a t t h i s a r i a must have been w r i t t e n o n l y t o d i s p l a y t h e v o c a l c a p a b i l i t i e s o f t h e s o p r a n o . He s e i z e s t h i s o p p o r -t u n i t y t o e x p r e s s h i s r e g r e t t h a t i n f l u e n t i a l s i n g e r s a re a b l e t o impose t h e i r w i l l on c o m p o s e r s . l y Reyer r e p e a t e d l y o b j e c t s t o t h e p r a c t i c e o f t a i l o r i n g o p e r a t i c r o l e s t o t h e demands o f s i n g e r s because he b e l i e v e s t h a t t h e s e demands a r e a lmos t i n v a r i a b l y m o t i v a t e d not by c o n c e r n f o r d r a m a t i c i n t e g r i t y , bu t r a t h e r by un mouvement d ' a m o u r - p r o p r e ou de s o t t e v a n i t e , par l e d e s i r d ' a g r a n d i r son r o l e . . . [ ou ] de m e t t r e un peu p l u s en r e l i e f sa v i r t u o s i t e . . . . Le p u b l i c s e r a i t b i e n e t onne s i on l u i c i t a i t , p r i s dans l e s ouv r age s qu i ont eu l e p l u s de s u c c e s , t ou s l e s mo rceaux , f o r t m e d i o c r e s pour l a p l u p a r t , que l e s c o m p o s i t e u r s ont e c r i t s dans l e s e u l but de c o m p l a i r e a des i n t e r p r e t e s . . . I c i c ' e s t une v a l s e ou un a i r a r o u l a d e s , l a c ' e s t une c a v a t i n e ou une romance o rnee de t o u t e s s o r t e s de f i o r i t u r e s , de p o i n t s d ' o r g u e e t a u t r e s agremens, s e l o n moi extremement d e s a g r e a b l e s . 2 0 C l e a r l y , t h e i d e a t h a t t h e m u s i c a l s e t t i n g o f t h e l i b r e t t o s h o u l d s e r v e as a means f o r f l a t t e r i n g a s i n g e r c o n t r a d i c t s t h e c a r d i n a l p r i n c i p l e o f 154 R e y e r ' s a e s t h e t i c , wh i ch demands t h a t t h e e f f e c t o f t h e mus ic be c o n s i s -t e n t w i t h t h e i d e a s o f t h e t e x t . The V o c a l i s t Reyer does not o f f e r i n a s i n g l e a r t i c l e o r f e u i 1 l e t o n a d e t a i l e d p r e s e n t a t i o n o f what he r e q u i r e s o f an o p e r a t i c v o c a l i s t . However, h i s numerous and e x t e n s i v e e v a l u a t i o n s o f i n d i v i d u a l p e r f o r m e r s and c o n t e m -p o r a r y v o c a l p r a c t i c e p r o v i d e d e f i n i t e i n d i c a t i o n s o f what he e x p e c t s o f t h e s i n g e r i n o p e r a . Reyer o f t e n remark s t h a t , i n h i s o p i n i o n , e f f e c t i v e v o c a l c h a r a c -t e r i z a t i o n does not r e q u i r e a v o i c e t h a t i s " b e a u t i f u l " ; he r e c o g n i z e s f a c t o r s o t h e r t h a n t h e v o i c e as b e i n g o f i m p o r t a n c e i n t h e making o f an o p e r a t i c v o c a l i s t . T h i s p o s i t i o n i s e x p r e s s e d i n , f o r e xamp le , h i s w r i t i n g s about t h e d r a m a t i c sop rano G a b r i e l l e K r a u s s . 2 ! When he hea r s he r i n 1 8 7 5 - - a t t h e h e i g h t o f her b r i l l i a n t c a r e e r — he f i n d s her s i n g i n g p r o f o u n d l y e x p r e s s i v e a l t h o u g h her v o i c e , l i k e t h a t o f t h e g r e a t mezzo -sop rano P a u l i n e V i a r d o t - G a r c i a , " n ' e s t pas p r e c i s e m e n t ce q u ' o n e s t c o n -venu d ' a p p e l e r une b e l l e v o i x . " 2 2 Twe lve y e a r s l a t e r , a f t e r a t t e n d i n g one o f he r l a s t p e r f o r m a n c e s , he w r i t e s : . . . j e ne m ' i n q u i e t e guere de s a v o i r s ' i l s ' e s t p r o -d u i t au c o u r s de ces d e r n i e r e s annees q u e l q u e a l t e r a t i o n dans 1 ' o r g ane de M i l e K r a u s s . Je 1 ' e c o u t e avec r a v i s s e -ment au c o n c e r t comme au t h e a t r e , p a r c e q u ' e l l e a l e f e u s a c r e , p a r c e q u ' e l l e m 'emeut , p a r c e q u ' e l l e e s t une a d m i r a b l e m u s i c i e n n e , p a r c e que son t a l e n t e s t p r e sque du g e n i e . 2 3 To R e y e r , t h e n , an i m p e r f e c t v o i c e u t i l i z e d w i t h m u s i c i a n s h i p i s more mov ing t h a n a v o i c e t h a t i s m e r e l y a b e a u t i f u l o r a s t u n n i n g l y a g i l e i n s t r u m e n t . He l ong s f o r t he day when t h e F rench p u b l i c w i l l 155 c e a s e i d o l i z i n g s i n g e r s whose o n l y c l a i m t o n o t o r i e t y i s t h e i r v i r t u o -s i t y o r some phenomenal v o c a l c h a r a c t e r i s t i c , and w i l l i n s t e a d p r i z e v o c a l i s t s who a r e d i s t i n g u i s h e d by bo th m u s i c i a n s h i p and a c t i n g a b i l i t y . A l o r s s eu l ement on p o u r r a donner au t h e a t r e des i n t e r -p r e t e s v r a i m e n t d i g n e s des b e l l e s o e u v r e s , des c h e f s -d ' o e u v r e qu i y s e r o n t r e p r e s e n t e d , ce qu i e s t abso lument i m p o s s i b l e en y emp loyan t des c h a n t e u r s don t l e s e u l m e r i t e e s t de p r o d u i r e par s o i r e e une c e r t a i n e q u a l i t e e t une c e r t a i n e i n t e n s i t e de s on s , avec des q e s t e s b i z a r r e s e t r i d i c u l e s p a r - d e s s u s l e m a r c h e . 2 4 The f o l l o w i n g p a r a g r a p h s d e m o n s t r a t e t h a t each o f t he q u a l i t i e s Reyer r e q u i r e s f r o m t h e o p e r a t i c v o c a l i s t as m u s i c i a n stems f rom h i s v i e w o f t h e i m p o r t a n c e o f t h e drama. In h i s o p i n i o n , a good m u s i c i a n i s one who p o s s e s s e s t h e s e n s i t i v i t y t o v a r y h i s o r her v o c a l c h a r a c t e r i z a -t i o n i n a c c o r d a n c e w i t h t he d r a m a t i c i d e a s o f t h e t e x t ; r e s p e c t s t he l o g i c o f t h e drama by r e f r a i n i n g f r om t a k i n g m u s i c a l l i b e r t i e s f o r wh i ch t h e r e i s no d r a m a t i c m o t i v a t i o n ; and e n u n c i a t e s c l e a r l y , so t h a t t he t e x t can be u n d e r s t o o d by t h e a u d i e n c e . R e y e r ' s c o n v i c t i o n t h a t t h e drama i s t h e e s s ence o f an o p e r a m o t i -v a t e s him t o r e g a r d s e n s i t i v i t y t o t h e d r a m a t i c i d e a s o f t he t e x t as b e i n g a f undamen ta l c h a r a c t e r i s t i c o f good m u s i c i a n s h i p . T h i s b e l i e f i s i m p l i c i t i n h i s p r a i s e o f one v o c a l i s t ' s i n t e r p r e t a t i o n s o f two v e r y d i f f e r e n t r o l e s : t h e V i r g i n Mary i n B e r l i o z ' s o r a t o r i o L ' E n f a n c e du C h r i s t , and M a r g u e r i t e i n Gounod ' s o p e r a F a u s t : C ' e s t une m u s i c i e n n e q u i c h a n t e , une m u s i c i e n n e qu i com-prend ce q u ' e l l e c h a n t e e t qu i y met t o u t e sa p a s s i o n , t o u t e son ame. E l 1e a c o m p r i s l e r o l e de l a V i e r g e M a r i e comme e l l e a v a i t c o m p r i s c e l u i de M a r g u e r i t e , avec 1 ' i n t e l 1 i g e n c e d ' u n e v e r i t a b l e a r t i s t e . 2 ^ In a r e v i e w o f a r e v i v a l o f Pe r F r e i s c h u ' t z Reyer i n s i s t s t h a t an o p e r a t i c v o c a l i s t must i n t e r p r e t no t o n l y e v e r y r o l e , but a l s o e v e r y 156 s i t u a t i o n w i t h i n a s i n g l e r o l e , a c c o r d i n g t o t he d r a m a t i c i m p l i c a t i o n s o f t h e t e x t . E s t - c e que l ' a i r d ' A g a t h e , par e xemp l e , d o i t e t r e c h a n t e comme l ' a i r de L e o n o r e , au deux ieme a c t e , comme c e l u i de dona Anna ou c e l u i d ' A r m i d e : Venez , v e n e z , h a i n e i m - p l a c a b l e ! N ' y a - t - i l pas des deg re s dans l a p a s s i o n comme dans t ou s l e s s en t imen s humains? Aga the e s t une j e u n e p a y s a n n e ; e l l e a t t e n d son f i a n c e e t e l l e p r i e . Des pas se f o n t e n t e n d r e : C ' e s t l u i ! c ' e s t l u i ! E l l e c o u r t a l a f e n e t r e , a g i t e son m o u c h o i r : De i n Maedchen wacht noch i n de r n a c h t Ton amante v e i l l e e n c o r e au m i l i e u de l a n u i t Sans dou te i l e s t v a i n q u e u r ! o douce e s p e r a n c e ! Et de son c oeu r s ' e l a n c e un c r i de j o i e , de r e c o n n a i s -sance e t d ' a m o u r . Ma i s e s t - c e l a de l a p a s s i o n d rama-t i q u e ? e s t - c e de l a t r a g e d i e ou du drame i n t i m e ? 2 ^ And Reyer c o n t i n u e s , c ompa r i n g t h e p e r f o r m a n c e o f M i l e H i s s o n as Aga the w i t h t h a t o f G a b r i e l l e K r a u s s , who had sung bo th t h i s r o l e and t h a t o f L e o n o r a i n F i d e l i o . Reyer a t t r i b u t e s t h e s u c c e s s o f Mme K r a u s s t o her a b i l i t y t o i m p a r t t o each r o l e t h e v a r i e t y o f e x p r e s s i o n wh i ch s u i t s t h e e v e n t s and emot i on s o f t h e t e x t . He s u p p o r t s h i s v i e w by compa r i n g her i n t e r p r e t a t i o n s o f t h e p r i n c i p a l a r i a s o f Agathe and L e o n o r a : S i c e t a i r d ' A g a t h e n ' e s t pas sans a n a l o g i e avec c e l u i de F i d e l i o , q u e l l e d i f f e r e n c e dans 1 ' e x p r e s s i o n ! Mme K r a u s s , q u i l e s a c h a n t e s t o u s l e s deux c e t h i v e r , d o n n a i t a chacun l e s t y l e , l e c a r a c t e r e , 1 ' e x p r e s s i o n qu i l u i c o n v i e n n e n t , e t v o i l a p o u r q u o i e l l e y a un t r e s g r and s u c c e s , un d o u b l e s u c ce s de c a n t a t r i c e e t de t r a -g e d i e n n e l y r i q u e . M i l e H i s s o n , au c o n t r a i r e , c h a n t e c e t a i r d ' A g a t h e comme e l l e c h a n t e l e duo du q u a t r i e m e a c t e des Hugueno t s , l e t r i o du c i n q u i e m e a c t e de F a u s t ou l a fameuse c a v a t i n e du T r o u v e r e , avec l a meme s o l e n n i t e , l a meme e x a g e r a t i o n , l e s memes emportemens e t l e s memes d e -f a i l l a n c e s . 2 7 Thus , Reyer b e l i e v e s t h a t a v o c a l i s t must bes tow upon t h e mus ic an e x -p r e s s i o n wh i ch s u i t s t h e d r a m a t i c s i t u a t i o n , i n o r d e r t o be s u c c e s s f u l 157 as bo th a m u s i c i a n and an a c t o r . The g r e a t i m p o r t a n c e Reyer a t t r i b u t e s t o t h e d r a m a t i c e l e m e n t s o f t h e o p e r a t i c e x p e r i e n c e a l s o a c c o u n t s f o r h i s c o n v i c t i o n t h a t a good m u s i c i a n shows r e s p e c t f o r d r a m a t i c l o g i c by p e r f o r m i n g t h e mus ic as w r i t t e n . To bo r row R e y e r ' s e x p r e s s i v e m e t a p h o r , " l e s c u r e s s on t f a i t s pour d i r e l a messe, e t l e s s a c r i s t a i n s pour l a s e r v i r " 2 8 ; j u s t as p r i e s t s say t h e Mass and s a c r i s t a n s s e r v e i t , so t he w i l l o f t h e com-po se r s h o u l d be s e r v e d by t h e s i n g e r s . They a r e bound by t he s c o r e , j u s t as t he composer i s bound by t h e l i b r e t t o . ^ 9 Reyer bases h i s e v a l u -a t i o n o f t h e p e r f o r m a n c e o f M. Lauwers on t h i s b e l i e f , w h i l e d e p l o r i n g t h e f a c t t h a t few v o c a l i s t s f a i t h f u l l y p e r f o r m t h e i r r o l e s : . . . comme M. Lauwers e s t un e x c e l l e n t m u s i c i e n , i l n ' a i n t r o d u i t dans son r o l e n i r a l l e n t a n d o , n i changement d ' a u c u n e s o r t e , ce qu i e s t p o u r t a n t un p r i v i l e g e dont l e s c h a n t e u r s t a n t s o i t peu renommes e t meme ceux qu i ne l e s on t pas du t o u t o n t , a t o u t e s l e s epoque s , l a r g e m e n t u s e . 30 O p e r a t i c v o c a l i s t s who tamper w i t h a s c o r e a re c e n s u r e d by R e y e r , becau se he f e e l s t h a t c h a n g e s — w h e t h e r t r a d i t i o n a l o r e x t e m p o r i z e d — a r e a lmo s t i n v a r i a b l y m o t i v a t e d s o l e l y by v a n i t y , and t h e r e f o r e r a r e l y c o i n -c i d e w i t h t h e i n t e r e s t s o f d r a m a t i c l o g i c . 3 1 Such changes " d e n a t u r e n t l e c a r a c t e r e de l a ph r a s e c o m p l e t e m e n t , " and hence a re a n t i t h e t i c a l t o " 1 ' e x p r e s s i o n d ' u n v e r i t a b l e s e n t i m e n t d r a m a t i q u e . " 3 2 f o r R e y e r , t r u e d r a m a t i c e x p r e s s i v e n e s s does not c o n s i s t o f empty v i r t u o s i t y , or t h e p e r i o d i c p r o d u c t i o n o f an e x t r a o r d i n a r y no te o r v o c a l e f f e c t , o r any o t h e r l i b e r t y t a k e n w i t h o u t r e f e r e n c e t o t h e d r a m a t i c and m u s i c a l c o n s e -q u e n c e s . 33 He t h e r e f o r e wonders why t he F r e n c h p u b l i c i d o l i z e s s i n g e r s who t h u s abuse a r t i s t i c l i c e n c e , i n s t e a d o f a c c l a i m i n g t h e v o c a l i s t who 158 i s f a i t h f u l t o t he s c o r e . Les p o i n t d ' o r g u e , l e s o p p o s i t i o n s de nuances t r o p b r u s q u e s , t r o p f r e q u e n t e s , l e s r a l l e n t a n d o , l e s n e g l i -gences r y t h m i q u e s e t a u t r e s l i c e n c e s s on t l a mort du c h a n t . Qu ' on ne v i e n n e pas me c i t e r l ' e x e m p l e de g rands c h a n t e u r s q u i en p r e n n e n t a l e u r a i s e au p o i n t de d e -f i g u r e r l e t e x t e a f o r c e de l ' a l t e r e r e t n ' e n sont pas moins a p p l a u d i s . Ce n ' e s t pas moi qu i l e u r a i s i g n e l e u r b r e v e t . Et p u i s e s t - i 1 b i e n v r a i que l e p u b l i c s o i t s e d u i t , au p o i n t de l e s e n c o u r a g e r , par t o u t e s ce s i n f r a c t i o n s aux r e g i e s immuables e t au bon gout ? E s t - i l b i e n v r a i que pour l u i l a v e r i t a b l e e x p r e s s i o n ne c o n -s i s t e que dans T a b u s de t e l s a r t i f i c e s ? On peut en d o u t e r quand on l e v o i t a c c l a m e r , e t d e c r e t e r d ' o r d r e t o u t a f a i t s u p e r i e u r , une a r t i s t e r e s p e c t u e u s e de l a pensee du c o m p o s i t e u r e t u n i s s a n t l e cha rme, 1 ' e l e g a n c e de l a d i c t i o n a l a s i m p l i c i t e , a l a p u r e t e du s t y l e . 3 4 The c o n c l u d i n g s t a t e m e n t o f t h i s e x c e r p t shows t h a t Reyer r e g a r d s c l e a r d i c t i o n as a no t he r c h a r a c t e r i s t i c o f good m u s i c i a n s h i p . We o b -s e r v e d i n C h a p t e r I I I t h a t h i s a e s t h e t i c m o t i v a t e s him t o demand t h a t a t e x t be s e t i n such a way as t o be e a s i l y u n d e r s t a n d a b l e t o t he l i s t e n -e r s . However, he r e c o g n i z e s t h a t t h e i r c omprehen s i on o f t he t e x t d e -pends on t he p e r f o r m e r , and he t h e r e f o r e p r a i s e s v o c a l i s t s who e n u n c i a t e c l e a r l y . One such a r t i s t was t h e famous d r a m a t i c bass F r a n c i s q u e De lmas, who c r e a t e d t he r o l e o f Wotan i n t he P a r i s i a n p r e m i e r e o f D i e W a l k u r e : "Que l s upe rbe Wotan que M. Delmas! La r i c h e s s e de son o rgane e t l a n e t t e t e de sa d i c t i o n , sa haute s t a t u r e e t sa bonne mine donnent a ses r e c i t s e t a ses a t t i t u d e s une g rande n o b l e s s e e t une i n c o n t e s t a b l e a u t o r i t e . " 3 5 As t h e p r e c e d i n g p a r a g r a p h s have i n d i c a t e d , R e y e r ' s c o n c e p t o f good m u s i c i a n s h i p i s founded upon h i s b e l i e f t h a t t he drama i s t he e s s e n c e o f t h e o p e r a t i c e x p e r i e n c e . The i m p o r t a n c e o f t h e drama i n h i s a e s t h e t i c a l s o e x p l a i n s h i s c o n v i c t i o n t h a t , i n o r d e r t o i n t e r p r e t a r o l e 159 e f f e c t i v e l y , an o p e r a t i c v o c a l i s t must be " a l a f o i s un c h a n t e u r v a i l -l a n t e t un h a b i l e co rned i en . " 36 H i s c o n c e r n t h a t t h e o p e r a t i c v o c a l i s t d i s p l a y a c t i n g a b i l i t y p rompts R e y e r , on o c c a s i o n , t o o f f e r a d e t a i l e d e x a m i n a t i o n o f p u r e l y d r a m a t i c c o n s i d e r a t i o n s : he a n a l y z e s t h e pe r f o rmance as i f he were a drama c r i t i c e v a l u a t i n g an a c t o r . Such s c r u t i n y o f t h e d r a m a t i c i n t e r -p r e t a t i o n o f a r o l e i s e x e m p l i f i e d by a pas sage f r om h i s r e v i e w o f t h e P a r i s i a n p r e m i e r e o f V e r d i ' s F a ! s t a f f . H e r e , Reyer draws a t t e n t i o n t o t h e d r a m a t i c t a l e n t d i s p l a y e d by t h e c o n t r a l t o M a r i e D e l n a , e s p e c i a l l y i n t h e f i r s t s cene o f A c t I I . H i s comments on M i l e De l na would be r e a d -i l y a p p l i c a b l e t o a spoken drama. Ah! que v o i c i une j o l i e s cene et d e l i c i e u s e m e n t j o u e e par M i l e D e l n a (Mrs Q u i c k l y ) ! R e v e r e n c e ! quand e l l e e n t r e ; r e v e r e n c e ! quand e l l e s o r t ; l ' i n f l e x i o n t r o u b l a n t e de l a v o i x , 1 ' o b s e q u i e u s e , l ' i r o n i q u e hum i -l i t e du g e s t e , t o u t y e s t . C ' e s t une b i e n cha rmante et b i e n i n t e l l i g e n t e comedienne que M i l e D e l n a . J ' a i m e a u t a n t l e d i r e t o u t de s u i t e : e l l e a adm i r ab l ement c o m p r i s son r o l e , et s i b i e n q u ' e l l e T a mis au p r e m i e r p l a n . 3 7 S i n c e Reyer b e l i e v e s t h a t t h e s u c c e s s o r f a i l u r e o f an i n t e r p r e t a -t i o n depends upon t h e combined e f f e c t o f t h e s i n g i n g and t he a c t i n g , he u s u a l l y i n t e r t w i n e s h i s e v a l u a t i o n s o f t h e s e two a s p e c t s o f a p e r f o r -mance. He may f i n d t h a t c e r t a i n f e a t u r e s o f t he v o c a l c h a r a c t e r i z a t i o n and t h e d r a m a t i c i n t e r p r e t a t i o n were p a r t i c u l a r l y s t r i k i n g , as was t h e c a s e w i t h D e l m a s ' s p r e c i s e d i c t i o n and h i s n o b l e g e s t u r e s i n t he p e r -f o rmance o f D i e Wa lk l i r e men t i oned above. O r , Reyer may draw a t t e n t i o n t o a s p e c i f i c moment at wh i ch t h e p e r f o r m e r ' s s i n g i n g and a c t i n g were h i g h l y e f f e c t i v e . D u r i n g t h e w o r l d p r e m i e r e o f V e r d i ' s O t e l I o , such a moment o c c u r r e d when t h e famous b a r i t o n e who c r e a t e d t h e r o l e o f Iago 160 i n t e r p r e t e d t h i s c h a r a c t e r ' s d e s c r i p t i o n o f C a s s i o ' s d ream: M. V i c t o r Maure l s ' e s t e l e v e dans l e r e c i t de ce songe a une v e r i t e e t a une p u i s s a n c e d ' e x p r e s s i o n t o u t a f a i t emouvante s . II f a u t e t r e a l a f o i s un g rand c h a n t e u r e t un g rand comedien pour t r a d u i r e avec un t e l t a l e n t l a pensee du p o e t e e t du c o m p o s i t e u r . 3 8 On t h e o t h e r hand , Reyer may o f f e r o n l y a g e n e r a l i m p r e s s i o n o f an i n -t e r p r e t a t i o n , w i t h o u t r e f e r r i n g e i t h e r t o any p a r t i c u l a r a s p e c t o f t h e p e r f o r m a n c e or t o any s p e c i f i c p a r t o f t h e o p e r a . In a r e v i e w o f a r e -v i v a l o f M o z a r t ' s Nozze d i F i g a r o , f o r e x a m p l e , he e x p r e s s e s h i s n e g a -t i v e r e a c t i o n t o t h e i n t e r p r e t a t i o n o f t h e t i t l e r o l e by s t a t i n g s i m p l y t h a t bo th t he s i n g i n g and t h e a c t i n g l a c k e d a n i m a t i o n : " J e n ' a i pas beaucoup aime M. Fugere dans l e pe r sonnage de F i g a r o ou i l m 'a s e m b l e , t a n t comme c h a n t e u r que comme c o m e d i e n , manquer abso lument de r e l i e f . " 3 9 Reyer o c c a s i o n a l l y d e m o n s t r a t e s at l e n g t h how t h e p e r f o r m e r ' s s i n g -i n g and a c t i n g a c coun ted f o r t h e s u c c e s s o r f a i l u r e o f t h e i n t e r p r e t a -t i o n . One i l l u s t r a t i o n o f t h i s t e c h n i q u e i s h i s e v a l u a t i o n o f M i l e H i s s o n as V a l e n t i n e i n a r e v i v a l o f Les Huguenot s . Reyer a t t r i b u t e s he r l a c k o f s u c c e s s t o f l a w s i n bo th v o c a l c h a r a c t e r i z a t i o n and d r a m a t i c i n -t e r p r e t a t i o n : Son chan t e t son g e s t e sont emphat ique s et e x a g e r e s ; V a l e n t i n e n ' e s t p o i n t une p r i n c e s s e de me lod rame, n i l a r e i n e de S aba , n i l a r e i n e des Amazones; c ' e s t t o u t s imp lement une femme qu i t r a h i t " e t l ' h o n n e u r et son p e r e " pour un j o l i gargon q u ' e l l e a ime . M i l e H i s s o n i g n o r e l ' a r t de b i e n p h r a s e r et de d i r e avec s i m p l i c i t e ; e l l e a des e l a n s , de l a c h a l e u r , ma i s V i n e g a l i t e de son s t y l e d e t r u i t p r e sque t o u j o u r s 1 ' e f f e t q u ' e l l e c h e r c h e a p r o d u i r e et dont e l l e p a r a t t se p r e o c c u p e r e x c l u s i v e -m e n t . 4 0 By t h e same t o k e n , he may e x p l a i n how a c o m b i n a t i o n o f superb v o c a l c h a r a c t e r i z a t i o n and e f f e c t i v e a c t i n g cau sed t he s u c c e s s o f an 161 i n t e r p r e t a t i o n , as i n h i s d e s c r i p t i o n o f Rose Caron as E l i s a b e t h i n t he P a r i s i a n r e v i v a l o f Tannh 'auser : On ne p o u v a i t r e v e r pour l e r o l e d 1 E l i s a b e t h une a r t i s t e p l u s p a r f a i t e que Mme Rose C a r o n , aux a t t i t u d e s p l u s n o b l e s , aux i n f l e x i o n s de v o i x p l u s s u a v e s , au j e u d ' u n e e x p r e s s i o n a l a f o i s p l u s c h a s t e e t p l u s p a s s i o n n e e . E l l e a eu d ' a d m i r a b l e s e l a n s e t des murmures d ' u n e t e n d r e s s e , d ' u n e douceur e x q u i s e s . Avec ses l o n gue s t r e s s e s b l o n d e s e t sa t u n i q u e aux p i i s ha rmon ieux e l l e s e m b l a i t echappee de q u e l q u e t o i l e de Memmling [ s i c ] ou d ' A l b e r t D l i r e r . 4 ! R e s e r v i n g h i s most a r d e n t p r a i s e f o r t h e r a r e p e r f o r m e r who d i s p l a y s a h i g h c a l i b r e o f a c t i n g a b i l i t y as w e l l as d i s t i n g u i s h e d m u s i c i a n s h i p , Reyer a g a i n empha s i ze s t h e i m p o r t a n c e o f t h e drama i n t h e o p e r a t i c e x -p e r i e n c e . The I t a l i a n , German, and F r e n c h O p e r a t i c T r a d i t i o n s R e y e r ' s a e s t h e t i c d e t e r m i n e d no t o n l y h i s judgment s o f t h e l i b r e t -t o , t h e m u s i c a l s e t t i n g , and t h e o p e r a t i c v o c a l i s t , but a l s o h i s a t t i -t u d e s t owa rd t he t h r e e p r i n c i p a l European t r a d i t i o n s — t h e " t r o i s e c o l e s " 4 2 - - o f o p e r a t i c c o m p o s i t i o n : t h e I t a l i a n , German, and F r e n c h . He p r e f e r r e d t h e German and F r e n c h , e v i d e n t l y because he b e l i e v e d t h a t t h e I t a l i a n s c h o o l was c h a r a c t e r i z e d by two t r a d i t i o n s wh ich were a n t i -t h e t i c a l t o t h e f undamen ta l p r i n c i p l e s o f h i s a e s t h e t i c . One o f t h e two " t r a d i t i o n s i t a l i e n n e s " 4 ^ wh i ch Reyer f ound o b j e c -t i o n a b l e was t h e c o n c e p t i o n t h a t t h e s i n g e r had supremacy o ve r t he m u s i c . We o b s e r v e d e a r l i e r i n t h e c h a p t e r t h a t R e y e r ' s a e s t h e t i c m o t i -v a t e d him t o condemn two p r a c t i c e s w h i c h , i n f a c t , were m a n i f e s t a t i o n s o f t h i s t r a d i t i o n : t h e c o m p o s i t i o n a l p r a c t i c e o f w r i t i n g e l a b o r a t e l y o rnamented v o c a l mus i c s o l e l y t o d i s p l a y a s i n g e r ' s v i r t u o s i t y , and t he 162 v o c a l p r a c t i c e o f a l t e r i n g a s c o r e when t h e r e was no d r a m a t i c m o t i v a t i o n f o r so d o i n g . The o t h e r I t a l i a n t r a d i t i o n wh i ch Reyer d i s l i k e d was t h e cus tom o f making t h e a r i a s e r v e as t h e e s s e n t i a l v e h i c l e o f m u s i c a l e x -p r e s s i o n . 4 4 In a c c o r d a n c e w i t h t h i s t r a d i t i o n , r e c i t a t i v e was o f r e l a -t i v e l y l i t t l e m u s i c a l i m p o r t a n c e , and t h e o r c h e s t r a had not much t o do but accompany t h e s i n g e r s - - a l l o f wh i ch was c o n t r a r y t o R e y e r ' s a e s t h e -t i c p r i n c i p l e t h a t t he mus ic must d r a m a t i z e t h e emot i on s and s i t u a t i o n s p r o v i d e d by t h e l i b r e t t o . In h i s e y e s , t h e I t a l i a n s ' p e r f u n c t o r y r e c i -t a t i v e s - - " l e s b a n a l i t e s du r e c i t a t i f i t a l i e n " 4 5 - - f a i l e d t o d e v e l o p t he d r a m a t i c p o t e n t i a l o f t h e n a r r a t i v e pa s sages o f a l i b r e t t o . He a l s o e x -p r e s s e d d i s a p p o i n t m e n t t h a t t h e I t a l i a n s g e n e r a l l y d i d not e x p l o i t what he r e g a r d e d as one o f t h e most p o t e n t f o r c e s i n t h e m u s i c a l r e a l i z a t i o n o f t h e drama: i n s t r u m e n t a t i o n . 4 6 D e s p i t e h i s d i s l i k e o f t h e two " t r a d i t i o n s i t a l i e n n e s , " Reyer d i d no t r e j e c t a l l I t a l i a n o p e r a . He had a s p e c i a l f ondne s s f o r t h e e i g h t e e n t h - c e n t u r y composers C i m a r o s a , P i c c i n i , and S a c c h i n i , and v o i c e d g r e a t r e s p e c t f o r c e r t a i n a s p e c t s o f t h e mus i c o f R o s s i n i and B e l l i n i . 4 7 However, o f a l l t h e composers o f t h e I t a l i a n s c h o o l , t h e one who e l i c -i t e d t h e warmest p r a i s e f r om Reyer was V e r d i - - t h e V e r d i o f A i d a , O t e l l o , and F a l s t a f f . 4 8 The c r i t i c h a i l e d ATda as m a n i f e s t i n g a t r a n s f o r m a t i o n i n t h e I t a l i a n m a s t e r ' s s t y l e . C e r t e s l ' a n c i e n V e r d i s u b s i s t e e n c o r e ; on l e r e t r o u v e dans ATda avec ses e x a g e r a t i o n s , ses b ru sques oppo -s i t i o n s , ses n e g l i g e n c e s de s t y l e et ses emportemens. Ma i s un a u t r e V e r d i . . . s ' y m a n i f e s t e a u s s i , u sant d ' u n e m a n i e r e f o r t h a b i l e , avec une s c i e n c e et un t a c t q u ' o n ne l u i s o u p g o n n a i t p a s , de t o u s l e s a r t i f i c e s de l a f ugue e t du c o n t r e p o i n t , a c c o u p l a n t l e s t i m b r e s avec une i n g e n i o s i t e r a r e , b r i s a n t l e s v i e u x moules m e l o d i q u e s , meme ceux qu i l u i e t a i e n t p a r t i c u l i e r s , 163 c a r e s s a n t t o u r a t o u r l e s g rands r e c i t s et l e s l ongues m e l o p e e s , r e c h e r c h a n t l e s ha rmon ie s l e s p l u s n o u v e l l e s , l e s p l u s e t r a n g e s q u e l q u e f o i s , l e s m o d u l a t i o n s l e s p l u s i n a t t e n d u e s , donnant a 1 1 accompagnement p l u s d ' i n t e r e t , s ouven t p l u s de v a l e u r q u ' a l a m e l o d i e e l l e - m e m e ; e n f i n , comme l e d i s a i t G r e t r y en p a r l a n t de M o z a r t , m e t t a n t p a r f o i s l a s t a t u e dans V o r c h e s t r e e t l a i s s a n t l e p i e -d e s t a l s u r l a s c e n e . 4 y Reye r avowed t h a t t h e r e was g r e a t p o t e n t i a l i n t h e " n o u v e l l e m a n i e r e , " 5 0 and l a t e r admi red Q t e l l o and F a l s t a f f as m a g n i f i c e n t f l o w e r i n g s o f t h a t p o t e n t i a l . 5 1 We have no ted t h a t t h e I t a l i a n t r a d i t i o n o f mak ing t he a r i a f u n c -t i o n as t h e e s s e n t i a l v e h i c l e o f m u s i c a l e x p r e s s i o n was i n c o m p a t i b l e w i t h R e y e r ' s a e s t h e t i c . He t h e r e f o r e p r a i s e d what he r e g a r d e d as e x -p r e s s i v e v o c a l d e c l a m a t i o n and t h e a d a p t a t i o n o f t he o r c h e s t r a t o t h e d r a m a t i c r e q u i r e m e n t s i n each o f V e r d i ' s l a s t t h r e e o p e r a s . A f t e r e n -c o u n t e r i n g t h e s e f e a t u r e s i n A i d a , Reyer remarked t h a t V e r d i had l e a r n e d much f r o m t h e m a s t e r s o f t h e German and F rench t r a d i t i o n s o f o p e r a t i c c o m p o s i t i o n : Ah! i l ne f a u t pas q u ' o n v i e n n e me d i r e m a i n t e n a n t : V e r d i v i t dans l ' i s o l e m e n t l e p l u s comp le t et r e s t e abso lument i n d i f f e r e n t a t o u t e oeuv re n o u v e l l e , a t o u t sy s teme nouveau . On m ' a s s u r a i t i l y a que l que s annees q u ' i l n ' a v a i t j a m a i s l u Don J u a n . C ' e s t b i e n p o s s i b l e , ma i s i l l ' a l u d e p u i s , e t i l a meme e t e beaucoup p l u s l o i n . Je s u i s b i e n c e r t a i n que l e s oeuv re s de R i c h a r d Wagner l u i sont f a m i l i e r e s , e t c e l l e s de B e r l i o z p a r e i l -l e m e n t . II a du a u s s i e t u d i e r q u e l q u e peu l e s p a r t i -t i o n s de Meye rbeer et se r e n d r e compte des p r o cede s de M. Gounod.52 As we s h a l l see i n l a t e r c h a p t e r s , Reyer app l auded both t h e l y r i c d e c l a -m a t i o n and t h e t r e a t m e n t o f t h e o r c h e s t r a i n F rench and German o p e r a s by composer s r a n g i n g f rom G l u c k t o L a l o . T h i s d e m o n s t r a t e s , once a g a i n , t h e c o n s i s t e n c y w i t h wh i ch Reyer a p p l i e d h i s a e s t h e t i c p r i n c i p l e s . 164 Endnotes 1 JD f e u i l l e t o n o f 23 A p r i l 1873. 2 I b i d . , 16 J a n u a r y 1872 , 21 A p r i l 1894, 8 May 1887 , 18 J a n u a r y 1891, and 13 May 1893 , r e s p e c t i v e l y . 3 " M u s i q u e . O p e r a , " RP 8 (May 1 8 5 2 ) : 1 5 1 . 4 JD f e u i l l e t o n o f 18 A p r i l 1869. 5 I b i d . , 5 May 1867. 6 I b i d . , 25 O c t o b e r 1884. Reyer c o n t i n u e s : " P e u t - e t r e a l ' o p e r a h i s t o r i q u e ^ p r e f e r e z - v o u s l ' o p e r a l e g e n d a i r e ? Moi a u s s i . J ' y t r o u v e p l u s de p o e s i e . . . L ' o p e r a f a n t a s t i q u e ou l e g e n d a i r e , v o i l a a mon s e n s , e t s e l o n mon g o u t , l e v e r i t a b l e o p e r a . Oberon me r a v i t ; A r m i d e , l e s T r o y e n s , l e F r e i s c h t i t z , L o h e n g r i n p a r e i 11 e m e n t . " 7 C o n s i d e r t h e f o l l o w i n g e x c e r p t , i n wh i ch a f i c t i t i o u s " m u s i c i e n " - - a m o u t h p i e c e f o r R e y e r — d e s c r i b e s t h e l i b r e t t o he had o b t a i n e d f o r h i s f i r s t o p e r a : " . . . j ' a v a i s en main un e x c e l l e n t poeme . . . Chaque scene a v a i t sa r a i s o n d ' e t r e , e t l a s u r p r i s e n ' y t e n a i t pas l a p l a c e de 1 ' i n t e r e t . On p o u v a i t s u i v r e d ' a u t a n t p l u s f a c i l e m e n t l a marche de T a c t i o n q u ' e l l e e t a i t des p l u s s i m p l e s , et c e t t e s i m p l i c i t y n ' e n a t t e n u a i t n u l l e -ment n i l a g r andeu r n i l a n o u v e a u t e . " ( " H i s t o i r e d ' u n m u s i c i e n , " RF Annee 3, Tome 9 [20 June 1857 ] :327 ) 8 JD f e u i l l e t o n o f 21 A p r i l 1894. 9 I b i d . , 18 A p r i l 1869. 1 ° H. Robe r t Cohen, " B e r l i o z on t h e Opera ( 1 8 2 9 - 1 8 4 9 ) : A S t udy i n Mu s i c C r i t i c i s m " ( P h . D . - d i s s e r t a t i o n , New York U n i v e r s i t y , 1 9 7 3 ) , p. 84 . 1 1 JD f e u i l l e t o n o f 26 J a n u a r y 1884. 1 2 I b i d . , 16 December 1866. 13 CP_ f e u i l l e t o n o f 24 J a n u a r y 1858. 1 4 JD f e u i 1 l e t o n o f 23 May 1897 ( r e v i e w o f t h e P a r i s i a n p r e m i e r e ) . I 5 I b i d . , 18 A p r i l 1869 . 165 1 6 I b i d . , 22 March 1884. 17 I b i d . , 12 December 1879 ( r e v i e w o f t h e p r e m i e r e o f t h i s work i n c o n c e r t ) . 18 I b i d . , 19 June 1872. C f . t h e q u o t a t i o n f r om R e y e r ' s r e v i e w o f Le Medec i n m a l g r e l u i g i v e n above on p. 151 . 19 Reyer c o n c l u d e s : " J ' a i d e j a e x p r i m e , en p l u s d ' u ne o c c a s i o n , mon s e n t i m e n t su r c e t t e i n f l u e n c e f a c h e u s e que t a n t de c o m p o s i t e u r s , g r and s e t p e t i t s , se r e s i g n e n t a s u b i r e t qu i l e u r f a i t a c c e p t e r l e s p l u s ab su rde s f a n t a i s i e s e t q u e l q u e f o i s meme l a c o l l a b o r a t i o n de t e l c h a n t e u r ou de t e l l e c a n t a t r i c e . " ( I b i d . , 9 March 1873 . ) I ndeed , Reyer had been r e m o n s t r a t i n g a g a i n s t t h i s " i n f l u e n c e f a c h e u s e " e v e r s i n c e t h e e a r l y y e a r s o f h i s c a r e e r as c r i t i c . See , f o r e x a m p l e , h i s b r i e f e d i -t o r i a l on t h e power w i e l d e d by t h e T h e a t r e - L y r i q u e ' s M a r i e C a b e l , i n " C h r o n i q u e de l a q u i n z a i n e . Revue m u s i c a l e , " RP_ 22 (1 September 1 8 5 4 ) : 799. 20 JD f e u i l l e t o n o f 9 March 1873 . A c c o r d i n g t o R e y e r , t h e f a c t t h a t t h e c e l e b r a t e d t e n o r A d o l p h e N o u r r i t had g i v e n Meye rbeer t h e i d e a o f w r i t i n g t h e g r e a t duet i n A c t I I o f Les Huguenots s h o u l d not be c i t e d as e v i d e n c e t h a t a composer ought t o a c c e p t t h e s u g g e s t i o n s o f a s i n g -e r . Reyer p o i n t s out t h a t N o u r r i t ' s r e q u e s t had been prompted by h i s s e n s i t i v i t y t o t h e r e q u i r e m e n t s o f t h e drama; t h a t " c e t a d m i r a b l e duo " had been composed by M e y e r b e e r , no t N o u r r i t ; and t h a t t h e t e n o r had sung h i s p a r t e x a c t l y as w r i t t e n . 21 The A u s t r i a n soprano G a b r i e l l e K r a u s s ( 1842 -1906 ) sang w i t h t h e V i e n n a Opera f o r s e v e r a l y e a r s b e f o r e coming t o P a r i s . She appea red w i t h t h e T h e a t r e - I t a l i e n f r om 1867 u n t i l 1870, when t h e F r a n c o - P r u s s i a n War c o m p e l l e d he r t o l e a v e t h e F rench c a p i t a l . A f t e r p e r f o r m i n g i n I t a l y and R u s s i a , she r e t u r n e d t o P a r i s i n 1875 t o s i n g t h e t i t l e r o l e o f L a J u i v e at t h e i n a u g u r a t i o n o f t h e O p e r a ' s new b u i l d i n g , t h e P a l a i s G a m i e r . W i th t h e e x c e p t i o n o f t h e p e r i o d 1885 -86 , she rema ined w i t h t h e Opera u n t i l 1888, when she r e t i r e d f rom t h e t h e a t r e and devo ted h e r -s e l f t o c o n c e r t s and t e a c h i n g . M i l e K r a u s s , whom t h e F rench n icknamed " l a Rache l c h a n t a n t e " b e -c a u s e o f t h e d r a m a t i c i n t e n s i t y o f her i n t e r p r e t a t i o n s , was renowned f o r he r p o r t r a y a l s o f V e r d i ' s L e o n o r a (a r o l e she f i r s t sang at t h e I t a l i e n i n 1867) and o f t h e Meye rbee r h e r o i n e s V a l e n t i n e , A l i c e , and S e l i k a . However, she was most famous f o r her i n t e r p r e t a t i o n s o f Donna Anna and ATda ; she was, i n f a c t , t h e O p e r a ' s f i r s t ATda ( 1 8 8 0 ) . 22 i b i d . , 15 J a n u a r y 1875 ( r e v i e w o f La J u i v e a t t h e i n a u g u r a t i o n o f t h e P a l a i s G a m i e r ) . 23 I b i d . , 20 November 1887. 2 4 I b i d . , 17 August 1885 . 166 2 5 I b i d . , 30 J a n u a r y 1881 . 2 6 I b i d . , 31 May 1870. R e y e r ' s a l l u s i o n t o " l ' a i r de L e o n o r e , au deux ieme a c t e , " p r o b a b l y d e s i g n a t e s her " A b s c h e u l i c h e r " ( A c t I ) , wh i ch - - a s he no te s i n an e a r l i e r f e u i l l e t o n - - " e s t p l a c e au second a c t e dans l a p a r t i t i o n d ' o r c h e s t r e p u b l i e e avec p a r o l e s a l l e m a n d e s et f r a n g a i s e s p a r A r i s t i d e F a r r e n c " ( i b i d . , 2 December 1 8 6 9 ) . 2 7 I b i d . , 31 May 1870. See a l s o R e y e r ' s a s ses sment o f M i l e H i s s o n as V a l e n t i n e i n Les Hugueno t s , quo ted on p. 160. 2 8 I b i d . , 5 May 1878. 2 9 As s h a l l be shown i n C h a p t e r V, Reyer m a i n t a i n s t h a t a l l o f t h e m u s i c a l p e r s o n n e l i n v o l v e d i n t h e p r o d u c t i o n o f an o p e r a - - i n c l u d i n g r e -h e a r s a l c o a c h e s , c o n d u c t o r s , and d i r e c t o r s as w e l l as v o c a l i s t s - - s h o u l d be f a i t h f u l t o t h e s c o r e . 3 0 I b i d . , 30 J a n u a r y 1881 . 31 I b i d . , 15 November 1875. There were " t r a d i t i o n s " a s s o c i a t e d w i t h many w o r k s , as Reyer i n d i c a t e s i n h i s r e v i e w o f L a J u i v e at t he i n -a u g u r a t i o n o f t h e P a l a i s G a m i e r : " C e r t a i n s r o l e s , a l ' O p e r a , ont l e u r t r a d i t i o n , e t c e t t e t r a d i t i o n e s t r e s p e c t e e par l e s c h a n t e u r s aux -q u e l l e s i l s e c h o i e n t s u c c e s s i v e m e n t , avec une s u r p r e -nan te f i d e l i t e . Pour l e r o l e d ' E l e a z a r , i l y a l a t r a d i t i o n de [ G i l b e r t ] Dup re z . Ce qu i veu t d i r e que ce r o l e e s t c h a n t e , non pas avec l e g rand s t y l e et l a b e l l e d i c t i o n du c e l e b r e a r t i s t e , ma i s avec l e s changemens q u ' i l y a a p p o r t e s . . . . l e r e s p e c t du t e x t e v a u d r a i t i n f i n i m e n t m i e u x . " ( I b i d . , 15 J a n u a r y 1875) 3 2 I b i d . , 11 A p r i l 1886. Reyer r e p e a t e d l y makes p l a i n h i s c o n v i c -t i o n t h a t " l a m e i l l e u r e f agon de c h a n t e r un mo r ceau , q u e l l e q u ' e n s o i t l a fo rme e t j e d i r a i meme q u e l l e q u ' e n s o i t l a v a l e u r , c ' e s t de l e c h a n t e r t e l q u ' i l e s t e c r i t . " ( I b i d . , 17 August 1885. ) However, he t o l e r a t e s a few ornaments " i n t r o d u i t s p a r - c i p a r - l a dans un pas sage ou l e c o m p o s i t e u r l u i -meme a v o u l u l a i s s e r l e champ l i b r e a l a f a n t a i s i e du v i r t u o s e , " as i n pas sages o f t h e r o l e o f R o s i n a i n II B a r b i e r e d i S i v i g 1 i a ( i b i d . , 7 March 1 8 8 0 ) . R e y e r ' s p o s i t i o n i s e x p r e s s e d most s u c -c i n c t l y i n t h e f o l l o w i n g s t a t e m e n t : " . . . 1 ' a l t e r a t i o n du t e x t e peut e t r e admise dans c e r t a i n s ca s e t dans c e r t a i n e s m u s i q u e s ; ma i s c ' e s t l a une l i c e n c e dont i l f a u t u s e r avec l a p l u s g rande r e s e r v e . " ( " C h r o n i q u e de l a q u i n z a i n e . Revue m u s i c a l e , " RP_ 22 [1 J u l y 1 8 5 4 ] : 156 . ) 3 3 Reyer d i r e c t s p a r t i c u l a r l y s t r o n g and f r e q u e n t c r i t i c i s m at " d e s v i r t u o s e s " - - a t e r m w h i c h he uses t o d e s i g n a t e t h o s e s i n g e r s who c o u r t n o t o r i e t y by i n d u l g i n g i n t e c h n i c a l d i s p l a y , and " c e u x q u i , n ' a y a n t pu a t t e i n d r e a l a p e r f e c t i o n du mecan i sme, s ' e n t i e n n e n t a l a p r o d u c t i o n 167 p e r i o d i q u e de phenomenes n a t u r e l s . " (JD f e u i l l e t o n o f 17 Augus t 1885. ) See , f o r e x a m p l e , h i s comments on t h e f o l l o w i n g : M a r i e van Z a n d t ' s p r a c t i c e o f d i s p l a y i n g her a b i l i t y t o s i n g a h i g h B - f l a t by add i ng i t t o a g i v e n r o l e ( i b i d . , 20 May 1 8 8 2 ) ; and t h e " h o q u e t s , " " s a c c a d e s , " and o t h e r v o c a l manner i sms o f t h e I t a l i a n t e n o r G a y a r r e ( i b i d . , 11 A p r i l 1 8 8 6 ) . 3 4 I b i d . , 17 August 1885. Reyer o b j e c t s not o n l y t o t he a r t i f i c e s c i t e d i n t h i s q u o t a t i o n , bu t a l s o t o t h e p r a c t i c e o f t r a n s p o s i n g t o s u i t t h e c a p a b i l i t i e s o f t h e s i n g e r . T h i s p o s i t i o n i s e x e m p l i f i e d by h i s comments on t h e pe r f o rmance o f a M. Bouhy as Hoel i n M e y e r b e e r ' s Le Pa rdon de P l o e r m e l . " L e s e u l r e p r o c h e que j ' a d r e s s e r a i a M. Bouhy, c ' e s t de se d e f i e r un peu t r o p de l ' e t e n d u e de sa v o i x e t de c e d e r t r o p f a c i l e m e n t a l a manie de l a t r a n s p o s i t i o n . A i n s i l ' a i r d ' H o e l e s t en mi m a j e u r , M. Bouhy l e c h a n t e en mi b e m o l . La s o n o r i t e de 1 ' o r c h e s t r e n ' e s t p l u s l a meme, l ' e f f e t du morceau y pe rd c o n s i d e r a b l e m e n t , et j e ne s a i s t r o p ce que peut y gagner M. Bouhy . " ( I b i d . , 5 September 1874) 3 5 I b i d . , 13 May 1893. F r a n c i s q u e Delmas ( 1 8 6 1 - 1 9 3 3 ) , a g r a d u a t e o f t h e P a r i s C o n s e r v a t o i r e , made h i s Opera debut i n 1886, and soon b e -came one o f t h e company ' s l e a d i n g s i n g e r s . He sang t he r o l e o f t h e Landg rave when t h e Opera r e v i v e d Tannh 'auser ( 1 8 9 5 ) , and, f o r t h i s t h e a t r e , c r e a t e d a l l t h e p r i n c i p a l bass p a r t s i n Wagner ' s o t h e r o p e r a s and mus i c d ramas , f r om t h e K i n g i n L o h e n g r i n (1891) t o Gurnemanz i n P a r s i f a l ( 1 9 1 4 ) . As an i n t e r p r e t e r o f Wagner he was c o n s i d e r e d u n s u r -p a s s e d , and t h e P a r i s i a n p u b l i c i d o l i z e d h im. Delmas a l s o sang G l u c k , M o z a r t , Weber, and V e r d i , and had an e n o r -mous F r e n c h r e p e r t o i r e wh i ch i n c l u d e d M e y e r b e e r , R o s s i n i , Gounod, and S a i n t - S a e n s . He c r e a t e d l i t e r a l l y dozens o f r o l e s i n F rench o p e r a s , i n -c l u d i n g t h e f o l l o w i n g : Amrou i n M a s s e n e t ' s Le Mage (1891) and A t h a n a e l i n Tha i ' s ( 1 8 9 4 ) ; N a r r ' h a v a s i n R e y e r ' s S a l ammbo ( 1 8 9 2 ) ; and t he p r i n c i -p a l bass p a r t s i n works by Dukas ( A r i a n e , 1 9 0 6 ) , Bruneau ( L ' O u r a g a n , 1 9 1 6 ) , and d ' I n d y ( F e r v a a l , 1912; La Legende de S a i n t C h r i s t o p h e , 1 9 2 0 ) . 3 6 I b i d . , 29 A p r i l 1883 . 3 7 I b i d . , 21 A p r i l 1894. M a r i e D e l n a ( 1 875 - 1932 ; r e a l name Ledan) sang i n a c a f e at Meudon, her b i r t h p l a c e , where she was " d i s c o v e r e d " by a m u s i c - l o v i n g p a i n t e r . She was t a k e n t o P a r i s and b rough t t o t h e a t t e n t i o n o f Leon C a r v a l h o , who was t hen t r y i n g i n v a i n t o c a s t t he r o l e o f D ido f o r a p r o d u c t i o n o f Les T r o yen s a C a r t h a g e at t h e O p e r a -Comique. C a r v a l h o was so imp re s s ed by D e l n a ' s v o i c e t h a t , a l t h o u g h she was s c a r c e l y s e v e n t e e n , he gave he r t h e r o l e . A f t e r her debut (1892) she r ema ined w i t h t h e Comique f o r s i x y e a r s as one o f i t s most s u c c e s s -f u l p r i n c i p a l s . A h i g h l i g h t o f her c a r e e r at t h i s t h e a t r e came i n 1894, when c r i t i c s were e n t h r a l l e d by her p e r f o r m a n c e as M r s . Q u i c k l y o p p o s i t e V i c t o r Maure l ( i d e n t i f i e d be low i n n . 3 8 ) . 168 D e l n a l e f t t h e Comique i n 1898 and j o i n e d t h e O p e r a , where t h e most n o t a b l e o f t h e r o l e s she c r e a t e d was Ca s sand re i n t h e P a r i s i a n p r e m i e r e o f La P r i s e de T r o i e ( 1 8 9 9 ) . In 1901 she went back t o t h e Comique, then m a r r i e d i n 1903 and r e t i r e d f o r f i v e y e a r s . She f i n a l l y r e a p p e a r e d at t h e Comique and became a f a v o r i t e ; one o f her g r e a t e s t t r i u m p h s was i n t h e t i t l e r o l e o f G l u c k ' s Orphee ( 1 9 1 0 ) . That same y e a r she went t o A m e r i c a and made a deep i m p r e s s i o n as F r a n c h i s e i n t h e M e t r o p o l i t a n O p e r a ' s p r e m i e r e o f B r u n e a u ' s L ' A t t a q u e du m o u l i n . She then r e t u r n e d t o P a r i s , where she sang at t h e Comique f o r many y e a r s . 3 8 I b i d . , 11 F e b r u a r y 1887. V i c t o r Maure l (1848-1923) made h i s debut at t h e Opera i n 1868, but l e f t d u r i n g h i s f i r s t season i n o r d e r t o f u r t h e r h i s c a r e e r a b r o a d . A f t e r e s t a b l i s h i n g an i n t e r n a t i o n a l r e p u t a -t i o n , he r e t u r n e d t o t h e O p e r a , and rema ined on t h e r o s t e r f r o m 1879 u n t i l 1894. D u r i n g t h o s e y e a r s he a l s o sang f r e q u e n t l y at Covent Garden and La S c a l a . A f t e r l e a v i n g t h e Opera i n 1894, Maure l d i v i d e d h i s t i m e between t h e Ope ra -Com ique , Covent G a r d e n , and t h e M e t r o p o l i t a n O p e r a . H i s l a s t appea rance s were at Covent Garden i n 1904. M a u r e l ' s p e r f o rmance o f t h e t i t l e r o l e i n t h e r e v i s e d v e r s i o n o f S imon B o c c a n e g r a ( L a S c a l a , 1881) p rompted V e r d i t o choose him t o c r e a t e t h e r o l e s o f Iago (1887) and F a l s t a f f ( 1 8 9 3 ) . In F r a n c e and A m e r i c a , t o o , Maure l was c e l e b r a t e d as an i n t e r p r e t e r o f V e r d i : he sang Amonasro i n t h e A m e r i c a n p r e m i e r e o f ATda (1873) and i n i t s p r e m i e r e at t h e Opera ( 1 8 8 0 ) , and he r e c r e a t e d t h e r o l e s o f Iago and F a l s t a f f i n t h e P a r i s i a n p r e m i e r e s o f V e r d i ' s l a s t two ope ra s ( b o t h i n 1 8 9 4 ) . A n o t h e r o f M a u r e l ' s most n o t a b l e c r e a t i o n s i n t h e I t a l i a n r e p e r t o i r e was Ton i o i n L e o n c a v a l l o ' s P a g l i a c c i ( T e a t r o da l Verme, M i l a n , 1 8 9 2 ) . Maure l a l s o d i s t i n g u i s h e d h i m s e l f i n Wagner ian r o l e s : he was L o n d o n ' s f i r s t T e l r a -mund and Wol f ram (1875 and 1876 r e s p e c t i v e l y ) , and Covent G a r d e n ' s f i r s t Dutchman. 3 9 I b i d . , 20 May 1882. 4 0 I b i d . , 28 J a n u a r y 1869. 4 1 I b i d . , 25 May 1895. Mme Caron was i d e n t i f i e d i n n. 27 o f Chap -t e r I. In a d d i t i o n t o b e i n g acknowledged as R e y e r ' s f i n e s t i n t e r p r e t e r , Mme Caron was c e l e b r a t e d f o r he r p e r f o r m a n c e s o f Wagner, V e r d i , B e e t h o -v e n , and G l u c k . She was t h e O p e r a ' s f i r s t E l s a ( 1 8 9 1 ) , i t s f i r s t S i e -g l i n d e ( 1 8 9 3 ) , and , as i n d i c a t e d above , she sang t he r o l e o f E l i s a b e t h i n t h e r e v i v a l o f Tannhauser ( 1 8 9 5 ) . V e r d i , who came t o P a r i s t o hear h e r , i n s i s t e d t h a t she c r e a t e t h e r o l e o f Desdemona when t h e Opera gave t h e F r e n c h p r e m i e r e o f O t e l l o , and a f t e r t h i s p r e m i e r e he d e c l a r e d : " J e ne m o u r r a i done pas avant d ' a v o i r r e n c o n t r e ma Desdemone." (Quoted by Reye r i n i b i d . , 13 O c t o b e r 1894. ) In t h e l a t e 1890s Mme Caron l e f t t h e Opera f o r t h e Ope ra -Comique , where she was most s u c c e s s f u l i n t h e t i t l e r o l e s o f F i d e l i o and O r p h e e - - t h e l a t t e r r e v i v e d e x p r e s s l y f o r h e r . S h o r t l y a f t e r he r a c c l a i m e d appea rance i n t h e Com ique ' s r e v i v a l o f I p h i g e n i e en T a u r i d e (1900) she r e t i r e d f rom t h e t h e a t r e . In 1902 Mme Caron was a p p o i n t e d p r o f e s s o r o f s i n g i n g at t h e P a r i s C o n s e r v a t o i r e ; she was a l s o a member o f t h i s i n s t i t u t i o n ' s C o n s e i l s u p e r i e u r des e t u d e s . 169 4 2 I b i d . , 10 May 1877. 4 3 I b i d . , 5 September 1874. 4 4 Pau l Henry Lang o f f e r s t h e f o l l o w i n g e x p l a n a t i o n f o r t he I t a l i a n " c u l t o f t h e a r i a " d u r i n g t h e e a r l y n i n e t e e n t h c e n t u r y : " . . . o p e r a had become t h e p o s s e s s i o n o f t h e s i n g i n g s t a r s . The composers spu rned e v e r y t h i n g t h a t was not s u i t a b l e m a t e r i a l f o r a r i a s , because t h e M a r c h e s i s , t h e R u b i n i s , t h e P a s t a s , and t h e C a t a l a n i s demanded a r i a s t o s i n g , no t w e l l - c o n s t r u c t e d o p e r a s . " ( C r i t i c a t t h e Ope ra [New Y o r k : W. W. N o r t o n , 1 9 7 1 ] , P7T24] 4 5 JD f e u i l l e t o n o f 31 May 1870 . 4 6 Fo r e x a m p l e , t h e young R e y e r — w r i t i n g i n t h e f i r s t pe r son p l u r a l - - o n c e wondered why B e l l i n i was c r i t i c i z e d more t han were o t h e r I t a l i a n composer s f o r h a v i n g " t r o p n e g l i g e l a p a r t i e i n s t r u m e n t a l e de ses o p e r a s . Nous v o u l o n s b i e n admet t r e que q u e l q u e s - u n s de ses accompagnements pechen t par un e x ce s de s i m p l i c i t y , e t que ses e f f e t s d ' o r c h e s t r e sont peu v a r i e s , ma i s en c e l a i l ne s ' e s t pas a u t a n t e c a r t e q u ' o n veu t b i e n l e d i r e des t r a d i t i o n s de l ' e c o l e i t a l i e n n e . " ( " C r i t i q u e m u s i c a l e , " RP 16 [March 1853 ] : 494 ) 4 7 Reyer p r a i s e d C i m a r o s a ' s comic o p e r a s Le A s t u z i e f e m m i n i l i and 11 M a t r i m o n i o s e g r e t o as m a s t e r p i e c e s , and avowed t h a t t h e r e were " c e r -t a i n e s a f f i n i t e s " between t h e temperaments o f C i m a r o s a and Moza r t (JD f e u i 1 l e t o n o f 8 F e b r u a r y 1 8 7 4 ) . Reyer a l s o c o u n t e d P i c c i n i and S a c c h i n i as b e i n g among t h e m a s t e r s o f e i g h t e e n t h - c e n t u r y I t a l i a n o p e r a ( i b i d . , 12 December 1 8 7 9 ) . W h i l e c e n s u r i n g R o s s i n i as " l ' i n v e n t e u r des c r e s c e n d o f o r m i d a b l e s e t des en semb le s pompeux," Reyer admi red him f o r e x p l i c i t r e a s o n s : "Ev idemment i l a c r e e des f o rmes n o u v e l l e s , e t l ' a r t du c h a n t l u i d o i t d ' i n c o n t e s t a b l e s p r o g r e s ; . . . i l f a u t a u s s i l u i t e n i r compte de ses r e c h e r c h e s ha rmon iques . . . e t du deve loppement q u ' i l a donne au r o l e de 11 i n s t r u m e n t a t i o n . " ( I b i d . , 29 November 1868. ) Reyer once d e s c r i b e d t h e o v e r t u r e t o G u i l l a u m e T e l l as "une g rande c o m p o s i t i o n symphon ique " ( i b i d . , 16 May 1 8 8 3 ) , and he esteemed both Te l 1 and B a r b i e r e as m a s t e r -p i e c e s . (See h i s r e v i e w s o f r e v i v a l s o f t h e s e two o p e r a s i n i b i d . , 29 November 1867 and 21 O c t o b e r 1873 r e s p e c t i v e l y . ) B e l l i n i was f o r Reyer a m u s i c a l poet whose u n d i s t i n g u i s h e d i n s t r u -m e n t a t i o n was compensated " p a r une i n s p i r a t i o n s i e l e g a n t e e t s i d rama-t i q u e , par des c h a n t s s i p l e i n s de t e n d r e s s e , de p a s s i o n , e t d ' o r i g i n a -l i t e " ( " C r i t i q u e m u s i c a l e , " RP 16 [March 1 8 5 3 ] : 4 9 4 ) . 4 8 T h i s i s not t o say t h a t Reyer had no l i k i n g f o r any o f V e r d i ' s e a r l i e r o p e r a s . When he hea rd L u i s a Mi H e r — w h i c h , i n 1853, e s t a b l i s h e d 170 V e r d i ' s p o p u l a r i t y i n P a r i s - - h e was imp re s sed by s e v e r a l a s p e c t s o f t he c o m p o s e r ' s s t y l e : "Ce q u ' i l y a de p l u s r e m a r q u a b l e dans l a mus ique de M. V e r d i , c ' e s t l e mouvement, l a p a s s i o n , 1 ' o r i g i n a l i t e de l a fo rme m e l o d i q u e e t l e b r i o de 1 ' o r c h e s t r e . C ' e s t l a de l a mus ique a g rand e f f e t , dont 1 ' e x e c u t i o n ne peut pas e t r e c o n f i e e a des t a l e n t s o r d i n a i r e s . " ( " C r i t i q u e m u s i c a l e , " RP 16 [ J a n u a r y 1 8 5 3 ] : 158) The i n t e n s e e m o t i o n a l i s m o f V e r d i ' s ope ra s somet imes prompted Reyer t o c r i t i c i z e what he r e g a r d e d as " v i o l e n c e s " ( " C h r o n i q u e m u s i c a l e , " RF Annee 2 , Tome 6 [20 O c t o b e r 1 8 5 6 ] : 5 4 2 ) . He n e v e r t h e l e s s admired much o f b o t h II T r o v a t o r e and Don C a r l o s , and e v e n t u a l l y s i g n a l l e d them as b e i n g m i l e s t o n e s i n V e r d i ' s c a r e e r b e f o r e ATda (JD f e u i l l e t o n o f 21 A p r i l 1 8 9 4 ) . 4 9 I b i d . , 16 J a n u a r y 1872 . 50 " . . . s ' i l p e r s i s t e dans sa n o u v e l l e m a n i e r e , l e m a e s t r o V e r d i . . . o p e r e r a b i e n des c o n v e r s i o n s e t se f e r a b i e n des a d e p t e s , meme dans l e s c e n a c l e s oh j u s q u ' a p r e s e n t i l n ' e t a i t guere a d m i s . " ( I b i d . ) One o f t h e " c e n a c l e s " was p r o b a b l y t h e O p e r a . T r u e , t h i s i n s t i t u t i o n had wooed V e r d i f r o m t h e l a t e 1840s u n t i l t h e e a r l y 1860s : i t had p r e -s e n t e d a r e v i s e d F r e n c h v e r s i o n o f I Lombard i as J e r u s a l e m (1847) and a F r ench t r a n s l a t i o n o f II T r o v a t o r e as Le T r o u v e r e ( 1 8 5 7 ) ; i t had commis -s i o n e d t h e g rand o p e r a Le s V e p r e s s i c i l i e n n e s ( 1 8 5 5 ) ; and i t had commis -s i o n e d a n o t h e r g rand o p e r a , Don C a r l o s , as i t s ma jo r new o f f e r i n g f o r t h e p e r i o d o f t h e U n i v e r s a l E x p o s i t i o n at P a r i s i n 1867. However, s i n c e t h e r e v i v a l o f Les Vep re s s i c i l i e n n e s i n 1863 V e r d i ' s p o p u l a r i t y w i t h t h e O p e r a ' s a u d i e n c e had r a p i d l y d e c l i n e d . The r e v i v a l had d i s a p p e a r e d f rom t h e O p e r a ' s a c t i v e r e p e r t o i r e a f t e r o n l y f i f t e e n pe r f o rmance s i n 1863 -64 . Three y e a r s l a t e r , Don C a r l o s had been a f a i l u r e i n t he eyes o f t h e p u b l i c and most o f t h e p r e s s ( w i t h t h e n o t a b l e e x c e p t i o n s o f G a u t i e r and R e y e r ; see t h e l a t t e r ' s r e v i e w i n i b i d . , 20 March 1 8 6 7 ) . The c a u s e s o f V e r d i ' s f a l l f r om g r a c e at t h e Opera had t o do p a r t l y w i t h t h e p o l i t i c a l c l i m a t e o f t h e m i d d l e and l a t e 1860 s , and p a r t l y w i t h t he c o m p o s e r ' s m u s i c a l s t y l e , as G e n e v i e v e Lomax Ch inn d e m o n s t r a t e s i n "The Academie I m p e r i a l e de Mu s i que : A S t udy o f I t s A d m i n i s t r a t i o n and R e p e r -t o r y f r o m 1862 t o 1870" ( Ph .D . d i s s e r t a t i o n , C o l u m b i a U n i v e r s i t y , 1 9 6 9 ) , pp . 1 3 5 - 4 0 . The Opera d i d not r i s k p r e s e n t i n g ATda u n t i l 1880, f o u r y e a r s a f t e r i t had p roved s u c c e s s f u l at t h e T h e a t r e - I t a l i e n . ( Reye r r e v i e w e d t h e s e p e r f o r m a n c e s i n t h e JD f e u i l l e t o n s o f 26 A p r i l 1876 and 26 March 1880 . ) 51 I b i d . , 11 F e b r u a r y 1887 ( w o r l d p r e m i e r e o f O t e l l o at M i l a n ) , 21 A p r i l 1894 ( F r e n c h p r e m i e r e o f F a l s t a f f a t t h e O p e r a - C o m i q u e ) , and 13 O c t o b e r 1894 ( F r e n c h p r e m i e r e o f O t e l l o at t h e O p e r a ) . 52 I b i d . , 16 J a n u a r y 1872. 171 CHAPTER V REYER AND THE LYRIC THEATRES OF PARIS Hav ing d e m o n s t r a t e d how R e y e r ' s a e s t h e t i c m o t i v a t e d h i s v i ews on o p e r a , we now t u r n t o h i s o b s e r v a t i o n s c o n c e r n i n g t h e major P a r i s i a n l y r i c t h e a t r e s d u r i n g t h e p e r i o d o f h i s a c t i v i t y as a mus i c c r i t i c : t h e O p e r a , t h e Ope r a -Com ique , and t h e T h e a t r e - L y r i q u e . The e x t e n t and f r e -quency o f h i s remark s about t h e s e t h e a t r e s , and h i s i n s i s t e n c e on t h e n e c e s s i t y o f r e e s t a b l i s h i n g a t h i r d home f o r l y r i c t h e a t r e a f t e r t he d e -mi se o f t h e T h e a t r e - L y r i q u e , i n d i c a t e t h a t t h e s e were s u b j e c t s o f g r e a t i m p o r t a n c e t o h i m . We s h a l l see t h a t h i s r e a c t i o n s t o t he many a t t e m p t s t o r e v i v e t h e L y r i q u e a f f o r d a d e t a i l e d p i c t u r e o f h i s c o n c e p t i o n o f an i d e a l l y r i c t h e a t r e . The O p e r a , Ope ra -Com ique , and T h e a t r e - L y r i q u e d u r i n g t h e Second Emp i re (1852 -1870) I n t r o d u c t i o n In 1866, when Reye r began h i s c a r e e r as f e u i l l e t o n i s t e f o r t h e J o u r n a l des D e b a t s , t h e Second Empi re was at i t s h e i g h t . P a r i s , b r i l -l i a n t l y t r a n s f o r m e d by Napo leon I l l ' s P r e f e t de l a S e i n e , 1 was a t t r a c t -i n g v i s i t o r s f r o m a l l o v e r Europe and f r o m A m e r i c a , and was r e g a r d e d as a model f o r o t h e r European c i t i e s . The F r e n c h c a p i t a l o f f e r e d a r i c h l y v a r i e d t h e a t r i c a l l i f e f o r t h o s e who c o u l d a f f o r d t o sample i t : b a l l e t was pe r f o rmed at s e ven teen t h e a t r e s ; 2 t h e T h e a t r e - F r a n g a i s and t h e Odeon p r e s e n t e d new d r a m a t i c works i n a l t e r n a t i o n w i t h t he g r e a t c l a s s i c s o f 172 R a c i n e , C o r n e i l l e and M o l i e r e ; o p e r e t t a f l o u r i s h e d at many s m a l l t h e -a t r e s ; and f o u r l a r g e t h e a t r e s were c o n s e c r a t e d t o o p e r a . The f o u r P a r i s i a n l y r i c t h e a t r e s were t h e Academie I m p e r i a l e de Mus ique ( o r O p e r a , as i t was i n f o r m a l l y c a l l e d ) , t h e T h e a t r e N a t i o n a l de V O p e r a - C o m i q u e , t h e T h e a t r e - I t a l i e n , and t h e T h e a t r e - L y r i q u e . A l l but t h e l a s t - n a m e d were o f f i c i a l l y r e c o g n i z e d and g e n e r o u s l y s u b s i d i z e d t h r o u g h o u t t h e p e r i o d o f t h e Second E m p i r e . The f i r s t two t h e a t r e s were m a i n t a i n e d f o r t h e p e r f o r m a n c e o f F rench o p e r a and o p e r a comique r e s p e c -t i v e l y ; t h e t h i r d p r e s e n t e d I t a l i a n works i n I t a l i a n ; and t h e T h e a t r e -L y r i q u e gave p e r f o r m a n c e s o f both F rench o p e r a and o p e r a com ique , as w e l l as f o r e i g n works i n F r e n c h t r a n s l a t i o n . 3 Of t h e f o u r t h e a t r e s , by f a r t h e most p o p u l a r were t h e O p e r a , t h e Ope ra -Comique , and t h e T h e a t r e -L y r i q u e . 4 D e s p i t e t h e f a c t t h a t t h e government s u p p o r t e d two p r i v i l e g e d s t a t e s howp i e ce s f o r F r e n c h o p e r a — n a m e l y , t h e Opera and t h e O p e r a - C o m i q u e — c o n d i t i o n s were by no means e n c o u r a g i n g f o r young F rench compose r s . In o r d e r t o g r a sp t h a t pa radox and t o comprehend t h e r e a s o n s f o r R e y e r ' s i n s i s t e n c e t h a t a T h e a t r e - L y r i q u e be r e e s t a b l i s h e d a f t e r t h e f a l l o f t h e E m p i r e , we must u n d e r s t a n d more f u l l y t h e e x t r a o r d i n a r i l y complex s i t u a -t i o n i n t h e s e t h r e e l y r i c t h e a t r e s d u r i n g t h e r e i g n o f Napo leon I I I . The Opera and t h e Opera -Comique The most p r e s t i g i o u s l y r i c t h e a t r e i n a l l o f F r ance was t h e O p e r a . E s t a b l i s h e d i n 1669 as a home f o r F r e n c h l y r i c d rama, t h i s i n s t i t u t i o n had r ema ined t h e o n l y s u b s i d i z e d t h e a t r e f o r t h e p e r f o r m a n c e o f s e r i o u s o p e r a i n t h e F r e n c h l a n g u a g e . I t had known i t s g r e a t e s t days d u r i n g t he 173 r e i g n o f L o u i s P h i l i p p e ( 1 8 3 0 - 1 8 4 8 ) , when t h e p u b l i c had come i n d r ove s t o see and hea r t h e s p e c t a c u l a r genre now known as F rench g rand o p e r a , e x e m p l i f i e d by such works as M e y e r b e e r ' s Robe r t l e P i a b l e (1831) and Les Huguenots ( 1 8 3 6 ) . Even a f t e r t h e r e v o l u t i o n wh ich t o p p l e d t he reg ime o f t h e r o i des F r a n g a i s , t h e O p e r a ' s w e a l t h y a u d i e n c e c o n t i n u e d t o adore g rand o p e r a , and by t h e e a r l y 1860s - -when t h e Second Empi re was at i t s z e n i t h — t h i s t h e a t r e had become " a k i n d o f c l u b o f t h e upper c l a s s e s , d e s i r i n g no new members and r e q u i r i n g no f r e s h forms o f e n t e r t a i n m e n t . " 5 D u r i n g t h e Second Emp i re t h e O p e r a , becau se o f i t s u n i que p o s i t i o n as F r a n c e ' s p r e m i e r and most h e a v i l y s u b s i d i z e d l y r i c t h e a t r e , was t h e c e n t e r o f a c o n t r o v e r s y r e g a r d i n g i t s r e s p o n s i b i l i t y t o t he s t a t e and t o t h e p u b l i c . 6 The government r e q u i r e d o n l y t h a t t h e Opera r e f l e c t t h e b r i l l i a n c e o f t h e a ch i e vemen t s o f Napo leon I l l ' s Empi re by p r o v i d i n g d a z z l i n g d i s p l a y s . For many o f t h e O p e r a ' s p a t r o n s — t h e a r i s t o c r a c y and t h e nouveau r i c h e — t h i s t h e a t r e was m e r e l y t o o f f e r a g l amorous s e t t i n g where t h e y would be e n t e r t a i n e d but not n e c e s s a r i l y a r t i s t i c a l l y s t i m u -l a t e d . However, f o r t h e r e a s on s g i v e n b e l o w , Reyer and o t h e r members o f t h e i n t e l l e c t u a l community c o m p l a i n e d t h a t t h e Opera was r e m a r k a b l y u n -s a t i s f a c t o r y as an a r t i s t i c u n d e r t a k i n g . Throughout t h e r e i g n o f Napo leon I I I , t he c o r e o f t h e O p e r a ' s r e p e r t o i r e c o n s i s t e d o f g rand o p e r a s wh i ch had been p r e s e n t e d r e p e a t e d l y s i n c e t h e y had t a k e n P a r i s by s t o rm d u r i n g t h e l a t e 1820s and 1 8 3 0 s . 7 The s u c c e s s i v e d i r e c t o r s o f t h i s i n s t i t u t i o n augmented t h e r e p e r t o i r e w i t h o n l y a h a n d f u l o f new w o r k s , and c o n s i s t e n t l y r e v e a l e d d u b i o u s a r t i s t i c judgment i n t h e i r c h o i c e s : t h e y mounted ope ra s by s u c c e s s f u l composers l i k e E r n e s t B o u l a n g e r , V i c t o r Masse, and J u l e s D u p r a t o , w h i l e 174 l e a v i n g works o f t h e l e s s p o p u l a r B e r l i o z and Gounod t o be p roduced by t h e T h e a t r e - L y r i q u e , t h e m u s i c a l e q u i v a l e n t o f t h e S a l o n des R e f u s e s . 8 I f t h e Opera showed l i t t l e o r no f a v o r t oward e s t a b l i s h e d composers such as B e r l i o z and Gounod, i t was v i r t u a l l y i n a c c e s s i b l e t o d e b u t a n t s , i n -c l u d i n g B i z e t , M a s s e n e t , and S a i n t - S a e n s . 9 C e l e b r a t e d f o r e i g n composer s f a r e d even worse t han t h e i r F r ench c o n t e m p o r a r i e s , because t h e r e g u l a -t i o n s g o v e r n i n g t h e Opera p e r m i t t e d o n l y t h e p r e s e n t a t i o n o f works composed t o F r ench t e x t s . One n o t a b l e e x c e p t i o n t o t h i s r u l e was t h e p r o d u c t i o n — b y r o y a l command—of a F r e n c h v e r s i o n o f Wagne r ' s Tannhauser ( 1 8 6 1 ) ; however , t h e mus i c o f t h e c o n t r o v e r s i a l composer s t r e t c h e d t h e t o l e r a n c e o f t h e p u b l i c too f a r , and t h e p r o d u c t i o n c l o s e d a f t e r t h r e e t u m u l t u o u s n i g h t s . The b u l k o f " l e r e p e r t o i r e c l a s s i q u e " 1 0 had d i s a p -p e a r e d b e f o r e t h e dawn o f t he Second E m p i r e , and the few t r e a s u r e s t h a t were r e v i v e d were u s u a l l y p r e s e n t e d i n m u t i l a t e d f o r m . H Reyer d i d not h o l d t he O p e r a ' s a d m i n i s t r a t i o n s o l e l y r e s p o n s i b l e f o r t h e c h o i c e o f t h e r e p e r t o i r e ; he f e l t t h a t t he a u d i e n c e was p a r t l y t o b l ame , becau se t he d i r e c t o r s had t o r e spond t o i t s c o n s e r v a t i v e t a s t e s i n o r d e r t o m a i n t a i n i t s v i t a l f i n a n c i a l s u p p o r t . 1 2 N e v e r t h e -l e s s , he c r i t i c i z e d t he d i r e c t o r s f o r c o n s t a n t l y e n d e a v o u r i n g o n l y t o p l e a s e t h e a u d i e n c e , i n s t e a d o f s t r i v i n g a l s o t o e d u c a t e i t by p r e s e n t -i n g a more s t i m u l a t i n g r e p e r t o i r e . ! 3 Second i n i m p o r t a n c e t o t h e O p e r a — a n d on a s l i g h t l y d i f f e r e n t s o c i a l l e v e l — w a s t h e Ope ra -Com ique . F o r m a l l y c r e a t e d i n 1801 by the ama lgamat i on o f two t h e a t r i c a l compan ies wh i ch had p r o s p e r e d d u r i n g t h e e i g h t e e n t h c e n t u r y , t h e Opera -Comique was t h e o f f i c i a l l y r e c o g n i z e d and s u b s i d i z e d home f o r t h e n a t i o n a l F rench fo rm o f comic o p e r a . The new 175 company f l o u r i s h e d i n t h e 1820s and 1830 s , when t h e d i r e c t o r s b u i l t up a l a r g e r e p e r t o i r e o f o p e r a s comiques by numerous c ompo se r s , i n c l u d i n g A u b e r , Adam, B o T e l d i e u , H e r o l d , and H a l e v y . However, i n subsequent y e a r s t h e same w o r k s , and o t h e r s v e r y s i m i l a r t o them, were pe r f o rmed hundreds o f t i m e s b e f o r e t h e b o u r g e o i s f a m i l i e s who p a t r o n i z e d t h i s t h e -a t r e . D u r i n g t h e Second E m p i r e , t h e Opera -Comique e l i c i t e d f rom Reyer and o t h e r F rench m u s i c i a n s t h e same c r i t i c i s m s as d i d t h e O p e r a , because t h e s u c c e s s i v e d i r e c t o r s o f t h e Comique pu r sued t h e same m a n a g e r i a l p o l i c i e s as were c o n c u r r e n t l y d i s p l a y e d at t h e Ope ra : t h e d o m i n a t i o n o f t h e s t a g e by works t h a t had p roved t o be p o p u l a r ; t h e p r o d u c t i o n o f f ewer new works t h a n r e q u i r e d by t h e c a h i e r des c h a r g e s g o v e r n i n g t h e i n s t i t u -t i o n ; and t h e o b t a i n i n g o f most o f t h e s e works f r om composers and a u t h o r s who had e n j o y e d p r e v i o u s s u c c e s s e s . I 4 Worst o f a l l , a c c o r d i n g t o Reye r and o t h e r c r i t i c s o f t h e Comique, was t h e f a c t t h a t t h e d i r e c -t o r s o f t e n d e m o n s t r a t e d q u e s t i o n a b l e a r t i s t i c judgment when c h o o s i n g works by d e b u t a n t compose r s : t h e e a r l y comic ope ra s o f D e l i b e s and Gounod were r e j e c t e d o r i g n o r e d , 1 5 w h i l e works by newcomers o f l e s s e r s t a t u r e - - s u c h as B o u l a n g e r , Masse , and D u p r a t o - - w e r e a c c e p t e d . ^ Reyer f e l t t h a t t h e a u d i e n c e was p a r t l y r e s p o n s i b l e f o r the c h o i c e o f r e p e r t o i r e at t h e Ope r a -Com ique , as was t h e ca se at t h e O p e r a . The Comique had e s t a b l i s h e d a r e p u t a t i o n as a s a n c t u a r y f o r t h e f a m i l y - - a v e r i t a b l e s t r o n g h o l d o f d o m e s t i c i t y - - a n d t h e s u c c e s s i v e d i r e c t o r s were l o a t h e t o r i s k a l i e n a t i n g t h e t h e a t r e ' s b o u r g e o i s p a t r o n s by p r e m i e r i n g works t h a t m igh t p rove o f f e n s i v e t o t h e i r s e n s i b i l i t i e s . - ^ 7 As a r e s u l t , 176 t h e Opera -Comique was a lmos t as t i g h t and r e a c t i o n a r y an o r g a n i z a t i o n as t h e Ope ra . The p o l i c y o f p e r f o r m i n g e s t a b l i s h e d works kept a t t e n d a n c e h i g h at bo th t h e Opera -Comique and t h e Opera d u r i n g t h e Second E m p i r e , and can be u n d e r s t o o d i f one r e a l i z e s t h a t each o f t h e s e t h e a t r e s was e x p e c t e d t o show a p r o f i t . However, t h e r e s u l t i n g s t a g n a t i o n o f both r e p e r t o i r e s was a s o u r c e o f g r e a t i r r i t a t i o n t o composers and c r i t i c s a l i k e . As we have s e e n , Reyer and o t h e r c r i t i c s a t t a c k e d t h i s p o l i c y , and q u e s t i o n e d t h e d i r e c t o r s ' c h o i c e s o f t h e new works added t o t h e r e p e r t o i r e s . The pas sage o f t i m e has j u s t i f i e d R e y e r ' s m i s g i v i n g s : t he few new e n t r i e s i n t o t h e r e p e r t o i r e s o f t h e Comique and t h e Opera neve r g a i n e d p r o m i -n e n c e , whereas some o f t h e o p e r a s f i r s t p r e s e n t e d at t h e T h e a t r e - L y r i q u e have p roved t o be among t h e most l a s t i n g o f any p roduced i n t h e n i n e -t e e n t h c e n t u r y . 1 8 The i n a b i l i t y o f t h e d i r e c t o r s o f t h e Comique and t he Opera t o r e c o g n i z e t h e a r t i s t i c and c ommerc i a l v a l u e o f o p e r a s wh ich met w i t h enormous s u c c e s s at t h e T h e a t r e - L y r i q u e d e p r i v e d t he two o l d e s t P a r i s i a n l y r i c t h e a t r e s o f p o s s i b l e g l o r y , not t o speak o f r e v e n u e . As S a i n t - S a e n s once o b s e r v e d , " C ' e s t un ma lheu r i r r e p a r a b l e e t q u ' o n ne d e p l o r e r a j a m a i s a s s e z . " l y The T h e a t r e - L y r i q u e The o n l y o p e r a house wh i ch g l a d l y opened i t s doo r s t o young F r e n c h composer s and t o o l d e r ones who had not been a c c l a i m e d by t h e p u b l i c was t h e T h e a t r e - L y r i q u e . 2 0 Founded i n 1847 by t h e composer A d o l p h e Adam,21 t h i s v e n t u r e l e d a p r e c a r i o u s e x i s t e n c e u n t i l 1848, when i t was f o r c e d t o c l o s e because o f f i n a n c i a l r e v e r s e s i n t e n s i f i e d by t h e r e v o l u t i o n . 177 I t r eopened i n 1851 under a new d i r e c t o r 2 2 a n d f l o u r i s h e d d u r i n g t h e Second E m p i r e , becoming t h e r i v a l company t o t h e Opera and t h e O p e r a -Comique. Such an ach ievement was r e m a r k a b l e i n v i e w o f t he f a c t t h a t , d u r i n g most o f i t s a d v e n t u r o u s e x i s t e n c e , t h e L y r i q u e depended e n t i r e l y on box o f f i c e r e c e i p t s t o s u p p o r t i t s e l f ; o n l y f r om 1863 u n t i l i t s d e -m i se i n 1870 d i d t h i s t h e a t r e r e c e i v e a meager annua l s u b s i d y f rom t h e g o v e r n m e n t . 2 3 A l t h o u g h t h e L y r i q u e was f i n a l l y g r a n t e d a s m a l l s u b s i d y , t h i s h o u s e - - u n l i k e t h e c o n s t a n t l y and h e a v i l y s u b s i d i z e d Opera and O p e r a -C o m i q u e - - r e m a i n e d " i n d e p e n d a n t et l i b r e , " 2 4 t h a t i s , f r e e t o s t a g e f o r e i g n works i n F r e n c h t r a n s l a t i o n , and t o p r e s e n t both F r ench o p e r a and o p e r a c o m i q u e . 2 5 M o r e o v e r , t h i s t h e a t r e was l e d by a s u c c e s s i o n o f i m a g i n a t i v e d i r e c t o r s who, a v o i d i n g t h e c o n s e r v a t i v e m a n a g e r i a l p o l i c i e s t h a t b l i g h t e d t h e o t h e r two homes o f F rench l y r i c t h e a t r e , " t r i e d w h o l e -h e a r t e d l y t o encou rage o r i g i n a l works and t o b u i l d up an e n t e r p r i s i n g a u d i e n c e . " 2 6 These d i r e c t o r s succeeded i n c r e a t i n g a r e p e r t o i r e t h a t many t h e a t r e - g o e r s found much more e x c i t i n g t h a n t h a t o f e i t h e r t h e Opera o r t h e Ope ra -Comique . As f o r t h e T h e a t r e - I t a l i e n , i t l o s t much o f i t s a u d i e n c e t o t h e L y r i q u e , where t h e c u r r e n t I t a l i a n r e p e r t o i r e was p e r f o r m e d i n F r e n c h . 2 7 In R e y e r ' s e y e s , t h e d i r e c t o r most r e s p o n s i b l e f o r t he a r t i s t i c s u c c e s s o f t h e L y r i q u e was Leon C a r v a l h o , who d i r e c t e d t h i s t h e a t r e d u r -i n g t h e second h a l f o f t h e 1850s and most o f t h e 1860 s . M. C a r v a l h o , et j e me p l a i s a l u i r e n d r e c e t t e j u s -t i c e , e s t l e s e u l d i r e c t e u r qu i a i t c o m p r i s l a v e r i t a b l e m i s s i o n du T h e a t r e - L y r i q u e e x i s t a n t e n t r e l ' O p e r a -Comique e t 1 ' O p e r a . Et T o n o u b l i e l e s f a u t e s q u ' i l a pu commett re . . . quand on songe a ce que T a r t m u s i c a l 178 d o i t a son i n t e l l i g e n c e e t a son h a b i l e t e . Orphee e t Obe ron , F au s t e t l e s T r o y e n s , sans compter l e r e s t e , [ s i c j ! 2 8 C a r v a l h o ' s l e a d e r s h i p made t h e L y r i q u e one o f P a r i s ' s c u l t u r a l c e n t e r s , no t o n l y because o f i t s d i s t i n g u i s h e d r e p e r t o i r e , but a l s o because o f i t s company, w h i c h - - d u r i n g t h e 1860s - -was w i d e l y c o n s i d e r e d t he f i n e s t m u s i c a l ensemble i n t h e c a p i t a l . 2 9 R e c e i p t s f r om C a r v a l h o ' s p r o d u c t i o n s were g r e a t , but h i s expense s were a lways g r e a t e r , and t he meager s u b s i d y g r a n t e d by t h e government d i d l i t t l e t o a m e l i o r a t e h i s p r e c a r i o u s f i n a n -c i a l s i t u a t i o n . In 1868 he r e s i g n e d because o f moun t i n g d e f i c i t s . H i s d e p a r t u r e marked t h e end o f t h e L y r i q u e ' s p e r i o d o f e m i n e n c e , and t h e o u t b r e a k o f t h e F r a n c o - P r u s s i a n War i n J u l y 1870 d e a l t t h i s t h e a t r e a m o r t a l b l o w . 3 0 From t h e t i m e o f i t s i n c e p t i o n u n t i l i t s d e m i s e , t h e d e c l a r e d p o l i c y o f t h e t h i r d home f o r F r e n c h l y r i c t h e a t r e was t o p r e s e n t works by young composer s and by o t h e r s who, a l t h o u g h known i n t h e F rench c a p i -t a l , had not become p o p u l a r w i t h t h e c o n s e r v a t i v e a u d i e n c e s o f t h e Opera and t h e Ope ra -Comique . T h e r e f o r e , t he most p r o g r e s s i v e F rench composers o f t h e Empi re — i n c l u d i n g B e r l i o z and Gounod, as w e l l as such younger men as B i z e t — w e r e i n g e n e r a l a s s o c i a t e d w i t h t h e L y r i q u e . Three works c r e -a t e d at t h e L y r i q u e p r o v e d , i n f a c t , t o be t h e most d u r a b l e o f t he t h e -a t r e ' s o f f e r i n g s , and among t h e most e n d u r i n g n i n e t e e n t h - c e n t u r y o p e r a s : Gounod ' s Fau s t ( 1 8 5 9 ) , h i s Romeo e t J u l i e t t e ( 1 8 6 7 ) , and B e r l i o z ' s Les T r o yen s a C a r t h a g e ( 1863 ) . 31 The L y r i q u e ' s p o l i c y o f e n c o u r a g i n g u n -known young composers and o l d e r ones who had not a c h i e v e d p o p u l a r i t y made t h i s t h e a t r e a d m i r a b l y s u i t e d t o c a r r y ou t t h e c o n d i t i o n o f i t s s u b s i d y , wh i ch demanded t h e annua l p r e s e n t a t i o n o f a t h r e e - a c t o p e r a by 179 a P r i x de Rome l a u r e a t e who had not p r e v i o u s l y had a work s t a ged i n P a r i s . 3 2 In a d d i t i o n t o p r o m o t i n g new F rench w o r k s , t h e d i r e c t o r s o f t h e L y r i q u e sought t o c u l t i v a t e p u b l i c i n t e r e s t i n o l d e r F rench o p e r a by r e v i v i n g s e v e n t e e n t h - , e i g h t e e n t h - and e a r l y n i n e t e e n t h - c e n t u r y w o r k s , many o f wh i ch had l o n g been n e g l e c t e d by t h e o t h e r two homes o f F r ench l y r i c t h e a t r e . Operas and o p e r a s comiques by composers r a n g i n g f rom G l uck t o Mehul were r e s u r r e c t e d . 3 3 Among t h e most d i s t i n g u i s h e d o f t h e s e r e v i v a l s were G l u c k ' s Orphee (1859) and h i s I p h i g e n i e en T a u r i d e (1868) , two t r e a s u r e s wh i ch were v i r t u a l l y unknown i n m i d - n i n e t e e n t h -c e n t u r y P a r i s . 3 4 Throughout i t s h i s t o r y , t h e L y r i q u e ' s f r eedom t o p e r f o r m works i n t r a n s l a t i o n was a v e r y i m p o r t a n t i n f l u e n c e on r e p e r t o i r e , e n a b l i n g t h e s u c c e s s i v e d i r e c t o r s o f t h i s t h e a t r e t o enhance i t s e n v i a b l e a r t i s t i c r e p u t a t i o n by p r e s e n t i n g n o t a b l e f o r e i g n o p e r a s both new and o l d . The L y r i q u e t hu s became a t r u l y c o s m o p o l i t a n s t a g e — t h e o n l y P a r i s i a n l y r i c t h e a t r e where f o r e i g n works were c e l e b r a t e d l i k e n a t i o n a l w o r k s . 3 5 Of t h e L y r i q u e ' s c o n t e m p o r a r y f o r e i g n o f f e r i n g s , t h e p r o d u c t i o n o f R i e n z i (1869) was pe rhaps t h e most n o t a b l e , f o r i t was t h e f i r s t P a r i s i a n p r e -s e n t a t i o n o f an o p e r a by Wagner s i n c e t h e f i a s c o o f Tannhauser at t h e Opera i n 1861. The L y r i q u e a l s o p r e m i e r e d or r e v i v e d many d i s t i n g u i s h e d o l d e r f o r e i g n w o r k s , i n c l u d i n g B e e t h o v e n ' s F i d e l i o ( 1 8 6 1 ) , f o u r o p e r a s by Weber, and f i v e by M o z a r t . 3 5 In t h e c o u r s e o f i t s b r i e f but b r i l l i a n t c a r e e r , t h e L y r i q u e - - ! i k e each o f t h e o t h e r two homes o f F r e n c h l y r i c t h e a t r e — e s t a b l i s h e d i t s own s o c i a l and i n t e l l e c t u a l amb ience . Whereas t h e Opera was t h e t h e a t r e o f 180 t h e a r i s t o c r a c y and t h e nouveau r i c h e , and t h e Opera -Comique t h a t o f t he b o u r g e o i s i e , t h e T h e a t r e - L y r i q u e s t ood as t h e o p e r a house o f t he w o r k i n g man and woman and t h e l i t t l e - k n o w n o r u n r e c o g n i z e d a r t i s t . A c c o r d i n g t o R e y e r , i t was t h e m u s i c a l t h e a t r e par e x c e l l e n c e : open t o a l l g l o r i e s , w i t h i n r e a c h o f a l l t a l e n t s , and " a c c e s s i b l e a t o u t e s l e s b o u r s e s . " 3 7 A f t e r t h e demi se o f t h e L y r i q u e , Reyer o f t e n p o i n t e d ou t t h a t i t had p l a y e d a d o u b l e r o l e i n F r e n c h m u s i c a l l i f e - - a r o l e t h a t had been at once i n n o v a t i v e and e d u c a t i v e . He e x p l a i n e d t h a t t h i s t h e a t r e had been an i n n o v a t i v e f o r c e because i t had p r o v i d e d a h e a r i n g f o r t he " c l a s s i c s " and f o r c o n t e m p o r a r y works bo th F rench and f o r e i g n . 3 8 By r e v e a l i n g such a w e a l t h o f m u s i c , t h e L y r i q u e had pe r f o rmed an i n v a l u a b l e e d u c a t i v e f u n c t i o n , because i t had b roadened t h e m u s i c a l knowledge o f F rench m u s i c i a n s and n o n - m u s i c i a n s a l i k e , and had s e r v e d as a t r a i n i n g ground where young s i n g e r s had a c q u i r e d p r a c t i c a l e x p e r i e n c e i n a wide range o f r o l e s . 3 9 He t h e r e f o r e endo r sed w h o l e h e a r t e d l y t h e judgment e x p r e s s e d by t h e S o c i e t e des c o m p o s i t e u r s de mu s i que : " . . . l e T h e a t r e - L y r i q u e . . . a rendu a l u i s e u l p l u s de s e r v i c e s a l ' a r t m u s i c a l d r a m a t i q u e , aux c o m p o s i t e u r s e t aux a r t i s t e s l y r i q u e s , que l ' O p e r a e t T O p e r a -Comique r e u n i s . " 4 ^ The Need t o R e e s t a b l i s h a T h i r d L y r i c T h e a t r e a f t e r t h e Demise o f t h e T h e a t r e - L y r i q u e " A f t e r t h e f a i l u r e o f an a t tempt t o r e e s t a b l i s h a t h i r d home f o r l y r i c t h e a t r e i n P a r i s , Reyer mused: "Un t h e a t r e l y r i q u e , a c o t e de ceux qu i e x i s t e n t d e j a et dont l a m i s s i o n e s t d e t e r m i n e d , n ' a sa r a i s o n d ' e t r e que s ' i l comble une l a c u n e dans l e mouvement m u s i c a l . T h i s 181 s t a t e m e n t i s l i k e l y t o r a i s e a number o f q u e s t i o n s i n the r e a d e r ' s m i n d : D id Reyer t h i n k t h a t t h e demise o f t h e L y r i q u e had l e f t a v o i d i n F r ench m u s i c a l l i f e ? I f s o , d i d he e x p e c t one o f t h e e x i s t i n g l y r i c t h e a t r e s t o f i l l t h i s v o i d , o r d i d he f e e l t h a t a new t h e a t r e s h o u l d be founded? What was h i s c o n c e p t o f t h e " m i s s i o n s " o f t h e two e s t a b l i s h e d t h e a t r e s ? C l e a r i n d i c a t i o n s o f t h e answers t o t h e s e q u e s t i o n s appear i n h i s e x t e n s i v e w r i t i n g s on t h e s i t u a t i o n i n t h e l y r i c t h e a t r e s o f P a r i s a f t e r 1870. R e y e r ' s o b s e r v a t i o n s l e a v e no doubt t h a t , i n h i s o p i n i o n , t h e l o s s o f t h e L y r i q u e had l e f t a l a r g e l a c u n a i n F rench m u s i c a l l i f e - - a l a c u n a wh i ch was v e r y damag ing . A f t e r t h e c l o s i n g o f t h i s t h e a t r e , he o f t e n l amented t h a t t h e r e was no P a r i s i a n o u t l e t f o r t h e many new F rench works w h i c h — o n t h e one h a n d — e x c e e d e d t h e p h y s i c a l r e s o u r c e s o f t h e O p e r a -Comique, a n d — o n t h e o t h e r — w e r e r e j e c t e d by t h e c o n s e r v a t i v e O p e r a . 4 2 He a l s o p o i n t e d ou t t h a t t h e r e was no o u t l e t f o r c o n t e m p o r a r y f o r e i g n o p e r a s , because t h e r e g u l a t i o n s g o v e r n i n g t he two e x i s t i n g l y r i c t h e -a t r e s f o r b a d e t h e p r e s e n t a t i o n o f works composed t o n o n - F r e n c h t e x t s . 4 3 E q u a l l y d i s t r e s s i n g t o Reyer was t h e f a c t t h a t t h e " r e p e r t o i r e c l a s -s i q u e " — l o n g ago abandoned by t h e O p e r a — w a s not b e i n g pe r f o rmed i n P a r i s . 4 4 He c o m p l a i n e d t h a t , because t h e r e was no o p p o r t u n i t y t o see p r o d u c t i o n s o f t h e " c l a s s i c s " and o f a m u l t i t u d e o f new works by F r ench and f o r e i g n c o m p o s e r s , m u s i c a l l i f e i n t h e F rench c a p i t a l was becoming l e s s and l e s s s t i m u l a t i n g . . . . l e c e r c l e de nos c o n n a i s s a n c e s m u s i c a l e s . . . d e p u i s q u e l q u e s annees v a se r e t r e c i s s a n t . S i b i e n q u ' u n beau j o u r nous f i n i r i o n s par ne p l u s c o n -n a T t r e g r a n d ' c h o s e e t par ne p l u s nous y c o n n a T t r e du t o u t . Pour une v i l l e qu i a e t e pendant s i l ong temps 182 l ' a r b i t r e du gout m u s i c a l en E u r o p e , e t meme dans l e monde e n t i e r , qu i a v a i t l ' i n s i g n e p r i v i l e g e de c o n s a c r e r l e s b e l l e s o e u v r e s e t l e s g randes renommees de t o u s p a y s , quo i de p l u s h u m i l i a n t que de f i n i r a i n s i ? 4 ^ D u r i n g t h e f i r s t h a l f o f t h e 1870 s , Reyer c a l l e d upon t he Opera t o s e r v e no t s i m p l y as a p r i v i l e g e d s t a t e s howp iece f o r F rench g rand o p e r a , but r a t h e r as a s t a g e d e d i c a t e d t o F r e n c h and f o r e i g n works o f a l l e r a s - - a s t a g e wh i ch t hu s would t a k e t h e p l a c e o f t h e d e f u n c t L y r i q u e . 4 6 However, h i s v i s i o n o f t h e m i s s i o n o f t h e Opera underwent* a r a d i c a l change i n 1875, when t h e company moved t o t h e P a l a i s G a m i e r . He q u i c k -l y came t o t h e c o n c l u s i o n t h a t t h e new t h e a t r e - - t h e l a r g e s t i n E u r o p e , and much b i g g e r t han t he company ' s f o r m e r h o m e 4 7 - - w a s t oo v a s t t o be a s u i t a b l e s e t t i n g f o r a n y t h i n g e x c e p t g rand o p e r a and t h e few l a t e r works wh i ch kept a l i v e t h e i m p o s i n g s p i r i t o f t h a t e c l e c t i c g e n r e . 4 8 In o t h e r w o r d s , he f e l t t h a t t h e Opera c o u l d no l o n g e r f u l f i l any m i s s i o n o t h e r t h a n t h e p r e s e r v a t i o n o f t h e g r a n d - o p e r a t r a d i t i o n . 4 9 Reyer was c o n v i n c e d t h a t t h e Opera -Comique c o u l d no more compensate f o r t h e l o s s o f t h e L y r i q u e t han c o u l d t h e O p e r a . In h i s o p i n i o n , t h e s t a g e o f t h e Comique was somewhat d i m i n u t i v e , t h e o r c h e s t r a t oo s m a l l , and t h e s u p e r n u m e r a r i e s t o o few f o r t h e s u c c e s s f u l p r o d u c t i o n o f most o p e r a s s e r i e u x . 5 0 Even i f t h e s e p h y s i c a l l i m i t a t i o n s were ove rcome, s a i d R e y e r , t h e Opera-Comique c o u l d never r e p l a c e t h e L y r i q u e , because t h e l a t t e r had not been s u p p o r t e d by t h e b o u r g e o i s f a m i l y a u d i e n c e s w h i c h , f o r g e n e r a t i o n s , had p a t r o n i z e d t h e Comique. He s u b s t a n t i a t e d h i s p o s i t i o n by p o i n t i n g out t h a t C a r v a l h o - - w h o had l e d t h e L y r i q u e t o t h e peak o f i t s g l o r y , and s u b s e q u e n t l y d i r e c t e d t h e Comique f r o m 1875 u n t i l 1 8 8 7 - - f a i l e d t o make t h i s t h e a t r e f u n c t i o n as both t h e O p e r a -183 Comique and a new T h e a t r e - L y r i q u e . 5 ! Reyer c o n c l u d e d t h a t , i n v i e w o f t h e Com ique ' s p h y s i c a l l i m i t a t i o n s and i t s l o n g - e s t a b l i s h e d s o c i a l and i n t e l l e c t u a l amb ience , t h i s t h e a t r e c o u l d f u l f i l o n l y t h e m i s s i o n f o r wh i ch i t had o r i g i n a l l y been f o u n d e d : t o s e r v e as t h e home o f "un gen re eminemment n a t i o n a l . " 5 2 S i n c e Reyer f e l t t h a t t h e v o i d l e f t by t h e demi se o f t h e L y r i q u e c o u l d not be f i l l e d by e i t h e r t h e Opera o r t h e Ope ra -Com ique , he c a l l e d f o r t h e r e e s t a b l i s h i n g o f a t h i r d l y r i c t h e a t r e wh i ch would resume t h e i n n o v a t i v e and e d u c a t i v e r o l e o f t h e o r i g i n a l L y r i q u e . 5 3 The new t h e -a t r e would f u n c t i o n as an i n n o v a t i v e f o r c e by o p e n i n g i t s doo r s t o t h e * " c l a s s i c s " and t h e ho s t o f c o n t e m p o r a r y F r e n c h and f o r e i g n o p e r a s "que 1 ' Ope ra d e d a i g n e e t que 1 *Opera-Comique n ' e s t pas de f a i l l e a s ' a p p r o -p r i e r . " 5 4 By t hu s r e v e a l i n g o l d m a s t e r p i e c e s and d i s c o v e r i n g new o n e s , t h e t h e a t r e would s e r v e as an e d u c a t i v e f o r c e , f o r i t would b roaden t h e m u s i c a l h o r i z o n s o f t h e F r e n c h , and would a f f o r d s i n g e r s a d e s p e r a t e l y needed o p p o r t u n i t y t o p e r f e c t t h e i r s k i l l s t h r o u g h m a s t e r i n g a w ide v a r i e t y o f r o l e s . 5 5 In s h o r t , Reyer i n s i s t e d t h a t t h e l a c u n a c r e a t e d by t h e d i s a p p e a r -ance o f t h e o r i g i n a l L y r i q u e c o u l d be f i l l e d o n l y by t h e f o u n d i n g o f an ana l o gou s t h e a t r e . I f P a r i s p o s s e s s ed such a t h e a t r e , t h e r e would be no need t o compromise e i t h e r t he m i s s i o n o f t he Opera -Comique or t h a t o f t h e O p e r a : . . . que p e u t - i l y a v o i r de p l u s g l o r i e u x pour une g rande vi"1 l e comme P a r i s , surnommee, a s i j u s t e t i t r e , l a c a p i t a l e des a r t s , que de po s s ede r un T h e a t r e -L y r i q u e ? A l o r s t o u t e chose s e r a r e m i s e a sa p l a c e : l e gen re eminemment n a t i o n a l , d ' u n c o t e , l e genre cosmopo-1 i t a i n , de 1 ' a u t r e . . . . Et p u i s , comme 1 'Ope ra ne peut pas p l u s r e t r e c i r son c a d r e que 1 'Ope ra -Com ique ne peut 184 e l a r g i r l e s i e n , t o u t e une c a t e g o r i e d ' o u v r a g e s , sans d i s t i n c t i o n d ' o r i g i n e , e t dont 1 1 e n u m e r a t i o n n ' e s t p l u s a f a i r e , t r o u v e r o n t l e u r p l a c e n a t u r e l l e s u r une scene ana logue a c e l l e ou q u e l q u e s - u n s d ' e n t r e eux accom-p l i r e n t j a d i s de s i b r i l l a n te s d e s t i n e e s . 0 manes de Weber e t de M o z a r t , de G l u ck e t de B e e t h o v e n , vous en s o u v e n e z - v o u s ? Wagner e t B e r l i o z y e n t r e r o n t a u s s i en bons f r e r e s don t l a mor t a a p a i s e l e s r i v a l i t e s e t l e s h a i n e s . Que lques j e u n e s c o m p o s i t e u r s e r r a n t s e t d e c o u -r a ge s y v i e n d r o n t a l e u r t o u r . Et mon c oeu r de m u s i c i e n s e r a t o u t r e j o u i de v o i r e n f i n se c omb le r un v i d e que, d e p u i s t a n t d ' a n n e e s , j e d e p l o r e avec une p e r s i s t a n c e qu i ne se l a s s e r a pa s . 56 R e y e r ' s C o n c e p t i o n o f an I d e a l L y r i c T h e a t r e Reyer was by no means a l o n e i n demanding t he e s t a b l i s h m e n t o f a new T h e a t r e - L y r i q u e : o t h e r members o f t h e P a r i s i a n p r e s s , and many p r o m i -nen t m u s i c i a n s , a l s o c l a m o r e d f o r such a t h e a t r e . 5 7 The c o l l e c t i v e p r e s s u r e wh i ch t h e y b r ough t t o bea r on t h e government p roduced r e s u l t s i n t h e m i d - 1 8 7 0 s : two o f t h e e a r l y a t t e m p t s t o r e v i v e t h e L y r i q u e were g r a n t e d s u b s i d i e s , 5 8 and t h e m u n i c i p a l c o u n c i l o f P a r i s f ounded a com-m i t t e e t o c o n s i d e r t he q u e s t i o n o f e s t a b l i s h i n g a new l y r i c t h e a t r e . T h i s q u e s t i o n was s t i l l b e f o r e t h e c o u n c i l when Reyer r e t i r e d f rom t h e Debats i n June 1 8 9 8 . 5 9 D u r i n g t h e l a s t t h r e e decades o f t h e c e n t u r y , t h e r e were a number o f a t t e m p t s — s o m e s u b s i d i z e d , o t h e r s p r i v a t e l y f u n d e d — t o e s t a b l i s h a new l y r i c t h e a t r e i n P a r i s . U n f o r t u n a t e l y , none o f t h e s u b s i d i z e d t h e a t r e s s u r v i v e d even two y e a r s , and most o f t he p r i v a t e l y f unded ones p e r i s h e d w i t h i n a few weeks o r mon th s . 60 Reyer g r e e t e d t he f o u n d i n g o f each new t h e a t r e w i t h s o l i c i t o u s a d v i c e , and d i s c u s s e d t he f a c t o r ( s ) wh i ch he h e l d r e s p o n s i b l e f o r each f a i l u r e . The i s s u e s wh i ch he e x -amined most f r e q u e n t l y were t he f o l l o w i n g : t h e complex r o l e o f t h e 185 gove rnment ; t h e c o m p o s i t i o n o f t h e r e p e r t o i r e ; and t h e r i g h t s and r e s p o n s i b i l i t i e s o f p e r f o r m e r s and o t h e r key pe r s on s i n v o l v e d i n t h e l i f e o f a t h e a t r e . H i s numerous and e x t e n s i v e s t a t e m e n t s c o n c e r n i n g t h e s e and o t h e r m a t t e r s a f f o r d a d e t a i l e d p i c t u r e o f h i s c o n c e p t i o n o f an i d e a l l y r i c t h e a t r e . R o l e o f t h e government Reyer b e l i e v e d t h a t t h e s u r v i v a l o f a l y r i c t h e a t r e depended l a r g e -l y on f i n a n c i a l a s s i s t a n c e and j u d i c i o u s s u p e r v i s i o n f rom t h e g o v e r n -ment . As we s h a l l s e e , he e x p r e s s e d v i t a l i n t e r e s t i n f o u r a s p e c t s o f t h e r e l a t i o n s h i p between t h e government and a l y r i c t h e a t r e : s u b s i d i z a -t i o n ; t h e c h o o s i n g o f a d i r e c t o r ; t h e q u e s t i o n o f whethe r o r not t h e government was e n t i t l e d t o e x e r c i s e any c o n t r o l o v e r a d i r e c t o r ; and t h e scope o f t h e p r i v i l e g e wh i ch l i c e n s e d a t h e a t r e t o p r e s e n t a p a r t i c u l a r gen re o r g e n r e s . Reye r once d e c l a r e d t h a t " l e s hau t s p a t r o n a g e s , c hez nous , sont n e c e s s a i r e s aux g randes e n t r e p r i s e s . " 6 l A t h e a t r e d e v o t e d t o t h e p o p u l a r i z a t i o n o f g r e a t mus ic w a s - - i n h i s o p i n i o n — such an e n t e r p r i s e ; t h e r e f o r e , " i l f a u d r a i t d ' a b o r d en a s s u r e r T e x i s t e n c e et 1 ' i ndependance au moyen d ' u n e s u b v e n t i o n r e g u l i e r e e t c o n s i d e r a b l e . " 6 2 A l a r g e annual s u b s i d y would g u a r a n t e e t h e t h e a t r e ' s s u r v i v a l " c o n t r e l e s d e s t i n s c o n t r a i r e s . " 6 3 F u r t h e r m o r e , i t would make f e a s i b l e t h e h i r i n g o f good s i n g e r s , 6 4 t h e c h a r g i n g o f modest p r i c e s f o r t i c k e t s , 6 5 and t he p r o d u c -t i o n o f works wh i ch m igh t not be c o m m e r c i a l l y s u c c e s s f u l . Ah! l e s bonnes s o i r e e s que j ' a i pa s see s a e c o u t e r q u e l -que c h e f - d ' o e u v r e i n c o m p r i s de l a g rande masse du p u b l i c , F i d e l i o , par e x e m p l e , dans une s a l l e aux t r o i s q u a r t s v i d e ! E l e v e r l e n i v e a u de l ' a r t , imposer l e s 186 b e l l e s o e u v r e s a 1 ' a d m i r a t i o n de l a f o u l e , e e l a ne peut se f a i r e que dans un t h e a t r e l a r gemen t s u b v e n t i o n n e , s o i t que l e d i r e c t e u r l e f a s s e de son p l e i n g r e , s o i t que son c o n t r a t l ' y o b l i g e . 6 6 A c c o r d i n g t o R e y e r , t h e government s h o u l d not be s o l e l y r e s p o n s i b l e f o r c h o o s i n g t h e d i r e c t o r , but s h o u l d have a v o i c e i n t h e mak ing o f t h i s i m p o r t a n t c h o i c e . 6 7 He e v i d e n t l y f e l t t h a t , o f a l l t h e q u a l i t i e s t o be sought i n a d i r e c t o r , a d m i n i s t r a t i v e a b i l i t y was t h e most e s s e n t i a l . En un mot , l e s deux cho se s i n d i s p e n s a b l e s a V e x i s t e n c e d ' u n t h e a t r e l y r i q u e , c ' e s t une l a r g e s u b v e n t i o n et une sage a d m i n i s t r a t i o n . Une s u b v e n t i o n i n s u f f i s a n t e e s t pe rdue d ' a v a n c e : c e l a e s t d e j a v u e ; un a d m i n i s t r a t e u r i n c a p a b l e n ' e s t bon q u ' a o r g a n i s e r l a f a i l l i t e . . . On ne peut pas d i r e que c e l a ne se s o i t j a m a i s v u . 6 8 I d e a l l y , t h e d i r e c t o r s h o u l d be not o n l y a c a p a b l e a d m i n i s t r a t o r , but a l s o "un homme h o n o r a b l e . . . [ e t ] bon m u s i c i e n . " 6 9 Reyer o f t e n warned t h e government a g a i n s t e n t r u s t i n g t h e d i r e c t o r s h i p t o a me r cena r y e n t r e -p r e n e u r who was n e i t h e r a m u s i c i a n nor even a l o v e r o f t h e a r t s , and wou ld t h e r e f o r e r e g a r d t h e s u b s i d y as a s t a k e f o r s e l f - e n r i c h m e n t : . . . on ne d o i t . . . c o n f i e r l a d i r e c t i o n [ d ' u n t h e -a t r e oil T o n p o p u l a r i s e r a l a g rande mus ique ] q u ' a un homme d ' u n e i n t e l l i g e n c e s u p e r i e u r e et d ' u n t a l e n t e p r o u v e . Un e n t r e p r e n e u r , meme un e n t r e p r e n e u r r i c h e , n ' y s u f f i r a i t p a s . S i T o n veut que l e T h e a t r e - L y r i q u e r ende de v e r i t a b l e s s e r v i c e s a T a r t et aux c o m p o s i -t e u r s , s i T o n veut que ce s o i t une scene m o d e l e , une scene v e r i t a b l e m e n t p r i v i l e g i e e , i l ne f a u t pas que l a r o u t i n e e t l a s p e c u l a t i o n v i e n n e n t s ' y i n s t a l l e r . 7 0 Reyer m a i n t a i n e d t h a t t h e g r a n t i n g o f a s u b s i d y d i d not e n t i t l e t h e government t o s u b j e c t t h e d i r e c t o r t o " l a t u t e l l e d ' u n C o n s e i l m u n i c i p a l ou d ' u n e a d m i n i s t r a t i o n s u p e r i e u r e qu i m e t t e n t a p ropos de r i e n l e nez dans vos a f f a i r e s e t vous c h i c a n e n t su r des v e t i 1 l e s . " 7 - ' - On t h e c o n -t r a r y , t h e d i r e c t o r - - o n c e chosen — s h o u l d be f r e e o f any i n t e r f e r e n c e f r o m t h o s e who had s e l e c t e d h i m . He s h o u l d , f o r e x a m p l e , be at l i b e r t y 187 t o h i r e a s i n g e r w i t h o u t h a v i n g f i r s t t o s e c u r e t h e g o v e r n m e n t ' s a p p r o v -a l , and s h o u l d be p e r m i t t e d " d ' a l l e r au g r e de ses i n s p i r a t i o n s et meme de ses f a n t a i s i e s " 7 2 when c h o o s i n g t h e r e p e r t o i r e — p r o v i d e d , o f c o u r s e , t h a t he n e i t h e r went beyond t he b o u n d a r i e s s e t f o r t h by t h e p r i v i l e g e o f h i s t h e a t r e , nor r e l i e d on works wh i ch were i m m e d i a t e l y s u c c e s s f u l at t h e box o f f i c e . 7 3 Reyer u n e q u i v o c a l l y opposed u n l i m i t e d f reedom f o r t h e t h e a t r e s o f P a r i s , becau se t h i s would have meant t h e a b o l i s h i n g o f t h e p r i v i l e g e s . He f e a r e d t h a t t h e r e v o k i n g o f t h e s e l i c e n s e s would r e s u l t i n u n h e a l t h y c o m p e t i t i o n — c o m p e t i t i o n wh i ch would l e a d t o such i n c o n g r u i t i e s as t h e p e r f o r m a n c e o f o p e r e t t a on t h e v a s t s t a g e o f a major l y r i c t h e a t r e . 7 4 A p r i v i l e g e , i n h i s o p i n i o n , was t h e r e f o r e as e s s e n t i a l f o r t he g u a r a n t e e -i n g o f c e r t a i n r i g h t s t o a new l y r i c t h e a t r e as were t h e e x i s t i n g p r i v i - l e g e s wh i ch p r o t e c t e d t h e Opera and t h e Ope ra -Comique . He wa rned , however , t h a t t o o r e s t r i c t i v e a p r i v i l e g e wou ld be as d e t r i m e n t a l t o a new t h e a t r e ' s chance f o r s u r v i v a l as would be t h e r e v o k i n g o f a l l p r i v i l e g e s . Hence he c r i t i c i z e d t h e t h e a t r e c o m m i t t e e ' s f r e q u e n t recommendat ion t h a t a t h i r d l y r i c t h e a t r e be l i c e n s e d t o p r e -sen t o n l y t h e works o f young F r e n c h compo se r s . To r e s t r i c t t h e p r i v i - l e g e i n t h i s way would be t o encumber a t h e a t r e n e e d l e s s l y dans des l i e n s qu i ne t a r d e r a i e n t pas a l ' e t o u f f e r , meme s ' i l e t a i t ne v i a b l e e t r i c h e m e n t s u b v e n t i o n n e . . . . 1 ' a ge du c o m p o s i t e u r ne f a i t r i e n a 1 ' a f f a i r e . II y a des c o m p o s i t e u r s t r e s j e u n e s qu i ont beaucoup de t a l e n t , e t i l y a des c o m p o s i t e u r s t r e s v i e u x qu i n ' e n ont pas du t o u t . II y a a u s s i des o p e r a s e t r a n g e r s qu i sont des c h e f s - d ' o e u v r e e t des ope ra s f r a n g a i s qu i sont de v e r i -t a b l e s p l a t i t u d e s . Nous n ' a v on s que f a i r e de c e u x - c i et nous avons l e p l u s v i f d e s i r d ' e n t e n d r e l e s a u t r e s . 7 5 188 Reyer i n s i s t e d t h a t t h e government c o u l d and s h o u l d f i n d a w o r k a b l e compromise between a f a t a l l y r e s t r i c t i v e p r i v i l e g e and u n l i m i t e d f r e e -d o m . 7 6 He s u gge s t ed t h a t such a compromise would be a p r i v i l e g e wh i ch would l i c e n s e a t h e a t r e t o p r e s e n t any genre e x c e p t o p e r e t t a , and t o open i t s doo r s " aux c o m p o s i t e u r s de t o u t age e t aux oeuv re s de t o u t p a y s , a l ' a r t moderne e t a l ' a r t c l a s s i q u e . " 7 7 On l y by o f f e r i n g t h e o p e r a s bo th new and o l d , bo th F r ench and f o r e i g n , wh i ch were not p r e -s e n t e d by t h e o t h e r two l y r i c t h e a t r e s , c o u l d a new T h e a t r e - L y r i q u e a t t r a c t t h e i n t e r e s t o f t h e p u b l i c , and t h u s s u r v i v e i n t h e f a c e o f com-p e t i t i o n no t o n l y f r om t h e two e s t a b l i s h e d houses but a l s o f rom v a r i o u s c o n c e r t s e r i e s and f e s t i v a l s . R e p e r t o i r e Our d i s c u s s i o n o f R e y e r ' s c o n c e p t i o n o f an a p p r o p r i a t e p r i v i l e g e l e a d s us t o c o n s i d e r h i s v i ews c o n c e r n i n g " l a q u e s t i o n du r e p e r t o i r e , . . . une q u e s t i o n p r i m o r d i a l e , quand i l s ' a g i t de f o n d e r un t h e a t r e l y r i q u e e t d ' e n a s s u r e r 1 ' e x i s t e n c e . " 7 8 He i n s i s t e d t h a t t h e " c l a s s i c s " must s e r v e as t h e f o u n d a t i o n o f t h e r e p e r t o i r e , b e c a u s e — a s e x p l a i n e d b e l o w — f a m i l i a r i t y w i t h o l d m a s t e r p i e c e s o f l y r i c t h e a t r e would d e v e l o p t h e m u s i c a l t a s t e o f t h e F r e n c h p u b l i c , j u s t as r e v i v a l s o f g r e a t works by F r ench p l a y w r i g h t s c u l t i v a t e d t h e p u b l i c ' s a p p r e c i a t i o n o f drama and comedy: . . . c ' e s t l e r e p e r t o i r e c l a s s i q u e qu i d o i t e t r e l e f o n d , l a b a s e , l e p o i n t d ' a p p u i d ' u n t h e a t r e l y r i q u e s e r i e u x . C ' e s t au T h e a t r e - L y r i q u e q u ' o n d o i t a l l e r e n t e n d r e l e s c h e f s - d ' o e u v r e q u ' o n n ' e n t e n d p l u s a l ' O p e r a , q u ' o n n ' e n t e n d p l u s q u ' e x c e p t i o n e l l e m e n t e t par p e t i t s f ragmens a i l l e u r s . C ' e s t au T h e a t r e - L y r i q u e que ceux qu i v e u l e n t se r e t r e m p e r dans l e s p l u s c h e r s s o u -v e n i r s du p a s s e , ceux qu i v e u l e n t e p u r e r l e u r gout et 189 s ' i n s t r u i r e d o i v e n t r e t r o u v e r G l u c k , M o z a r t , B e e t h o v e n , Weber, S p o n t i n i . . . d e s g rands m a i t r e s ! Rendez -nous l e s deux I p h i g e n i e s e t A r m i d e , F i d e l i o e t Idomenee, E u r y a n t h e , Fe rnand C o r t e z e t l a V e s t a l e ; . . . P o u r q u o i ne v o u l e z - v o u s pas f a i r e pour l a mus ique ce que vous f a i t e s pour l ' a r t d r a m a t i q u e ? N ' e s t - c e pas une o b l i g a -t i o n qu i incombe au T h e a t r e - F r a n g a i s e t a V O d e o n que c e l l e de j o u e r M o l i e r e e t Regna rd , R a c i n e e t C o r n e i l l e ? 7 9 Reyer urged t h a t , w h i l e t h e r e p e r t o i r e must be f ounded upon " l ' a r t c l a s s i q u e , " i t must g i v e " [ u n e ] p l a c e e g a l e ou a peu p re s e g a l e aux oeuv re s du p r e s e n t . " 8 0 As we o b s e r v e d e a r l i e r i n t h i s c h a p t e r , he was d e e p l y d i s t r e s s e d t h a t c o n t e m p o r a r y F r e n c h composers l a c k e d a P a r i s i a n o u t l e t f o r t h e m a j o r i t y o f t h e i r w o r k s , and t h a t t h e o p e r a s o f t h e i r f o r e i g n c o u n t e r p a r t s were c o m p l e t e l y o s t r a c i z e d f rom both o f t h e e x i s t -i n g l y r i c t h e a t r e s . In t h e f o l l o w i n g e x c e r p t he p o i n t e d ou t t h a t , t o make m a t t e r s w o r s e , c o n t e m p o r a r y f o r e i g n ope ra s were b e i n g u n f a i r l y j udged on t h e b a s i s o f t h e few e x c e r p t s wh ich found t h e i r way onto t h e programs o f P a r i s i a n c o n c e r t s o c i e t i e s . V o i l a a s s e z l ongtemps que nous ne rendons p l u s a nos v o i s i n s l e s p o l i t e s s e s q u ' i l s nous f o n t : l e s oeuv re s de nos c o m p o s i t e u r s p a s s e n t l a f r o n t i e r e ; c e l l e s des com-p o s i t e u r s e t r a n g e r s ne nous a r r i v e n t que par p e t i t s b a l -l o t s , comme s i e l l e s nous e t a i e n t a p p o r t e e s par des c o n -t r e b a n d i e r s . E t , ayant p r i s l a mauva i se h a b i t u d e de l e s j u g e r s u r ce s e c h a n t i 1 Ions d e p a r e i l l e s , nous l e s j u geon s f o r t m a l . 8 l B e l i e v i n g t h a t " l e mouvement m u s i c a l r e s u l t e de l a l i b r e c i r c u l a t i o n d ' o e u v r e s p r o d u i t e s pa r des e c o l e s d i f f e r e n t e s , " 8 2 Reye r i n s i s t e d t h a t - - f o r t h e sake o f c o n t e m p o r a r y F rench and f o r e i g n composers a l i k e - - a t h i r d P a r i s i a n l y r i c t h e a t r e must be " p o u r v u d ' u n r e p e r t o i r e qu i f a s s e une p a r t e g a l e aux ouv r a ge s modernes et aux c h e f s - d ' o e u v r e du p a s s e . " 8 3 190 R i g h t s and r e s p o n s i b i l i t i e s o f p e r f o r m e r s and o t h e r key p e r s o n s We o b s e r v e d i n C h a p t e r IV t h a t , becau se R e y e r ' s o v e r r i d i n g c o n c e r n when a s s e s s i n g any a s p e c t o f an o p e r a was t h e i m p l i c a t i o n s o f t h e drama, he demanded t h a t t h e s i n g e r s show r e s p e c t f o r d r a m a t i c l o g i c by p e r f o r m -i n g t h e mus i c as w r i t t e n . We s h a l l now see t h a t he i n s i s t e n t l y r ecom-mended such f i d e l i t y t o a l l o f t h e p e r f o r m e r s and t o o t h e r key pe r s on s i n v o l v e d i n t h e l i f e o f a l y r i c t h e a t r e . A f t e r r e m a r k i n g t h a t one o f t h e v o c a l i s t s at t h e Opera had t h a n k e d t h e c o n d u c t o r " d ' a v o i r f a i t p l i e r l e m e r v e i l l e u x b a t a i l l o n de V o r c h e s -t r e a t o u t e s ses p e t i t e s e x i g e n c e s de c a n t a t r i c e , " Reyer p r o t e s t e d : Les c a n t a t r i c e s n ' o n t r i e n ou du moins ne d e v a i e n t r i e n a v o i r a e x i g e r n i du c h e f d ' o r c h e s t r e n i du d i r e c t e u r , dans l e cas ou ce d i r e c t e u r , c o n t r a i r e m e n t a l ' u s a g e [ , ] s a i t l e s cho se s de l a mus ique . . . E l 1es n ' o n t q u ' a s ' i n c l i n e r devant l a v o l o n t e m a n i f e s t e d ou r e s p e c t u e u s e -ment e x p r i m e e par l e c o m p o s i t e u r , s i c e l u i - c i e s t v i -v a n t , e t a se s o u v e n i r du r e s p e c t du a sa memoi re , s ' i l e s t m o r t . 8 4 Reyer was not s u g g e s t i n g t h a t o p e r a t i c v o c a l i s t s were i n c o n s e q u e n t i a l ; he was s i m p l y e x p r e s s i n g h i s c o n v i c t i o n t h a t t h e y were not as i m p o r t a n t as t h e m u s i c , and t h e r e f o r e had no r i g h t t o demand a d j u s t m e n t s i n c o n s i d e r a t i o n o f t h e i r a b i l i t i e s and t a s t e s . 8 5 A c c o r d i n g t o R e y e r , t h e r e s p o n s i b i l i t y f o r i n s u r i n g t h a t s i n g e r s pe r f o rmed t h e i r r o l e s f a i t h f u l l y r e s t e d w i t h v o c a l coaches and c o n d u c -t o r s , a l l o f whom he e x h o r t e d t o e x e r c i s e t h e i r r i g h t f u l a u t h o r i t y i n s t e a d o f a c q u i e s c i n g t o t h e s i n g e r s ' whims.86 He was p a r t i c u l a r l y i n d i g n a n t when a c o n d u c t o r a c t e d as "un s i m p l e b a t t e u r de mesures . . . l e t r e s humble e t t r e s o b e i s s a n t s e r v i t e u r de m e s s i e u r s l e s c h a n t e u r s , de ces m e s s i e u r s e t de ces dames . "87 j n R e y e r ' s o p i n i o n , t he c o n d u c t o r 191 s h o u l d a s s e r t h i s r i g h t t o e x p r e s s what he r e q u i r e d f r om t h e v o c a l i s t s and t o i n s i s t t h a t t h e l a t t e r r e s p e c t h i s w i s h e s . 8 8 In a d d i t i o n t o commanding t h e p r i n c i p a l s i n g e r s , t h e c o n d u c t o r must " v e i l l e r s u r l e s c h o e u r s e t v e i l l e r su r 1 ' o r c h e s t r e , . . . v e i l l e r su r t o u t . " 8 9 Reye r t h e r e f o r e urged t h a t t h e c o n d u c t o r abandon t h e F r ench cus tom o f f a c i n g t h e s t a g e - - w i t h h i s back t u r n e d t o t he o r c h e s t r a - - i n f a v o r o f t h e I t a l i a n p r a c t i c e o f f a c i n g both t h e o r c h e s t r a and t h e s t a g e , so as t o w i e l d g r e a t e r c o n t r o l o ve r t h e i n s t r u m e n t a l i s t s . 9 ^ The c o n d u c t o r at R e y e r ' s i d e a l l y r i c t h e a t r e would not o n l y demand t h a t a l l t h e v o c a l i s t s and i n s t r u m e n t a l i s t s r e s p e c t t h e s c o r e , but a l s o wou ld r e s p e c t i t h i m s e l f . Reyer c r i t i c i z e d any m u s i c a l t r a n s g r e s s i o n on t h e p a r t o f t h e c o n d u c t o r , r e g a r d l e s s o f whe the r i t was t r a d i t i o n a l o r t h e r e s u l t o f e i t h e r t h e c o n d u c t o r ' s own c o n c e p t i o n or t h e p r e s s u r e s e x e r t e d on him by i n f l u e n t i a l s i n g e r s . Reyer l a s h e d out w i t h p a r t i c u l a r v i g o r at changes i n i n s t r u m e n t a t i o n because he f e l t t h a t , a lmos t i n v a r i -a b l y , t h e y were d e t r i m e n t a l t o t h e d r a m a t i c impac t o f t he m u s i c . For e x a m p l e , a f t e r h e a r i n g a p e r f o r m a n c e o f F i d e l i o he c o m p l a i n e d about t he o m i s s i o n o f t h e c o n t r a b a s s o o n p a r t i n t h e accompaniment o f t h e f i n a l due t sung by L e o n o r a and R o c c o : " L e s c o n t r e - b a s s e s s e u l e s ne r enden t que t r e s i m p a r f a i t e m e n t l ' e f f e t l u g u b r e v o u l u par l e c o m p o s i t e u r . " 9 ! I f d e v i a t i o n s f r o m a s c o r e d e s e r v e d c r i t i c i s m , f a i t h f u l n e s s m e r i t e d p r a i s e . Reyer was e s p e c i a l l y p l e a s e d when a c o n d u c t o r da red t o s u p p r e s s s p u r i o u s " t r a d i t i o n a l " a l t e r a t i o n s , as d i d J u l e s Danbe when he c o n d u c t e d a r e v i v a l o f M o z a r t ' s Noces de F i g a r o : Je r e m e r c i e r a i d ' a b o r d M. Danbe . . . d ' a v o i r c o r r i g e c e r t a i n e s e r r e u r s qu i s ' e t a i e n t g l i s s e e s dans l e c h a n t comme dans 1 ' i n s t r u m e n t a t i o n e t d ' a v o i r f a i t d i s p a r a T t r e 192 c e r t a i n s changemens, c e r t a i n s a l t e r a t i o n s qu i y a v a i e n t e t e v o l o n t a i r e m e n t a p p o r t e s . I c i on a v a i t r e n f o r c e l a m e l o d i e pa r deux bas sons j o u a n t en t i e r c e s ; a i l l e u r s on a v a i t r e m p l a c e l ' o r c h e s t r a t i o n de Moza r t . . . par une o r c h e s t r a t i o n p l u s moderne e t beaucoup p l u s r i c h e . II se t r o u v e r a t o u j o u r s q u e l q u e m a l f a i t e u r pour a c c o m p l i r un t r a v a i l de ce g e n r e ! F e l i c i t o n s - n o u s quand i l se r e n c o n t r e un m u s i c i e n a s s e z s c r u p u l e u x , a s se z honnete pour 1 ' a n e a n t i r . 9 2 In o r d e r bo th t o command and t o e n f o r c e f a i t h f u l n e s s t o t h e s c o r e on t h e p a r t o f a l l p e r f o r m e r s , t h e c o n d u c t o r had t o be a c c o r d e d " p l e i n s p o u v o i r s . . . l ' a u t o r i t e a b s o l u e d ' u n maTt re de c h a p e l l e , f o r t a u -de s su s de c e l l e d ' u n s i m p l e b a t t e u r de m e s u r e s . " 9 3 Reyer p o i n t e d out t h a t a K a p e l l m e i s t e r , i n a d d i t i o n t o h a v i n g a b s o l u t e a u t h o r i t y o ve r t h e p e r f o r m e r s , had a say i n t h e c h a r t i n g o f t h e m u s i c a l c o u r s e f o l l o w e d by t h e t h e a t r e . Someday, Reyer hoped , c o n d u c t o r s i n F rench l y r i c t h e a t r e s would a l s o w i e l d such i n f l u e n c e . 9 4 Wh i l e c h a r g i n g t h e c o n d u c t o r w i t h t h e d u t y o f demanding and p r a c -t i c i n g f a i t h f u l n e s s t o t h e s c o r e , Reyer by no means a b s o l v e d t he d i r e c -t o r o f any r e s p o n s i b i l i t y f o r t h e p e r f o r m a n c e . On t h e c o n t r a r y , he b e l i e v e d t h a t t h e a c h i e v i n g and m a i n t a i n i n g o f h i g h m u s i c a l s t a n d a r d s r e q u i r e d v i g i l a n c e f r om both t h e d i r e c t o r and t h e c o n d u c t o r : . . . j e l e r e p e t e , e t p l u t a D i eu que ce c o n s e i l f u t t o u j o u r s s u i v i par l e s d i r e c t e u r s , par l e s c h e f s d ' o r c h e s t r e e t pa r l e s c h e f s d ' o r c h e s t r e d i r e c t e u r s , i l e s t de l a p l u s a b s o l u e n e c e s s i t e de v e i l l e r a ce que 1 ' e x e c u t i o n ne l a i s s e r i e n a d e s i r e r , c a r i l n ' y a pas de bonne mus ique sans une bonne e x e c u t i o n . 9 6 Reyer t h e r e f o r e m a i n t a i n e d t h a t e v e r y d i r e c t o r s h o u l d m o n i t o r r e h e a r s a l s and p e r f o r m a n c e s i n o r d e r t o have t h e o p p o r t u n i t y o f v e t o i n g t h e t a k i n g o f l i b e r t i e s w i t h t h e s c o r e on t h e p a r t o f any a r t i s t — i n c l u d i n g t h e c o n d u c t o r . 9 6 193 One major r e s p o n s i b i l i t y w h i c h , i n R e y e r ' s o p i n i o n , r e s t e d e n t i r e l y on t h e s h o u l d e r s o f t h e d i r e c t o r , was t h e s e l e c t i n g o f t he r e p e r t o i r e . As we have s e e n , Reyer f e l t t h a t a t h i r d l y r i c t h e a t r e s h o u l d o f f e r a r e p e r t o i r e c o n s i s t i n g e q u a l l y o f n e g l e c t e d c l a s s i c s and c o n t e m p o r a r y w o r k s — m o s t o f wh i ch were unknown t o t h e P a r i s i a n p u b l i c . He was t h e r e -f o r e d i s a p p o i n t e d whenever a d i r e c t o r o f a new ly founded l y r i c t h e a t r e r e l i e d on w e l l - k n o w n works o f p roven commerc i a l v a l u e , i n s t e a d o f u n d e r -t a k i n g " q u e l q u e s - u n e s de ce s e x p e r i e n c e s que l a f o r t u n e ne s u i t pas t o u -j o u r s . " 9 7 A f t e r a l l , s a i d R e y e r , t h e pu rpose o f a l y r i c t h e a t r e was not t o l i n e t h e d i r e c t o r ' s p o c k e t s , but r a t h e r t o r e n d e r s e r v i c e t o m u s i c a l a r t and t o c o m p o s e r s . 9 8 A n o t h e r r e s p o n s i b i l i t y wh i ch Reyer p l a c e d s q u a r e l y on t h e s h o u l d e r s o f t h e d i r e c t o r was t h a t o f f o r m i n g "une t r o u p e sans ' e t o i l e s , ' mais avec q u e l q u e s e x c e l l e n t s c h a n t e u r s , o f f r a n t un ensemble t r e s s a t i s f a i -s a n t " 9 9 — a good ensemble company wh i ch would p r e s e n t each work as w r i t -t e n , w i t h o u t t h e d i s f i g u r i n g o r n a m e n t a t i o n s and p e r s o n a l v o c a l manner -i sms t h a t were t h e t r a d e m a r k s o f " s t a r s . " Reyer c o m p l a i n e d t h a t , i n a d d i t i o n t o d i s r u p t i n g t h e m u s i c a l homogene i t y o f a p e r f o r m a n c e , t h e s e v i r t u o s o s commanded e x o r b i t a n t f e e s wh i ch d r a i n e d a t h e a t r e o f f und s needed both t o p u r c h a s e t h e r i g h t s t o new o p e r a s and t o p r o v i d e good s a l a r i e s f o r t h e permanent members o f t h e company. The r e s en tmen t b red by t h i s s i t u a t i o n somet imes prompted key members o f a company t o r e s i g n , as Reyer p o i n t e d ou t when t h e g r e a t b a r i t o n e J e a n - B a p t i s t e Faure t h r e a t -ened t o b reak h i s c o n t r a c t w i t h t h e Opera i n p r o t e s t o ve r t he enormous sum g r a n t e d t o t h e c o l o r a t u r a sop rano A d e l i n a P a t t i f o r a p p e a r i n g i n a r e v i v a l o f Les Huguenot s .100 194 S i n c e Reye r f e l t t h a t " s t a r s " f e r m e n t e d a r t i s t i c and f i n a n c i a l d i s c o r d at a l y r i c t h e a t r e , he c r i t i c i z e d d i r e c t o r s who p e r p e t u a t e d t h e " s t a r s y s t e m " by handsomely r e w a r d i n g t h e p u b l i c ' s i d o l s . 1 0 1 Avowing t h a t " s a n s une t r o u p e d ' e n s e m b l e . . . i l n ' y a pas de bonne e x e c u t i o n p o s s i b l e , " 1 0 2 n e u r g e 6 d i r e c t o r s t o s t o p s e a r c h i n g o b s e s s i v e l y f o r v i r -t u o s o s , and i n s t e a d t o h i r e v o c a l i s t s who - -even i f t h e i r v o i c e s were not o u t s t a n d i n g — w e r e w e l l - t r a i n e d m u s i c i a n s . 103 By t h u s e s t a b l i s h i n g a good ensemble company, a d i r e c t o r c o u l d s u c c e s s f u l l y b reak t h e " s t a r s y s t e m , " as Reyer e x p l a i n e d i n t h e f o l l o w i n g e x c e r p t : La p l u p a r t des ouv r a ge s du r e p e r t o i r e e x e c u t e s comme i l s l ' e t a i e n t a l ' o r i g i n e en s e r a i e n t t o u t r a j e u n i s : i l s a p p a r a t t r a i e n t au p u b l i c e t onne avec une p h y s i o n o m i e t o u t e n o u v e l l e . Et l e p u b l i c , p r enan t gout peu a peu aux b o n n e s • e x e c u t i o n s d ' e n s e m b l e , p e r d r a i t par c e l a meme 1 ' h a b i t u d e de se pamer aux e x c e n t r i c i t e s de t e l ou t e l c h a n t e u r e x o t i q u e dont l a renommee l e f a s c i n e , 1 ' e b l o u i t . 1 0 4 When c o n s i d e r i n g t h e p r o d u c t i o n o f an o p e r a by a l i v i n g compose r , Reye r urged t h a t t h e l a t t e r r e f u s e t o a c c e p t t h e c o l l a b o r a t i o n o f s i n g -e r s whose o n l y a im was t o make t h e mus i c s e r v e as a means f o r f l a t t e r i n g t h e i r e x h i b i t i o n i s m . 1 0 5 M o r e o v e r , s a i d R e y e r , t h e composer had t he p r e -r o g a t i v e o f d e m o n s t r a t i n g t o t h e c o n d u c t o r t h e tempos r e q u i r e d i n t h e o p e r a , and s h o u l d even be a l l o w e d t o c onduc t t h e r e h e a r s a l s and t h e p e r -f o r m a n c e s , p r o v i d e d he was e x p e r i e n c e d i n t h e a r t o f c o n d u c t i n g o p e r a . Reyer e x p l a i n e d t h a t such e x p e r i e n c e was e s s e n t i a l because o p e r a posed s p e c i a l c h a l l e n g e s t o a c o n d u c t o r — e v e n t o one who was s k i l l e d at c o n -d u c t i n g i n t h e c o n c e r t h a l l . F e l i c i e n Dav id e t B e r l i o z , qu i ont e t e d ' e x c e l l e n s e t t r e s h a b i l e s c h e f s d ' o r c h e s t r e , n ' o n t j a m a i s d i r i g e que 1 ' e x e c u t i o n de l e u r s o e u v r e s s ymphon ique s . Au t h e a t r e , a yan t a s u i v r e , en meme temps que l a p a r t i t i o n , l e j e u 195 des a c t e u r s et l e s mouvemens de l a s c e n e , i l s e u s s en t p e u t - e t r e ep rouve des d i f f i c u l t e s s e r i e u s e s et que c o n n a i s s e n t s e u l s ceux q u i , du m a t t r e de c h a p e l l e au s i m p l e b a t t e u r de me su re , ont 1 ' e x p e r i e n c e , l a p r a t i q u e q u ' e x i g e l a d i r e c t i o n d ' u n e oeuv re de t h e a t r e , d ' u n o p e r a - c o m i q u e ou d ' u n o p e r a . 1 0 6 O t h e r m a t t e r s When Reyer pondered t h e m y r i a d q u e s t i o n s p e r t a i n i n g t o t h e e s t a b -l i s h i n g o f a new l y r i c t h e a t r e , he not o n l y examined i n d e t a i l t he t h r e e ma jo r i s s u e s d i s c u s s e d above , but a l s o r e f l e c t e d b r i e f l y on v a r i o u s o t h e r m a t t e r s . We need c o n s i d e r o n l y t h o s e f o r wh i ch he e x p r e s s e d e s p e c i a l l y keen c o n c e r n : t h e s i z e and c o n s t i t u t i o n o f t h e o r c h e s t r a ; t h e q u e s t i o n o f whe the r o r not t h e t h e a t r e would need a c o r p s de b a l l e t ; and t h e p h y s i c a l a t t r i b u t e s t o be r e q u i r e d o f a home f o r l y r i c t h e a t r e . In r e s p o n s e t o t h e t h e a t r e c o m m i t t e e ' s d e t a i l e d p r o p o s a l f o r t h e f o u n d i n g o f an " O p e r a p o p u l a i r e m u n i c i p a l , " Reyer e x p r e s s e d d i smay t h a t t h e o r c h e s t r a would c o n s i s t o f o n l y s i x t y m u s i c i a n s , and t h a t a c o r p s de b a l l e t would be o p t i o n a l . He f e l t t h a t t h e c o m p o s i t i o n o f t he o r c h e s t r a was a s u b j e c t o f g r e a t i m p o r t a n c e , and t h e r e f o r e d e s c r i b e d at l e n g t h h i s i d e a l o r c h e s t r a : a g roup c o n s i s t i n g o f at l e a s t s e v e n t y - s e v e n m u s i -c i a n s , not i n c l u d i n g r e p l a c e m e n t s and any e x t r a i n s t r u m e n t a l i s t s who m i gh t be r e q u i r e d f o r a s p e c i f i c o p e r a . 1 0 7 He a d v i s e d t he commi t tee t h a t t h e e s t a b l i s h i n g o f a c o r p s de b a l l e t s h o u l d be c o m p u l s o r y , b e -c a u s e b a l l e t was an i n t e g r a l p a r t o f many o f t he " o e u v r e s ' de hau te v a l e u r ' " 1 0 8 w h i c h t h e p ropo sed t h e a t r e was r e q u i r e d t o p r e s e n t . E x c e l l e n t a c o u s t i c s and a l a r g e s e a t i n g c a p a c i t y were t he p h y s i c a l a t t r i b u t e s wh i ch Reyer r e g a r d e d as b e i n g e s s e n t i a l t o a b u i l d i n g d e s t i n e d t o s e r v e as a l y r i c t h e a t r e . When t h e t h e a t r e commi t t ee 196 recommended t h a t such a b u i l d i n g have more t h a n two t hou sand s e a t s , Reyer p o i n t e d ou t t h a t t h i s was t h e c a p a c i t y o f t h e T h e a t r e du C h a t e a u -d ' E a u and t h e E d e n - T h e a t r e , each o f wh i ch he o f t e n p roposed as a home f o r a new l y r i c t h e a t r e . 109 j n n - j s o p i n i o n , ample s e a t i n g was as n e c e s -s a r y as s u b s i d i z a t i o n , f o r o n l y t h e s e two t h i n g s would make f e a s i b l e t h e c h a r g i n g o f modest p r i c e s f o r t i c k e t s — p r i c e s t h a t would put t he t h e a t r e " a l a p o r t e e des p l u s p e t i t e s b o u r s e s , " as Reyer i n s i s t e d i t s h o u l d b e , " c a r i l n ' y a pas une mus ique pour l e p e u p l e e t une a u t r e mus ique pour 1 ' a r i s t o c r a t i e , pour l e s gens r i c h e s ou meme pour l e s b o u r g e o i s a i s e s . " H 0 A t h e a t r e wh i ch t hu s would be a c c e s s i b l e t o a l l s t r a t a o f s o c i e t y would be t h e answer t o R e y e r ' s p l e a t h a t t h e government "democ-r a t i z e " g r e a t m u s i c : " . . . j e demande que l ' a u d i t i o n de nos c h e f s -d ' o e u v r e l y r i q u e s s o i t m i se a l a p o r t e e de t o u t e s l e s b o u r s e s , f a i s a n t p e u t - e t r e a i n s i . . . de l a d e m o c r a t i e . " H l * * * R e y e r ' s c o n c e p t i o n o f an i d e a l l y r i c t h e a t r e i s b e s t summarized by t h e c r i t i c h i m s e l f . A f t e r announc ing a f o r t h c o m i n g r e v i v a l o f Ado lphe Adam's p o p u l a r comic o p e r a S i j ' e t a i s r o i , ou Le Dormeur e v e i l l e , he i n d u l g e d i n a w i s t f u l f l i g h t o f f a n c y : S i j ' e t a i s r o i de B e o t i e ou s eu l emen t P r e s i d e n t d ' u n e p e t i t e r e p u b l i q u e a r i s t o c r a t i q u e a l a fagon des r e p u b l i q u e s de l ' a n c i e n n e G r e c e , j e v o u d r a i s a v o i r a moi un t h e a t r e l y r i q u e oh l e l u x e i n t e r i e u r s e r a i t peu de c h o s e , oh l a mus ique s e r a i t t o u t ; un t h e a t r e oh l ' o n f e r a i t une p l a c e e g a l e a l ' a n c i e n r e p e r t o i r e e t au nou -v e a u , un t h e a t r e oh r i e n ne s e r a i t l a i s s e au c a p r i c e des a r t i s t e s , un t h e a t r e ou l e s c h e f s - d ' o e u v r e " q u i ne f o n t pas l e s o u " s e r a i e n t honore s e t s u r t o u t j o u e s par c e l a s e u l que ce sont des c h e f s - d ' o e u v r e , un t h e a t r e oh l e s m u s i c i e n s d ' o r c h e s t r e ne s e r a i e n t pas payes comme des ga rgons de b u r e a u , un t h e a t r e qu i s ' e n o r g u e i l l i r a i t de ses s u cce s e t non p o i n t de ses b e n e f i c e s , un t h e a t r e 197 comme on n ' e n v o i t g u e r e , un t h e a t r e comme on n ' e n v o i t p a s , meme a i l l e u r s que chez nou s . . . . A p e i n e v e n a i s - j e d ' a n n o n c e r l a r e p r i s e de S i j ' e t a i s r o i , j e me s u i s e n d o r m i ; j ' a i f a i t un r e v e , e t v o i l a l e dormeur e v e i 11 e . 198 Endnotes 1 Baron Haussmann. The emperor and Haussmann had made t h e c a p i t a l more b e a u t i f u l , had p r o v i d e d f o r t h e i n c r e a s i n g t r a f f i c , and had i m -p roved t h e l i v i n g c o n d i t i o n s as w e l l as t h e r e c r e a t i o n a l o p p o r t u n i t i e s o f t h e p o o r . See Den i s W. B r o g a n , The F r e n c h N a t i o n : From Napo leon t o P e t a i n , 1814-1940 ( London : H a m i l t o n , 1 9 5 7 ) , pp . 1 11 - 13 . 2 See I v o r G u e s t , The B a l l e t o f t h e Second E m p i r e , 1852 -1870 , w i t h a P r e f a c e by Se rge L i f a r ( London : A. & C. B l a c k , 1 9 5 3 ) , pp . 1 36 - 39 . 3 The Opera and t h e Opera -Comique were not a l l o w e d t o s t a g e a work u n l e s s i t was composed t o a F rench t e x t . (We s h a l l see t h a t an e x c e p -t i o n was made i n t h e ca se o f Wagne r ' s T a n n h a u s e r . ) I t a l i a n o p e r a r ema ined t h e p r e r o g a t i v e o f t h e T h e a t r e - I t a l l e n , and c o u l d not be p r e -s e n t e d i n t r a n s l a t i o n at e i t h e r o f t h e o t h e r two s t a t e - a i d e d t h e a t r e s . ( A g a i n , t h e r e were o c c a s i o n a l e x c e p t i o n s , such as t h e O p e r a ' s p r o d u c t i o n o f V e r d i ' s Le T r o u v e r e a f t e r t h e t remendous s u c c e s s o f II T r o v a t o r e at t h e T h e a t r e - I t a l i e n . ) The T h e a t r e - L y r i q u e , however , rema ined exempt f r o m t h e s e r e g u l a t i o n s , even a f t e r i t was g r a n t e d a s m a l l s u b s i d y i n 1863. 4 R e y e r ' s w r i t i n g s on t h e T h e a t r e - I t a l i e n - - w h i c h d e c l i n e d i n p o p u -l a r i t y d u r i n g t h e Second Emp i re and e x p i r e d i n 1878 ( see b e l o w , n. 41) - - a r e not s u f f i c i e n t l y e x t e n s i v e t o r e q u i r e c o n s i d e r a t i o n i n t h i s c h a p t e r . 5 M i na C u r t i s s , B i z e t and H i s Wor ld ( London : Seeke r & Warbu r g , 1 959 ) , p. 125. The r e p e r t o i r e o f t h i s t h e a t r e d i d not change s i g n i f i -c a n t l y u n t i l t h e d i r e c t o r s h i p o f B e r t r a n d ( 1 8 9 2 - 1 9 0 0 ) , as M a r v i n C a r l s o n e x p l a i n s i n The F r e n c h S t a ge i n t h e N i n e t e e n t h C e n t u r y (Me tuchen , N . J . : The S c a r e c r o w P r e s s , 1 9 7 2 ) , pp. 2 19 - 20 . Throughout t h e n i n e t e e n t h c e n t u r y , both b a l l e t and o p e r a - b a l l e t ( i . e . , b a l l e t i n v o l v i n g sung o r spoken words ) were at l e a s t as p o p u l a r as l y r i c drama at t h e O p e r a . The 1830s and 1840s , i n f a c t , w i t n e s s e d t h e peak o f F r e n c h r o m a n t i c b a l l e t , e x e m p l i f i e d by La S y l p h i d e (1832) and G i s e l l e ( 1 8 4 1 ) . B a l l e t was a l s o an i n t e g r a l p a r t o f g rand o p e r a , and was i n s e r t e d i n t o any o p e r a — w h e t h e r o l d o r new, F r ench or f o r e i g n - - t h a t was adapted f o r t h e O p e r a . I ndeed , t h e p r e s e n c e o f b a l l e t and r e c i t a t i v e s i n s t e a d o f speech were t h e two t r a d i t i o n a l r e q u i r e m e n t s a s s o c i a t e d w i t h l y r i c drama at t h i s t h e a t r e . 6 See G e n e v i e v e Lomax C h i n n , "The Academie I m p e r i a l e de M u s i q u e : A S t udy o f I t s A d m i n i s t r a t i o n and R e p e r t o r y f r om 1862 t o 1870" (Ph .D . d i s -s e r t a t i o n , C o l u m b i a U n i v e r s i t y , 1 9 6 9 ) , pp . i i i and 6 9 - 8 1 . 7 Namely, A u b e r ' s La Mue t t e de P o r t i c i ( 1 8 2 8 ) , R o s s i n i ' s G u i l l a u m e T e l 1 ( 1 8 2 9 ) , H a l e v y ' s L a J u i v e ( 1 8 3 5 ) , and t h e two works by Meye rbeer 199 c i t e d above on p. 173 . O the r s t a p l e s o f t h e r e p e r t o i r e were a h a n d f u l o f l a t e r g rand o p e r a s : M e y e r b e e r ' s Le P r o p h e t e (1849) and L ' A f r i c a i n e ( p r e m i e r e d po s t humou s l y i n 1 8 6 5 ) , a n d — u n t i l 1863-64 ( see C h a p t e r IV, n. 5 0 ) - - V e r d i ' s Les Vep re s s i c i l i e n n e s ( 1 8 5 5 ) . 8 The L y r i q u e p r e m i e r e d B e r l i o z ' s Le s T r o yen s a C a r t h a g e under t h e somewhat m i s l e a d i n g t i t l e Le s T r o yen s ( 1 8 6 3 ) , and a v a r i e d s u c c e s s i o n o f works by Gounod: t h e o p e r a comique Le Medec i n m a l g r e l u i ( 1 8 5 8 ) ; F a u s t ( 1 8 5 9 ) ; t h e l i g h t - h e a r t e d Ph i l emon e t B a u c i s ( 1 8 6 0 ) ; t h e o p e r a d i a l o g u e M i r e i l l e ( 1 8 6 4 ) ; and t h e f i v e - a c t o p e r a Romeo e t J u l i e t t e ( 1 8 6 7 ) . A f t e r t he f a i l u r e o f Benvenuto C e l 1 i n i a t t he Opera i n 1838, t h e d o o r s o f t h i s i n s t i t u t i o n had c l o s e d t o B e r l i o z . Gounod had s u f f e r e d a s i m i l a r f a t e . H i s o p e r a s Sapho (1851) and La Nonne s a n g l a n t e (1854) had been c o o l l y r e c e i v e d by t h e O p e r a ' s a u d i e n c e , w i t h t h e r e s u l t t h a t t h e a d m i n i s t r a t i o n had r e j e c t e d h i s n e x t work , F a u s t . A f t e r t he s u c c e s s o f F a u s t a t t h e L y r i q u e , t h e Opera had a c c e p t e d and p r e m i e r e d La R e i n e de Saba ( 1 8 6 2 ) ; however , t h i s work had been a f i a s c o , and Gounod had a ga i n been o s t r a c i z e d f r om t h e Ope ra . 9 See C a m i l l e S a i n t - S a e n s , E c o l e b u i s s o n n i e r e : n o t e s e t s o u v e n i r s ( P a r i s : P i e r r e L a f i t t e , 1 9 1 3 ) , p. 22 . 10 E r n e s t R e y e r , JD f e u i l l e t o n o f 17 J a n u a r y 1878. Reyer u t i l i z e d t h i s e x p r e s s i o n t o d e s i g n a t e t he w e a l t h o f n e g l e c t e d F r e n c h and f o r e i g n o p e r a s wh i ch p r e d a t e d t he r i s e o f g rand o p e r a . He most o f t e n r e f e r r e d t o t h e works o f G l u c k , M o z a r t , S p o n t i n i , B e e t h o v e n , and Weber as com-p r o m i s i n g t h e " r e p e r t o i r e c l a s s i q u e " ( f o r e x a m p l e , see i b i d . , 29 J u l y 1871 and 29 June 1 8 7 2 ) . 11 For e x a m p l e , a r e a s o n a b l y a u t h e n t i c F r ench v e r s i o n o f Webe r ' s Per F r e i s c h l i t z ( 1841 ; r e c i t a t i v e s by B e r l i o z ) was t u r n e d i n t o a c u r t a i n - r a i s e r i n 1850 and a g a i n i n 1870. B e r l i o z , who s u p e r v i s e d t he r e v i v a l o f G l u c k ' s A l c e s t e i n 1861 , e n s u r e d t h a t a l t e r a t i o n s were kep t t o a minimum, but i n 1866 i t s u f f e r e d t h e same f a t e as F r e i s c h l i t z . M o z a r t ' s Don G i o v a n n i f a r e d no b e t t e r : t h e f i v e - a c t F r e n c h a r rangement by B l a z e de Bury and E. Deschamps (1834) was r e v i v e d i n 1866, w i t h t h e added i r r e l e v a n c y o f an i n t e r p o l a t e d b a l l e t . T h i s m u t i l a t e d work r ema ined i n t h e r e p e r t o i r e u n t i l " t h e u n b e l i e v a b l y l a t e d a t e o f 1 9 0 4 . " ( C h i n n , " A cadem ie I m p e r i a l e , " p. 70 . ) Reyer o b j e c t e d s t r o n g l y t o t h e s e m u t i l a t i o n s : " L a i s s e z done d o r m i r l e s c h e f s - d ' o e u v r e p l u t o t que de l e s r e n d r e a l a v i e d e f i g u r e s , m u t i l e s e t p re sque m e c o n n a i s s a b l e s . " (JD f e u i l l e t o n o f 29 May 1873. ) 12 Reyer once wro te t h e f o l l o w i n g i n d e f e n c e o f a d i r e c t o r o f t h e O p e r a : "Un d i r e c t e u r qu i a c h a r g e d 'ames e t de c o m m a n d i t a i r e s n ' e s t pas t o u j o u r s l i b r e de f a i r e a sa f a n t a i s i e . . . . ce ne sont pas ses p r e f e -r e n c e s q u ' i l d o i t c o n s u l t e r : C ' e s t l ' i n t e r e t de son e n t r e p r i s e . . . c ' e s t l e gout du p u b l i c . " ( I b i d . , 8 O c t o b e r 1881. ) 13 Reyer s t r e s s e d t h e need f o r a u t h e n t i c p r o d u c t i o n s o f " de g r ande s e t b e l l e s p a r t i t i o n s q u i , m a l h e u r e u s e m e n t , son t a peu p re s i n connue s a 200 1 a ^ g e n e r a t i o n a c t u e l l e . " T h i s r e p e r t o i r e would g r a d u a l l y " a s s a i n i r l e gout e t l e jugement du p u b l i c " ( " C h r o n i q u e de l a q u i n z a i n e . Revue m u s i -c a l e , " RP 22 [15 J u l y 1 8 5 4 ] : 3 1 3 - 1 4 ) . 14 When t he Opera N a t i o n a l - - 1 a t e r r e c h r i s t e n e d t h e T h e a t r e - L y r i q u e - - o p e n e d i n 1851 , Edmond V i e l r h e t o r i c a l l y a s k e d , "Why a t h i r d o p e r a h o u s e ? " and t hen s u p p l i e d t h e w e l l - k n o w n answer t h a t bo th t he Opera and t h e Opera -Comique were v i r t u a l l y i n a c c e s s i b l e t o young F rench compos-e r s . See h i s a r t i c l e "Ope r a N a t i o n a l . O u v e r t u r e . M o s q u i t a l a s o r - c i e r e , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. S c r i b e e t G. V a e z , mus ique de M. X a v i e r B o i s s e l o t , " Le M e n e s t r e l 18 (5 Oc tobe r 1 851 ) : [ 1 - 2 ] . See a l s o t h e c r i t i c i s m o f t h e Opera and t h e Opera-Comique i n Pau l S c u d o ' s L ' Annee m u s i c a l e , 3 v o l s . ( P a r i s : H a c h e t t e , 1 8 6 0 - 6 2 ) , 1: 292 ; and i n B e n o i t J o u v i n ' s "Un F e u i l l e t o n i s t e e t a n t de l o i s i r , " Le F i g a r o , 26 A p r i l 1863. Between 1848 and 1868 t h e Comique p roduced o n l y 251 new a c t s i n s t e a d o f t h e r e q u i r e d minimum o f 400 , o b s e r v e d Ado lphe J u l l i e n i n A i r s v a r i e s ( P a r i s : G. C h a r p e n t i e r , 1 8 7 7 ) , p. 199. 15 See R e y e r ' s " C h r o n i q u e m u s i c a l e , " RF Annee 4 , Tome 12 (10 F e b r u -a r y 1 8 5 8 ) : 1 1 7 . — 16 Most o f t h e works by t h e s e young composer s r e c e i v e d a lukewarm o r even c h i l l y r e c e p t i o n f r om R e y e r . Fo r e xamp le , he drubbed Aime Mai 1 -l a r t ' s L a C r o i x de M a r i e i n " C h r o n i q u e m u s i c a l e , " A t hF 1 (24 J u l y 1 8 5 2 ) : 6 0 - 6 1 . One o f t h e few works wh i ch Reyer app l auded was M a s s e ' s Les Noces de J e a n n e t t e ; see " C r i t i q u e m u s i c a l e , " RP 16 (March 1 8 5 3 ) : 4 9 7 - 9 8 . Of a l l t h e young composer s whose works were a c c e p t e d by t he Comique d u r i n g t h e p e r i o d o f t h e Second E m p i r e , o n l y one e v e n t u a l l y a c h i e v e d a p l a c e o f d i s t i n c t i o n i n t h e h i s t o r y o f F r e n c h m u s i c : Ambro i s e Thomas, f o r whose t a l e n t Reyer o f t e n e x p r e s s e d g r e a t r e s p e c t ( see e s p e c i a l l y h i s r e v i e w o f Thomas ' s M i gnon , JD f e u i l l e t o n o f 2 December 1 8 6 6 ) . 17 Even at t h e o u t s e t o f R e y e r ' s c a r e e r as c r i t i c , he o f t e n acknow-l e d g e d t h e C o m i q u e ' s r e p u t a t i o n as a f a m i l y t h e a t r e . For e xamp le , he o b s e r v e d t h a t t h e l i b r e t t i s t s who had adapted a famous I t a l i a n t a l e f o r D u p r a t o ' s Les T r o v a t e l l e s had r ema ined w i t h i n " l e s bo rne s imposees a l e u r muse e g r i l l a r d e par l e s gou t s s i m p l e s e t d e l i c a t s des h a b i t u e s de 1 'Opera -Comique . " ( " C h r o n i q u e de l a q u i n z a i n e . Revue m u s i c a l e , " RP_ 22 [15 J u l y 1 8 5 4 ] : 3 1 1 . ) 18 Of t h e new works p r e s e n t e d at t h e Comique and t he Opera d u r i n g t h e Second E m p i r e , o n l y two have e n d u r e d : M a s s e ' s Les Noces de J e a n n e t t e (1853) and Thomas ' s Mignon ( 1 8 6 6 ) , bo th o f wh i ch were p r e -m i e r e d a t t h e Comique. Apropos o f t h e L y r i q u e ' s o f f e r i n g s , see p. 178. 19 S a i n t - S a e n s , E c o l e b u i s s o n n i e r e , p. 3 1 . 20 S h o r t l y b e f o r e i t s demi se i n 1870, Reyer p r a i s e d t h e L y r i q u e f o r h a v i n g been t h e one t h e a t r e a c c e s s i b l e t o " l e s ouv rage s que l ' O p e r a ne j o u e p l u s . . . [ e t ] o u v e r t ega l ement aux c o m p o s i t e u r s v i v a n s sans d i s -t i n c t i o n de n a t i o n a l i t e . " (JD f e u i l l e t o n o f 17 A p r i l 1870 . ) 201 In 1845, a f t e r a q u a r r e l w i t h t h e d i r e c t o r o f t h e Comique, Adam had o b t a i n e d a l i c e n s e t o a l l o w him t o w i t h d r a w h i s works f r om t h a t t h e -a t r e and t o p r e s e n t them h i m s e l f , t o g e t h e r w i t h new works by o t h e r com-p o s e r s . Wi th f i n a n c i a l b a c k i n g f r om t h r e e men, he c o n v e r t e d a c i r c u s t h e a t r e ( t h e S a l l e du C i r q u e on t h e b o u l e v a r d du Temple) i n t o a l y r i c t h e a t r e , wh i ch opened on 15 November 1847. Adam c a l l e d i t t h e Opera N a t i o n a l . See A l b e r t de L a s a l l e , Memor i a l du T h e a t r e - L y r i q u e ( P a r i s : L i b r a i r i e Moderne, J . L e c u i r , 1 8 7 7 ) , pp . 1 and 3 - 6 ; and T. J . W a l s h , Second Emp i re O p e r a : The T h e a t r e L y r i q u e , P a r i s , 1851-1870 ( London : John C a l d e r ; New Y o r k : R i v e r r u n P r e s s , 1 9 8 1 ) , pp . 2 - 3 . 2 2 i n 1848 A d o l p h e Adam, f i n a n c i a l l y r u i n e d , had r e t i r e d f rom t h e p o s i t i o n o f d i r e c t o r . H i s s u c c e s s o r was Edmond S e v e s t e . The l o n g -dormant Opera N a t i o n a l had a l s o a new home: t h e f o r m e r T h e a t r e -H i s t o r i q u e ( c a p a c i t y 2 , 0 0 0 ) . The c u r t a i n r o s e on t h e r e b o r n Ope ra N a t i o n a l on 27 September 1851 . The nex t y e a r , on 12 A p r i l , t h e adm in -i s t r a t i o n changed t h e name o f t h e t h e a t r e t o T h e a t r e - L y r i q u e . 23 i n 1862 t h e L y r i q u e had moved t o t h e G r a n d - C h a t e l e t ( c a p a c i t y 1 , 2 43 ) , an i m p r e s s i v e s t r u c t u r e wh i ch had been r a i s e d on Haussmann ' s new P l a c e du C h a t e l e t . T h i s r ema ined t h e home o f t h e L y r i q u e u n t i l i t e x p i r e d . See L a s a l l e , M e m o r i a l , p p . 13-16 and 6 2 - 6 6 . The s u b s i d i e s o f t h e L y r i q u e and t h e T h e a t r e - I t a l i e n , each o f wh i ch r e c e i v e d 100 ,000 f r a n c s a n n u a l l y , were s m a l l i n c o m p a r i s o n w i t h t h o s e o f t h e Opera and t h e Ope ra -Com ique . In t h e y e a r 1863, f o r e xamp le , t h e two l a t t e r t h e a t r e s r e c e i v e d 820 ,000 and 240 ,000 f r a n c s r e s p e c t i v e l y . See J u l l i e n , A i r s v a r i e s , p. 185 ; and A l b e r t de L a s a l l e and E r n e s t Tho i nan [ A n t o i n e - E r n e s t R o q u e t ] , La Mus ique a P a r i s pendant 1 ' annee 1862 ( P a r i s : M o r i z o t , L i b r a i r e - E d i t e u r , 1 8 6 3 ) , p. 8 . 2 4 R e y e r , JD f e u i l l e t o n o f 29 J a n u a r y 1870. 25 The L y r i q u e ' s l i c e n s e a l s o p e r m i t t e d t h e p r e s e n t a t i o n o f o p e r a -b a l l e t , but o n l y f o u r such works were pe r f o rmed at t h i s t h e a t r e between i t s i n c e p t i o n i n 1847 and i t s demise i n 1870. See W a l s h , Second Emp i re O p e r a , p. 4 6 ; and L a s a l l e , M e m o r i a l , p. 9 3 . 2 6 C u r t i s s , B i z e t , p. 126. 27 The 182 ope ra s pe r f o rmed at t h e L y r i q u e between 1847 and 1870 a r e l i s t e d a l p h a b e t i c a l l y i n t h e " T a b l e " o f L a s a l l e ' s M e m o r i a l . 2 8 JD f e u i l l e t o n o f 20 A p r i l 1884. R e y e r ' s c o n c e p t o f t h e " m i s -s i o n " o f a T h e a t r e - L y r i q u e i s c l a r i f i e d on pp . 183 -84 . D u r i n g C a r -v a l h o ' s f i r s t t e rm as d i r e c t o r ( F e b r u a r y 1 8 5 6 - A p r i l 1860) he r e v i v e d G l u c k ' s Orphee and works by Moza r t as w e l l as Weber, and p r e m i e r e d s e v -e r a l c o n t e m p o r a r y F r e n c h o p e r a s , i n c l u d i n g Gounod ' s F a u s t . C a r v a l h o ' s second t e r m ( O c t o b e r 1862 -Augus t 1868) was e q u a l l y i l l u s t r i o u s : more works by Moza r t and Weber were r e v i v e d ( see b e l o w , n. 3 6 ) ; c o n t e m p o r a r y I t a l i a n o p e r a s - - s u c h as R i g o l e t t o , Norma, Don P a s q u a l e , and La T r a v i a t a - - w e r e p r e m i e r e d i n F r e n c h t r a n s l a t i o n ; and t h e r e were p r e m i e r e s o f 202 n o t a b l e F r e n c h w o r k s , i n c l u d i n g B e r l i o z ' s Les T royen s a C a r t h a g e ( w h i c h , as p r e v i o u s l y i n d i c a t e d , was p r e s e n t e d under t h e t i t l e Les T r o y e n s ) , and Gounod ' s Romeo e t J u l i e t t e . 29 The company was t hen l e d by t h e no ted sop rano C a r o l i n e M i o l a n -C a r v a l h o ( C a r v a l h o ' s w i f e ) , t h e Swed i sh sop rano C h r i s t i n e N i l s s o n , t h e t e n o r P i e r r e M i c h o t , and t h e bass Eugene T r o y . 30 C a r v a l h o had been succeeded by t h e d i s t i n g u i s h e d c o n d u c t o r J u l e s P a s d e l o u p , who had s t r u g g l e d f o r more t han a y e a r t o b r i n g p r o s p e r i t y t o t h e t h e a t r e . A f t e r P a s d e l o u p ' s d e p a r t u r e i n J a n u a r y 1870 , t h e r e were a number o f c o n t e n d e r s f o r t h e po s t o f d i r e c t o r , i n c l u d i n g C a r v a l h o . How-e v e r , t h e p r o p o s a l s wh i ch he p r e s e n t e d t o t h e m u n i c i p a l c o u n c i l o f P a r i s were not w e l l r e c e i v e d , a n d - - d e s p i t e a p e t i t i o n on h i s b e h a l f , s i g n e d by Reyer and by many o t h e r p r om inen t m u s i c i a n s — t h e government chose L o u i s M a r t i n e t . See t h e announcement i n t h e RGMP 37 (28 May 1 8 7 0 ) : 1 7 4 . M a r t i n e t ' s p l a n s f o r t h e L y r i q u e were dashed by t h e o u t b r e a k o f t he F r a n c o - P r u s s i a n War on 16 J u l y 1870. D u r i n g t he w a r ' s t r a g i c a f t e r m a t h - - t h e Commune—f1ames consumed t h e home o f t h e L y r i q u e , a l o n g w i t h many o t h e r b u i l d i n g s i n t h e c i t y . A f t e r t h e Commune, when t he r e m a i n i n g t h e -a t r e s were r e a s s e m b l i n g t h e i r c o m p a n i e s , t h e Opera and t h e Opera -Comique a p p r o p r i a t e d many o f t h e L y r i q u e ' s b e s t s i n g e r s , and t h e Comique took much o f t h e r e p e r t o i r e o f t h e d e f u n c t t h e a t r e ( s ee b e l o w , n. 3 9 ) . 31 A f t e r t h e demise o f t h e L y r i q u e , Reyer o f t e n drew a t t e n t i o n t o t h e s e r v i c e t h i s t h e a t r e had r e n d e r e d by o p e n i n g i t s doo r s t o unknown F r e n c h w o r k s . The f o l l o w i n g pa s sage i s t y p i c a l : " S i l e T h e a t r e - L y r i q u e n ' e u t j a m a i s e x i s t e . . . j e v o u d r a i s b i e n s a v o i r ou l ' o n eu t j o u e Romeo e t J u l i e t t e , F a u s t , M i r e i l l e e t l e s T r o y e n s . " (JD f e u i 1 l e t o n o f 1 F e b r u a r y 18797) The L y r i q u e had l a u n c h e d not o n l y Gounod, but a l s o F e l i c i e n D a v i d ( L a P e r l e du B r e s i l , 1 8 5 1 ) , D e l i b e s ( M a t t r e G r i f f a r d , 1857; Le J a r d i n i e r e t son s e i g n e u r , 1 8 6 3 ) , Reyer ( M a t t r e W o l f r a m , 1854; La S t a t u e , 1861 )~t and B i z e t ( Le s P e c h e u r s de p e r l e s , 1863 ; La J o l i e F i l l e de P e r t h , 1 8 6 7 ) . L a s a l l e l i s t s a ho s t o f o t h e r F r e n c h composers whose works had been p r e m i e r e d at t h e L y r i q u e ; see M e m o r i a l , p. 94 . 32 One such work was B i z e t ' s Les Pecheu r s de p e r l e s . D e s p i t e i t s f a i l u r e , C a r v a l h o d e m o n s t r a t e d h i s f a i t h i n t h e young composer by com-m i s s i o n i n g him t o w r i t e a n o t h e r o p e r a ( I v a n IV) and t hen a n o t h e r La J o l i e F i l l e de P e r t h ) . C a r v a l h o ' s p r e c a r i o u s f i n a n c i a l s i t u a t i o n p r e -v e n t e d him f r o m moun t i n g I van IV. See C u r t i s s , B i z e t , pp . 1 3 1 , 153 - 56 , and 172 . 33 There were r e v i v a l s o f more t h a n a dozen works by such composers as A u b e r , B o ' i e l d i e u , D a l a y r a c , H e r o l d , and I s o u a r d , as w e l l as G l u ck and M e h u l . The L y r i q u e a l s o r e s u s c i t a t e d works by two l i t t l e - k n o w n c o m p o s e r s : F r a n g o i s Dev i enne (1759 -1803 ) and Jean P i e r r e S o l i e ( 1 7 5 5 - 1 8 1 2 ) . See W a l s h , Second Emp i re O p e r a , Append i x B. 203 34 C a r v a l h o ' s r e v i v a l o f O rphee , w i t h t h e g r e a t mezzo - s op r ano P a u l i n e V i a r d o t - G a r c i a i n t h e t i t l e r o l e , became an immed ia te p o p u l a r s u c c e s s , and rema ined i n t h e r e p e r t o i r e o f t h e L y r i q u e f o r f i v e y e a r s . I p h i g e n i e was r e v i v e d by P a s d e l o u p , but c l o s e d a f t e r o n l y f i f t e e n p e r -f o r m a n c e s . 35 L a s a l l e no te s t h a t 44 o f t h e 182 o p e r a s g i v e n at t h e L y r i q u e were by f o r e i g n composer s ( M e m o r i a l , p. 9 4 ) . 36 The p r e m i e r e o f F i d e l i o - - a work neve r b e f o r e pe r f o rmed i n F r e n c h — d i s t i n g u i s h e d t h e b r i e f d i r e c t o r s h i p o f C h a r l e s R e t y , who l e d t h e L y r i q u e f r o m A p r i l 1860 u n t i l O c t o b e r 1862. The p r o d u c t i o n s o f works by Weber and Moza r t were mounted by C a r v a l h o . The f o u r ope ra s by Weber were : Oberon ( 1 8 5 7 ) , wh ich had neve r been pe r f o rmed i n F r e n c h ; E u r y a n t h e ( 1 8 5 7 ) ; A'bou Hassan ( 1 8 5 9 ) , wh i ch had neve r been seen i n F r a n c e ; and Le F r e i s c h ' u t z ( 1 8 6 6 ) . A l l f i v e o f t h e Moza r t o p e r a s s t a g e d a t t h e L y r i q u e — L e s Noces de F i g a r o ( 1 8 5 8 ) , L ' E n l e v e m e n t au s e r a i l ( 1 8 5 9 ) , P e i n e s d"'amour p e r d u e s ( [ C o s i f a n t u t t e ] 1 8 6 3 ) , L a F l u t e e n - c h a n t e d ( 1 8 6 5 ) , and Don Juan ( 1 8 6 6 ) — h a d p r e v i o u s l y been p r e s e n t e d , i n t h e o r i g i n a l l anguage and/or F rench t r a n s l a t i o n , at o t h e r P a r i s i a n t h e -a t r e s . However, a l l o f t h e p r o d u c t i o n s o f Moza r t i n F r ench had been m u t i l a t e d v e r s i o n s o f t h e o r i g i n a l s . Webe r ' s m u s i c , t o o , had been p o p u l a r i z e d by F r e n c h a r rangement s wh i ch were v i r t u a l t r a v e s t i e s o f t h e o r i g i n a l s ( s ee C h a p t e r V I , p p . 2 1 5 - 1 6 ) . A l t h o u g h C a r v a l h o made some a l t e r a t i o n s i n a l l o f t h e above -men t i oned c l a s s i c s , Reyer neve r c e n s u r e d him f o r so d o i n g . The c r i t i c e v i d e n t l y f e l t t h a t a p r o d u c t i o n wh i ch was not s c r u p u l o u s l y f a i t h f u l t o t h e s c o r e was p r e f e r a b l e t o t h e r e v i v a l o f a m u t i l a t e d v e r s i o n — s u c h as C a s t i 1 - B l a z e ' s a r r angement s o f Le Nozze d i F i g a r o , Don G i o v a n n i , and Pe r F r e i s c h ' u t z — a n d was i n f i n i t e l y p r e f e r a b l e t o no p r o d u c t i o n at a l l . See R e y e r ' s remark s ap ropos o f C a r v a l h o ' s a b r i d g e d v e r s i o n o f Webe r ' s l o n g -n e g l e c t e d E u r y a n t h e , quo ted i n n. 8 o f C h a p t e r V I . 37 j p f e u i l l e t o n o f 17 A p r i l 1870. 38 The f o l l o w i n g i s one o f t h e s e v e r a l pa s sages i n wh i ch Reyer c a l l e d a t t e n t i o n t o t h e L y r i q u e ' s f u n c t i o n as an i n n o v a t i v e f o r c e i n F rench m u s i c a l 1 i f e : "Ne vous s o u v i e n t - i l p l u s de c e t t e b r i l l a n t e epoque ou l e T h e a t r e - L y r i q u e , pou rvu d ' u n e t r o u p e i n c o m p a r a b l e , nous d o n n a i t l e s Noces de F i g a r o e t l a F l u t e e n c h a n t e d , Pon Juan e t 1 ' E n l e vement au s e r a i l , Orphee e t F i d e l i o , l e F r e y s c h L i t z [ s i c ] e t Oberon . . . ? C e l a e m p e c h a i t - i 1 M. C a r v a l h o de p r o d u i r e des oeuv re s t e l l e s que Fau s t e t M i r e i l l e , Romeo e t J u l i e t t e , l e Medec in m a l g r e l u i , e t b i e n d ' a u t r e s qu i comptent parmi l e s m e i l l e u r e s et l e s p l u s renommeds du r e p e r t o i r e moderne? " ( I b i d . , 17 J a n u a r y 1878 ; see a l s o 1 F e b r u a r y 1879 , 20 May 1882 , and 27 May 1883) 204 J y As Reyer once o b s e r v e d , " A u t r e f o i s , l a v e r i t a b l e e c o l e a l a q u e l l e se f o r m a i e n t l e s c h a n t e u r s e t s u r t o u t l e s c a n t a t r i c e s , c ' e t a i t l e T h e a t r e - L y r i q u e . C ' e s t l a que 1 ' Opera v e n a i t s ' a p p r o -v i s i o n n e r : c ' e s t l a q u ' i l a p r i s Mme G u e y m a r d - L a u t e r s , Mme M a r i e S a s s , M i l e C a r o l i n e Dup rez , M i l e C h r i s t i n e N i l s s o n , M. Bo squ i n e t d ' a u t r e s dont l e nom ne v i e n t pas au bout de ma p lume. Quand 1 ' Ope ra a v a i t p r i s ce q u ' i l l u i f a l l a i t , c ' e t a i t au t o u r de 1 ' Ope ra -Comique de c h o i s i r . C e l u i - l a p r e n a i t en meme temps l e s c h a n t e u r s e t l e s o e u v r e s , de quo i e n r i c h i r a l a f o i s son p e r s o n n e l e t son r e p e r -t o i r e . " ( I b i d . , 18 June 1881) By 1883, t h e Opera -Comique had a p p r o p r i a t e d t he f o l l o w i n g works f r om the d e f u n c t L y r i q u e : M o z a r t ' s Les Noces de F i g a r o and L a F l u t e e n c h a n t e e ; Gounod ' s Romeo e t J u l i e t t e , Le Medec i n m a l g r e l u i , P h i l e m o n e t B a u c i s , and M i r e i l l e ; Mai 1 "1 a r t ' s Les~~D~ragons de V i l l a r s ; R e y e r ' s La S t a t u e ; and F e l i c i e n D a v i d ' s L a P e r l e du B r e s i l . ( I b i d . , 27 May 1883 . ) The Opera had t a k e n o n l y one work: Gounod ' s F a u s t . ( I n 1860 Gounod had s u b s t i -t u t e d r e c i t a t i v e s f o r t he o r i g i n a l spoken d i a l o g u e ; i n 1869, when t he work was t r a n s f e r r e d f rom t h e f o u n d e r i n g L y r i q u e t o t h e Ope ra , he added t h e r e q u i s i t e b a l l e t . ) 4 0 Quoted i n i b i d . , 1 F e b r u a r y 1879. 4 1 I b i d . , 20 A p r i l 1884. The e x i s t i n g t h e a t r e s t o wh i ch Reyer a l l u d e d were t h e Opera and t h e Ope ra -Comique . The government had d i s -c o n t i n u e d t h e s u b s i d y o f t h e T h e a t r e - I t a l i e n i n 1870, and t h i s t h e a t r e had e x p i r e d i n 1878. 4 2 For e x a m p l e , t h e f a c t t h a t t h e f i r s t o p e r a by Edouard L a l o - -F i e s q u e , c o m p l e t e d i n 1867 - -had not y e t been p r e m i e r e d when t he s c o r e was p u b l i s h e d by t h e composer i n 1872, p rompted Reyer t o d e p l o r e t h e s i t u a t i o n i n t h e l y r i c t h e a t r e s o f F r a n c e i n g e n e r a l and P a r i s i n p a r -t i c u l a r . "I I s e r a i t a d e s i r e r , dans l ' i n t e r e t de l ' a r t e t des a r t i s t e s , e t un peu a u s s i dans l ' i n t e r e t de M. L a l o , que son oeuv re f u t r e p r e s e n t e e , p a r c e q u ' e l l e r e n f e r m e des pages f o r t b e l l e s , e t que , de q u e l q u e fagon q u ' o n l a j u g e , c ' e s t 1 ' o e u v r e d ' u n m u s i c i e n c o n v a i n c u . Ma i s a q u e l l e p o r t e a l l e r f r a p p e r en F r ance ? Les t h e a t r e s de p r o v i n c e ne v e u l e n t que des ouv rage s dont P a r i s a c o n s a c r e l e s u c c e s ; l e T h e a t r e - L y r i q u e n ' e x i s t e p l u s . . . ; 1 ' Ope ra -Comique e s t un t r o p p e t i t c a d r e pour une o e u v r e e s s e n t i e l l e m e n t d r a m a t i q u e e t a g rand s p e c t a c l e . R e s t e done 1 ' O pe r a . Je c r o i s que M. L a l o i r a se f a i r e j o u e r en B e l g i q u e . " ( I b i d . , 19 June 1872) 205 Reye r was a p p a l l e d at t h e number o f new ope ra s by F r e n c h composers o f a l l ages t h a t were b e i n g p r e m i e r e d not i n F r a n c e , but r a t h e r on f o r e i g n s o i l ( see h i s comments on " l e s ope ra s qu i e m i g r e n t a V e t r a n g e r , " i b i d . , 8 O c t o b e r 1 8 8 1 ) . He o b s e r v e d t h a t many o f h i s c o m p a t r i o t s - - e s p e c i a l l y t h e d e b u t a n t s - - ! a c k e d t h e f i n a n c i a l r e s o u r c e s " d ' a l l e r se f a i r e j o u e r s u r des t h e a t r e s e t r a n g e r s , " and t h e r e f o r e had v i r t u a l l y no hope o f e v e r s e e i n g t h e i r works r e a c h p r o d u c t i o n ( i b i d . , 29 March 1884; see a l s o 15 May 1 880 ) . 4 3 I b i d . , 18 June 1881 . 4 4 The n e g l e c t o f " l e r e p e r t o i r e c l a s s i q u e , abso lument abandonne a u j o u r d ' h u i , " ( i b i d . , 24 September 1878) was d e p l o r e d i n i n n u m e r a b l e f e u i l l e t o n s , b e c a u s e — a s no ted i n C h a p t e r I I , p. 8 9 — R e y e r m a i n t a i n e d t h a t i t s h o u l d be t h e f o u n d a t i o n o f m u s i c a l e d u c a t i o n . 4 5 I b i d . , 11 J a n u a r y 1885 . 4 6 Reye r f r e q u e n t l y d e c l a r e d t h a t t h e O p e r a — a s F r a n c e ' s most p r e s -t i g i o u s and g e n e r o u s l y s u b s i d i z e d l y r i c t h e a t r e — s h o u l d be c o m p e l l e d t o i n c l u d e o l d m a s t e r p i e c e s i n i t s a c t i v e r e p e r t o i r e , j u s t as t h e p r i n c i p a l s u b s i d i z e d d r a m a t i c t h e a t r e s were r e q u i r e d t o keep a l i v e t he c l a s s i c s o f F r e n c h comedy and drama ( see i b i d . , 29 J u l y 1871 and 29 June 1 8 7 2 ) . He a l s o p l e a d e d f o r t h e a d m i s s i o n o f t h e o p e r a s o f B e r l i o z and o f " [ l e s ] c o m p o s i t e u r s i n connu s ou peu c o n n u s , q u ' o n a p p e l l e des j e u n e s c o m p o s i -t e u r s , " as w e l l as t r a n s l a t i o n s o f c e l e b r a t e d c o n t e m p o r a r y f o r e i g n works ( i b i d . , 30 A p r i l 1 8 7 4 ) . 4 7 The new o p e r a house had been begun i n 1860 at t h e command o f Napo leon I I I . The s e a t i n g c a p a c i t y o f t h e P a l a i s G a m i e r ( 2 , 000 ) was not much g r e a t e r t h a n t h a t o f t h e O p e r a ' s o l d home on t h e r ue Le P e l e -t i e r ( c a p a c i t y 1 , 954 ) , but t h e a r c h i t e c t C h a r l e s G a r n i e r ' s c r e a t i o n was much more s p a c i o u s . I t c o n t a i n e d more t han t h r e e t i m e s t h e c u b i c vo lume o f t h e nex t two l a r g e s t t h e a t r e s i n Eu rope : t h e Mun ich Opera and t h e A l e x a n d r a T h e a t r e i n S t . P e t e r s b u r g . See Le Nouvel O p e r a : monument; a r t i s t e s ( P a r i s : M i c h e l Levy f r e r e s , 1 8 7 5 ) , p p . 1 6 - 1 7 ; and A l b e r t de L a s a l l e , Les T r e i z e S a l l e s de l ' O p e r a ( P a r i s : S a r t o r i u s , 1 8 7 5 ) , p. 238 . 4 8 He app l auded t h e c h o i c e o f H a l e v y ' s La J u i v e t o i n a u g u r a t e t h e P a l a i s G a m i e r : " L ' o e u v r e d ' H a l e v y m e r i t a i t b i e n l ' h o n n e u r q u ' o n l u i a f a i t . . . C ' e s t b i e n l a l e v e r i t a b l e drame l y r i q u e a g rand s p e c t a c l e . " (JD f e u i l l e t o n o f 15 J a n u a r y 1875 . ) He p r a i s e d sub sequent r e v i v a l s o f t h i s and o t h e r g rand o p e r a s at t h e P a l a i s G a m i e r ; f o r e x a m p l e , on t h e o c c a s i o n o f t h e seven h u n d r e d t h p e r f o r m a n c e o f M e y e r b e e r ' s Les Hugue- n o t s , he o b s e r v e d t h a t such a work o f f e r e d "une g rande scene comme l ' O p e r a . . . t o u t e l a s p l e n d e u r a l a q u e l l e e l l e d o i t p r e t e n d r e . " ( I b i d . , 29 A p r i l 1881. ) R e y e r ' s w r i t i n g s on t h e h a n d f u l o f o p e r a s " a g rand s p e c t a c l e " c r e -a t e d by l a t e r F r e n c h composers m a n i f e s t a c o n v i c t i o n t h a t t h e s e w o r k s , t o o , were s u i t a b l e f o r t h e P a l a i s G a m i e r . See h i s r e v i e w s o f t h e 206 f o l l o w i n g : M a s s e n e t ' s Le Ro i de L a h o r e , Le C i d , and Le Mage ( i b i d . , 10 May 1877 , 6 December 1885 , and 24 March 1891 ) ; Gounod ' s Le T r i b u t de Zamora ( i b i d . , 7 A p r i l 1 881 ) ; and R e y e r ' s own S i g u r d and Salammbo ( i b i d . , 21 June 1885 and 29 May 1 8 9 2 ) . He i n s i s t e d t h a t B e r l i o z ' s monu-menta l Les T royen s c o u l d be s u i t a b l y p r e s e n t e d o n l y at t h e P a l a i s G a r -n i e r ( s ee C h a p t e r V I I ) . Reyer was p a r t i c u l a r l y d e l i g h t e d by t h e p r o d u c t i o n o f one f o r e i g n work wh i ch showed t h e i n f l u e n c e o f g rand o p e r a : V e r d i ' s A i d a . " L ' i n t e r i e u r du t e m p l e de V u l c a i n , l a vue de Thebes avec sa Tongue avenue de s p h i n x , l e f r a i s paysage des bo rd s du N i l aux e t o i l e s s c i n t i l l a n t e s , . . . e t e n f i n l e t a b l e a u f i n a l mon t r an t s upe rpo se s l e t e m p l e r e s p l e n -d i s s a n t de l u m i e r e ou Amner i s v i e n t p r i e r e t l e s o u t e r -r a i n sombre ou Radames e t ATda vont m o u r i r sont de v e r i -t a b l e s m e r v e i l l e s b i e n d i g n e s de 1 ' O p e r a . " ( I b i d . , 26 March 1880) 4 9 He now i n s i s t e d t h a t " l a p l a c e n a t u r e l l e [du r e p e r t o i r e c l a s -s i q u e ] e s t b i e n p l u s au T h e a t r e - L y r i q u e q u ' a 1 ' O p e r a , ou l e c a d r e . . . e s t t r o p g r a n d , meme pour c e r t a i n s c h e f s - d ' o e u v r e . J ' e n c i t e r a i deux s e u l e m e n t : Don Juan e t F r e i s c h l i t z . " ( I b i d . , 9 November 1890) Reyer a l s o m a i n t a i n e d t h a t t h e P a l a i s G a m i e r was t o o l a r g e a s e t -t i n g f o r t h e many c o n t e m p o r a r y F r e n c h and f o r e i g n works l y i n g o u t s i d e t h e g r a n d - o p e r a t r a d i t i o n — w o r k s wh ich d i d not f e a t u r e enormous c h o r u s e s , crowd s c e n e s , and " t o u t e s ces m a g n i f i c e n c e s de mi se en scene qu i r e j o u i s s e n t l e s y e u x . " ( I b i d . , 15 J a n u a r y 1 8 7 5 ) . T h i s p o s i t i o n i s i l l u s t r a t e d by h i s r e a c t i o n t o a r e g u l a t i o n — i n s t i t u t e d by t h e F r e n c h government i n 1 8 8 5 — t h a t t h e Opera had t o p r e m i e r e a n n u a l l y a t w o - o r t h r e e - a c t o p e r a or b a l l e t by a young F r e n c h w i n n e r o f an award f o r com-p o s i t i o n ( such as t h e P r i x de Rome). Reyer o f t e n e x p r e s s e d c o n c e r n t h a t , becau se o f t h e modest p r o p o r t i o n s o f t h e s e w o r k s , t h e y seemed dwar fed by t h e v a s t s t a g e o f t h e P a l a i s G a m i e r , and t he p u b l i c was t h e r e f o r e i n d i f f e r e n t t o them. As a r e s u l t o f t h i s i n d i f f e r e n c e , s a i d R e y e r , such works were d ropped f rom the r e p e r t o i r e a f t e r o n l y a few p e r -f o rmance s ( i b i d . , 11 November 1893 and 12 June 1 8 9 8 ) . 5 0 I b i d . , 1 F e b r u a r y 1879 and 27 May 1883. Fo r R e y e r , t h e d i s t i n c -t i o n between o p e r a comique and o p e r a s e r i e u x r e s t e d not on t h e t e c h n i c a l p o i n t o f spoken d i a l o g u e i n t h e one as a g a i n s t r e c i t a t i v e i n t h e o t h e r , but r a t h e r on " l e s t y l e " : works such as V e r d i ' s O t e l l o were " t r o p d r a -m a t i q u e s , t r o p c o m p l i q u e e s " f o r p r e s e n t a t i o n at t h e Comique ( i b i d . , 17 A p r i l 1887 ; see n . 52 b e l o w ) . S i n c e Reye r f e l t t h a t t h e d i s t i n c t i o n between t h e two gen re s r e s t e d s o l e l y on s t y l e , he de fended v a r i o u s d i r e c t o r s o f t h e C o m i q u e — i n c l u d i n g C a r v a l h o - - f o r e n r i c h i n g i t s r e p e r t o i r e w i t h c o n t e m p o r a r y works w h i c h , i n R e y e r ' s o p i n i o n , b e l o n g e d s t y l i s t i c a l l y t o t h e o p e r a - c o m i q u e t r a d i t i o n even though t h e y c o n t a i n e d l i t t l e o r no spoken d i a l o g u e . ( T e e , f o r e x a m p l e , h i s r e v i e w s o f Gounod ' s Romeo e t J u l i e t t e and D e l i b e s ' s Lakme, i b i d . , 1 F e b r u a r y 1879 and 22 A p r i l 1883 . ) However, he m a i n t a i n e d t h a t t h e r e was a g r e a t d i f f e r e n c e between e x p a n d i n g t he r e p e r t o i r e w i t h 207 a p p r o p r i a t e new w o r k s , and t r a n s f o r m i n g t h e t h e a t r e i n t o a home f o r two gen re s i n s t e a d o f one ( i b i d . , 1 F e b r u a r y 1879 ) . 51 For i n s t a n c e , ap ropos o f C a r v a l h o ' s u n s u c c e s s f u l r e v i v a l o f F e l i c i e n D a v i d ' s La P e r l e du B r e s i 1 - - w h i c h had been v e r y p o p u l a r at t h e o l d L y r i q u e - - R e y e r w r o t e : "Non , 1 ' Ope ra -Comique a u r a beau f a i r e , i l au ra beau donner de l a p r o f o n d e u r a sa s c e n e , d o u b l e r son o r c h e s -t r e e t ses c ompa r s e s , m e l e r l e chan t a l a d a n s e , f u s i o n -ne r t o u s l e s g e n r e s , a m o i n d r i r l e d i a l o g u e et meme l e s u p p r i m e r , i l a u r a beau en a r r i v e r meme a change r sa f a g a d e , i l ne c h a n g e r a pas son e n s e i g n e , i l ne r e a l i s e r a j a m a i s ce r e v e qu i l e t o u r m e n t e , qu i T o b s e d e d ' e t r e a l a f o i s 1 1 Opera -Comique e t l e T h e a t r e - L y r i q u e . . . . Ces deux t h e a t r e s ont des m i s s i o n s d i f f e r e n t e s , d o i v e n t e x p l o i t e r des g en r e s d i f f e r e n s e t n ' o n t pas l e meme p u b l i c . Que ce p u b l i c - c i s o i t p l u s i n t e l l i g e n t ou p l u s a r r i e r e que c e l u i - l a , peu i m p o r t e ; ce n ' e s t pas l e meme, v o i l a t o u t . " ( I b i d . , 27 May 1883) 52 I b i d . , 24 J u l y 1881 . How, Reyer once a s k e d , c o u l d t h e t h e a t r e e n t r u s t e d w i t h t h e p r e s e r v a t i o n o f such t r e a s u r e s as B o ' i e l d i e u ' s La Dame b l a n c h e (1825) and A u b e r ' s Le Domino n o i r (1837) be e x p e c t e d t o do j u s -t i c e t o l a r g e - s c a l e ope ra s such as V e r d i ' s O t e l l o ? " O t e l l o e s t b e l e t b i e n un g rand o p e r a q u i , meme sans b a l l e t , r e m p l i s s a i t p a r f a i t e m e n t l a v a s t e s a l l e de l a S c a l a . II s e r a t r o p a 1 ' e t r o i t su r l a scene de 1 ' O p e r a -Comique, oh d ' a u t r e s ouv rage s de meme d i m e n s i o n , j e ne d i s pas de meme c a l i b r e , se son t s e n t i s mal a l ' a i s e avant l u i . . . . En m a i n t e s o c c a s i o n s j ' a i d i t mon s e n t i m e n t sur l a m i s s i o n de 1 ' O pe r a -Com ique , s u r sa d e s t i n e e q u ' o n ne s a u r a i t c h a n g e r sans l a c o m p r o m e t t r e . L ' O p e r a - C o m i q u e ne s e r a j a m a i s l e T h e a t r e - L y r i q u e , et enco re moins l ' O p e r a . II d o i t r e s t e r 1 ' Ope ra -Com ique , ce qu i e s t b i e n q u e l q u e c h o s e , e t ce qu i e s t b i e n a s s e z , s e l o n moi e t s e l o n beaucoup d ' a u t r e s . " ( I b i d . , 17 A p r i l 1887) 53 " L e T h e a t r e - L y r i q u e d o i t e t r e a l a f o i s un t h e a t r e de t e n t a t i v e s i n t e r e s s a n t e s , h a r d i e s meme, et un t h e a t r e d ' e n s e i g n e m e n t . " ( I b i d . , 25 J a n u a r y 1882 . ) 5 4 I b i d . , 1 F e b r u a r y 1879. 55 One o f R e y e r ' s most d e t a i l e d d e s c r i p t i o n s o f t h e e d u c a t i v e a s -p e c t o f t h e m i s s i o n o f a new l y r i c t h e a t r e appeared i n 1878, when he a d d r e s s e d t h e f o l l o w i n g remark s t o t h e t h e a t r e commi t tee c r e a t e d by t h e m u n i c i p a l c o u n c i l o f P a r i s . 208 " O r , p u i s q u e vous t r o u v e z avec r a i s o n que l a t r a n -s i t i o n e s t t r o p b ru sque e n t r e l e C o n s e r v a t o i r e e t l ' O p e r a , ayez . . . un t h e a t r e ou l e s s u j e t s qu i se d e s t i n e n t a 1 ' i n t e r p r e t a t i o n du drame ou de l a t r a g e d i e l y r i q u e f a s s e n t une s o r t e de s t a g e avant d ' a b o r d e r l a v a s t e scene de l ' O p e r a . . . . Les l a u r e a t s du C o n s e r v a -t o i r e y f e r o n t l e u r a p p r e n t i s s a g e de g rands c h a n t e u r s ; . . . Le p u b l i c . . . i r a y a p p l a u d i r des oeuv re s q u ' i l n ' a j a m a i s e n t e n d u e s , e t comme v o t r e i n t e n t i o n e s t , j e c r o i s , de r e p a n d r e dans l e s masses l e gout de l a g rande m u s i q u e , vous l u t t e r e z v i c t o r i e u s e m e n t p e u t - e t r e c o n t r e l e s s u cce s des c a f e s - c o n c e r t s e t 1 ' e n vah i s s emen t de 1 ' o p e r e t t e . " ( I b i d . , 15 December 1878) 56 I b i d . , 5 F e b r u a r y 1893 . By t h e end o f t h e 1890s Reyer was no l o n g e r c i t i n g Wagner as one o f t h e composers whose works would f i n d an o u t l e t o n l y at a T h e a t r e - L y r i q u e . The O p e r a — w h i c h had f i n a l l y p r e s e n t -ed L o h e n g r i n i n 1 8 9 1 — h a d opened i t s doo r s t o La V a l k y r i e ( 1 8 9 3 ) , Tann - h au se r ( 1895 ; r e v i v a l ) , and Les M a t t r e s C h a n t e u r s de Nuremberg ( 1 8 9 7 ) , and t h e s e p r o d u c t i o n s had made Wagner so p o p u l a r t h a t t h e d i r e c t o r o f t h e Opera had c o m p l a i n e d t o t h e M i n i s t e r o f F i n e A r t s : " M o n s i e u r l e m i n i s t r e , i l n ' y a pas un s e u l ou v r a ge f r a n g a i s q u i , a u j o u r d ' h u i , p u i s s e ' f a i r e de 1 ' a r g e n t . ' II n ' y a que l e s o p e r a s de Wagner: l e p u b l i c n ' e n v e u t pas d ' a u t r e s . " (Quoted by Reyer i n i b i d . , 25 A p r i l 1897. ) W h i l e Wagner ' s works r e i g n e d at t h e O p e r a , Reyer c o n t i n u e d t o i n s i s t t h a t a T h e a t r e - L y r i q u e was a n e c e s s i t y f o r t h e w e a l t h o f m u s i c — o l d and new, F rench and f o r e i g n — t h a t rema ined n e g l e c t e d or untouched by both t h e Opera and t h e Ope ra -Com ique . ( F o r e x a m p l e , see i b i d . , 12 June 1898. ) 5 7 The eminent c o n d u c t o r C h a r l e s Lamoureux, f o r one , s u b m i t t e d t o t h e government a Memoire r e l a t i f a l a r e c o n s t i t u t i o n du T h e a t r e - L y r i q u e , i n wh i ch he d e c l a r e d : " L a n e c e s s i t e d ' u n t h e a t r e l y r i q u e e t a b l i su r des ba se s s o l i d e s et l a r gemen t o u v e r t aux c o m p o s i t e u r s f r a n -g a i s n ' a j a m a i s f a i t de dou te pour p e r s o n n e : l a p r e s s e n ' a c e s s e d ' e n r e c l a m e r l a c r e a t i o n , et l e s m u s i c i e n s d i r e c t e m e n t i n t e r e s s e s dans l a q u e s t i o n en ont p o u r s u i v i 1 ' e t a b l i s s e m e n t sans t r e v e n i r e l a c h e . " (Quoted by Reyer i n t h e JD f e u i l l e t o n o f 15 May 1880) Reyer d i s c u s s e d L a m o u r e u x ' s p r opo saT s i n d e t a i l , and w h o l e h e a r t e d l y endo r s ed them. 58 One o f t h e s e t e m p o r a r y r e s u r r e c t i o n s was l e d by B a g i e r ( t h e d i r e c t o r o f t h e T h e a t r e - I t a l i e n ) and t h e o t h e r by A l b e r t V i z e n t i n i , who had been s u c c e s s f u l l y p r e s e n t i n g s p e c t a c l e and f a i r y p l a y s at t h e The -a t r e de l a G a T t e . See e s p e c i a l l y t h e f o l l o w i n g f e u i 1 l e t o n s i n t h e J_D: t h e r e c o l l e c t i o n o f B a g i e r ' s e x p e r i m e n t , wh i ch had s u r v i v e d f o r o n l y a f o r t n i g h t (26 December 1 875 ) ; and t h e e x a m i n a t i o n o f t h e p r o b a b l e r e a -sons f o r t h e f a i l u r e o f V i z e n t i n i ' s T h e a t r e N a t i o n a l L y r i q u e (17 J a n u a r y and 28 F e b r u a r y 1 8 7 8 ) . 209 b y See i b i d . , 12 June 1898. The commi t tee e x i s t e d under v a r i o u s names at d i f f e r e n t t i m e s . From F e b r u a r y 1878 - - two months a f t e r t h e demi se o f V i z e n t i n i ' s T h e a t r e N a t i o n a l L y r i q u e — t h r o u g h t h e 1880s and 1890s , t h e commi t t ee e i t h e r p r e s e n t e d p r o p o s a l s f o r t h e r e e s t a b l i s h i n g o f a t h i r d l y r i c t h e a t r e , o r s u g ge s t ed ways t o compensate f o r i t s a b s e n c e . The c o m m i t t e e ' s most f r e q u e n t recommendat ions were t h a t t h e g o v e r n -ment s h o u l d f ound a t h e a t r e — e i t h e r a p r o f e s s i o n a l company or a T h e a t r e -E c o l e — w h i c h would p r e s e n t o n l y works by young F r e n c h compose r s ; and t h a t t h e p r i v i l e g e ( l i c e n s e ) o f t h e o r i g i n a l T h e a t r e - L y r i q u e s h o u l d be g r a f t e d on to t h a t o f t h e Ope ra -Com ique . (These i d e a s were f i r s t a d -vanced i n t h e l a t e 1870s ; see i b i d . , 13 F e b r u a r y 1878 and 1 F e b r u a r y 1879. ) N e i t h e r p r o p o s a l met w i t h R e y e r ' s a p p r o v a l . He m a i n t a i n e d t h a t any p r o f e s s i o n a l o r amateur l y r i c t h e a t r e c o n s e c r a t e d t o works by d e b u -t a n t composer s would be doomed t o f a i l u r e ( s ee p. 1 8 7 ) . H i s r e a s o n s f o r i n s i s t i n g t h a t t h e Opera -Comique c o u l d not f u n c t i o n as bo th t h e Comique and a new L y r i q u e have been summar ized on pp . 1 8 2 - 8 3 . 60 Of a l l t h e a t t e m p t s t o r e e s t a b l i s h a t h i r d l y r i c t h e a t r e , t h e one wh i ch s u r v i v e d l o n g e s t was V i z e n t i n i ' s s u b s i d i z e d T h e a t r e N a t i o n a l L y r i q u e , wh i ch opened i n t h e s p r i n g o f 1876 and c l o s e d on 29 December 1877. 6 1 JD f e u i l l e t o n o f 17 O c t o b e r 1874. 62 I b i d . , 12 December 1879. Reyer d e c l a r e d t h a t t h e s u b s i d y s h o u l d be p r o v i d e d by e i t h e r t h e f e d e r a l government o r t h e m u n i c i p a l c o u n c i l o f P a r i s , bo th o f wh i ch were t h e n a t u r a l p r o t e c t o r s o f an e n t e r p r i s e t h a t co.uld be a s o u r c e o f g r e a t p r i d e t o t h e n a t i o n and t he c a p i t a l ( i b i d . , 24 September 1 8 7 8 ) . 6 3 I b i d . , 11 J a n u a r y 1885 . 6 4 I b i d . , 9 November 1890 . 6 5 I b i d . , 11 November 1893 . 66 I b i d . , 5 F e b r u a r y 1893. Reyer m a i n t a i n e d t h a t , w h i l e t he s u b -s i d y s h o u l d h e l p f i n a n c e r e v i v a l s o f o l d m a s t e r p i e c e s , i t s h o u l d a l s o g i v e c o n t e m p o r a r y works wh ich d i d not w in i n s t a n t p o p u l a r i t y a chance t o p r o v e t h e i r m u s i c a l wor th ( s ee b e l o w , n. 7 3 ) . 67 Reye r s u gge s t ed t h a t t h e d i r e c t o r be "nomme a l ' e l e c t i o n , par un g roupe d ' e l e c t e u r s qu i com-p r e n d r a un t i e r s de l i b r e t t i s t e s et de c r i t i q u e s , m u s i -caux et l i t t e r a i r e s , et un t i e r s de m u s i c i e n s . L ' a u t r e t i e r s se composera d ' e d i l e s e t de f o n c t i o n n a i r e s de 1 ' a d m i n i s t r a t i o n des b e a u x - a r t s [ , ] a u x q u e l s c e t t e p r o r o -g a t i o n ne s a u r a i t e t r e c o n t e s t e d . " ( I b i d . , 12 June 1898) 210 6 8 i b i d . , 11 J a n u a r y 1885 . Reyer had made s i m i l a r remarks i n many e a r l i e r w r i t i n g s about u n s u c c e s s f u l a t t e m p t s t o e s t a b l i s h a new l y r i c t h e a t r e ( f o r e xamp le , see i b i d . , 15 May 1880 and 20 A p r i l 1 8 8 4 ) . 6 9 I b i d . , 18 June 1881. 70 I b i d . , 19 November 1882. Reyer had once e x p r e s s e d such a w a r n -i n g more s u c c i n c t l y : " P e r s o n n e ne vous r e p r o c h e r a vos l i b e r a l i t e s , a l a c o n d i t i o n q u ' e l l e s p r o f i t e n t a l ' a r t et aux a r t i s t e s , e t n ' a i l l e n t p o i n t s ' e n g o u f f r e r dans l a poche d ' u n e n t r e p r e n e u r h e u r e u x . " ( I b i d . , 29 June 1872. ) 71 I b i d . , 14 June 1884. Reyer a t t r i b u t e d t h e demise o f an " O p e r a -P o p u l a i r e " t o e x c e s s i v e s u p e r v i s i o n f r om t h e government ( see i b i d . , 10 November 1883 and 20 A p r i l 1 8 8 4 ) . 72 i b i d . , 20 A p r i l 1884. 73 when t h e Opera -Comique abandoned Ben jam in G o d a r d ' s D a n t e - - w h i c h had been pe r f o rmed o n l y n i n e o r t e n t i m e s — f o r t h e sake o f p r e s e n t i n g w i t h g r e a t e r f r e q u e n c y Andre M e s s a g e r ' s l u c r a t i v e new o p e r a comique La Ba soche , Reyer r e p r o a c h e d t h e government f o r not t a k i n g enough o f an i n t e r e s t i n t h e d i r e c t o r ' s use o f t h e s u b s i d y : " . . . s i vous admet tez q u ' u n t h e a t r e s u b v e n t i o n n e a i t l e p r i v i l e g e de r e s e r v e r son a f f i c h e aux p i e c e s qu i l u i r a p p o r t e n t l e maximum de l a r e c e t t e , a quo i bon a l o r s l e s u b s i d e . . . ?" ( I b i d . , 15 June 1890 . ) H igh p r o f i t s , s a i d R e y e r , were no t n e c e s s a r i l y an i n d i c a t i o n t h a t t h e t h e a t r e was f u l f i l l i n g i t s man-d a t e t o m a i n t a i n a h i g h a r t i s t i c s t a n d a r d . 7 4 I b i d . , 17 A p r i l 1870. 7 5 I b i d . , 25 J a n u a r y 1882 . 7 6 I b i d . , 15 May 1880. 7 7 I b i d . , 25 J a n u a r y 1882. Among t h e numerous w r i t i n g s i n wh i ch Reyer made t h i s p o i n t were t h e f o l l o w i n g i n i b i d . : 13 F e b r u a r y 1878 and 24 J u l y 1881. 7 8 I b i d . , 20 A p r i l 1884. Reyer c i t e d t h e r e p e r t o i r e as b e i n g p a r t -l y o r even e n t i r e l y r e s p o n s i b l e f o r t h e f a i l u r e o f many a new l y r i c t h e a t r e . For e x a m p l e , s h o r t l y a f t e r t he c l o s i n g o f V i z e n t i n i ' s T h e a t r e N a t i o n a l L y r i q u e , t h e c r i t i c a t t r i b u t e d i t s f a t e l a r g e l y t o what he r e g a r d e d as an u n d i s t i n g u i s h e d r e p e r t o i r e — a r e p e r t o i r e wh ich d i d no t i n c l u d e t h e " c l a s s i c s " and o u t s t a n d i n g c o n t e m p o r a r y f o r e i g n works ( s u ch as Wagne r ' s Tannh 'auser and L o h e n g r i n ) . See i b i d . , 28 F e b r u a r y 1878, and - - a p r o p o s o f a n o t h e r t h e a t r e — n . 98 b e l o w . 7 9 I b i d . , 17 J a n u a r y 1878. He o f t e n r e c a l l e d t h a t t h e o l d L y r i q u e had been d e s c r i b e d by T h e o p h i l e G a u t i e r as t h e m u s i c a l e q u i v a l e n t o f t h e 211 Odeon ( i b i d . , 20 A p r i l 1884 and 9 November 1 8 9 0 ) . Reyer added t h a t t h e c l a s s i c s o f o p e r a , no m a t t e r how o f t e n t h e y were r e v i v e d , would neve r seem s t a l e : " . . . de t e l l e s o e u v r e s ne s ' u s e n t j a m a i s . " ( I b i d . , 12 June 1898. ) 8 0 I b i d . , 25 J a n u a r y 1882 . 8 1 I b i d . , 11 J a n u a r y 1885 . 8 2 I b i d . , 18 June 1881. Reyer t h e r e f o r e urged t h a t f o r e i g n works not be banned " p a r p a t r i o t i s m e . . . [ ou ] p a r d ' a u t r e s r a i s o n s . " He e x p r e s s e d t h i s v i e w most o f t e n d u r i n g t h e two decades f o l l o w i n g t h e F r a n c o - P r u s s i a n War, when a n t i - G e r m a n s e n t i m e n t rema ined s t r o n g i n F r a n c e ( see i b i d . , 30 A p r i l 1874 , 24 J u l y 1881 , and 11 J a n u a r y 1 8 8 5 ) . 8 3 I b i d . , 12 December 1879 . 8 4 I b i d . , 20 May 1882. 8 5 As p r e v i o u s l y i n d i c a t e d ( C h a p t e r IV, p. 1 5 7 ) , R e y e r ' s p o s i t i o n was m o t i v a t e d by h i s o v e r r i d i n g c o n c e r n f o r t h e i m p l i c a t i o n s o f t h e drama i n o p e r a . 8*> "I I ne f a u t pas t o u c h e r a l a mus ique . . . c ' e s t l e d e v o i r de t o u t a r t i s t e de s ' e n s o u v e n i r ; c ' e s t l e d e v o i r de t o u t c he f d ' o r c h e s t r e , de t o u t maTt re de c h a n t , de l e r a p p e l e r a n ' i m p o r t e que l a r t i s t e qu i peut e t r e t e n t e de T o u b l i e r . " ( I b i d . , 5 September 1874; see a l s o 15 November 1874. ) 8 7 I b i d . , 11 A p r i l 1886. 8 8 I b i d . , 20 May 1882. 8 9 I b i d . , 31 O c t o b e r 1869. 9 ^ Reyer e x p l a i n e d t h a t t h e I t a l i a n p r a c t i c e e n a b l e d t he c o n d u c t o r t o h o l d t h e o r c h e s t r a " s ou s l a d o u b l e i n f l u e n c e de son g e s t e et de son r e g a r d . " ( I b i d . , 11 F e b r u a r y 1887. ) 9 1 I b i d . , 2 December 1869. 9 2 I b i d . , 20 May 1882. The r e v i v a l was s t a g e d at t h e Opera -Comique d u r i n g C a r v a l h o ' s f i r s t t e rm as d i r e c t o r ( 1 8 7 5 - 8 7 ) . 9 3 I b i d . , 11 A p r i l 1886. 9 4 I b i d . , 18 A p r i l 1880. 9 5 I b i d . , 31 O c t o b e r 1869. 212 y ° See R e y e r ' s comments c o n c e r n i n g t h e many changes i n o r c h e s t r a -t i o n and tempo t h a t were r e a d i l y appa ren t i n r e v i v a l s o f Les Huguenots and G u i l l a u m e T e l l a t t h e Opera ( i b i d . , 25 March 1 8 7 3 ) . 9 7 I b i d . , 5 F e b r u a r y 1893 . 9 8 In 1883, when y e t a n o t h e r d i r e c t o r was a s p i r i n g t o have h i s t h e a t r e s u b s i d i z e d and d e s i g n a t e d as t h e o f f i c i a l s u c c e s s o r o f t h e o l d L y r i q u e , Reyer r e c a l l e d t h e f a m i l i a r o f f e r i n g s o f s e v e r a l e a r l i e r d i r e c -t o r s , and wondered i f t h i s new a s p i r a n t would b u i l d a more s t i m u l a t i n g r e p e r t o i r e . " F e r a - t - i l une p a r t e g a l e aux mo r t s i l l u s t r e s et aux v i v a n s qu i r e c l a m e n t l e u r p l a c e au s o l e i l de l a rampe? Je l e r e p e t e , ce n ' e s t pas en o f f r a n t au p u b l i c des ouv r a ge s t e l s que l e T r o u v e r e , l a L u c i e [ L u c i e de Lammermoor], S i j ' e t a i s r o i , ". . . des c h e f s - d ' o e u v r e a s s u r e m e n t , ma i s des c h e f s - d ' o e u v r e dont on a use e t abuse su r t o u t e s l e s s cenes du monde, . . . q u ' u n d i r e c -t e u r peut se c o n c i l i e r l a s y m p a t h i e des a r t i s t e s e t m e r i t e r des encouragemens o f f i c i e l s . " ( I b i d . , 19 O c t o b e r 1883) 9 9 I b i d . , 21 November 1897. 100 i b i d . , 17 O c t o b e r 1874. F a u r e ' s s t a n d was app lauded by R e y e r , who - - a few weeks b e f o r e t h e c r i s i s — h a d summed up h i s own o b j e c t i o n s t o " s t a r s " : " Qu ' o n me p e r m e t t e de l e d i r e , sans q u ' i l y a i t l a mo i nd re i r r e v e r e n c e pas p l u s dans ma pensee q u ' a u bout de ma p lume: ce n ' e s t pas avec des c h a n t e u r s ambulans q u ' o n forme une t r o u p e d ' e n s e m b l e , une t r o u p e c a p a b l e d ' a s s u r e r l a marche du r e p e r t o i r e e t meme de l e v a r i e r . " ( I b i d . , 27 September 1874) 101 Th roughout R e y e r ' s c a r e e r he was c r i t i c a l o f t h i s s y s t e m . As i n d i c a t e d i n C h a p t e r IV ( n . 1 9 ) , he o b j e c t e d t o t h e amount o f a u t h o r i t y a c c o r d e d M a r i e C a b e l , " 1 ' e t o i l e en vogue " at t h e T h e a t r e - L y r i q u e d u r i n g t h e b r i e f d i r e c t o r s h i p o f E m i l e P e r r i n ( " C h r o n i q u e de l a q u i n z a i n e . Revue m u s i c a l e , " RP 22 [1 September 1 8 5 4 ] : 7 9 9 ) . See a l s o t h e f o l l o w i n g s a m p l i n g o f w r i t i n g s f r om t h e l a t e r decades o f R e y e r ' s c a r e e r : a l o n g e d i t o r i a l on t h e damage t h e " s t a r s y s t e m " was d o i n g t o a l l P a r i s i a n l y r i c t h e a t r e s ( " C h r o n i q u e m u s i c a l e , " GN 2 [9 June 1 8 6 0 ] : 4 - 5 ) ; and r emark s a d d r e s s e d t o t h e s u c c e s s i v e d i r e c t o r s o f t h e O p e r a , i n t h e JD f e u i l l e t o n s o f 17 O c t o b e r 1874 , 16 November 1884, and 11 November 1893. 1 ° 2 I b i d . , 17 O c t o b e r 1874. 103 Reyer p r e s e n t e d s e v e r a l c o n v i n c i n g r e a s on s why s i n g e r s who had been t r a i n e d i n s o l f e g e wou ld save a d i r e c t o r i n c a l c u l a b l e amounts o f t i m e and money ( i b i d . , 29 J u l y 1871 and 16 November 1 8 8 4 ) . 213 104 I b i d . , 11 A p r i l 1886. Reyer o f t e n c o m p l a i n e d t h a t d i r e c t o r s , i n t h e i r e a g e r n e s s t o f i n d phenomenal v o i c e s t o " s t a r " at t h e i r t h e -a t r e s , were i g n o r i n g t h e c a p a b l e s i n g e r s who were g r a d u a t i n g f r om F r e n c h i n s t i t u t i o n s o f m u s i c . For e x a m p l e , he r e g r e t t e d t he n e g l e c t o f a M i l e B e r t o n , who " n * a v a i t a o f f r i r au p u b l i c que ses r e c e n s s u cce s au C o n s e r -v a t o i r e , sa g e n t i l l e s s e e t sa j o l i e v o i x . Ce n ' e t a i t p o i n t a s s e z . On a h a b i t u e l e p u b l i c p a r i s i e n aux v i r t u o s e s : i l l u i en f a u t a t o u t p r i x . Et l ' o n s a i t ce q u ' i l en c o u t e ! " ( I b i d . , 20 May 1882. ) 105 see e s p e c i a l l y t h e e d i t o r i a l i n " C h r o n i q u e m u s i c a l e , " RF Annee 3, Tome 8 (20 F e b r u a r y 1 8 5 7 ) : 1 9 0 . 106 JD f e u i l l e t o n o f 18 A p r i l 1880. Reyer argued t h a t t h e p r i n c i -p a l d i s a d v a n t a g e o f a c c o r d i n g e v e r y F rench composer t h e r i g h t t o c onduc t h i s own o p e r a ( s ) - - r e g a r d l e s s o f whe the r o r not he had had any e x p e r i e n c e - -was t h a t t h e composers who were i n c o m p e t e n t as c o n d u c t o r s would u n d e r -mine t h e a l r e a d y s c a n t a u t h o r i t y o f t h i s f i g u r e i n F r e n c h l y r i c t h e -a t r e s , and would g i v e impetus t o t h e n o t i o n t h a t anyone who composed c o u l d c a l l h i m s e l f a c o n d u c t o r . ( I b i d . , and 26 March 1880 . ) We s h o u l d remember t h a t Reyer r e g a r d e d c o n d u c t i n g — w h e t h e r i n t h e c o n c e r t h a l l o r t h e l y r i c t h e a t r e - - a s an e x a c t i n g a r t wh i ch r e q u i r e d s p e c i a l i z e d t r a i n -i n g ( see n. 40 i n C h a p t e r I I ) . 107 Reyer s t r e s s e d t h e need f o r "un q u a t u o r s o l i d e qu i t o n n e r a m a g i s t r a l e m e n t dans l e s o e u v r e s de Moza r t e t G l u c k ou l e s i n s t r u m e n s de l a p e t i t e ha rmon ie et l e s c u i v r e s comptent beaucoup p l u s de pauses que dans l e s ouv r age s mode rne s . " He t h e r e f o r e s ugge s ted t h a t t h e s t r i n g s e c t i o n s h o u l d c o m p r i s e a minimum o f 12 f i r s t v i o l i n s , at l e a s t 10 second v i o l i n s , 10 v i o l a s , 8 c e l l o s , and 8 d o u b l e b a s s e s . The o t h e r s e c t i o n s o f h i s i d e a l o r c h e s t r a c o n s i s t e d o f t h e f o l l o w i n g : 3 f l u t e s , 2 o b o e s , 2 c l a r i n e t s , and 3 b a s s o o n s ; 4 h o r n s , 2 v a l v e t r u m p e t s , 2 n a t u r a l t r u m p e t s , 3 t r o m b o n e s , and 1 t u b a ; and at l e a s t 3 p e r f o r m e r s f o r t h e p e r c u s s i o n s e c t i o n , wh i ch had t o i n c l u d e 1 k e t t l e d r u m . He a l s o c a l l e d f o r 2 h a r p s , " c e qu i f a i t en t o u t un p e r s o n n e l . . . de S0 IXANTE-DIX-SEPT MUSICIENS [ s i c ] , sans compter l e s r emp lagan s e t l e s s upp l emen -t a i r e s . " ( I b i d . , 24 J u l y 1881. ) 108 i b i d . (Reye r has quo ted a ph r a s e f rom the c o m m i t t e e ' s p r o -p o s a l .) 109 See , f o r e xamp le , i b i d . ( T h e a t r e du C h a t e a u - d ' E a u ) and i b i d . , 1 J a n u a r y 1888 ( E d e n - T h e a t r e ) . The C h a t e a u - d ' E a u , one o f t he m ino r P a r i s i a n t h e a t r e s d u r i n g t h e Second E m p i r e , had f a l l e n i n t o a s t a t e o f d i s r e p a i r . The Eden , b u i l t i n 1876 f o r t h e p r o d u c t i o n o f s p e c t a c u l a r b a l l e t , was n e a r l y b a n k r u p t by 1888. 1 1 ° I b i d . , 18 June 1881. H I I b i d . , 15 December 1878. 214 i J - ^ I b i d . , 28 O c t o b e r 1877. More t h a n two decades l a t e r — i n h i s p e n u l t i m a t e f e u i 1 l e t o n f o r t h e J D - - R e y e r a g a i n d e s c r i b e d h i s i d e a l l y r i c t h e a t r e , and appended t h e f o l l o w i n g " a r t i c l e s a d d i t i o n e l s " : " L a V i l l e l u i a c c o r d e une s u b v e n t i o n de 300,000 f r . , ou p l u s s i e l l e e s t en v e i n e de g e n e r o s i t e . . . . Aucune pe r sonne e t r a n g e r e au t h e a t r e ne p o u r r a p e n e t r e r sur l a , s c e n e . Ma i s un f o y e r qu i s e r a un s a l o n de bonne com-p a g n i e , comme c e l u i de l a Comedie f r a n g a i s e , s e r a r e s e r v e a MM. l e s abonnes . . . . l a t r o u p e d e v r a e t r e s e d e n t a i r e : p l u s d ' a r t i s t e s nomades et pas de noms en v e d e t t e su r T a f f i c h e . Les r e p r e s e n t a t i o n s ne s e r o n t i n t e r r o m p u e s q u ' u n s e u l j o u r par s ema i ne . Et ce j o u r , - - c o n c e s s i o n a l ' i d e e d ' u n t h e a t r e p o p u l a i r e , - - ne s e r a pas un d i m a n c h e . " ( I b i d . , 12 June 1898) 215 CHAPTER VI REYER AND THREE NEGLECTED MASTERS OF LYRIC THEATRE: GLUCK, SPONTINI, AND WEBER When Reyer was b e g i n n i n g h i s c a r e e r as mus ic c r i t i c i n t h e e a r l y 1850s , bo th G l u c k and h i s f o l l o w e r S p o n t i n i - - e a c h o f whom had r e s i d e d f o r a t i m e i n P a r i s , and had w r i t t e n o r r e v i s e d s e v e r a l o p e r a s f o r t h e c a p i t a l — w e r e v i r t u a l l y f o r g o t t e n . None o f G l u c k ' s works had s u r v i v e d i n t h e r e p e r t o i r e o f t h e Opera p a s t 1848, and none was seen a g a i n i n P a r i s u n t i l 1859, when C a r v a l h o r e v i v e d Orphee a t t h e T h e a t r e - L y r i q u e . T h i s p r o d u c t i o n , w i t h t h e g r e a t m e z z o - s o p r a n o P a u l i n e V i a r d o t - G a r c i a i n t h e t i t l e r o l e , was a s t u n n i n g s u c c e s s , 1 and s p a r k e d a r e b i r t h o f i n t e r -e s t i n G l u c k . However, as we s h a l l s e e , t h e r e n a i s s a n c e l a s t e d o n l y a few y e a r s . F a t e was l e s s k i n d t o t h e F r e n c h ope ra s o f S p o n t i n i . 0 1 i m p i e and Fe rnand C o r t e z had d i s a p p e a r e d f r o m t h e r e p e r t o i r e i n 1826 and 1840 r e s p e c t i v e l y , and La V e s t a l e — r e v i v e d at t h e Opera i n 1854 a f t e r a l o ng p e r i o d o f n e g l e c t - - d i d not s u r v i v e pa s t t h e season 1856 - 57 . U n l i k e G l u c k and S p o n t i n i , Weber - -who, i r o n i c a l l y , had spent o n l y f i v e days i n P a r i s 2 - - w a s much pe r f o rmed i n t h e F rench c a p i t a l d u r i n g t h e f i r s t h a l f o f t h e n i n e t e e n t h c e n t u r y . However, h i s mus ic was p o p u l a r -i z e d by t h r e e F r ench a r r angement s wh i ch were v i r t u a l t r a v e s t i e s o f t h e o r i g i n a l s : Rob in des b o i s , ou Les t r o i s b a l l e s ( 1 8 2 4 ) , C a s t i l - B l a z e ' s a d a p t a t i o n o f Pe r F r e i s c h ' u t z ; 3 La F o r e t de S e n a r t ( 1 8 2 6 ) , h i s p a s t i c h e o f mus i c bor rowed f r om W e b e r ' s F r e i s c h ' u ' t z and E u r y a n t h e as w e l l as works by s e v e r a l o t h e r c ompo se r s ; and Les Bohemiens ( 1 8 2 6 ) , Thomas S a u v a g e ' s 216 a r rangement o f W e b e r ' s i n c i d e n t a l mus i c f o r P. A. W o l f f ' s drama P r e c i -o s a . 4 The p u b l i c , pe rhaps because i t was accustomed t o such t r a v e s t i e s , seemed i n d i f f e r e n t t o " a u t h e n t i c " p r o d u c t i o n s o f t h e s e w o r k s , 5 even i n t r a n s l a t i o n : E u r y a n t h e and F r e i s c h u ' t z - - t h e l a t t e r w i t h r e c i t a t i v e s by B e r l i o z - - w e r e g i v e n at t h e Opera i n 1831 and 1841 r e s p e c t i v e l y , but n e i t h e r one f ound much f a v o r w i t h t h e p u b l i c . 6 The O p e r a ' s r e v i v a l o f F r e i s c h ' u ' t z i n 1850 was , i n t he words o f t h e o u t r a g e d B e r l i o z , " r a c -c o u r c i , m u t i l e de v i n g t f a g o n s , . . . t r a n s f o r m e en l e v e r de r i d e a u pour l e b a l l e t . " 7 C a r v a l h o ' s e f f o r t s t o i n t r o d u c e Weber t o F rench a u d i e n c e s d u r i n g t h e l a t e 1850s were s c a r c e l y more s u c c e s s f u l . He r e v i v e d or p r e m i e r e d r e a s o n a b l y a u t h e n t i c v e r s i o n s o f t h r e e works by t h e German c o m p o s e r - -Oberon ( 1 8 5 7 ) , E u r y a n t h e ( 1 8 5 7 ) , and Abu Hassan (1859 , t h e y e a r o f 0 r p h e e ) 8 - - b u t o n l y Oberon a c h i e v e d g r e a t p o p u l a r i t y . 9 I t s appea l may have been l a r g e l y a t t r i b u t a b l e t o t h e f a c t t h a t i t had e scaped the t i n k e r i n g s o f a r r a n g e r s . Abu Hassan had a l s o e s caped m u t i l a t i o n , bu t C a r v a l h o p r e s e n t e d i t a l o n g s i d e M o z a r t ' s L ' E n l e v e m e n t au s e r a i 1 t o make " a s u i t a b l e m i d d l e e a s t e r n d o u b l e b i l l , " 1 0 and M o z a r t ' s work p roved t o be so much more p o p u l a r than W e b e r ' s t h a t t h e l a t t e r d i s a p p e a r e d a f t e r o n l y t w e n t y - o n e p e r f o r m a n c e s . H D u r i n g t h e f i n a l f o u r decades o f t he c e n t u r y , S p o n t i n i ' s o p e r a s were c o m p l e t e l y i g n o r e d by P a r i s i a n l y r i c t h e a t r e s , and , a f t e r a b r i e f f l u r r y o f i n t e r e s t i n t he e a r l y and m i d d l e 1860s , t h e works o f G l u c k were s o r e l y n e g l e c t e d . In 1861 , when Orphee was s t i l l d r a w i n g crowds t o t h e L y r i q u e , t h e Opera c o u n t e r e d by r e v i v i n g A l c e s t e ; howeve r , t he popu -l a r i t y o f bo t h works soon waned, and t h e y succumbed i n 1863.12 A l c e s t e 217 was a g a i n r e v i v e d at t h e Opera i n 1866, b u t , a f t e r o n l y t h r e e p e r f o r -mances , was r educed t o t h e f i r s t two a c t s and used as a c u r t a i n - r a i s e r t o a b a l l e t . 1 3 The sad f a t e o f t h i s o p e r a , and t h e f a i l u r e o f t h e L y r i q u e ' s r e v i v a l o f I p h i g e n i e en T a u r i d e two y e a r s l a t e r , s p e l l e d t h e end o f t h e b r i e f G l u c k i a n r e n a i s s a n c e . 1 ^ D u r i n g t h e r e m a i n d e r o f t h e c e n t u r y , t h e r e were o n l y t h r e e r e v i v a l s o f works by G l u c k : O r f e o ed E u r i d i c e ( G a i t e , 1 8 8 9 ) ; Orphee (Ope ra -Com ique , 1 8 9 6 ) ; and I p h i g e n i e en T a u r i d e ( R e n a i s s a n c e , 1899 ) . 15 W e b e r ' s mus i c f a r e d l i t t l e b e t t e r d u r i n g t h e l a s t f o u r d e c a d e s . Rob i n des b o i s and t h e o t h e r a r r angement s were no l o n g e r i n vogue ,16 but a u d i e n c e s s t i l l were u n e n t h u s i a s t i c about " a u t h e n t i c " Weber. F r e i -s c h ' u t z , i n a new t r a n s l a t i o n , was c o l d l y r e c e i v e d both when i t was p r e -m i e r e d by C a r v a l h o at t h e L y r i q u e i n 1866 and when i t was r e v i v e d by B a g i e r at t h e S a l l e Ven t adou r i n 1 8 7 5 ; 1 7 and , at t h e Ope ra , t h e v e r s i o n w i t h r e c i t a t i v e s by B e r l i o z was a g a i n r e s u r r e c t e d and t r u n c a t e d , t h i s t i m e f o r use as a c u r t a i n - r a i s e r t o D e l i b e s ' s C o p p e l i a ( 1 8 7 0 ) . I 8 A f t e r t h e f a i l u r e o f B a g i e r ' s r e v i v a l o f Oberon ( 1 8 7 6 ) , t h e r e were o n l y two more p r o d u c t i o n s o f works by Weber: F r e i sch 'utz i n y e t a n o t h e r new t r a n s l a t i o n ( C h a t e a u - d ' E a u , 1 8 9 1 ) ; and a second r e v i v a l o f Oberon ( R e n a i s s a n c e , 1 8 9 9 ) . 1 9 Reyer o f t e n d e s c r i b e d how G l u c k , S p o n t i n i , and Weber were c r i t i -c i z e d f o r what were g e n e r a l l y c o n c e i v e d as t e c h n i c a l i m p e r f e c t i o n s i n t h e i r o p e r a s , and he a t t r i b u t e d t h e i r n e g l e c t m a i n l y t o such c r i t i -c i s m . 20 H i s d e f e n c e o f a l l t h r e e o f t h e s e composers was m o t i v a t e d by h i s a e s t h e t i c p r i n c i p l e t h a t t h e o v e r r i d i n g c o n c e r n o f t h e composer o f an o p e r a must be t o d r a m a t i z e f a i t h f u l l y t h e emot i on s and s i t u a t i o n s 218 p r o v i d e d by t h e l i b r e t t o . The n a t u r a l c o r o l l a r y o f t h i s p r o p o s i t i o n was t h a t a composer s h o u l d no t be condemned f o r s a c r i f i c i n g t h e o r e t i c a l r u l e s i n f a v o r o f e x p r e s s i v e n e s s . T h i s p o s i t i o n i s e x e m p l i f i e d by t h e f o l l o w i n g e x c e r p t , i n w h i c h Reyer s u p p o r t e d h i s argument by r e f e r r i n g t o R o s s i n i : Les r e g i e s f o n d a m e n t a l e s , l e s p r i n c i p e s de l ' a r t s on t i n d i s p e n s a b l e s a c o n n a T t r e , c e l a n ' e s t pas d o u t e u x ; . . . m a i s , ap re s l a s a t i s f a c t i o n , l e bonheur que l ' o n e p r o u v e a l e s p o s s e d e r , i l n ' e n e s t pas de p l u s g r a n d , j e c r o i s , que de l e s e n f r e i n d r e . Et n ' a l l e z pas m ' a c c u s e r t r o p v e r t e m e n t d ' h e r e s i e : ce s r e g i e s , ces p r i n c i p e s , ne l e s m e p r i s e pas qu i v e u t ; e t c e l u i qu i o se commett re l e d e l i t d o i t e t r e b i e n s u r q u ' i l p o u r r a se j u s t i f i e r e t se f a i r e a b s o u d r e . F a u t - i l r a p p e l e r i c i l e s q u i n t e s e t l e s o c t a v e s t a n t r e p r o c h e e s a R o s s i n i , dans l e beau c h o e u r : V o i c i l a n u i t , de Gui11aume T e l l ? 2 1 Reyer not o n l y made c l e a r h i s r e a d i n e s s t o o v e r l o o k what were com-monly p e r c e i v e d as t e c h n i c a l i m p e r f e c t i o n s i n any s c o r e w h i c h - - i n h i s o p i n i o n - - f u l l y r e a l i z e d t h e d r a m a t i c i m p l i c a t i o n s o f t h e t e x t , but a l s o a p p e a l e d t o h i s r e a d e r s not t o e x p e c t him t o c i t e t h e s e supposed f l a w s . For e x a m p l e , he once d e s c r i b e d t h e p r o f o u n d e m o t i o n a l r e a c t i o n he e x -p e r i e n c e d even when r e a d i n g such a s c o r e at t h e p i a n o , then d e c l a r e d , i n e f f e c t , t h a t he s h o u l d not be asked t o e x t i n g u i s h t h e f l a m e s o f h i s e n t h u s i a s m w i t h t h e c o l d r a i n o f c a r p i n g r a t i o n a l i t y . Vous c r o y e z p e u t - e t r e que quand j e j u g e une p a r t i -t i o n de Weber en deho r s du p r e s i t g e de l a s c e n e , quand j e l a j u g e de s a n g - f r o i d , a s s i s a mon p i a n o , . . . j e s u i s p l u s m e t i c u l e u x , p l u s s e ve r e ? Pas l e moins du monde. Des l e s p r e m i e r e s mesures l ' e m o t i o n me gagne; e l l e g r a n d i t , e l l e m ' e n v e l o p p e des p i e d s a l a t e t e , et e l l e e s t d ' a u t a n t p l u s a b s o l u e , d ' a u t a n t p l u s v i o l e n t e , que 1 ' e x e c u t i o n i d e a l e que j ' e n t e n d s , l e s v o i x et l e s i n s t r u m e n s , l e s c h a n t s e t l e s ha rmon ie s ont une v e r i t e d ' e x p r e s s i o n , un cha rme, une v e r v e , une p u r e t e , une m e l a n c o l i e que l a r e a l i t e l a p l u s p a r f a i t e ne s a u r r a i t a t t e i n d r e . II d o i t en e t r e a i n s i , du r e s t e , chaque f o i s 219 q u ' u n m u s i c i e n c o n v a i n c u se t r o u v e aux p r i s e s avec une oeuv re comp le tement b e l l e ; et s i vous supposez q u ' u n c r i t i q u e s o i t a c c e s s i b l e a u t a n t q u ' u n a u t r e aux n o b l e s mouvemens du c oeu r e t de 1 ' i n t e l 1 i g e n c e , s i vous l u i a c c o r d e z une dose de s e n s i b i l i t e s u s c e p t i b l e de s ' a c c r o t t r e au c o n t a c t d ' u n e chose s u b l i m e , vous n ' e x i -g e r e z pas de l u i q u ' i l s ' a r r a c h e a ses j o i e s e g o T s t e s , q u ' i l domine une s e n s a t i o n i n t i m e , p e r s o n n e l l e , pour vous d i r e : i c i s on t deux q u i n t e s d e f e n d u e s , deux o c -t a v e s c a c h e e s ; e t , p l u s l o i n , l a ph ra se n ' e s t pas c a r r e e , l e chan t du t e n o r e s t e c r i t t r o p h a u t ; i l y a dans 1 'accompagnement de c e t t e romance une ba s se f a u -t i v e . Vous c r o i r e z s i vous v o u l e z que l a s c i e n c e l u i f a i t d e f a u t ; ma i s i l se peut c e p e n d a n t , q u ' e m p o r t e par l a fougue de son i m a g i n a t i o n e t de son e n t h o u s i a s m e , s e u l en f a c e d ' u n e oeuv re qu i l ' a b s o r b e t o u t e n t i e r , i l ne prenne seu lement pas ga rde aux m a n i f e s t a t i o n s i n -d i s c r e t e s de v o t r e c u r i o s i t e . 2 2 Reyer de fended h i s p o s i t i o n by r e f e r r i n g t o a r e v e r e d f e l l o w - c r i t i c : J ' a i vu n o t r e maTtre a t o u s dans l ' a r t de l a c r i -t i q u e , M. H e c t o r B e r l i o z , p l e u r e r de j o i e , s a n g l o t e r de bonheu r , en l i s a n t au p i a n o , l u i , Theodore R i t t e r e t m o i , 1 ' A l c e s t e de G l u c k . . . . i n t e r i e u r e m e n t l ' e f f e t e t a i t c o m p l e t , p r o d i g i e u x , immense, et M. B e r l i o z . . . e t a i t l e p l u s emu de nous t r o i s . Demandez - l u i done , meme a u j o u r d ' h u i que l e s s o u v e n i r s de c e t t e s o i r e e l u i e chappen t p e u t - e t r e , d e m a n d e z - l u i de vous s i g n a l e r l e s i m p e r f e c t i o n s d ' A r m i d e , d ' I p h i g e n i e ou d ' A l c e s t e , e t p r i e z - l e de vous d i r e en quo i l e s b iog raph ies et l e s savans ont r a i s o n quand , dans l a h i e r a r c h i e du t a l e n t ou du g e n i e , i l s p l a c e n t G l u c k a une d i s t a n c e s i r e s p e c t u -euse de Haydn, de Moza r t et de Bee thoven .23 R e y e r ' s A s se s smen t s G l u c k L i k e B e r l i o z , Reyer was an a r d e n t w o r s h i p p e r o f G l u c k . In 1873 he r e j o i c e d t h a t t h e e l d e r c r i t i c ' s e l o q u e n t e s s a y s on G l u c k ' s o p e r a s had i n s p i r e d two o f h i s a d m i r e r s — F a n n y P e l l e t a n and B e r t h o l d D a m c k e — t o p r e s e r v e t h e s e works f o r p o s t e r i t y by u n d e r t a k i n g a c r i t i c a l e d i t i o n . 2 4 F o r n e a r l y two decades Reyer c o n s c i e n t i o u s l y kept r e a d e r s o f t h e Debat s 220 i n f o r m e d about t h e p r o g r e s s o f t h e p r o j e c t , wh i ch was f i n a l l y c o m p l e t e d a few y e a r s a f t e r h i s r e t i r e m e n t . 2 5 Reyer admi red G l u c k p r i n c i p a l l y because he found t h i s c o m p o s e r ' s l y r i c d e c l a m a t i o n e m i n e n t l y e x p r e s s i v e o f t h e t e x t . For e xamp le , a f t e r h e a r i n g I p h i g e n i e en T a u r i d e i n 1868, he e x c l a i m e d t h a t t h i s work was d i s t i n g u i s h e d by s e v e r a l m a g n i f i q u e s r e c i t a t i f s : l e songe d ' I p h i g e n i e au p r e m i e r a c t e , l e d i a l o g u e e n t r e O r e s t e e t P y l a d e : Quel s i l e n c e e f f r a y a n t , q u e l l e d o u l e u r f u n e s t e ! l a scene dans l a -q u e l l e l e p a r r i c i d e O r e s t e r a c o n t e a sa soeur l a mort d'Agamemnon e t l e m e u r t r e de C I i t e m n e s t r e , l e s f u r e u r s e t l e s tourmens du he r o s . . . , l e s h e s i t a t i o n s et l e s a n g o i s s e s d ' I p h i g e n i e au moment du s a c r i f i c e , . . . e t e r n e l s mode les de d e c l a m a t i o n l y r i q u e . 2 6 On t h e o c c a s i o n o f t h e G l u c k c e n t e n a r y n e a r l y t w e n t y y e a r s l a t e r , Reyer d e c l a r e d u n c a t e g o r i c a l l y t h a t t h i s c o m p o s e r ' s r e c i t a t i v e s had never been s u r p a s s e d 2 7 - - h i g h p r a i s e f rom a man who, by t h e n , had l o n g p r o f e s s e d e n t h u s i a s m f o r t h e l y r i c d e c l a m a t i o n i n B e r l i o z ' s Les T royens and i n s e v e r a l o f Wagner ' s o p e r a s . 2 8 W h i l e Reyer v o i c e d p r o f o u n d a d m i r a t i o n f o r G l u c k ' s l y r i c d e c l a m a -t i o n , he was a l s o i m p r e s s e d by t h e d r a m a t i c impact o f many o f t h i s com-p o s e r ' s a r i a s . A g a i n , we t u r n t o t h e r e v i e w o f I p h i g e n i e en T a u r i d e , w h i c h he l a u d e d as " l ' u n des c h e f s - d ' o e u v r e l e s p l u s p a r f a i t s e t l e s p l u s s p l e n d i d e s de l a mus ique d r a m a t i q u e . " 2 y He p r a i s e d t h e v i v i d n e s s w i t h wh i ch t h e c o n t r a s t i n g e m o t i o n s o f t h i s drama are e x p r e s s e d i n c e r -t a i n a r i a s , 3 0 a n d , e s p e c i a l l y , t h e m a s t e r f u l d e p i c t i o n o f a s i n g l e emo-t i o n : t h e f r i e n d s h i p between O r e s t e s and P y l a d e s . V a r i o u s hues o f t h i s e m o t i o n - - o n e o f t h e majo r f o r c e s i n t h e d r a m a - - a r e conveyed by l ' a i r du second a c t e : U n i s des l a p l u s t e n d r e e n f a n c e , 1 ' a d o r a b l e p h r a s e du duo: Rendez-moi mon ami ! et c e t t e 221 t o u c h a n t e p r i e r e i n t e r r o m p u e pa r l e s s a n g l o t s d ' O r e s t e : Ah ! mon a m i , j ' i m p l o r e t a p i t i e ! Q u e l l e g r a n d e u r ! q u e l l e p o e s i e ! q u e l s s a i s i s s a n s c o n t r a s t e s ! que l s e n t i -ment p r o f o n d de l ' a r t a n t i q u e dans c e t t e oeuv re s u b l i m e s u r l a q u e l l e un s i e c l e a pa s se e t d ' a u t r e s s i e c l e s p a s -s e r o n t sans en a l t e r e r l e s beau te s i m m u a b l e s l ^ l A n o t h e r r ea son f o r R e y e r ' s a p p r e c i a t i o n o f G l u c k was t h i s com-p o s e r ' s a d a p t a t i o n o f bo th t h e c h o r u s and t h e o r c h e s t r a t o t he r e q u i r e -ments o f t h e d r a m a t i c a c t i o n . As a p r ime example o f G l u c k ' s s k i l l f u l t r e a t m e n t o f t h e c h o r u s , Reyer c i t e d t h e tempes t scene i n I p h i g e n i e en T a u r i d e - - a scene w h i c h , he s u g g e s t e d , may have s e r v e d as a model f o r t h e ana l o gou s one at t h e o p e n i n g o f V e r d i ' s O t e l l o . 3 2 Reyer app l auded G l u c k ' s h a n d l i n g o f t h e o r c h e s t r a i n v a r i o u s pa s sages o f I p h i g e n i e en T a u r i d e and A r m i d e , 3 3 but was e v i d e n t l y most imp re s sed by i t s r o l e i n t h e t e m p l e scene i n A c t I o f A l c e s t e . He avowed t h a t i n t h i s s c e n e , wh i ch he once d e s c r i b e d as " 1 ' u n e des pages l e s p l u s g r a n d i o s e s , l e s p l u s d r a m a t i q u e s de V o e u v r e de G l u c k , " 3 4 t h e d r a m a t i c e f f e c t o f t h e H igh P r i e s t ' s i n v o c a t i o n and command i s i n t e n s i f i e d by " l e s s i f f l e m e n s a i g u s , l e s imposan te s f u r e u r s de 1 ' o r c h e s t r e . " 3 5 W h i l e Reyer p r a i s e d s p e c i f i c o r c h e s t r a l e f f e c t s i n c e r t a i n pas sages o f G l u c k ' s s c o r e s , he a l s o admi red t h e t r e a t m e n t o f t h e s t r i n g s i n g e n e r a l , and s t r o n g l y recommended t h a t t h i s a s p e c t o f G l u c k ' s o r c h e s t r a t i o n be s t u d i e d by young compose r s . 36 The e x p r e s s i v e n e s s o f G l u c k ' s v o c a l w r i t i n g and h i s a d a p t a t i o n o f bo th c h o r u s and o r c h e s t r a t o t h e d r a m a t i c r e q u i r e m e n t s , t o g e t h e r w i t h h i s t h e o r i e s on o p e r a , 3 ? made h i m - - i n R e y e r ' s e s t i m a t i o n — a s e m i n a l f o r c e i n t h e h i s t o r y o f t h e g e n r e . T h i s o p i n i o n was e m p h a t i c a l l y e x -p r e s s e d as e a r l y as 1858, i n an a t t empt t o pe r suade t he a d m i n i s t r a t i o n 222 o f t h e O p e r a — w h i c h was t o y i n g w i t h t h e i d e a o f r e v i v i n g a work by G l u c k - - t o i g n o r e t h e f a m i l i a r c r i t i c i s m s o f t h i s m a s t e r ' s c o m p o s i t i o n a l t e c h -n i q u e . N o t r e g e n e r a t i o n a un peu o u b l i e , s i j a m a i s e l l e l e s a c o n n u e s , ce s b e l l e s page s , ce s l a r g e s i n s p i r a t i o n s q u ' u n s o u f f l e p u i s s a n t anime et qu i ont s e r v i de modele a l a p l u p a r t des c o m p o s i t e u r s d r a m a t i q u e s de ce s i e c l e . S i l e t a l e n t de G l u c k a e t e c r i t i q u e , s i , au p o i n t de vue de l a s c i e n c e , ses o e u v r e s ont f o u r n i p l u s d ' u n p r e t e x t e a l a m a l i g n i t e des p u r i s t e s , son g e n i e du moins e s t i n -c o n t e s t a b l e . 38 In t h e f e u i 1 l e t o n w r i t t e n n e a r l y t h i r t y y e a r s l a t e r t o mark t h e c e n t e n -a r y o f G l u c k ' s d e a t h , Reyer echoed t h e s e s e n t i m e n t s ; i n d e e d , he went so f a r as t o h i n t t h a t even Wagner was not t h e equa l o f G l u c k : Comme j ' a v a i s e c r i t d e r n i e r e m e n t que t r o i s ou q u a t r e m u s i c i e n s seu lement p o u v a i e n t r e g a r d e r Moza r t en f a c e , on m 'a demande, p l u s d ' u n e f o i s d e j a , q u e l s e t a i e n t ces t r o i s ou q u a t r e m u s i c i e n s . G luck e s t l ' u n de c e u x - l a . Et G l u c k n ' a p o u r t a n t j a m a i s pa s se de son v i v a n t n i meme d e p u i s sa mort pour un g rand m u s i c i e n . II en s a v a i t a peu p r e s a u t a n t que l e c u i s i n i e r de H a e n d e l , au d i r e de Haendel l u i - m e m e . Admettons done avec l e s savans t h e o r i c i e n s e t l e s i m p e c c a b l e s c o n t r e -p o i n t i s t e s que G l u ck n ' e t a i t pas un b i e n g rand c l e r c en mu s i que . Ma i s q u ' o n nous a c c o r d e au moins q u ' i l e t a i t un m u s i c i e n de g e n i e . L ' a r t d r a m a t i q u e , a aucune epoque , e t pas meme a l ' e p o q u e a c t u e l l e , ne nous a donne un c o m p o s i t e u r de c e t t e t a i l l e - l a . 3 9 S p o n t i n i As we o b s e r v e d at t h e o p e n i n g o f t h i s c h a p t e r , a l l but one o f Spon -t i n i ' s o p e r a s had d i s a p p e a r e d f r om t h e l y r i c t h e a t r e s o f P a r i s by t h e t i m e Reyer began h i s c a r e e r as c r i t i c . F u r t h e r m o r e , a f t e r t h e 1854 r e -v i v a l , La V e s t a l e l e f t t h e r e p e r t o i r e o f t h e O p e r a , and f o r t h e r e s t o f t h e c e n t u r y S p o n t i n i was bo th i g n o r e d by t h e l y r i c t h e a t r e s and v i r t u -a l l y f o r s a k e n by t h e c o n c e r t s o c i e t i e s . Thu s , t h e O p e r a ' s r e v i v a l o f 223 La V e s t a l e p r o ved t o be t h e o n l y o c c a s i o n f o r Reyer t o w r i t e at l e n g t h about S p o n t i n i . 4 0 R e y e r ' s two r e v i e w s o f L a V e s t a l e , t o g e t h e r w i t h a h a n d f u l o f s c a t -t e r e d remark s on S p o n t i n i , 4 1 a t t e s t e l o q u e n t l y t o h i s a p p r e c i a t i o n o f t h i s composer but s c a r c e l y e x p l a i n i t . The o n l y a s p e c t o f S p o n t i n i ' s mus i c upon wh i ch Reyer f o c u s e s a d m i r i n g a t t e n t i o n i s t h e o r c h e s t r a t i o n o f La V e s t a l e , and h i s comments a re v e r y g e n e r a l b e c a u s e — a s we o b s e r v e d i n C h a p t e r I I I — d u r i n g t h e m id -1850 s he was h a v i n g doub t s about t h e v a l u e o f t e c h n i c a l a n a l y s i s f o r t h e l a yman . In one r e v i e w o f L a V e s t a l e he s i m p l y p o i n t s ou t t h a t S p o n t i n i ' s o r c h e s t r a i n c l u d e s t h e t a m - t a m ; i n t h e o t h e r , he o b s e r v e s t h a t t h e o r c h e s t r a t i o n was so f u l l and b r i l l i a n t f o r i t s t i m e t h a t i t seemed " b r u y a n t e " t o S p o n t i n i ' s c o n t e m p o r a r i e s : L ' o r c h e s t r a t i o n de l a V e s t a l e f u t s u r t o u t l ' o b j e t des c r i t i q u e s l e s p l u s a c e r b e s , et nous avons p e i n e a l e s comprendre a u j o u r d ' h u i que nos o r e i l l e s sont p l u s e x e r c e e s ou moins d e d i c a t e s que l ' e t a i e n t c e l l e s de nos p e r e s . S p o n t i n i a v a i t devance son epoque.42 Reyer d e c l i n e d t o d e s c r i b e i n d e t a i l a l l t he t r i b u l a t i o n s wh i ch S p o n t i n i had s u f f e r e d at t h e hands o f t h e F r e n c h s a v a n t s o f h i s t i m e , f o r t h i s c h a p t e r i n t h e h i s t o r y o f P a r i s i a n m u s i c a l l i f e had a l r e a d y been r e c o u n t e d by B e r l i o z i n S o i r e e s de 1 ' o r c h e s t r e . However, Reyer r e p e a t e d l y de f ended S p o n t i n i a g a i n s t t h e rumours o f p l a g i a r i s m wh ich had been c o n c o c t e d and c i r c u l a t e d i n an a t t empt t o d i s c r e d i t t he I t a l i a n compose r . These r u m o u r s , s a i d R e y e r , were u t t e r l y r i d i c u l o u s , a n d — a s a p e r u s a l o f B e r l i o z ' s e s s a y would p r o v e — h a d no b a s i s w h a t s o e v e r . 4 3 In a d d i t i o n t o d e f e n d i n g S p o n t i n i ' s m u s i c a l i n t e g r i t y , Reyer s t r o v e t o overcome t h e p u b l i c ' s i n d i f f e r e n c e t o La V e s t a l e when i t was r e v i v e d a t t h e O p e r a . He b lamed t h i s i n d i f f e r e n c e p a r t l y on t h e f a c t t h a t t h e 224 F r e n c h had become accustomed t o what he r e g a r d e d as t h e e x c e s s i v e use o f b r a s s and p e r c u s s i o n ; hence t h e p u b l i c ' s c o m p l a i n t t h a t S p o n t i n i ' s i n s t r u m e n t a t i o n — w h i c h i m p r e s s e d Reye r as b e i n g m a j e s t i c a l l y s i m p l e — a t t i m e s sounded t h i n . 4 4 The p e r f o r m e r s , t o o , were p a r t l y t o b l ame : Reyer d e c l a r e d t h a t t h e c o n d u c t o r , p r i n c i p a l s i n g e r s , and c h o r u s a l l d e m o n s t r a t e d a woe fu l l a c k o f f a m i l i a r i t y w i t h t h e t r a d i t i o n s a s s o c i a t e d w i t h o l d m a s t e r p i e c e s o f F r e n c h s e r i o u s o p e r a . 4 6 He a r g u e d , i n s h o r t , t h a t t h e p u b l i c ' s i n d i f f e r e n c e t o La V e s t a l e c o u l d not be a t t r i b u t e d t o t h e o p e r a i t s e l f . T h i s c o n v i c t i o n was o n l y i m p l i e d i n h i s f i r s t r e v i e w o f t h e r e v i v a l ; i n t h e s e c o n d , however , i t was e m p h a t i c a l l y e x p r e s s e d i n an o u t b u r s t o f f r u s t r a t i o n and ange r . D 'ou v i e n t c e t t e i n d i f f e r e n c e pour une oeuv re s i b e l l e , s i s i m p l e e t s i g r a n d i o s e ? D 'o l i v i e n t c e t t e l e t h a r g i e q u i s ' e t a i t emparee de l a s a l l e e n t i e r e . . . ? D 'ou c e l a v i e n t - i l ? du b r u i t a s s o u r d i s s a n t a u q u e l , d e p u i s q u e l q u e t e m p s , nous on t h a b i t u e s l e s c h a r l a t a n s de l a m u s i q u e , l e s s a l t i m b a n q u e s de l ' a r t ; du c l i n q u a n t m a g i s -t r a l de ces o e u v r e s qu i c a c h e n t un s q u e l e t t e sous l e u r s o r i p e a u x d ' e m p r u n t . D 'o l i c e l a v i e n t - i l ? d ' u n e e x e c u t i o n p a l e , t e r n e e t i n c o l o r e , qu i a t t e s t e , une f o i s de p l u s , que l e s b e l l e s t r a d i t i o n s sont pe rdues dans l e s a n c t u -a i r e meme c h a r g e de l e s r e c u e i l l i r e t de l e s t r a n s -m e t t r e . V o i l a d ' o u c e l a v i e n t , et i l n ' y a a s su rement pas a s ' e n p r e n d r e a l ' o e u v r e e l l e - m e m e , qu i e s t r e s t e e a u s s i j e u n e , a u s s i v i v a c e e t a u s s i p u i s s a n t e q u ' a u temps de sa c r e a t i o n . 4 6 Reyer a t t e m p t e d t o w in p u b l i c f a v o r f o r La V e s t a l e by p o i n t i n g out t h a t , at i t s p r e m i e r e i n 1807, t h i s o p e r a had t r i u m p h e d i n t h e f a c e o f v i r u l e n t o p p o s i t i o n f r om members o f t h e P a r i s i a n m u s i c a l e s t a b l i s h m e n t , who had been s c a n d a l i z e d by what t h e y p e r c e i v e d as S p o n t i n i ' s f l a g r a n t v i o l a t i o n s o f t h e r u l e s o f c o u n t e r p o i n t and h a r m o n y . 4 7 He a s s u r e d h i s r e a d e r s t h a t — d e s p i t e t h e s e supposed d e f e c t s — " c e m a g n i f i q u e o u v r a g e , " w h i c h had endured f o r h a l f a c e n t u r y , d e s e r v e d " d ' e t r e p l a c e au nombre 225 des c h e f s - d ' o e u v r e l y r i q u e l e s p l u s c o m p l e t s e t l e s p l u s g r a n d i o s e s . " 4 0 For many y e a r s a f t e r La V e s t a l e l e f t t h e r e p e r t o i r e , Reyer c a l l e d f o r r e v i v a l s o f bo th t h i s o p e r a and Fe rnand C o r t e z , c i t i n g t h e s e works as b e l o n g i n g t o t h e " r e p e r t o i r e c l a s s i q u e " - - t h e t r e a s u r e o f o l d m a s t e r p i e c e s w h i c h , he i n s i s t e d , s h o u l d neve r have been abandoned.49 Weber Reye r w r o t e more e x t e n s i v e l y about Weber t han about e i t h e r G l u c k or S p o n t i n i , p a r t l y because Weber was pe r f o rmed more o f t e n i n P a r i s t h a n were t h e o t h e r two m a s t e r s , and p a r t l y because he was s e v e r e l y c r i t i c i z e d by one o f R e y e r ' s most i n f l u e n t i a l c o n t e m p o r a r i e s : F r a n g o i s - J o s e p h F e t i s . ^ 0 In h i s a r t i c l e on Weber i n t h e B i o g r a p h i e u n i v e r s e l l e des m u s i c i e n s , t h e l e a r n e d B e l g i a n s i g n a l l e d many " d e f a u t s " 5 1 i n t h e German c o m p o s e r ' s m u s i c . Reyer r e p e a t e d l y d i s p u t e d t h e s e c r i t i c i s m s , t a k i n g t h e s i d e o f i m a g i n a t i o n a g a i n s t what he e v i d e n t l y r e g a r d e d as c o l d s c h o l a s t i c i s m . 5 2 F e t i s ' s ma jo r c o n t e n t i o n was t h a t Weber had never ma s te red t h e t e c h n i q u e o f c o m p o s i t i o n . II ne c o m p r e n a i t l ' a r t que dans sa man i e r e de l e s e n t i r . . . H a r m o n i s t e d ' i n s t i n c t , i l e c r i v a i t m a l , e t m e t t a i t s ouvent de l ' e m b a r r a s dans l e mouvement des p a r t i e s , p a r c e que des e t u d e s . . . n ' a v a i e n t pas r e g i e 1 ' u sage de ses f a c u l t e s . II a v a i t regu des l e gon s de chan t d ' u n bon m a T t r e , ma i s a un age oil 1 'on ne peut comprendre en quo i c o n s i s t e c e t a r t : de l a v i e n t que t o u t ce q u ' i l a e c r i t pour l e s v o i x e s t h e r i s s e de d i f f i c u l t e s e t l e u r semble a n t i p a t h i q u e . 5 3 Reyer r e sponded by f r a n k l y a d m i t t i n g t h a t "mon a d m i r a t i o n pour l e g e n i e de Weber m'empeche de v o i r l e s d e f a u t s de son s t y l e , l e s c o t e s f a i b l e s de son t a l e n t " ; 5 4 - j n o t h e r w o r d s , he d i d not deny t h a t Weber had 226 t r a n s g r e s s e d t h e r u l e s o f c o m p o s i t i o n . However, he would not condemn t h e s e t r a n s g r e s s i o n s , becau se he d i d not f e e l t h a t t h e y a d v e r s e l y a f f e c t e d t h e d r a m a t i c impact o f t h e m u s i c : . . . quand j ' e n t e n d s c e t t e mus ique de Weber qu i me cha rme, qu i m 'emeut , qu i t a n t o t me p l o n g e dans de d e l i c i e u s e s e x t a s e s , t a n t o t me p a s s i o n n e . . . , j ' a v o u e que j e m ' i n q u i e t e f o r t peu de s a v o i r s i t e l s u j e t e s t t r a i t e s e l o n l e s r e g i e s de l a fugue ou du c o n t r e - p o i n t , s i dans t e l morceau d ' e n s e m b l e i l y a v r a i m e n t de 1 ' emba r r a s dans l e mouvement des p a r t i e s . 5 5 Reyer g r a n t e d t h a t W e b e r ' s mus i c i s d i f f i c u l t t o s i n g , but neve r s ugge s ted — as d i d F e t i s — t h a t t h i s composer d i d not know how t o w r i t e f o r t h e v o i c e . On t h e c o n t r a r y , he e n t h u s i a s t i c a l l y p r a i s e d some o f t he most c h a l l e n g i n g a r i a s i n W e b e r ' s o e u v r e . 5 6 He a l s o a r g u e d , q u i t e j u s -t i f i a b l y , t h a t F e t i s ' s c r i t i c i s m o f e v e r y t h i n g Weber had w r i t t e n f o r v o i c e ( s ) was a dange rous g e n e r a l i z a t i o n , and t h a t t h e B e l g i a n s c h o l a r s h o u l d have s e a r c h e d f o r e x c e p t i o n s , becau se t h e r e were c e r t a i n l y some t o be f o u n d . 5 7 Reyer was a s t o n i s h e d t h a t F e t i s a t t r i b u t e d what he p e r c e i v e d as t h e f l a w s i n Webe r ' s c o m p o s i t i o n a l t e c h n i q u e t o t h e f a c t t h a t h i s m u s i c a l e d u c a t i o n had o f t e n been i n t e r r u p t e d , and had been d i r e c t e d by a s u c c e s -s i o n o f t e a c h e r s . 5 8 These pedagogues , Reyer p o i n t e d o u t , had i n c l u d e d some o f t h e most d i s t i n g u i s h e d i n Germany: H e u s c h k e l , M i c h a e l Haydn, K a l c h e r , and t h e abbe V o g l e r . The p u p i l o f such m e n — i n d e e d , t h e f a v o r -i t e p u p i l o f V o g l e r — " n e p o u v a i t pas i g n o r e r l ' a r t d ' e c r i r e c o r r e c t e -m e n t . " 5 9 Reyer t h e r e f o r e m a i n t a i n e d t h a t Weber ' s t r a n s g r e s s i o n s o f t h e r u l e s o f c o m p o s i t i o n were e v i d e n c e not o f i g n o r a n c e , as F e t i s i m p l i e d , but r a t h e r o f a d e t e r m i n a t i o n not t o be s h a c k l e d by c o n v e n t i o n s . 227 Et quand b i e n meme i l me s e r a i t demontre que Weber n ' a i m a i t p o i n t l a fugue ou que l a fugue n ' a i m a i t p o i n t Weber, j e ne m ' e c r i e r a i s pas s u r l e t o n de l a p i t i e ou du d e s e s p o i r que , ho r s l a f u g u e , i l n ' y a p o i n t de s a l u t . On ne me p e r s u a d e r a j a m a i s q u ' u n m u s i c i e n e s t i g n o r a n t p a r c e q u ' i l secoue l e s e n t r a v e s qu i g e n e r a i e n t son v o l , a l o r s q u ' i l veu t s ' e l a n c e r dans l e monde de l a f a n t a i s i e e t de l ' i n c o n n u oi l T a t t i r e son g e n i e . 6 0 A n o t h e r o f t h e c r i t i c i s m s w h i c h , Reyer o b s e r v e d , " j ' a p p e l l e r a i s s e v e r e s s i e l l e s ne me p a r a i s s a i e n t pas i n j u s t e s " 6 1 was F e t i s ' s a s s e r -t i o n t h a t , a l t h o u g h W e b e r ' s mus i c e f f e c t i v e l y e x p r e s s e s s i t u a t i o n s c h a r -a c t e r i z e d by s e r i o u s n e s s , "Dans l ' e x p r e s s i o n de l a g a i e t e , Weber e s t mo in s h e u r e u x ; ses m e l o d i e s , en s ' e f f o r g a n t d ' e t r e n a t u r e l l e s , d e v i e n -nent t r i v i a l e s , e t l o r s q u ' i l e s s a y e d ' e t r e l e g e r , i l ne l ' e s t pas de bonne g r a c e . " 6 2 Reyer f ound t h i s c r i t i c i s m vague , and f a u l t e d F e t i s f o r f a i l i n g t o c i t e examp le s wh i ch would s u p p o r t i t . As m i gh t be e x p e c t e d , Reyer t h e n de fended Weber by naming s p e c i f i c numbers w h i c h , he i n s i s t e d , c o u l d not p o s s i b l y m e r i t t h e h a r s h judgment e x p r e s s e d by F e t i s . 6 3 He c o n c l u d e d h i s argument by d e c l a r i n g t h a t , i n Webe r ' s e n t i r e o e u v r e , he found n o t h i n g wh i ch would s u p p o r t F e t i s ' s c r i t i c i s m , and added t h a t s u r e l y F e t i s was no more a n x i o u s t h a n he t o d i s c o v e r a t e n d e n c y t oward t r i v i a l i t y i n Webe r ' s m u s i c . 6 4 Such a remark seems t o i m p l y t h a t Reyer wondered w h e t h e r , i n f a c t , F e t i s ' s a t t i t u d e t owa rd Weber was c o m p l e t e l y o b j e c t i v e . When C a r v a l h o ' s p r o d u c t i o n o f t h e second F r e n c h t r a n s l a t i o n o f E u r y a n t h e was f a v o r a b l y r e c e i v e d at t h e L y r i q u e i n 1857, Reyer s e i z e d t h e o p p o r t u n i t y t o d i s p u t e F e t i s ' s s t a t e m e n t t h a t "une b e l l e o u v e r t u r e , un j o l i duo , deux c h o e u r s d ' u n b e l e f f e t et un f i n a l e son t t o u t ce q u ' o n peut c i t e r dans l a p a r t i t i o n d ' E u r y a n t h e comme des p r o d u i t s de l a v e r v e 228 o r i g i n a l e de W e b e r . " b b Once a g a i n , Reyer f a u l t e d F e t i s f o r t he v ague -nes s o f h i s comment.66 Then, i n an a t t e m p t t o d e m o n s t r a t e t h a t t h e B e l -g i a n c r i t i c ' s e n u m e r a t i o n was t o o s p a r i n g , Reyer c i t e d s e v e r a l p a r t s o f t h e s c o r e w h i c h , he c o n t e n d e d , were s t r i k i n g l y e f f e c t i v e . 6 7 He argued t h a t F e t i s ' s judgment had p r o b a b l y been i n f l u e n c e d both by t he r e c o l -l e c t i o n o f t h e f a i l u r e o f t h e f i r s t t r a n s l a t i o n o f t h i s work , and by a d i s l i k e o f t h e l i b r e t t o . 6 8 Fo r R e y e r , t h e i m p r o b a b i l i t i e s o f t he l i b r e t t o were more t h a n compensated by t h e abundant b e a u t i e s o f t h e s c o r e , and he t h e r e f o r e p ronounced t h e work " [ u n ] c h e f - d ' o e u v r e . " 6 9 C a r v a l h o ' s p r o d u c t i o n s o f Oberon and F r e i s c h u ' t z as w e l l as E u r y - an the a f f o r d e d Reye r o p p o r t u n i t i e s t o de fend Weber a g a i n s t o t h e r c r i t i c s whose names he d i d not c i t e . For e x a m p l e , he i n s i s t e d t h a t t h e o v e r -t u r e s t o a l l t h r e e o f Webe r ' s c h i e f d r a m a t i c c o m p o s i t i o n s d e s e r v e d t o be r e g a r d e d as mode l s o f t h i s g e n r e , d e s p i t e t h e f a c t t h a t t h e f u g a l w r i t -i n g i n t h e o v e r t u r e s t o E u r y a n t h e and Oberon had been c r i t i c i z e d by " l e s p u r i s t e s . " 7 0 Reyer m a i n t a i n e d , above a l l , t h a t Webe r ' s c r i t i c s were wrong i n c o m p a r i n g him w i t h e a r l i e r m a s t e r s : On a r e p r o c h e a q u e l q u e s - u n s de ses morceaux de manquer de d e v e l o p p e m e n t ; on a d i t que, dans l e s p a r t i e s d rama-t i q u e s de ses o e u v r e s , i l n ' a v a i t pas t o u j o u r s mont re c e t t e p u i s s a n c e , c e t t e ampleur qu i c a r a c t e r i s e n t l e v a s t e g e n i e de Moza r t ou de B e e t h o v e n . Comme Weber ne p r o c e d e de p e r s o n n e , comme i l e s t l u i -meme . . . , aucune c o m p a r a i s o n n ' e s t p o s s i b l e pour a p p r e c i e r son o e u v r e ; d ' a i l l e u r s , pour l a b i e n j u g e r , i l ne f a u t pas l a p l a c e r ho r s de son c a d r e n i l u i c h e r c h e r aucun p o i n t d ' a f f i n i t e avec l e s o e u v r e s d ' u n e a u t r e e c o l e . . . . [Weber ] s ' e s t c r e e dans sa s o l i t u d e un monde a l u i , un monde f a n t a s t i q u e qu i l u i a c h a n t e ses p l u s p o e t i q u e s b a l l a d e s , q u i l u i a d i c t e ses ha rmon ie s l e s p l u s e t r a n g e s , ses a c c o r d s l e s p l u s s a i s i s s a n t s . Dans c h a c -une de ses t r o i s g r andes o e u v r e s , vous s u r p r e n e z l e s e c r e t de ce s c o n f i d e n c e s s u r n a t u r e l l e s e t vous vous 229 t r o u v e z t r a n s p o r t s a v o t r e i n s u dans ce pays des songes ou l e m u s i c i e n vous promene au g r e de sa f a n t a i s i e , t a n t o t au bord des l a c s b l e u s ou l e s w i l l i s se b a i g n e n t , t a n t o t s u r l a l i s i e r e de l a f o r e t sombre ou l e c h a s s e u r n o i r sonne des f a n f a r e s i n f e r n a l e s . 7 ! Reyer was p l e a s e d t h a t so i n f l u e n t i a l a c r i t i c as F e t i s had at l e a s t acknowledged t h e many f e a t u r e s w h i c h , i n t h e o p i n i o n o f both w r i t -e r s , d i s t i n g u i s h e d t h e m u s i c a l s t y l e o f Weber. Quant a 1 ' o r i g i n a l i t e de ses f o r m u l e s , a l ' i m p r e v u de ses m o d u l a t i o n s , a l a nouveau te de ses c a d e n c e s ; quant au c o l o r i s s i b r i l l ant e t s i p o e t i q u e de son o r c h e s t r a -t i o n , M. F e t i s veu t b i e n en d i r e un mot , e t c e t aveu a du p r i x dans l a bouche d ' u n j u g e a u s s i c o m p e t e n t , a u s s i i n t e g r e . 7 2 Of a l l t h e s e f e a t u r e s , t h e one upon wh i ch Reyer d w e l t most o f t e n - - a n d , h e n c e , must have r e g a r d e d as t h e most d i s t i n c t i v e component o f Webe r ' s m u s i c a l s t y l e — w a s o r c h e s t r a t i o n . 7 3 The e f f e c t s wh ich e s p e c i a l l y i m -p r e s s e d Reyer i n F r e i s c h l i t z range f rom t h e use o f s o l o v i o l a i n t h e accompaniment o f A n n c h e n ' s t e n d e r a r i a "Tr 'ube Augen, L i e b c h e n , " 7 4 t o t h e dep loyment o f t h e f u l l o r c h e s t r a t o evoke t h e s u p e r n a t u r a l h o r r o r s o f t h e W o l f ' s G l e n s c e n e , wh i ch he t w i c e d e s c r i b e d as c o m p r i s i n g some o f t h e f i n e s t symphonic mus i c e v e r w r i t t e n f o r t h e t h e a t r e . 7 ^ In E u r y - a n t h e , he p a r t i c u l a r l y admi red W e b e r ' s o r c h e s t r a l r e n d e r i n g o f a n o t h e r w e i r d l y h o r r i f i c s c e n e : t h e a p p a r i t i o n o f t h e s e r p e n t i n A c t I I I . 7 ^ The a s p e c t o f Webe r ' s o r c h e s t r a t i o n wh i ch Reyer found most e f f e c t i v e i n Oberon was t h e use o f t h e ho rn — " [ l e ] c o r e n c h a n t e " 7 7 — i n v a r i o u s p a r t s o f t h e o p e r a , i n c l u d i n g t h e o v e r t u r e and t h e vaporous Me rma id s ' Song i n t h e f i n a l e o f A c t I I . 7 8 R e y e r ' s r e v i e w s o f t h e p r o d u c t i o n s o f both Oberon and E u r y a n t h e at t h e L y r i q u e i n 1857 l e a v e no doubt t h a t , at t h a t t i m e , h i s f a v o r i t e composer was W e b e r . / y In s u c c e e d i n g y e a r s , Reyer opened t he doo r s o f h i s m u s i c a l pantheon t o B e r l i o z and Wagner, but W e b e r — t o g e t h e r w i t h G l u ck and S p o n t i n i - - r e m a i n e d one o f h i s h i g h e s t gods . The most s t r i k i n g e v i d e n c e o f h i s l a s t i n g a d m i r a t i o n f o r Weber i s t h e f a c t t h a t i n 1880, when he f i r s t a t t e n d e d t he Handel F e s t i v a l at L ondon , he s u gge s t ed t h a t t h e E n g l i s h s h o u l d c e l e b r a t e a n n u a l l y t h e memory o f "un a u t r e m u s i c i e n , un m u s i c i e n de g e n i e , " 8 0 who had d i e d at London s h o r t l y a f t e r d i r e c t i n g t h e p r e m i e r e o f Oberon a t Covent G a r d e n . We can t h e r e f o r e assume t h a t d u r i n g t h e f i n a l decades o f R e y e r ' s c a r e e r , j u s t as i n 1857, he r e g a r d e d Weber as " l a p l u s s u b l i m e e x p r e s s i o n de l a f a n t a i s i e a l l e m a n d e , dans t o u t e sa g r a c e , t o u t e sa p o e s i e , t o u t e sa naTve e l e g a n c e . " 8 1 * * * R e y e r ' s w r i t i n g s on G l u c k , S p o n t i n i , and Weber d e m o n s t r a t e the c o n -s i s t e n c y w i t h wh i ch he a p p l i e d h i s a e s t h e t i c p r i n c i p l e t h a t a c o m p o s e r ' s o v e r r i d i n g c o n c e r n must be t o c r e a t e an e f f e c t i v e m u s i c a l t r a n s l a t i o n o f t h e t e x t . Had he c r i t i c i z e d what were g e n e r a l l y p e r c e i v e d as t e c h n i c a l i m p e r f e c t i o n s i n t h e works o f t h e s e t h r e e c o m p o s e r s — i m p e r f e c t i o n s w h i c h , i n h i s o p i n i o n , d i d not d e t r a c t f r om the d r a m a t i c impac t o f t h e i r m u s i c , and were t h e r e f o r e i n c o n s e q u e n t i a l — h e would have been f a l s e t o h i s a e s t h e t i c . M o r e o v e r , he would have d e f e a t e d h i s pu rpose o f i m p a r t -i n g t o h i s r e a d e r s s ometh i ng o f t h e e n t h u s i a s m wh i ch once prompted him t o e x c l a i m : " P u i s s e l e c i e l f a i r e s u r g i r e n c o r e , en deho r s des C o n s e r -v a t o i r e s de t o u s p a y s , des m u s i c i e n s d ' a u s s i peu d ' o r t h o g r a p h e e t d ' a u -t a n t de g e n i e que G l u c k , S p o n t i n i e t Weber ! " 82 231 C r i t i c a l A n a l y s i s G l u c k Many o f R e y e r ' s j udgment s o f G l u c k ' s mus i c r e v e a l r e m a r k a b l e un -d e r s t a n d i n g wh i ch app roache s t h a t o f a n o t h e r a r d e n t G l u c k i a n : B e r l i o z . L i k e t h e e l d e r c r i t i c , Reyer e x p r e s s e d p r o f o u n d a d m i r a t i o n f o r G l u c k ' s h a n d l i n g o f t h e s t r i n g s — a n a s p e c t o f h i s c r a f t wh ich i s e i t h e r u n d e r -r a t e d or i g n o r e d by most modern commentato r s accus tomed t o t he f u l l -b o d i e d sounds o f Romant i c and p o s t - R o m a n t i c m u s i c . Reyer a l s o s ha red B e r l i o z ' s e n t h u s i a s m f o r t h e t e m p l e scene i n A c t I o f A l c e s t e ; t h i s s cene i s s t i l l r e g a r d e d as one o f G l u c k ' s f i n e s t . Both c r i t i c s ' s e n s i -t i v i t y t o t h e mus ic o f G l u c k i s f u r t h e r r e v e a l e d by t h e i r d i s c u s s i o n s o f t h e tempi a p p r o p r i a t e t o c e r t a i n p a r t s o f v a r i o u s w o r k s . 8 3 R e y e r ' s comments on t h e d r a m a t i c impac t o f G l u c k ' s a r i a s and t h e e f f e c t i v e n e s s o f c e r t a i n a s p e c t s o f h i s o r c h e s t r a t i o n a re p r o p h e t i c o f t h e pronouncements o f v a r i o u s t w e n t i e t h - c e n t u r y w r i t e r s . For e x a m p l e , ap ropos o f t h e a r i a s — w h i c h Reyer f ound i n t e n s e l y v i v i d and o f t e n e l e c -t r i f y i n g i n e f f e c t — J o s e p h Kerman has w r i t t e n : " . . . a t t h e c r i s e s , G l u c k ' s g r e a t a r i a s c u t t h r o u g h , c u n n i n g l y p l a c e d , t r e m e n d o u s l y power -f u l . " 8 4 |_ike R e y e r , Winton Dean f i n d s G l u c k ' s o r c h e s t r a t i o n most i m p r e s s i v e f o r i t s q u a l i t i e s o f " f o r m i d a b l e power and e t h e r e a l d e l i -c a c y " ; 8 5 t o s u p p o r t h i s s t a t e m e n t , Dean u n k n o w i n g l y choose s some o f t h e examples c i t e d by R e y e r . 8 6 One o f R e y e r ' s most i n t e r e s t i n g o b s e r v a t i o n s , and one wh i ch d e -s e r v e s t h e c o n s i d e r a t i o n o f modern s c h o l a r s , i s t h a t V e r d i may have r e c a l l e d t h e open i n g o f G l u c k ' s I p h i g e n i e en T a u r i d e when compos ing t h e 232 b e g i n n i n g o f O t e l l o . The s t o r m - m u s i c i n V e r d i ' s o p e r a does i ndeed have an e x p r e s s i v e n e s s p a r a l l e l i n g t h a t o f t h e tempes t i n I p h i g e n i e : j u s t as t h e Greek p r i e s t e s s i s t o r m e n t e d by a d ream, so Iago i s t o r t u r e d by h i s b u r n i n g a m b i t i o n and h i s h a t r e d o f O t e l l o . F u r t h e r m o r e , i n t he o p e n i n g o f bo th ope ra s t h e c h o r u s t a k e s an a c t i v e r o l e by f o l l o w i n g t h e p r o g r e s s o f t h e s t o rm as i t r i s e s and f i n a l l y s u b s i d e s . We can t h e r e f o r e c o n -c l u d e t h a t R e y e r ' s s p e c u l a t i o n c o n c e r n i n g O t e l l o and I p h i g e n i e may be w e l l - f o u n d e d . Both Win ton Dean and M a r t i n Cooper have a s t u t e l y remarked t h a t G l u c k ' s s t o r m , wh i ch l a u n c h e d I p h i g e n i e w i t h a p o w e r f u l t h r u s t un -p r e c e d e n t e d i n o p e r a , may a l s o have i n s p i r e d t he r a g i n g s t o r m wh i ch opens Wagner ' s D i e W a l k u r e , a work i n w h i c h - - a s i n I p h i g e n i e — a n o u t -c a s t , nameles s b r o t h e r u n w i t t i n g l y seeks s a l v a t i o n at a s i s t e r ' s h a n d s . 8 7 A l t h o u g h Reyer u s u a l l y d e m o n s t r a t e d f i n e s e n s i t i v i t y t o G l u c k ' s m u s i c , s o m e t i m e s - - ! i k e B e r l i o z - - h e e r r e d on t h e s i d e o f i n d u l g e n c e . Such was o b v i o u s l y t h e c a s e when, on t he o c c a s i o n o f G l u c k ' s c e n t e n a r y ( 1 8 8 7 ) , Reyer c l a i m e d t h a t t h i s composer had never been s u r p a s s e d or even e q u a l l e d i n t h e a r t o f l y r i c d e c l a m a t i o n , and t h a t he was t he g r e a t e s t o f a l l m u s i c a l d r a m a t i s t s . These c l a i m s are i n c o n s i s t e n t w i t h o t h e r remark s made by Reyer bo th b e f o r e and a f t e r t he c e n t e n a r y — r e m a r k s w h i c h t e s t i f y a b u n d a n t l y t o h i s v e n e r a t i o n f o r ope ra s by composers r a n g -i n g f r om " d i v i n M o z a r t " 8 8 t o B e r l i o z and Wagner, " [ l e s ] deux p l u s g rands m u s i c i e n s de ce s i e c l e . " 8 9 Why, t h e n , d i d he make such o v e r b l o w n s t a t e -ments about G l u c k ? The answer t o t h i s q u e s t i o n can r e a d i l y be deduced i f we remember t h a t P a r i s i a n e n t h u s i a s m f o r Wagner ' s mus i c was a p p r o a c h -i n g f e v e r p i t c h when Reyer was w r i t i n g h i s commemorat ive f e u i 1 l e t o n on G l u c k . y 0 H i s e x a g g e r a t i o n s were p r o b a b l y s p u r r e d by f e a r t h a t G l u c k ' s o p e r a s — n o n e o f wh i ch had been heard at any P a r i s i a n l y r i c t h e a t r e s i n c e 1 8 6 8 — w o u l d be f o r e v e r e c l i p s e d by t h o s e o f Wagner. Reyer h i m s e l f was an a r d e n t s u p p o r t e r o f Wagner, but would not j o i n t h e r a n k s o f t he many who l i k e d " t o d e s i g n a t e him as t h e ' c o n s u m m a t i o n ' o f G l u c k , t he ma s te r who had b rough t t o p e r f e c t i o n what good o l d G l u ck had s t r i v e n a f t e r . " 9 1 Reyer was c l e a r l y a p a s s i o n a t e a d m i r e r o f G l u c k , but he d i d not b l i n d l y w o r s h i p h i m . As we o b s e r v e d i n t he i n t r o d u c t i o n o f t h i s c h a p -t e r , Reyer r e a d i l y acknowledged t h a t G l u c k , S p o n t i n i , and Weber were not f l a w l e s s t e c h n i c i a n s , even though he r e f u s e d — a s d i d B e r l i o z — t o p o i n t ou t t e c h n i c a l f l a w s as i f t h e y were m a t h e m a t i c a l e r r o r s i n need o f " c o r -r e c t i o n . " H i s a e s t h e t i c l e d him t o l o o k beyond G l u c k ' s weaknesses and t o c o n t e m p l a t e i n s t e a d h i s immense i n t u i t i o n f o r d r a m a t i c e f f e c t s and h i s g r e a t g i f t f o r r e a l i z i n g t h e s e e f f e c t s t h r o u g h t h e e l e v a t i o n o f r e c i t a t i v e t o t h e l e v e l o f d r a m a t i c m u s i c a l s p e e c h , t h e p u r i f y i n g o f t he v o c a l l i n e i n t h e a r i a , and t h e s k i l l f u l h a n d l i n g o f bo th t h e c h o r u s and t h e o r c h e s t r a . As a t w e n t i e t h - c e n t u r y c r i t i c has s a i d , " T h e r e i s no such t h i n g as bad harmony, c o u n t e r p o i n t , f o rm or me lody j udged a p a r t f r o m the l i v i n g body o f t h e m u s i c . " 9 2 The p r e c e d i n g p a r a g r a p h s have d e m o n s t r a t e d t h a t R e y e r ' s e v a l u a t i o n o f G l u c k ' s mus i c i s , on t h e w h o l e , r e m a r k a b l y s e n s i t i v e and j u s t . How-e v e r , t h e same canno t be s a i d o f h i s a s ses sment o f G l u c k ' s famous " r e -f o r m . " G l u c k d i d not h e r o i c a l l y c a r r y ou t what Reyer d e s c r i b e d as " l a g rande r e v o l u t i o n m u s i c a l e que son g e n i e a v a i t r e v e e , " 9 3 f 0 r h i s p r a c -t i c e was not a lways c o n s i s t e n t w i t h t h e p r i n c i p l e s o f t h e r e f o r m — a f a c t 234 w h i c h seems t o have e l u d e d R e y e r . T r u e , he c r i t i c i z e d G l u c k f o r h a v i n g i n s e r t e d i n Orphee a b r a v u r a a r i a w h i c h , u n t i l q u i t e r e c e n t l y , was t h o u g h t t o have been p l a g i a r i z e d f r om B e r t o n i ' s T a n c r e d i ; 9 4 but he was unaware bo th t h a t G l u ck had bor rowed t h i s a r i a f rom one o f h i s e a r l i e r I t a l i a n o p e r a s , and t h a t t h e r e a r e a few o t h e r s c a r c e l y r e v i s e d s e l f -b o r r o w i n g s i n t h e " r e f o r m " o p e r a s . y 5 Nor d i d Reyer know t h a t , between t h e p r o d u c t i o n o f O r f e o i n 1762 and t h a t o f Echo e t N a r c i s s e - - t h e s e v e n t h and l a s t " r e f o r m " o p e r a - - i n 1779, G l u ck had w r i t t e n no f ewer t h a n seven works wh i ch a r e , i n t h e words o f P a t r i c i a Howard, " r e t r o g r e s -s i o n s t o h i s e a r l i e r s t y l e . " 9 6 R e y e r ' s p e r c e p t i o n o f t h e r e f o r m was f u r t h e r d i s t o r t e d by h i s a s -s umpt i on t h a t t h e p r i n c i p l e s had been c o n c e i v e d by G l u c k , f o r whom C a l -z a b i g i was s i m p l y , t o quote R e y e r , " un poe te qu i c o m p r i t ses i d e e s . " 9 7 Modern s c h o l a r s r e c o g n i z e C a l z a b i g i as one o f t h e d r i v i n g powers b e h i n d t h e r e f o r m — " n o t a mere a s s i s t a n t , bu t t h e o b s t e t r i c i a n o f t h e new o p e r a t i c r e f o r m " 9 8 - - a n d , m o r e o v e r , t h e y acknowledge t he i n f l u e n c e o f t h e p h i l o s o p h e r A l g a r o t t i . 9 9 Of c o u r s e , r e s e a r c h on G l u c k was s t i l l i n i t s i n f a n c y d u r i n g t h e p e r i o d o f R e y e r ' s a c t i v i t y as c r i t i c , and, i n a l l f a i r n e s s , we s h o u l d no te t h a t he was not a l o n e i n p e r c e i v i n g G l u c k as a g r e a t r e f o r m e r : B e r l i o z , t h e l e a d i n g m i d - c e n t u r y a u t h o r i t y on G l u c k , s t a t e d t h a t t h i s composer had " a c c o m p l i une r e v o l u t i o n m u s i c a l e , " 1 0 0 a n c j v i ewed C a l z a b i g i as " son i n t e l l i g e n t c o l l a b o r a t e u r . " 1 0 1 Reyer not o n l y had an i n a c c u r a t e p e r c e p t i o n o f G l u c k ' s " r e f o r m , " but a l s o o v e r e s t i m a t e d t h i s c o m p o s e r ' s i n f l u e n c e on p o s t e r i t y . As we o b s e r v e d , he w ro te i n 1858 t h a t " c e s b e l l e s page s , c e s l a r g e s i n s p i -r a t i o n s . . . o n t s e r v i de mode le a l a p l u p a r t des c o m p o s i t e u r s 235 d r a m a t i q u e s de ce s i e c l e . " l 0 2 The i n f l u e n c e o f G l u c k can i ndeed be t r a c e d i n t h e F rench o p e r a s o f M e h u l , C h e r u b i n i , S p o n t i n i , and B e r l i o z . 1 0 3 O u t s i d e F r a n c e , however , G l u c k ' s works were v i r t u a l l y i g n o r e d . The f a c t t h a t Reyer neve r r e p e a t e d h i s judgment o f 1858 l e a d s us t o wonder whethe r i t c o n s t i t u t e d h i s mature o p i n i o n or w h e t h e r - - ! i k e t h e e x a g g e r a t e d s t a t e m e n t s made on t he o c c a s i o n o f G l u c k ' s c e n t e n a r y - - i t was s i m p l y a d e s p e r a t e a t t empt t o s t i m u l a t e i n t e r e s t i n G l u c k at a c r i t -i c a l t i m e . Be t h a t as i t may, t h r o u g h o u t h i s c a r e e r Reyer c o r r e c t l y d e s i g n a t e d B e r l i o z as t h e w o r t h y c o n t i n u e r o f t h e G l u c k i a n t r a g e d i e l y r i q u e . He m i s t a k e n l y r e g a r d e d Wagner, t o o , as a s p i r i t u a l d e s c e n d a n t o f G l u c k , b u t - - a s p r e v i o u s l y n o t e d — h e d i d not v i ew Wagne r ' s works as t h e " c on summat i on " o f G l u c k ' s i d e a l s . A l t h o u g h he o v e r e s t i m a t e d G l u c k ' s t r u e s i g n i f i c a n c e f o r t h e h i s t o r y o f o p e r a , Reyer n e v e r t h e l e s s d e s e r v e s t o be app l auded as one o f t h e p r i n c i p a l f o r c e s b e h i n d t h e G l u c k i a n r e n a i s s a n c e i n m i d - c e n t u r y P a r i s . In t h e 1850s , when i t had " l o n g been t h e f a s h i o n t o t a l k and t h i n k o f G l u c k as ' h e a v y ' and t o b e l i e v e t h a t h i s works would not bear r e p r e s e n t -i n g as a w h o l e , " 1 0 4 who but B e r l i o z and Reyer p r o c l a i m e d t h e g r e a t n e s s o f t h i s composer? T o g e t h e r w i t h t h e e f f o r t s o f B e r l i o z , R e y e r ' s a t t empt i n 1858 t o pe r s uade t h e Opera t o r e v i v e a work by G l u c k must have been l a r g e l y r e s p o n s i b l e f o r C a r v a l h o ' s b o l d d e c i s i o n t o mount O rphee , t h e p r o d u c t i o n wh ich t r i g g e r e d t h e b r i e f r e n a i s s a n c e . As f e u i l l e t o n i s t e f o r t h e D e b a t s , Reyer c o n t i n u e d B e r l i o z ' s b a t t l e t o c r e a t e an a p p r e c i a t i o n f o r G l u c k ; i n d e e d , h i s d e p l o r i n g o f t h e n e g l e c t o f G l u ck and t he o t h e r m a s t e r s o f t h e " r e p e r t o i r e c l a s s i q u e " r e c u r s w i t h t h e p e r s i s t e n c e o f an i d e e f i x e . He a l s o d i d h i s b e s t t o h e l p t h e e d i t o r s o f t h e c r i t i c a l 236 e d i t i o n , c a r e f u l l y f o l l o w i n g t h e p r o g r e s s o f t h e i r p r o j e c t and even a p p e a l i n g on t h e i r b e h a l f f o r a s s i s t a n c e i n l o c a t i n g two f r a g m e n t s t h a t were m i s s i n g f r om t h e m a n u s c r i p t o f A l c e s t e . / \ n t h i n g s c o n s i d e r e d , we canno t h e l p but wonder i f G l u c k ' s works would have s u r v i v e d w i t h o u t t h e e f f o r t s o f both B e r l i o z and R e y e r . S p o n t i n i When La V e s t a l e was r e v i v e d i n 1854, Reyer d e c l a r e d t h a t no one c o u l d d i s p u t e i t s r i g h t " d ' e t r e p l a c e au nombre des c h e f s - d ' o e u v r e l y r i q u e s l e s p l u s c o m p l e t s et l e s p l u s g r a n d i o s e s . " l 0 6 /\s a l w a y s , we s h o u l d pause t o c o n s i d e r t h e c o n t e m p o r a r y F rench m u s i c a l scene b e f o r e we use R e y e r ' s s t a t e m e n t as a y a r d s t i c k w i t h wh i ch t o measure h i s compe-t e n c e as a c r i t i c . In 1854, none o f Wagner ' s works had been heard i n F r a n c e ; B e r l i o z had not begun Les T r o y e n s ; C a r v a l h o had not y e t assumed t h e d i r e c t o r s h i p o f t h e T h e a t r e - L y r i q u e , where he would a c q u a i n t P a r i -s i a n s w i t h F r ench and f o r e i g n m a s t e r p i e c e s bo th o l d and new; and t h e Opera was r e l y i n g a lmos t e n t i r e l y on r e v i v a l s o f g rand o p e r a s . T h e r e -f o r e , t h e o n l y " c h e f s - d ' o e u v r e l y r i q u e s " t hen known i n P a r i s were t h e g rand o p e r a s o f t h e 1 820 s , 1830s , and 1840s . In v i e w o f t h i s c i r c u m -s t a n c e , R e y e r ' s a s ses sment o f La V e s t a l e - - a n as ses sment wh i ch went a g a i n s t p o p u l a r o p i n i o n — b e s p e a k s r e m a r k a b l e d i s c e r n m e n t , f o r t h i s work had b r ough t o p e r a i n t h e grand manner t o a c l i m a x d u r i n g t h e F i r s t Emp i r e . 107 Reyer s ha red B e r l i o z ' s a d m i r a t i o n f o r S p o n t i n i ' s o r c h e s t r a t i o n i n La V e s t a l e , and w i t h good r e a s o n . T h i s work was t he f i r s t modern t r a - g e d i e l y r i q u e c a l 1 i n g on t h e p a r t i c i p a t i o n o f a l a r g e o r c h e s t r a , w h i c h , 237 as Reyer n o t e d , even i n c l u d e s t h e t a m - t a m . As s i g n i f i c a n t as t h e s i z e o f t h e o r c h e s t r a was S p o n t i n i ' s s k i l l f u l use o f t h e b r a s s - - a n example w h i c h was not l o s t on Wagner.108 Why d i d t h e sounds o f S p o n t i n i ' s l a r g e o r c h e s t r a seem t h i n t o m i d -c e n t u r y a u d i e n c e s ? D u r i n g t h e 1850s both B e r l i o z and Reye r o f t e n com-p l a i n e d t h a t F rench composers were making e x c e s s i v e use o f b r a s s and p e r c u s s i o n ; t h e r e f o r e , we can a c c e p t R e y e r ' s e x p l a n a t i o n t h a t t h i s " b r u i t a s s o u r d i s s a n t " 1 0 y had r e n d e r e d l i s t e n e r s i n s e n s i t i v e t o t he com-p a r a t i v e s i m p l i c i t y o f S p o n t i n i ' s o r c h e s t r a t i o n . One o f t h e many w r i t -i n g s i n wh i ch Reyer v o i c e d t h e c o n v i c t i o n t h a t t h e r e i s a d i f f e r e n c e between s o n o r i t y and t h e mere n o i s i n e s s o f t oo much b r a s s and p e r c u s s i o n i s h i s r e v i e w o f t h e young Edouard Membree ' s F r a n g o i s V i l l o n , wh ich t h e Opera p r e m i e r e d as a c u r t a i n - r a i s e r i n 1857. In t h e f o l l o w i n g e x c e r p t , Reyer p o i n t s ou t t h a t t h e o l d m a s t e r s knew how t o use v e r y s i m p l e r e -s o u r c e s i n ways t h a t p roduced e x t r a o r d i n a r y e f f e c t s - - e f f e c t s t h a t were r a r e l y a p p r e c i a t e d by t h e new g e n e r a t i o n . . . . i l m 'a semble que M. Membree a b u s a i t p a r f o i s des i n s t r u m e n s a p e r c u s s i o n et des c u i v r e s . B e r l i o z n ' a pas manque de l e l u i r e p r o c h e r . . . II y a a l ' O p e r a des p r e c e d e n s que j e ne veux pas s p e c i f i e r da van tage a u j o u r d ' h u i . . . G r e t r y a e c r i t c e c i : " M o n t r e z - v o u s s o b r e , a va re meme dans l ' e m p l o i des i n s t r u m e n s de l a p e t i t e ha rmon ie ( i l ne p a r l e meme pas des t rombones et de l a g r o s s e c a i s s e ! ) vous v e r r e z que dans 1 ' o c c a s i o n vous j o u i r e z du f r u i t de vos e p a r g n e s . " G r e t r y a v a i t r a i s o n . . . J ' a i m e l e p r o g r e s en t o u t e s c h o s e s , ma i s en t o u t e s choses a u s s i j e s u i s l ' e n n e m i de l ' e x a g e r a t i o n ; en mus ique j e ne c o n f o n d s pas l a s o n o r i t e avec l e b r u i t , e t evidemment j ' a i t o r t c o n t r e une f o u l e d ' a u t r e s . En h a b i t u a n t nos o r e i l l e s a d ' e t r a n g e s t u m u l t e s , nous nous rendons i n h a b i l e s a comprendre l e s g randes o e u v r e s des a n c i e n s maTt re s chez l e s q u e l s l a g r andeu r de l ' i d e e e t a i t l a chose p r i n c i p a l e , ce qu i a r r i v a i e n t aux p l u s g rands e f f e t s par l e s moyens l e s p l u s s i m p l e s ; dans I p h i g e n i e en T a u r i d e , pa r e x e m p l e , l e choeu r des 238 S c y t h e s , accompagne seu lement par l e q u a t u o r , un t r i -a n g l e et un t ambou r , e s t d ' u n e f e r o c i t e , d ' u n e e n e r g i e qu i n ' o n t pas enco re e t e d e p a s s e e s ; l a m a j e s t e imposan te du Tuba mirum de M o z a r t , s 'accommode p a r f a i t e m e n t d ' u n s e u l t r o m b o n e . H O R e y e r ' s d e f e n c e o f La V e s t a l e a g a i n s t t h e i n d i f f e r e n c e o f m i d -c e n t u r y P a r i s i a n s was a l s o w e l 1 - r e a s o n e d as r e g a r d s i n t e r p r e t a t i o n . We s h o u l d bea r i n mind t h a t t h i s 1854 r e v i v a l was not s u p e r v i s e d by F r a n c e ' s g r e a t e s t l i v i n g a u t h o r i t y on t r a g e d i e l y r i q u e : B e r l i o z . A few y e a r s l a t e r , when B e r l i o z was i n v i t e d t o o v e r s e e t h e r e v i v a l s o f G l u c k ' s Orphee and A l c e s t e a t t h e L y r i q u e and t h e Opera r e s p e c t i v e l y , he found t h a t he had t o coach t h e s i n g e r s and c o n d u c t o r s because t h e y had not t h e s l i g h t e s t i d e a o f what Reyer once d e s c r i b e d as " l e s t y l e q u ' e x i g e 1 ' i n t e r p r e t a t i o n de l a mus ique c l a s s i q u e . " H l I f such was t h e s t a t e o f m u s i c a l i g n o r a n c e c i r c a 1860 , t h e s i t u a t i o n must have been t h e same when La V e s t a l e was r e v i v e d i n 1854. R e y e r ' s c r i t i c i s m o f t h e a c t i n g , t h e s i n g i n g and t h e tempi d e m o n s t r a t e s h i s awareness t h a t S p o n t i n i ' s m u s i c , l i k e t h a t o f G l u c k , sounds i m p o v e r i s h e d when i n s e n s i t i v e l y p e r f o r m e d . Reyer o b v i o u s l y knew t h e s c o r e o f L a V e s t a l e e x t r e m e l y w e l l , as w i t n e s s h i s comments on bo th t h e o r c h e s t r a t i o n and t h e i n t e r p r e t a t i o n . However, he e v i d e n t l y had a v e r y l i m i t e d p e r c e p t i o n o f t h e s o u r c e s o f i t s m u s i c a l s t y l e , f o r he remarked v a g u e l y t h a t S p o n t i n i had " p r o f i t e des s u b l i m e s i n v e n t i o n s d r a m a t i q u e s de G l u c k . " H 2 S p o n t i n i d i d not p r o -ceed s o l e l y f r o m G l u c k ; r a t h e r , he s y n t h e s i z e d F rench and I t a l i a n e l e -men t s , as Edward Dent and Denn i s L i b b y have o b s e r v e d . The F r e n c h e l e -ments i n c l u d e G l u c k i a n a c c u r a c y and vehemence o f t e x t u a l d e c l a m a t i o n as w e l l as s e v e r a l f e a t u r e s t r a d i t i o n a l t o F r e n c h o p e r a , such as l a r g e c h o r a l g r o u p i n g s and s p e c t a c u l a r s t a g e t a b l e a u x . The I t a l i a n e l e m e n t s 239 a r e a l s o s t r o n g l y i n e v i d e n c e : I t a l i a n a t e l y r i c i s m i s v e r y a p p a r e n t , e s p e c i a l l y i n t h e s l ow t e m p i ; and t h e f i n a l e s o f A c t s I and I I owe much t o t h e I t a l i a n ensemble t e c h n i q u e . - ^ B e r l i o z neve r wavered i n h i s b e l i e f t h a t both o f S p o n t i n i ' s o t h e r p r i n c i p a l o p e r a s - - F e r n a n d C o r t e z and 0 1 i m p i e - - w e r e g r e a t w o r k s . I n deed , he r anked Fe rnand C o r t e z w i t h La V e s t a l e as one o f t h e immor ta l m a s t e r -p i e c e s o f F r ench o p e r a i n t h e g e n e r a t i o n s a f t e r G l u c k . R e y e r , however , was not so imp re s s ed by Fe rnand C o r t e z , and was even l e s s e n t h u s i a s t i c about 0 1 i m p i e . H - 4 H i s t o r y has endo r s ed h i s judgment o f t h e r e l a t i v e m e r i t s o f t h e s e w o r k s . 0 1 i m p i e and Fe rnand C o r t e z have not been seen on any s t a g e s i n c e 1870 and 1916 r e s p e c t i v e l y , but La V e s t a l e has s u r v i v e d a lmos t t o t h e p r e s e n t d a y , and has l o ng been r e c o g n i z e d as S p o n t i n i ' s m a s t e r p i e c e . A l t h o u g h Reyer was a b e t t e r j u d g e o f Fe rnand C o r t e z and 0 1 i m p i e t h a n was B e r l i o z , he s ha red t h e T a t t e r ' s v i e w o f S p o n t i n i ' s r o l e i n t h e h i s t o r y o f F rench o p e r a : both c r i t i c s saw S p o n t i n i as t h e most s i g n i f i -c a n t composer i n t h e t r a d i t i o n o f G l u c k i a n t r a g e d i e l y r i q u e . S p o n t i n i was c e r t a i n l y " t h e l a s t o f t h e g r e a t o p e r a composers i n whose mus ic t h e d r a m a t i c methods o f G l u c k were s t i l l o f l i v i n g f o r c e , " H 5 but S p o n t i n i was a l s o an I t a l i a n whose t r a i n i n g i n Nap le s had been o f t remendous i m p o r t a n c e t o h i s m u s i c a l d e v e l o p m e n t . He s h o u l d t h e r e f o r e be r e g a r d e d bo th as an exponent o f t h e G l u c k i a n t r a d i t i o n and as "one o f t h a t l o n g s u c c e s s i o n o f I t a l i a n em i g r e s who p e r i o d i c a l l y r e v i t a l i z e d F r e n c h mus i c w i t h t r a n s f u s i o n s f r o m t h e I t a l i a n . " H 6 H i s s y n t h e s i s o f F rench and I t a l i a n t e n d e n c i e s may be h e l d l a r g e l y r e s p o n s i b l e f o r t h e o ve rwhe lm ing s u c c e s s o f L a V e s t a l e d u r i n g t h e e a r l y y e a r s o f t h e c e n t u r y . 240 Weber Weber was q u i t e at home i n c e r t a i n gen re s o u t s i d e t he r e a l m o f t h e t h e a t r e . However, h i s d e s c r i p t i o n s o f f i n d i n g m u s i c a l i n s p i r a t i o n i n n a t u r e s u p p o r t h i s most i m p o r t a n t r e c e n t b i o g r a p h e r ' s c o n t e n t i o n t h a t " m u s i c was f o r him an a r t t h a t was c o n n e c t e d , i n i t s i n ne rmos t fo rms as w e l l as i t s s u r f a c e i m i t a t i o n , t o a d r a m a t i c i n t e r p r e t a t i o n o f t h e w o r l d . " 1 1 7 He was, i n o t h e r w o r d s , a born ope r a compose r . M o r e o v e r , l i k e G l u ck and S p o n t i n i , he was a t t r a c t e d t o t h e t y p e o f s u b j e c t m a t t e r w h i c h h e l d t h e s t r o n g e s t appea l f o r R e y e r : t h e l e g e n d a r y o r f a n t a s t i c r a t h e r t h a n t h e h i s t o r i c a l . We canno t wonder , t h e n , t h a t Weber was one o f t h e composers most h i g h l y esteemed by R e y e r . R e y e r ' s d e f e n c e o f Weber a g a i n s t F e t i s ' s c h a r g e o f a m a t e u r i s h n e s s i s c a r e f u l l y r ea soned and s u p p o r t e d by some c o n v i n c i n g e v i d e n c e . A l t h o u g h two o f t h e t e a c h e r s c i t e d by R e y e r - - n a m e l y , Heuschke l and K a l c h e r - - w e r e s e c o n d a r y f i g u r e s , M i c h a e l Haydn and t h e abbe V o g l e r w e r e , as he s t a t e d , among t h e f i n e s t pedagogues Germany c o u l d o f f e r i n Webe r ' s d a y . F u r t h e r m o r e , Weber was i ndeed t h e f a v o r i t e o f V o g l e r , even when h i s s t u d e n t s i n c l u d e d so g r e a t a t a l e n t as t he e i g h t e e n - y e a r - o l d M e y e r -b e e r . Reyer c o u l d have s t r e n g t h e n e d h i s d e f e n c e by p o i n t i n g out t h a t , a l t h o u g h Webe r ' s m u s i c a l e d u c a t i o n was f r e q u e n t l y i n t e r r u p t e d as F e t i s o b s e r v e s , i t i n c l u d e d a t o t a l o f a lmos t two y e a r s w i t h V o g l e r , f i r s t at V i e n n a ( 1803 -4 ) and l a t e r a t Da rms tad t ( 1 8 1 0 - 1 1 ) . R e y e r ' s c o n c l u s i o n t h a t V o g l e r and t h e o t h e r s would not have f a i l e d t o g i v e a t h o r o u g h e d u c a t i o n t o a s t u d e n t o f Webe r ' s g e n i u s seems r e a s o n a b l e ; he m igh t have added t h a t V o g l e r would s u r e l y not have been so imp re s sed w i t h Weber i f 241 t h e l a t t e r had been a n y t h i n g l e s s t h a n d i l i g e n t . We can o n l y c o n c l u d e , w i t h R e y e r , t h a t Weber ' s t r a n s g r e s s i o n s o f t h e r u l e s a re e v i d e n c e o f i ndependence r a t h e r t h a n i g n o r a n c e . Reyer was o b v i o u s l y r i g h t i n f a u l t i n g F e t i s f o r mak ing t h e g e n e r a l i z a t i o n t h a t Weber d i d not know how t o w r i t e f o r t h e v o i c e — t h a t " t o u t ce q u ' i l a e c r i t pour l e s v o i x e s t h e r i s s e de d i f f i c u l t e s et l e u r semble a n t i p a t h i q u e . " U S ' Reyer h i m s e l f d e m o n s t r a t e d e x c e l l e n t judgment i n a d m i t t i n g t h a t some o f Webe r ' s a r i a s a r e h u r d l e s f o r any s i n g e r , w h i l e r e f u s i n g t o condemn even t h e most c h a l l e n g i n g numbers as b e i n g u n s u i t a b l e f o r t h e v o i c e . We might expand upon h i s a p p r e c i a t i o n o f t h e d i f f i c u l t y o f one o f h i s f a v o r i t e s — R e i z a ' s "Ocean ! t hou m i g h t y m o n s t e r " i n Oberon - - b y n o t i n g t h a t , i n t h e o p i n i o n o f John War rack , i t r e q u i r e s " t h e v o i c e o f a B r U n n h i l d e . " H - y F e t i s ' s o b j e c t i o n t h a t Webe r ' s a t t e m p t s t o e x p r e s s g a i e t y i n m u s i c a l l sound " t r i v i a l e s " - ^ may have been aimed at P e r F r e i s c h l i t z , i n wh i ch c a s e we m igh t c o n s t r u e i t as b e s p e a k i n g a d i s t a s t e f o r t h e c o n t o u r s o f German f o l k m u s i c , f r om wh i ch so many o f t h e m e l o d i e s i n t h i s work are d i s t i l l e d . However, F e t i s ' s c o m p l a i n t i s so vague t h a t we canno t be c e r t a i n whethe r i t r e f e r s t o F r e i s c h u ' t z o r t o Webe r ' s mus i c i n g e n e r a l . Reyer e v i d e n t l y cho se t h e l a t t e r i n t e r p r e t a t i o n , and u n d e r s t o o d t h e word " t r i v i a l e s " as an a l l u s i o n t o t h e w o r l d o f comic o p e r a and o p e r e t t a . V iewed i n t h i s l i g h t , h i s d e n i a l t h a t t h e r e was a n y t h i n g " t r i v i a l " i n W e b e r ' s mus i c i s c e r t a i n l y u n d e r s t a n d a b l e , and t h e examples w i t h wh i ch he d e f e n d s h i s p o s i t i o n a re e n t i r e l y a p p r o p r i a t e . 1 2 1 R e y e r ' s i n t e r p r e t a t i o n o f F e t i s ' s ba rb about Webe r ' s " t r i v i a l e s " a t t e m p t s t o e x p r e s s g a i e t y prompted him to h i n t t h a t t h e B e l g i a n 242 c r i t i c ' s a t t i t u d e t owa rd t h i s composer was not o b j e c t i v e . F e t i s ' s s t a n c e i s i ndeed q u e s t i o n a b l e , f o r - - a s we have seen i n t he p r e c e d i n g p a r a g r a p h s — h e was prone t o make s e v e r e g e n e r a l i z a t i o n s wh i ch he f a i l e d t o s u b s t a n t i a t e . L i k e t h e o t h e r p o i n t s i n R e y e r ' s d e f e n c e o f Weber, h i s i n s i s t e n c e t h a t F e t i s had u n d e r v a l u e d t h e mus i c o f E u r y a n t h e was w e l l - s u p p o r t e d w i t h e x a m p l e s . However, he was on shaky ground when he s p e c u l a t e d t h a t F e t i s ' s u n d e r r a t i n g o f t h e s c o r e was cau sed both by a d i s l i k e o f t h e l i b r e t t o and by a r e c o l l e c t i o n o f t h e f a i l u r e o f t h e 1831 p r o d u c t i o n . T r u e , F e t i s was v e r y c r i t i c a l o f t h e l i b r e t t o , but t h e r e i s no e v i d e n c e t h a t t h i s a t t i t u d e c o l o r e d h i s judgment o f t h e m u s i c . M o r e o v e r , he made no r e f e r e n c e wha t s oeve r t o t h e d i s a s t r o u s p r o d u c t i o n o f 1831 , a l t h o u g h we s h o u l d bea r i n mind t h a t he must have been aware o f t h i s f a i l u r e becau se he was at t h a t t i m e e d i t o r o f t h e Revue M u s i c a l e . Can we f i n d f a u l t w i t h R e y e r ' s o p i n i o n t h a t E u r y a n t h e i s a m a s t e r -p i e c e even though i t s l i b r e t t o i s , i n h i s w o r d s , "de l a p l u s f r a n c h e a b s u r d i t e " ? 1 2 2 N 0 j becau se t h e r e a re many ope ra s based on ab su rd l i b r e t t o s wh i ch we c h e e r f u l l y a c c e p t f o r t h e sake o f t h e m u s i c ; D i e Z a u b e r f l d t e i s a p r ime examp le . Two modern a u t h o r i t i e s — D o n a l d G rou t and W a r r a c k — m a i n t a i n t h a t E u r y a n t h e c o n t a i n s some o f Weber ' s g r e a t e s t m u s i c , 123 a n c j - j s m o r e advanced t h a n t h e S i n g s p i e l Pe r F r e i s c h ' u t z as r e g a r d s ha rmon i c s t y l e , m e l o d i c l a n g u a g e , t h e r o l e o f t h e c h o r u s , and t h e h a n d l i n g o f t h e o r c h e s t r a . T h e y a l s o r e c o g n i z e E u r y a n t h e as an i m p o r t a n t move i n t h e d i r e c t i o n o f Wagner ian mus ic drama because o f i t s m u s i c a l c o n t i n u i t y and i t s s u g g e s t i o n s o f S p r e c h g e s a n g , as w e l l as what Warrack d e s c r i b e s as " t h e most advanced example o f t r u e l e i t m o t i f t hen 243 t o have appeared i n o p e r a . " 1 2 5 j n s h o r t , t h e y p r a i s e E u r y a n t h e as a matu re and a m b i t i o u s German Romant i c o p e r a s e r i a - - " a landmark i n t h e h i s t o r y o f German o p e r a between F i d e l i o and L o h e n g r i n , and a work t h a t d e s e r v e s t o be pe r f o rmed more f r e q u e n t l y . " 1 2 6 R e y e r ' s f i n e s e n s i t i v i t y t o W e b e r ' s a r t i s m a n i f e s t e d not o n l y by h i s c a r e f u l l y r ea soned and c o n v i n c i n g l y s u p p o r t e d r e p l i e s t o F e t i s ' s j udgment s o f Webe r ' s mus i c i n g e n e r a l and E u r y a n t h e i n p a r t i c u l a r , but a l s o by h i s p r a i s e o f t h e o v e r t u r e s t o F r e i s c h l i t z , E u r y a n t h e , and Obe ron . When Reyer d e c l a r e d t h a t " e l l e s ont l e u r p l a c e . . . a c o t e des o e u v r e s symphoniques l e s p l u s o r i g i n a l e s , l e s mieux c o n g u e s , " 1 2 7 he was p r o b a b l y a l l u d i n g t o t h e f a c t t h a t - - u n l i k e so many ope r a o v e r t u r e s o f t h e e a r l y n i n e t e e n t h c e n t u r y - - e a c h i s a c o m p l e t e symphonic.movement i n s o n a t a f o r m , and each m u s i c a l l y c h a r a c t e r i z e s t h e p r i n c i p a l d r a m a t i c c o n f l i c t s o f t h e o p e r a . 1 2 8 H i s t o r y has borne ou t R e y e r ' s p r e d i c t i o n t h a t a l l t h r e e o v e r t u r e s would r ema i n model s o f t h e g e n r e : t h e F r e i - s c h l i t z o v e r t u r e i s s t i l l admi red as one o f t h e f i n e s t i n o p e r a t i c l i t e r -a t u r e , and some s c h o l a r s i n s i s t t h a t t h e o t h e r two d e s e r v e t o rank b e s i d e i t . 1 2 9 As i s t h e ca se w i t h h i s w r i t i n g s on S p o n t i n i , t he one d e f i c i e n c y i n R e y e r ' s c r i t i q u e s o f Weber i s a l a c k o f awareness o f t h e s o u r c e s o f h i s m u s i c a l s t y l e . We o b s e r v e d t h a t R e y e r ' s r e a c t i o n t o c r i t i c s who com-pa red Webe r ' s o p e r a s u n f a v o r a b l y w i t h t h o s e o f Moza r t and Beethoven was t o c r e a t e a Romant i c image o f a g r e a t " o r i g i n a l " : Comme Weber ne p r o c e d e de p e r s o n n e , comme i l e s t l u i -meme p l u s q u ' a u c u n m u s i c i e n qu i a i t j a m a i s e x i s t e , aucune c o m p a r a i s o n n ' e s t p o s s i b l e pour a p p r e c i e r son o e u v r e ; d ' a i l l e u r s , pour l a b i e n j u g e r , i l ne f a u t pas 244 l a p l a c e r ho r s de son c a d r e n i l u i c h e r c h e r aucun p o i n t d ' a f f i n i t e avec l e s oeuv re s d ' u n e a u t r e e c o l e . 1 3 0 In some ways , Reyer was r i g h t : Weber was an " o r i g i n a l " whose d i s t i n c -t i v e s t y l e d e v e l o p e d v e r y e a r l y ! 3 l a n c j d e r i v e d n e i t h e r f r o m B e e t h o v e n ' s F i d e l i o - - a r e s c u e o p e r a - - n o r f r om t h e ope ra s o f M o z a r t . On t h e o t h e r h a n d , Webe r ' s s t y l e d i d not p r o c e e d e n t i r e l y f rom h i m s e l f a l o n e , but i n -s t e a d s y n t h e s i z e d German and F r e n c h e l e m e n t s w i t h a dash o f I t a l i a n a t e v o c a l w r i t i n g . Per F r e i s c h u ' t z , t h e work t h a t e s t a b l i s h e d German Romant i c o p e r a , s t r i k i n g l y i l l u s t r a t e s Webe r ' s s y n t h e s i s . Reyer was o b v i o u s l y aware t h a t p a r t o f t h e a n c e s t r y o f t h i s work l i e s w i t h S i n g s p i e l , 1 3 2 b u t he neve r a l l u d e d t o t h e i n f l u e n c e o f two German works wh ich were w e l l known t o Weber and d i s t i n c t l y f o r e s h a d o w t h e Romant i c mood o f F r e i s c h ' u t z : E. T. A. H o f f m a n n ' s Und ine (1813) and Ludwig S p o h r ' s F a u s t ( 1 8 1 6 ) . 1 3 3 Reyer seems a l s o t o have been o b l i v i o u s t o t h e F r ench i n f l u e n c e wh i ch Warrack f i n d s c l e a r l y p e r c e i v a b l e i n Webe r ' s work .134 For e x a m p l e , Reyer d i d not p o i n t out e i t h e r t h a t t h e c h a r a c t e r s have a c o n s i d e r a b l e amount o f F rench b l o o d i n t h e i r v e i n s , o r t h a t t h e t e c h n i q u e o f m e l o -d r a m a — u s e d i n t h e W o l f ' s G l e n s c e n e — i s F r e n c h , as i s t he i n s e r t i o n o f an e n t r ' a c t e . Nor d i d he c a l l a t t e n t i o n t o Webe r ' s use o f t he o l d d e -v i c e o f r e m i n i s c e n c e m o t i f s , w h i c h , though by no means u n f a m i l i a r i n German o p e r a , was more w i d e s p r e a d i n F rench o p e r a o f t h e l a t e e i g h t e e n t h and e a r l y n i n e t e e n t h c e n t u r y . 1 3 5 The I t a l i a n i n f l u e n c e r e c o g n i z a b l e i n t h e m e l o d i c s t y l e o f t h e ma jo r s o l o numbers e l i c i t e d no comment f r om R e y e r . He pe rhaps f e l t t h a t t h e e lement o f s hee r d i s p l a y i s more e f f e c t i v e l y kep t under c o n t r o l i n t h e s e numbers than i s g e n e r a l l y t h e 245 c a s e i n I t a l i a n o p e r a t i c me lody .136 As t h e two p r e c e d i n g p a r a g r a p h s i n d i c a t e , t h e r e i s much i n W e b e r ' s mu s i c t h a t Reyer d i d not t r a c e t o e a r l i e r m o d e l s . However, we s h o u l d not be t o o c r i t i c a l o f him f o r f a i l i n g t o d i s c e r n many o f t he s o u r c e s o f a s t y l e wh i ch e v i d e n t l y sounded as s t r i k i n g l y o r i g i n a l t o him as i t had once seemed t o t h e c o m p o s e r ' s German c o n t e m p o r a r i e s . In any c a s e , W e b e r ' s o r i g i n a l i t y and h i s s i g n i f i c a n c e l i e not i n h i s m u s i c a l a n c e s t r y but r a t h e r i n " t h e new e x p r e s s i v e c o n t e n t he showed mus i c c o u l d h o l d . " 1 3 7 T h i s c a n D e b e s t o b s e r v e d i n h i s o r c h e s t r a t i o n , t h e a s p e c t o f h i s a r t wh i ch Reyer admi red most f e r v e n t l y , and wh ich i s s t i l l r e g a r d e d as h a v i n g e x e r t e d t h e s t r o n g e s t i n f l u e n c e on l a t e r c ompo se r s . When Reyer w ro t e i n 1857 t h a t Weber was " l e p l u s g rand c o l o r i s t e de son s i e c l e , " 1 3 8 he was a m a z i n g l y c l o s e t o t h e mark: Weber was u n d o u b t e d l y t h e most g i f t e d o r c h e s t r a t o r o f h i s g e n e r a t i o n , and i s s t i l l r e c o g n i z e d as one o f t h e g r e a t e s t i n h i s t o r y . Reyer p r a i s e d h i s e f f e c t i v e and p o w e r f u l t u t t i s , 1 3 y but was more imp re s s ed by h i s i n n a t e u n d e r s t a n d i n g o f t h e q u a l i t y o f each i n d i v i d u a l i n s t r u m e n t . 1 4 0 Thus he sensed t h a t Weber was at h i s most c h a r a c t e r i s t i c and most i n v e n t i v e when, i n t h e words o f Debus sy , "He s c r u t i n i z e s t h e s ou l o f each i n s t r u m e n t and exposes i t w i t h a g e n t l e hand . " 141 What was R e y e r ' s v i e w o f Webe r ' s h i s t o r i c a l s i g n i f i c a n c e ? S i n c e t h e works wh ich c o n s t i t u t e t h e immed ia te backg round o f German Romant i c o p e r a - - s u c h as H o f f m a n n ' s Und i ne and S p o h r ' s F a u s t - - w e r e not heard i n P a r i s d u r i n g t h e p e r i o d o f R e y e r ' s c r i t i c a l a c t i v i t y , 1 4 2 he r e g a r d e d t h e composer o f Pe r F r e i s c h l i t z as t h e c r e a t o r o f " r o m a n t i s c h e o p e r . " 1 4 3 Such an o p i n i o n i s no t f a r wrong , inasmuch as F r e i s c h l i t z e s t a b l i s h e d t h e 246 gen re and was a s t i m u l u s t o M a r s c h n e r , L o r t z i n g , Schumann, and o t h e r composer s who c o n t i n u e d t h e t r a d i t i o n o f German Romant ic o p e r a . T h i s t r a d i t i o n was b rough t t o a c l i m a x by Wagner, i n whose mus ic Reye r r i g h t -l y d i s c e r n e d t h e s t r o n g i n f l u e n c e o f Weber.144 He was aware t h a t B e r l i o z , t o o , was m u s i c a l l y i n d e b t e d t o t h i s e a r l y Romant ic compose r , bu t R e y e r ' s r e f e r e n c e s t o t h e n a t u r e o f t h i s debt a re v e r y g e n e r a l , 1 ^ 5 pe rhap s because he knew t h a t B e r l i o z ' s own w r i t i n g s — i n c l u d i n g t he famous Memo i r e s and t h e T r e a t i s e on I n s t r u m e n t a t i o n — a re f u l l o f e n t h u -s i a s t i c r e f e r e n c e s t o Weber. We can s p e c u l a t e t h a t , had Reye r been a d d r e s s i n g not t h e g e n e r a l p u b l i c but r a t h e r t he r e a d e r s o f a mus i c j o u r n a l , he might have been more e x p l i c i t c o n c e r n i n g a l l t h a t bo th Wagner and B e r l i o z had l e a r n e d f r o m Weber.146 In R e y e r ' s e y e s , t h e n , Weber was t h e f o u n d i n g f a t h e r o f German Romant i c o p e r a ; one o f t h e g r e a t e s t o r c h e s t r a t o r s i n h i s t o r y ; and a v i t a l i n f l u e n c e on Wagner and B e r l i o z . We might o b j e c t t h a t Reyer was unaware o f t h e f a c t t h a t Webe r ' s i n i t i a t i v e had been f o re shadowed by Hoffmann and S p o h r , and had been pu r sued by M a r s c h n e r , L o r t z i n g , and c o u n t l e s s o t h e r German composers b e f o r e t h e advent o f Wagner. However, we must bear i n mind t h a t t h e i r works were unknown t o R e y e r , and t h a t we can j u d g e h i s a s se s sment o f Webe r ' s h i s t o r i c a l s i g n i f i c a n c e o n l y w i t h i n t h e c o n t e x t o f t h e mus ic f a m i l i a r t o h im . W i t h i n t h a t c o n t e x t , h i s a s se s sment o f Weber i s a c c u r a t e . * * * R e y e r ' s d e f e n c e o f G l u c k , S p o n t i n i , and Weber v i v i d l y i l l u s t r a t e s t h e p r a g m a t i c n a t u r e o f h i s a e s t h e t i c : s i n c e a c o m p o s e r ' s o v e r r i d i n g c o n c e r n must be t h e e f f e c t i v e r e a l i z a t i o n o f t h e d r a m a t i c i d e a s o f t h e 247 t e x t , he s h o u l d be r e a d y t o s a c r i f i c e any t h e o r e t i c a l r u l e i n f a v o r o f a c h i e v i n g such e f f e c t i v e n e s s , and s h o u l d not be c r i t i c i z e d f o r so d o -i n g . By t a k i n g such a p o s i t i o n , Reyer showed h i m s e l f t o be a d i s c i p l e o f B e r l i o z , who l i k e w i s e depended "on p r a g m a t i c r a t h e r than t h e o r e t i c a l r u l e s . " 1 4 7 A g a i n l i k e B e r l i o z , Reyer de fended h i s p o s i t i o n by r e f e r r i n g t o a c e l e b r a t e d compose r : j u s t as B e r l i o z had uphe l d h i s d e f e n c e o f a s u c c e s s i o n o f f i f t h s and o c t a v e s i n R o s s i n i ' s c h o r u s " V o i c i l a n u i t " f r om G u i l l a u m e T e l l by c i t i n g a s i m i l a r pas sage i n B e e t h o v e n ' s E r o i c a , 1 4 8 s o R e y e r , decades l a t e r , s u p p o r t e d h i s d e f e n c e o f W e b e r - - a n d , i n d e e d , a l l m u s i c i a n s who t r a n s g r e s s e d t h e o r e t i c a l r u l e s - - b y r e f e r r i n g t o R o s s i n i ' s c h o r u s . We canno t r e p r o a c h e i t h e r Reyer o r B e r l i o z f o r t h i s p r a g m a t i c r e l a -t i v i s m , because i t kept them f r om what might be r e g a r d e d as t h e c r i t i c ' s wo r s t f a u l t — t h a t o f i n d u l g i n g i n " p i c a y u n e , t h e o r e t i c a l l y - o r i e n t e d c r i t i c i s m . . . [ w h i c h ] t e n d e d t o d e s t r o y t h e i n t o x i c a t i n g atmosphere c r e a t e d by a m u s i c a l m a s t e r w o r k . " 1 4 9 Thus , when d i s c u s s i n g G l u c k , S p o n t i n i , o r Weber, bo th c r i t i c s a l l u d e d t o t h e s o - c a l l e d f l a w s i n t h e works o f t h e s e c ompo se r s , but i n s i s t e d t h a t t h e y n e v e r t h e l e s s were mas-t e r s . One o f R e y e r ' s p ronouncements e l o q u e n t l y summar izes t he pragma-t i s m o f h i s a e s t h e t i c c r e e d : C e r t e s l a s c i e n c e e s t une b e l l e c h o s e , e t i l ne f a u t pas d e d a i g n e r d ' e t r e s a van t a u t a n t q u ' o n peut l e d e v e n i r ; ma i s dans une oeuv re d r a m a t i q u e ou l e s beau te s abonden t , p o u r q u o i r e l e v e r s i m i n u t i e u s e m e n t ces l e g e r e s i n c o r -r e c t i o n s harmon iques et ces h a r d i e s s e s dont l e grand Beethoven lu i -meme n ' a pas su se g a r d e r dans q u e l q u e s unes de ses p l u s b e l l e s symphon ies et s u r t o u t dans ses d e r n i e r s q u a t u o r s ? 1 5 0 248 Endnotes 1 At C a r v a l h o ' s i n v i t a t i o n , B e r l i o z had e s t a b l i s h e d the s c o r e and had o v e r s e e n t h e p r o d u c t i o n . Orphee f a r o u t l a s t e d c u r r e n t o f f e r i n g s : i t was pe r f o rmed a t o t a l o f 138 t i m e s d u r i n g a f i v e - y e a r r un ( 1 8 5 9 - 6 3 ) . See T. J . W a l s h , Second Emp i re O p e r a : The T h e a t r e L y r i q u e , P a r i s , 1 851 - 1870 ( London : John C a l d e r ; New Y o r k : R i v e r r u n P r e s s , 1 9 8 1 ) , pp . 111-14 and 312 ; and J acque s B a r z u n , B e r l i o z and t h e Romant i c C e n t u r y , 3d e d . , 2 v o l s . (New Y o r k : C o l u m b i a U n i v e r s i t y P r e s s , 1 9 6 9 ) , 2 : 1 6 5 - 6 8 . 2 W h i l e on h i s way t o London i n 1826. H i s s t a y i s d e s c r i b e d i n d e t a i l by John Wa r r a ck , C a r l M a r i a von Weber, 2d e d . ( C a m b r i d g e : Cam-b r i d g e U n i v e r s i t y P r e s s , 1 9 7 6 ) , p p . 3 45 - 49 . 3 C a s t i l - B l a z e was i d e n t i f i e d i n n . 10 o f C h a p t e r I I . H i s Rob i n des b o i s ( p r e m i e r e d at t h e Odeon i n 1824) was h i g h l y s u c c e s s f u l f o r many y e a r s - - s o s u c c e s s f u l , i n f a c t , t h a t as l a t e as 1855 E m i l e P e r r i n , who was t hen d i r e c t o r o f t h e T h e a t r e - L y r i q u e , added i t t o t he r e p e r t o i r e o f t h i s t h e a t r e . There i t r ema ined u n t i l t he end o f 1863, by wh ich t i m e i t had been pe r f o rmed 128 t i m e s . The f i r s t p r o d u c t i o n at t h e L y r i q u e was r e v i e w e d by Reyer i n " C h r o n i q u e m u s i c a l e , " A t h F 4 (10 F e b r u a r y 1 8 5 5 ) : 1 2 2 - 2 3 . For a h i s t o r y o f P a r i s i a n p r o d u c t i o n s o f both t h e a d a p t a t i o n and t h e a u t h e n t i c work , see J a c q u e s - G a b r i e l P rod 'homme, " R o b i n des b o i s e t Le F r e y s c h u t z a P a r i s ( 1 8 2 4 - 1 9 2 6 ) , " Le M e n e s t r e l 88 (22 and 29 O c t o -be r 1 926 ) : 437 - 40 and 4 4 9 - 5 1 . 4 Reyer a n g r i l y condemned such m u t i l a t i o n s : " J a m a i s l e p r o v e r b e i t a l i e n , T r a d u t t o r e , t r a d i t t o r e , n ' a mieux e t e a p p l i q u e q u ' a u t r a d u c t e u r du F r e y s c h l i t z , e t , ma lheureusement pour l u i , l ' a u t e u r de Rob in des b o i s ne t r o u v e pas son excu se dans l e s e u l d e s i r d ' a v o i r v o u l u p o p u l a r i s e r en F r a n c e un c h e f - d ' o e u v r e peu connu et peu gou te dans sa forme p r i m i t i v e ; . . . i l a a l t e r e l a p e n -see du m u s i c i e n , i l l ' a d e f i g u r e e i c i , i l l ' a t r a v e s t i e a i l l e u r s , e t i l s ' e s t e n r i c h i a ce t r a v a i l s a c r i l e g e . " ( " C h r o n i q u e m u s i c a l e , " RF Annee 3 , Tome 8 [20 March 1857 ] :378 ) 6 A German company wh i ch v i s i t e d P a r i s s p o r a d i c a l l y between 1829 and 1838 s t a g e d Per F r e i s c h ' u t z , E u r y a n t h e , Obe ron , and B e e t h o v e n ' s F i d e l i o , but met w i t h l i t t l e s u c c e s s . ("Noted by Reyer i n i b i d . , p . 381 , and i n t h e JP f e u i l l e t o n o f 16 December 1866. ) 6 The O p e r a ' s E u r y a n t h e c l o s e d a f t e r j u s t f o u r p e r f o r m a n c e s (LoewAO, c o l . 6 9 0 ) . B e r l i o z not o n l y composed t h e r e c i t a t i v e s f o r t h e t r a n s l a t i o n o f F r e i s c h ' u t z , bu t a l s o d i r e c t e d t h e r e h e a r s a l s . T h i s work overcame a c a b a l and even succeeded i n making money, but was 249 " n e v e r t h e l e s s d ropped f rom t h e r e p e r t o r y w i t h i n s i x m o n t h s . " ( B a r z u n , B e r l i o z , 1:408.) 7 Quoted i n P rod ' homme, " R o b i n e t F r e y s c h u ' t z , " p. 4 50 . 8 E a r l i e r P a r i s i a n p r e s e n t a t i o n s o f Oberon ( i n German) and E u r y - anthe ( i n German and F r e n c h ) were c i t e d above i n nn . 5 and 6 ; Abu Hassan had n e v e r b e f o r e been pe r f o rmed i n F r a n c e . As no ted i n C h a p t e r V, t h e L y r i q u e ' s p r o d u c t i o n s o f t h e s e works i n v o l v e d some m i n o r a l t e r a t i o n s . Reyer s t a t e d i n h i s r e v i e w s t h a t he would have p r e f e r r e d t o have heard each work e x a c t l y as w r i t t e n , but he s y m p a t h i z e d w i t h C a r v a l h o . Apropos o f E u r y a n t h e , f o r e x a m p l e , Reyer w r o t e : " S i M. C a r v a l h o eut eu p l u s de c o n f i a n c e dans l e gout du p u b l i c . . . i l nous eu t donne l a p a r t i t i o n a l l e m a n d e sans y change r une n o t e . M a i h e u r e u s e m e n t , c ' e t a i t l a une e x p e r i e n c e qu i n ' e t a i t pas sans d a n g e r , meme aux yeux d ' u n d i r e c t e u r auquel on ne r e f u s e r a c e r t a i n e m e n t pas une i n t e l l i g e n c e peu commune, beaucoup d ' i n i t i a t i v e e t des a s p i r a t i o n s a r t i s t i q u e s t o u t a f a i t e l e v e e s . En somme, m ieux vau t e n t e n d r e E u r y a n t h e comme on l e j o u e au T h e a t r e - L y r i q u e , que de ne pas 1 ' e n t e n d r e du t o u t . " (CP f e u i l l e t o n o f 11 September 1857 ; see a l s o i b i d . , 18 May 1859 [Abu~~Hassan] and " C h r o n i q u e m u s i c a l e , " RF_ Annee 3, Tome 8 |_20 March 1857 ] : 380 and 383 [Obe ron ] ) y N e i t h e r E u r y a n t h e no r Abu Hassan l a s t e d l o n g e r than one s e a s o n . Oberon however was pe r f o rmed a t o t a l o f one hundred t i m e s : i t d om ina ted t h e L y r i q u e ' s 1857 s e a s o n , and was r e v i v e d i n 1858 and a g a i n i n 1863 . ( W a l s h , Second Emp i re O p e r a , pp . 309 and 311 . ) 1 ° I b i d . , p. 106. 11 D u r i n g t h e l a t e 1850s C a r v a l h o t u r n e d h i s a t t e n t i o n t o one o t h e r s c o r e by Weber: t h e i n c i d e n t a l mus i c f o r P. A. W o l f f ' s drama P r e c i o s a . The d i r e c t o r e v i d e n t l y f e l t a t l i b e r t y t o t r e a t t h i s s c o r e much more f r e e l y t han Webe r ' s o p e r a s , because he made w h o l e s a l e changes wh i ch Reyer condemned: " 0 g r and C a s t i l - B l a z e ! Vos manes d o i v e n t e t r e c o n -t e n s : l e T h e a t r e - L y r i q u e v i e n t de l e u r o f f r i r son p r e m i e r s a c r i f i c e . " (CP f e u i l l e t o n o f 24 A p r i l 1858 . ) 12 B e r l i o z had r e s t o r e d t he s c o r e and coached t he s i n g e r s f o r t he O p e r a ' s r e v i v a l o f A l c e s t e ( s ee B a r z u n , B e r l i o z , 2 : 207 -8 and 2 1 0 ) , j u s t as he had done f o r t h e L y r i q u e ' s O rphee . Reyer was not i n t he employ o f any newspaper o r p e r i o d i c a l when B e r l i o z ' s p r o d u c t i o n s o f Orphee and A l c e s t e were p r e m i e r e d (on 19 November 1859 and 21 O c t o b e r 1861 r e s p e c t i v e l y ) . C o n s e q u e n t l y , t h e young c o m p o s e r - c r i t i c d i d n o t — t o my k n o w l e d g e — r e v i e w t h e s e p r o d u c t i o n s . There i s e v i d e n c e , however , t h a t he a t l e a s t a t t e n d e d Orphee ( see t h e JD f e u i l l e t o n o f 2 June 1889, e x c e r p t e d i n n. 8 3 ) . 250 13 J a c q u e s - G a b r i e l P rod 1 homme, L ' O p e r a ( P a r i s : L i b r a i r i e D e l a -g r a v e , 1 9 2 5 ) , p. 4 1 . B e r l i o z had d i r e c t e d t h e 1866 r e v i v a l o f h i s p r o -d u c t i o n o f A l c e s t e ; t h e O p e r a ' s t r u n c a t i o n o f i t must have been a b i t t e r b l o w . 14 I p h i g e n i e en T a u r i d e - - J u l e s P a s d e l o u p ' s f i r s t ma jo r p r o d u c t i o n a f t e r assuming t h e f u n c t i o n s o f d i r e c t o r and c o n d u c t o r at t h e L y r i q u e i n t h e e a r l y autumn o f 1 8 6 8 - - c l o s e d a f t e r o n l y f i f t e e n p e r f o r m a n c e s . Reyer f o u n d t h e p r i n c i p a l s d i s a p p o i n t i n g , w i t h t h e e x c e p t i o n o f t h e t e n o r Bo s -q u i n , who sang t h e r o l e o f P y l a d e s (JD f e u i l l e t o n s o f 29 November and 6 December 1 868 ) . 15 LoewAO, c o l s . 263 and 371 . O r f e o was r e v i v e d by a w e a l t h y i m -p r e s a r i o who was t r y i n g t o r e s u r r e c t t h e T h e a t r e - I t a l i e n ( s ee R e y e r ' s r e v i e w , wh i ch i n c l u d e s comments on t h e d i f f e r i n g m e r i t s o f t h e I t a l i a n and F rench v e r s i o n s o f t h i s work , i n t h e JD f e u i l l e t o n o f 2 June 1 8 8 9 ) . The r e v i v a l o f Orphee a t t h e Comique was mounted by C a r v a l h o , who p r o b -a b l y hoped t h a t t h i s v e r s i o n o f t he m a s t e r p i e c e — w h i c h had c r e a t e d a s e n s a t i o n at t h e o l d L y r i q u e — w o u l d become an immed ia te s u c c e s s w i t h a new g e n e r a t i o n o f t h e a t r e - g o e r s . (The p r o d u c t i o n was r e v i e w e d f o r t h e JD by A d o l p h e J u l l i e n , w i t h whom t h e s e m i r e t i r e d Reye r had been s h a r i n g t h e d u t i e s o f f e u i l l e t o n i s t e s i n c e 1893. The R e n a i s s a n c e ' s I p h i g e n i e en T a u r i d e was a l s o r e v i e w e d by J u l l i e n , who had succeeded Reye r upon t h e T a t t e r ' s r e t i r e m e n t i n 1898. ) 16 P rod 'homme, " R o b i n e t F r e y s c h t i t z , " p. 4 5 1 . 17 ( B a g i e r , d i r e c t o r o f t h e f o u n d e r i n g T h e a t r e - I t a l i e n , was a t -t e m p t i n g t o t u r n h i s e n t e r p r i s e i n t o a new T h e a t r e - L y r i q u e . ) In r e v i e w s o f t h e two p r o d u c t i o n s o f t h e new t r a n s l a t i o n , Reyer e x p r e s s e d keen d i s -appo i n tmen t i n both t h e m i se en s cene and t h e s i n g i n g (JD f e u i l l e t o n s o f 16 December 1866 and 15 J a n u a r y 1 8 7 5 ) . He was p a r t i c u l a r l y d i s p l e a s e d t h a t t h e p r i n c i p a l s t ook t h e l i b e r t y o f e m b e l l i s h i n g t h e i r r o l e s . 18 The use o f F r e i s c h u ' t z as a c u r t a i n - r a i s e r at t h i s t h e a t r e became t r a d i t i o n a l : i t was r e p e a t e d l y r e v i v e d u n t i l 1894, when t he s e t t i n g s were among t h e many l o s t i n t h e f i r e wh i ch d e s t r o y e d t h e Opera warehouse (P rod ' homme, " R o b i n e t F r e y s c h u t z , " p. 4 5 0 ) . R e y e r ' s d i s g u s t at t h i s t r e a t m e n t o f Webe r ' s m a s t e r p i e c e was e x p r e s s e d i n many w r i t i n g s f o r t h e JD ( see t h e f e u i l l e t o n s o f 31 May 1870 , 29 May 1873, and 31 O c t o b e r T 8 8 6 , as w e l l as an u n t i t l e d a r t i c l e — s i g n e d by R e y e r — i n t h e i s s u e o f 6 J u l y 1876, p. 4 ) . l y LoewAO, c o l s . 679 and 702 ; and P rod 'homme, " R o b i n e t F r e y - s c h u t z , " p. 4 5 1 . Reyer r e v i e w e d B a g i e r ' s r e v i v a l o f Oberon (JD f e u i l l e - t o n o f 18 June 1 8 7 6 ) , but not t h e new t r a n s l a t i o n o f F r e i s c h u ' t z . The l a t t e r r an f o r a mere f o u r n i g h t s at t h e C h a t e a u - d ' E a u — a n o t h e r i l l -f a t e d a t t empt t o r e p l a c e t h e o l d L y r i q u e — i n J u l y 1891 . ( I t seems r e a -s o n a b l e t o presume t h a t , at t h a t t i m e , Reyer was on h i s annual summer h o l i d a y , because no f e u i l l e t o n b e a r i n g h i s s i g n a t u r e was p u b l i s h e d i n t h e JD between 21 June and 20 September 1891. ) The R e n a i s s a n c e ' s 251 r e v i v a l o f Oberon i n 1 8 9 9 - - 1 i k e i t s p r o d u c t i o n o f I p h i g e n i e en T a u r i d e t h a t same y e a r — w a s r e v i e w e d by t h e r e t i r e d R e y e r ' s s u c c e s s o r , J u l l i e n . 20 In h i s r e v i e w o f t h e L y r i q u e ' s c o o l l y - r e c e i v e d F r e i s c h l i t z ( 1 8 6 6 ) , f o r e x a m p l e , Reyer o b s e r v e d t h a t F r a n g o i s - J o s e p h F e t i s had c e n -s u r e d Weber as a " h a r m o n i s t e d ' i n s t i n c t " who had never m a s t e r e d t h e c r a f t o f c o m p o s i t i o n ; see t h e q u o t a t i o n g i v e n on p. 2 25 . Reyer t hen p o i n t e d ou t t h a t t h e same t h i n g had been s a i d o f bo th G luck and Spon-t i n i : " N ' a - t - o n pas a u s s i a d r e s s e a G l u ck l e r e p r o c h e d ' e t r e un m u s i c i e n d ' i n s t i n c t p l u s q u ' u n m u s i c i e n de s a v o i r ? Et S p o n t i n i ! [ s i c ] Les p u r i s t e s qu i a s s i s t a i e n t a l a p r e m i e r e r e p r e s e n t a t i o n de l a V e s t a l e ne l u i e p a r g n e r e n t p o i n t l e s coups de f e r u l e et l e s coups de p lume; ap re s O l y m p i a comme ap re s Fernand C o r t e z , i l p e r s i s t a i e n t a v o u l o i r l e r e n v o y e r a l ' e c o l e ; S p o n t i n i n ' y a l i a p o i n t : i l a ima mieux p a r t i r pour B e r l i n . " (JD f e u i l l e t o n o f 16 December 1866) In r e v i e w s o f works by G l u c k , S p o n t i n i , and Weber, Reyer o f t e n a l l u d e d t o " l e s p u r i s t e s " o r " l e s s a v a n t s " — a p p e l l a t i o n s w h i c h , p r e s u m a b l y , meant F e t i s and o t h e r m u s i c i a n s known f o r t h e i r o r t h o d o x y i n m a t t e r s o f harmony and c o u n t e r p o i n t . 21 CP f e u i l l e t o n o f 11 September 1857. 22 i b i d . 23 I b i d . 24 i n t h e JD f e u i l l e t o n o f 25 November 1873, Reyer quo ted B e r l i o z ' s a ngu i s hed w a r n i n g t h a t u n l e s s someone u n d e r t o o k — o n t h e b a s i s o f e x i s t -i n g knowledge and t h e most a u t h e n t i c d o c u m e n t s — t o r e c t i f y t he many e r r o r s , f i l l t h e l a c u n a e , and c l a r i f y t h e o b s c u r e p o i n t s i n G l u c k ' s s c o r e s , t h e y would w i t h i n a few y e a r s be r e g a r d e d as i n c o m p r e h e n s i b l e r e l i c s o f a v a n i s h e d age. (See Le s G r o t e s q u e s de l a mus ique [ P a r i s : B o u r d i l l i a t , 1 8 5 4 ] , p. 198 . ) Reyer then announced t h a t M i l e P e l l e t a n and M. Damcke " o n t en tendu l e s p l a i n t e s du m a T t r e , " and t h a t t h e f i r s t f r u i t o f t h e i r e f f o r t s , I p h i g e n i e en A u l i d e , had j u s t been p u b l i s h e d . He p r a i s e d t h e m e t i c u l o u s n e s s and e r u d i t i o n o f t h e i r work . B e r t h o l d Damcke ( 1812 -1874 ) was an e x p e r i e n c e d German c o n d u c t o r , c ompose r , and c r i t i c . A f t e r s e t t l i n g i n P a r i s i n 1859, he had become a s t a u n c h f r i e n d and a d m i r e r o f B e r l i o z . Fanny P e l l e t a n (1830 -1876) was a w e a l t h y and g i f t e d amateur m u s i c i a n whose m u s i c a l e d u c a t i o n had i n c l u d e d t h e o r y l e s s o n s f r o m Damcke. She s ha red h i s a d m i r a t i o n f o r B e r l i o z . 25 See t h e f o l l o w i n g JD f e u i l l e t o n s : 3 June 1874; 30 May, 30 O c t o b e r , and 8 November 1880; and 4 December 1887. Both I p h i g e n i e en A u l i d e and I p h i g e n i e en T a u r i d e had a p p e a r e d , and t he e n g r a v i n g o f A l c e s t e was underway, when Damcke d i e d . At M i l e P e l l e t a n ' s r e q u e s t C a m i l l e S a i n t - S a e n s began a s s i s t i n g h e r , and i t was he who, a f t e r he r d e a t h , c a r r i e d t h e p r o j e c t t o c o m p l e t i o n by e d i t i n g A r m i d e , . O r p h e e , and 252 Echo e t N a r c i s s e ( t h e l a s t - n a m e d p u b l i s h e d i n 1 9 0 2 ) . S a i n t - S a e n s once d i s c u s s e d t h e p r o j e c t and p a i d t r i b u t e t o bo th M i l e P e l l e t a n and M. Damcke; see " M a d e m o i s e l l e P e l l e t a n " i n h i s c o l l e c t i o n Harmonie e t m e l o d i e ( P a r i s : Calmann L e v y , 1 8 8 5 ) , pp . 115 -25 . 2 6 JD f e u i l l e t o n o f 29 November 1868. 2 7 "Aucun ne l ' a e g a l e par l a g r andeu r de 1 ' i n s p i r a t i o n et 1 ' a d m i -r a b l e v e r i t e d ' e x p r e s s i o n dans l a d e c l a m a t i o n l y r i q u e . " ( I b i d . , 4 December 1887. ) 2 8 As we s h a l l see i n C h a p t e r s V I I and V I I I , Reyer b e l i e v e d t h a t bo th o f t h e s e composers had been s t r o n g l y i n f l u e n c e d by G l u c k ' s a r t o f l y r i c d e c l a m a t i o n . 2 9 I b i d . , 29 November 1868. 30 N o t a b l y t he s u p e r s t i t i o u s T h o a s ' s g loomy a r i a "De n o i r s p r e s -s e n t i m e n s mon ame i n t i m i d e e " ; O r e s t e s ' s a r i a o f s e l f - d e l u s i o n , " L e ca lme r e n t r e dans mon c o e u r , " wh i ch Reyer d e s c r i b e d as "une des p l u s t o u -c h a n t e s e t des p l u s s u b l i m e s i n s p i r a t i o n s de G l u c k " ; and " 0 m a l h e u r e u s e I p h i g e n i e , " sung by t h e angu i s hed h e r o i n e upon l e a r n i n g t h a t o n l y one member o f he r f a m i l y i s a l i v e . ( I b i d . ) 31 I b i d . , 6 December 1868. Reyer a l s o e x p r e s s e d a r d e n t a d m i r a t i o n f o r c e r t a i n a r i a s i n o t h e r o p e r a s by G l u c k : " J ' a i pe rdu mon E u r y d i c e " f r o m Orphee ( i b i d . , 2 June 1889 ) ; and bo th " D i v i n i t e s du S t y x " and "Non , ce n ' e s t p o i n t un s a c r i f i c e " f r o m A l c e s t e ( i b i d . , 4 December 1 8 8 7 ) . Reyer chose " D i v i n i t e s du S t y x " t o r e p r e s e n t G l u c k i n t he c o n c e r t o r " f e s t i v a l " wh i ch he o r g a n i z e d and c o n d u c t e d i n 1870 t o commemorate t h e f i r s t a n n i v e r s a r y o f B e r l i o z ' s d e a t h . On t h e program o f t h e second " f e s t i v a l " (1879) G l u c k was a g a i n r e p r e s e n t e d , t h i s t i m e by one o f t h e i d y l l i c c h o r a l s cene s f r om A r m i d e . ( F o r f u r t h e r i n f o r m a t i o n on both " f e s t i v a l s , " see C h a p t e r V I I , p p . 269 -70 and 2 71 - 72 . ) 3 2 A f t e r a t t e n d i n g t h e w o r l d p r e m i e r e o f O t e l l o at M i l a n , Reyer p r a i s e d t h e " r o l e a c t i f " o f t h e c h o r u s , " d o n t l e s v o i x . . . s u i v e n t l e s p e r i p e t i e s i n d i q u e e s par l e t r a v a i l s ymphon ique . . . . G l uck ne nous en a - t - i l pas donne un exemple f r a p p a n t e t bon a s u i v r e dans l a tempete d ' I p h i g e n i e en T a u r i d e ? " ( I b i d . , 11 F e b r u a r y 1887; r e p e a t e d a lmos t v e r -b a t i m i n h i s r e v i e w o f t h e P a r i s i a n p r e m i e r e , i b i d . , 13 Oc tobe r 1894. ) 33 i n h i s r e v i e w o f t h e L y r i q u e ' s p r o d u c t i o n o f I p h i g e n i e en T a u - r i d e , f o r e x a m p l e , he admi red t h e mad scene f o r O r e s t e s , i n wh i ch " l e s f u r e u r s e t l e s tourmens du h e r o s " were i n t e n s i f i e d by " de t e r r i b l e s a c c o r d s en a r p e g e " ( i b i d . , 29 November 1 8 6 8 ) . A f t e r a t t e n d i n g a c o n c e r t g i v e n by Co lonne t o mark t h e c e n t e n a r y o f G l u c k ' s d e a t h , Reyer remarked on t h e e f f e c t i v e n e s s o f t h e d e l i c a t e sound o f f l u t e s " s e m e l a n t . . . a l a v o i x du c h a n t e u r " i n t h e S l e e p A r i a f r om A c t I I o f A rmide ( i b i d . , 4 December 1 8 8 7 ) . 253 3 4 I b i d . , 4 December 1887. 35 CP f e u i l l e t o n o f 11 September 1857 ( i n wh i ch Reyer r e c o l l e c t s r e a d i n g t h e s c o r e o f A l c e s t e at t h e p i a n o w i t h B e r l i o z and t h e i r mutua l f r i e n d Theodore R i t t e r ; see t h e e x c e r p t g i v e n above on p. 2 1 9 ) . Decades l a t e r , i n a r e v i e w o f a c o n c e r t at wh i ch t h e t emp le scene was p e r f o r m e d , Reyer e l a b o r a t e d on t he c o n t r i b u t i o n o f t h e o r c h e s t r a t o t he d r a m a t i c impac t o f v a r i o u s p a r t s o f t h i s s cene (JD f e u i l l e t o n o f 23 November 1 8 9 5 ) . 36 " L e s m u s i c i e n s s a ven t q u e l l e i m p o r t a n c e a l e q u a t u o r dans l e s o p e r a s de G l u ck e t comment i l e s t t r a i t e . Nos j e u n e s c o m p o s i t e u r s f e r a i e n t b i e n , t o u t en n ' e t a n t p o i n t r e f r a c t a i r e s aux p r o g r e s de 1 ' i n s t r u m e n t a t i o n moderne, de m e d i t e r un peu p l u s s u r c e t t e g rande s i m -p l i c i t y de moyens e t su r l e s a d m i r a b l e s e f f e t s . . . q u ' u n m u s i c i e n de g e n i e peut en t i r e r . II a r r i v e a s s e z r a r emen t que T o n o b t i e n n e par 1 ' a c c u m u l a t i o n de t o u t e s l e s f o r c e s de l ' o r c h e s t r e une i m p r e s s i o n de g r a n d e u r . " ( I b i d . , 2 June 1889 . ) Reyer made many such p l e a s f o r e c o n -omy o f m u s i c a l f o r c e s ; s e e , f o r e x a m p l e , t h e q u o t a t i o n on pp . 2 3 7 - 3 8 . 37 See C h a p t e r V I I I , pp . 3 3 1 - 3 2 . 38 CP f e u i l l e t o n o f 30 September 1858. One o f t he " p u r i s t e s " t o whom Reyer r e f e r r e d i n t h a t e x c e r p t must s u r e l y have been F e t i s , who - -d e s p i t e h i s a d m i r a t i o n f o r what he d e s c r i b e d as " l e s beau te s repandues dans l e s p a r t i t i o n s de G l u c k " — a g r e e d w i t h c o n t e m p o r a r y c r i t i c i s m s o f t h i s c o m p o s e r ' s t e c h n i q u e : "On a r e p r o c h e a G l u c k , avec r a i s o n , de c h a n t e r q u e l q u e -f o i s p e n i b l e m e n t ; de manquer de v a r i e t e dans ses t o u r s de m o d u l a t i o n e t d ' a v o i r e v i t e avec a f f e c t a t i o n l e deve loppement des fo rmes m u s i c a l e s . II f a u t l ' a v o u e r , ce s r e p r o c h e s ne s on t pas denues de f ondement . . . . i l e s t c e r t a i n que l e s m e l o d i e s des a i r s de G l u c k sont q u e l q u e f o i s communes; q u ' i l y n e g l i g e t r o p l a p e r i ode ; . . . G l u c k n ' e t a i t pas h a r m o n i s t e c o r r e c t . . . Son o r c h e s t r e e s t s ouven t e c r i t avec un embar ra s a p p a r e n t . " ( F e t i s B , 4 : 37 ) F e t i s d i d not s u p p o r t h i s c r i t i c i s m s by c i t i n g examples f r o m G l u c k ' s m u s i c . 39 JD f e u i l l e t o n o f 4 December 1887. R e y e r ' s o p e n i n g s t a t emen t r e q u i r e s some e x p l a n a t i o n . In an e a r l i e r f e u i 1 l e t o n , he t o l d r e a d e r s t h a t t h e j o u r n a l P a r i s I l l u s t r e wou ld commemorate t he c e n t e n n i a l o f Don G i o v a n n i by p u b l i s h i n g a s p e c i a l i s s u e , wh i ch would i n c l u d e some c o n -t e m p o r a r y F r ench c o m p o s e r s ' o p i n i o n s o f M o z a r t . Reyer then gave t he " p r i m e u r " o f t h e s t a t e m e n t wh i ch he would c o n t r i b u t e : " T r o i s ou q u a t r e m u s i c i e n s seu lement peuvent r e g a r d e r Moza r t en f a c e . Les a u t r e s d o i v e n t s ' i n c l i n e r . " ( I b i d . , 9 O c t o b e r 1887. ) 40 L i k e G l u c k , S p o n t i n i r e c e i v e d bo th p r a i s e and c r i t i c i s m f r o m F e t i s . The l e a r n e d B e l g i a n admi red what he v a g u e l y d e s c r i b e d as " l e 254 c o t e de 1 ' o r i g i n a l i t e , de 1 ' i n s p i r a t i o n et de V e x p r e s s i o n s e n t i m e n t a l e " o f La V e s t a l e , b u t - - a s i n h i s a r t i c l e on G l u c k - - d e c l a r e d t h a t t h e c r i t i -c i s m s o f t h e c o m p o s e r ' s c o n t e m p o r a r i e s were not un f ounded . He t hen enumerated what he p e r c e i v e d as t he many " i m p e r f e c t i o n s de m e t i e r " i n La V e s t a l e , such as c o n s e c u t i v e o c t a v e s , f r e q u e n t d i s s o n a n c e s wh ich " n ' o n t pas l e u r r e s o l u t i o n n o r m a l e , " and m o d u l a t i o n s i n wh ich he d i d not sense a c l e a r r e l a t i o n s h i p between t h e t o n a l i t i e s ( F e t i s B 8 : 9 1 ) . He d i d not s u b s t a n t i a t e h i s c r i t i c i s m s by g i v i n g examples f r om t h e s c o r e . 41 Fo r e xamp le , i n t h e r e v i e w o f h i s second commemorat ive " F e s t i v a l B e r l i o z " - - w h i c h i n c l u d e d mus i c by G l u c k , S p o n t i n i , and B e r l i o z - - R e y e r d e s c r i b e d t h e s e t h r e e m a s t e r s as " g l o r i e u x r e p r e s e n t a n s du g rand a r t l y r i q u e " (JD f e u i l l e t o n o f 22 March 1 8 7 9 ) . Reyer r e v i e w e d t h e O p e r a ' s r e v i v a l o f La V e s t a l e i n " C h r o n i q u e m u s i c a l e , " A t hF 3 (25 March 1 8 5 4 ) : 2 6 8 - 6 9 , and i n "Revue m u s i c a l e , " RP_ 21 (1 A p r i l 1854) : 154 -56 . (These two r e v i e w s a r e h e r e a f t e r c i t e d as " L a V e s t a l e , " A t h F , and " L a V e s t a l e , " RP. ) 4 2 " L a V e s t a l e , " A t hF p. 268 . 4 3 I b i d . , and " L a V e s t a l e , " RP p. 155 . 4 4 A f t e r i n f o r m i n g h i s r e a d e r s t h a t S p o n t i n i ' s c o n t e m p o r a r i e s had f ound t h e i n s t r u m e n t a t i o n t o o n o i s y ( see t h e e x c e r p t g i v e n above on p. 2 2 3 ) , Reyer added t h a t he would not be s u r p r i s e d " d ' e n t e n d r e d i r e par p l u s d ' u n de nos c o m p o s i t e u r s modernes que c e t t e i n s t r u m e n t a t i o n . . . peche ga e t l a pa r q u e l q u e s v i d e s q u ' i l s e r a i t , du r e s t e , f a c i l e de c omb le r au moyen d ' e c l a t s de t rombones et de coups de g r o s s e c a i s s e . " ( " L a V e s t a l e , " A thF p. 268 . ) 4 6 " L a p l u p a r t des mouvements ont e t e t r o n q u e s , r a l e n t i s , d e n a -t u r e s ; l ' o r c h e s t r e a j o u e sans v i g u e u r , sans c ou r age e t sans i n t e l l i -g e n c e . M i l e C r u v e l l i a d r a m a t i s e son r o l e comme s ' i l se f u t ag i de c e l u i de V a l e n t i n e [de s H u g u e n o t s ] ; e l l e a manque de c a n d e u r , de s i m -p l i c i t y e t de p o e s i e . Roger a c h e r c h e a d i s s i m u l e r par des moyens f a c t i c e s , pa r des hoquet s p e r p e t u e l s et des e l a n s i n t e m p e s t i f s [ , ] 1 ' i n s u f f i c a n c e de sa v o i x e t de son t a l e n t . " ( " L a V e s t a l e , " RP p. 156; see a l s o " L a V e s t a l e , " A thF p. 269 . ) 4 6 " L a V e s t a l e , " RP p. 156 . 4 7 " L a V e s t a l e , " A thF p. 268 . Reyer added : " . . . sans l a h au te p r o t e c t i o n de 1 ' i m p e r a t r i c e J o s e p h i n e , D ieu s a i t s i ce c h e f - d ' o e u v r e a u r a i t j a m a i s vu l e j o u r . La p a r t i t i o n , examinee par l e s c o n t r e p o i n -t i s t e s de l ' e p o q u e , f u t d ' a b o r d d e c l a r e d d ' u n e e x e c u t i o n i m p o s s i b l e ; S p o n t i n i a v a i t peu s u i v i l a t r a d i t i o n de ses p r e d e c e s s e u r s : t o u t en ayant p r o f i t e des s u b l i m e s i n v e n t i o n s d r a m a t i q u e s de G l u c k , i l s ' e t a i t e c a r t e des r e g i e s t r a c e e s au p o i n t de se f a i r e t r a i t e r comme un s i m p l e e c o l i e r i g n o r a n t l e danger des q u i n t e s , des 255 q u a r t e s non p r e p a r e e s , des o c t a v e s e t a u t r e s e c u e i l s . . . Le c o n s e r v a t o i r e se l e v a comme un s eu l homme pour p r o t e s t e r e t c r i e r au s c a n d a l e . " ( I b i d . ) 48 i b i d . 4 y As we may r e c a l l f r om the q u o t a t i o n g i v e n on p p . 188 -89 o f C h a p t e r V. We s h o u l d no te t h a t S p o n t i n i was one o f o n l y t h r e e c o m p o s e r s — t h e o t h e r s b e i n g G l u ck and B e r l i o z — w h o s e mus i c Reyer p r e -s e n t e d at bo th o f t h e " f e s t i v a l s " h o n o r i n g t he memory o f B e r l i o z . The a u d i e n c e at t h e f i r s t " f e s t i v a l " hea rd t h e r e c i t a t i v e , p r a y e r , and f i n a l e o f A c t I I I o f La V e s t a l e ; a t t h e second " f e s t i v a l , " t he o v e r t u r e t o t h i s o p e r a was p e r f o r m e d . 50 T h e o r i s t , h i s t o r i a n , pedagogue, and f o u n d e r o f t h e Revue M u s i - c a l e , F r a n g o i s - J o s e p h F e t i s ( 1784 -1871 ) was one o f t h e most p o w e r f u l and r e s p e c t e d f i g u r e s i n P a r i s i a n m u s i c a l l i f e d u r i n g t h e f i r s t h a l f o f t h e n i n e t e e n t h c e n t u r y . A l t h o u g h Reyer d i d not endo r s e F e t i s ' s c r i t i c i s m s o f what were g e n e r a l l y r e g a r d e d as t e c h n i c a l i m p e r f e c t i o n s i n t he works o f Weber, t h e young c r i t i c n e v e r t h e l e s s admi red h i s o l d e r c o l l e a g u e : "M. F e t i s e s t un homme haut p l a c e dans l ' e s t i m e des m u s i c i e n s ; i l a t r a v a i l l e comme un b e n e d i c t i n , e t son e r u d i t i o n e s t v a s t e , p r o f o n d e . . . . i l e s t beaucoup p l u s s a van t que m o i , beaucoup p l u s s a van t que j e ne p o u r r a i j a m a i s l ' e t r e . " (CP f e u i l l e t o n o f 11 September 1857. ) 5 1 F e t i s B 8 : 4 33 . 52 We have o b s e r v e d t h a t Reyer i n c l u d e d G l u c k and S p o n t i n i on t he programs o f bo th o f t h e commemorat ive " f e s t i v a l s . " Weber, a no t he r mem-be r o f B e r l i o z ' s m u s i c a l p a n t h e o n , was no t r e p r e s e n t e d on e i t h e r p r o -g ram. The r e a s o n can r e a d i l y be d e d u c e d : h i s works d i d not b e l o n g t o t h e t r a d i t i o n o f F r ench l y r i c d r a m a — a t r a d i t i o n w h i c h , i n R e y e r ' s o p i n -i o n , was e x e m p l i f i e d by t h e o p e r a s o f G luck and S p o n t i n i . We s h a l l see i n C h a p t e r V I I t h a t Reyer v i ewed B e r l i o z as t h e w o r t h y p e r p e t u a t o r o f t h i s t r a d i t i o n . 53 i b i d . , 8 : 4 3 2 - 3 3 ; quo ted by Reyer i n t h e JD f e u i l l e t o n o f 16 December 1866. 54 i b i d . 55 CP f e u i l l e t o n o f 11 September 1857. 55 " A h ! c ' e s t une mus ique f o r t d i f f i c i l e a c h a n t e r que c e l l e de Weber, e t on n ' y a t t e i n t pas du p r e m i e r coup a l a p e r f e c t i o n . II y f a u t de l a v o i x , sans d o u t e , ma i s i l y f a u t a u s s i du s t y l e e t un gout p a r t i -c u l i e r . " (JD f e u i l l e t o n o f 18 June 1876 . ) Among R e y e r ' s f a v o r i t e a r i a s were t he f o T T b w i n g : C a s p a r ' s a r i a o f i n f e r n a l t r i u m p h — " 1 ' a i r a d m i r a b l e e t s i d i f f i c i l e " — i n A c t I o f F r e i s c h l i t z ( i b i d . , 31 May 1 8 7 0 ) ; " l e b r i l -l a n t a l l e g r o , l ' e m o u v a n t e p e r o r a i s o n du g rand a i r d ' A g a t h e " i n A c t I I 256 ( i b i d . , 16 December 1 866 ) ; and , i n O b e r o n , R e i z a ' s "Ocean ! t hou m i g h t y m o n s t e r " (CP f e u i l l e t o n o f 17 O c t o b e r 1 858 ) . 5 7 " C h r o n i q u e m u s i c a l e , " RF Annee 3 , Tome 8 (20 March 1 8 5 7 ) : 3 8 2 . ( T h i s r e v i e w i s h e r e a f t e r c i t e d as " O b e r o n , " RF . ) R e y e r ' s p r a i s e - - i n t h i s and i n o t h e r r e v i e w s - - o f c e r t a i n pages i n Webe r ' s mus i c s u r e l y i n -d i c a t e s t h a t he r e g a r d e d them as b e i n g e m i n e n t l y s u i t e d t o t h e v o i c e , and , h e n c e , e x c e p t i o n s t o F e t i s ' s j u d g m e n t . In F r e i s c h u ' t z a l o n e Reye r admi red t h e two a r i a s men t i oned above i n n. 56 , and many o t h e r pages : Max ' s a r i a i n A c t I (JD f e u i l l e t o n o f 31 May 1 8 7 0 ) ; C a s p a r ' s " f ameuse chanson a b o i r e " ( i b i d . , 16 December 1 866 ) ; " l a r a v i s s a n t e . . . l ' a d m i r a b l e p r i e r e " wh ich p r e c e d e s A g a t h e ' s b r i l -l i a n t a r i a ( i b i d . , 31 O c t o b e r 1 886 ) ; t h e e n t i r e o p e n i n g s c e n e - - " t o u t e s c e s pages p o e t i q u e s e t c h a r m a n t e s " - - o f A c t I I I ( i b i d . , 31 May 1 8 7 0 ) ; a n d , i n t h e f i n a l s c e n e , " l a t o u c h a n t e p r i e r e " sung by t h e H e r m i t t o P r i n c e O t t o k a r ( i b i d . , 16 December 1 866 ) . The v o c a l numbers wh i ch Reye r f ound most i m p r e s s i v e i n Oberon i n -c l u d e d t h e " m a g n i f i q u e r e c i t " wh ich p r e c e d e s R e i z a ' s a p o s t r o p h e t o t h e s ea (CP f e u i l l e t o n o f 17 O c t o b e r 1 8 5 8 ) , and t h e Me rma id s ' Song , " o n -doyan t e t m y s t e r i e u x . . . l ' u n e des f l e u r s l e s p l u s d e l i c a t e s de l a p a r t i t i o n . " ( " O b e r o n , " Rf_ p. 380 . ) Reye r a l s o app l auded much o f t h e v o c a l w r i t i n g i n E u r y a n t h e ( see b e l o w , n . 6 7 ) . 5 8 See F e t i s B 8 : 4 32 . 5 9 " O b e r o n , " RF p. 3 82 ; see a l s o t h e CP f e u i l l e t o n o f 11 September 1857, and t h e JD f e u i l l e t o n o f 16 December "T866. 6 0 CP f e u i l l e t o n o f 11 September 1857. 6 1 " O b e r o n , " RF_ p. 382 . 6 2 F e t i s B 8 : 433 ; quo ted by Reyer i n t h e CP f e u i l l e t o n o f 11 Septem-be r 1857. 6 3 Reyer f i r s t s i n g l e d ou t t h e p e a s a n t s ' c ho r u s i n A c t I I I o f t h e German e d i t i o n o f E u r y a n t h e - - a number wh i ch he r e g a r d e d as one o f t h e o u t s t a n d i n g p i e c e s i n t h i s o p e r a ( see b e l o w , n. 6 7 ) . He then c o n t i n u e d : " L ' a l l u s i o n [ de F e t i s ] s ' a p p l i q u e - t - e l l e aux c o u p l e t s de F a t i m e dans Obe ron , a l a p o l o n a i s e de Nancy [Annchen ] dans l e F r e y s c h u t z ? C ' e s t i n -v r a i s e m b l a b l e . " ( I b i d . ) 64 " J ' a i beau c h e r c h e r dans 1 ' o e u v r e de Weber, j e n ' y t r o u v e r i e n de t r i v i a l , r i e n qu i s e n t e l a f a t i g u e , qu i t emo i gne d ' u n e f f o r t de l a p e n s e e , meme dans l e s cho se s l e s p l u s l e g e r e s , e t cependant j e ne s u i s pas p l u s d i s p o s e que ne l ' e s t M. F e t i s , sans d o u t e , a v o u l o i r r e c o n -n a T t r e quand meme, c h e z l e p l u s g rand de nos c o m p o s i t e u r s d r a m a t i q u e s , l e s mo i nd re s t e n d a n c e s a e c r i r e de ce s p e t i t s a i r s g u i l l e r e t s e t s a u t i l -l a n s qu i son t l e p r o p r e de l a mus ique b o u f f e . " ( I b i d . ) 257 6 5 F e t i s B 8 : 433 ; quo ted by Reyer i n t h e CP f e u i l l e t o n o f 11 Septem-b e r 1857. 66 "Une o u v e r t u r e , un duo ( l e q u e l ? ) , deux c h o e u r s e t un f i n a l e ( l e q u e l e n c o r e ? ) , e s t - c e done l a , s e r i e u s e m e n t , t o u t ce q u ' u n e c r i t i q u e s a v a n t e e t j u d i c i e u s e a pu d e c o u v r i r dans l a p a r t i t i o n d ' E u r y a n t h e ? " ( I b i d . ) 6 7 I n c l u d i n g t h e f o l l o w i n g : i n A c t I, t h e e n t i r e f i r s t s c e n e , t h r o u g h o u t wh i ch Reyer sensed " c e s o u f f l e g u e r r i e r e t c h e v a l e r e s q u e des poemes l e g e n d a i r e s du moyen a g e " ; i n A c t I I , t h e " m a g n i f i q u e " f i n a l e , " t o u t r e m p l i d ' u n e v e r v e i m p e t u e u s e , des e c l a t s de l a d o u l e u r e t du d e s e s p o i r ! " ; and , i n A c t I I I , " l e d e l i c i e u x choeu r de paysans . . . C e t t e p a s t o r a l e . . . e s t un b i j o u , un modele de f r a T c h e u r e t de g r a c e . 1 ( I b i d . ) Reyer a l s o t h o u g h t t h a t t h e m u s i c a l e v o c a t i o n o f t h e s e r p e n t was o u t s t a n d i n g ( see b e l o w , n. 7 6 ) . 68 Reyer p o i n t e d ou t t h a t t h e vo lume c o n t a i n i n g t h e a r t i c l e on Weber " p o r t e l a d a t e de 1844. On v o i t q u ' a c e t t e e p o q u e [ , ] l ' h e u r e de l a r e p a r a t i o n n ' a v a i t pas e n c o r e sonne pour Weber; i l n ' y a v a i t guere q u ' u n e v i n g t a i n e d ' a n n e e s q u ' i l e t a i t m o r t . M. F e t i s s ' e s t p e u t - e t r e t r o p souvenu en 1844 du jugement qu i f u t p o r t e s u r E u r y a n t h e ap re s 1 ' e x e c u t i o n de c e t o u v r a g e , a 1 ' A cademie r o y a l e de m u s i -que [en 1831] . . . J ' a d m e t s t r e s v o l o n t i e r s que l e poeme . . . e s t de l a p l u s f r a n c h e a b s u r d i t e ; . . . ma i s c e l a ne m ' e x p l i q u e r a pas 1 ' o p i n i o n t a n t s o i t peu d e -d a i g n e u s e de M. F e t i s a 1 ' e g a rd d ' u n e s i b e l l e o e u v r e . " ( I b i d . ) 6 y I b i d . Reyer was imp re s sed by " t o u s ce s i n g e n i e u x d e t a i l s , . . . t o u t e s ce s f i n e s c i s e l u r e s , c e s e l e g a n t e s b r o d e r i e s , ce s m e r v e i l l e u x accoup lemens de t i m b r e s , ce s cadence s o r i g i n a l e s , ces m o d u l a t i o n s i m p r e -vues q u i f o u r m i l l e n t dans l a p a r t i t i o n , dans l e chan t comme dans 1 ' o r -c h e s t r e " ( i b i d . ) . 70 j e e r e d : I b i d . Reyer r e c a l l e d t h a t t h e i n s t r u m e n t a t i o n , t o o , had been " C e t t e i n s t r u m e n t a t i o n s i r i c h e , s i p u i s s a n t e e t s i c o l o r e e n ' a - t - e l l e pas f a i t d i r e a j e ne s a i s que l m u s i -c i e n c o n t e m p o r a i n de Weber: ' C e l a r e s s e m b l e aux t a c h e s que p r o d u i r a i t une b o u t e i l l e d ' e n c r e repandue su r du p a p i e r b l a n c ! ' De l a aux s c a n d a l e u x l a z z i s des C o n s e r -v a t o r i e n s de 1 ' epoque s u r l a mus ique de S p o n t i n i , i l n ' y a pas l o i n . " ( I b i d . ) 71 " O b e r o n , " RF p. 383 . 258 7 2 I b i d . , p. 382 . See t he h a n d f u l o f f a v o r a b l e comments i n F e t i s B 8 : 4 3 3 . 7 3 In 1857 Reyer d e s c r i b e d Weber as " l e p l u s g rand c o l o r i s t e de son s i e c l e . " ( " O b e r o n , " RF p. 383 . ) T h i s j u d g m e n t — a l t h o u g h p r e m a t u r e , and neve r r e p e a t e d — b e a r s w i t n e s s t o t h e f e r v o r o f h i s l i f e l o n g a d m i r a t i o n f o r Webe r ' s s k i l l f u l h a n d l i n g o f t h e o r c h e s t r a . 7 ^ " . . . une des p l u s b e l l e s i n s p i r a t i o n s de Weber" (JD f e u i l l e t o n o f 2 A p r i l 1868 ; see a l s o 31 May 1870 and 29 May 1 8 7 3 ) . 7 5 I b i d . , 16 December 1866 and 29 May 1873 . 7 6 In h i s r e v i e w o f t h e t r a n s l a t i o n p r e s e n t e d at t h e L y r i q u e , Reyer e x p r e s s e d r e g r e t o ve r t h e o m i s s i o n o f t h i s e v e n t , " q u i a p o u r t a n t i n -s p i r e a Weber une des pages l e s p l u s f a n t a s t i q u e s de son t r o i s i e m e a c t e . " (CP f e u i l l e t o n o f 11 September 1857 . ) 7 7 " O b e r o n , " RF p. 379. 7 8 See i b i d , and t he CP f e u i l l t o n o f 30 O c t o b e r 1857, apropos o f t h e o v e r t u r e and t h e M e r m a i d s ' Song r e s p e c t i v e l y . Reyer es teemed Oberon as Webe r ' s " t r o i s i e m e c h e f - d ' o e u v r e " ( i b i d . , 11 September 1 8 5 7 ) . 7 9 In h i s r e v i e w o f Obe ron , Reyer d e c l a r e d t h a t "Weber e s t l e com-p o s i t e u r que j ' a i m e e t j ' a d r m r e l e p l u s " ( " O b e r o n , " RF p. 3 8 2 ) . A few months l a t e r , when he r e v i e w e d E u r y a n t h e , he p ronounced Weber " l e p l u s g rand de nos c o m p o s i t e u r s d r a m a t i q u e s " and, i n d e e d , " [ l e ] p l u s g rand m u s i c i e n de ce s i e c l e " (CP f e u i l l e t o n o f 11 September 1 8 5 7 ) . 8 0 JD f e u i l l e t o n o f 27 J u l y 1880. 8 1 " O b e r o n , " RF p. 383 . 8 2 JD f e u i l l e t o n o f 16 December 1866. 8 3 F o r e xamp le , Reyer e x p r e s s e d g r e a t a d m i r a t i o n f o r t he G l u c k c r i t i c a l e d i t i o n , but he n e v e r t h e l e s s c a u t i o n e d r e a d e r s not t o t h i n k " q u ' u n e t e l l e e d i t i o n . . . ne l a i s s e r i e n a 1 ' i n t e l l i g e n c e , a V i n i t i a -t i v e du c h e f d ' o r c h e s t r e e t des c h a n t e u r s . " He i l l u s t r a t e d h i s p o i n t by o b s e r v i n g t h a t s e v e r a l numbers i n A c t I o f I p h i g e n i e en T a u r i d e — n a m e l y , t h e c h o r u s e s " L e s D ieux a p a i s e n t l e u r c o u r r o u x " and "I I nous f a l l a i t du s a n g , " as w e l l as t h e a i r s de b a l l e t — w e r e a l l marked A l l e g r o . "Eh b i e n ! ce s on t l a , a mon s e n s , a u t a n t de mouvemens d i f f e r e n s . La nuance e s t l e g e r e , sans d o u t e ; ma i s un c h e f d ' o r c h e s t r e se t r o m p e r a i t en se r e g l a n t r i g o u r e u s e -ment su r un numero met ronomique une f o i s c h o i s i , au l i e u de t e n i r compte de l a d i f f e r e n c e de ry thme e t de c a r a c -t e r e de chacun de ce s morceaux . II y a a l l e g r o e t a l l e g r o ; ma i s l e s a n c i e n s maTt re s n ' y r e g a r d a i e n t pas de s i p r e s , e t q u e l q u e s - u n s . . . s ' e n f i a i e n t un peu 259 t r o p a 1 1 i n t e l 1 i g e n c e de l e u r s i n t e r p r e t e s . . . pour l e s g u i d e r : meme dans l e u r s oeuv re s l e s p l u s c o m p l e x e s , i l e s t r a r e q u ' u n mouvement s o i t i n d i q u e . " ( I b i d . , 4 December 1887) When Reye r r e v i e w e d t h e r e v i v a l o f O r f e o a t t h e GaTte two y e a r s l a t e r , he o b j e c t e d t o s e v e r a l o f t h e t e m p i , r e g r e t t i n g i n one i n s t a n c e t h e c o n -d u c t o r ' s i g n o r a n c e o f " l a t r a d i t i o n s u i v i e au T h e a t r e - L y r i q u e , ou l e s e t u d e s d ' O r p h e e f u r e n t f a i t e s . . . sous l a d i r e c t i o n de B e r l i o z " ( i b i d . , 2 June 1 889 ) . 8 4 J o seph Kerman, Opera as Drama (New Y o r k : A l f r e d A . K n o p f , V i n t a g e Book s , 1 9 5 6 ) , p. 71 . We s h o u l d no te t h a t R e y e r ' s a d m i r a t i o n f o r s p e c i f i c a r i a s a l s o a n t i c i p a t e d c u r r e n t j u d g m e n t s . Two o f h i s f a v o r i t e s — A l c e s t e ' s " D i v i n i t e s du S t y x " and, f r om I p h i g e n i e en T a u r i d e , t h e h e r o i n e ' s " 0 m a l h e u r e u s e I p h i g e n i e " - - a r e r e g a r d e d by such a u t h o r i -t i e s as Dona ld G rou t and Win ton Dean as b e i n g among G l u c k ' s f i n e s t . See G r o u t ' s A S h o r t H i s t o r y o f O p e r a , 2d e d . , 2 v o l s . (New Y o r k : C o l u m b i a U n i v e r s i t y P r e s s , 1 9 6 5 ) , 1 :235; and NG, s . v . " G l u c k , C h r i s t o p h W i l l i -b a l d , " by G e r h a r d C r o l l and Win ton Dean, pp . 4 6 9 - 7 0 . 8 5 NG, s . v . " G l u c k , " p. 4 7 1 . 8 6 Compare D e a n ' s comments on t h e r o l e o f t h e o r c h e s t r a i n t h e mad scene i n I p h i g e n i e en T a u r i d e and t h e e x q u i s i t e use o f f l u t e s i n c e r t a i n s cene s o f A rmide ( i b i d . ) , w i t h t h o s e o f Reyer ( c i t e d above i n n. 3 3 ) . 8 7 NG, s . v . " G l u c k , " p. 4 7 1 ; and M a r t i n C o o p e r , G l u c k , w i t h a P r e -f a c e by "EcTward J . Dent (New Y o r k : O x f o r d U n i v e r s i t y P r e s s , 1935 ; r e -p r i n t e d . , S t . C l a i r S h o r e s , M i c h i g a n : S c h o l a r l y P r e s s , 1 9 7 8 ) , p. 239. 8 8 JD f e u i l l e t o n o f 25 November 1873. See a l s o t h e as ses sment quo ted aT5ove i n n. 3 9 . 8 9 I b i d . , 12 A p r i l 1896. 90 As we s h a l l see i n C h a p t e r V I I I , t h e l o n g - s u p p r e s s e d L o h e n g r i n had been p r e m i e r e d a t t h e E d e n - T h e a t r e t h a t v e r y s p r i n g ( 1 8 8 7 ) , and would have g a i n e d a f o o t h o l d i n t h e c a p i t a l i f t h e government had no t i n t e r v e n e d . M o r e o v e r , e x c e r p t s f r o m Wagne r ' s works had been d o m i n a t i n g t h e programs o f P a r i s i a n c o n c e r t s o c i e t i e s s i n c e t h e m i d - 1 8 8 0 s , and t h e Revue w a g n e r i e n n e was f l o u r i s h i n g . y l A l f r e d E i n s t e i n , Gl u c k , t r a n s . E r i c B lom, The Ma s t e r M u s i c i a n s S e r i e s ( L ondon : J . M. Den t , 1936; r e p r i n t e d . , New Y o r k : F a r r a r , S t r a u s and Cudahy, 1 9 6 4 ) , p. 192 . R e y e r ' s v i e w s c o n c e r n i n g t h e d o c -t r i n e s and mus i c o f G l u c k v i s - a - v i s t h o s e o f Wagner w i l l be d i s c u s s e d i n C h a p t e r V I I I . 92 L a u r e n c e P o w e l l , quo ted i n B a r z u n , B e r l i o z , 1 :571 . 93 CP f e u i l l e t o n o f 30 September 1858. 260 94 Reyer ag reed w i t h B e r l i o z ' s h y p o t h e s i s t h a t t h e a r i a " L ' e s p o i r r e n a T t " was i n s e r t e d by G luck t o s a t i s f y t he demands o f L e g r o s , t h e t e n o r e n t r u s t e d w i t h c r e a t i n g t h e t i t l e r o l e when Orphee was p r e m i e r e d i n 1774 ( s ee R e y e r ' s f e u i 1 l e t o n i n t h e JE) o f 2 June 1 889 ) . A modern s c h o l a r , Tom Hammond, d e c l a r e s t h a t " f r o m t h e e v i d e n c e a v a i l a b l e , i t i s now q u i t e c e r t a i n t h a t t h e mus ic i s by G l u c k , " and t h a t t he e a r l i e s t v e r s i o n o f t h i s a r i a d a t e s back t o 1764. See "A n o t e on ' L ' e s p o i r r e n a T t dans mon a m e , ' " i n C. W. von G l u c k : " O r f e o " , comp. P a t r i c i a Howard, Cambr idge Opera Handbooks ( C a m b r i d g e : Cambr idge U n i v e r s i t y P r e s s , 1 9 8 1 ) , p p . 1 09 - 12 . 95 The f i r s t a r i a i n t h e l a s t a c t o f I p h i g e n i e en T a u r i d e , f o r e x a m p l e , i s f r om Te lemaco ( 1 7 6 5 ) , and has been d e s c r i b e d as " a s p l e n d i d but somewhat t o o m a g n i l o q u e n t number, a p i e c e f o r a p r i m a d o n n a . " ( E i n s t e i n , G l u c k , p. 169 . ) O t h e r s e l f - b o r r o w i n g s a re men t i oned i n t h e f o l l o w i n g : C o o p e r , G l u c k , p. 249; G r o u t , O p e r a , 1:243; S i r C h a r l e s M a c k e r r a s , " B e r l i o z : t h e b e s t o f bo th w o r l d s , " i n " O r f e o " , pp . 102 and 104; and P a t r i c i a Howard, G l u c k and t h e B i r t h o f Modern Opera ( London : B a r r i e and R o c k l i f f , 1 9 6 3 ) , p. 9 . 96 Howard, G l u c k , p. 1. 97 CP f e u i l l e t o n o f 30 September 1858. 98 E i n s t e i n , G l u c k , p. 6 6 . 99 Both E i n s t e i n and G rou t c a l l a t t e n t i o n t o t h e s t r o n g r e s em-b l a n c e between A l g a r o t t i ' s S a g g i o s o p r a 1 ' o p e r a i n m u s i c a ( " T r e a t i s e on t h e O p e r a " ; 1755) and t h e d e d i c a t o r y p r e f a c e t o A l c e s t e ( 1 7 6 9 ) . See i b i d . , p p . 1 0 3 - 4 ; and G r o u t , O p e r a , 1 :232. 100 H e c t o r B e r l i o z , Les S o i r e e s de 1 ' o r c h e s t r e , t e x t e e t a b l i , avec i n t r o d u c t i o n , n o t e s e t c h o i x de v a r i a n t e s , par Leon G u i c h a r d , P r e f a c e de Henry B a r r a u d ( P a r i s : Gr'u'nd, 1 9 6 8 ) , p. 4 38 . [A volume i n t he p r opo sed f i r s t c o m p l e t e e d i t i o n o f B e r l i o z ' s Oeuvres 1 i t t e r a i r e s . P r e p a r e d i n c o l l a b o r a t i o n w i t h l e C e n t r e n a t i o n a l de l a r e c h e r c h e s c i e n t i f i q u e ( F r a n c e ) . ] 101 i dem, A t r a v e r s c h a n t s , t e x t e e t a b l i , avec no te s e t c h o i x de v a r i a n t e s , pa r Leon G u i c h a r d , P r e f a c e de Jacque s C h a i l l e y ( P a r i s : Gr'u'nd, 1 9 7 1 ) , p. 168 . [A vo lume i n t h e p ropo sed c o m p l e t e e d i t i o n o f B e r l i o z ' s Oeuvres 1 i t t e r a i r e s . P r e p a r e d i n c o l l a b o r a t i o n w i t h l e C e n t r e n a t i o n a l de l a r e c h e r c h e s c i e n t i f i q u e ( F r a n c e ) . ] 102 CP f e u i l l e t o n o f 30 September 1858; see t h e l o n g e r e x c e r p t g i v e n above on p. 222 . 103 Grout c a l l s t h e s e f o u r composer s G l u c k ' s " s p i r i t u a l d e s c e n -d a n t s , " and e x p l a i n s t h a t " t h e l i n e , p a r t i c u l a r l y as r e g a r d s B e r l i o z , i s t h r o u g h s i m i l a r i t y o f d r a m a t i c aims and i d e a l s r a t h e r than a c t u a l m u s i -c a l i d i o m . " ( O p e r a , 1 :245 . ) 261 104 From an a r t i c l e i n The M u s i c a l Wor ld o f 26 November 1859, q u o t -ed i n W a l s h , O p e r a , p. 112. 1 ° 5 See t h e JD f e u i l l e t o n o f 3 June 1874. 1 ° 6 " L a V e s t a l e , " A thF p. 268 . 107 A c c o r d i n g t o G r o u t , O p e r a , 1:306. 108 Pau l Henry Lang comments on S p o n t i n i ' s e f f e c t i v e use o f t r o m -bones and t r u m p e t s , t hen adds : "Whereve r one l o o k s i n Wagner, not o n l y i n t h e e a r l y o p e r a s l i k e R i e n z i o r The F l y i n g Dutchman, but i n T r i s t a n o r M e i s t e r s i n g e r , t h e r e a re many s cenes t h a t a re pure S p o n t i n i . " " ( C r i t - i c a t t h e Ope ra [New Y o r k : W. W. N o r t o n , 1 9 7 1 ] , p. 180 . ) He c i t e s as an example o f S p o n t i n i ' s i n f l u e n c e " t h e b l a r i n g t r u m p e t s t h a t g r e e t the a r r i v a l o f t h e hero i n L o h e n g r i n " ( M u s i c i n Wes te rn C i v i l i z a t i o n [New Y o r k : W. W. N o r t o n , 1 9 4 1 J , p. 7 9 3 ) . 109 " L a V e s t a l e , " RP p. 156. See the l o n g e r e x c e r p t g i v e n above on p. 224. 1 1° CP f e u i l l e t o n o f 29 A p r i 1 1857. H I JD f e u i l l e t o n o f 21 December 1895 . 112 " L a V e s t a l e , " A thF p. 268. See t h e l o n g e r e x c e r p t g i v e n above i n n. 4 7 . 113 Edward J . Den t , The R i s e o f Romant i c O p e r a , e d . Winton Dean ( C a m b r i d g e : Cambr idge U n i v e r s i t y P r e s s , 1 9 7 6 ) , p p . 9 6 - 9 8 ; and NG, s . v . " S p o n t i n i , Gaspa re ( L u i g i P a c i f i c o ) , " by Denn i s L i b b y , pp . 1 9 - 2 T 7 H 4 At each " f e s t i v a l " h o n o r i n g the memory o f B e r l i o z , R e y e r — a s p r e v i o u s l y n o t e d — r e p r e s e n t e d S p o n t i n i w i t h mus ic f r om La V e s t a l e r a t h e r t h a n Fe rnand C o r t e z o r 0 1 i m p i e . E q u a l l y s i g n i f i c a n t i s t he f a c t t h a t , i n h i s r e v i e w o f t h e second " f e s t i v a l , " he d e p l o r e d t h e O p e r a ' s c o n -t i n u a l p o s t p o n i n g o f a r e v i v a l o f La V e s t a l e ( " ce m a g n i f i q u e o p e r a " ) but d i d not s e i z e t h e o p p o r t u n i t y t o recommend t h a t e i t h e r Fe rnand C o r t e z o r 0 1 i m p i e be r e s u r r e c t e d (JD f e u i l l e t o n o f 22 March 1 8 7 9 ) . In h i s r e -pea ted p l e a s f o r a r e v i v a l o f " l e r e p e r t o i r e c l a s s i q u e , " Reyer d i d not a lway s c i t e Fernand C o r t e z a l o n g s i d e La V e s t a l e , and he r a r e l y c i t e d 0 1 i m p i e . 115 G r o u t , O p e r a , 1:308. 116 NG, s . v . " S p o n t i n i , " p p . 1 9 - 2 0 . These em i g re s i n c l u d e d C h e r u -b i n i , who had s e t t l e d i n P a r i s f i f t e e n y e a r s b e f o r e S p o n t i n i a r r i v e d i n 1803 , a n d — l a t e r i n t h e c e n t u r y — R o s s i n i , B e l l i n i , and D o n i z e t t i . 117 Wa r r a c k , Weber, p. 375 . Note t h e i n c i d e n t r e c o u n t e d on p. 342 . 262 H 8 F e t i s B 8 : 433 ; quo ted by R e y e r . See t h e l o n g e r e x c e r p t g i v e n above on p. 225 . H 9 Wa r r a c k , Weber, p. 343 . We m igh t add t h a t t h e renowned Wagner-i a n soprano B i r g i t N i l s s o n s i n g s t h e r o l e o f R e i z a i n t h e o n l y c o m p l e t e r e c o r d i n g o f t h i s o p e r a (DG 2709 035 [3 d i s c s ] ; r e i s s u e d , w i t h o u t t h e spoken d i a l o g u e , as DG 2726 [2 d i s c s ] ) . 120 F e t i sB 8 : 433 ; quo ted by R e y e r . See t h e l o n g e r e x c e r p t g i v e n above on p. 227. 121 The examples were enumerated above i n n. 63 . R e y e r ' s r e f e r e n c e t o " l a mus ique b o u f f e " ( see t h e e x c e r p t quo ted i n n. 64) l e a v e s no doubt as t o how he i n t e r p r e t e d F e t i s ' s use o f t h e word " t r i v i a l e s . " 122 CP f e u i l l e t o n o f 11 September 1857. 123 N o t a b l y t h e o v e r t u r e ( G r o u t , O p e r a , 2 : 3 8 7 ) , and t h e " t r emendou s s c e n e " f o r t h e v i l l a i n o u s L y s i a r t at t h e b e g i n n i n g o f A c t I I ( W a r r a c k , Weber, p. 3 7 2 ) . 124 See Wa r r a c k , Weber, p p . 288-89 ( ha rmon i c s t y l e ) , 291-92 and 295-97 ( m e l o d i c l a n g u a g e ) , 292 (u se o f t h e c h o r u s ) , and 292-95 ( h a n d l i n g o f t h e o r c h e s t r a ) , as w e l l as G r o u t , O p e r a , 2 : 3 87 - 88 . 125 N G 9 s . v . "Weber , C a r l M a r i a ( F r i e d r i c h E r n s t ) v o n , " by P h i l i p p S p i t t a and John Wa r r a c k , p. 252 . The " l e i t m o t i f " t o wh i ch Warrack r e -f e r s i s a s s o c i a t e d w i t h t h e v i l l a i n e s s , E g l a n t i n e ( i b i d . , pp . 2 5 2 - 5 3 , and Weber, pp . 290-91 and 3 7 3 ) . Ap ropos o f S p r e c h g e s a n g , Grout w r i t e s : " I t was no t e n t i r e l y new w i t h Wagner—Weber had done someth ing s i m i l a r i n E u r y a n t h e " ( O p e r a , 2 : 3 9 8 ) . Warrack i s more s p e c i f i c , d e c l a r i n g t h a t Wagne r ' s Sp rechge sang i s w o r t h i l y a n t i c i p a t e d by " pa s s age s o f f r e e y e t w e l 1 - o r g a n i z e d d e c l a m a t i o n . . . E g l a n t i n e ' s h i g h l y f l e x i b l e m o t i f p r o -v i d e s t h e b a s i s f o r t h e most s t r i k i n g o f t h e s e p a s s a g e s . " (NG, s . v . " W e b e r , " p. 254 ; see a l s o Weber, pp . 2 9 1 - 9 2 . ) 126 G r o u t , O p e r a , 2 : 3 8 7 . 127 CP f e u i l l e t o n o f 11 September 1857. 128 A f t e r d i s c u s s i n g W e b e r ' s " l a c k o f e a s e " w i t h s o n a t a f o rm i n t h e f i r s t movements o f h i s c o n c e r t o s and h i s two s ymphon ie s , Warrack d e -c l a r e s : " I t i s i n t h e t h r e e majo r o p e r a t i c o v e r t u r e s . . . t h a t a s o n a t a s t r u c t u r e i s most s u c c e s s f u l l y h a n d l e d , t h r o u g h the d r a m a t i c m o t i v a t i o n both f o r m i n g t h e themes and t h e n g i v i n g r i s e t o what i s s ometh i n g o f an o r c h e s t r a l tone -poem on t he d r a m a s . " (Weber, p. 374 . ) 129 See i b i d . , p. 3 41 , and G r o u t , O p e r a , 2 : 387 , c o n c e r n i n g t h e o v e r t u r e s t o Oberon and E u r y a n t h e r e s p e c t i v e l y . 263 130 " Q b e r o n , " RF p. 382 . A l o n g e r e x c e r p t was g i v e n above on pp . 2 2 8 - 2 9 . 131 See A l f r e d E i n s t e i n ' s remarks on S i 1vana (composed d u r i n g t h e y e a r s 1 808 - 10 , and e n t i t l e d " R o m a n t i c O p e r a " ) i n Mu s i c i n t h e Romant i c E r a (New Y o r k : W. W. N o r t o n , 1 9 4 7 ) , p. 110. *- i t !- W i t ne s s h i s i n s i s t e n c e t h a t t h e O p e r a ' s s u b s t i t u t i o n o f r e c i t a -t i v e s f o r t h e o r i g i n a l spoken d i a l o g u e was i n a p p r o p r i a t e because " l e F r e i s c h l i t z e s t un o p e r a de g e n r e , un o p e r a de d e m i - c a r a c t e r e " (JD f e u i l - l e t o n o f 31 May 1 8 7 0 ) . He a l s o o b j e c t e d t h a t F r ench s i n g e r s h a b i t u a l l y i n t e r p r e t e d F r e i s c h u ' t z w i t h t h e s o l e m n i t y and d r a m a t i c p a s s s i o n s u i t a b l e i n s t e a d t o Don G i o v a n n i , F i d e l i o , and o t h e r " o e u v r e s e s s e n t i e l l e m e n t d r a m a t i q u e s . . . II f a u t a v o i r vu l e F r e i s c h l i t z j o u e par des A l l e m a n d s pour b i e n a p p r e c i e r l e v e r i t a b l e c a r a c t e r e de c e t o u v r a g e . " ( I b i d . ) A d v i c e on t h e i n t e r p r e t a t i o n o f F r e i s c h l i t z was g i v e n by Reyer i n t h i s f e u i l l e t o n and i n t h o s e o f 16 December 1866, 29 May 1873 , and 31 Oc tobe r 1886, as w e l l as i n a s i g n e d — b u t u n t i t l e d — a r t i c l e i n t h e JJj o f 6 J u l y 1876, p. 3 . 133 We s h o u l d no te t h a t H o f f m a n n ' s Und ine was neve r s t a ged i n F r a n c e d u r i n g R e y e r ' s l i f e t i m e , and t h a t t h e o n l y p r o d u c t i o n s o f S p o h r ' s F a u s t i n n i n e t e e n t h - c e n t u r y F r a n c e o c c u r r e d at P a r i s i n 1830 and at M a r s e i l l e i n 1837 (LoewAO, c o l s . 647 and 6 4 8 ) . I f t h e f o u r t e e n - y e a r - o l d Reyer a t t e n d e d t h e M a r s e i l l e p r o d u c t i o n , i t d i d not make a l a s t i n g i m -p r e s s i o n on h i m , because he neve r men t i oned i t i n any o f h i s w r i t i n g s . I n d e e d , t h e r e i s no e v i d e n c e t h a t he e v e r saw t h i s o r any o t h e r o p e r a by Spohr o r Hof fmann. The s c o r e o f U n d i n e , l o n g rumored t o have been d e s t r o y e d i n a f i r e at B e r l i n i n 1816, was not p u b l i s h e d d u r i n g R e y e r ' s l i f e t i m e . S p o h r ' s F a u s t f a r e d somewhat b e t t e r : a v o c a l s c o r e o f t h e t h r e e - a c t v e r s i o n was p r i n t e d a t L e i p z i g i n 1853. Reyer p r o b a b l y o b t a i n e d a copy o f i t , b e -c a u s e — i n a r e v i e w o f t h e r e v i v a l o f B e r l i o z ' s La Damnat ion de F a u s t — h e p o i n t e d out t h a t B e r l i o z and Gounod were not t h e o n l y composers who had f r e e l y t r e a t e d G o e t h e ' s g r e a t work : t h e p o e t ' s c o u n t r y m a n , Spoh r , had composed "une oeuv re qu i p o r t e a u s s i l e nom de F a u s t , . . . e t qu i p o u r -t a n t ne r e s s e m b l e p o i n t au poeme de G o e t h e . " (JD f e u i l l e t o n o f 13 March 1877. ) However, Reyer neve r c i t e d S p o h r ' s o p e r a i n any o f h i s w r i t i n g s on Weber. 134 see Wa r r a c k , Weber, pp . 2 2 4 - 2 5 . 135 I b i d . , pp. 2 2 5 - 2 6 , and L a n g , C r i t i c , p. 2 3 1 . Weber knew t h i s d e v i c e no t o n l y f r o m H o f f m a n n ' s Und ine and S p o h r ' s F a u s t , but a l s o f r om G r e t r y ' s R i c h a r d C o e u r - d e - L i o n (1784) and f r om o t h e r F r ench works by Mehul and C h e r u b i n i . Weber had s t a g e d G r e t r y ' s R i c h a r d d u r i n g h i s d i r e c t o r s h i p o f t h e P rague t h e a t r e ( 1 8 1 3 - 1 6 ) . Mehul and C h e r u b i n i were among t h e composers whom Weber had f e a t u r e d f i r s t a t P rague and l a t e r at D r e s d e n , where he was d i r e c t o r o f t h e C o u r t Opera ( 1 8 1 6 - 2 6 ) . 264 136 T n e number w h i c h , i n t h e o p i n i o n o f Wa r r a c k , r e v e a l s most c l e a r l y t h a t Webe r ' s m e l o d i c s t y l e i s not a lways as d i s t i n c t f r om an I t a l i a n manner as t h e composer l i k e d t o c l a i m , i s A g a t h e ' s s e c o n d - a c t Szene und A r i e , " i t s e l f an I t a l i a n a t e d e s i g n a t i o n " (Weber, p. 2 2 5 ) . Reyer o f t e n remarked on t h e b r i l l i a n c y o f both t h i s number and C a s p a r ' s f i r s t - a c t a r i a ( s ee above , n . 5 6 ) , but he neve r d e s c r i b e d them as b e i n g I t a l i a n a t e . 1 3 7 I b i d . , p. 366 . 1 3 8 " O b e r o n , " RF p. 3 83 . l 3 y See t h e comment quo ted i n C h a p t e r V I I I , p. 334. 140 The d e v i l i s h g l i t t e r o f t h e p i c c o l o s ' t r i l l wh i ch answers C a s -pa r i n t h e d r i n k i n g - s o n g i n F r e i s c h u ' t z , t h e warm t o n e s o f s o l o v i o l a i n A n n c h e n ' s "Tr'u'be Augen, L i e b c h e n , " and t h e m y r i a d e f f e c t s o b t a i n e d f r om t h e h o r n , e s p e c i a l l y i n 0be ron - - a 11 were e n t h u s i a s t i c a l l y admi red by Reyer (as no ted above on p. 229 , and on p. 150 o f C h a p t e r I V ) . 141 T r a n s l a t e d by Wa r r a c k , Weber, p. 222 . 142 The s u c c e s s i v e d i r e c t o r s o f t h e T h e a t r e - L y r i q u e — w h i c h , as no ted i n C h a p t e r V, was t h e o n l y P a r i s i a n l y r i c t h e a t r e f r e e t o p r e s e n t o p e r a s composed t o German t e x t s — s t a g e d a t o t a l o f e i g h t e e n German o p e r a s i n F r ench t r a n s l a t i o n . However , most o f t h e s e were c o n t e m p o r a r y o p e r a s wh i ch were p o p u l a r i n Germany, such as Wagne r ' s R i e n z i ( D r e s d e n , 1 8 4 2 ) , F r i e d r i c h von F l o t o w ' s Ma r the ( V i e n n a , 1 8 4 7 ) , and O t t o N i c o l a i ' s D i e l u s t i g e n We iber von Windso r ( B e r l i n , 1 8 4 9 ) . The m ino r works o f t h e b a s i c German o p e r a t i c r e p e r t o i r e o f t h e f i r s t h a l f o f t h e c e n t u r y — w o r k s by Ho f fmann , Spoh r , M a r s c h n e r , L o r t z i n g , and o t h e r composers who c o n -t r i b u t e d t o t h e m u s i c a l f o r m a t i o n o f f i r s t Weber and then W a g n e r — d i d no t f i n d t h e i r way t o t h e P a r i s i a n s t a g e . See A l b e r t de L a s a l l e , Memor i a l du T h e a t r e - L y r i q u e ( P a r i s : L i b r a i r i e Moderne, J . L e c u i r , 1 8 7 7 ) , p. 94 ; and t h e l i s t o f a l l t h e ope ra s p r e s e n t e d at t he L y r i q u e , i n W a l s h ' s Second Emp i re O p e r a , A p p e n d i x B. 1 4 3 JD f e u i l l e t o n o f 31 May 1870. 144 See R e y e r ' s comments c o n c e r n i n g Pe r f l i e g e n d e H o l l a n d e r , T a n n - h a u s e r , and L o h e n g r i n , i n C h a p t e r V I I I , pp . 335-36 ( a s s e s s e d i n t h e C r i t i c a l A n a l y s i s , p p . 352 -53 and 3 5 6 - 5 7 ) . 145 A t y p i c a l example i s t h e remark on B e r l i o z ' s m u s i c a l " d i e u x " quo ted i n C h a p t e r V I I , p. 279 . 146 Reyer m i g h t , f o r i n s t a n c e , have e l a b o r a t e d on t he m u s i c a l r a p -prochement between E u r y a n t h e and Wagne r ' s L o h e n g r i n ( s ee C h a p t e r V I I I , p. 3 5 7 ) . W e b e r ' s s u b t l e but p r o f o u n d i n f l u e n c e on B e r l i o z i s s u c c i n c t l y d e s c r i b e d by P a v i d C a i r n s : 265 " . . . i t i s not so much t h e s p e c i f i c p a r a l l e l s t h a t s t r i k e u s - - t h o u g h t h e y a re t h e r e : n o t e , f o r i n s t a n c e , t h e use o f f l u t e s i n t h i r d s i n t h e l o w e r r e g i s t e r i n F r e i s c h l i t z ( A g a t h e ' s s c e n a ) and i n Romeo and J u l i e t ( Love S c e n e ) , t h e v e r y B e r l i o z i a n r h y t h m i c f i g u r e wh ich d e p i c t s Max ' s a n x i e t y , t h e t r i p l e t o s t i n a t o i n t h e f i n a l e o f Romeo, e t c . - - a s t h e g e n e r a l i n f l u e n c e o f a v i t a l example o f e x p r e s s i v e o r c h e s t r a t i o n i n t h e i n t e r -e s t s o f m u s i c a l drama s t u d i e d and a b s o r b e d . " ( H e c t o r B e r l i o z , The Memoirs o f H e c t o r B e r l i o z , t r a n s , and e d . Dav id C a i r n s , 2d e d . |_London: V i c t o r G o l l a n c z , 1 9 7 7 ] , p. 569) 1 4 7 H. Robe r t Cohen , " B e r l i o z on t h e Opera ( 1 8 2 9 - 1 8 4 9 ) : A S tudy i n Mu s i c C r i t i c i s m " (Ph .D. d i s s e r t a t i o n , New York U n i v e r s i t y , 1 9 7 3 ) , p. 90 . 148 See t h e e x c e r p t s quo ted i n i b i d . 149 P e t e r An thony B loom, " F r a n g o i s - J o s e p h F e t i s and t h e Revue M u s i c a l e ( 1 8 2 7 - 1 8 3 5 ) " ( Ph .D . d i s s e r t a t i o n , U n i v e r s i t y o f P e n n s y l v a n i a , 1 9 7 2 ) , pp. 1 71 - 72 . 1 5 0 JD f e u i l l e t o n o f 16 December 1866. 266 CHAPTER V I I REYER AND BERLIOZ The f r i e n d s h i p o f Reyer and B e r l i o z d a t e s f r o m R e y e r ' s e a r l y y e a r s i n P a r i s . We may r e c a l l t h a t , s h o r t l y a f t e r a r r i v i n g i n t h e F r e n c h c a p i t a l i n 1848, t h e young Reyer became a c q u a i n t e d w i t h B e r l i o z - - t h e n m u s i c a l f e u i l l e t o n i s t e o f t h e J o u r n a l des D e b a t s — t h r o u g h such mutual f r i e n d s as G a u t i e r , f e u i l l e t o n i s t e o f L a P r e s s e . In 1856, when B e r l i o z moved f r om t h e r ue de B o u r s a u l t t o t h e r ue de C a l a i s , he found h i m s e l f l i v i n g nea r R e y e r ' s t i n y apa r tment on t he r u e de l a Tour d ' A u v e r g n e . Reyer soon became one o f B e r l i o z ' s s p e c i a l c i r c l e o f i n t i m a t e s , and t h e two rema ined d e v o t e d f r i e n d s u n t i l B e r l i o z ' s dea th i n 1869.1 B e r l i o z d e m o n s t r a t e d h i s a d m i r a t i o n f o r Reye r i n many ways . As f e u i l l e t o n i s t e o f t h e J o u r n a l des Debats he p r a i s e d Le Selam a f t e r i t s p r e m i e r e i n 1 8 5 0 , 2 and t h e nex t y e a r he c o n d u c t e d e x c e r p t s f r om t h i s work at one o f t h e c o n c e r t s o f h i s S o c i e t e p h i l h a r m o n i q u e . M o r e o v e r , u n t i l h i s r e t i r e m e n t f rom t h e Debat s i n t h e autumn o f 1863, B e r l i o z c a l l e d h i s r e a d e r s ' a t t e n t i o n t o each new work by Reyer t h a t was p r e -m i e r e d i n P a r i s : MaTt re Wo l f ram was warmly r e v i e w e d , as was La S t a t u e , t o wh i ch B e r l i o z d e v o t e d no l e s s t han h a l f a f e u i l l e t o n ; and he f ound o c c a s i o n t o e x p r e s s e n t h u s i a s m f o r t h e b a l l e t S a c o u n t a l a , 3 a l t h o u g h he c o u l d no t d i s c u s s i t at l e n g t h becau se t h e p r i v i l e g e o f r e v i e w i n g b a l l e t s f o r t h e Debat s was r e s e r v e d f o r t h e drama c r i t i c , J u l e s J a n i n . B e r l i o z ' s i n f l u e n c e p r o c u r e d f o r Reyer h i s e n t r e e - - a s composer and 267 s u b s e q u e n t l y c o n d u c t o r — i n t o t h e b r i l l i a n t m u s i c a l l i f e o f Baden -Baden , and was d o u b t l e s s an i m p o r t a n t f a c t o r i n Edouard B e r t i n ' s d e c i s i o n t o choose Reyer as mus i c c r i t i c f o r t h e Debat s upon t h e sudden dea th o f Jo seph d ' O r t i g u e . 4 In a d d i t i o n t o g i v i n g p o w e r f u l b o o s t s t o R e y e r ' s c a r e e r s as com-p o s e r , c o n d u c t o r , and c r i t i c , B e r l i o z d e m o n s t r a t e d i n o t h e r ways h i s a d m i r a t i o n and f r i e n d s h i p f o r t h e younge r man. To Reye r he gave h i s c o r r e c t e d copy o f Romeo e t J u l i e t t e , 5 as w e l l as one o f t h e f i v e c o p i e s o f h i s Memoires t h a t were p r i n t e d d u r i n g h i s l i f e t i m e . 6 S h o r t l y b e f o r e h i s d e a t h , he sen t a p i l e o f h i s u n p u b l i s h e d works t o R e y e r — t h e n f e u i l - l e t o n i s t e f o r t h e D e b a t s - - i n o r d e r t o a s s i s t h i s s u c c e s s o r i n a s s e s s i n g h i s m u s i c a l a c h i e v e m e n t . 7 As a f i n a l g e s t u r e o f a d m i r a t i o n , he b e -quea thed h i s A c a d e m i c i e n ' s r obe and sword t o R e y e r , 8 who — i n f u l f i l l m e n t o f t h i s unspoken p r o p h e c y — w a s e v e n t u a l l y e l e c t e d t o t he c h a i r once h e l d by B e r l i o z h i m s e l f . D u r i n g B e r l i o z ' s l i f e t i m e , Reyer was bo th h i s d e v o t e d f r i e n d and a d e t e r m i n e d champion o f h i s m u s i c a l c o m p o s i t i o n s . As f e u i l l e t o n i s t e f o r f i r s t t h e C o u r r i e r de P a r i s and t h e n t h e D e b a t s , Reyer o f t e n drew a t t e n -t i o n t o t h e o ve rwhe lm ing p o p u l a r i t y o f B e r l i o z ' s mus i c o u t s i d e F r a n c e , and r ebuked P a r i s i a n s f o r t h e i r i n d i f f e r e n c e t o t h e i r g r e a t c o m p a t r i o t . 9 Reyer a l s o began t o work as c o n d u c t o r on B e r l i o z ' s b e h a l f : e x c e r p t s f r o m L ' E n f a n c e du C h r i s t and Les T royen s were i n c l u d e d by Reyer on t h e program o f t h e i n t e r n a t i o n a l c o n c e r t wh i ch he o r g a n i z e d and c o n d u c t e d at Baden-Baden i n 1865.10 Reyer was a f a i t h f u l companion o f B e r l i o z d u r i n g h i s l o n g and p a i n f u l o l d age , and was w i t h him when he d i e d . I t was 268 Reye r who kept t h e n i g h t - l o n g d e a t h w a t c h o v e r t h e body o f h i s b e l o v e d f r i e n d . H R e y e r ' s S t r u g g l e t o E s t a b l i s h B e r l i o z ' s Posthumous G l o r y Reyer f o u g h t p a s s i o n a t e l y t o e s t a b l i s h B e r l i o z ' s posthumous r e p u t a -t i o n i n F r a n c e . The l o n g s t r u g g l e began on 10 March 1 8 6 9 - - j u s t two days a f t e r B e r l i o z ' s d e a t h — w h e n Reye r p u b l i s h e d a moving o b i t u a r y n o t i c e i n f o r m i n g r e a d e r s o f t h e Debats t h a t mus ic had l o s t a man o f g e n i u s . R e c a l l i n g t h a t t h e l a t e composer had been esteemed i n Germany as " l e Beethoven f r a n g a i s , " Reyer p r e d i c t e d t h a t i n F r a n c e , t o o , B e r l i o z ' s name wou ld one day be i n s c r i b e d " p a r m i l e s noms des p l u s g rands m a T t r e s . " ! 2 A few days l a t e r , he encou raged an a d m i r e r o f B e r l i o z — t h e c o n d u c t o r P a s d e l o u p — t o p r e s e n t at one o f h i s C o n c e r t s p o p u l a i r e s not s i m p l y e x c e r p t s f r o m Romeo e t J u l i e t t e , but r a t h e r t h e e n t i r e wo rk . 13 Reyer s u b s e q u e n t l y urged t h e d i r e c t o r s o f a l l P a r i s i a n c o n c e r t s o c i e t i e s and l y r i c t h e a t r e s t hu s t o make amends a l ' a u t e u r des T r o y e n s , de l a Damnat ion de F a u s t , de 1 ' E n f a n c e du C h r i s t e t de Romeo e t J u l i e t t e ! S"on oeuv re n ' a pas e t e s u f f i s a m m e n t c o m p r i s e de l a g e n e r a t i o n a l a q u e l l e i l a p p a r t e n a i t ; l a g e n e r a t i o n s u i v a n t e l ' a a p e i n e e n t e n d u e : i l f a u t l a l u i f a i r e c o n n a T t r e , non pas par f ragmens e t m u t i l e e , ma i s dans son ensemble et dans t o u t e sa p e r f e c t i o n , s i c ' e s t p o s s i b l e . 1 4 One o f t h e e a r l i e s t s i g n s t h a t a p r o - B e r l i o z movement was b e g i n n i n g t o d e v e l o p was t h e b i r t h o f i n t e r e s t i n La Damnat ion de Fau s t a few months a f t e r t h e c o m p o s e r ' s d e a t h . The r e s u r r e c t i o n o f t h i s work was i n i t i a t e d by two p e r s o n s : Reyer and t h e German p i a n i s t - c o n d u c t o r Henry L i t o l f f , who had been a f a i t h f u l f r i e n d o f B e r l i o z . In t h e f a l l o f 269 1869 , Reyer appeared as gues t c o n d u c t o r at t he i n a u g u r a l c o n c e r t o f L i t o l f f s S o c i e t e des c o n c e r t s de l ' O p e r a , and won t he f i r s t f a v o r a b l e r e c e p t i o n f o r t h r e e e x c e r p t s f r om t h e Damna t i on : "Marche h o n g r o i s e " ( Rakoczy M a r c h ) , " B a l l e t des S y l p h e s , " and "Menuet des F o l l e t s . " P u b l i c r e s p o n s e was, i n f a c t , so e n t h u s i a s t i c t h a t a l l t h r e e were r e p e a t e d at L i t o l f f s second c o n c e r t . Once a g a i n , t h e p u b l i c a c c l a i m e d t h e s e f r a g -ments f r om a work w h i c h , d u r i n g B e r l i o z ' s l i f e t i m e , had been i n d i f f e r -e n t l y r e c e i v e d i n t h e c a p i t a l . 1 5 Thanks t o t h e s u c c e s s o f t h e s e p e r f o r m a n c e s , t he Damnat ion was f i n a l l y i n vogue: on 9 J a n u a r y 1870 P a s d e l o u p c o n d u c t e d a s e l e c t i o n at one o f h i s C o n c e r t s p o p u l a i r e s , and, t h a t same d a y , t h e S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e p r e s e n t e d the t h r e e e x c e r p t s t h a t had been heard a t L i t o l f f s c o n c e r t s . 1 6 The p o p u l a r i t y o f t he D a m n a t i o n — a p o p u l a r i t y w h i c h , as we have s e e n , was i n i t i a t e d p r i n c i p a l l y by R e y e r — 1 a u n c h e d a v e r i t a b l e " B e r l i o z r e v i v a l i n P a r i s i n t he 1 8 7 0 s . " 1 7 R e y e r , w o r k i n g t i r e l e s s l y as bo th c o n d u c t o r and c r i t i c , r ema ined at t h e f o r e f r o n t o f t h i s movement. As s h a l l be d e m o n s t r a t e d i n s u c c e e d i n g page s , he was seconded by o t h e r B e r l i o z i a n s — n o t a b l y t h e c o n d u c t o r C o l o n n e . However, as B e r l i o z ' s b i o g -r a p h e r Bo s cho t l a t e r o b s e r v e d , t h e t r u e " f o y e r de B e r l i o z i s m e " was R e y e r . On c i t e r a des a r t i c l e s de Reyer ou d ' a u t r e s b e r l i o -z i e n s ; on c i t e r a des r e p r i s e s au t h e a t r e . . . [ s i c ] Ma i s d ' o u v i e n t done, s u r t o u t , l a f lamme b e r l i o z i e n n e ? Qui done l ' a n i m e e t 1 ' e n t r e t i e n t , p l u s que t o u s , s i n o n R e y e r ? ! 8 The f i r s t ma jo r e v e n t i n t h e B e r l i o z r e v i v a l , and one wh ich p r o v e d t o be a t u r n i n g p o i n t i n t h e h i s t o r y o f h i s mus i c i n F r a n c e , was t he 270 " f e s t i v a l " - - a t e rm o f t e n used by B e r l i o z - - w h i c h commemorated t h e f i r s t a n n i v e r s a r y o f h i s d e a t h . R e y e r , who was both o r g a n i z e r and c o n d u c t o r o f t h i s " g r a n d f e s t i v a l , " had t h e a u d a c i t y t o p r e s e n t i t at t h e O p e r a , on t h e v e r y s t a g e where t h e f a i l u r e o f Benvenuto C e l l i n i (1838) c l o s e d t h e doo r s o f t h i s t h e a t r e t o B e r l i o z d u r i n g h i s l i f e t i m e . The program i n c l u d e d f r a g m e n t s o f t h e Damnat ion and e x c e r p t s f r o m works by t h r e e composer s whom B e r l i o z had admi red most a r d e n t l y : G l u c k , S p o n t i n i , and B e e t h o v e n . Among t h e i m p r e s s i v e a r r a y o f s o l o i s t s were some o f t he most c e l e b r a t e d o p e r a t i c v o c a l i s t s o f t h e t ime—Mme C a r v a l h o , M i l e N i l s s o n , Mme Cha r ton -Demeur , M. F a u r e , and o t h e r s — as w e l l as t he renowned v i o -l i n i s t H e n r i V i e u x t e m p s , who p l a y e d p r i n c i p a l v i o l a i n t h e March f rom H a r o l d en I t a l i e . The s o l o i s t s were j o i n e d by about n i n e t y c h o r i s t e r s , and by 110 i n s t r u m e n t a l i s t s " c h o i s i s parmi l e s p l u s r e n o m m e s . " l y A l t h o u g h t h e announcement o f t he v e n t u r e had o c c a s i o n e d much d e r i -s i v e humor, t h e f e s t i v a l was a c o m p l e t e s u c c e s s i n t h e eyes o f both t h e p u b l i c and t h e p r e s s . Reyer e x u l t e d : E n f i n l e maTtre a eu son a p o t h e o s e , j u s t e un an ap re s sa m o r t . Et j a m a i s de son v i v a n t e u t - i l pu f o r m e r a u t o u r de l u i une t e l l e c o n s t e l l a t i o n de v i r t u o s e s et o b t e n i r c e t t e u n a n i m i t e d ' e l o g e s que l a p r e s s e l u i a p r o d i g u e s ? . . . . . . que l que s o i t l e r e s u l t a t p e c u n i a i r e du c o n -c e r t . . . n o t r e but e s t a t t e i n t , c a r nous avons v o u l u . . . e l e v e r a B e r l i o z un monument m u s i c a l qu i r e j o u i r a c e r t a i n e m e n t p l u s que l e marbre ou l e b r o n z e 1'ame du g rand c o m p o s i t e u r . 2 0 B e f o r e t h i s c o n c e r t , B e r l i o z ' s mus i c had s c a r c e l y e ve r been p r e s e n t e d i n P a r i s ; t h e f e s t i v a l was, i n t h e words o f one o f h i s b i o g r a p h e r s , " l e s i g n a l de l a r e v a n c h e , e t , de ce j o u r , l e r e v i r e m e n t ne f i t que s ' a c c e n -t u e r e t d e v i n t i r r e s i s t i b l e . " 2 1 271 A f t e r t h e f e s t i v a l , t h e P a r i s i a n p u b l i c began demanding t o hear B e r l i o z ' s l a r g e c o n c e r t works i n t h e i r e n t i r e t y . I t was a g r e a t t r i b u t e t o Reye r t h a t C o l o n n e , who s t a r t e d p r e s e n t i n g t h e s e c o m p o s i t i o n s d u r i n g t h e m id -1870 s and who became t h e B e r l i o z c o n d u c t o r par e x c e l l e n c e , t u r n e d t o t h e deceased c o m p o s e r ' s f r i e n d and d i s c i p l e f o r m u s i c a l g u i d -ance more t h a n once d u r i n g t h i s decade a l o n e . For e x a m p l e , l a t e i n 1874 Co l onne sought R e y e r ' s a d v i c e c o n c e r n i n g whom t o engage as s o l o i s t s f o r L ' E n f a n c e du C h r i s t . 2 2 i n F e b r u a r y 1877, when Co lonne was d i s s a t i s f i e d w i t h h i s f i r s t p e r f o r m a n c e o f La Damnat ion de F a u s t , he sent t h e s o l o -i s t s t o Reyer t o be c o a c h e d . C o l o n n e ' s second p e r f o r m a n c e , g i v e n one week l a t e r , won such a c c l a i m t h a t he r e p e a t e d B e r l i o z ' s work at e v e r y c o n c e r t u n t i l t h e end o f t h e s e a s o n , making a t o t a l o f s i x c o n s e c u t i v e p e r f o r m a n c e s . T h i s t r i u m p h l a u n c h e d t h e Damnat ion on a c a r e e r w h i c h , more t h a n a q u a r t e r - c e n t u r y l a t e r , was d e s c r i b e d as b e i n g " s an s p r e c e -dent dans 1 ' h i s t o i r e des c o n c e r t s en F r a n c e - - e t p e u t - e t r e a i l l e u r s ! " 2 3 Reyer gave a d d i t i o n a l impetus t o t h e B e r l i o z r e v i v a l by o r g a n i z i n g i n 1879 a second f e s t i v a l , t h i s t i m e t o honor t h e t e n t h a n n i v e r s a r y o f B e r l i o z ' s d e a t h . As i n 1870, Reyer i n c l u d e d on t he program e x c e r p t s f r o m works by G l u c k and S p o n t i n i . 2 4 However, two o f t h e t h r e e B e r l i o z s e l e c t i o n s f o r t h e new f e s t i v a l were v e r y d i f f e r e n t f rom t ho se p r e s e n t e d i n 1870: i n s t e a d o f f e a t u r i n g f r a g m e n t s " r e m a r q u a b l e s s u r t o u t par l e u r charme p o e t i q u e , " 2 ^ Reyer now h i g h l i g h t e d t h e B e r l i o z o f p o w e r f u l v o c a l and o r c h e s t r a l e f f e c t s , c h o o s i n g t h e d o u b l e c h o r u s o f s o l d i e r s and s t u -d e n t s f r o m t h e Damnat ion and t h e a p o t h e o s i s f r om L a Symphonie f u n e b r e e t t r i o m p h a l e . These two e x c e r p t s c o n t r a s t e d s t r i k i n g l y w i t h t he t h i r d B e r l i o z s e l e c t i o n , name l y , t h e s e p t e t f r om Les T r o y e n s . 2 ^ 272 The second f e s t i v a l was h e l d not at t h e O p e r a , but r a t h e r at t h e H ippodrome, where t h e a c o u s t i c s were b e t t e r f o r massed v o i c e s and i n s t r u m e n t s . The program i n v o l v e d t h e p a r t i c i p a t i o n o f s e v e r a l d i s t i n -g u i s h e d s o l o i s t s and no f ewer t h a n 450 c h o r i s t e r s and i n s t r u m e n t a l i s t s , r e c r u i t e d by A l b e r t V i z e n t i n i f r om amongst t h e b e s t t h a t P a r i s i a n l y r i c t h e a t r e s and c o n c e r t s o c i e t i e s c o u l d o f f e r . The d i r e c t i n g o f t h i s g r e a t p h a l a n x o f m u s i c i a n s — m o r e t h a n t w i c e as many as had pe r f o rmed at t h e f i r s t f e s t i v a l - - r e q u i r e d no t one c o n d u c t o r but t w o : Reyer l e d t h e i n s t r u m e n t a l i s t s , and e n t r u s t e d t h e v o c a l i s t s t o a M. B e r t r i n g e r . T h i s second " F e s t i v a l B e r l i o z " was even more s u c c e s s f u l t han t he f i r s t . A l t h o u g h t h e H ippodrome was by no means c e n t r a l l y l o c a t e d i n t h e c i t y , t h i s enormous b u i l d i n g was p a c k e d , and t h e a u d i e n c e demanded t he r e p e t i -t i o n o f both t h e s e p t e t f r om Les T r o yen s and t h e d o u b l e c h o r u s f r om t h e Damnat ion .27 Fo r t h r e e decades a f t e r t h e dea th o f B e r l i o z , Reyer championed Benvenuto C e l l i n i and Les T r o y e n s — t h e l a t t e r known t o P a r i s i a n s o n l y t h r o u g h an a b b r e v i a t e d v e r s i o n o f t h e second p a r t , Les T royen s a C a r t h a g e , w h i c h Leon C a r v a l h o had p r e m i e r e d at t h e T h e a t r e - L y r i q u e i n 1863.28 Reyer was p a r t i c u l a r l y d i smayed t h a t Benvenuto C e l l i n i and both p a r t s o f Les T royen s r ema ined unpe r fo rmed d u r i n g t h e 1880s , a f t e r B e r l i o z ' s l a r g e c o n c e r t works had e s t a b l i s h e d h i s p o p u l a r i t y i n t h e c a p i t a l , and a f t e r t h e s u c c e s s f u l P a r i s i a n p r e m i e r e — a l b e i t i n c o n c e r t - - o f La P r i s e de T r o i e , t h e f i r s t p a r t o f t h e T r o j a n e p i c . 2 9 Why, Reyer asked i n 1890, had t h e d o o r s o f t h e Opera and t h e Opera-Comique rema ined c l o s e d t o B e r l i o z d e s p i t e t h e t remendous vogue f o r t h e Damnat ion? How was i t p o s s i b l e t h a t , a l t h o u g h L a P r i s e de T r o i e had been f a v o r a b l y 273 r e c e i v e d at c o n c e r t s c o n d u c t e d by both P a s d e l o u p and C o l o n n e , t h i s work had not y e t been s t a ged and not a s i n g l e i m p r e s a r i o had been tempted t o r e v i v e Le s T royen s a C a r t h a g e ? And why had C a r v a l h o not c a r r i e d out a p l a n t o r e v i v e Benvenuto C e l l i n i at t h e Opera -Comique i n t he m i d -1 8 8 0 5 ? 3 0 R e y e r ' s i n s i s t e n c e t h a t a r e v i v a l o f Benvenuto C e l l i n i would be s u c c e s s f u l i n P a r i s may have been p a r t l y r e s p o n s i b l e f o r C a r v a l h o ' s p l a n . In November 1885 t h e c r i t i c b l u n t l y asked how t h e Opera and e s p e c i a l l y t h e Ope r a -Com ique , wh i ch was i n f i n a n c i a l d i f f i c u l t i e s , c o u l d i g n o r e a work t h a t had f o r many y e a r s been h i g h l y a c c l a i m e d on f o r e i g n s o i l . 3 ! At t h a t t i m e , C a r v a l h o - - d i r e c t o r o f t h e C o m i q u e - - d i s r e g a r d e d R e y e r ' s h i n t , and i n s t e a d announced t h a t he would s t a g e t h e P a r i s i a n p r e m i e r e o f Wagne r ' s L o h e n g r i n . W i t h i n a few weeks , however , he was c o n s i d e r i n g abandon ing t h i s p r o j e c t f o r f e a r o f a r o u s i n g a n t i - G e r m a n s e n t i m e n t . Reyer s e i z e d t h e o p p o r t u n i t y t o c a l l C a r v a l h o ' s a t t e n t i o n t o " t o u t l e p r o f i t q u ' i l y a u r a i t pour sa renommee comme pour l a g l o i r e de B e r l i o z de venge r 1 ' i l l u s t r e m u s i c i e n d ' u n echec . . . i m m e r i t e . " 3 2 T h i s t i m e , C a r v a l h o heeded R e y e r ' s a d v i c e : L o h e n g r i n was abandoned, and B e n v e n u t o - - t o wh i ch t h e Opera had f o r f e i t e d i t s r i g h t — w a s put i n t o r e -h e a r s a l . Reye r r e j o i c e d t h a t t h e f i r s t p e r f o r m a n c e was s c h e d u l e d f o r 17 Oc-t o b e r 1886, t h e day o f t h e i n a u g u r a t i o n o f t h e B e r l i o z s t a t u e i n P a r i s . However, h i s hope o f s e e i n g Benvenuto p e r f o r m e d " s u r l e s e u l t h e a t r e ou e l l e p o u v a i t a v o i r l a chance d ' e t r e a c c e p t e e et de r e u s s i r " 3 3 was s h a t -t e r e d when, i n l a t e Sep tembe r , t h e a d m i n i s t r a t i o n o f t h e Comique a b r u p t -l y announced t h a t t h e p r o d u c t i o n had been i n d e f i n i t e l y p o s t p o n e d . 3 4 274 Much t o R e y e r ' s c o n s t e r n a t i o n and b e w i l d e r m e n t , t h i s t h e a t r e never s t a g e d Benvenu to , even though i t had been i n r e h e a r s a l f o r s i x mon th s . Reyer f o u g h t l o ng and hard t o o b t a i n a h e a r i n g f o r Les T r o y e n s , wh i ch he r anked a l o n g s i d e t h e works o f M o z a r t , G l u c k , B e e t h o v e n , and W e b e r . 3 6 H i s dream o f s e e i n g i t p r e s e n t e d i n i t s e n t i r e t y at t h e Opera d i d not m a t e r i a l i z e d u r i n g h i s l i f e t i m e , b u t , as we s h a l l s e e , h i s c r u -sade may have been p a r t l y r e s p o n s i b l e f o r two s i g n i f i c a n t e v e n t s i n t h e h i s t o r y o f t h i s l y r i c e p i c : t he r e v i v a l o f Les T r o yen s a C a r t h a g e - -a f t e r n e a r l y t h i r t y y e a r s o f n e g l e c t - - a n d t h e P a r i s i a n p r e m i e r e o f La P r i s e de T r o i e . In 1879, when bo th P a s d e l o u p and Co l onne b r a v e l y p r e s e n t e d t h e then -unknown P r i s e de T r o i e i n c o n c e r t , Reyer urged t h a t i t i n s t e a d be p r e m i e r e d on t h e s t a g e , b e c a u s e - - l i k e any work c o n c e i v e d f o r t h e t h e a t r e — i t l o s t much o f i t s impac t when p e r f o r m e d sans d e c o r s , sans c o s t u m e s , sans l e p r e s t i g e de l a scene e t avec des i n t e r p r e t e s qu i s u f f i s e n t a p e i n e a l a l o u r d e t a c h e q u ' i l s ont b i e n v o u l u a c c e p t e r . . . . Dev ron s -nous done nous c o n t e n t e r d ' a d m i r e r , d ' a p p l a u d i r ce c h e f - d ' o e u v r e e t l e s emouvans t a b l e a u x q u ' i l f a i t p a s s e r devan t nos y e u x , au c o n c e r t , avec des he r o s en h a b i t n o i r e t des v i e r g e s en s o u l i e r s de s a t i n ? Un t h e a t r e l y r i q u e de p r e m i e r o r d r e , l ' O p e r a , ne s e r a - t - i l done j a m a i s t e n t e , j a m a i s s e d u i t par t a n t de m a g n i f i c e n c e s . . . ?36 At t h e same t i m e , Reyer v o i c e d h i s amazement t h a t — d e s p i t e t h e p o s t -humous g l o r i f i c a t i o n o f B e r l i o z — L e s T r oyen s a C a r t h a g e had not been r e v i v e d s i n c e i t s b r i e f r un at t h e T h e a t r e - L y r i q u e i n 1863. He began i n s i s t i n g t h a t t h e two p a r t s o f Les T r o y e n s , p r e s e n t e d i n a l t e r n a t i o n on two n i g h t s , wou ld t r i u m p h at t h e O p e r a , and h i s p r o g n o s t i c a t i o n s o f s u c -c e s s c o n t i n u e d t h r o u g h o u t t h e 1880s .37 275 F i n a l l y , i n t h e e a r l y 1 890 s , R e y e r ' s e f f o r t s t o o b t a i n a h e a r i n g f o r Les T royen s began t o bear f r u i t . By June 1891 La P r i s e de T r o i e was " p r o m i s e aux abonnes de l ' O p e r a . " 3 8 The nex t y e a r , when t h e l o n g -s u p p r e s s e d L o h e n g r i n was e n j o y i n g g r e a t s u c c e s s at t h e Ope ra , t he r e -c e n t l y f ounded S o c i e t e des g randes a u d i t i o n s m u s i c a l e s de l a F r a n c e 3 9 gave f i n a n c i a l a s s i s t a n c e t o C a r v a l h o f o r a r e v i v a l o f Les T r o yen s a C a r t h a g e , wh i ch P a r i s i a n s had not hea rd e i t h e r i n a t h e a t r e or on a c o n -c e r t s t a g e s i n c e he had p r e m i e r e d i t at t h e L y r i q u e . Du r i n g t h e s p r i n g o f 1893- -when t h e Opera was b a s k i n g i n y e t a n o t h e r Wagner ian t r i u m p h , La V a l k y r i e - - C a r v a l h o a g a i n r e v i v e d Les T r o yen s a C a r t h a g e , e v i d e n t l y h op -i n g t h a t " l e c h e f - d ' o e u v r e d ' H e c t o r B e r l i o z , g r and maTtre f r a n g a i s , " 4 0 would p r o v i d e c o m p e t i t i o n f o r t h e c e l e b r a t e d work o f t h e German m a s t e r . N e i t h e r r e v i v a l o f Les T royen s a C a r t h a g e was s u c c e s s f u l , and t h e f i r s t was s u f f i c i e n t t o c o n f i r m R e y e r ' s o p i n i o n t h a t Les T royens b e -l o n g e d , i n i t s e n t i r e t y , on t h e v a s t s t a g e o f t h e P a l a i s G a m i e r . Je n ' y v a i s pas par t r e n t e - s i x chemins et j e d e -c l a r e i c i sans r e t i c e n c e n i p r e a m b u l e , spontanement et c a t e g o r i q u e m e n t , q u ' i l e s t honteux pour l ' a r t f r a n g a i s q u ' u n ouv rage comme l e s T royen s en s o i t r e d u i t a a l l e r s ' e c h o u e r en f r a g m e n t s mal a j u s t e s su r une scene l y r i q u e de second o r d r e quand l e c a d r e de n o t r e g rand Opera s e r a i t a p e i n e a s s e z v a s t e pour c o n t e n i r un t e l c h e f -d ' o e u v r e . . . . . . . Eh b i e n , j e m ' a d r e s s e au m i n i s t r e qu i e s t un homme de gene reu se i n i t i a t i v e , j e m ' a d r e s s e au d i r e c t e u r a c t u e l de l ' O p e r a dont l e gout a r t i s t i q u e e s t s i j u s t e -ment v a n t e e t j e l e u r demande que , ap re s l e t r i o m p h e s u r n o t r e p r e m i e r e scene l y r i q u e de l ' u n des p l u s g rands maTt re s dont l ' A l l e m a g n e s ' h o n o r e , v i e n n e l e t r i o m p h e de l ' u n des p l u s g rands maTt re s dont l a F r ance a i t l e d r o i t de s ' e n o r g u e i 1 1 i r . D o n n e z - l u i vos p l u s m e r v e i l l e u x d e c o r s e t vos p l u s r i c h e s c o s t u m e s , d o n n e z - l u i vos c h o e u r s nombreux e t v o t r e v a i l l a n t o r c h e s t r e , s i b i e n d i s c i p l i n e a u j o u r d ' h u i sous 1 1 i n t e l l i g e n t e d i r e c t i o n d ' u n c h e f h a b i l e ; d o n n e z - l u i vos i n t e r p r e t e s l e s p l u s renommes e t l e s m e i l l e u r s , e t vous v e r r e z s i son o e u v r e , 276 a p p a r a i s s a n t a l o r s dans t o u t e l a m a g n i f i c e n c e de sa c o n -c e p t i o n g e n i a l e , ne vous i n d e m n i s e r a pas au c e n t u p l e de t o u t ce que vous au r e z f a i t pour e l l e et pour l u i . 4 1 Such p r o d d i n g — w h i c h Reyer c o n t i n u e d i n l a t e r f e u i l l e t o n s 4 2 — m a y have been i n s t r u m e n t a l i n i n d u c i n g t h e Opera e v e n t u a l l y t o honor i t s p r om i se t o p r e m i e r e La P r i s e de T r o i e . The p r o d u c t i o n took p l a c e i n 1899, t h e y e a r a f t e r R e y e r ' s r e t i r e m e n t f r om t h e D e b a t s . In a d d i t i o n t o b e i n g a l e a d e r ' i n t h e movement t o r e s u r r e c t B e r -l i o z ' s m u s i c , Reyer was among t h e f i r s t t o r e c o g n i z e t h e s i g n i f i c a n c e o f B e r l i o z ' s c r i t i c a l w r i t i n g s . 4 3 D u r i n g t h e 1850s t he young Reyer began p r a i s i n g t h e work o f " n o t r e maTtre a t o u s dans l ' a r t de l a c r i t i q u e , " 4 4 who was t h e n t h e m u s i c a l f e u i 1 l e t o n i s t e o f t h e D e b a t s . I t i s not s u r -p r i s i n g t h a t , a f t e r Reye r h i m s e l f s u cceeded t o t h i s po s t i n 1866, he c o n t i n u e d t o r e n d e r hommage t o t h e w r i t i n g s o f t h e man whom he c l e a r l y es teemed as h i s g r e a t e s t p r e d e c e s s o r . 4 5 B e r l i o z ' s c r i t i c a l w r i t i n g s were r e g a r d e d by Reyer as b e i n g s i g n i f -i c a n t b e c a u s e , i n h i s o p i n i o n , t h e y had s e r v e d t o f u r t h e r t he m u s i c a l e d u c a t i o n o f t h e p u b l i c — t h e v e r y pu rpo se wh i ch Reyer e n v i s i o n e d f o r mus i c c r i t i c i s m , as we o b s e r v e d i n C h a p t e r I I I . He b e l i e v e d t h a t B e r -l i o z ' s d e n u n c i a t i o n s o f t h e m e d i o c r i t y and m e r c a n t i l i s m wh ich pe r vaded F r e n c h m u s i c a l l i f e had d e a l t s e r i o u s b lows t o " c e s abus , ce s s o t t i s e s , ce s e r r e u r s e t ce s p r e j u g e s . " 4 6 He a l s o app l auded B e r l i o z ' s v a l i a n t s t r u g g l e t o c u l t i v a t e i n h i s r e a d e r s a l o v e o f g r e a t m u s i c . A P a r i s . . . i l p o u v a i t e s s a y e r de c o n v e r t i r au c u l t e du beau ceux qu i m a r c h a i e n t dans une v o i e opposee a l a s i e n n e , en l e u r r e v e l a n t , dans des pages qu i r e s t e r o n t comme des mode les de s t y l e et de hau te c r i t i q u e , l e s s u b l i m e s i n s p i r a t i o n s des maTt re s q u ' i l a d m i r a i t et dont i l e t a i t l e p l u s f e r v e n t d i s c i p l e . C ' e s t a i n s i q u ' i l 277 p a r i a i t de S p o n t i n i e t de Weber, de Beethoven et de G l u c k . 4 7 Reyer d e c l a r e d t h a t , a l t h o u g h B e r l i o z may not have won many c o n v e r t s t o t h e cau se o f g r e a t m u s i c , he had c e r t a i n l y c r e a t e d a few z e a l o u s p r o s e -l y t e s . Among t h e s e were Fanny P e l l e t a n and B e r t h o l d Damcke, w h o — i n s p i r e d by B e r l i o z ' s e l o q u e n t a r t i c l e s on t h e n e c e s s i t y o f p r e s e r v i n g G l u c k ' s o p e r a s — u n d e r t o o k t h e p r e p a r a t i o n o f a c r i t i c a l e d i t i o n o f h i s f i v e p r i n c i p a l w o r k s . 4 8 Reyer sought t o c r e a t e p u b l i c a p p r e c i a t i o n f o r B e r l i o z ' s c o n t r i b u -t i o n s t o F rench m u s i c a l l i f e not o n l y by c o n d u c t i n g h i s works and w r i t -i n g about h i s o e u v r e - - b o t h m u s i c a l and 1 i t e r a r y - - b u t a l s o by p l a y i n g a ma jo r r o l e i n t h r e e c e l e b r a t i o n s h e l d t o honor h i s memory. When a s t a -t u e o f B e r l i o z was i n a u g u r a t e d at P a r i s i n 1886, one o f t h e t h r e e s p e a k -e r s was R e y e r , who wore on t h i s o c c a s i o n t h e A c a d e m i c i e n ' s r obe and sword bequeathed t o him by B e r l i o z . 4 9 Four y e a r s l a t e r , Reyer p r e s e n t e d y e t a n o t h e r d i s c o u r s e , t h i s t i m e at t h e i n a u g u r a t i o n o f a s t a t u e o f B e r -l i o z e r e c t e d at h i s b i r t h p l a c e , La Co te S a i n t - A n d r e . In 1903, t h e aged R e y e r - - b y t h e n one o f t h e most r e v e r e d m u s i c i a n s i n F r a n c e — s e r v e d as h o n o r a r y p r e s i d e n t o f t h e B e r l i o z C e n t e n a r y c e l e b r a t i o n s , and, i n t h i s c a p a c i t y , w ro te a t h i r d speech i n honor o f h i s b e l o v e d f r i e n d . A l l t h r e e o f R e y e r ' s d i s c o u r s e s were p u b l i s h e d i n c o n t e m p o r a r y newspapers and p e r i o d i c a l s . 5 0 Many F r ench m u s i c i a n s o f R e y e r ' s day r e n d e r e d hommage t o h i s work on b e h a l f o f B e r l i o z . 5 1 I ndeed , some d e c l a r e d t h a t he had done more t h a n anyone e l s e t o b r i n g honor t o t h i s composer i n h i s n a t i v e l a n d . Such was t h e o p i n i o n o f B e r l i o z ' s b i o g r a p h e r B o s c h o t , who w ro t e t h e 278 f o l l o w i n g t r i b u t e a few months a f t e r R e y e r ' s d e a t h : . . . R e y e r , m a l g r e t o u s l e s o b s t a c l e s , et m a l g r e des m u s i c i e n s t r o p c o n f r a t e r n e l s , e n t r a T n a l e p u b l i c j u s q u ' a B e r l i o z ; e t s i , a u j o u r d ' h u i , q u e l q u e s oeuv re s du compo-s i t e u r r o m a n t i q u e , - - p a s t o u t e s , h e l a s ! - - o n t c o n q u i s l e p u b l i c m u s i c a l , Reyer l e s y a i d a de l a m a n i e r e l a p l u s e f f i c a c e . 5 2 R e y e r ' s E f f o r t s t o Change t h e P u b l i c ' s Image o f B e r l i o z t h e Composer In m i d - c e n t u r y P a r i s , B e r l i o z was g e n e r a l l y d i s m i s s e d as an e x t r a v -agant s ymphon i s t w i t h a man ia f o r huge e n s e m b l e s - - a m u s i c a l r e v o l u t i o n -a r y who " b e l i e v e d i n n e i t h e r God no r B a c h . " 5 3 Reyer p a i n t e d many a v i v i d p i c t u r e o f t h i s image o f B e r l i o z 1 ' e x t r a v a g a n t , B e r l i o z 1 ' a n t e c h r i s t , l e b r i s e u r d ' i d o l e s , l ' e n n e m i de t o u t e r e g i e s c o l a s t i q u e , 1 ' i n v e n -t e u r des o r c h e s t r e s m o n s t r e s , l e m u s i c i e n q u i , s e l o n C h e r u b i n i , m e t t a i t du canon dans sa mus ique (un a u t r e que l u i en a m i s , on s ' e n s o u v i e n t ) . 6 4 Both d u r i n g t h e c o m p o s e r ' s l i f e t i m e and a f t e r h i s d e a t h , Reyer t r i e d t o d e m o n s t r a t e t h a t B e r l i o z ' s m u s i c a l p e r s o n a l i t y was f a r more complex and s u b t l e . He i n s i s t e d t h a t B e r l i o z had not t u r n e d h i s back on t h e m u s i c a l h e r i t a g e o f t h e p a s t ; t h a t , i n f a c t , he had p r o f o u n d l y admired s e v e r a l e i g h t e e n t h - and e a r l y n i n e t e e n t h - c e n t u r y c ompo se r s , and had made s k i l l -f u l use o f f u g u e . Reyer a l s o drew a t t e n t i o n t o B e r l i o z ' s g i f t f o r p o e t i c e x p r e s s i o n , and d i s p u t e d t h e a c c u s a t i o n s t h a t h i s o r c h e s t r a t i o n was a m e a n i n g l e s s mass o f c u r i o u s s o n o r i t i e s , t h a t h i s mus ic l a c k e d m e l o d y , and t h a t he had no a b i l i t y as a m u s i c a l d r a m a t i s t . In s h o r t , Reyer sought t o s h a t t e r what he r e g a r d e d as t h e l u d i c r o u s p u b l i c image o f B e r l i o z t h e compose r , and , by so d o i n g , t o f o s t e r an i n t e l l i g e n t a p p r e c i a t i o n f o r h i s m u s i c . 279 Reyer i n f o r m e d t h e P a r i s i a n p u b l i c t h a t B e r l i o z had been d e v o t e d t o t h e mus i c o f e a r l i e r composer s e ve r s i n c e h i s y o u t h . Du r i n g h i s s t u d e n t d a y s , he had g l o r i e d i n p e r f o r m a n c e s o f S a l i e r i ' s Dana ide s a t t h e O p e r a , had z e a l o u s l y s t u d i e d t h e works o f B e e t h o v e n , and had f a m i l i a r i z e d h i m -s e l f w i t h t h e ope ra s o f G l u c k by s p e n d i n g e n t i r e days at t h e C o n s e r v a -t o i r e l i b r a r y , a d m i r i n g and c o p y i n g h i s s c o r e s . 5 5 As a matu re a r t i s t , B e r l i o z " a f a i t ses d i e u x de G l u c k , de B e e t h o v e n , de Weber e t de Spon -t i n i , " 5 5 c h a m p i o n i n g them i n h i s w r i t i n g s and c o n d u c t i n g e x c e r p t s f r om t h e i r mus i c at t h e f e s t i v a l s and c o n c e r t s he p r e s e n t e d i n P a r i s and a b r o a d . Reyer a s s e r t e d t h a t B e r l i o z ' s m u s i c , t o o , bo re w i t n e s s t o h i s s t u d y o f e a r l i e r c o m p o s e r s - - e s p e c i a l l y G l u c k and B e e t h o v e n , whom he had r e -ga rded r e s p e c t i v e l y as t h e g r e a t e s t e xponen t s o f l y r i c drama and sym-phony. The works o f t h e s e two g i a n t s , s a i d R e y e r , were t h e s o u r c e s at wh i ch B e r l i o z had d e r i v e d i n s p i r a t i o n w h i l e at t h e same t i m e c u l t i v a t i n g h i s m u s i c a l i n d i v i d u a l i t y . 5 7 Reyer m a i n t a i n e d t h a t t h e i n f l u e n c e o f G l u c k c o u l d be hea rd i n t h e d e c l a m a t o r y pas sages o f B e r l i o z ' s o p e r a s , 5 8 and t h a t t h e s p i r i t o f G l u c k i a n t r a g e d i e l y r i q u e c o u l d r e a d i l y be sensed i n many a r i a s and o t h e r numbers o f Les T r o y e n s . 5 9 B e r l i o z ' s symphon ies and o t h e r l a r g e c o n c e r t works f o r v o i c e s and o r c h e s t r a made h i m , i n R e y e r ' s e y e s , a w o r t h y s u c c e s s o r t o B e e t h o v e n . I ndeed , when Gounod ' s o p e r a Romeo e t J u l i e t t e was t r i u m p h a n t l y p r e m i e r e d i n 1867, Reyer r e -minded r e a d e r s o f B e r l i o z ' s l o n g - n e g l e c t e d symphonie d r a m a t i q u e based on S h a k e s p e a r e ' s t r a g e d y , and t h e n p ronounced B e r l i o z t h e g r e a t e s t sympho-n i s t s i n c e B e e t h o v e n , i n f u l f i l l m e n t o f t h e p r ophecy made by P a g a n i n i . 280 " B e e t h o v e n m o r t , vous s e u l p o u v i e z l e r e m p l a c e r . " En e f f e t , i l n ' y a pas e u , n i en F r ance n i en A l l e m a g n e , de p l u s g rand s y m p h o n i s t e que M. H e c t o r B e r l i o z d e p u i s B e e t h o v e n . B i e n des gens qu i n i e n t c e l a a u j o u r d ' h u i s e r o n t de mon a v i s dans q u e l q u e s annees. 6 1 - * Reyer s t r e n g t h e n e d h i s argument t h a t B e r l i o z ' s mus i c had s t r o n g r o o t s i n t h e pa s t by d r a w i n g a t t e n t i o n t o h i s use o f f u g u e . The c r i t i c p o i n t e d ou t t h a t , a l t h o u g h B e r l i o z had mocked t h e academic or s c h o o l f u gue ( f u g u e d ' e c o l e ) , 6 ! he had by no means shunned fugue e n t i r e l y , as w i t n e s s t h e f ugue s and f u g a l pa s sages i n Romeo e t J u l i e t t e , La Damnat ion de F a u s t , L ' E n f a n c e du C h r i s t , and t h e R e q u i e m . 6 2 Reye r i n s i s t e d t h a t B e r l i o z ' s f u gue s a r e m a s t e r f u l examples o f t h e g e n r e , d e s p i t e t h e com-p o s e r ' s t r a n s g r e s s i o n s o f " l e s r e g i e s s e v e r e s d ' u n e fugue d ' e c o l e " ; 6 3 - j n f a c t , Reyer app l auded him as t h e c r e a t o r o f a s t y l e o f f u g a l w r i t i n g i n wh i ch t h e m e l o d i c e l ement i s more p r om inen t t han i s t he ca se i n t h e f ugue s o f t h e Baroque m a s t e r s . II n ' a i m a i t pas l a fugue o u , comme d i s a i t m a l i c i e u s e m e n t C h e r u b i m ' , l a f ugue ne 1 ' a i m a i t p o i n t ! L i s e z d o n e , vous qu i vous p i q u e z d ' e t r e l e s f i d e l e s g a r d i e n s des f o r m u l e s s c o l a s t i q u e s , l a marche n o c t u r n e de l a p r e m i e r e p a r t i e de 1 ' E n f a n c e du C h r i s t , l a scene qu i f a i t s u i t e a l ' a r r i v e e de Jo seph et de M a r i e chez l e pe re de f a m i l l e , dans l e meme o u v r a g e ; l e c o n v o i de J u l i e t t e [ ; ] e t 1 ' i n t r o d u c t i o n de l a Damnat ion de F a u s t . S i l a f ugue m e l o d i q u e e x i s t e , pure dans sa f o r m e , e l e g a n t e dans ses deve l oppemens , s e d u i s a n t e par 1 ' o r i g i n a l i t e de l ' i d e e ou l e charme de V i n s p i r a t i o n , on peut d i r e que c ' e s t B e r -l i o z q u i l ' a i n v e n t e d . E s t - c e p a r c e q u ' i l ne p o u v a i t f a i r e comme Bach e t Haendel q u ' i l a f a i t a u t r e m e n t ? 6 4 A n o t h e r way i n wh i ch Reyer sought t o d e s t r o y t h e p u b l i c ' s image o f B e r l i o z as a v i o l e n t r e v o l u t i o n a r y was by c a l l i n g a t t e n t i o n t o h i s g e n i u s f o r p o e t i c e x p r e s s i o n . V r a i m e n t , j e l e demande aux a r t i s t e s et aux amateurs de bonne f o i , e s t - c e b i e n un g e n i e r e v o l t e que c e l u i qu i a e c r i t l e s e p t u o r des T r o yen s e t l e duo de B e a t r i c e e t 281 B e n e d i c t , 1 ' a d a g i o de Romeo e t J u l i e t t e , l a marche d ' H a r o l d , l ' a i r de M e p h i s t o p h e l e s e t l a scene des SyTpTTes - [de l a Damnat ion de F a u s t ] ? 6 6 He d e c l a r e d t h a t t h e s e were among t h e many pages wh ich r e v e a l e d B e r l i o z as " l e poe te des d e m i - t e i n t e s , des n u i t s v a p o r e u s e s e t des c l a i r s de l u n e , un r e v e u r a l a f a gon de S h a k e s p e a r e , " 6 6 and t h a t o t h e r p a g e s — n o t a b l y t h e "Repos de l a S a i n t e F a m i l l e " f r om the second p a r t o f L ' E n f a n c e du C h r i s t — e m b o d i e d a s l i g h t l y d i f f e r e n t a s p e c t o f B e r l i o z ' s p o e t i c g e n i u s : " l a na ' f ve te e t l a g r a c e de 1' i n s p i r a t i o n . " 6 7 Reyer i n s i s t e d t h a t , even though B e r l i o z had somet imes gone t o e x t r emes i n h i s m u s i c , he had r e m a i n e d — a t h e a r t — a p o e t , f o r he had never d e s e r t e d t he Muse i n o r d e r t o f l a t t e r t h e p u b l i c . 6 8 Reyer t r i e d to d e m o n s t r a t e t h a t t h i s poet was a mas te r o f t he a r t o f i n s t r u m e n t a t i o n — a composer whose mus i c was not "un amas de c u r i -o s i t e s s o n o r e s " 6 9 bu t r a t h e r a t r e a s u r e - t r o v e o f a r t f u l e f f e c t s wh i ch c r e a t e d an i d e a l c o r r e s p o n d e n c e w i t h t h e d r a m a t i c s i t u a t i o n . One o f t h e a s p e c t s o f B e r l i o z ' s o r c h e s t r a t i o n wh i ch p a r t i c u l a r l y imp re s s ed Reyer was t h e i n c o m p a r a b l e d e l i c a c y o f t h e e v o c a t i o n s o f d r a m a t i c s i t u a t i o n s w h i c h c a l l e d f o r d e f t n e s s o f t o u c h : t h e n o c t u r n a l r i d e o f Queen Mab and her e n t o u r a g e o f b u z z i n g i n s e c t s i n Romeo e t J u l i e t t e ; t h e dance o f t h e s y l p h s who have c a s t t h e i r s p e l l on t h e s l e e p i n g F a u s t i n t he Damna t i on ; and t h e s p i r i t s o f e v i l d a n c i n g t h e M i nue t o f t he W i l l o ' t he Wisp i n t h e same work.^O w h i l e Reyer f e l t t h a t t he consummate d e l i c a c y o f B e r l i o z ' s o r c h e s t r a t i o n was e m i n e n t l y s u i t a b l e f o r such s i t u a t i o n s , he i n s i s t e d t h a t , f o r o t h e r s , t h e u n p r e c e d e n t e d l u x u r i a n c e o f t h e i n s t r u -m e n t a t i o n was e q u a l l y a p p r o p r i a t e . He c i t e d as p r ime examples t h e c l i m a x o f t h e b r i l l i a n t " f e t e chez C a p u l e t " i n Romeo e t J u l i e t t e , and 282 two s t i r r i n g ma rche s : t h e R a k o c z y M a r c h , wh i ch evokes t h e Hunga r i a n army a d v a n c i n g i n t o b a t t l e i n t h e Damna t i on ; and t h e T r o j a n Ma r ch , wh i ch s u r g e s f o r t h as t h e g i g a n t i c Wooden Ho r se l e f t by t h e G reek s i s drawn t h r o u g h t h e g a t e s o f T r oy i n L a P r i s e de T r o i e . 7 * Reyer a t t r i b u t e d much o f t h e e f f e c t i v e n e s s o f Les T r o y e n s - - " c e t t e g rande epopee l y r i q u e " - - t o B e r l i o z ' s s k i l l f u l use o f t h e o r c h e s t r a : J ama i s au t h e a t r e 1 'union de V o r c h e s t r e et des v o i x n ' a e t e rendue avec une t e l l e p u i s s a n c e , une t e l l e s c i e n c e , une t e l l e s u p e r i o r i t y . . . . B e r l i o z a f a i t v i v r e 1 ' o r c h e s t r e a c o t e des pe r sonnages de 1 ' e popee ; i l l ' a f a i t p a r l e r , i l l ' a d r a m a t i s e . 7 2 To i l l u s t r a t e h i s p o i n t , Reyer d e s c r i b e d i n d e t a i l how t h e o r c h e s t r a u n d e r s c o r e s t h e c o n t r a s t i n g i d e a s o f t h e t e x t i n t h e scene between C a s -s and re and Cho rebe : t h e o r c h e s t r a f i r s t d r a m a t i z e s t h e g r o w i n g f r e n z y o f t h e T r o j a n p r o p h e t e s s as she f o r e t e l l s t h e f a l l o f T r o y , t hen p a i n t s a c ha rm ing p a s t o r a l t a b l e a u as Chorebe a t t e m p t s t o a l l a y h i s f i a n c e e ' s s e e m i n g l y g r o u n d l e s s f e a r s . Ca s s and re a t t e i n t p r o g r e s s i v e m e n t l e paroxysme de l a p a s s i o n e t de l a t e r r e u r ; M. B e r l i o z a menage ce c r e s c e n d o avec un a r t a d m i r a b l e ; l e s a r c h e t s des a l t o s e t des seconds v i o l o n s j o u a n t s u l l ' p o n t i c e l l o , donnent au t r e m o l o un c a r a c t e r e s t r i d e n t e t f e r o c e ; l a v o i x s ' a n i m e e t monte t o u j o u r s ; l e s c u i v r e s g ronden t s o u r d e -ment , e t C a s s a n d r e , e p u i s e e , a n e a n t i e sous l e p o i d s de l a d o u l e u r , tombe en j e t a n t un c r i d e c h i r a n t auquel r e -p o n d e n t [ , ] comme un echo f u r i e u x , l e s f o r c e s accumu lees de 1 ' o r c h e s t r e . On ne s a u r a i t se f a i r e une i d e e des j o l i s d e t a i l s d ' i n s t r u m e n t a t i o n qu i accompagnent l a r i a n t e p a s t o r a l e que Chorebe c h a n t e a Ca s sand re pour l a c a l m e r e t l a r a s -s u r e r : l e s o u f f l e de l a b r i s e , l e chan t des o i s e a u x et l e son des p i p e a u x r u s t i q u e s , t o u s ces e f f e t s , t o u t e s ce s i m i t a t i o n s , t o u t e s ces nuances donnent un charme i n -e x p r i m a b l e au s e n t i m e n t doux et ca lme de c e t t e e g l o g u e v i r g i 1 i e n n e . 7 3 283 Reyer d i s c e r n e d many i n n o v a t i v e f e a t u r e s i n B e r l i o z ' s o r c h e s t r a -t i o n . For e x a m p l e , he c r e d i t e d B e r l i o z w i t h d i s c o v e r i n g a way t o a c h i e v e a t r u l y p i a n i s s i m o o r c h e s t r a l accompaniment f o r t he v o i c e , as he e x p l a i n e d i n t h e f o l l o w i n g pas sage c o n c e r n i n g C a s s a n d r e ' s o p e n i n g l a m e n -t a t i o n and her e n s u i n g duet w i t h Cho rebe : M. B e r l i o z , q u i , au d i r e de ses a d v e r s a i r e s ( j e me s e r s d ' u n e e x p r e s s i o n a d o u c i e ) , m e t t r a i t v o l o n t i e r s , s ' i l l ' o s a i t , des canons dans son o r c h e s t r e , e s t p o u r -t a n t l e p r e m i e r qu i a i t songe a r e d u i r e l e q u a t u o r dans c e r t a i n s pa s sages ou l a masse des i n s t r u m e n s a c o r d e s , accompagnant l a v o i x , ne p o u r r a i e n t a r r i v e r a un p i a n i s - s imo s u f f i s a n t . Ce procede ' i n g e n i e u x dont i l s ' e s t s e r v i dans q u e l q u e s - u n s de ses p r e ceden s o u v r a g e s , i l l ' a a p p l i q u e ega lement a p l u s i e u r s p a r t i e s de l a g rande s cene que j e v i e n s de d e c r i r e e t au duo s u i v a n t qu i n ' e s t accompagne que par un t o u t p e t i t q u a t u o r en s o u r -d i n e s , deux f l u t e s , un c o r a n g l a i s , deux c o r s e t deux c l a r i n e t t e s . Ce duo e s t une m e r v e i l l e de g r a c e e t de p o e s i e a m o u r e u s e . 7 4 Reyer m a i n t a i n e d t h a t t h e a r t o f i n s t r u m e n t a t i o n had b e n e f i t e d e n o r m o u s l y f r o m " l e s p r o g r e s a c c o m p l i s par H e c t o r B e r l i o z . " 7 6 He was u n e x c e l l e d i n " l ' a r t de c omb i ne r l e s i n s t r u m e n t s e t de t i r e r l e s e f f e t s l e s p l u s s a i s i s s a n s , l e s p l u s nouveaux des accoup lemens de l e u r s t i m -b r e s . " 7 6 F u r t h e r m o r e , he had bequeathed t o p o s t e r i t y a t r e a t i s e w h i c h , i n R e y e r ' s o p i n i o n , wou ld r ema in t h e d e f i n i t i v e work o f i t s k i n d . 7 7 B e r l i o z ' s mus i c and h i s t r e a t i s e t o g e t h e r c o m p r i s e d a l e g a c y w h i c h , Reyer s u g g e s t e d , had a f f e c t e d v i r t u a l l y a l l l a t e r n i n e t e e n t h - c e n t u r y F r ench c o m p o s e r s : " L e q u e l de n o u s , - - j e ne p a r l e que de ceux qu i ne n i e n t pas l a l u m i e r e , - - n ' a pas p r o f i t e des p r e c i e u s e s i n n o v a t i o n s s o r -t i e s de sa p a l e t t e i n s t r u m e n t a l e ? " 7 8 When a t t e m p t i n g t o d i s p e l t h e image o f B e r l i o z as a m u s i c a l madman, Reyer argued t h a t t h i s poe t and s u p r e m e l y s k i l l e d o r c h e s t r a t o r was, i n 284 a d d i t i o n , an i n s p i r e d m e l o d i s t . He r e sponded t o t h o s e who accu sed B e r -l i o z o f l a c k i n g m e l o d i c i d e a s 7 9 by r e c a l l i n g t h a t t h e same had once been s a i d o f such g r e a t composers as G l u c k , B e e t h o v e n , and W e b e r . 8 0 When " L a Marche h o n g r o i s e , " " L a V a l s e des S y l p h e s , " and " L e Menuet des F o l l e t s " were a c c l a i m e d at L i t o l f f ' s c o n c e r t s a few months a f t e r B e r l i o z ' s d e a t h , Reyer p o i n t e d ou t t h a t t h e p u b l i c was a l r e a d y b e g i n n i n g t o a p p r e c i a t e B e r l i o z as m e l o d i s t . Des m u s i c i e n s q u i , sans e t r e p r e c i s e m e n t h o s t i l e s a B e r l i o z , n ' a v a i e n t pas vecu dans l a f a m i l i a r i t e de ce m a T t r e , t r o p peu c l a s s i q u e pour eux , se son t mon t re s s u r p r i s de t r o u v e r dans son oeuv re des pages s i m e l o -d i q u e s e t d ' u n e f f e t s i s a i s i s s a n t . Je ne s u i s n u l l e -ment e tonne de l e u r e t onnemen t , e t s ' i l s v e u l e n t b i e n p o u r s u i v r e l e c o u r s de l e u r s n o u v e l l e s e t u d e s , i l s en v e r r o n t b i e n d ' a u t r e s , non seu lement dans l a Damnat ion de F a u s t , mais dans Romeo e t J u l i e t t e , dans 1 ' E n f a n c e du C h r i s t , "dans l a Symphonie f a n t a s t i q u e e t dans l a p r e -m i e r e p a r t i e des T r o y e n s . 8 1 Reyer was a l s o c o n v i n c e d t h a t , i n t i m e , B e r l i o z would be v i n d i c a t e d o f t h e c h a r g e t h a t he was " d e p o u r v u de t o u t s e n t i m e n t d r a m a t i q u e . " 8 2 B e r l i o z ' s supposed l a c k o f d r a m a t i c i m a g i n a t i o n was t h e s u b j e c t o f many e x a s p e r a t e d remark s f r o m R e y e r , such as t h e f o l l o w i n g o u t b u r s t i n h i s r e v i e w o f t h e c o n c e r t p r e m i e r e o f t h e f i r s t p a r t o f Les T r o y e n s : . . . on nous donne a u j o u r d ' h u i l a P r i s e de T r o i e ; nous au rons p e u t - e t r e demain B e a t r i c e e t B e n e d i c t e t "Ben- venu to C e l l i n i . Au c o n c e r t , b i e n e n t e n d u . Car l e t h e a t r e semble a v o i r pour l a memoire de B e r l i o z d ' i n -f l e x i b l e s r i g u e u r s . Que v o u l e z - v o u s ! 1 ' a u t e u r des T royen s n ' e t a i t p o i n t un g e n i e d r a m a t i q u e . 8 3 T h i s s a r c a s t i c e x c l a m a t i o n s u g ge s t s t h a t Reyer was p a r t i c u l a r l y i n -cen sed by t h e t h e a t r e s ' l o n g o s t r a c i s m o f Les T r o y e n s , w h i c h , he o f t e n d e c l a r e d , c o n t a i n e d mus i c un s u r pa s s ed even by t h e t r a g e d i e s l y r i q u e s o f G l u c k . For e x a m p l e , when t h e c o n c e r t s o c i e t i e s l e d by P a s d e l o u p and 285 Co l onne were each c ompe t i n g t o p r e s e n t La P r i s e de T r o i e f o r t h e f i r s t t i m e i n t h e c a p i t a l , Reyer a s s u r e d h i s r e a d e r s t h a t C a s s a n d r e ' s o p e n i n g a r i a and t h e e n s u i n g duet w i t h Chorebe " s o n t d ' u n e beau te a c h e v e e , et . . . q u ' i l n ' a r i e n e t e e c r i t de p l u s n o b l e , de p l u s g r a n d , de p l u s s u b l i m e dans l e s t y l e p r o p r e a l a t r a g e d i e l y r i q u e . " 8 4 More t h a n a decade l a t e r , when C a r v a l h o r e v i v e d h i s s h o r t e n e d v e r s i o n o f Les T royen s a C a r t h a g e , Reyer w ro t e a s i m i l a r p a n e g y r i c c o n c e r n i n g t h e q u i n t e t , t h e s e p t e t , and t h e l o v e due t ( " N u i t d ' i v r e s s e e t d ' e x t a s e i n f i n i e " ) . He t h a n k f u l l y o b s e r v e d t h a t a l l o f t h e s e o u t s t a n d i n g numbers had e scaped d e l e t i o n , and f o r good r e a s o n : L ' a d m i r a b l e e t pure beau te de ces t r o i s i n s p i r a t i o n s de g e n i e l e s met a 1 ' a b r i de t o u t a c c i d e n t . Pour nous a u s s i , c ' e s t une " e x t a s e i n f i n i e , " un l o ng r a v i s s e m e n t que de l e s e n t e n d r e . Dans q u e l l e oeuv re moderne ou c l a s s i q u e t r o u v e r a i t - o n 1 ' e q u i v a l e n t de ces pages s ub -1 i m e s ? 8 ^ Reyer was imp re s s ed not o n l y by s p e c i f i c numbers i n Les T r o y e n s , but a l s o by e n t i r e s cenes w h i c h , i n h i s o p i n i o n , were among the most e f -f e c t i v e e v e r c o n c e i v e d f o r t h e l y r i c t h e a t r e . As we o b s e r v e d i n C h a p t e r IV, one such scene i s t h e h o r r i f i c a p p a r i t i o n o f t he gho s t o f H e c t o r - - a scene whose d r a m a t i c impac t Reyer a t t r i b u t e d t o a m a s t e r f u l c o m b i n a t i o n o f t h e e l e m e n t s o f o r c h e s t r a t i o n , harmony, and me l ody . W i t h i n t he c o n -t e x t o f t h e p r e s e n t c h a p t e r we canno t examine i n such d e t a i l each o f t h e o t h e r s cenes wh i ch Reyer f ound p a r t i c u l a r l y s t r i k i n g i n t h e two p a r t s o f Les T r o y e n s . However, we can at l e a s t no te t h e scene w h i c h , f o r both Reyer and B e r l i o z , was t h e most p r o f o u n d l y mov ing i n La P r i s e de T r o i e : t h e pantomime wh i ch b e g i n s w i t h t h e a r r i v a l o f H e c t o r ' s widow, A n d r o -maque, and he r young s o n . A f t e r r e c a l l i n g t h a t B e r l i o z had wept o v e r 286 t h i s c l a r i n e t s o l o w i t h c h o r u s , Reyer o b s e r v e d t h a t many l i s t e n e r s -i n c l u d i n g h i m s e l f , no d o u b t — h a d e x p e r i e n c e d t h e same r e a c t i o n . C l e a r -l y , he f e l t t h a t t h i s scene was a n o t h e r superb example o f B e r l i o z ' s use o f t h e o r c h e s t r a as a pe r sonnage i n t h e d rama. D ' a u t r e s ont p l e u r e a u s s i en en t endan t l e p o e t i q u e i n s t r u m e n t . . . e x p r i m e r l a muet te d o u l e u r d ' A n d r o -maque, en e n t e n d a n t l a p l a i n t e t o u c h a n t e du choeu r et l a sombre p r o p h e t i e de C a s s a n d r e : H e l a s ! ga rde t e s p l e u r s , Veuve d ' H e c t o r . . . ; a de p r o c h a i n s m a l h e u r s Tu do i s b i e n des l a rmes ameres . C r o y e z b i e n que B e r l i o z ne s ' e s t pas t rompe e t que j e n ' e x a g e r e pas en vous d i s a n t que c ' e s t l a l e p o i n t c u l m i n a n t de 1 ' o e u v r e ; que c e t t e page e s t d ' u n e beau te a c h e v e e , q u ' e l l e e s t s u b l i m e . 8 6 W h i l e Reyer e x p r e s s e d p r e f e r e n c e f o r c e r t a i n numbers and s cenes o f Les T r o y e n s , he by no means f e l t t h a t t h e work was uneven i n q u a l i t y . On t h e c o n t r a r y , he f ound t h a t " i t was d i s t i n g u i s h e d by a c o n s i s t e n t l y h i g h l e v e l o f i n s p i r a t i o n , and he p a i d B e r l i o z t h e u l t i m a t e comp l imen t o f h a v i n g e q u a l l e d h i s b e l o v e d G l u c k : " L e s G r e c s , G l u c k nous l e s a c o n -s e r v e s ; l e s T r o y e n s , B e r l i o z nous l e s a r e n d u s . Son oeuv re d ' u n bout a 1 ' a u t r e e s t s u p e r b e , e c r i t e . . . sans h e s i t a t i o n s , sans f a i b l e s s e s . " 8 7 In h i s a t t e m p t s t o d i s p r o v e t h e a c c u s a t i o n t h a t B e r l i o z l a c k e d d r a -m a t i c i m a g i n a t i o n , Reyer t r i e d t o d e m o n s t r a t e t h a t d r a m a t i c e x p r e s s i o n i s t h e v e r y p u l s e o f many o f B e r l i o z ' s n o n - o p e r a t i c w o r k s . For e x a m p l e , he c a l l e d a t t e n t i o n t o t h e i m p o r t a n c e o f t h e d r a m a t i c e lement i n two o f h i s r e v e r e d f r i e n d ' s p r i n c i p a l r e l i g i o u s c o m p o s i t i o n s : t h e Requiem and L ' E n f a n c e du C h r i s t . A l t h o u g h Reyer d i d not r e g a r d t h e f o r m e r as b e i n g t h e a t r i c a l , 8 8 he o b s e r v e d t h a t t h e c o m p o s e r ' s i m a g i n a t i o n had been f i r e d by t h e d r a m a t i c i m p l i c a t i o n s o f t h e s a c r e d t e x t . 287 C ' e s t b i e n l e drame de l a mort que B e r l i o z a v o u l u p e i n d r e , et i l n ' y a menage n i l e s e f f e t s p u i s s a n s , n i l e s b ru sques o p p o s i t i o n s , n i l e s e t r a n g e s accoup lemens de t i m b r e s qu i donnent un c a r a c t e r e s i p e r s o n n e l a ses c o m p o s i t i o n s s ymphon iques .89 He d i s c e r n e d a more p ronounced l e a n i n g t o w a r d s o p e r a t i c e x p r e s s i o n i n L ' E n f a n c e du C h r i s t , d e s c r i b i n g t h e f i r s t and t h i r d p a r t s o f t h i s t r i l -ogy as " p l u s d r a m a t i q u e s que r e l i g i e u s e s . " 9 0 Reyer found B e r l i o z ' s d r a m a t i c i m a g i n a t i o n d e m o n s t r a t e d even more v i v i d l y i n t h e two l a r g e s t works based on s e c u l a r t e x t s : La Damnat ion de F a u s t and Romeo e t J u l i e t t e . He s t a t e d u n c a t e g o r i c a l l y t h a t t h e s e were t h e f i n e s t m u s i c a l r e a l i z a t i o n s o f t h e g r e a t dramas o f Goethe and S h a k e s p e a r e . . . . j e d i r a i de l a Damnat ion de Fau s t ce que j ' a i d i t de Romeo e t J u l i e t t e . L ' o e u v r e du m u s i c i e n , dans son ensemble e t meme dans ses d e t a i l s , e s t a l a h a u t e u r de l ' o e u v r e du p o e t e , e t aucun c o m p o s i t e u r ayant t r a i t e l ' u n ou 1 ' a u t r e , l ' u n et 1 ' a u t r e de ces deux r e d o u t a b l e s s u j e t s , avant ou ap re s B e r l i o z , ne s ' e s t e l e v e a u s s i haut que l u i . 9 1 Of a l l t h e scenes wh i ch Reyer r e g a r d e d as b e i n g q u i n t e s s e n t i a l resumes o f t h e i d e a s o f t h e t e x t s i n t h e s e two wo r k s , 9 2 t h e r e was one w h i c h s t r u c k him as b e i n g a b o l d f o r a y i n t o t h e r e a l m o f l y r i c t h e a t r e : t h e i n s t r u m e n t a l e v o c a t i o n o f t h e tomb scene i n Romeo e t J u l i e t t e . He d e -c l a r e d t h a t h i s i n t e r p r e t a t i o n o f t h i s s cene was i m p l i c i t i n t h e Note de 1 ' a u t e u r added by B e r l i o z t o a l a t e e d i t i o n o f t h e s c o r e - - a Note r e com-mending t h a t t h i s scene u s u a l l y be e x p u r g a t e d because " l e p u b l i c n ' a p o i n t d ' i m a g i n a t i o n ; l e s morceaux qu i s ' a d r e s s e n t seu lement a 1 ' i m a g i n a -t i o n n ' o n t done p o i n t de p u b l i c . " 9 3 The N o t e , t o g e t h e r w i t h t h e t r a n -s c e n d e n t a l d i f f i c u l t y o f t h e m u s i c , p rompted Reyer t o avow: " J a m a i s 288 aucun s ymphon i s t e n ' e s t e n t r e a u s s i h a r d i m e n t n i a u s s i l o i n dans l e domaine de l a mus ique d r a m a t i q u e . " 9 4 We have o b s e r v e d i n t h e p r e c e d i n g pages t h a t Reyer r e g a r d e d B e r l i o z as an i n n o v a t o r — e s p e c i a l l y i n t h e a r t o f i n s t r u m e n t a t i o n — b u t i n s i s t e d t h a t t h i s ma s t e r was not a r e v o l u t i o n a r y who had s e ve red a l l m u s i c a l t i e s w i t h t h e p a s t . I n deed , a few y e a r s b e f o r e B e r l i o z ' s d e a t h Reyer a u d a c i o u s l y p r e d i c t e d t h a t t h e works o f bo th t h i s composer and h i s e q u a l l y c o n t r o v e r s i a l c o n t e m p o r a r y , Wagner, would someday be r e v e r e d as " c l a s s i c s . " 0 p i e u x t h u r i f e r a i r e s des g l o i r e s du p a s s e , o u b l i e r e z -vous done t o u j o u r s que l e s n o v a t e u r s , que l e s r o m a n t i q u e s de l a v e i l l e d e v i e n n e n t l e s c l a s s i q u e s du l endema in ? Du v i v a n t de Beethoven e t de Weber, ne l e u r o p p o s a i t - o n pas Moza r t e t Haydn, comme vous opposez a u j o u r d ' h u i a Wagner e t a B e r l i o z Beethoven e t Weber? . . . Les c l a s s i q u e s ! l e s c l a s s i q u e s ! d i t e s - v o u s ; t e n o n s - n o u s - e n aux c l a s -s i q u e s ! Ma i s Wagner e t B e r l i o z , dans que l que s annees d ' i c i , s e r o n t des c l a s s i q u e s ! . . . [ s i c ] 9 6 * * * R e y e r ' s a t t i t u d e t owa rd t h e mus i c o f t he c o m p a t r i o t whom he l o v e d so d e a r l y and championed so c o u r a g e o u s l y i s most e l o q u e n t l y summarized i n t h e r i n g i n g t r i b u t e wh i ch c o n c l u d e s a l l t h r e e o f h i s speeches c e l e -b r a t i n g B e r l i o z ' s memory: Honneur a B e r l i o z , au t r a d u c t e u r i n s p i r e de Shake spea re e t de V i r g i l e , au d i g n e c o n t i n u a t e u r de G l u c k e t de B e e t h o v e n , a 1 1 un des p l u s i l l u s t r e s c o m p o s i t e u r s de t o u s l e s t emps , au p l u s e x t r a o r d i n a i r e p e u t - e t r e qu i a i t j a m a i s e x i s t e ! 9 6 C r i t i c a l A n a l y s i s There i s good r ea son t o b e l i e v e t h a t , o f a l l t h e mus i c Reyer hea rd d u r i n g h i s l o n g c a r e e r as a c r i t i c , t h e works o f B e r l i o z were most 289 f a m i l i a r t o h im . The two men were d e v o t e d f r i e n d s , and Reyer was t h e r e -f o r e among t h e c i r c l e o f i n t i m a t e s who a t t e n d e d p r i v a t e p e r f o r m a n c e s o f B e r l i o z ' s m u s i c . 9 7 We know t h a t , at v a r i o u s p u b l i c p e r f o r m a n c e s c o n -d u c t e d by B e r l i o z i n P a r i s and Baden -Baden , Reyer hea rd bo th L ' E n f a n c e du C h r i s t and B e a t r i c e e t B e n e d i c t i n t h e i r e n t i r e t y , as w e l l as many e x c e r p t s f r om t h e l a r g e c o n c e r t works and two f r a g m e n t s o f Les T r o y e n s . We a l s o know t h a t Reyer h i m s e l f c o n d u c t e d e x c e r p t s f r om B e r l i o z ' s works on at l e a s t f i v e o c c a s i o n s ; t h a t he was p r e s e n t at a l l t w e n t y - t w o p e r f o r m a n c e s o f Les T r o yen s a C a r t h a g e a t t h e T h e a t r e - L y r i q u e ; and t h a t t h r o u g h o u t h i s c a r e e r he f a i t h f u l l y a t t e n d e d p e r f o r m a n c e s o f h i s f r i e n d ' s mus i c at o t h e r P a r i s i a n t h e a t r e s and c o n c e r t h a l l s . A l l o f t h e s e c i r c u m s t a n c e s sugges t t h a t Reyer would have u n d e r s t o o d B e r l i o z ' s mus i c more p r o f o u n d l y t han t h a t o f any o t h e r compose r , and, c o n s e q u e n t -l y , t h a t h i s o p i n i o n s ap ropos o f t h i s mus i c would be t he be s t i n d i c a -t i o n s o f h i s competence as a c r i t i c . We s h a l l see i n t h e f o l l o w i n g pages t h a t h i s e s t i m a t e s o f B e r l i o z a r e d i s t i n g u i s h e d by r e m a r k a b l e s e n s i t i v i t y and o b j e c t i v i t y . We have a l r e a d y no ted s e v e r a l s i g n i f i c a n t d e m o n s t r a t i o n s o f R e y e r ' s s e n s i t i v i t y t o t h e many f a c e t s o f B e r l i o z ' s c r e a t i v e g e n i u s : as bo th c r i t i c and c o n d u c t o r , Reyer c a l l e d a t t e n t i o n t o a s p e c t s o f B e r l i o z ' s mu s i c t h a t had s c a r c e l y been n o t i c e d by o t h e r m i d - c e n t u r y P a r i s i a n s ; and he was among t h e f i r s t t o r e c o g n i z e B e r l i o z ' s s t a t u r e as a mus ic c r i t -i c . H i s a p p r e c i a t i o n f o r B e r l i o z ' s l i t e r a r y g i f t however was not c o n -f i n e d t o t h e c r i t i c a l w r i t i n g s o f h i s r e v e r e d f r i e n d , but ex tended t o t h e t e x t s and l i b r e t t o s . The l i b r e t t o o f Les T royen s made a p a r t i c u l a r -l y s t r o n g i m p r e s s i o n on R e y e r . A f t e r a t t e n d i n g a p r i v a t e r e a d i n g o f i t 290 i n 1857, he e x c l a i m e d : " . . . j ' a i e t e e b l o u i pa r l a m a g n i f i c e n c e du s u j e t . . . i l n ' y a pas de f i c e l l e s , pas de t r u e s , p o i n t de r e m i n i -s c e n c e s , p o i n t de r a f i s t o l a g e : i l y a de l a p o e s i e e t de V i m a g i n a t i o n a p l e i n s b o r d s . " 9 8 Two y e a r s l a t e r , upon h e a r i n g f r a g m e n t s o f t he s c o r e f o r t h e f i r s t t i m e at Baden -Baden , he p ronounced t h e mus ic " m a g n i f i q u e " and a g a i n d e c l a r e d t h a t " de s v e r s comme c e u x - l a . . . s on t l e s v e r s d ' u n p o e t e et non pas ceux d ' u n 1 i b r e t t i s t e . " 9 9 The i n s i g h t w i t h wh i ch Reyer a s s e s s e d B e r l i o z ' s supreme s k i l l as an o r c h e s t r a t o r i n Les T r o yen s and o t h e r works i s a good i n d i c a t i o n o f t h e c l a r i t y o f h i s c r i t i c a l v i s i o n . "M . B e r l i o z . . . [ e s t ] l e p r e m i e r qu i a i t songe a r e d u i r e l e q u a t u o r dans c e r t a i n s pas sages ou l a masse des i n s t r u m e n s a c o r d e s , accompagnant l a v o i x , ne p o u r r a i e n t a r r i v e r a un p i a n i s s i m o s u f f i s a n t " l 0 0 - - t h i s i s t h e k i n d o f o b s e r v a t i o n wh i ch c o u l d o n l y have come f r om a man l i k e R e y e r , a f e l l o w - c o m p o s e r and - c r i t i c whose e a r s were a t t u n e d t o t h e sounds o f c o n t e m p o r a r y F rench m u s i c . Modern s c h o l a r s s h o u l d t a k e no te o f such a remark f rom so a s t u t e a l i s -t e n e r . Many have , i n f a c t , u n w i t t i n g l y echoed some o f R e y e r ' s com-ment s . For i n s t a n c e , among t h e i n n u m e r a b l e i n s t r u m e n t a l c o m b i n a t i o n s and d i s t r i b u t i o n s wh i ch s t r u c k him as b e i n g both b o l d and e f f e c t i v e , t h e r e a r e t w o - - t h e muted m u l t i - d i v i s i v i o l i n s i n t h e Queen Mab s c h e r z o and t h e f 1 u t e - a n d - t r o m b o n e c h o r d s i n t h e R e q u i e m - - w h i c h t o t h i s day a re h e l d up as examp le s o f t h e f e l i c i t o u s c o l o r i s t i c e f f e c t s i n B e r l i o z ' s s c o r e s . 1 0 1 A g a i n l i k e R e y e r , modern c r i t i c s a re imp re s sed more by B e r l i o z ' s s k i l l i n h a n d l i n g t h e i n s t r u m e n t s t han by h i s f r e q u e n t i n c l u -s i o n o f new o r s p e c i a l i n s t r u m e n t s i n h i s o r c h e s t r a s . s h o u l d a l s o n o t e t h a t t i m e has borne ou t R e y e r ' s p r e d i c t i o n c o n c e r n i n g B e r l i o z ' s 291 T r e a t i s e on I n s t r u m e n t a t i o n : i t r ema in s t h e d e f i n i t i v e work o f i t s k i n d . 1 0 3 In C h a p t e r I I I we o b s e r v e d t h a t i n t e l l e c t u a l i n t e g r i t y was one o f t h e f undamen ta l p r i n c i p l e s upon w h i c h Reyer based h i s approach t o c r i t i -c a l w r i t i n g . S i n c e t h e u l t i m a t e t e s t o f such i n t e g r i t y i n any c r i t i c i s h i s a b i l i t y t o be o b j e c t i v e about t h e mus i c o f h i s f r i e n d s , we would s u s p e c t t h a t , i f e v e r Reye r a l l o w e d h i s emot i on s t o dom ina te h i s c r i t i -c a l f a c u l t i e s , i t would be i n h i s o b s e r v a t i o n s c o n c e r n i n g t h e works o f h i s d e a r e s t and most r e v e r e d f r i e n d : B e r l i o z . Y e t , t a k e n as a w h o l e , h i s w r i t i n g s on t h i s composer a re as o b j e c t i v e as t h o s e o n - - f o r example - -Wagne r , whose c h a r a c t e r Reyer h e a r t i l y d i s l i k e d . One o f t h e b e s t i l l u s t r a t i o n s o f R e y e r ' s u n c o m p r o m i s i n g l y o b j e c t i v e a t t i t u d e t owa rd B e r l i o z ' s mus i c i s t h e f o l l o w i n g e x c e r p t f r om h i s r e v i e w o f t h e P a r i s i a n p r e m i e r e o f B e a t r i c e e t B e n e d i c t , i n wh ich he f a u l t s t h e decea sed composer f o r h a v i n g f a l l e n i n t o t h e manner i sms wh ich t h e l a t t e r had d e t e s t e d i n t h e mus ic o f o t h e r s . Ce g rand e s p r i t . . . e t a i t p l e i n de c o n t r a d i c t i o n s e t de b i z a r r e r i e s . . . . II e t a i t 1 'ennemi j u r e des cadence s s u r a n n e e s , des r e p e t i t i o n s de mo t s , des v i e i l l e s f o r m u l e s q u ' i l r e p r o c h a i t p a r t i c u l i e r e m e n t aux f a i s e u r s d ' o p e r a s comiques de son temps , e t v o i l a que, dans l e p r e m i e r o p e r a comique q u ' i l e c r i t , i l cede l u i a u s s i a l a manie de ces f a t i g a n t e s r e d i t e s , de ces c adence s s u r a n n e e s , de ces v i e i l l e s f o r m u l e s ! Son s e n t i m e n t de l a d e c l a m a t i o n l y r i q u e , qu i se m a n i f e s t e dans p l u s d ' u n e page de B e a t r i c e e t B e n e d i c t avec une e l e v a t i o n , une p u i s s a n c e d i g n e s de G l u c k , s ' e v a n o u i t t o u t a coup pour f a i r e p l a c e a des b a n a l i t e s de s t y l e , q u i , r e l e v e e s pa r l u i chez c e r t a i n s m u s i c i e n s , s on t l ' o b j e t de ses r a i l l e r i e s et de son m e p r i s . C ' e s t a se demander, t a n t 1 ' en semb le de l a c o m p o s i t i o n e s t peu homogene, s i c ' e s t l e meme c e r v e a u qu i l ' a e n f a n t e e , s i c ' e s t l a meme main qu i y a t r a v a i l l e . ^ 4 292 F u r t h e r e v i d e n c e t h a t Reyer had r e s o l v e d neve r t o l e t even h i s most c h e r i s h e d f r i e n d s h i p i n t e r f e r e w i t h t h e a c t o f judgment i s t he f a c t t h a t he p u b l i c l y r e p r o a c h e d B e r l i o z f o r h a v i n g c o n t r i b u t e d " t a n t s o i t peu " t o t h e f a l l o f Wagne r ' s Tannhau se r . 105 A l t h o u g h R e y e r ' s w r i t i n g s on B e r l i o z o f f e r abundant e v i d e n c e o f h i s d e t e r m i n a t i o n t o be o b j e c t i v e , t h e y a l s o y i e l d a few s t a t e m e n t s wh i ch t h e t w e n t i e t h - c e n t u r y r e a d e r may f i n d o v e r b l o w n and i n a p p r o p r i a t e . Can any o f t h e s e be r e c o n c i l e d w i t h R e y e r ' s o b v i o u s r e s o l v e t o be o b j e c -t i v e ? L e t us c o n s i d e r each s t a t e m e n t i n t u r n . The e a r l i e s t one wh i ch i n v i t e s d i s p u t e i s t h a t " i l n ' y a pas e u , n i en F r a n c e n i en A l l e m a g n e , de p l u s g rand s ymphon i s t e que M. H e c t o r B e r l i o z d e p u i s B e e t h o v e n . " 1 0 6 j n 1867, when Reyer made t h i s a v o w a l , P a r i s i a n c o n c e r t - g o e r s were accus tomed t o a d i e t o f symphonies and o v e r -t u r e s by a s m a l l g roup o f decea sed composers whom J e f f r e y Cooper has a p t l y dubbed " P a r i s ' s ' f a v o r i t e f i v e ' " ; 1 0 7 Haydn, M o z a r t , B e e t h o v e n , M e n d e l s s o h n , and Weber. S c h u b e r t was s c a r c e l y known, e x c e p t t h r ough h i s L i e d e r ; Schumann--whose mus i c Reye r had " d i s c o v e r e d " d u r i n g h i s t r a v e l s i n Germany i n 1863 -64 - -was j u s t b e g i n n i n g t o a c q u i r e a r e p u t a t i o n i n t h e F r e n c h c a p i t a l ; and t h e t h i r t y - f o u r - y e a r - o l d Brahms was s t i l l n i n e y e a r s away f r o m t h e c o m p l e t i o n o f h i s F i r s t Symphony. In t he c o u r s e o f R e y e r ' s voyage m u s i c a l i n Germany, he had o f t e n heard B e r l i o z d e s c r i b e d as " l e Beethoven f r a n g a i s . " 1 0 8 when w e t a k e a l l o f t h e s e f a c t o r s i n t o c o n s i d e r a t i o n , we canno t wonder t h a t i n 1867 Reyer p ronounced B e r l i o z t h e g r e a t e s t s ymphon i s t s i n c e B e e t h o v e n . Each o f R e y e r ' s t h r e e speeches h o n o r i n g B e r l i o z - - t h e f i r s t w r i t t e n i n 1886 and t h e l a s t i n 1 9 0 3 - - c o n c l u d e d w i t h an e l o q u e n t t r i b u t e " au d i g n e c o n t i n u a t e u r de G l u c k e t B e e t h o v e n . " 1 0 9 We might i n i t i a l l y t h i n k t h a t t h i s r e a f f i r m e d t h e p o s i t i o n d i s c u s s e d above . However, when we compare t h e s t a t e m e n t made i n 1867 w i t h t h e one i n t h e s p e e c h e s , we r e a l i z e t h a t t h e s u p e r l a t i v e " [ l e ] p l u s g rand s y m p h o n i s t e " was r e p l a c e d by t h e more c a u t i o u s " d i g n e c o n t i n u a t e u r . " And l e t us r e c a l l t h a t Reyer v e n e r a t e d S p o n t i n i as one o f G l u c k ' s h e i r s ; t h e r e f o r e , t h e d e s c r i p t i o n " d i g n e c o n t i n u a t e u r de G l u c k e t B e e t h o v e n " c o u l d not have been i n t e n d e d t o d e s i g n a t e B e r l i o z as t h e o n l y s u c c e s s o r t o e i t h e r compose r . R e y e r ' s m o d i f i c a t i o n o f h i s e a r l i e r p o s i t i o n on B e r l i o z as s ymphon i s t i s p r o b a -b l y a t t r i b u t a b l e t o i n c r e a s e d a c q u a i n t a n c e w i t h t h e symphon ies o f s i g -n i f i c a n t German c o m p o s e r s . 1 1 0 In h i s speeches and i n t h e D e b a t s , Reyer r e p e a t e d l y c a l l e d B e r l i o z " l e Beethoven f r a n g a i s " ( u n d e r l i n e m i n e ) . Can we s ha re h i s v iew? A c -c o r d i n g t o s e v e r a l a u t h o r i t i e s , 1 1 1 B e r l i o z was w e l l a b l e t o c o n s t r u c t a movement out o f b r i e f m e l o d i c f i g u r e s — t h e u sua l p r o c e d u r e o f Beethoven and o t h e r m a s t e r s o f t h e V i e n n e s e symphonic t r a d i t i o n - - b u t he p r e f e r r e d t o c r e a t e f r om ex t ended m e l o d y . In t h e words o f W i l f r i d M e l l e r s , " B e r -l i o z i s l e a s t s u c c e s s f u l when he t r i e s t o e m u l a t e t h e s o n a t a p r i n c i p l e , most c o n v i n c i n g when he a l l o w s h i s l y r i c a l i m p u l s e t o g e n e r a t e f o r m . " 1 1 2 B e r l i o z was n e v e r t h e l e s s an avowed d i s c i p l e o f B e e t h o v e n , and, as Dav id C a i r n s o b s e r v e s , "was p r o f o u n d l y i n f l u e n c e d by B e e t h o v e n ' s t h e m a t i c mas-t e r y and c o n s i s t e n c y " 1 1 3 - - a n a l l u s i o n t o t h e c y c l i c i d e a f ound i n t h e F i f t h and N i n t h Symphonies and a p p l i e d i n B e r l i o z ' s Symphonie f a n t a s - t i q u e and H a r o l d en I t a l i e . 1 1 4 An i n f l u e n c e t h a t was pe rhaps even more p r o f o u n d was " t h e B e e t h o v e n i a n p r i n c i p l e o f drama embodied i n m u s i c a l t e r m s . " 1 1 6 B e r l i o z ' s s ymphon i e s , e s p e c i a l l y t h e symphon ie d r a m a t i q u e 294 Romeo e t J u l i e t t e , i l l u s t r a t e t h i s p r i n c i p l e because t h e y m a n i f e s t t h e t r e a t m e n t o f mus ic a s - - t o q u o t e Hugh Macdona ld — " a n e x p r e s s i v e and d r a -m a t i c a r t , " and t h u s " s t r e t c h t h e meaning o f t h e word [ ' s y m p h o n y ' ] t o new l i m i t s . " H ^ We s c a r c e l y need add t h a t t h e s e symphonies make B e r l i o z t h e o u t s t a n d i n g exponent o f t h e genre i n n i n e t e e n t h - c e n t u r y F r a n c e . In s h o r t , he may not have been " l e Beethoven f r a n g a i s " as r e g a r d s t h e m a t i c i n v e n t i o n and d e v e l o p m e n t , bu t t h e a p p e l l a t i o n i s so a p p r o p r i a t e i n s e v e r a l o t h e r r e s p e c t s t h a t we can u n d e r s t a n d why Reyer adopted i t . A t h i r d s t a t e m e n t wh i ch r e q u i r e s e x a m i n a t i o n i s one made i n 1879 apropos o f Les T r o y e n s : " J a m a i s au t h e a t r e 1 ' u n i o n de T o r c h e s t r e e t des v o i x n ' a e t e rendue avec une t e l l e p u i s s a n c e , une t e l l e s c i e n c e , une t e l l e s u p e r i o r i t y . " H 7 Such a remark f r o m Reyer may seem s u r p r i s i n g b e c a u s e , as we s h a l l see i n C h a p t e r V I I I , he g r e a t l y admired t h e r e l a -t i o n s h i p between t h e i n s t r u m e n t a l and v o c a l e l emen t s i n Wagner ' s mus i c d ramas . However, i n 1879 Reye r s c a r c e l y knew t h e mus ic dramas, h a v i n g h e a r d o n l y t h e h a n d f u l o f e x c e r p t s wh ich had been o c c a s i o n a l l y p r e s e n t e d - - a n d a lmos t drowned out by a n t i - G e r m a n p r o t e s t s — at P a s d e l o u p ' s c o n -c e r t s . H i s r e a l i n t r o d u c t i o n t o t h e s e works d i d no t b e g i n u n t i l t h e 1880s , when he a t t e n d e d p r o d u c t i o n s o f D i e M e i s t e r s i n g e r von N'urnberg a t London and b o t h D i e Wa lku re and S i e g f r i e d at B r u s s e l s . A f t e r h a v i n g hea rd t h e s e w o r k s , he neve r a g a i n e u l o g i z e d t h e u n i t i n g o f v o i c e s and o r c h e s t r a i n Les T royens as he had done i n 1879; e v i d e n t l y h i s a p p r e c i a t i o n f o r Wagner ' s mus i c dramas made him u n w i l l i n g t o p l a c e Les T r o yen s i n a p o s i t i o n o f p r e e m i n e n c e . A f o u r t h remark by Reyer wh i ch may s t r i k e us as b e i n g an e x a g g e r a -t i o n i s t h a t t h e i n s t r u m e n t a l e v o c a t i o n o f t h e tomb scene i n Romeo e t 295 J u l i e t t e i s an u n p r e c e d e n t e d ! y b o l d v e n t u r e i n t o t he r e a l m o f o p e r a . B e f o r e we examine t h e Note de 1 ' a u t e u r — w h i c h , s a i d R e y e r , i m p l i e d such a p e r c e p t i o n o f t h i s s c e n e — l e t us c o n s i d e r a g e n e r a l o b s e r v a t i o n by Dona ld G r o u t : " . . . i t was n a t u r a l f o r B e r l i o z , as i t was f o r h i s e i g h t e e n t h - c e n t u r y c o m p a t r i o t s Rameau and C o u p e r i n , t o a s s o c i a t e mus i c w i t h i m a g e s . " H 8 The same can be s a i d o f B e r l i o z ' s n i n e t e e n t h - c e n t u r y c o m p a t r i o t R e y e r , whose t a l e n t as composer was most s t r o n g l y o r i e n t e d t owa rd m u s i c a l d e p i c t i o n t h r o u g h o p e r a . As c r i t i c , t o o , Reyer was l i s -t e n i n g t o B e r l i o z ' s work w i t h e a r s accus tomed t o o p e r a , f o r t h i s genre had l o n g been t h e monarch o f F r ench m u s i c . When we t a k e i n t o a c coun t t h e s e c i r c u m s t a n c e s , we can r e a d i l y r e c o n s t r u c t how Reyer must have i n t e r p r e t e d B e r l i o z ' s N o t e , r e p r o d u c e d be low as p a r a p h r a s e d by J a cque s B a r z u n : The p u b l i c b e i n g d e v o i d o f i m a g i n a t i o n , t h i s s cene s h o u l d be o m i t t e d whenever t h e symphony i s not pe r f o rmed b e f o r e a cho sen a u d i e n c e f a m i l i a r w i t h S h a k e s p e a r e ' s p l a y , t h a t i s t o s a y , i t s h o u l d be o m i t t e d i n n i n e c a s e s ou t o f t e n . l l 9 The e x t r a o r d i n a r i l y v i v i d m u s i c a l e v o c a t i o n o f t h e tomb scene would have c o n j u r e d i n R e y e r ' s i m a g i n a t i o n a v i s i o n o f t h a t s c e n e , b e c a u s e — i f we may bo r row G r o u t ' s p h r a s e — i t was n a t u r a l f o r Reyer " t o a s s o c i a t e mus i c w i t h i m a g e s . " He would t h e r e f o r e have assumed t h a t t he word " i m a g i n a t i o n " i n B e r l i o z ' s Note meant " c a p a c i t y f o r v i s u a l i z a t i o n . " T h i s a s s u m p t i o n would i n t u r n have l e d him t o c o n c l u d e t h a t B e r l i o z , by recommending t h e e x p u r g a t i o n o f t h i s s e c t i o n because t he p u b l i c was " d e v o i d o f i m a g i n a t i o n , " was s a y i n g t h a t t h e p u b l i c was i n c a p a b l e o f a p p r e c i a t i n g t h e mus i c because i t l a c k e d t he i m a g i n a t i o n t o v i s u a l i z e t h e s c e n e . Fo r R e y e r , t h e n , B e r l i o z ' s Note would have i m p l i e d t h a t t h e 296 v i s u a l e l ement f u r n i s h e d by t h e i m a g i n a t i o n was as f undamen ta l t o t he a p p r e c i a t i o n o f t h i s mus i c as s t a g e a c t i o n was t o t h e a p p r e c i a t i o n o f o p e r a . Thus , R e y e r ' s avowal t h a t B e r l i o z ' s m u s i c a l r e n d e r i n g o f t h e tomb scene was a f o r a y i n t o t h e p r e c i n c t s o f o p e r a s h o u l d be u n d e r s t o o d as t h e i n e v i t a b l e c o n c l u s i o n o f a l o g i c a l t r a i n o f t h o u g h t , r a t h e r t han a p a s s i o n a t e e x a g g e r a t i o n i n t e n d e d t o enhance h i s f r i e n d ' s posthumous r e p u t a t i o n . There i s one o t h e r s t a t e m e n t wh ich r e q u i r e s ou r s c r u t i n y , name l y , R e y e r ' s c l a i m t h a t " s i l a f ugue m e l o d i q u e e x i s t e . . . on peut d i r e que c ' e s t B e r l i o z qu i l ' a i n v e n t e . " - ^ what d i d Reyer mean by " l a f ugue m e l o d i q u e " ? Con tempora r y s o u r c e s such as t h e E s c u d i e r b r o t h e r s ' D i c - t i o n n a i r e de mus ique and F e t i s ' s L a Mus ique m i se a l a p o r t e e de t o u t l e monde r e c o g n i z e numerous s p e c i e s o f f u gue , ^21 but a " f u g u e m e l o d i q u e " i s not among them. M o r e o v e r , a l l o f t h e examp le s Reyer c i t e s a re what we wou ld d e s c r i b e as f u g a t o s . Why d i d he not c a l l them by t h a t name? The r e a s o n becomes a p p a r e n t when we l i s t e n t o them. As M e l l e r s s a y s , t h e component themes i n B e r l i o z ' s f u g a t o s - - ! i k e h i s m e l o d i e s i n g e n e r a l — a r e r a r e l y " m o t i v i c , " and many o f h i s f u g a t o s t h e r e f o r e do not sound " r e c o g -n i z a b l y po lyphon ic . "• ' •22 j 0 R e y e r , t h e s e e x p r e s s i v e and o f t e n a tmos -p h e r i c f u g a t o s e v i d e n t l y sounded so d i f f e r e n t f rom o r t h o d o x fugue i n t h e e i g h t e e n t h - c e n t u r y t r a d i t i o n t h a t he d e s i g n a t e d them by a t e rm w h i c h he may have c o i n e d : " l a fugue m e l o d i q u e . " Was Reyer c o r r e c t i n c l a i m i n g t h a t B e r l i o z was t h e o r i g i n a t o r o f " l a f ugue m e l o d i q u e " ? M e l l e r s would p r o b a b l y d i s a g r e e , f o r he l i k e n s t h e "Quaerens Me" f u g a t o i n B e r l i o z ' s Requiem t o " t h e v o c a l t e x t u r e o f s i x t e e n t h - c e n t u r y p o l y p h o n y . " 1 2 3 o t h e r l i s t e n e r s m igh t f i n d t h a t works 297 composed l o n g a f t e r t h e o r i s t s had c l a r i f i e d and c o d i f i e d f u g a l t h e o r y y i e l d f u g a t o s as " m e l o d i c " as any found i n B e r l i o z ' s m u s i c ; c o n s i d e r , f o r e xamp le , t he pas sage "ne a b s o r b e a t eas T a r t a r u s , ne c a d a n t i n ob s cu rum" i n t h e O f f e r t o r i u m o f M o z a r t ' s R e q u i e m . R e y e r must have been aware o f such p r e c e d e n t s f o r " l a f ugue m e l o d i q u e , " because he knew a few s i x t e e n t h - c e n t u r y Ma s se s , m o t e t s , and m a d r i g a l s , 1 2 5 a n c j w a s v e r y f a m i l a i r w i t h M o z a r t ' s Requ iem l26 as w e l l as a ho s t o f o t h e r works by m a s t e r s o f f ugue r a n g i n g f r o m Bach t o B e e t h o v e n . Yet he d e l i b e r a t e l y e x a g g e r a t e d B e r l i o z ' s p r o w e s s , p r o b a b l y i n hopes o f g oad i n g h i s r e a d e r s i n t o r e a l i z i n g t h a t t h e r e was no t r u t h i n t h e l e gend t h a t B e r l i o z had a r o o t e d a v e r s i o n t o c o u n t e r p o i n t i n g e n e r a l and fugue i n p a r t i c u l a r . * * * The p r e c e d i n g pages have d e m o n s t r a t e d t h a t , o f R e y e r ' s few q u e s -t i o n a b l e s t a t e m e n t s c o n c e r n i n g B e r l i o z , t h e o n l y d e l i b e r a t e e x a g g e r a t i o n was t he c l a i m t h a t t h i s composer had " i n v e n t e d " a new s t y l e o f f u g u e - -a c t u a l l y f u g a t o - - c a l l e d " l a f ugue m e l o d i q u e . " S u r e l y t h i s l a p s e can be u n d e r s t o o d , because R e y e r ' s aim was s e e m i n g l y t o s e r v e as a k i n d o f agent p r o v o c a t e u r , s p u r r i n g h i s r e a d e r s t o t h i n k f o r t h e m s e l v e s . In any c a s e , h i s r emark s c o n c e r n i n g B e r l i o z ' s " f u g u e m e l o d i q u e " r e v e a l keen awareness o f an a s p e c t o f h i s f r i e n d ' s a r t wh ich was u n a p p r e c i a t e d by h i s c o n t e m p o r a r i e s , and, i n d e e d , has o n l y r e c e n t l y g a i n e d w i d e s p r e a d r e c o g n i t i o n . 1 2 7 B e a r i n g i n mind t h e f a c t t h a t no c r i t i c can boa s t com-p l e t e i m p a r t i a l i t y on e v e r y s u b j e c t , we can say t h a t R e y e r ' s w r i t i n g s c o n c e r n i n g B e r l i o z a r e - - o n b a l a n c e - - a d m i r a b l y o b j e c t i v e , and bespeak r e m a r k a b l e u n d e r s t a n d i n g o f t h i s complex m u s i c a l p e r s o n a l i t y . 298 Endnotes 1 A pas sage near t h e b e g i n n i n g o f R e y e r ' s s e r i a l i z e d r e v i e w of B e r -l i o z ' s Memo i r e s d e m o n s t r a t e s bo th t h e l o y a l t y o f Reyer t o t he deceased composer and t h e c l o s e n e s s o f t h e f r i e n d s h i p t h e y had s h a r e d . W r i t i n g i n 1871 , when t h e a c c u r a c y o f t h e Memo i r e s was g e n e r a l l y a c c e p t e d w i t h -out q u e s t i o n , Reyer f i r s t c a l l e d a t t e n t i o n t o B e r l i o z ' s a d m i s s i o n t h a t he had not w r i t t e n a s c r u p u l o u s l y a c c u r a t e a u t o b i o g r a p h y , t hen added: "I I s e r a i t done i n d i s c r e t a nous de s o u l e v e r l e v o i l e que l ' i l l u s t r e c o m p o s i t e u r a j e t e s u r c e r t a i n s evenemens de sa v i e et d ' a j o u t e r aux s e u l e s c o n f i d e n c e s q u ' i l a i t v o u l u f a i r e a ce s u j e t , 1 ' a p p o i n t de nos s o u v e n i r s p e r s o n n e l s . " (JD f e u i l l e t o n o f 15 March 1871 . As p r e v i o u s l y n o t e d , R e y e r ' s r e v i e w o f t h e Memoires was one o f t h e w r i t i n g s i n wh i ch he r e v e r t e d t o t h e o l d cus tom o f u s i n g t h e f i r s t pe r son p l u r a l . ) 2 See t h e r e v i e w on p. 2 o f B e r l i o z ' s f e u i l l e t o n i n t h e JTJ o f 13 A p r i l 1850. (An e x c e r p t was g i v e n i n n . 7 o f C h a p t e r I.) 3 MaTt re Wo l f ram and La S t a t u e were r e v i e w e d by B e r l i o z i n i b i d . , 10 June 1854 and 24 A p r i l 1861 r e s p e c t i v e l y . He s e i z e d t h e o p p o r t u n i t y t o app l aud S a c o u n t a l a when, a f t e r t h e f o u r t e e n t h p e r f o r m a n c e , i t was abandoned because t h e p r i m a b a l l e r i n a - - A m a l i a F e r r a r i s — d e p a r t e d f o r R u s s i a ( i b i d . , 15 September 1 8 5 8 ) . 4 Reyer l a t e r r e c a l l e d t h a t , a f t e r he had been s e l e c t e d as d ' O r t i g u e ' s s u c c e s s o r , B e r t i n had i n f o r m e d h im: "Vous ne manquez c e r t e s pas d ' a m i s qu i s ' i n t e r e s s e n t a vous et qu i me T o n t e c r i t " ( quo ted i n i b i d . , 28 O c t o b e r 1 893 ) . One o f t h o s e f r i e n d s must s u r e l y have been B e r l i o z , d ' O r t i g u e ' s p r e d e c e s s o r at t h e JD . 5 I b i d . , 7 June 1891. Reyer once d e s c r i b e d t h e n a t u r e o f t h e a l t e r a t i o n s i n t h i s c o p y : " [ T h e r e a r e ] a u t o g r aph c o r r e c t i o n s and some changes i n t r o d u c e d i n t o t h e i n s t r u m e n t a t i o n o f t h e f i r s t morceau i n f u gue s t y l e , p r i n c i p a l l y i n t h e a l t o s [ i . e . , v i o l a s j and t h e v i o l o n c e l l o s . T h i s s c o r e b e a r s t h e d a t e o f 1857, and t h e symphony i s d a t e d Sep tembe r , 1839. E i g h -t e e n y e a r s a f t e r i t s p u b l i c a t i o n , B e r l i o z d i s c o v e r e d f a u l t s i n t h e e n g r a v i n g and who le pas sages t o m o d i f y . " ( " H e c t o r B e r l i o z . B i o g r a p h i c a l Notes and P e r s o n a l R e m i n i s c e n c e s , " The C e n t u r y Magaz ine 47 [December 1 8 9 3 ] : 310 ; h e r e a f t e r c i t e d as " B i o g r a p h i c a l N o t e s . " T h i s a r t i c l e , wh i ch c o m p r i s e s p p . 305-10 i n t h e Amer i c an p e r i o d i c a l , was p r o b a b l y t r a n s l a t e d f r o m a F r e n c h pub -l i c a t i o n . ) 6 " H e c t o r B e r l i o z " ( o b i t u a r y by R e y e r ) , JD o f 31 March 1869, p. 3 ; h e r e a f t e r c i t e d as " B e r l i o z . " Reyer a l s o po s s e s s ed B e r l i o z ' s a n n o t a t e d 299 and c o r r e c t e d copy o f t h e Requ iem. T h i s was g i v e n t o him i n 1870 by B e r t h o l d Damcke--one o f t h e e x e c u t o r s o f B e r l i o z ' s w i l l - - a s a t o ken o f g r a t i t u d e a f t e r Reyer c o n d u c t e d a " f e s t i v a l " commemorat ing t h e f i r s t a n n i v e r s a r y o f B e r l i o z ' s d e a t h . (Reye r d i d not i n f o r m t he p u b l i c o f Damcke ' s g i f t u n t i l n e a r l y t w e n t y - f i v e y e a r s l a t e r , when t he c o n d u c t o r Co l onne p r e s e n t e d s e v e r a l o f B e r l i o z ' s c o n c e r t works i n a " C y c l e B e r -l i o z " f o r t h e season 1894 - 95 ; see R e y e r ' s f e u i l l e t o n i n t h e JD o f 8 December 1894 . ) The commemorat ive " f e s t i v a l " o f 1870 i s d i s c u s s e d be low on pp . 2 69 - 70 . 7 In an accompany ing l e t t e r , B e r l i o z w r o t e : " H e r e i s more t h a n enough ; t h e r e may be t h i n g s i n t h e l o t wh ich s h o u l d not even be shown, but I have d e s t r o y e d so many m a n u s c r i p t s — o r a t o r i o s , o v e r t u r e s , o p e r a s , c a n t a t a s — t h a t I may be pardoned f o r t h i s . " T r a n s l a t e d by J a c q u e s B a r z u n , B e r l i o z and t h e Romant i c C e n t u r y , 3d e d . , 2 v o l s . (New Y o r k : C o l u m b i a U n i v e r s i t y P r e s s , 1 9 6 9 ) , 2 : 285n . R e y e r ' s o n l y r e f e r e n c e t o t h i s c a che o f m a n u s c r i p t s i s t h e f o l l o w i n g : " L e s o t engouement de c e r t a i n s amateurs t r o p z e l e s pour d ' i n f i m e s p r o d u c t i o n s , o e u v r e s de j e u n e s s e que d ' i l l u s -t r e s c o m p o s i t e u r s ont eu l e t o r t de l a i s s e r v i v r e ap re s eux , e x c i t a s i s ouvent 1 ' i r o n i q u e d e d a i n d ' H e c t o r B e r -l i o z , q u ' i l ne p o u v a i t , sans e t r e en c o n t r a d i c t i o n avec l u i - m e m e , nous l e g u e r ses p r e m i e r s e s s a i s . C ' e s t done a s i m p l e t i t r e de r e n s e i g n e m e n t b i o g r a p h i q u e q u ' i l f a u t compter au nombre de ses p r o d u c t i o n s l a scene de B e v e r l e y , un o p e r a i n t i t u l e E s t e l l e , une v a l s e et un o r a t o r i o ( l e Pa s sage de l a mer R o u g e ) . " (" B e r l i o z " ! 8 " B i o g r a p h i c a l N o t e s , " p. 310 . 9 As f e u i 1 l e t o n i s t e f o r t h e CP_, Reyer j o u r n e y e d t w i c e t o Baden -Baden i n o r d e r t o r e v i e w t h e i n t e r n a t i o n a l c o n c e r t c o n d u c t e d a n n u a l l y by B e r l i o z . Reyer took c a r e t o d e s c r i b e t h e e n t h u s i a s m w i t h wh ich e x c e r p t s f r o m B e r l i o z ' s works were r e c e i v e d at t h e s e c o n c e r t s ( f e u i 1 l e t o n s o f 12 September 1858 and 7 September 1 859 ) . When he was f e u i l l e t o n i s t e f o r t h e JID, Reyer r e l a y e d t o h i s r e a d e r s r e p o r t s o f t h e t remendous s u c c e s s e n j o y e d by B e r l i o z when La Damnat ion de Fau s t was p r e s e n t e d at V i e n n a i n 1866 ( f e u i l l e t o n o f 3 J a n u a r y 1 8 6 7 ) , and when he c o n d u c t e d c o n c e r t s f e a t u r i n g h i s mus ic at S t . P e t e r s b u r g and Moscow i n t he w i n t e r o f 1867 -68 ( i b i d . , 6 F e b r u a r y 1 8 6 8 ) . 1 ° A g e n e r a l d e s c r i p t i o n o f t h e program was g i v e n i n C h a p t e r I, p. 2 1 . We may add t h e f o l l o w i n g d e t a i l s : Reyer p r e s e n t e d " L a F u i t e en E g y p t e " f r o m L ' E n f a n c e du C h r i s t , and bo th t h e s e p t e t and t h e duet f rom Les T r o yen s a C a r t h a g e , a c c o r d i n g t o Hans K 'uhner, H e c t o r B e r l i o z : C h a r a k t e r und S c h o p f e r t u m ( O l t e n : O t t o W a l t e r , 1 9 5 2 ) , p. 198. H A l t h o u g h Ba rzun s t a t e s t h a t Reyer kept t h e d e a t h w a t c h , he does not c i t e t h i s c r i t i c as b e i n g among t h o s e who had been p r e s e n t when 300 B e r l i o z had d i e d ( B e r l i o z , 2 : 2 9 6 ) . R e y e r ' s p r e s e n c e i s p roved by h i s d e s c r i p t i o n o f t h e c o m p o s e r ' s f i n a l hour s and d e a t h ( see t h e u n t i t l e d o b i t u a r y n o t i c e i n t h e JD_ o f 10 March 1869 , p. 2 ) . E r n e s t L e gouve , a f r e q u e n t c o n t r i b u t o r t o t h e jJD, r e c a l l e d R e y e r ' s a t t e n t i v e n e s s t o B e r -l i o z d u r i n g t h e f i n a l a g o n i z i n g months o f t h e c o m p o s e r ' s l i f e : " Pendan t de l ong s mois j e T a i vu a l l e r s ' a s s e o i r chaque j o u r aupres de ce pauv re homme de g e n i e , a i g r i , m a l a d e , mou ran t , e t emp loye r t o u t e s l e s r e s s o u r c e s de son i n t e l -l i g e n c e pour l e r e l e v e r , T a m u s e r e t l e c o n s o l e r du p r e -s e n t , en l u i mon t r an t 1 ' a v e n i r . " ( L e g o u v e ' s r e v i e w o f Notes de m u s i q u e , by E r n e s t R e y e r , i n t h e JD o f 4 May 1875, p. 3) 1 2 J D , 10 March 1869, p. 2 . 13 On 14 M a r c h — t h e Sunday a f t e r B e r l i o z ' s d e a t h — P a s d e l o u p had honored t h e memory o f t h e decea sed composer by c o n d u c t i n g f r a g m e n t s f r om Romeo e t J u l i e t t e wh ich were a l r e a d y f a m i l i a r t o t h e h a b i t u e s o f t h e C o n c e r t s p o p u l a i r e s . In a r e v i e w o f t h e c o n c e r t , Reyer o b s e r v e d : " . . . l a s a l l e e n t i e r e a a cc l ame ce s pages s u b l i m e s d e t a c h e e s d ' u n c h e f - d ' o e u v r e que M. P a s d e l o u p nous f e r a e n t e n d r e q u e l q u e j o u r t o u t e n t i e r . " ( JD f e u i l l e t o n o f 16 March 1869 . ) 1 4 " B e r l i o z . " 15 As we o b s e r v e d i n C h a p t e r I ( n . 4 7 ) , Reyer d i d not men t i on t h a t he had appeared as gues t c o n d u c t o r at t h e s e two c o n c e r t s ; a n o t i c e i n t h e RGMP 36 (28 November 1869 ) : 389 a t t e s t e d t o h i s s u c c e s s . I t was A d o l p h e J u l l i e n who l a t e r c r e d i t e d Reyer w i t h h a v i n g been t h e f i r s t c o n d u c t o r t o win p o p u l a r a p p r o v a l f o r e x c e r p t s f r om t h e Damna t i on ; see J u l l i e n ' s E r n e s t R e y e r , Les M u s i c i e n s c e l e b r e s ( P a r i s : H. L a u r e n s , [ 1 9 0 9 ] ) , p-^r. 16 A d o l p h e B o s c h o t , Le Fau s t de B e r l i o z : e t u d e s u r l a "Damnat i on de F a u s t " e t s u r l ' a m e r o m a n t i q u e , C o l l e c t i o n des g randes oeuv re s m u s i -c a l e s , p u b l i e e sous l a d i r e c t i o n de Rene Dumesn i l ( P a r i s : E d i t i o n s m u s i c a l e s de l a L i b r a i r i e de F r a n c e , 1 9 2 7 ) , p. 182. 1 7 Tom S. Wo t t on , H e c t o r B e r l i o z ( London : O x f o r d U n i v e r s i t y P r e s s , Humphrey M i l f o r d , 1 9 3 5 ) , p. 176. 1 8 B o s c h o t , Le F a u s t , p. 176 . 19 JD f e u i 1 l e t o n o f 31 March 1870 ( R e y e r ' s r e v i e w o f t he " f e s t i -v a l " ) . The p r o g r a m — a n n o u n c e d i n i b i d . , 22 F e b r u a r y — i n c l u d e d t h e f o l l o w i n g i t ems by B e r l i o z : t h e m e l o d i e " L a C a p t i v e " i n t h e c o m p o s e r ' s s e t t i n g f o r v o i c e and o r c h e s t r a ; t h e duet f r om L ' E n f a n c e du C h r i s t ; t h e March f r om H a r o l d en I t a l i e ; t h e q u i n t e t and s e p t e t f r om Les T royen s a C a r t h a g e ; t h e f i n a l e o f Romeo e t J u l i e t t e ( " Serment de r e c o n c i 1 i at i o n " ) ; t h e C a r n a v a l roma in o v e r t u r e ; M e p h i s t o ' s a r i a " V o i c i des r o s e s , " t h e 301 e n s u i n g c h o r u s o f t h e s y l p h s and gnomes, and t he dance o f t h e s y l p h s , f r o m t h e Damna t i on ; and t he duet f r om B e a t r i c e e t B e n e d i c t . G luck was r e p r e s e n t e d on t h e program by t he a r i a " D i v i n i t e s du S t y x " f r o m A l c e s t e ; S p o n t i n i , by t h e r e c i t a t i v e , p r a y e r , and f i n a l e o f A c t I I o f L a V e s t a l e ; and B e e t h o v e n , by t h e Egmont o v e r t u r e . 2 0 I b i d . , 31 March 1870. 21 A d o l p h e J u l l i e n , i b i d . , 16 Augus t 1903. L i k e J u l l i e n , Bo schot - - a n o t h e r o f B e r l i o z ' s e a r l y b i o g r a p h e r s - - p l a c e d g r e a t i m p o r t a n c e on t h e f e s t i v a l o f 1870, d e c l a r i n g t h a t i t "marque une da te dans l ' h i s t o i r e du b e r l i o z i s m e . " ( B o s c h o t , " E r n e s t Reyer e t H. B e r l i o z , " M u s i c a 8 [March 1 9 0 9 ] : 3 7 . ) 2 2 Co l onne was u n a b l e t o o b t a i n t h e s e r v i c e s o f t he s i n g e r s r e c o m -mended by R e y e r , and t h e p e r f o r m a n c e was u n s u c c e s s f u l (JD f e u i l l e t o n o f 15 J a n u a r y 1 8 7 5 ) . 2 3 Ado l phe J u l l i e n , i b i d . , 16 Augus t 1903. Reyer announced but d i d not r e v i e w C o l o n n e ' s f i r s t p e r f o r m a n c e o f t h e Damna t i on , wh i ch t o o k p l a c e on 18 F e b r u a r y 1877 ( see t he JD f e u i l l e t o n o f t h a t d a t e ) . How-e v e r , he devo ted an e n t i r e f e u i l l e t o n t o one o f t h e l a t e r p e r f o r m a n c e s , and j o y f u l l y s a l u t e d t h e s i x t h and f i n a l p r e s e n t a t i o n ( i b i d . , 13 and 30 March 1877, r e s p e c t i v e l y ) . Reyer neve r took c r e d i t f o r h a v i n g coached t h e s o l o i s t s ; i t i s Bo scho t who i n f o r m s us t h a t , a t the f i r s t p e r f o r -mance, " 1 ' o e u v r e n ' e t a i t pas e n c o r e au p o i n t , " and t h a t Co lonne t h e r e -f o r e resumed r e h e a r s a l s and s en t t he s o l o i s t s " c h e z R e y e r , pour q u ' i l s t r a v a i l l e n t avec l ' a m i e t l e d i s c i p l e de B e r l i o z . " (Le F a u s t , pp . 190 -91 . ) 2 4 Fo r t h e 1879 f e s t i v a l , Reyer chose ano the r i t em f r om La V e s t a l e ( t h e o v e r t u r e ) , and a scene f r om A rm ide ( c o n s i s t i n g o f t he c h o r u s e s " V o i c i l a cha rmante r e t r a i t e " and " J a m a i s dans ces beaux l i e u x , " s e p a -r a t e d by an a i r de b a l l e t ) . See h i s r e v i e w i n t h e JD f e u i l l e t o n o f 22 March 1879. 2 5 I b i d . 2 6 J u l l i e n s t a t e s i n Reyer ( p . 31) t h a t a f r a gment f rom the c o m p o s e r - c r i t i c ' s S i g u r d - - t h e b r i l l i a n t " C o r t e g e des noces de G u n t h e r " — w a s a l s o on t he p rog ram. When Reyer r e v i e w e d t he f e s t i v a l , he d i d not name t h i s f r a gmen t but a l l u d e d t o i t i n words o f t o u c h i n g h u m i l i t y ( s ee t h e e x c e r p t g i v e n i n C h a p t e r I I , p. 9 5 ) . 2 7 Reye r was g r a t i f i e d t h a t " l e s u cce s de l a s o i r e e " be l onged not o n l y t o B e r l i o z but a l s o t o G l u c k , because t he a u d i e n c e would have d e -manded t h e r e p e t i t i o n o f t h e scene f r om A rmide " s i l ' o n n ' e u t c r a i n t f a t i g u e r l e s e x e c u t a n s , p e u t - e t r e a u s s i de p r o l o n g e r l e c o n c e r t j u s q u ' a une heure t r o p a vancee " (JD f e u i l l e t o n o f 22 March 1 8 7 9 ) . In t h i s r e v i e w Reyer r e c a l l e d t h a t , a f t e r he had s e l e c t e d G l u c k ' s s cene and 302 S p o n t i n i ' s o v e r t u r e f o r p r e s e n t a t i o n at t he c o n c e r t , he had been i n -fo rmed by B e r l i o z ' s o l d f r i e n d Augus te More l t h a t t h o s e v e r y i t ems had been chosen by B e r l i o z i n 1844 t o r e p r e s e n t G l u c k and S p o n t i n i on t he program o f t h e g r e a t " F e s t i v a l du P a l a i s de T I n d u s t r i e . " 28 For t h i s p r o d u c t i o n , B e r l i o z had d i v i d e d t h e o r i g i n a l t h r e e a c t s o f Les T r o yen s a C a r t h a g e i n t o f i v e , and had composed a p r o l o g u e t o t a k e t h e p l a c e o f La P r i s e de T r o i e ( t h e f i r s t p a r t o f h i s m a s s i v e o p e r a ) . He n e v e r t h e l e s s had been o b l i g e d t o g r a n t r e q u e s t s f o r many c u t s . T h i s m u t i l a t e d v e r s i o n had been p r e m i e r e d — u n d e r t h e somewhat m i s l e a d i n g t i t l e Les T r o y e n s — o n 4 November 1863, but had not found f a v o r w i t h the p u b l i c , and had c l o s e d on 20 December a f t e r t he t w e n t y - s e c o n d p e r f o r -mance. At t h e t i m e Reyer d i d not r e v i e w t h e work , because he was not i n t h e employ o f any p u b l i c a t i o n . As we o b s e r v e d i n C h a p t e r I, he had l e f t P a r i s i n t he s p r i n g o f 1863, h a v i n g been commi s s i oned by t h e F r e n c h M i n i s t e r o f S t a t e t o o b s e r v e and r e p o r t on m u s i c a l l i f e i n Germany. However, Reyer must have r e t u r n e d t o P a r i s l o n g enough t o a t t e n d e v e r y p e r f o r m a n c e o f Les T r o y e n s , f o r he e v e n t u a l l y w ro te about t he p r o d u c t i o n and r e c a l l e d s e e i n g Meye rbeer i n t he a u d i e n c e " chaque s o i r " (JD f e u i l l e - t o n o f 14 November 1 8 8 6 ) . Reyer a l s o remembered b e i n g at Weimar "peu de temps ap re s l e s r e p r e s e n t a t i o n s des T royen s au T h e a t r e - L y r i q u e , " and r e c o l l e c t e d a c o n v e r s a t i o n w i t h B e r l i o z ' s f r i e n d and a d m i r e r t h e Grand Duke o f Saxe -We imar , who q u e s t i o n e d Reyer " s u r l a f agon dont l ' o e u v r e a v a i t e t e e x e c u t e e e t s u r 1 ' a c c u e i l qu i l u i a v a i t e t e f a i t . " ( I b i d . ) Benvenuto C e l l i n i had been w i t h d r a w n a f t e r t h r e e d i s a s t r o u s p e r f o r -mances a t t h e Opera i n 1838. S i n c e t h e n , i t had not been s t aged i n F r a n c e — e x c e p t i n m u t i l a t e d f o r m , as a c u r t a i n - r a i s e r at t he O p e r a — a n d o n l y a v o c a l s c o r e had been p u b l i s h e d ( 1 8 5 6 ) . Reyer f r e q u e n t l y d e p l o r e d i t s n e g l e c t i n F r a n c e w h i l e p o i n t i n g out t h a t i t had a c h i e v e d g r e a t p o p u l a r i t y i n Germany. See , f o r e xamp le , h i s a r t i c l e " H e c t o r B e r l i o z , " L ' A r t i s t e , 6 t h s e r . , 2 (6 December 1 8 5 7 ) : 2 1 2 . ( I n o r d e r t o d i f f e r e n t i -a t e i t f r om t h e o b i t u a r y " H e c t o r B e r l i o z " i n t h e JD_, t he a r t i c l e i n L ' A r t i s t e w i l l h e r e a f t e r be c i t e d as " G a l e r i e , " because i t was p u b l i s h e d under t h e g e n e r i c t i t l e " G a l e r i e du X I X e s i e c l e . " ) 2 y F u r t h e r i n f o r m a t i o n on t h e c o n c e r t p r e m i e r e o f L a P r i s e de T r o i e i s g i v e n be low on p. 274. 3 0 JD f e u i l l e t o n o f 1 June 1890. 31 I b i d . , 15 November 1885. 32 i b i d . , 27 December 1885. 33 i b i d . , 26 September 1886. 34 The o f f i c i a l e x p l a n a t i o n i s s u e d by t h e Comique was t h a t t he r e h e a r s a l s , wh i ch had c e a s e d when t h e t h e a t r e had c l o s e d f o r t he summer, c o u l d not be resumed i n September because o f t h e i l l h e a l t h o f one o f t h e p r i n c i p a l s i n g e r s . C o n s e q u e n t l y , t he p r e m i e r e had t o be po s tponed 303 w h i l e t h e t h e a t r e f u l f i l l e d more p r e s s i n g commitment s . Reyer summarized t h i s e x p l a n a t i o n f o r h i s r e a d e r s ( i b i d . ) but o f t e n h i n t e d t h a t he was no t e n t i r e l y s a t i s f i e d w i t h i t ; f o r e xamp le , see i b i d . , 12 June 1892. 3 6 i b i d . , 12 December 1879. Reyer began p r a i s i n g Les T r o yen s i n 1857, a f t e r a t t e n d i n g one o f B e r l i o z ' s p r i v a t e r e a d i n g s o f t h e l i b r e t t o (CP f e u i l l e t o n o f 29 A p r i l 1 8 5 7 ) . Two y e a r s l a t e r , at B e r l i o z ' s annual i n t e r n a t i o n a l c o n c e r t at Baden -Baden , Reyer heard two f r a g m e n t s o f t h e s c o r e : C a s s a n d r e ' s s cene w i t h C h o r e b e , and t h e l o v e duet o f D ido and Aenea s . Both f r a g m e n t s were sung by P a u l i n e V i a r d o t - G a r c i a and J u l e s L e f o r t ( a w e l l - k n o w n b a r i t o n e who e v e n t u a l l y j o i n e d t h e T h e a t r e -L y r i q u e ) , accompan ied by f u l l o r c h e s t r a . On t h a t o c c a s i o n Reyer a g a i n admi red t h e l i b r e t t o , and was p r o f o u n d l y i m p r e s s e d by t h e mus i c ( i b i d . , 7 September 1 8 5 9 ) . E x c e r p t s f r om t h i s i n i t i a l r e a c t i o n t o t h e mus i c a r e g i v e n on pp. 2 8 2 - 8 3 ; h i s e v a l u a t i o n o f t h e l i b r e t t o i s d e s c r i b e d on p. 290. 3 6 j p f e u i l l e t o n o f 12 December 1879. The r i v a l c o n d u c t o r s had p r e m i e r e d La P r i s e de T r o i e on t h e same day . R e y e r - - m i n d f u l t h a t P a s d e -l o u p had t r i e d t o p o p u l a r i z e B e r l i o z ' s mus i c y e a r s b e f o r e t h e younge r C o l o n n e had f ounded h i s c o n c e r t s o c i e t y , and aware t h a t P a s d e l o u p had been t h e f i r s t t o d e c i d e t o p r e s e n t L a P r i s e de T r o i e - - h a d chosen t o a t t e n d P a s d e l o u p ' s p r e m i e r e r a t h e r t han t h a t o f C o l o n n e . One o f C o l o n n e ' s l a t e r p e r f o r m a n c e s was r e v i e w e d i n R e y e r ' s n e x t f e u i l l e t o n (26 December 1 8 7 9 ) . 3 7 Reye r u t t e r e d one such p r e d i c t i o n a f t e r t h e Comique had i n d e f i -n i t e l y po s tponed Benvenuto C e l l i n i . " B e r l i o z e s t a u j o u r d ' h u i dans t o u t e sa g l o i r e : i l a l a c e l e b r i t e e t l a p o p u l a r i t y que l e s c o n c e r t s l u i on t donnee s . Les t h e a t r e s n ' o n t e n c o r e r i e n f a i t pour l u i . . . c ' e s t a l ' O p e r a a commencer. . . . Les d i r e c t e u r s de l ' O p e r a j o u e r o n t l e s T r o y e n s , p a r c e que l e moment e s t , e n f i n , venu de l e s j o u e r , p a r c e que ' 1 ' a f f a i r e ' e s t e x c e l l e n t . " ( I b i d . , 14 November 1886) 3 8 I b i d . , 7 June 1891. 3 9 The S o c i e t e was f ounded i n 1890 by Comtesse G r e f f u h l e , a p a t r o n -e s s o f t h e a r t s . She s e r v e d as a c t i n g p r e s i d e n t , named Gounod h o n o r a r y p r e s i d e n t , and chose as he r a d v i s o r s t h r e e m u s i c i a n s w h o — l i k e G o u n o d -were members o f t h e Academie des B e a u x - A r t s o f t h e I n s t i t u t : R e y e r , M a s s e n e t , and A m b r o i s e Thomas. Reyer d e l i g h t e d l y o b s e r v e d t h a t t h e S o c i e t e was "non seu lement a r t i s t i q u e mai s ph i 1 a n t h r o p i q u e , " inasmuch as i t s pu rpo se was t o spon so r p e r f o r m a n c e s o f l i t t l e - o r unknown w o r k s , " a n c i e n n e s ou modernes " ( i b i d . , 1 June 1 890 ) . D u r i n g t h e f i r s t two y e a r s o f i t s e x i s t e n c e , t h e S o c i e t e o r g a n i z e d t h e P a r i s i a n p r e m i e r e o f B e r l i o z ' s B e a t r i c e e t B e n e d i c t — w h i c h , d e s p i t e i t s s u c c e s s at Baden-Baden i n 1862, had not even been p u b l i s h e d i n F r a n c e — a n d t h e f i r s t 304 p e r f o r m a n c e o f H a n d e l ' s I s r a e l i n Egypt i n F r e n c h t r a n s l a t i o n ( see R e y e r ' s r e v i e w s i n i b i d . , 8 June 1890 and 7 June 1891 r e s p e c t i v e l y ) . 4 0 In t h e words o f Reyer ( i b i d . , 13 May 1 8 9 3 ) . 4 1 I b i d . , 12 June 1892. 4 2 For e xamp le , a f t e r Wagner ' s t h i r d t r i u m p h at t h e 0 p e r a - - t h e r e v i v a l o f Tannh 'auser i n 1 8 9 5 - - R e y e r a g a i n p l e a d e d t h a t F r a n c e ' s most p r e s t i g i o u s l y r i c t h e a t r e t h r o w open i t s doo r s t o " n o t r e g rand m u s i c i e n a nous , e t p e u t - e t r e l e p l u s g rand de t o u s . " ( I b i d . , 25 May 1895. ) 4 3 H. Robe r t Cohen has s t a t e d t h a t t h e e a r l i e s t a p p r e c i a t i o n s o f B e r l i o z ' s c r i t i c a l work were by P a u l Scudo and R e y e r ; see C o h e n ' s " B e r -l i o z on t h e Opera ( 1 8 2 9 - 1 8 4 9 ) : A S t udy i n Mus i c C r i t i c i s m " (Ph .D . d i s -s e r t a t i o n , New York U n i v e r s i t y , 1 9 7 3 ) , p. 5. P r o f e s s o r Cohen c i t e d pp. 194-95 o f R e y e r ' s c o l l e c t i o n Notes de mus ique ( P a r i s : C h a r p e n t i e r , 1875) as c o n t a i n i n g an e a r l y a s se s sment o f B e r l i o z ' s w r i t i n g s . These pages i n R e y e r ' s c o m p i l a t i o n a re p a r t o f a f e u i l l e t o n o r i g i n a l l y pub -l i s h e d i n t h e ^D o f 16 J a n u a r y 1872. We s h a l l s e e , however , t h a t some o f R e y e r ' s a p p r e c i a t i o n s o f B e r l i o z as c r i t i c a n t e d a t e t h i s f e u i l l e t o n by n e a r l y two d e c a d e s . 4 4 CP f e u i l l e t o n o f 11 September 1857. Reyer had a l r e a d y p a i d t r i b u t e " a I ' e c r i v a i n e r u d i t , au s p i r i t u e l c r i t i q u e " i n " C h r o n i q u e m u s i -c a l e , " A t hF 3 (30 December 1 8 5 4 ) : 1 2 2 9 . 4 5 See, f o r e xamp le , R e y e r ' s f i r s t f e u i 1 l e t o n f o r t h e ^D (2 Decem-be r 1866) and h i s o b i t u a r y " B e r l i o z . " R e y e r ' s most e x t e n s i v e a s ses sment o f B e r l i o z ' s c r i t i c a l w r i t i n g s appeared i n an e s s a y on t h e h i s t o r y o f t h e m u s i c a l f e u i l l e t o n o f t h e JTJ. Reyer a rgued i n t h i s e s s a y - - a s he had done b e f o r e ( see above , n. 4 4 ) - - t h a t " c e u x qu i p e r s i s t e n t a v o i r en B e r -l i o z un c r i t i q u e s y s t e m a t i q u e m e n t h o s t i l e , p a s s i o n n e , h a i n e u x , n ' o n t pas l u ses f e u i l l e t o n s . " ( " L a C r i t i q u e m u s i c a l e : C a s t i 1 - B l a z e , H. B e r -l i o z , " i n Le L i v r e du c e n t e n a i r e du " J o u r n a l des D e b a t s , " 1789-1889 [ P a r i s : L i b r a i r i e P l o n , 1 8 8 9 J , p. 439 . The d i s c u s s i o n o f B e r l i o z ' s f e u i 1 1 e t o n s c o m p r i s e s pp . 432 -40 o f R e y e r ' s e s s a y . ) 4 6 " B e r l i o z . " Reyer had d i s c u s s e d t h e s e abuses i n g r e a t e r d e t a i l i n " G a l e r i e , " p. 209. 4 7 " B e r l i o z . " Reyer o f t e n drew a t t e n t i o n t o B e r l i o z ' s e n t h u s i a s m f o r t h e s e composers i n o r d e r t o de f end him a g a i n s t c r i t i c i s m o f h i s s a r -c a s t i c p ronouncements on P a l e s t r i n a , H a n d e l , Haydn, M o z a r t ' s Requ iem, and o t h e r g r e a t works o f t h e p a s t . "I I a l a r e l i g i o n des m a T t r e s , e t q u e l q u e s q u o l i b e t s l a n c e s a d r o i t e e t a g auche , dans des moments de v e r v e s a r c a s t i q u e , a une epoque ou l a f i e v r e du r o m a n t i c i s m e t o u r m e n t a i t l e s j e u n e s d i s c i p l e s d ' u n e e c o l e n o u v e l l e , ne s a u r a i e n t e t r e i n voque s comme des arguments s e r i e u x 305 pa r ceux qu i l u i r e p r o c h e n t son d e d a i n pour c e r t a i n e s o e u v r e s c l a s s i q u e s . " ( " G a l e r i e , " p. 214) 4 8 As no ted i n C h a p t e r V I , p. 219 . 4 y A c c o r d i n g t o B o s c h o t , " R e y e r e t B e r l i o z , " p. 37 . In h i s s p e e c h , R e y e r — u s i n g t h e f i r s t pe r s on p l u r a l t o s t r i k e a f o r m a l t o n e — d e s c r i b e d what he and o t h e r d i s c i p l e s o f B e r l i o z had l e a r n e d f r om t h e deceased compose r : " . . . B e r l i o z n ' a pas f a i t d ' e l e v e s ; ma i s i l a eu des d i s c i p l e s . Nous sommes de c e u x - l a . Et s ' i l ne nous a pas e t e donne de s u i v r e ses l e g o n s , s ' i l ne nous a r i e n e n s e i g n e , du moins nous a - t - i l beaucoup a p p r i s . II nous a a p p r i s a c o n n a T t r e l e s c h e f s - d ' o e u v r e et a h o n o r e r l e g rand a r t ; i l nous a a p p r i s , et n ' a v a i t pour c e l a q u ' a se donner comme e x e m p l e , que l e p r e m i e r d e v o i r d ' u n a r t i s t e e s t d ' e t r e s o u c i e u x de sa d i g n i t e t o u j o u r s , ma i s p a r t i c u l i e r e m e n t dans l e s r e l a t i o n s que l e s n e c e s -s i t e s de sa c a r r i e r e l u i i m p o s e n t ; i l nous a d i t que l e s g e n u f l e x i o n s devant c e r t a i n s p o t e n t a t s de h a s a r d e t a i e n t une i n d i g n e f a i b l e s s e et l e s c o n c e s s i o n s au mauva i s gout une l a c h e t e . Et c ' e s t p o u r q u o i nous rendons l e meme hommage a son c a r a c t e r e q u ' a son g e n i e . " (Speech p u b l i s h e d i n t h e JD f e u i 1 l e t o n o f 17 O c t o b e r 1886) R e y e r ' s e x p r e s s i o n " p o t e n t a t s de h a s a r d " p r o b a b l y r e f e r s t o t h e d i r e c -t o r s who r e i g n e d a t P a r i s i a n l y r i c t h e a t r e s . 50 The f i r s t and second speeches appeared i n t h e JD, and t h e t h i r d was p r i n t e d i n bo th Le Gu ide m u s i c a l and Le Monde m u s i c a l . The f i r s t speech was a l s o p u b l i s h e d by t h e I n s t i t u t de F r a n c e . F u l l c i t a t i o n s a re 1 i s t e d i n Append i x B. 51 As no ted above ( p . 2 7 0 ) , i n 1903 one o f B e r l i o z ' s b i o g r a p h e r s — A d o l p h e J u l 1 i e n — s t a t e d t h a t R e y e r ' s " f e s t i v a l " o f 1870 was t he t u r n i n g p o i n t i n t h e h i s t o r y o f B e r l i o z ' s mus i c i n F r a n c e . Even b e f o r e t h e end o f t h e n i n e t e e n t h c e n t u r y , R e y e r ' s s e r v i c e s t o t he mus ic o f B e r l i o z r e -c e i v e d r e c o g n i t i o n f r om F r e n c h w r i t e r s . Fo r e x a m p l e , Georges S e r v i e r e s acknowledged t h a t Reyer " a beaucoup f a i t pour ramener l e p u b l i c a 1 ' a d m i r a t i o n des o e u v r e s de B e r l i o z " ( L a Mus ique f r a n g a i s e moderne: Ce s a r F r a n c k ; Edouard L a l o ; J u l e s M a s s e n e t ; E r n e s t R e y e r ; C a m i l l e S a i n t - S a e n s [ .Pa r i s : G. Havard f i l s , 1 8 9 7 J , p. 2 7 5 ) . 52 B o s c h o t , " R e y e r e t B e r l i o z , " p. 37 . B o s c h o t ' s o p i n i o n was echoed by Pau l Landormy and J o seph L o i s e l , who d e c l a r e d t h a t Reyer " c o n t r i b u a p l u s que t o u t a u t r e a impose r l e nom e t l e s o e u v r e s [de B e r l i o z ] . " ( " L * I n s t i t u t de F r a n c e et l e P r i x de Rome: E r n e s t R e y e r , " i n EMDC I I , 6 : 3553 . ) 306 53 F e r d i n a n d H i l l e r , t r a n s l a t e d by Dona ld J a y G r o u t , A S h o r t H i s - t o r y o f O p e r a , 2d e d . , 2 v o l s . (New Y o r k : C o l u m b i a U n i v e r s i t y P r e s s , 1 9 6 5 ) , 1 :327. H i l l e r - - a German p i a n i s t , compose r , and c o n d u c t o r - - ! i v e d i n P a r i s f o r s i x y e a r s ( 1 8 2 8 - 3 4 ) , d u r i n g wh i ch t i m e he was a c l o s e f r i e n d o f B e r l i o z . 5 4 JD f e u i l l e t o n o f 31 March 1870. At t h e end o f t h i s e x c e r p t Reyer has p a r a p h r a s e d one o f C h e r u b i n i ' s bons mots a g a i n s t B e r l i o z : t h e p i v o t a l word i s c a n o n , mean ing bo th a b i g a r t i l l e r y gun and a c o n t r a -p u n t a l d e v i c e ( o f w h i c h C h e r u b i n i was g e n e r a l l y r e g a r d e d as a m a s t e r ) . C h e r u b i n i , d i r e c t o r o f t h e P a r i s C o n s e r v a t o i r e f rom 1821 u n t i l 1841 , was o f t e n a t odds w i t h B e r l i o z when t h e l a t t e r was a s t u d e n t at t h i s i n s t i -t u t i o n , and rema ined a d e t e r m i n e d c r i t i c o f h i s m u s i c . B e r l i o z once d e s c r i b e d t h e o p p o s i t i o n he e n c o u n t e r e d f r om t h i s p a r t o f t h e P a r i s i a n m u s i c a l e s t a b l i s h m e n t : " . . . I had a g a i n s t me t h e i n s t r u c t o r s at the C o n s e r v a t o i r e , l e d by C h e r u b i n i and F e t i s , whom my h e t e r o d o x y i n m a t t e r s o f harmony and rhy thm had wounded i n t h e i r s e l f - e s t e e m and shocked i n t h e i r c o n v i c t i o n s . " ( T r a n s l a t e d by B a r z u n , B e r l i o z , 2 :131 . ) 5 5 See " G a l e r i e , " p. 210, and " B e r l i o z . " 5 6 " G a l e r i e , " p. 209. 57 Reyer added : " A u s s i , t o u t en r e c o n n a i s s a n t l e s s o u r c e s a u x -q u e l l e s i l s ' e s t i n s p i r e , e s t - i l i m p o s s i b l e de s u r p r e n d r e dans son o e u v r e l a mo i nd re i m i t a t i o n s e r v i l e , l e mo i nd r e p l a g i a t ; e t s i q u e l q u e r e m i n i s c e n c e i n v o l o n t a i r e s ' y e s t g l i s s e e , que c e l u i d ' e n t r e nous qu i e s t sans peche l u i j e t t e l a p r e m i e r e p i e r r e . " ( " B e r l i o z . " ) 58 I n c l u d i n g h i s comic o p e r a B e a t r i c e e t B e n e d i c t , o f wh i ch Reyer w r o t e : "Son s e n t i m e n t de l a d e c l a m a t i o n l y r i q u e . . . se m a n i f e s t e dans p l u s d ' u n e page . . . avec une e l e v a t i o n , une p u i s s a n c e d i g n e s de G l U c k " (JD f e u i l l e t o n o f 8 June 1 890 ) . A f t e r h e a r i n g e x c e r p t s f r om Les T r o y e n s a t Baden-Baden i n 1859, Reyer avowed t h a t C a s s a n d r e ' s f i r s t " r e c i t " had " c e t t e ampleur de d e c l a m a t i o n , c e t t e g r a n d e u r de s t y l e qu i f o n t songer aux b e l l e s pages de G l u c k . " (CP f e u i l l e t o n o f 7 September 1859 . ) 5 y N o t a b l y C a s s a n d r e ' s a r i a and t h e e n s u i n g duet w i t h Chorebe i n La P r i s e de T r o i e ( see p. 2 8 5 ) . 6 0 JD f e u i l l e t o n o f 5 May 1867. 61 Reyer reminded h i s r e a d e r s t h a t B e r l i o z had been w e l l t r a i n e d i n f u g u e , h a v i n g been t a u g h t bo th c o u n t e r p o i n t and fugue at t h e C o n s e r v a -t o i r e by t h e esteemed t h e o r i s t Anton R e i c h a ( " G a l e r i e , " p. 2 1 0 ) . How-e v e r , R e i c h a ' s p u p i l d i s l i k e d o r t h o d o x fugue i n t h e e i g h t e e n t h - c e n t u r y t r a d i t i o n , as Reyer e x p l a i n e d i n t h e f o l l o w i n g e x c e r p t : " . . . B e r l i o z n ' a i m a i t pas l a fugue t e l l e q u ' e l l e e s t employee en m a i n t e s c o m p o s i t i o n s e c r i t e s s o i - d i s a n t dans l e s t y l e r e l i g i e u x . II n ' a d m e t t a i t pas que c e t t e fo rme s c o l a s t i q u e se p r e t a t a e x p r i m e r 307 Les s en t imen s p i e u x Qu ' en t e r m i n a n t ses p r i e r e s l ' E g l i s e En un s eu l mot r e s u m e . . . [ s i c ] " (JD f e u i l l e t o n o f 13 March 1877; t h e l i n e s quoted by Reyer a r e f r om La Damnat ion de F a u s t ) B e r l i o z ' s d i s l i k e o f " c e t t e fo rme s c o l a s t i q u e , " s a i d R e y e r , had prompted t h e composer t o i n d u l g e i n c l e v e r p a r o d i e s , such as t h e "Amen" fugue f o r t h e dead r a t i n t h e Damnat ion ( i b i d . ) , and t h e f u g u e - - o n t h e s u b j e c t o f l o v e — r e h e a r s e d by K a p e l l m e i s t e r Somarone i n B e a t r i c e e t B e n e d i c t ( i b i d . , 8 June 1 890 ) . 6 2 See i b i d . , 8 December 1894, 13 March 1877, 11 December 1892, and 30 March 1878, r e s p e c t i v e l y . In t h e r e v i e w o f t h e Damna t i on , f o r exam-p l e , Reyer w r o t e : " . . . o n v o i t avec que l a r t V a u t e u r . . . s ' e s t s e r v i du s t y l e fugue dans 1 ' i n t r o d u c t i o n de son o e u v r e P l a i n e s de H o n g r i e , dans l a Marche h o n g r o i s e , dans l e monologue de F a u s t , e t dans b i e n d ' a u t r e s pages de sa p a r t i t i o n . " ( I b i d . , 13 March 1877. ) 6 3 I b i d . , 8 December 1894. 6 4 I b i d . , 19 August 1878. 6 5 I b i d . , 13 December 1872 . 66 I b i d . , 31 March 1870. The f o l l o w i n g were among the o t h e r pages w h i c h , a c c o r d i n g t o R e y e r , e x e m p l i f i e d B e r l i o z t h e m u s i c a l p o e t : t h e l o v e duet o f D ido and Aeneas i n Les T royen s a C a r t h a g e ; t he duet i n t h e f i r s t p a r t o f L ' E n f a n c e du C h r i s t ; " L a T r i s t e s s e de Romeo" i n Romeo e t J u l i e t t e ; t h e m e l o d i e " L a C a p t i v e " ; and , i n L e l i o , bo th " L e Chant de bonheu r " and " L a Harpe e o l i e n n e . " ( I b i d . , 22 March 1879 and 13 December 1881. ) 67 " G a l e r i e , " p. 214. T h i s t o u c h i n g n a i v e t e o f e x p r e s s i o n was e v i -d e n t , s a i d R e y e r , i n s e v e r a l o f B e r l i o z ' s m e l o d i e s — p a r t i c u l a r l y " L e Jeune P a t r e b r e t o n , " " L a B e l l e V o y a g e u s e , " and " L ' A b s e n c e " ( i b i d . ) - - b u t was most s u p e r b l y m a n i f e s t e d i n t h e " Repo s " f r om L ' E n f a n c e . He ag reed w i t h Georges de Massougnes t h a t t h e " R e p o s " was "un c h e f - d ' o e u v r e de g r a c e n a i v e , un i que dans l ' a r t de n o t r e t e m p s . " (Quoted by Reyer i n t he JD f e u i l l e t o n o f 30 J a n u a r y 1881. ) 68 "II e s t p o e t e , e s s e n t i e l 1 e m e n t p o e t e , et j e c r o i s , a q u e l q u e e c o l e que l ' o n a p p a r t i e n n e , q u ' i l e s t de t o u t e j u s t i c e de l e r e c o n -n a T t r e . II a pu se t r o m p e r , i l a pu se l a i s s e r a l l e r a des e x a g e r a t i o n s s ouven t b l a m a b l e s ; ma i s i l n ' a j a m a i s g a l v a u d e son t a l e n t , i l n ' e s t j a -mai s de scendu des h a u t e u r s de l ' a r t dans l e domaine du t r a f i c v u l g a i r e . " ( " G a l e r i e , " p. 214 . ) 69 Quoted by Reyer f r om an u n i d e n t i f i e d s o u r c e , i n i b i d . , p. 209 . C f . S c u d o ' s c a u s t i c o u t b u r s t c o n c e r n i n g B e r l i o z : 308 "I I s ' e n i v r e de b r u i t , . . . [ d ' j e f f e t s purement phy -s i q u e s , [ d ' ] e f f e t s de s o n o r i t e , dont i l n ' y a pas l i e u v r a i m e n t de se f e l i c i t e r . Le C h i n o i s qu i charme ses l o i s i r s pa r l e b r u i t du t a m - t a m , l e sauvage que l e f r o t -tement de deux p i e r r e s met en f u r e u r , f o n t de l a mus ique dans l e gen re de c e l l e que compose M. B e r l i o z . " (De 1 ' i n f l u e n c e du mouvement r o m a n t i q u e s u r l ' a r t m u s i - c a l e t du r o l e q u ' a v o u l u j o u e r M. H. B e r l i o z , o r i g i n a l -l y p u b l i s h e d i n 1846; r e p r i n t e d i n S c u d o ' s c o l l e c t i o n C r i t i q u e e t l i t t e r a t u r e m u s i c a l e s : p r e m i e r e s e r i e , 3d ed~. [ P a r i s : L. H a c h e t t e , 1 8 5 6 J , p. 50) 7 0 A f t e r t h e " B a l l e t des S y l p h e s " and t he "Menuet des F o l l e t s " had been enco red a t L i t o l f f s f i r s t two c o n c e r t s i n 1869, Reyer o b s e r v e d : " L a d e l i c a t e s s e i n f i n i e de ce t r a v a i l i n s t r u m e n t a l a p a r t i c u l i e r e m e n t s u r p r i s ceux qu i se s on t t o u j o u r s imag i ne que l a mus ique de B e r l i o z e t a i t f a i t e d ' e x t r a v a g a n c e , de coups de g r o s s e c a i s s e e t meme de coups de c a n o n . " (JD f e u i l l e t o n o f 23 November 1869 . ) Apropos o f t h e Queen Mab s c h e r z o , see b e l o w , n. 76. 7 1 Reyer was p a r t i c u l a r l y i m p r e s s e d by t h e e l e c t r i f y i n g e f f e c t o f t h e s o n o r i t i e s wh i ch c l i m a x t h e " F e t e chez C a p u l e t " : " . . . quand l a p l a i n t i v e c a n t i l e n e , s o u p i r e e d ' a b o r d par l e h a u t b o i s dans 1 ' a n d a n t e [ ' L a T r i s t e s s e de R o m e o ' ] , r e p a r a T t c o n f i e e a t o u s l e s i n s t r u m e n t s a ven t de T o r c h e s t r e e t f a i t un m a g n i f i q u e c o n t r e s u j e t au theme du b a l , c ' e s t t o u j o u r s , dans l a s a l l e , l a meme e x p l o s i o n a d m i r a t i v e , l e meme f r e m i s s e m e n t . Une t e l l e r i c h e s s e d ' i n s t r u m e n t a t i o n e s t i n c o m p a r a b l e : i l vous en r e s t e comme un e b l o u i s s e m e n t . " ( I b i d . , 8 December 1894) For h i s r emark s on t h e " l u x u r i a n t e i n s t r u m e n t a t i o n " o f t h e Rakoczy M a r c h , and on t h e T r o j a n M a r c h - - " s i n o b l e , s i f i e r e , e t s i c o l o r e e " - - s e e i b i d . , 1 March 1876 and 12 December 1879 r e s p e c t i v e l y . 7 2 I b i d . , 12 December 1879. 7 3 CP f e u i l l e t o n o f 7 September 1859 ( r e v i e w o f t he p e r f o r m a n c e o f t h i s scene i n c o n c e r t at B aden -Baden ) . Twenty y e a r s l a t e r , a f t e r h e a r -i n g P a s d e l o u p ' s p r e m i e r e o f L a P r i s e de T r o i e i n c o n c e r t , Reyer a g a i n d e s c r i b e d t h i s scene t o s u p p o r t h i s a s s e r t i o n t h a t B e r l i o z had made the o r c h e s t r a an i n t e g r a l p a r t o f t h e drama {JD f e u i l l e t o n o f 12 December 1 8 7 9 ) . 7 4 CP f e u i l l e t o n o f 7 September 1859. 7 5 " B e r l i o z . " 7 6 Speech g i v e n by Reyer at La Cote S a i n t - A n d r e on 28 September 1890 ( p u b l i s h e d i n t h e JD o f 29 September 1890, p. 3 ) . Among t he i n -s t r u m e n t a l c o m b i n a t i o n s wh i ch Reyer f ound most s t r i k i n g were t he use o f 309 v i o l i n ha rmon i c s and muted m u l t i - d i v i s i v i o l i n s i n t h e Queen Mab s c h e r z o i n Romeo e t J u l i e t t e , and t h e f 1 u t e - a n d - t r o m b o n e c h o r d s i n t h e " H o s t i a s " and t h e "Agnus " o f t h e Requ iem. He s p e c u l a t e d t h a t no p i a n i s t had e ve r d a r e d p e r f o r m a t r a n s c r i p t i o n o f t he s c h e r z o , because i t r e q u i r e d " l ' o r c h e s t r e avec ces d e d i c a t e s s o n o r i t e s . . . don t B e r l i o z a v a i t l e s e c r e t . No t on s , en p a s s a n t , q u ' o n a beaucoup u s e , d e p u i s , des v i o l o n s en s o u r d i n e d i v i s e s e t des sons h a r m o n i q u e s . " (JD f e u i l l e t o n o f 8 December 1894 . ) He e x p l a i n e d t h a t t h e s t a r t l i n g e f f e c t o f t he f l u t e -and - t rombone c h o r d s i n t h e Requiem was due l a r g e l y t o t h e use o f t he l o w e s t ( t h e s o - c a l l e d " p e d a l " ) n o t e s o f t h e t e n o r t r ombone , no te s wh i ch " l e s e x e c u t a n s , meme l e s mieux e x e r c e s , ne r e n d e n t pas t o u j o u r s avec une e n t i e r e j u s t e s s e , avec une c o m p l e t e p u r e t e ; et i l r e s u l t e n a t u r e l l e m e n t de c e t t e e t r a n g e s o n o r i t e un c e r t a i n s a i s i s s e m e n t pour 1 ' o r e i l l e . " ( I b i d . , 30 March 1878. ) 7 7 " . . . un t r a i t e d ' i n s t r u m e n t a t i o n , qu i r e s t e r a comme l ' o u v r a g e t h e o r i q u e l e p l u s s a van t e t l e p l u s c omp le t qu i a i t e t e e c r i t dans ce g e n r e " ( " G a l e r i e , " p. 2 1 3 ) . Reyer was r e f e r r i n g , o f c o u r s e , t o B e r -l i o z ' s Grand t r a i t e d ' i n s t r u m e n t a t i o n e t d ' o r c h e s t r a t i o n modernes ( P a r i s : S c h o n e n b e r g e r , 1 844 ) . 7 8 Speech d e l i v e r e d at t h e i n a u g u r a t i o n o f t h e s t a t u e o f B e r l i o z at P a r i s on 17 O c t o b e r 1886 ( p u b l i s h e d t h a t same day i n t h e JD f e u i l l e t o n ) . Reyer r e p e a t e d t h e q u e s t i o n a lmo s t v e r b a t i m i n h i s second and t h i r d speeches h o n o r i n g B e r l i o z . 7 y Among t h e s e c r i t i c s was Scudo , who had d e c l a r e d t h a t "M. B e r l i o z e s t p e u t - e t r e l e c o m p o s i t e u r l e p l u s depou rvu d ' i d e e s m e l o d i q u e s , c ' e s t -a - d i r e d ' i d e e s m u s i c a l e s [ , ] q u i a i t e n c o r e e x i s t e " ( C r i t i q u e , p. 5 1 ) . " . . . j e ne sache pas que l e s p l u s g rands m u s i c i e n s a i e n t d ' a b o r d p a r l e aux masses c e t t e l angue m e l o d i q u e qu i e s t a l a p o r t e e du v u l g a i r e . On a l ong temps c h e r c h e l a m e l o d i e de B e e t h o v e n , l a m e l o d i e de Weber, l a m e l o d i e de G l u ck . . . ; on a f i n i par l a d e c o u v r i r " ( " C h r o -n i q u e m u s i c a l e , " GN 2 [4 F e b r u a r y 1 8 6 0 ] : 6 ) . 81 JD f e u i l l e t o n o f 23 November 1869. To t h i s e n u m e r a t i o n Reyer m igh t weTT have added Benvenuto C e l l i n i , wh i ch he once d e s c r i b e d as " s i v i v a n t e e t s i m e l o d i q u e [ u n d e r l i n e R e y e r ' s ] " ( i b i d . , 26 September 1 886 ) . 82 " S i ceux qu i on t n i e l e s p r o g r e s a c c o m p l i s par H e c t o r B e r l i o z dans 1 ' i n s t r u m e n t a t i o n . . . ; s i ceux qu i l ' a c c u s e n t de manquer de m e l o d i e e t d ' e t r e depourvu de t o u t s e n t i m e n t d r a m a t i q u e ; s i c e u x - l a v i v e n t e n c o r e q u e l q u e s annee s , ce que j e l e u r s o u h a i t e b i e n s i n c e r e m e n t , i l s s e r o n t t e m o i n s d ' u n e r e a c t i o n qu i l e s e c l a i r e r a s u r l a v a l e u r de l e u r s j u g e m e n s . " ( " B e r l i o z . " ) 8 3 JD f e u i l l e t o n o f 12 December 1879 . 8 4 I b i d . , 17 O c t o b e r 1879. 310 8 5 I b i d . , 12 June 1892. 8 6 I b i d . , 12 December 1879. Among t he o t h e r s cenes wh i ch Reyer most admi red were t h e one i n v o l v i n g Ca s s and re and Chorebe ( see above , pp . 2 8 2 - 8 3 ) , and t he f i n a l scene o f Les T r o y e n s a C a r t h a g e , c l i m a x e d by D i d o ' s i m m o l a t i o n and t h e r e t u r n o f t h e T r o j a n M a r c h , " a l a q u e l l e se me le d ' u n e f agon s i s a i s i s s a n t e , s i sauvage l a m a l e d i c t i o n du p e u p l e de C a r t h a g e " ( i b i d . , 12 June 1 8 9 2 ) . 8 7 I b i d . , 12 December 1879. 8 8 In t h e p o w e r f u l m u s i c a l t r a n s l a t i o n s o f t he d r a m a t i c p a r t s o f t h e t e x t — n o t a b l y t h e "Tuba m i rum" — a n d i n t he s e n s i t i v e r e n d e r i n g s o f t h e p a r t s t h a t a re c o n t e m p l a t i v e — s u c h as t h e "Qu i d sum m i s e r " — R e y e r f ound B e r l i o z ' s Requiem e x p r e s s i v e w i t h o u t b e i n g t h e a t r i c a l ( i b i d . , 30 March 1 8 7 8 ) . C f . h i s comments on p a r t s o f V e r d i ' s Requiem (quo ted i n C h a p t e r I I I , pp . 1 3 6 - 3 7 ) . 8 9 JD f e u i l l e t o n o f 30 March 1878. 9 0 I b i d . , 30 J a n u a r y 1881 . Reyer s p e c u l a t e d t h a t B e r l i o z ' s r e a s o n f o r compos ing L ' E n f a n c e was not t h a t t h e s a c r e d l e gend had f i l l e d him w i t h " l ' a r d e u r de l a f o i c h r e t i e n n e , " but r a t h e r t h a t " l a p o e s i e de l a l e g e n d e " had appea l ed t o h i s d r a m a t i c i m a g i n a t i o n . 9 ^ I b i d . , 1 March 1876 ; see t he q u o t a t i o n c o n c e r n i n g Romeo i n C h a p t e r I I I , p. 133 . 9 2 Such as t h e l o v e s cene i n Romeo and the enchantment scene i n t h e Damna t i on . The l o v e scene he f ound d e e p l y m o v i n g : " . . . j a m a i s 1 ' e x t a s e , j a m a i s l ' i v r e s s e de 1 'amour n ' o n t e t e e x p r i m e e s avec une t e l l e p u i s s a n c e , avec de t e l s e l a n s . C ' e s t s u b l i m e " ( i b i d . , 13 December 1873 ; see a l s o t h e q u o t a t i o n g i v e n i n C h a p t e r I I I , p. 1 3 5 ) . Apropos o f t h e enchantment s c e n e , he once w r o t e : "I I e s t d i f f i c i l e de donner une i d e e de 1 ' o r i g i n a l i t e e t de l a p o e s i e de c e t t e scene ( l e c h a n t de M e p h i s t o , l e c hoeu r des gnomes . . . e t l a v a l s e des s y l p h e s ) a ceux qu i ne l ' o n t j a m a i s e n t e n d u e . " ( I b i d . , 23 November 1869 . ) 9 3 Quoted by Reyer i n i b i d . , 12 December 1875. 9 4 i b i d . 9 6 S o u v e n i r s d ' A l l e m a g n e , r e p r i n t e d i n N o t e s , p. 26 . We may r e -c a l l t h a t S o u v e n i r s was c o m p l e t e d i n 1864. 9 6 Speech d e l i v e r e d at t h e i n a u g u r a t i o n o f the s t a t u e o f B e r l i o z a t L a Cote S a i n t - A n d r e on 28 September 1890 ( p u b l i s h e d i n t he JD o f 29 September 1890 , p. 3 ) . T h i s c o n c l u d i n g s e n t e n c e was r e p e a t e d a lmo s t v e r b a t i m i n t he o t h e r two s p e e c h e s . 311 9 7 F o r e x a m p l e , i n t h e o b i t u a r y o f t h e i r mutua l f r i e n d Theodore R i t t e r , Reyer remembered "nos s o i r e e s i n t i m e s o i l l e m a T t r e , ap re s a v o i r en tendu R i t t e r e x e c u t e r des f ragmens de Romeo e t J u l i e t t e e t de l a Damnat ion de F a u s t , me d i s a i t : ' Sous ses d o i g t s , l e p i a no e s t beau comme 1 ' o r c h e s t r e ! ' " (JD f e u i l l e t o n o f 11 A p r i l 1886 . ) 9 8 CP f e u i l l e t o n o f 29 A p r i l 1857. 9 9 I b i d . , 7 September 1859. I b i d . ; see t h e l o n g e r e x c e r p t g i v e n above on p. 283 . 100 Compare R e y e r ' s comments ( q u o t e d above i n n. 76) w i t h t h o s e i n NG, s . v . " B e r l i o z , ( L o u i s - ) H e c t o r , " by Hugh M a c d o n a l d , pp . 594 and 596. 102 See , f o r i n s t a n c e , Pau l B e k k e r , The O r c h e s t r a (New Y o r k : W. W. N o r t o n , 1936; r e p r i n t e d . , The N o r t o n L i b r a r y , 1 9 6 3 ) , pp . 1 5 0 - 5 5 ; and Homer U l r i c h ' s comments on t h e Symphonie f a n t a s t i q u e , i n Symphonic M u s i c : I t s E v o l u t i o n S i n c e t h e " R e n a i s s a n c e (New York and London: C o l u m b i a U n i v e r s i t y P r e s s , 1 9 5 2 ) , pp . 1 88 - 89 . 103 A c c o r d i n g t o such a u t h o r i t i e s as Bekke r ( O r c h e s t r a , p. 147) and B a r z u n . The l a t t e r p o i n t s ou t t h a t d e t a i l s o f B e r l i o z ' s T r e a t i s e h a v e , o f c o u r s e , been "amended t o c o n f o r m w i t h t h e new d e s i g n s and p o s s i b i l i -t i e s o f i n s t r u m e n t s , " but t h a t " t h e e s s e n c e o f B e r l i o z ' t e a c h i n g s has not grown o b s o l e t e . . . nor have new works on t he s u b j e c t , l i k e G e v a e r t ' s o r R i m s k y - K o r s a k o v ' s , s upe r s eded i t . " ( B e r l i o z , 1 : 448 -49 . ) 1 ° 4 JD f e u i l l e t o n o f 8 June 1890. 105 B e r l i o z ' s r e v i e w o f Wagne r ' s t h r i c e - g i v e n c o n c e r t at P a r i s i n 1860 had been h i g h l y f a v o r a b l e t owa rd most o f t h e m u s i c - - i n c l u d i n g e x c e r p t s f r om Tannh ' au se r - - bu t had c o n c l u d e d w i t h a Non c r e d o d i s s o c i a t -i n g h i m s e l f f r o m t h e t h e o r i e s t h a t were t hen b e i n g a t t r i b u t e d t o t h e German composer ( s ee C h a p t e r V I I I , nn . 17 and 2 7 ) . The nex t y e a r , B e r -l i o z had a b s t a i n e d f rom r e v i e w i n g t h e F rench p r e m i e r e o f Tannhauser ( i b i d . , n. 1 9 ) . In S o u v e n i r s d ' A l l e m a g n e Reyer r e f l e c t e d s a d l y on t h e f a i l u r e s o f f i r s t Tannhauser at t h e Opera and t h e n Les T royen s a C a r - t h a g e a t t h e T h e a t r e - L y r i q u e , and s t a t e d b l u n t l y t h a t t h e f a l l o f B e r -l i o z ' s o p e r a had been due i n p a r t t o t he s t and he had t a k e n c o n c e r n i n g Wagner: " J e s u i s f a c h e de vous l e d i r e , mon c h e r B e r l i o z , ma i s s a c h e z b i e n que l a c h u t e de T a n n h a u s e r , a l a q u e l l e vous avez t a n t s o i t peu c o n t r i b u e , a p r e p a r e l a c h u t e des T royen s . . . Mieux v a l a i t pour vous que l e s T royens e n t r a s s e n t a l ' O p e r a a l a s u i t e de Tannhauser et meme de L o h e n g r i n que de ne pas y e n t r e r du t o u t . . . . l e j o u r ou vous avez condamne p u b l i q u e m e n t l ' o e u v r e et l e s d o c -t r i n e s de Wagner, ce j o u r - l a , j e vous l e d i s en t o u t e s i n c e r i t e , vous avez f a i t une f a u t e et vous n ' a v e z guere ag i dans l ' i n t e r e t de v o t r e renommee. C e r t e s , i l n ' y a 312 pas l e p l u s p e t i t r app rochement a f a i r e e n t r e l e s T royen s e t Tannh 'auser , q u o i q u ' i l y a i t p l u s d ' u n p o i n t de c o n t a c t e n t r e l e t a l e n t de Wagner e t l e v o t r e ; m a i s , pour l e p u b l i c , Wagner e t vous c ' e s t t o u t un , e t quand on veut r e p r o c h e r a un c o m p o s i t e u r c e r t a i n e s h a r d i e s s e s h a r m o n i q u e s , quand on c r o i t d e c o u v r i r chez l u i l a mo i nd r e v e l l e i t e de rompre avec l a r o u t i n e ou l e s t r a d i -t i o n s s c o l a s t i q u e s , on l u i d i t i n d i f f e r e m m e n t : ' Vou s f a i t e s du Wagner ou vous f a i t e s du B e r l i o z p r e n e z g a r d e ! ' " ( S o u v e n i r s d ' A l l e m a g n e , r e p r i n t e d i n N o t e s , pp . 34 -35 ) We s h o u l d remember t h a t B e r l i o z was a l i v e when S o u v e n i r s was s e r i a l i z e d i n t h e M o n i t e u r u n i v e r s e l ( d u r i n g t h e w i n t e r of , 1 8 6 4 - 6 5 ) . JD f e u i l l e t o n o f 5 May 1867 ; see t h e l o n g e r e x c e r p t g i v e n above on p. 280 . IO? J e f f r e y C o o p e r , The R i s e o f I n s t r u m e n t a l Mu s i c and C o n c e r t S e r i e s i n P a r i s : 1 828 - 1871 , S t u d i e s i n M u s i c o l o g y , no . 65 (Ann A r b o r , M i c h i g a n : UMI R e s e a r c h P r e s s , 1 9 8 3 ) , p. 120. C o o p e r ' s s t u d y shows t h a t t h e s e f i v e composer s had been t h e f a v o r i t e s s i n c e t he l a t e 1840 s , and t h a t t h e y r ema ined p r edom inan t u n t i l t h e p e r i o d o f t h e F r a n c o - P r u s s i a n War. 108 " L ' A l l e m a g n e l e c o n s i d e r a i t comme une de ses g l o i r e s ; dans l a p a t r i e de B e e t h o v e n , on l ' a p p e l a i t l e Beethoven f r a n g a i s , " Reyer r e -c a l l e d i n t h e u n t i t l e d o b i t u a r y n o t i c e (CID, 10 March 1869, p. 2 ) . 109 See t he q u o t a t i o n g i v e n above on p. 288 . H O N o t a b l y Schumann, S c h u b e r t , and, e v e n t u a l l y , Brahms. In t he l a t e 1860s Schumann made such " a s t o n i s h i n g g a i n s i n p o p u l a r i t y " t h a t , b e f o r e t h e o u t b r e a k o f t h e F r a n c o - P r u s s i a n War, he was " t h e m o s t -pe r f o rmed composer a f t e r t h e ' f a v o r i t e f i v e . ' " ( C o o p e r , I n s t r u m e n t a l M u s i c , p. 120 . ) S c h u b e r t d i d not f a r e so w e l l w i t h t he P a r i s i a n p u b l i c , because " t h e d i s p e r s i o n o f h i s symphon ies was s t i l l l i m i t e d by t h e l a c k o f p r i n t e d p a r t s . " ( I b i d . , p. 119 . ) However, i t i s l i k e l y t h a t Reyer - - e v e n i f he d i d not hea r S c h u b e r t ' s s y m p h o n i e s — s t u d i e d the s c o r e s d u r i n g t he p r e - w a r y e a r s , because i n 1868 he p r a i s e d S c h u b e r t as "un des p l u s g rands m u s i c i e n s de ce s i e c l e , " and e x p r e s s e d r e g r e t t h a t " en F r a n c e , on ne l e connaTt guere que par q u e l q u e s unes de ses m e l o d i e s " (JD f e u i l l e t o n o f 25 F e b r u a r y 1 8 6 8 ) . Reye r would s u r e l y have o b t a i n e d t h e s c o r e s o f B r ahms ' s symphonies as soon as t h e y became a v a i l a b l e . He had seen t h i s c o m p o s e r ' s s t a r on t h e m u s i c a l h o r i z o n d u r i n g h i s voyage m u s i c a l t h r o u g h Germany i n 1863 -64 , and c o n s e q u e n t l y had i n c l u d e d B r ahms ' s name w i t h t h o s e o f a h a l f -dozen young German composer s whose i n s t r u m e n t a l mus i c " l e u r on t donne d e j a une c e r t a i n e n o t o r i e t e . " ( S o u v e n i r s , r e p r i n t e d i n N o t e s , p. 134 . ) A few y e a r s l a t e r , when B r ahms ' s S t r i n g S e x t e t Op. 18 was p r e m i e r e d at P a r i s , Reyer was even more e n t h u s i a s t i c , r e f e r r i n g t o Brahms as "un j e u n e maTt re qu i j o u i t d ' u n e g rande r e p u t a t i o n en A l l e m a g n e . . . II y a 313 dans l e s c o m p o s i t i o n s de Brahms . . . beaucoup de s c i e n c e , beaucoup d ' i n v e n t i o n , des f o rmes n o u v e l l e s e t une t r e s g rande abondance d ' i d e e s . " (JD f e u i l l e t o n o f 11 May 1869 . ) H I B a r z u n , " B e r l i o z t h e M e l o d i s t , " i n B e r l i o z , 1 :106-18 ( see e s p e c i a l l y p p . 1 1 6 - 1 7 ) ; Dav i d C a i r n s , " H e c t o r B e r l i o z ( 1 8 0 3 - 6 9 ) , " i n The Symphony, v o l . 1: Haydn t o Dvo rak , e d . R o b e r t S impson ( M i d d l e s e x , Eng -l a n d : Pengu i n Book s , 1 9 6 6 ) , p p . 2 1 8 - 1 9 ; and Man and H i s M u s i c : The S t o r y o f M u s i c a l E x p e r i e n c e i n t h e West , v o l . 3: The S o n a t a P r i n c i p l e , by W i l f r i d M e l l e r s (New Y o r k : Schocken Book s , 1 9 6 9 ) , pp . 1 85 - 86 . ( M e l l e r s ' s book was o r i g i n a l l y p u b l i s h e d as P a r t I I I i n a one - vo l ume e d i t i o n o f Man and H i s M u s i c , P a r t I by A l e c Harman, P a r t I I by Harman and An thony M i l n e r , and P a r t s I I I and IV by M e l l e r s [ L ondon : B a r r i e & J e n k i n s , 1 962 ] . ) H 2 M e l l e r s , S o n a t a P r i n c i p l e , p. 185 . H 3 C a i r n s , " B e r l i o z , " i n The Symphony, p. 212 . H 4 See C a i r n s ' s d i s c u s s i o n o f t h e s e two works i n i b i d . , pp . 212-18 and 2 2 2 - 2 3 . U S I b i d . , p. 218. M e l l e r s ' s d e s c r i p t i o n o f t h e B e e t h o v e n i a n p r i n -c i p l e i s more e x p l a n a t o r y : " . . . he embodied drama e n t i r e l y i n m u s i c a l t e r m s , r e c r e a t i n g f o rm i n t h e i n t e r e s t s o f a u t o b i o g r a p h i c a l e x p r e s s i o n . " M e l l e r s c i t e s t h e N i n t h Symphony as a p r ime e x a m p l e . ( S o n a t a P r i n c i p l e , p. 180 . ) H 6 M5, s . v . " B e r l i o z , " p. 594. C a i r n s ' s e s s a y on B e r l i o z ' s sym-p h o n i e s c o n c l u d e s w i t h a s i m i l a r s t a t e m e n t : "Taken f o r t h e m s e l v e s , t h e y a r e monuments t o a p o e t i c awareness and d r a m a t i c power wh i ch e x t e n d e d , w i t h o u t d i s r u p t i n g [ , ] t h e f l e x i b l e bonds o f t h e symphony. " ( " B e r l i o z , " i n The Symphony, p. 231 . ) H 7 JD f e u i l l e t o n o f 12 December 1879; p r e v i o u s l y quo ted on p. 282 . H 8 Dona ld J a y G r o u t , A H i s t o r y o f Wes te rn M u s i c , 3d e d . r e v . , w i t h C l a u d e V. P a l i s c a (New York"! W. W. N o r t o n , 1 9 8 0 ) , p. 599. H y B a r z u n , B e r l i o z , 1 :335. The o r i g i n a l F r ench r e a d s as f o l l o w s : " L e p u b l i c n ' a p o i n t d ' i m a g i n a t i o n ; l e s morceaux qu i s ' a d r e s s e n t s eu lement a 1 ' i m a g i n a t i o n n ' o n t done p o i n t de p u b l i c . La scene i n s t r u m e n t a l s u i v a n t e e s t dans ce c a s , e t j e pense q u ' i l f a u t l a s u p p r i m e r t o u t e s l e s f o i s que c e t t e symphonie ne s e r a pas e x e c u t e d devant un a u d i -t o i r e d ' e l i t e auque l l a c i n q u i e m e a c t e de l a t r a g e d i e de S h a k e s p e a r e , avec l e denouement de G a r r i c k , e s t e x -tremement f a m i l i e r , e t dont l e s e n t i m e n t p o e t i q u e e s t t r e s e l e v e . C ' e s t d i r e a s s e z q u ' e l l e d o i t e t r e r e -t r a n c h e e q u a t r e - v i n g t - d i x f o i s s u r c e n t . E l l e p r e s e n t e 314 d ' a i l l e u r s , au c h e f d ' o r c h e s t r e qu i v o u d r a i t l a d i r i g e r , des d i f f i c u l t e s immenses . " (Quoted i n t h e JD f e u i l l e t o n o f 16 F e b r u a r y 1879) " L e denouement de G a r r i c k " r e f e r s t o t h e e n d i n g s u b s t i t u t e d by t h e Eng -l i s h a c t o r and a u t h o r Da v i d G a r r i c k ( 1 7 1 7 - 1 7 7 9 ) , showing J u l i e t awaken-i n g b e f o r e Romeo d i e s . G a r r i c k ' s e n d i n g da t ed f r o m 1750 but was c u r r e n t i n t h e e a r l y n i n e t e e n t h c e n t u r y , and was seen by B e r l i o z i n 1827, when he a t t e n d e d a p e r f o r m a n c e o f S h a k e s p e a r e ' s t r a g e d y at t h e Odeon. 120 JD f e u i 1 l e t o n o f 19 August 1878; see t h e l o n g e r e x c e r p t g i v e n above on p. 280 . 121 Namely , t h o s e t h a t a re d e s i g n a t e d a c c o r d i n g t o t h e r e l a t i o n s h i p between s u b j e c t and answer ( f u g u e de t o n , f u gue r e e l l e , f u gue r e g u l i e r e modu l ee , and fugue d ' i m i t a t i o n ) , as w e l l as f ugue o b l i g e e , fugue l i b r e , and so o n . See Leon and M a r i e E s c u d i e r , D i c t i o n n a i r e de mus ique d ' a p r e s l e s t h e o r i c i e n s , h i s t o r i e n s e t c r i t i q u e s l e s p l u s c e l e b r e s , 2 v o l s , i n 1 ( P a r i s : Bureau C e n t r a l de M u s i q u e , 1 8 4 4 ) , pp . 1 6 1 - 6 2 ; and F r a n g o i s -Jo seph F e t i s , La Mus ique m i s e a l a p o r t e e de t o u t l e monde. Expose s u c - c i n c t de t o u t ce qu i e s t n e c e s s a i r e pour j u g e r de c e t a r t , e t pour en p a r l e r sans 1 ' a v o i r e t u d i e , 2d e d . ( P a r i s : E. D u v e r g e r , 1 8 3 4 ) , pp . 9 1 - 94 . ~ 122 M e l l e r s , S o n a t a P r i n c i p l e , p. 188 . 123 i b i d . 124 T h i s f u g a t o was b rough t t o my a t t e n t i o n by a t r e a t i s e wh ich i s g e n e r a l l y r e g a r d e d as one o f t h e f i n e s t E n g l i s h - l a n g u a g e s t u d i e s o f t h e p r i n c i p l e s o f f ugue c o m p o s i t i o n : Ebeneze r P r o u t ' s Fugue ( London : Augener L t d . , 1891 ; r e p r i n t e d . , New Y o r k : Greenwood P r e s s , 1 9 6 9 ) , p. 179. 125 He hea rd c h o r a l mus i c by P a l e s t r i n a and L a s s u s , f o r e xamp le , a t c o n c e r t s o f t h e s h o r t - l i v e d S o c i e t e B o u r g a u l t - D u c o u d r a y (JD f e u i l l e t o n o f 22 F e b r u a r y 1 8 7 0 ) . R e y e r ' s many e x p r e s s i o n s o f p r o f o u n d a d m i r a t i o n f o r P a l e s t r i n a sugge s t t h a t he was w e l l a c q u a i n t e d w i t h t h e mus ic o f t h i s m a s t e r ( s ee e s p e c i a l l y t h e e x c e r p t g i v e n i n C h a p t e r I I , p. 8 7 ) . 126 W i t ne s s h i s remark t h a t " l a m a j e s t e imposan te du Tuba mi rum de M o z a r t , s 'accommode p a r f a i t e m e n t d ' u n s e u l t r o m b o n e . " (CP f e u i l l e t o n o f 29 A p r i l 1857; see t h e l o n g e r e x c e r p t g i v e n i n C h a p t e r V I , p . 2 37 - 38 . ) 127 F i f t y y e a r s ago, Tom S. Wotton app l auded B e r l i o z as a ma s te r o f f u g a t o ( B e r l i o z , p. 7 7 ) , bu t W o t t o n ' s was v i r t u a l l y a l o n e v o i c e . S i n c e 1950, a u t h o r i t i e s such as B a r z u n , M e l l e r s , and C a i r n s have p r a i s e d B e r -l i o z ' s c o n t r a p u n t a l w r i t i n g i n g e n e r a l and h i s f u g a t o s i n p a r t i c u l a r : see M e l l e r s , S o n a t a P r i n c i p l e , p. 188; C a i r n s , " B e r l i o z , " i n The Sym- phony , pp . 2 2 5 , 2 27 , and 229 ; and B a r z u n , B e r l i o z , 1:4 and 5 6 7 - 7 0 . Barzun has p o i n t e d ou t t h a t B e r l i o z i n t r o d u c e d no f ewe r t h a n s i x t e e n f u g a t o s " i n n i n e out o f h i s dozen ma jo r w o r k s . " ( I b i d . , p. 567 . ) / 2- . C 315 -CHAPTER V I I I REYER AND WAGNER Reyer and t h e R e c e p t i o n o f Wagner i n P a r i s A t w e n t y - t h r e e - y e a r - o l d German composer named R i c h a r d Wagner s e t h i s s i g h t s on P a r i s i n 1836,1 and f o r t he next q u a r t e r - c e n t u r y t r i e d r e p e a t e d l y t o e s t a b l i s h c o n n e c t i o n s and a c a r e e r i n t h e F r ench c a p i t a l . One o f h i s e a r l i e s t champions was t h e young R e y e r , who was e v i d e n t l y p r e s e n t when, i n 1850, mus i c by Wagner was pe r f o rmed i n P a r i s f o r t h e f i r s t t i m e . Throughout R e y e r ' s l o n g c a r e e r he p r o f e s s e d unwave r i n g a d m i r a t i o n f o r Wagne r ' s a r t , l o y a l l y d e f e n d i n g i t d u r i n g t h e 1850s , t h e 1860s , and e s p e c i a l l y a f t e r t h e F r a n c o - P r u s s i a n War o f 1870, and n o b l y s a l u t i n g i t s e v e n t u a l c onque s t o f t h e P a r i s Opera d u r i n g t h e 1890s . 1850-1870 Wagne r ' s f i r s t t h r e e v i s i t s t o P a r i s had a rou sed s c a r c e l y any i n t e r e s t ; 2 i t was not u n t i l t h e autumn o f 1850, a f t e r h i s t h i r d d e p a r -t u r e f r om t h e F r e n c h c a p i t a l , t h a t P a r i s i a n s began t o become aware t h a t a new f o r c e i n o p e r a was d e v e l o p i n g i n h i s wo r k s . R e p o r t s on t he s u c -c e s s f u l p r e m i e r e o f L o h e n g r i n - - s t a g e d at Weimar by L i s z t - - w e r e sen t by G e r a r d de N e r v a l and by L i s z t h i m s e l f t o La P r e s s e and t h e Debats r e -s p e c t i v e l y , 3 and e v i d e n t l y cau sed q u i t e a s t i r i n t h e c a p i t a l , f o r P a r i s i a n a u d i e n c e s were soon g i v e n t h e i r f i r s t t a s t e o f Wagner ' s m u s i c : t h e Tannhause r o v e r t u r e was c o n d u c t e d at a c o n c e r t o f t h e S o c i e t e 316 S a i n t e - C e c i l e on 24 November. Most members o f t h e P a r i s i a n p r e s s p a i d no a t t e n t i o n t o t h i s p e r f o r m a n c e , 4 bu t T h e o p h i l e G a u t i e r , i n one o f h i s f e u i 1 l e t o n s f o r La P r e s s e , i n c l u d e d a p a r a g r a p h c o m p r i s i n g a s h o r t n o t i c e on Wagner ' s fame i n Germany and a b r i e f t r i b u t e t o t he o v e r t u r e . There i s s t r o n g e v i d e n c e t h a t t h i s m a t e r i a l was w r i t t e n by G a u t i e r ' s f r i e n d and m u s i c a l " p r o m p t e r , " R e y e r . 5 Two y e a r s l a t e r , a f t e r t h e appea rance o f Wagne r ' s Oper und Drama and E i n e M i t t e i l u n g an meine F r e u n d e , F e t i s p u b l i s h e d a l o n g and d e -t a i l e d a t t a c k on Wagne r . 6 The renowned s c h o l a r assumed t h e r o l e o f t he d e f e n d e r o f t r a d i t i o n , m e t i n g out j u s t i c e t o what he r e g a r d e d as t h e s u b v e r s i v e t h e o r i e s o f t h e German composer and b r a n d i n g him an:..enemy o f m e l o d y . 7 Such a m a n i f e s t o was a b low t o t h e a c c e p t a n c e o f Wagner ' s a r t i n F r a n c e , becau se t h e v i ews o f so i n f l u e n t i a l a c r i t i c d e c i s i v e l y molded p u b l i c o p i n i o n and f u e l e d t h e an tagon i sms o f o t h e r c r i t i c s who found Wagne r ' s t h e o r i e s " d e t e s t a b l e and a n a r c h i s t i c . " 8 We canno t be s u r p r i s e d t h a t Wagne r ' s next v i s i t t o P a r i s , i n O c t o b e r 1853, was as u n s u c c e s s f u l as h i s e a r l i e r s o j o u r n s i n t h e c a p i t a l . In J a n u a r y 1858, however , he r e t u r n e d once more t o P a r i s . I t i s t e m p t i n g t o s p e c u l a t e t h a t Reyer and G a u t i e r were i n s t r u m e n t a l i n l u r i n g him b a c k , f o r i n September 1857 t h e y had j o u r n e y e d t o g e t h e r t o Wiesbaden i n o r d e r t o a t t e n d a p r o d u c t i o n o f Tannh 'auser , o f wh i ch t h e y had s ub -s e q u e n t l y p u b l i s h e d g l o w i n g r e v i e w s i n t h e C o u r r i e r de P a r i s and t h e M o n i t e u r u n i v e r s e ! . 9 At t h a t t i m e bo th men were known and r e s p e c t e d i n P a r i s i a n m u s i c a l c i r c l e s , and G a u t i e r was i n f a v o r at t h e Opera as t h e a u t h o r o f t h e s c e n a r i o f o r G i s e l l e , one o f t h e g r e a t e s t o f Romant ic b a l l e t s . Wagner may have assumed t h a t t h e p r a i s e o f two such men wou ld 317 make t h e a d m i n i s t r a t i o n o f t h e Opera r e s p o n s i v e t o h im . In any c a s e , upon h i s r e t u r n t o P a r i s he c o n t a c t e d t h e d i s t i n g u i s h e d l a w y e r E m i l e 011 i v i e r — h u s b a n d o f L i s z t ' s d a u g h t e r B l a n d i n e - - a n d gave him power o f a t t o r n e y t o r e p r e s e n t h i s r i g h t s i f some F rench p u b l i s h e r t r i e d t o r ob him o f them by p r i n t i n g p i r a t e d e d i t i o n s o f h i s s c o r e s . Wagner soon found t h a t t h e r e was l i t t l e p r o s p e c t o f Tannhauser b e i n g s t a ged at t h e O p e r a , bu t t h a t t h e c o n d u c t o r o f t h e C o n c e r t s de P a r i s p l a n n e d t o p r e -sen t t h e o v e r t u r e , wh i ch had not been heard i n t he c a p i t a l s i n c e 1850. The composer a t t e n d e d t h e r e h e a r s a l , and " d r i l l e d t h e o r c h e s t r a h i m s e l f f o r a c o u p l e o f h o u r s . " 1 ° The p e r f o r m a n c e took p l a c e on 29 J a n u a r y 1858, f o u r days b e f o r e Wagner l e f t P a r i s . Le s s t h a n two y e a r s l a t e r — i n September 1859—Wagner was back i n t h e F r e n c h c a p i t a l , t h i s t i m e w i t h t h e i n t e n t i o n o f s e t t l i n g t h e r e f o r a w h i l e and e v e n t u a l l y g a i n i n g a h e a r i n g f o r h i s new ly c o m p l e t e d T r i s t a n und I s o l d e . He a r r i v e d as t h e r e c o g n i z e d and somewhat n o t o r i o u s c r e a t o r o f f o u r o p e r a s w h i c h had been p roduced i n Germany: R i e n z i , Pe r f l i e g e n d e H o l l a n d e r , Tannhau se r , and L o h e n g r i n . Thanks l a r g e l y t o F e t i s ' s m a n i f e s t o and t h e i n f l u e n c e i t had e x e r t e d " s u r l e s j ugement s u l t e r i e u r s de l a p r e s s e e t des a r t i s t e s , " H an t agon i sm t o Wagner was s t i l l w i d e s p r e a d i n t h e c a p i t a l ; however , t h e r e were a few d i s c r i m i n a t -i n g s p i r i t s who f e l t drawn t o h i s m u s i c . A g roup o f t h e s e a d m i r e r s a s semb led e v e r y Wednesday n i g h t at t h e s m a l l house Wagner had l e a s e d on t h e r u e N e w t o n — b u t R e y e r , d e s p i t e h i s avowed e n t h u s i a s m f o r Wagne r ' s m u s i c , was not among them.12 He pe rhaps f e l t t h a t t o j o i n t h i s c e n a c l e wou ld be t o s l i g h t h i s l o n g - t i m e f r i e n d B e r l i o z , whose a m i c a b l e f e e l i n g s f o r Wagner had c o o l e d s i n c e t h e l a t t e r ' s v i s i t t o P a r i s i n 1858.13 318 Reye r n e v e r t h e l e s s c o n t i n u e d t o s u p p o r t Wagne r ' s c au se i n p r i n t , p e r i o d -i c a l l y r e m i n d i n g r e a d e r s o f both t h e Wiesbaden Tannh'auser and t h e com-p o s e r ' s fame i n Germany.14 Wagner soon d e v i s e d a scheme f o r c o n q u e r i n g P a r i s w i t h a t h r i c e -g i v e n c o n c e r t o f e x c e r p t s f r om h i s w o r k s , wh i ch he hoped would ea rn him t h e f a c i l i t i e s f o r p r o d u c i n g Tannh 'auser , L o h e n g r i n , and, u l t i m a t e l y , T r i s t a n . He a r r a n g e d t o h i r e t h e T h e a t r e - I t a l i e n f o r t h r e e n i g h t s i n J a n u a r y and F e b r u a r y 1860, a n d — a f t e r o n l y t h r e e r e h e a r s a l s - - t h e f i r s t c o n c e r t was g i v e n b e f o r e a f u l l house on t h e e v e n i n g o f 25 J a n u a r y . The program c o m p r i s e d t h e Hoi Vander and Tannh 'auser o v e r t u r e s , t h e p r e l u d e s t o A c t s I and I I I o f L o h e n g r i n , e x c e r p t s f r o m bo th Tannh 'auser and L o h e n g r i n , and t h e p r e l u d e t o T r i s t a n w i t h t h e c o n c e r t end i n g a n t i c i p a t -i n g I s o l d e ' s t r a n s f i g u r a t i o n . 1 5 As Reyer no ted i n h i s r e v i e w o f t h e f i r s t two c o n c e r t s , t h e a u d i -ence was d i v i d e d between n o i s y e n t h u s i a s m and e q u a l l y r aucou s condemna-t i o n . 16 The P a r i s i a n p r e s s , wh i ch appeared en masse, was a l s o d i v i d e d . O n l y a h a n d f u l o f c r i t i c s — i n c l u d i n g Reyer and B e r l i o z — s p o k e out i n Wagner ' s f a v o r , ! 7 w h i l e F e t i s and t h e r e s t o f t h e p r e s s f i r e d o f f i n v e c -t i v e a f t e r each c o n c e r t . 1 8 Wagner, f a c e d w i t h t h e an tagon i sms o f t h e p r e s s and t h e heavy d e b t s i n c u r r e d by t h e c o n c e r t s , abandoned t h e p l a n t h a t s h o u l d have l e d t o t h e p e r f o r m a n c e o f T r i s t a n . He now s e t h i s hopes on g e t t i n g t h e Opera t o p r e s e n t Tannh 'auser , w h i c h , o f a l l h i s w o r k s , was t h e one t h a t had r e -c e i v e d t h e most a t t e n t i o n i n P a r i s . V a r i o u s m a c h i n a t i o n s c u l m i n a t e d i n a command f r om t h e emperor t h a t Tannh 'auser be p e r f o r m e d , and f i n a l l y , on 13 March 1861, t h e c u r t a i n o f t h e Opera r o s e on Wagner ' s work. However, 319 t h e t u m u l t u o u s d e m o n s t r a t i o n s o f both t h e a r i s t o c r a t i c J o c k e y C l ub and a c a b a l o f j o u r n a l i s t s f o r c e d t h e c l o s i n g o f t he p r o d u c t i o n a f t e r j u s t t h r e e n i g h t s . Once a g a i n , Wagner was championed by o n l y a few members o f t h e P a r i s i a n p r e s s , w h i l e t h e m a j o r i t y a t t a c k e d h i s m u s i c . * 9 A f t e r t h e Tannh 'auser f i a s c o — o n e o f t h e most famous s c a n d a l s i n o p e r a t i c h i s t o r y — n o P a r i s i a n d i r e c t o r would r i s k a n o t h e r p r o d u c t i o n o f Wagne r ' s m u s i c , and , at t h e end o f J a n u a r y 1862, he moved back t o G e r -many. For t h e nex t s e v e r a l y e a r s P a r i s i a n s heard o n l y e x c e r p t s o f h i s works p r e s e n t e d i n c o n c e r t , u s u a l l y at t h e C o n c e r t s p o p u l a i r e s o f P a s -d e l o u p , who was one o f P a r i s ' s l e a d i n g a d v o c a t e s o f Wagne r ' s m u s i c . In 1864 and 1868 Reyer e x p r e s s e d s u p p o r t f o r v a r i o u s p l a n s t o s t a g e Wagner ' s w o r k s , but none o f t h e s e p r o j e c t s was e v e r c a r r i e d t o c o m p l e -t i o n . 20 F i n a l l y , i n 1869, P a s d e l o u p — t h e n d i r e c t o r o f t h e T h e a t r e -L y r i q u e — m o u n t e d t h e second Wagner ian p r o d u c t i o n i n P a r i s : t h e F r ench p r e m i e r e o f R i e n z i . W h i l e t h e work was b e i n g r e h e a r s e d Reyer r e p e a t e d l y spoke out i n i t s f a v o r , 2 1 and , t h e day a f t e r t he p r e m i e r e , he i n s e r t e d a n o t i c e i n t h e Debat s r e a s s u r i n g t h e t i m o r o u s F r ench p u b l i c t h a t " l e s b e l l e s pages s on t nombreuses dans l a p a r t i t i o n de M. R i c h a r d Wagner; c e t t e oeuv re de j e u n e s s e p o u r r a i t c o u r o n n e r d ignement l a c a r r i e r e de p l u s d ' u n c o m p o s i t e u r . " 2 2 The r e s t o f t h e P a r i s i a n p r e s s , however , had been p r o t e s t i n g so s t r o n g l y a g a i n s t t h e work t h a t R e y e r , i n h i s r e v i e w , f e l t o b l i g e d t o o b j e c t t h a t Wagner ' s c r i t i c s had p r e j u d i c e d t he p u b l i c a g a i n s t t h e o p e r a even b e f o r e t h e p r e m i e r e . 2 3 i f t h e r e was any t r u t h t o t h e rumor t h a t P a s d e l o u p p l a n n e d t o s t a g e a l l o f Wagner ' s works at t h e L y r i q u e , h i s hopes must have been dashed by t h e p u b l i c ' s i n d i f f e r e n c e t o R i e n z i . 320 A f t e r 1870 The F r a n c o - P r u s s i a n War o f 1870 was a s e r i o u s s e t b a c k t o t he a c -c e p t a n c e o f Wagne r ' s mu s i c i n F r a n c e . H i s a r r o g a n t i n s i s t e n c e on t h e s u p e r i o r i t y o f t h e T e u t o n i c r a c e would i n i t s e l f have a rou sed t he a n t i -p a t h y o f F r e n c h n a t i o n a l i s t s , bu t he e x a c e r b a t e d t h e i r b i t t e r n e s s by p u b l i s h i n g i n 1873 a comedy e n t i t l e d E i ne ' K a p i t u l a t i o n . He c l a i m e d t h a t i t was a h a r m l e s s s a t i r e on t h e manners o f t h e F r e n c h n a t i o n , but t h e F r ench i n t e r p r e t e d i t i n s t e a d as b l a t a n t g l o a t i n g o ve r t he s u r r e n d e r o f P a r i s t o t h e German army. C o n s e q u e n t l y , f o r many y e a r s t h e F r e n c h pub -l i c and most members o f t h e p r e s s were v i o l e n t l y a n t a g o n i s t i c t o w a r d Wagne r ' s m u s i c , o f wh i ch P a s d e l o u p b r a v e l y began p r e s e n t i n g e x c e r p t s i n p u b l i c c o n c e r t s i n 1873.24 Even a f t e r a pro-Wagner movement f i n a l l y began t o d e v e l o p i n t h e e a r l y 1880s ,25 a u d i e n c e s were by no means a t t e n -t i v e t o p e r f o r m a n c e s o f Wagner ' s mus i c at t h e c o n c e r t s o f P a s d e l o u p , C o l o n n e , and Lamoureux: enemies o f t h e composer s t i l l t r i e d t o h a l t e v e r y p r e s e n t a t i o n by h i s s i n g , w h i s t l i n g , and s h o u t i n g , w h i l e h i s a d -m i r e r s r e t a l i a t e d by a p p l a u d i n g f r e n e t i c a l l y and y e l l i n g " B r a v o ! " and " B i s ! " Reyer was a p p a l l e d by t h e d i s o r d e r l y s cenes wh i ch g r e e t e d Wagne r ' s mus i c i n P a r i s d u r i n g t h e 1870s and 1880s . W h i l e he s ha red h i s com-p a t r i o t s ' h o s t i l i t y t owa rd Wagne r ' s c h a r a c t e r and h i s p o l i t i c s , he saw no r e a s o n t o d i r e c t t h i s h o s t i l i t y t oward t h e mus i c o f t h e German com-p o s e r . T h i s p o s i t i o n i s i l l u s t r a t e d by h i s r e a c t i o n t o t he t u m u l t u o u s r e c e p t i o n a c c o r d e d t h e p r e l u d e t o P a r s i f a l when, on 22 O c t o b e r 1882, each o f P a r i s ' s t h r e e major c o n c e r t s o c i e t i e s p r e s e n t e d i t to open t h e new s ea son . 26 321 Non, mi 11e f o i s non , l e p r e l u d e de P a r s i f a l ne m e r i t e n i l ' e x c e s d ' h o n n e u r des un s , n i l ' i n d i g n i t e des a u t r e s . . . . v o i l a q u ' u n e f o i s e n c o r e l a p o l i t i q u e e t l e p a t r i o t i s m e se m e t t e n t de l a p a r t i e . Q u ' e s t - c e que l e p a t r i o t i s m e e t l a p o l i t i q u e on t a v o i r en c e t t e a f f a i r e ? . . . [Wagner ] nous a i n j u r i e dans un moment ou i l eu t e t e p l u s genereux a l u i de se t a i r e ; ma i s e s t - c e q u ' i l nous i n j u r i e dans ses o e u v r e s m u s i c a l e s ? . . . . . . J e ne p a r d o n n e r a i j a m a i s a R i c h a r d Wagner son i n g r a t e c o n d u i t e e n v e r s B e r l i o z , n i j a m a i s non p l u s d ' a v o i r s i mal c h o i s i son moment pour nous i n s u l t e r , pour se moquer de nou s . Ma i s j e j u r e b i e n q u ' i l ne m'en s o u v i e n t g u e r e , l o r s q u e j e mets s u r mon p i a n o l a p a r t i -t i o n de L o h e n g r i n ou de T r i s t a n e t I s e u l t [ , ] ou meme c e l l e de P a r s i f a l [ , ] q u i me donne t a n t de mal a d e c h i f -f r e r . . . . Le m i e u x , a mon a v i s , s e r a i t de t e n i r 1'homme pour ce q u ' i l e s t e t l e m u s i c i e n pour ce q u ' i l v a u t ; on e v i t e r a i t a i n s i de tomber dans des e r r e u r s e t dans des e x ce s ega lement r e g r e t t a b l e s . 2 7 As l a t e as 1891 , when L o h e n g r i n was mounted at t h e O p e r a , Reyer r u e f u l l y o b s e r v e d t h a t " c e s h a i n e s e t ces c o l e r e s . . . p e r s i s t e n t e n -c o r e a u j o u r d ' h u i chez une n o t a b l e p a r t i e du p u b l i c p a r i s i e n . " 2 8 N e v e r -t h e l e s s , w i t h Rose Caron and t h e B e l g i a n t e n o r E r n e s t Van Dyck i n t h e l e a d i n g r o l e s , and Lamoureux w i e l d i n g t h e b a t o n , L o h e n g r i n was a g r e a t s u c c e s s f o r a l l c o n c e r n e d . A f t e r t h i s work had been a c c l a i m e d f o r two y e a r s , t h e Opera gave t h e P a r i s i a n p r e m i e r e o f D i e W a l k l i r e , w h i c h — w i t h C a r o n , Van Dyck, and t h e s op rano L u c i e n n e B r e v a l i n t h e p r i n c i p a l r o l e s — c r e a t e d a v e r i t a b l e s e n s a t i o n . A f t e r t h i s second Wagner ian t r i u m p h , R e y e r , knowing f u l l w e l l t h a t h i s own S i g u r d would be th rown i n t o t h e shade by t h e works o f Wagner, o f f e r e d a n o b l e s a l u t e t o t he c o n q u e r o r : L ' e r e wagne r i enne e s t e n f i n a r r i v e : t o u t e l ' o e u v r e du maTt re y p a s s e r a . . . . Et nous t o u s que l e g e n i e du T i t a n v i c t o r i e u x e c r a s e , a n e a n t i t , ce q u ' i l nous r e s t e a f a i r e , ap re s a v o i r j e t e un d e r n i e r e t d o u l o u r e u x r e g a r d s u r l e p a s s e , c ' e s t de s a l u e r l ' A v e n i r e t de tomber avec g r a c e . 2 9 322 L o h e n g r i n and D i e Wa l ku re c o n t i n u e d t h e i r g l o r i o u s c a r e e r s , and , by t h e t i m e Reyer r e t i r e d f rom t h e Debats i n 1898, two more o f Wagner ' s works had been mounted at t h e O p e r a : t h e l o n g - n e g l e c t e d Tannh 'auser (1895) and D i e M e i s t e r s i n g e r von N l i r nbe rg ( 1 8 9 7 ) . T h i r t y y e a r s a f t e r t he f i a s c o o f t h e f i r s t P a r i s i a n Tannh 'auser , t h e Wagner ian e r a had i ndeed a r r i v e d . R e y e r ' s C ru sade s f o r " L o h e n g r i n " Of a l l t h e Wagner ian works f o r wh i ch Reyer sought t o o b t a i n a h e a r -i n g i n P a r i s , 3 0 t h e one wh ich he championed most i n s i s t e n t l y was L o h e n - g r i n . From 1864--when C a r v a l h o was t h i n k i n g o f mount i ng i t at t h e T h e a t r e - L y r i q u e - - u n t i 1 i t s t r i u m p h at t h e Opera i n 1891 , Reyer was one o f t h e most d e t e r m i n e d a d v o c a t e s o f s t a g i n g t h i s work i n P a r i s . H i s s t e a d f a s t i n s i s t e n c e t h a t i t would be w e l l r e c e i v e d must s u r e l y have been p a r t l y r e s p o n s i b l e f o r t h e f a c t t h a t t h i s was t h e f i r s t o f Wagner ' s ope ra s t o be p roduced i n t h e F rench c a p i t a l a f t e r t h e F r a n c o - P r u s s i a n War. In 1864, w h i l e Reyer was w r i t i n g S o u v e n i r s d ' A l l e m a g n e , C a r v a l h o was c o n s i d e r i n g s t a g i n g e i t h e r L o h e n g r i n o r Per f l i e g e n d e H o l l a n d e r at t h e L y r i q u e . Aware o f t h e d i r e c t o r ' s v a c i l l a t i o n , Reyer e x p r e s s e d a d e c i d e d p r e f e r e n c e f o r L o h e n g r i n , bu t d e c l a r e d t h a t , i f he were i n C a r v a l h o ' s s h o e s , he would not h e s i t a t e t o s t a g e both w o r k s . 3 ! However, C a r v a l h o s h i e d away f r om them, and i t was a few y e a r s b e f o r e he a g a i n c o n s i d e r e d a p r o d u c t i o n o f .any work by Wagner. P u r i n g t h e m i d d l e and l a t e 1860 s , f r a g m e n t s o f L o h e n g r i n were o c c a s i o n a l l y p r e s e n t e d i n c o n c e r t s , and u s u a l l y were app lauded r a t h e r t h a n h i s s e d . T h e r e f o r e , when bo th C a r v a l h o and P e r r i n - - t h e new d i r e c t o r 323 o f t h e O p e r a — w e r e c o n t e m p l a t i n g s t a g i n g t h e work d u r i n g t h e w i n t e r o f 1868, Reyer ag reed t h a t t h e t i m e had come f o r two P a r i s i a n t h e a t r e s t h u s t o avenge t h e f a i l u r e o f Tannh 'auser .32 i n o r d e r t o s t i m u l a t e p u b l i c i n t e r e s t he went so f a r as t o d e v o t e two s u c c e s s i v e f e u i l l e t o n s t o Wagner and L o h e n g r i n : he f i r s t t r i e d t o d e m o n s t r a t e t h a t t h e c o m p o s e r ' s s u p p o s e d l y s u b v e r s i v e d o c t r i n e s stemmed f rom the i d e a s s e t f o r t h by G l u c k ; 3 3 n e t h e n t o l d t h e s t o r y o f L o h e n g r i n i n g r e a t d e t a i l , 3 4 d e c l a r -i n g t h a t he was r e s e r v i n g h i s d i s c u s s i o n o f t he mus i c f o r a 1 a t e r f e u i 1 -l e t o n on t h e p r e m i e r e . U n f o r t u n a t e l y , t h e s e e f f o r t s t o p r e p a r e P a r i -s i a n s f o r a p r e m i e r e were i n v a i n , because both d i r e c t o r s d ropped t h e p r o j e c t . 3 5 As we s h a l l see i n t h e p a r a g r a p h s t h a t f o l l o w , R e y e r ' s next m a j o r c r u s a d e f o r a P a r i s i a n p r e m i e r e o f L o h e n g r i n was waged ove r a p e r i o d o f a p p r o x i m a t e l y t h r e e y e a r s : i t began i n 1879 and c o n t i n u e d t h r ough what can be d e s c r i b e d as " t h e Neumann a f f a i r " and i t s r e p e r c u s s i o n s , wh ich l a s t e d u n t i l June 1882. A l t h o u g h t h i s c r u s a d e was not v i c t o r i o u s , we can s p e c u l a t e t h a t , l i k e R e y e r ' s e a r l i e r and l a t e r o n e s , i t h e l p e d pave t h e way f o r t h e e v e n t u a l p r o d u c t i o n o f L o h e n g r i n i n P a r i s . In t h e s p r i n g o f 1879 , P a s d e l o u p v e n t u r e d t o p r e s e n t t h e p r e l u d e and a lmo s t a l l o f A c t I o f L o h e n g r i n at one o f h i s C o n c e r t s p o p u l a i r e s , " s e moquant de l a c a b a l e e t des s i f f l e t s qu i l u i e t a i e n t p r o m i s . " 3 6 G r a t i f i e d by t h e s u c c e s s o f t h i s b o l d u n d e r t a k i n g , he r e p e a t e d i t at h i s nex t two c o n c e r t s ; u n f o r t u n a t e l y , t h e t h i r d p e r f o r m a n c e was d i s r u p t e d by o r g a n i z e d and v i o l e n t a n t i - W a g n e r p r o t e s t s . Reyer app l auded P a s d e l o u p ' s c ou r a geou s e f f o r t s but d e c l a r e d t h a t L o h e n g r i n c o u l d be f u l l y a p p r e c i a t -ed o n l y i f s t a g e d , b e c a u s e — i n h i s o p i n i o n — t h e f a n t a s m a g o r i c a l m i s e en 324 s cene c o n c e i v e d by Wagner was e s s e n t i a l t o t h e d r a m a t i c impac t o f t h i s wo rk .37 He a l s o i n s i s t e d t h a t , by v i r t u e o f bo th t h e m i s e en scene and t h e b e a u t i e s o f Wagne r ' s s c o r e , L o h e n g r i n was "un de ses ouv rage s l e s p l u s a c c e s s i b l e s a 1 ' i n t e l 1 i g e n c e m u s i c a l e du p u b l i c f r a n g a i s . " 3 8 W h i l e c e n s u r i n g t h e p r o t e s t e r s who had d i s r u p t e d t h e t h i r d p e r f o r m a n c e , Reyer g l e e f u l l y p o i n t e d out t h a t t h e i r o u t c r i e s had s t i m u l a t e d t he e n t h u s i a s m o f Wagne r ' s a d m i r e r s . He t h e r e f o r e t h r ew down t h e g a u n t l e t : "Un d i r e c t e u r p r e n d r a c e t o u v r a g e - l a q u e l q u e j o u r e t l ' i m p o s e r a aux p l u s t u r b u l e n s , comme avec un peu d ' a u d a c e e t de p e r s e v e r a n c e c e l a f u t a r r i v e pour l e Tannh 'auser. Les s i f f l e u r s en s e r o n t pour l e u r s coups de s i f -f l e t . " 3 9 At t h e end o f 1881 , L o h e n g r i n , by t h e n t h e Wagner ian work most f a m i l i a r t o P a r i s i a n s , 4 0 became t h e c e n t e r o f t h e c o n t r o v e r s y c o n c e r n i n g t h e German compose r . A n g e l o Neumann, a f o r e i g n i m p r e s a r i o who had fo rmed a t r a v e l i n g company f o r p r o d u c i n g Wagner o p e r a s , e v i d e n t l y f e l t t h a t — a s Reyer had been s a y i n g — P a r i s i a n s were r e a d y f o r a p r o d u c t i o n o f L o h e n g r i n , becau se he s u b l e t t h e T h e a t r e des N a t i o n s w i t h t h e i n t e n t i o n o f b r i n g i n g h i s company t h e r e t o s t a g e t h e work. When i t became known t h a t L o h e n g r i n would be sung i n German, many P a r i s i a n j o u r n a l i s t s p r o -t e s t e d so l o u d l y a g a i n s t t h i s supposed a f f r o n t t o t h e F rench t h a t Neu-mann abandoned t h e p r o j e c t , as Reyer s a d l y o b s e r v e d i n J a n u a r y 1 8 8 2 . 4 1 Lamoureux t h e n d e c i d e d t o t r y t o p r o f i t f rom t h e f l u r r y o f d e b a t e o v e r t h e Neumann i n c i d e n t by g i v i n g A c t I and e x c e r p t s f r om A c t I I I a p r o m i n e n t p l a c e on h i s p rograms d u r i n g F e b r u a r y , Ma r ch , and A p r i l . H i s gamble p a i d o f f hand some l y , f o r Wagne r ' s mus i c u n f a i l i n g l y e l i c i t e d s a l v o s o f a p p l a u s e . R e y e r , as he had done a f t e r P a s d e l o u p had p r e s e n t e d 325 A c t I i n 1879, s e i z e d t he o p p o r t u n i t y t o u rge t h a t t h e work be s t a g e d . 4 2 He r e a s o n e d t h a t , because much o f L o h e n g r i n had now been p o p u l a r i z e d by c o n c e r t p e r f o r m a n c e s , " i l n ' e s t douteux pour pe r sonne que c e t ouv r a ge . . . o b t i e n d r a i t au t h e a t r e un s u c ce s qu i p o u r r a i t c o n s o l e r R i c h a r d Wagner de 1 ' a c c u e i l f a i t a sa p a r t i t i o n du Tannh ' au se r . " 43 The Neumann a f f a i r had ano the r i n t e r e s t i n g r e p e r c u s s i o n . Wagner, upon l e a r n i n g o f t h e c o n t r o v e r s y t h a t had been r a i s e d by t h e p r o j e c t , d i s p a t c h e d f r o m B a y r e u t h a l e t t e r e x p r e s s i n g h i s vehement o p p o s i t i o n t o t h e i d e a o f s t a g i n g L o h e n g r i n i n t r a n s l a t i o n , and h i s d i s p l e a s u r e a t t h e news t h a t e n t i r e a c t s o f h i s o p e r a were b e i n g p r e s e n t e d by P a r i s i a n c o n -c e r t s o c i e t i e s . He added t h a t , a l t h o u g h he had once a u t h o r i z e d Neumann t o p r e s e n t h i s works i n P a r i s , he now asked t h e i m p r e s a r i o t o r e n o u n c e t h e F r e n c h c a p i t a l . The l e t t e r , d a t e d 17 May 1882 and add re s s ed t o t h e e d i t o r - i n - c h i e f o f L a R e n a i s s a n c e m u s i c a l e , a pro-Wagner j o u r n a l , 4 4 cau sed q u i t e a s t i r i n P a r i s i a n m u s i c a l c i r c l e s . R e y e r , f o r one , d e v o t -ed an e n t i r e f e u i l l e t o n t o i t , f i r s t r e p r i n t i n g i t and t hen m a r s h a l l i n g v a r i o u s arguments i n f a v o r o f a p r o d u c t i o n o f L o h e n g r i n i n F r e n c h . 4 5 He c o n c l u d e d by e x p r e s s i n g t h e hope t h a t Wagner would r e c o n s i d e r t h e i n s t r u c t i o n s t o Neumann: i f t h e l a t t e r were a l l o w e d t o p r e m i e r e L o h e n - g r i n , t h e p r o d u c t i o n would e n j o y a s u c c e s s f o re shadowed by t h e e n t h u s i -a s t i c r e a c t i o n s t o c o n c e r t p e r f o r m a n c e s o f e n t i r e a c t s f r om t h i s work . A f t e r t h e commotion cau sed by t h e Neumann a f f a i r and i t s r e p e r c u s -s i o n s , two y e a r s e l a p s e d b e f o r e any P a r i s i a n d i r e c t o r c a r e d t o r i s k a p r o d u c t i o n o f a work by t h e s t i l l - c o n t r o v e r s i a l German compose r . That d i r e c t o r was C a r v a l h o - - t h e n head o f t h e Ope ra -Com ique - -who , a f t e r L a m o u r e u x ' s immense ly s u c c e s s f u l c o n c e r t p r e s e n t a t i o n s o f A c t I o f 326 T r i s t a n i n March 1884,46 d e c i d e d t h a t t h e moment was f a v o r a b l e f o r him t o a t t empt t o r e a l i z e h i s o l d dream o f s t a g i n g L o h e n g r i n . For the next two y e a r s F r ench j o u r n a l i s t s engaged i n p o l e m i c s c o n c e r n i n g t h i s p r o -j e c t , and Reyer f ound h i m s e l f once a ga i n d o i n g b a t t l e f o r Wagner ' s o p e r a . When C a r v a l h o announced t h a t he i n t e n d e d t o add L o h e n g r i n t o t h e r e p e r t o i r e o f t h e Comique, Reyer r e s p o n d e d : " . . . j e ne s o u h a i t e q u ' u n e c h o s e : c ' e s t q u ' o n nous f a s s e e n t e n d r e L o h e n g r i n . Et j e l e t r o u v e r a i s t o u t a u s s i b i e n a sa p l a c e a 1 'Ope ra -Com ique que p o u r r a i t 1 ' e t r e l a Dame b l a n c h e ou l e Domino n o i r a 1 ' O p e r a . " D e s p i t e t h i s o b v i o u s c o n v i c t i o n t h a t t h e s i z e and r e s o u r c e s o f t h e Comique would p r ove t o be i n a d e q u a t e f o r L o h e n g r i n , Reyer s u p p o r t e d C a r v a l h o ' s p r o j e c t becau se he f e l t t h a t t h i s d i r e c t o r had at h i s d i s p o s a l " de s i n t e r p r e t e s qu i c o n v i e n d r a i e n t on ne peut mieux a t r o i s des p r i n c i p a u x r o l e s de 1 ' o u v r a g e . " 4 7 As soon as C a r v a l h o s e t t h e d a t e o f t he p r e m i e r e f o r March 1886, t h e o l d h o s t i l i t i e s t oward Wagner s u d d e n l y r e a p p e a r e d i n t he fo rm o f a c ommi t t ee o f p r o t e s t wh ich t h r e a t e n e d t o p r e v e n t o r at l e a s t d i s r u p t t h e p r o d u c t i o n . R e y e r , d e f e n d i n g C a r v a l h o ' s p r o j e c t , p o i n t e d out t h a t no o b j e c t i o n s had been a rou sed by L amou reux ' s i d e a o f p r e s e n t i n g t he e n t i r e o p e r a w i t h cos tumes and s c e n e r y at t h e huge E d e n - T h e a t r e , t h e new home of h i s c o n c e r t s o c i e t y . M. C a r v a l h o , d i t - o n , e s t a l a t e t e d ' u n e scene s ubven -t i o n n e e ; M. Lamoureux, b i e n que n ' a y a n t q u ' u n e p a r t a s s e z min ime aux l i b e r a l i t e s du gouve rnement , n ' e m a r g e -t - i l pas au budget ? Que l e t h e a t r e de V O p e r a - C o m i q u e ne s o i t pas l e c a d r e qu i c o n v i e n n e a une oeuv re e x i g e a n t un g rand l u x e 327 de m i se en scene e t d ' u n e i m p o r t a n c e m u s i c a l e su r l a -q u e l l e i l n ' e s t pas b e s o i n d ' i n s i s t e r ; que, pour f a i r e e n t r e r c e t t e oeuv re dans ce p e t i t c a d r e , on commette l a f a u t e de l ' a m o i n d r i r et de l a m u t i l e r , ce sont l a des p o i n t s de d i s c u s s i o n qu i v e u l e n t e t r e r e s e r v e s . Ma i s i n v o q u e r d ' a n c i e n n e s r ancune s et l e s e c r i t s h a i n e u x e t s t u p i d e s d ' u n c o m p o s i t e u r de g e n i e pour empecher l a e t non a i l l e u r s 1 ' e x e c u t i o n de sa m u s i q u e , n ' e s t - c e pas un non sen s , une p u e r i l i t e ? 4 8 Faced w i t h t h e menaces o f t he c o m m i t t e e , C a r v a l h o renounced L o h e n g r i n . Reyer d e c l a r e d t h a t t h i s was t h e o n l y p ruden t c o u r s e o f a c t i o n , and c o n s o l e d h i m s e l f by r e p e a t i n g t h a t t h e Opera-Comique " ne nous eu t donne q u ' u n L o h e n g r i n a m o i n d r i , a f f a i b l i par l e s coupu re s ' n e c e s s a i r e s ' . " At t h e same t i m e , he m a i n t a i n e d t h a t t he e v e n t u a l t r i u m p h o f L o h e n g r i n was a c e r t a i n t y : Un peu p l u s t a r d , dans q u e l q u e t h e a t r e oh l e p a t r i o t i s m e n ' a u r a r i e n a v o i r , 1 ' o p e r a de Wagner s e r a r e p r e s e n t s t o u t e n t i e r e t on l ' a p p l a u d i r a comme s i c ' e t a i t un o p e r a de Moza r t ou de Weber, ce s deux g a l l o p h o b e s d e p u i s l o n g -temps ab sou s .49 R e y e r ' s s t e a d f a s t i n s i s t e n c e t h a t L o h e n g r i n wou ld u l t i m a t e l y c onque r P a r i s was p r o b a b l y a f a c t o r i n L amou reux ' s d e c i s i o n t o c a r r y ou t h i s p l a n o f s t a g i n g i t at t h e E d e n - T h e a t r e . 5 0 Reyer r e p e a t e d l y d i d h i s b e s t t o encou rage p u b l i c s u p p o r t f o r t h i s u n d e r t a k i n g : he r e i t e r a t e d h i s o f t - s t a t e d c o n v i c t i o n t h a t L o h e n g r i n was " l ' o e u v r e de R i c h a r d Wagner l a p l u s s ympa th i que au g e n i e m u s i c a l e de n o t r e p a y s , " and he a s t u t e l y o b s e r v e d t h a t young F r e n c h composer s s h o u l d be d e s i r o u s — r a t h e r t han f e a r f u l — o f s u c c e s s f o r Wagner ' s o p e r a , because such s u c c e s s wou ld encou rage t h e government t o r e e s t a b l i s h at t h e Eden a t h i r d l y r i c t h e a t r e , " q u i ne l e u r a j a m a i s e t e p l u s i n d i s p e n s a b l e q u ' a u j o u r d ' h u i . " 5 1 The p r e m i e r e o c c u r r e d on 3 May 1887, and was r e c e i v e d w i t h such 328 e n t h u s i a s m t h a t , a c c o r d i n g t o R e y e r , t h e a p p l a u s e was p r o b a b l y a u d i b l e t o t h e sma l l band o f young p r o t e s t e r s o u t s i d e the t h e a t r e . U n f o r t u n a t e -l y , o n l y t h e p r o t e s t s were " a u d i b l e " t o t h e gove rnment , wh i ch i m m e d i a t e -l y r e sponded by r e q u i r i n g Lamoureux t o w i t h d r a w t h e wo rk .52 A l t h o u g h L a m o u r e u x ' s hopes o f f a m i l i a r i z i n g t he P a r i s i a n p u b l i c w i t h L o h e n g r i n were t hu s t h w a r t e d , he had at l e a s t p r e m i e r e d i t , and i t s a l m o s t u n q u a l i f i e d s u c c e s s s u r e l y h e l p e d open t he way f o r t h e e v e n t u a l a c c e p t a n c e o f t h i s work at t h e Ope ra . The f i r s t s i g n o f such a c c e p t a n c e was t h e p r e s e n t a t i o n o f t h e duet f r om A c t I I I i n a c o n c e r t g i v e n on t he s t a g e o f t h e Opera i n November 1890. Reyer app l auded t he b r e a k t h r o u g h and d e c l a r e d t h a t t h e t i m e had come f o r F r a n c e ' s most p r e s t i g i o u s l y r i c t h e a t r e t o open i t s doo r s t o t h e works o f t h e German compose r . 53 Le s s t h a n a y e a r l a t e r , on 16 September 1891 , L o h e n g r i n was t r i u m p h a n t l y p r e m i e r e d a t t h e Ope ra , and Reyer c o n f i d e n t l y p r e d i c t e d t h a t i t would l o n g r ema in i n t h e r e p e r t o i r e . To c o n c l u d e h i s r e v i e w he gave h i m s e l f t h e s a t i s f a c t i o n o f h a v i n g t h e l a s t l a u g h on t h e supposed p a t r i o t s who had p e r s i s t e n t l y t r i e d t o p r e v e n t t h e a c c e p t a n c e o f Wagne r ' s mus i c i n F r a n c e , and , by so d o i n g , had s p u r r e d h i s a d m i r e r s t o s t r i v e a l l t h e h a r d e r on h i s b e h a l f . Et m a i n t e n a n t , M e s s i e u r s l e s p a t r i o t e s , c a l m e z - v o u s e t l a i s s e z - n o u s j o u i r en p a i x d ' u n e des p l u s b e l l e s o e u v r e s q u ' a i t e n f a n t e e s l e c e r v e a u d ' u n c o m p o s i t e u r de g e n i e , don t l e s i n j u r e s ne s a u r a i e n t pas a t t e i n d r e " a l a h a u t e u r de n o t r e d e d a i n " e t don t l a n a t i o n a l i t e nous i m p o r t e peu . Je vous a s s u r e que mes c o n f r e r e s e t moi sommes, quo i que m u s i c i e n s , a u s s i bons p a t r i o t e s que vous pouvez 1 ' e t r e vous-memes dont c ' e s t l e m e t i e r , e t q u ' i l n ' e n e s t pas un s e u l parmi nous qu i c o n s e n t i r a i t a t r a v a i l l e r , comme v o u s , pour l e r o i de P r u s s e . 5 4 329 R e y e r ' s E f f o r t s t o Change t h e P u b l i c ' s Image o f Wagner t h e Composer When Reyer r e v i e w e d t h e c o n c e r t s g i v e n at P a r i s i n 1860 by t h e t h e n v i r t u a l l y unknown Wagner, he s p e c u l a t e d t h a t t h e mus i c had been a p p r e c i a t e d o n l y by "une t r e s f a i b l e m i n o r i t e s e r r e e e n t r e deux h a i e s d ' e n t h o u s i a s t e s e t d ' o p p o s a n t s . " 5 5 P a r a d o x i c a l l y , t h e s e two o p p o s i n g camps o f h a l f - i n f o r m e d d e v o t e e s and enemies had t h e same image o f Wagner: "un r e v o l u t i o n n a i r e , un n o v a t e u r , un b r i s e u r d ' i d o l e s . " 5 6 Both b e f o r e and a f t e r t h e s e c o n c e r t s , Reyer p r e s e n t e d s t r o n g arguments a g a i n s t t h i s p o p u l a r n o t i o n t h a t " l e m u s i c i e n de l ' a v e n i r " had renounced t h e p a s t . He a l s o r e m o n s t r a t e d a g a i n s t t h e c h a r g e s t h a t Wagner was a composer o f " n o i s y " mus i c and an enemy o f m e l o d y - - a b la sphemous P i e d P i p e r t r y i n g t o l e a d l i s t e n e r s t o a c a c o p h o n i c h e l l . 5 7 As we saw i n C h a p t e r V I I , t h e s e were among t h e i d e a s wh i ch c o m p r i s e d t h e m i d - c e n t u r y P a r i s i a n p u b l i c ' s image o f B e r l i o z . Thus , when Wagner appeared on t h e m u s i c a l s c e n e , Reyer f ound h i m s e l f t r y i n g t o s h a t t e r a p u b l i c image w h i c h he might have d e s c r i b e d as b e i n g v e r y s i m i l a r t o t h a t o f B e r l i o z - - a n d e q u a l l y l u d i c r o u s . 5 8 " L a mus ique de l ' a v e n i r " and t h e mus i c o f t h e pa s t R e y e r ' s s t r u g g l e a g a i n s t t h e l a b e l l i n g o f Wagner as a m u s i c a l r e v o -l u t i o n a r y began i n 1857 when, f r e s h f r o m h i s p i l g r i m a g e t o W ie sbaden , he r e v i e w e d Tannh 'auser f o r t h e C o u r r i e r . H i s f i r s t e x p o s u r e t o an o p e r a by t h e c o n t r o v e r s i a l German composer had l e f t a s t r o n g i m p r e s s i o n : Je ne s u i s pas abso lument de l ' a v i s des gens qu i c o n s i d e r e n t M. R i c h a r d Wagner comme un n o v a t e u r , un r e v o l u t i o n n a i r e : c ' e s t un r e f o r m a t e u r , t o u t au p l u s , ma i s un r e f o r m a t e u r auque l i l f a u t a c c o r d e r au moins 330 beaucoup de t a l e n t , s i on l u i r e f u s e du g e n i e . Ses e n t h o u s i a s t e s [en A l l e m a g n e ] , e t l e nombre en e s t g r a n d , a p p e l l e n t sa mus ique l a mus ique de l ' a v e n i r . Je l ' a p p e l l e r a i , au c o n t r a i r e , l a mus ique du p a s s e . II m ' a semble que l e s t e n d a n c e s de l ' a u t e u r du Tannhauser e t a i e n t p l u t o t r e t r o s p e c t i v e s q u ' a v a n c e e s . 5 9 Never a g a i n i n h i s w r i t i n g s on Wagner d i d Reyer a v a i l h i m s e l f o f t h e e x p r e s s i o n " l a mus ique du p a s s e . " However, w i t h i n a few months o f t h e p u b l i c a t i o n o f h i s Tannhauser r e v i e w , he r e i t e r a t e d h i s p o s i t i o n : La mus ique de l ' a v e n i r . . . a i n s i que j ' a i e s s a y e de l e d i r e a p ropos du T a n n h a u s e r , r e p o s e , beaucoup p l u s p e u t -e t r e que M. Wagner e t ses adep te s ne semb len t l e c r o i r e ou ne v e u l e n t en c o n v e n i r , s u r l e s t r a d i t i o n s immuables que nous on t l e g u e e s l e s p l u s pu re s g l o i r e s du p a s s e . 6 0 Th roughout h i s c a r e e r he would h o l d t o t h a t o p i n i o n . R e y e r ' s nex t ma jo r f o r a y i n t o t h e c o n t r o v e r s y s u r r o u n d i n g Wagner was h i s r e v i e w o f t h e i d e n t i c a l c o n c e r t s g i v e n by t h e German composer i n 1860 a t P a r i s . Once a g a i n Reyer denounced t h e l e g e n d o f " l a mus ique de l ' a v e n i r " as a m e a n i n g l e s s c o n c o c t i o n . Le r e p r o c h e l e p l u s s e r i e u x que l ' o n a d r e s s e a M. R i c h a r d Wagner, c ' e s t de s ' e t r e l a i s s e a p p e l e r l e m u s i -c i e n de l ' a v e n i r , e t c ' e s t c e t t e q u a l i f i c a t i o n , i n v e n t e e pa r des d i s c i p l e s t r o p z e l e s , qu i a a t t i r e l e s p l u s v i o -l e n t s s a r ca smes su r l a t e t e du m a T t r e . Et p o u r t a n t , parmi l e s m u s i c i e n s que nous adorons a u j o u r d ' h u i , n ' e n e s t - i l pas q u e l q u e s - u n s q u i , de l e u r v i v a n t , a u r a i e n t m e r i t e d ' e t r e q u a l i f i e s a i n s i ? Beethoven e t Weber, par e x e m p l e , n ' o n t - i l s pas e t e l e s m u s i c i e n s de l ' a v e n i r ? . . . e t quand, dans v i n g t - c i n q an s , l e s symphon ies de M. B e r l i o z s e r o n t devenues c l a s s i q u e s , n ' a u r a - t - i l pas e t e , l u i a u s s i , l e m u s i c i e n de l ' a v e n i r ? 6 1 Reyer t h e n a rgued t h a t Wagner ' s ha rmon i c l anguage a l o n e p roved t h a t " l a mus ique de l ' a v e n i r " was f i r m l y f i x e d i n t h e p a s t : Je ne s a i s s i mon o r e i l l e manque de d e l i c a t e s s e , ma i s j e n ' a i e t e b l e s s e pa r aucun de ces a c c o r d s b i z a r r e s que l ' o n a ccu se M. R i c h a r d Wagner d ' a v o i r i n v e n t e s : l a romance de T a n n h a u s e r , pa r e x e m p l e , e s t un c h e f - d ' o e u v r e 331 de g r a c e e t de p o e s i e . . . Aucune m o d u l a t i o n , n i l a n i a i l l e u r s , ne m'a pa ru e c r i t e en deho r s des r e g i e s e t a -b l i e s . 6 2 F i n a l l y , Reyer i n s i s t e d t h a t Wagne r ' s d i s d a i n f u l comments about e a r l i e r composer s s h o u l d not be c i t e d as e v i d e n c e t h a t he had r enounced a l l o f t hem: "Pas p l u s que M. H e c t o r B e r l i o z , M. R i c h a r d Wagner ne f a i t a c t e d ' a t h e i s m e : i l a , l u i a u s s i , ses a d m i r a t i o n s e t ses c r o y a n c e s . " 6 3 j n t h i s r e v i e w and i n t h e e a r l i e r c r i t i q u e o f Tannh 'auser , as w e l l as i n numerous l a t e r w r i t i n g s , Reyer t r i e d t o d e m o n s t r a t e t h a t t h e s e " a d m i r a -t i o n s e t . . . c r o y a n c e s " were d i s c e r n i b l e bo th i n Wagner ' s d o c t r i n e s and i n h i s m u s i c . Fo r R e y e r , t h e s u p p o s e d l y r e v o l u t i o n a r y d o c t r i n e s o f Wagner were f ounded upon t h o s e o f a g r e a t e i g h t e e n t h - c e n t u r y r e f o r m e r : G l u c k . 6 4 To s u p p o r t t h i s c o n t e n t i o n he j u x t a p o s e d e x c e r p t s f r om L i s z t ' s pamph le t " L o h e n g r i n " e t "Tannh ' au se r " de R. W a g n e r — " o u v i e n n e n t se r e f l e t e r l e s p r i n c i p e s de R i c h a r d Wagner, ses t h e o r i e s e t son s y s t e m e " 6 5 ~ a n d e x -t r a c t s f r om G l u c k ' s d e d i c a t o r y p r e f a c e s t o A l c e s t e and P a r i s e t H e l e n e . Reyer d i d not a n a l y z e t h e p r i n c i p l e s s e t f o r t h i n t h e s e w r i t i n g s , e v i -d e n t l y a s suming t h a t h i s r app rochement made s e l f - e v i d e n t t h e f undamen ta l k i n s h i p o f G l u c k ' s i d e a s w i t h t h o s e o f Wagner: both composers had o b -j e c t e d t h a t a means o f e x p r e s s i o n ( t h e mu s i c ) had been made an end , w h i l e t h e end i t s e l f ( t h e drama) had been made t h e means; and both f e l t t h a t t h e mus i c s h o u l d e x i s t as an a s p e c t o f t h e e x p r e s s i o n o f t h e p l o t , and , h e n c e , s h o u l d be composed w i t h o u t r e g a r d e i t h e r t o f o r m a l c o n v e n -t i o n s o r t o t h e d e s i r e o f s i n g e r s t o show o f f t h e i r s k i l l . Reyer c o n -c l u d e d t h a t "Wagner a r r i v a n t p r e s d ' u n s i e c l e a p r e s G l u ck . . . [ a p r i s ] 332 pour bases de son sys teme c e l l e s s u r l e s q u e l l e s T i l l u s t r e r e f o r m a t e u r a v a i t e t a b l i l e s i e n . " 6 6 R e y e r ' s c o m p a r i s o n o f t h e d o c t r i n e s o f G l u c k and Wagner was p a r t o f t h e s t u d y o f L o h e n g r i n p u b l i s h e d i n two f e u i 1 l e t o n s i n t h e Debats d u r i n g t h e autumn o f 1868 , when a P a r i s i a n p r e m i e r e o f t h i s o p e r a was rumored t o be imminen t . A few weeks a f t e r t h e appea rance o f t h e s e f e u i 1 l e t o n s , Mme J u d i t h M e n d e s — G a u t i e r ' s d a u g h t e r , and one o f t h e most z e a l o u s F r e n c h a d m i r e r s o f W a g n e r - - p u b l i s h e d i n L a P r e s s e a l o n g a r t i c l e ^ ? i n w h i c h she took e x c e p t i o n t o R e y e r ' s p o s i t i o n on t h e d o c t r i n e s o f Wagner i n r e l a t i o n t o t h o s e o f G l u c k . A c c o r d i n g t o Mme Mendes, R e y e r ' s p o s i -t i o n was t h a t Wagne r ' s d o c t r i n e s con fo rmed e x a c t l y w i t h t h o s e o f t h e e i g h t e e n t h - c e n t u r y compose r , an i d e a w i t h wh i ch she h e a r t i l y d i s a g r e e d . R e y e r ' s r e s p o n s e , d u l y p u b l i s h e d i n La P r e s s e , was a c o u r t e o u s but w i t t y l e t t e r - a r t i c l e i n w h i c h he d e c l a r e d t h a t she had m i s i n t e r p r e t e d h i s p o s i t i o n — t h a t , i n f a c t , he and Mme Mendes were i n c o m p l e t e agreement c o n c e r n i n g t h e r e l a t i o n s h i p between t h e d o c t r i n e s o f t h e two compose r s . Vous n ' a d m e t t e z pas q u ' i l e x i s t e e n t r e l e sy s teme de R i c h a r d Wagner e t c e l u i de G luck une a f f i n i t e com-p l e t e . Vous avez r a i s o n , madame, e t j e ne l ' a d m e t s pas p l u s que v o u s . J ' a i d i t que l e s bases du sys teme de l ' u n e t a i e n t l e s bases du sy s teme de 1 ' a u t r e , e t [ j e ] n ' a i pas v o u l u d i r e a u t r e c h o s e . S i R i c h a r d Wagner n ' a v a i t r i e n a j o u t e aux r e f o r m e s de G l u c k , j e ne v e r r a i s aucun p r e t e x t e au b r u i t que ses d o c t r i n e s ont f a i t dans l e monde m u s i c a l . 6 8 Reyer t h u s l e f t no doubt t h a t , i n h i s o p i n i o n , t h e d o c t r i n e s o f G l u c k had not been m e r e l y echoed by Wagner, but r a t h e r had s e r v e d as t he f o u n d a t i o n o f Wagner ' s own r e f o r m . Th roughout R e y e r ' s c a r e e r he h e l d s t e a d f a s t l y t o t h i s p o s i t i o n . 6 y 333 Reyer f r e q u e n t l y d e c l a r e d t h a t , j u s t as Wagne r ' s d o c t r i n e s were f ounded on G l u c k ' s t h e o r i e s o f o p e r a r e f o r m , so Wagner ' s v o c a l w r i t i n g was i n t h e t r a d i t i o n o f - - t o use G l u c k ' s famous p h r a s e - - " u n e b e l l e s imp ! i c i t e . 1 , 7 0 T h i s was one o f t h e f e a t u r e s o f Wagner ' s mus i c wh i ch had i m p r e s s e d Reyer i n 1857. II y a dans l a mus ique du Tannh 'auser de m a g n i f i q u e s r e c i t s , des c h a n t s l a r g e s e t e m p r e i n t s d ' u n t r e s g rand s e n t i m e n t d r a m a t i q u e , . . . ma i s i l n ' y a . . . aucune f i o r i t u r e , aucun p o i n t d ' o r g u e , aucune r o u l a d e . . . Dans q u e l q u e s pages de son o e u v r e , M. R i c h a r d Wagner s ' e s t e l e v e a l a h a u t e u r de G lUck . . . N ' e u s s e - j e vu dans l a m a n i e r e de M. R i c h a r d Wagner q u ' u n e r e a c t i o n c o n t r e l e s a r i e t t e s , l e s f i o r i t u r e s e t l e s agremens de mauva i s gout qu i e n v a h i s s e n t a u j o u r d ' h u i nos o e u v r e s , meme l e s p l u s s e r i e u s e s , j ' a u r a i s a p p l a u d i des deux mains a sa l o u a b l e t e n t a t i v e . ' 1 In many l a t e r w r i t i n g s Reyer a g a i n app l auded Wagner f o r f o l l o w i n g G l u c k ' s example i n r e f u s i n g t o i n t e r r u p t o r s t i f l e t h e a c t i o n w i t h a u s e l e s s s u p e r f l u i t y o f o r n a m e n t s , and he a d v i s e d young composers t o l e a r n f r o m Wagner " c e q u ' i l a p r i s a G l u c k , l a v e r i t e , 1 ' a m p l e u r de l a d e c l a m a t i o n l y r i q u e . " 7 2 Reyer f e l t t h a t Wagner ' s a r t was c o n n e c t e d w i t h t h e p a s t not o n l y by v i r t u e o f h i s ha rmon i c l a n g u a g e , h i s d o c t r i n e s and h i s l y r i c d e c l a m a -t i o n , but a l s o because s p e c i f i c pages o f h i s o p e r a s bo re w i t n e s s t o c e r -t a i n i n f l u e n c e s : . . . aux h e s i t a t i o n s de ses p r e m i e r s pa s , aux e c a r t s i n v o l o n t a i r e s q u ' i l e s t f a c i l e de s i g n a l e r . . . on r e c o n n a T t l e s s o u r c e s pu re s a u x q u e l l e s s ' e s t ab reuvee l a j e u n e s s e du p r o p h e t e , e t s i M. R i c h a r d Wagner . . . e t a i t un r e v o l u t i o n n a i r e , un n o v a t e u r , un b r i s e u r d ' i d o l e s , un i m p i e , c e r t a i n e s pages de son oeuv re don -n e r a i e n t un dement i f o r m e ! a ce s a s s e r t i o n s r i d i c u l e s . 7 3 To p r o v e t h i s p o i n t , Reyer r e p e a t e d l y c i t e d what he r e g a r d e d as r e m i n i s -c ence s o f composer s r a n g i n g f r o m Beethoven t o B e r l i o z i n t h e f i r s t f o u r 334 ma jo r o p e r a s by Wagner: R i e n z i , Per f l i e g e n d e H o l l a n d e r , Tannhau se r , and L o h e n g r i n . A c c o r d i n g t o R e y e r , M e y e r b e e r ' s h i g h l y s u c c e s s f u l f u s i o n o f I t a l i a n and German e l e m e n t s seduced t h e young Wagner when he was compos ing R i e n z i f o r t h e P a r i s Opera .74 Reyer f ound t h e i n f l u e n c e o f M e y e r b e e r ' s e c l e c t i c s t y l e i n t h e g rand e n s e m b l e s , pompous m i s e en s c e n e , and " de s f o r m u l e s s u r a n n e e s , des a i r s de b r a v o u r e e t des c a v a t i n e s r a p p e l a n t l e s t y l e e t l a f a c t u r e des maTt re s i t a l i e n s . " 7 ^ He f e l t t h a t R i e n z i p o i n t -ed a l s o t o t he mus i c o f S p o n t i n i , s u p p o r t i n g t h i s o p i n i o n by avowing t h a t t h e march i n A c t I I I i s r e m i n i s c e n t o f t h e one i n 0 1 i m p i e . The works o f Weber, t o o , had l e f t a s t r o n g i m p r e s s i o n : S i 1 ' e xemp le de Meyerbeer e t l e s f i e r s accens de l a muse de S p o n t i n i e x e r c e r e n t q u e l q u e i n f l u e n c e su r l e s t y l e de R i c h a r d Wagner a son d e b u t , l ' a u t e u r de R i e n z i ne t r a h i t pas moins l a p r o f o n d e i m p r e s s i o n q u ' a v a i e n t l a i s s e e dans son e s p r i t l e s o e u v r e s de Weber. C e t t e i m p r e s s i o n ( i l n ' h e s i t e pas a l e r e c o n n a T t r e ) l e p o u r -s u i v i t l o n g t emps . 76 Reyer d i s c e r n e d t he i n f l u e n c e o f Weber i n t h e c h i v a l r i c ambience o f R i e n z i - - a n d , i n p a r t i c u l a r , i n t h e o p e n i n g number o f A c t I I - - a s w e l l as i n a s p e c t s o f bo th t h e ha rmon ic v o c a b u l a r y and t he o r c h e s t r a t i o n : "Wagner, comme Weber, s a i t i n t e r e s s e r l ' o r e i l l e , sans s o r t i r de l a t o n a l i t e , e t dans l e s t u t t i l e s p l u s e n e r g i q u e s , i l n ' e m p l o i e , t o u j o u r s comme Weber, n i l e s c ymba le s n i l a g r o s s e c a i s s e . " 7 7 Reyer p r a i s e d Per f l i e g e n d e Ho lVande r as t h e f i r s t m i l e s t o n e on Wagne r ' s r oad f r om o p e r a t o mus i c d r a m a - - a g i a n t s t e p f o r w a r d f rom R i e n z i . 7 8 He c o n c e n t r a t e d h i s e f f o r t s on a t t e m p t i n g t o p r o v e h i s c o n -t e n t i o n t h a t " d e v a n t c e r t a i n e s pages de c e t t e p a r t i t i o n , ou mieux devan t 1 ' e n s e m b l e de c e t t e p r e m i e r e ebauche de drame l y r i q u e , . . . i l f a u t se d i r e : V o i l a l ' o e u f d ' o u 1 ' a i g l e e s t s o r t i . " 7 9 However, he d i d make a few comments c o n c e r n i n g what s t r u c k him as v e s t i g e s o f t h e pa s t i n t h i s o p e r a . A f t e r h e a r i n g i t f o r t h e f i r s t t i m e d u r i n g h i s t r a v e l s t h r o u g h Germany i n 1863 -64 , he o b s e r v e d t h a t i t g e n e r a l l y con fo rmed w i t h t h e t r a d i t i o n s o f o p e r a t i c c o n s t r u c t i o n : . . . l ' o n t r o u v e , sans t r o p s ' e n e t o n n e r , dans c e t t e o e u v r e de sa j e u n e s s e , des p h r a s e s p l e i n e s de f r a T c h e u r . . . des c adence s qu i n ' o n t aucune p r e t e n t i o n a 1 ' o r i -g i n a l i t e , des morceaux d ' u n e coupe t o u t a f a i t c l a s -s i q u e , un a i r , une b a l l a d e , une c h a n s o n , une c a v a t i n e e t meme des p o i n t s d ' o r g u e . 8 0 In h i s second r e v i e w — w r i t t e n n e a r l y t h i r t y - f i v e y e a r s l a t e r , a f t e r t h e P a r i s i a n p r e m i e r e — R e y e r a g a i n was vague about t h e m u s i c a l a n c e s t r y o f t h i s work: a f t e r q u o t i n g h i s e a r l i e r j udgment , he added t h a t he was e n c h a n t e d by t h e " p a r f u m c l a s s i q u e " o f Dal a n d ' s a r i a i n A c t I I , and t h a t t h e Dutchman ' s a r i a i n A c t I was " t r a v e r s e par l e s o u f f l e de Weber ou de B e e t h o v e n , de Meye rbeer p e u t - e t r e . " 8 1 Reyer drew a t t e n t i o n t o s e v e r a l a s p e c t s o f Tannh 'auser w h i c h , i n h i s o p i n i o n , r e v e a l e d t h e i n f l u e n c e o f e a r l i e r m u s i c . He p o i n t e d out t h a t i n Wagner ' s " L e t t r e s u r l a m u s i q u e , " wh i ch had been w r i t t e n i n o r d e r t o p r e p a r e P a r i s i a n s f o r t h e O p e r a ' s p r e m i e r e o f Tannh 'auser , t h e composer h i m s e l f had a d m i t t e d t h a t " [ d e s ] a n a l o g i e s t r e s v i s i b l e s . . . r e l i e n t c e t o p e r a a ceux de mes d e v a n c i e r s , e t parmi c e u x - c i j e vous s i g n a l e avant t o u t Webe r . " 82 Reyer sensed t h e s p i r i t o f t h e composer o f Per F r e i s c h ' u t z and E u r y a n t h e i n c e r t a i n n u m b e r s — n a m e l y , E l i s a b e t h ' s a r i a , t h e e n s u i n g l o v e duet w i t h Tannh 'auser , and t h e ha rmon ie s o f t h e m a j e s t i c marc h 8 3 _ - a s w e l l as i n t h e o r c h e s t r a t i o n : Wagne r ' s " p o i n t d ' a f f i n i t e " w i t h " 1 ' e c o l e de Weber e t de Beethoven . . . [ e s t ] l e c o l o r i s , l a c l a r t e 336 e t l e s s p l e n d e u r s de son o r c h e s t r e . 1 1 8 4 Reye r a l s o heard t r a c e s o f I t a l i a n o p e r a , a l l u d i n g t o " de vagues r e m i n i s c e n c e s i t a l i e n n e s " 8 ^ bo th i n t h e march and i n o t h e r u n s p e c i f i e d p a s s a g e s . Reyer avowed t h a t L o h e n g r i n , l i k e Tannh 'auser , had s t r o n g r o o t s i n t h e p a s t . 8 6 He d i d not d i s c e r n v e s t i g e s o f I t a l i a n o p e r a such as he had hea rd i n t h e e a r l i e r work , but he f e l t t h a t L ' i n f l u e n c e de Weber, du Weber d ' E u r y a n t h e , se f a i t s e n t i r dans L o h e n g r i n , p l u s e n c o r e p e u t - e t r e que dans l e Tannhau se r . La c au se en e s t evidemment aux a n a l o g i e s t r e s v i s i b l e s qu i e x i s t e n t e n t r e l e s deux poemes e t que Wagner l u i -meme r e c o n n a T t . 8 7 Reyer t h e n c i t e d t h e a n a l o g i e s — a n d , i n f a c t , d i d so i n many o f h i s w r i t i n g s , 8 8 p r e s u m a b l y because Wagner had n e g l e c t e d t o c i t e them i n t h e " L e t t r e s u r l a m u s i q u e . " Such s i m i l a r i t i e s , s a i d R e y e r , " d e v a i e n t evidemment amener e n t r e M. Wagner e t Weber, s i n o n une s i m i l i t u d e d ' i d e e s m u s i c a l e s , du moins un r app rochement dans l e s t y l e de l ' o e u v r e , dans l a p e i n t u r e des c a r a c t e r e s . " 8 y Reye r d e c l a r e d t h a t i n L o h e n g r i n he heard t h i s r app rochement " t o u t a u s s i b i e n dans l e s v o i x que dans 1 ' o r c h e s -t r e , " y ° an o p i n i o n wh i ch he s u p p o r t e d by c ompa r i n g t he duet o f O r t r u d and F r e d e r i c k i n A c t I I w i t h t h a t o f E g l a n t i n e and L y s i a r t i n t he second a c t o f E u r y a n t h e . y l Reyer o c c a s i o n a l l y drew a t t e n t i o n t o what he r e g a r d e d as e v i d e n c e o f a n o t h e r i n f l u e n c e on Wagner, name l y , t h e c o n c e r t works o f B e r l i o z . He f i r s t c i t e d t h i s e v i d e n c e i n 1860, when d i s c u s s i n g two o f t h e i t e m s p r e s e n t e d at Wagne r ' s P a r i s i a n c o n c e r t s : t h e p r e l u d e t o A c t I I I o f L o h e n g r i n , and t h e o v e r t u r e t o Tannhau se r . Ne r e c o n n a i s s e z - v o u s pas dans ce d e s s i n des c o n t r e -b a s s e s , dans c e t t e p r o g r e s s i o n h a rmon i que , dans ce c r e s c e n d o , q u i amenent un des p l u s beau m o t i f s de l a 337 t r o i s i e m e p a r t i e de L o h e n g r i n , l e p r o cede dont s ' e s t s e r v i M. H e c t o r B e r l i o z , dans l a f e t e chez C a p u l e t , de Romeo e t J u l i e t t e ? Ce d e s s i n p e r s i s t a n t des v i o l o n s , qu i accompagne l e c h a n t des p e l e r i n s dans l ' o u v e r t u r e de Tannh 'auser , e s t - i l une i n v e n t i o n de M. R i c h a r d Wagner? Non, sans d o u t e . 9 2 Reyer d i d not c l a r i f y h i s p o i n t c o n c e r n i n g Tannhause r u n t i l 1893 , by wh i ch t i m e much o f Wagner 's^ mus ic as w e l l as t h e c o n c e r t works o f B e r l i o z had f i n a l l y won a c c l a i m i n P a r i s . 9 3 The nex t y e a r Reyer went so f a r as t o s ugge s t t h a t Wagner ' s o r c h e s t r a t i o n drew h e a v i l y on t he t e c h -n i q u e s o f t h e F r e n c h compose r : Je n ' i r a i pas j u s q u ' a d i r e comme Mme B e r l i o z , au s o r t i r du p r e m i e r c o n c e r t donne par R i c h a r d Wagner [en 1860] . . . : "Que l t r i o m p h e pou r H e c t o r ! " , ma i s i l n ' e n e s t pas moins v r a i que B e r l i o z . . . l ' a i n i t i e , p e u t - e t r e p l u s e n c o r e que ne l ' a f a i t Weber, a c e r t a i n s p r o c e d e s d ' i n s t r u m e n t a t i o n , a c e r t a i n e s c o m b i n a i s o n s de t i m b r e s e t meme a des mouvements d ' o r c h e s t r e , a des rhy thmes ab so lument p a r t i c u l i e r s a 1 ' a u t e u r de l a Damna- t i o n de F a u s t e t de Romeo e t J u l i e t t e . Et l e s wagne-r i e n s l e s p l u s e n r a g e s , quand i l s s on t de bonne f o i , ne s a u r a i e n t h e s i t e r a l e r e c o n n a T t r e , l a h a u t e , l a c o l o s -s a l e p e r s o n n a l i t e du maTt re saxon n ' en e t a n t p o i n t d i m i n u e e . Quel m u s i c i e n p o u r r a i t se v a n t e r d ' a v o i r echappe a t o u t e i n f l u e n c e ? 9 4 U n f o r t u n a t e l y , Reyer neve r d e v e l o p e d h i s i d e a t h a t Wagner had l e a r n e d much f r om B e r l i o z . We can s p e c u l a t e t h a t h i s s i l e n c e on t h i s s u b j e c t was d e l i b e r a t e , f o r t h e f i n a l s t a t e m e n t s i n t he q u o t a t i o n g i v e n above s u gge s t t h a t he f e a r e d s p a r k i n g f u r t h e r c o n t r o v e r s y about Wagner. Reyer w i shed t h a t W a g n e r - - i f o n l y t o p r o t e c t h i m s e l f f r om c r i t i c s who d e t e s t e d him as a m u s i c a l r e v o l u t i o n a r y - - h a d acknowledged i n f u l l h i s d e b t s t o e a r l i e r c o m p o s e r s . 9 ^ I n s t e a d , Wagner had o f t e n e x p r e s s e d con tempt f o r a l l t h o s e who had gone b e f o r e h i m : " N ' a - t - i l pas e c r i t q u e l q u e p a r t , " Reyer asked r h e t o r i c a l l y , " que ' l e s o p e r a s de t ou s l e s m a T t r e s connus s on t a ses p r o p r e s drames l y r i q u e s ce que l e s i n g e e s t a 338 1 ' h o m m e ' ? " y 6 C r i t i c i s m o f Wagner c o u l d j u s t i f i a b l y be aimed at t h i s o s t e n t a t i o u s a v e r s i o n t o t h e p a s t , but not at h i s s u p p o s e d l y r e v o l u t i o n a r y d o c t r i n e s and m u s i c , as Reyer e x p l a i n e d i n t h e f o l l o w i n g e x c e r p t : Avant R i c h a r d Wagner, des m u s i c i e n s a u s s i b i e n doues que l u i sous c e r t a i n s r a p p o r t s a v a i e n t i n t r o d u i t dans l e drame l y r i q u e des r e f o r m e s qu i n ' e t a i e n t pas sans ana -l o g i c avec c e l l e s q u ' i l y a a p p o r t e e s l u i - m e m e , et qu i a v a i e n t donne l i e u a des q u e r e l l e s non moins a r d e n t e s . Ce q u ' o n peut done l u i r e p r o c h e r avec l e p l u s de j u s -t i c e , c ' e s t de n ' a v o i r pas a s s e z i n s i s t e , dans ses e c r i t s . s u r l e s p r o g r e s a c c o m p l i s par ses p r e d e c e s -s e u r s . 9 7 " L e vacarme i n f e r n a l " 9 8 As soon as Reyer hea rd Tannh 'auser a t Wiesbaden he began d e f e n d i n g Wagner a g a i n s t t h e c h a r g e t h a t h i s i n s t r u m e n t a t i o n was n o i s y . On a d r e s s e e n t r e a u t r e s r e p r o c h e s , a M. R i c h a r d Wagner, c e l u i d ' a b u s e r des c u i v r e s et des i n s t r u m e n s a p e r c u s s i o n . C ' e s t une e r r e u r . II n ' y a dans l e Tann - h'auser que t r o i s coups de g r o s s e c a i s s e f r a p p e s a l a f i n de 1 ' o u v e r t u r e e t q u i , p r e c i s e m e n t p a r c e q u ' i l s son t i s o l e s et amenes d ' u n e m a n i e r e i n t e l 1 i g e n t e , donnent a l a p e r o r a l ' s o n de c e t t e page symphonique une m a j e s t u e u s e s o n o r i t e . 9 9 A f t e r t h e L y r i q u e ' s p r o d u c t i o n o f R i e n z i , t h e p r e s s p r o t e s t e d so v e h e -m e n t l y a g a i n s t t h e s u p p o s e d l y d e a f e n i n g o r c h e s t r a t i o n t h a t Reyer f e l t o b l i g e d t o p o i n t ou t t h a t , i n t h e t u t t i s , Wagner had r e s o r t e d t o n e i t h e r t h e cymba l s nor t h e bass drum.100 He admonished h i s r e a d e r s not t o c o n f u s e t h e l u x u r i a n t sound o f Wagne r ' s o r c h e s t r a t i o n w i t h t h e t y p e o f mus i c wh i ch d e s e r v e d t o be c a l l e d n o i s y : t h e s t e r e o t y p i c a l I t a l i a n f i n a l e , i n wh i ch a l l t h e p e r c u s s i o n i n s t r u m e n t s o f t h e o r c h e s t r a hammer ou t a l o n g s u c c e s s i o n o f dominant and t o n i c c h o r d s . 1 0 1 339 Reyer a t t r i b u t e d t h e p u b l i c ' s a c c u s a t i o n t h a t Wagner ' s mus ic was n o i s y not o n l y t o h i s p o w e r f u l o r c h e s t r a l e f f e c t s , but a l s o t o t h e f r e q u e n t l y p o l y p h o n i c t e x t u r e s o f bo th t h e c ho r u s and t h e o r c h e s t r a . For e x a m p l e , ap ropos o f t h e c h o r u s e s i n R i e n z i Reyer w r o t e : R i c h a r d Wagner e x c e l l e a f a i r e mouvo i r l e s mas se s , e t , comme i l peut m e t t r e une s c i e n c e s o l i d e m e n t a c q u i s e au s e r v i c e de son g e n i e d r a m a t i q u e , i l s a i t donner un c a r a c t e r e p a r t i c u l i e r a chacune des p a r t i e s qu i c o n -c o u r e n t a l ' e f f e t de l ' e n s e m b l e . C e l a f r a p p e l e s m u s i c i e n s ; l e p u b l i c ne s ' e n a p e r c o i t gue re et se c o n t e n t e de d i r e : T rop de b r u i t ! When r e v i e w i n g p r e m i e r e s o f t h e mus i c d ramas , Reyer o b s e r v e d t h a t t h e p u b l i c somet imes had d i f f i c u l t y i n d i s t i n g u i s h i n g t h e words o f t h e v o c a l l i n e s woven i n t o t h e i n s t r u m e n t a l web c r e a t e d by t h e p o l y p h o n i c com-b i n i n g o f l e i t m o t i f s . Once a g a i n , he a t t r i b u t e d t h e p rob lem not t o Wagner ' s t e c h n i q u e , but r a t h e r t o t h e p u b l i c ' s i n i t i a l i n a b i l i t y t o a p p r e c i a t e t h e c o m p o s e r ' s p o l y p h o n i c t e x t u r e s . 1 0 3 $uch t e x t u r e s , Reyer m a i n t a i n e d , n e i t h e r o b s c u r e d t h e words nor domina ted t he v o i c e : . . . 1 ' i n s t r u m e n t a t i o n de Wagner, a p a r t que l que s grondemens p e u t - e t r e e x a g e r e s des g r o s i n s t r u m e n s de c u i v r e , e s t d ' u n e t e l l e s u a v i t e et s i h a b i l e m e n t pon -d e r e e dans son a d m i r a b l e p o l y p h o n i e q u ' e l l e ne domine j a m a i s l a v o i x du c h a n t e u r . J e recommande c e t t e o b s e r -v a t i o n a ceux qu i ont r e p r o c h e a R i c h a r d Wagner, comme a B e r l i o z , de f a i r e beaucoup t r o p de b r u i t . 1 0 4 " L a n e g a t i o n de l a m e l o d i e " ! 1 - 1 6 A f t e r F e t i s ' s m a n i f e s t o o f 1852 b randed Wagner an enemy o f me l ody , Reyer s e i z e d s e v e r a l o p p o r t u n i t i e s t o t r y t o v i n d i c a t e h i m . The f i r s t o p p o r t u n i t y p r e s e n t e d i t s e l f i n 1857, when t h e young c r i t i c a t t e n d e d t h e Wiesbaden p r o d u c t i o n o f Tannh 'auser . In t h e f o l l o w i n g pas sage f rom h i s r e v i e w , Reyer t r i e d t o e x p l a i n t h a t Wagner had not r e p u d i a t e d me l ody , 340 b u t , r a t h e r , t h a t h i s v o c a l s t y l e n a t u r a l l y hove red between r e c i t a t i v e and t h e k i n d o f m e l o d i c l i n e t o wh i ch F r ench e a r s were a c c u s t o m e d . M. R i c h a r d Wagner n ' e s t pas p r e c i s e m e n t un m e l o d i s t e , ma i s j e ne c r o i s pas que ce s o i e n t l e s i d e e s qu i l u i f a s s e n t d e f a u t : seu lement son c h a n t , dans l e s pa s sages meme ou i l f a u d r a i t de l a douceu r et de l a g r a c e , c o n s e r v e une ampleur d e c l a m a t o i r e qu i i n d i q u e chez l e c o m p o s i t e u r un p a r t i p r i s de donner t o u j o u r s p l u s d ' i m p o r t a n c e au r e c i t q u ' a l a m e l o d i e , e t de c o n s e r v e r a u t a n t que p o s s i b l e a l a ph ra se m e l o d i q u e l a forme du r e c i t . A i n s i l e p a t r e q u i , au p r e m i e r a c t e du Tann - h a u s e r , c h a n t e su r son cha lumeau l e mois de mai . . . ne f a i t pas e n t e n d r e une de ces c a n t i l e n e s qu i vous r a v i s s e n t . . . e t que M. Gounod, par e x e m p l e , a su n o t e r dans S a p h o . l O ° Three y e a r s l a t e r , when Wagner put h i s mus i c b e f o r e t h e P a r i s i a n p u b l i c by r e p e a t e d l y g i v i n g a c o n c e r t at t h e T h e a t r e - I t a l i e n , Reyer a g a i n t r i e d t o de f end him a g a i n s t F e t i s ' s c h a r g e , t h i s t i m e by r e m i n d i n g r e a d e r s t h a t On a l ong temps c h e r c h e l a m e l o d i e de B e e t h o v e n , l a m e l o -d i e de Weber, l a m e l o d i e de G l u c k . . . ; on a f i n i par l a d e c o u v r i r e t l ' o n d e c o u v r i r a a u s s i l a m e l o d i e de M. R i c h a r d Wagner, avec un peu p l u s d ' e f f o r t s e t un peu p l u s de p e i n e p e u t - e t r e , c a r i l f a u d r a a l l e r c h e r c h e r c e t t e j eune nymphe dans l e s b o i s e p a i s au m i l i e u d e s -q u e l s e l l e s ' e g a r e . l ° 7 Of c o u r s e , Wagne r ' s m e l o d i c l i n e was not a lways " h i d i n g " i n p o l y -p h o n i c t e x t u r e s , as Reyer took c a r e t o p o i n t ou t on s e v e r a l o c c a s i o n s . In h i s r e v i e w o f t h e t h r i c e - g i v e n c o n c e r t at t h e T h e a t r e - I t a l i e n , he c i t e d as a p r ime example one o f t he e x c e r p t s f r om Tannhau se r : W o l f r a m ' s song t o t h e E v e n i n g S t a r , " une r a v i s s a n t e m e l o d i e que l e s ha rpe s e t l e s v i o l o n c e l l e s accompagnent d ' u n e f agon c h a r m a n t e . j n h i s f e u i l l e t o n on t h e L y r i q u e ' s p r e m i e r e o f R i e n z i , he e x p r e s s e d mock amazement t h a t such a p i e c e as R i e n z i ' s P r a y e r came f r om t h e pen o f " c e f a r o u c h e ennemi de l a m e l o d i e . " I 0 9 R e y e r ' s numerous r e v i e w s o f c o n c e r t p r e s e n t a t i o n s o f 341 e x c e r p t s f r om L o h e n g r i n , as w e l l as h i s comments about t h e p r o d u c t i o n s a t t h e Eden and t h e O p e r a , v i v i d l y d e m o n s t r a t e h i s c o n v i c t i o n t h a t t h i s work abounds i n l o v e l y m e l o d i e s . H ° He f ound what he r e g a r d e d as o u t -s t a n d i n g l y b e a u t i f u l m e l o d i e s i n Wagner ' s l a t e r wo r k s , t o o , m and avowed t h a t bo th D i e M e i s t e r s i n g e r and S i e g f r i e d were e s p e c i a l l y r i c h i n m e l o d i c appea l . H - 2 R e y e r ' s r e a s o n s f o r r e g a r d i n g Wagner as a " g r a n d r e f o r m a t e u r " W h i l e i n s i s t i n g t h a t Wagner was no t "un r e v o l u t i o n n a i r e " who had s e v e r e d a l l t i e s w i t h t h e mus i c o f h i s p r e d e c e s s o r s , Reyer esteemed him as a " g r a n d r e f o r m a t e u r , comme G l u c k e t ap re s G l u c k . " H 3 whethe r Wagne r ' s r e f o r m s were d e s c r i b e d c o l l e c t i v e l y as a " s y s t e m e , " a t e rm somet imes used by t h e composer and p o p u l a r i z e d by F e t i s , o r as an " i n n o v a t i o n " - - a n o t h e r t e rm s u g g e s t e d by W a g n e r — m a t t e r e d l i t t l e t o R e y e r ; 1 1 4 he would not i n d u l g e i n wordy j o u r n a l i s t i c s q u a b b l e s o ve r t h i s p o i n t . I n s t e a d , he c o n c e n t r a t e d h i s a t t e n t i o n on what he e v i d e n t l y r e g a r d e d as Wagne r ' s p r i n c i p a l r e f o r m s : t h e d i s s o l v i n g o f t h e " s e t " fo rms i n o p e r a and t h e c on sequen t merg i ng o f r e c i t a t i v e and a r i a ; and t h e deve lopment o f t h e l e i t m o t i f t e c h n i q u e , wh i ch went h a n d - i n - h a n d w i t h t h e e v e r - i n c r e a s i n g i m p o r t a n c e o f t h e o r c h e s t r a as an exponent o f t h e d r a m a t i c a c t i o n . Reyer remarked t h a t , o v e r t h e y e a r s , Wagner g r a d u a l l y r e c o i l e d f r om " t o u t e s l e s f o rmes a c c e p t e e s " H 5 _ _ r e c i t a t i v e s , a r i a s , and o t h e r " s e t " f o r m s . He ag reed w i t h L i s z t t h a t t h i s p r o c e s s began i n P e r f l i e g e n d e Hoi V ande r , and quo ted L i s z t ' s s t a t e m e n t t h a t " R i e n z i r a p p e l l e e n c o r e l e s v i e i l l e s coutumes dans l a coupe des r e c i t a t i f s , des duo s , des morceaux 342 d ' e n s e m b l e . Dans l e V a i s s e a u f a n t o m e , c e t t e m a n i e r e d i s p a r a t t d e j a s e n s i b l e m e n t devan t l a n o u v e l l e . " H 6 By t h e t i m e Wagner was w r i t i n g L o h e n g r i n , s a i d R e y e r , he was p a y i n g l i t t l e heed t o what L i s z t had d e s c r i b e d as " l ' a n c i e n n e f a c t u r e d ' o p e r a , l e s d i v i s i o n s accoutumees des morceaux de c h a n t , l a d i s t r i b u t i o n regue des a i r s , r omance s , s o l o s e t t u t t i . " 117 /\s a n example o f Wagner ' s movement t oward h i s goa l o f "enchaTnement de s cenes a l a p l a c e de morceaux e t i q u e t e s , " H 8 Reye r c i t -ed p a r t o f A c t I o f L o h e n g r i n : " L ' e n t r e e du c h e v a l i e r , l e s a d i eux a son c y g n e , l e b e l ensemble qu i s u i t , l a m a g n i f i q u e p r i e r e du r o i dont l e theme e s t r e p r i s par l e c h o e u r , t o u t c e l a s ' e n c h a T n e . " H y Reyer d e -c l a r e d t h a t Wagne r ' s l a t e r w o r k s — w i t h t h e e x c e p t i o n o f D i e M e i s t e r - s i n g e r l 2 Q - - r e a l i z e even more f u l l y h i s o b j e c t i v e o f c o n t i n u o u s mus i c t h r o u g h o u t each a c t , becau se o n l y b road scene d i v i s i o n s r ema in i n T r i s t a n and i n t h e R i n g c y c l e , 1 2 1 w h i l e i n P a r s i f a l " l a d i v i s i o n en s cenes . . . n ' e x i s t e p l u s . " 1 2 2 Reyer o b s e r v e d t h a t Wagner ' s g r a d u a l r e c o i l f r om s e t numbers p r o -duced a new k i n d o f f l e x i b l e , s e m i d e c l a m a t o r y m e l o d i c l i n e , w r i t t e n not t o e x h i b i t t h e b e a u t y and a g i l i t y o f t h e s i n g e r s ' v o i c e s , but r a t h e r t o s e r v e t h e t e x t f o r t h e e x p r e s s i o n o f t h e p l o t . 1 2 3 As we have s e e n , he no ted t h a t t h i s e x p r e s s i v e m u s i c a l d e c l a m a t i o n f i r s t began t o appear i n Tannh 'auser ; he was e s p e c i a l l y i m p r e s s e d by " l e m a g n i f i q u e r e c i t de T a n n -hau se r r e v e n a n t de Rome, qu i peut e t r e c o n s i d e r e , a bon d r o i t , comme une des p l u s b e l l e s pages de l a p a r t i t i o n . " 1 2 4 He found t h a t t he new s t y l e o f d e c l a m a t o r y me lody was p r edom inan t i n L o h e n g r i n , and quo ted Wagne r ' s i n t e r e s t i n g a d v i c e t o s i n g e r s ap ropos o f t h i s f r e e d e c l a m a t i o n : 343 N u l l e p a r t , dans l a p a r t i t i o n de L o h e n g r i n , j e n ' a i e c r i t dans l e s p a r t i e s de c h a n t l e mot : " r e c i t a t i f . " Les c h a n t e u r s ne d o i v e n t pas s a v o i r s ' i l y a des r e c i t a -t i f s . Je me s u i s , au c o n t r a i r e , e f f o r c e de mesu re r ou de marquer 1 ' e x p r e s s i o n p o r t e e du l angage avec t a n t de s u r e t e e t une t e l l e p r e c i s i o n que l e c h a n t e u r n ' a p l u s q u ' a c h a n t e r l e s n o t e s dans l e mguvement i n d i q u e pour t r o u v e r l e t o n j u s t e du l a n g a g e . 1 2 5 In Per f l i e g e n d e Hoi Vander Reyer d i s c e r n e d t h e f i r s t s i g n s o f what would e v e n t u a l l y become t h e l e i t m o t i f t e c h n i q u e o f t h e mus ic d ramas . A f t e r e x p l a i n i n g t h a t " l e l e i t m o t i v e s t a 1 ' h o r i z o n , " he d e s c r i b e d how t h e d e v i c e o f t h e r e m i n i s c e n c e m o t i f i n t h i s work d i f f e r s f r om t h e l e i t -m o t i f t e c h n i q u e . 1 2 6 w n e n n e hea rd e x c e r p t s f r om A c t s I I and I I I o f bo th Tannh 'auser and L o h e n g r i n at Wagne r ' s P a r i s i a n c o n c e r t s , he noted t h a t t h e r e m i n i s c e n c e m o t i f s were c h a r a c t e r i z e d by s k i l l f u l v a r i a t i o n , and t h a t t h e o r c h e s t r a , by p r e s e n t i n g them, had become an exponent o f t h e d r a m a t i c a c t i o n . 1 2 7 i n t h e works wh i ch succeeded L o h e n g r i n , he o b -s e r v e d , t h e use o f " l e l e i t m o t i v " was " e s s e n t i e l a 1 ' u n i t e , au d e v e l o p -pement e t meme a l a c omprehen s i on du drame l y r i q u e . " 1 2 8 He t r i e d t o d e m o n s t r a t e how t h e l e i t m o t i f t e c h n i q u e c r e a t e d m u s i c a l and d r a m a t i c c o n t i n u i t y bo th w i t h i n one w o r k - - P i e W a l k u r e — a n d w i t h i n t h e R i n g t e t r a l o g y : Parmi l e s p h r a s e s t y p i q u e s q u i s u i v e n t e t e x p l i q u e n t l e s d i f f e r e n t e s p e r i p e t i e s de c e t t e . . . p a r t i e du drame, q u e l q u e s - u n e s a p p a r t i e n n e n t au R h e i n g o l d , l e theme de l ' E p e e , par e x e m p l e , e t a u s s i c e l l e que f a i t e n t e n d r e 1 ' o r c h e s t r e au moment ou Siegmund evoque l e s o u v e n i r de son p e r e , e t qu i e s t l e theme du W a l h a l l a . Pans aucun des d e r n i e r s ou v r a ge s de R i c h a r d Wagner, l ' e m p l o i du l e i t m o t i v n ' a e t e pous se a u s s i l o i n que dans l a t e t r a l o g i e des N i e b e l u n g e n , dans l a seconde p a r t i e s u r t o u t . A i n s i , i l y a, au deuxierne a c t e de l a V a l - k y r i e , une scene ( l a scene IV e n t r e Siegmund e t B r u n n -h i 1 d ) , qu i se d e v e l o p p e p r e sque t o u t e n t i e r e su r l e r e t o u r o b s t i n e de l a meme p h r a s e , une ph ra se de q u a t r e me su re s . Je ne p r e t e n d s pas que c e t t e scene ne s o i t 344 f o r t i n t e r e s s a n t e e t meme f o r t b e l l e , s u r t o u t pour l e s i n i t i e s . La c o n n e x i t e qu i e x i s t e e n t r e l e s d i f f e r e n t e s p a r -t i e s de l a t e t r a l o g i e wagne r i enne ne permet guere de l e s p r e s e n t e r i s o l e m e n t sans que 1 1 i n t e l 1 i g e n c e du s p e c t a -t e u r ne s o i t , en c e r t a i n s p a s s a g e s , que l que peu d e -r o u t e e . On comprendra mieux S i e g f r i e d , ap re s a v o i r en tendu l a V a l k y r i e ; ma i s i l e s t p r e sque i n d i s p e n s a b l e , pour comprendre S i e g f r i e d e t l a V a l k y r i e , d 1 a v o i r e n -t e n d u 1 'Or du R h i n . 1 2 9 Reyer p o i n t e d out t h a t , because t h e l e i t m o t i f s were u s u a l l y sounded i n t h e o r c h e s t r a , t h e l a t t e r assumed t h e f u n c t i o n o f m a i n t a i n i n g m u s i c a l and d r a m a t i c c o n t i n u i t y . The v o c a l l i n e s were i n t e r l a c e d w i t h t h e p o l y -p h o n i c o r c h e s t r a l web o f l e i t m o t i f s , as he e x p l a i n e d i n t h e f o l l o w i n g e x c e r p t f r om h i s r e v i e w o f D i e M e i s t e r s i n g e r : Dans c e t t e t r e s comp lexe p a r t i t i o n . . . t o u t e p l e i n e de beau te s i n d i s c u t a b l e s , se d e r o u l e n t , en e f f e t , de l o n g s r e c i t s , monologues e t d i s c o u r s a deux p e r s o n -nages . . . La f rame i n s t r u m e n t a l , qu i l ' e n v e l o p p e d ' u n bout a 1 ' a u t r e , e s t d ' u n e h a b i l i t e consommee e t , pour l e s m u s i c i e n s , d ' u n p u i s s a n t i n t e r e t : l e s m o t i f s c a r a c -t e r i s t i q u e s y a p p a r a i s s e n t , s ' y s u c c e d e n t , s ' y a c c o u -p l e n t meme, t o u j o u r s avec des ha rmon ie s n o u v e l l e s e t sous un a s p e c t n o u v e a u . l 3 0 Reyer admi red t h i s new r e l a t i o n s h i p between t h e i n s t r u m e n t a l and v o c a l e l e m e n t s i n o p e r a : " . . . c ' e s t s u r c e t t e p redominance a l t e r n e e de l a v o i x e t de 1 ' o r c h e s t r e que r e p o s e en g rande p a r t i e l e sys teme wagne-r i e n . E t , c r o y e z - m o i , ce sy s teme a du b o n . " 1 3 * The c u l m i n a t i o n o f Wagne r ' s r e f o r m In 1884, a f t e r h e a r i n g L a m o u r e u x ' s c o n c e r t p e r f o r m a n c e s o f A c t I o f T r i s t a n , ! 3 2 Reye r p ronounced t h i s work " l e p o i n t c u l m i n a n t " o f Wagne r ' s " s y s t e m e ou i n n o v a t i o n . " ! 3 3 He e x p r e s s e d t h i s judgment because he e v i -d e n t l y f e l t t h a t T r i s t a n , more than any o t h e r work , e x e m p l i f i e d Wagne r ' s 345 r e j e c t i o n o f " s e t " f o rms and h i s c on sequen t merg i ng o f r e c i t a t i v e and a r i a i n t o d e c l a m a t o r y me l ody : Quant a 1 1 absence de t o u t e fo rme m e l o d i q u e qu i vous s u r p r e n d p e u t - e t r e , c ' e s t p r e c i s e m e n t l a , q u ' o n me pa s se c e t t e a n t i t h e s e , l a fo rme que l e c o m p o s i t e u r a v o u l u e . Le c h a n t e n e r g i q u e de Kurwena l e t l e s a p p e l s j o y e u x des m a t e l o t s t r a n c h e n t cependan t su r l a t e i n t e un peu u n i f o r m e de ce s l ongue s melopees . . . Vous c o n n a i s s e z mon peu de gout pour l e s a n a l y s e s t e c h n i q u e s : c e l l e de l a p a r t i t i o n de T r i s t a n d e v r a i t e t r e t e c h n i q u e p a r d e s s u s t o u t e s : l e s p o i n t s de r e p e r e y s on t d i f f i c i l e s , f o r t d i f f i c i l e s a s i g n a l e r . Tout s ' e n -chaTne e t r i e n ne peut se s e p a r e r : l e p r e m i e r e d i t e u r venu vous d i r a que l a v e n t e des morceaux d e t a c h e s de 1 ' o e u v r e de R i c h a r d Wagner en g e n e r a l , de T r i s t a n e t I s e u l t en p a r t i c u l i e r , e s t f o r t i m p r o d u c t i v e . 1 3 4 L i k e some o f h i s c o n t e m p o r a r i e s , Reyer c o u l d not h e l p wonde r i n g what f r o n t i e r s l a y beyond T r i s t a n . Yet he a f f i r m e d once a g a i n h i s b e -l i e f t h a t t h e p r i n c i p l e s s e t f o r t h by G l u c k had s e r v e d as t h e p o i n t o f d e p a r t u r e f o r Wagner, no m a t t e r how g r e a t a d i s t a n c e t h e l a t t e r had t r a -v e r s e d : . . . j e s a i s des m u s i c i e n s , d e s i g n e s p o u r t a n t comme des d i s c i p l e s de Wagner, qu i se demandent avec e f f r o i j u s -q u ' o u i l s e r a i t a l l e s ' i l a v a i t v o u l u i n n o v e r p l u s q u ' i l ne V a f a i t dans T r i s t a n , s ' i l s ' e t a i t e l o i g n e enco re da van t a ge des t r a d i t i o n s du drame l y r i q u e , l e g u e e s par G l u ck a ses s u c c e s s e u r s , t r a d i t i o n s q u e [ , ] d e j a dans L o h e n g r i n [ , ] i l a v a i t a s s e z peu r e s p e c t e e s . Les p r i n c i p e s d e v e l o p p e s dans l a b e l l e p r e f a c e d ' A l c e s t e o n t b i e n pu s e r v i r de base aux d o c t r i n e s , aux t h e o r i e s de R i c h a r d Wagner, m a i s , quand i l s ' a g i t d ' e l e v e r un monument, l a d i s t a n c e e s t g rande q u e l q u e f o i s de l a base au sommet.135 * * * R e a l i z i n g t h a t F r e n c h composer s c o u l d n e i t h e r deny nor a v o i d a phenomenon such as Wagner,136 Reyer urged them t o abso rb t h i s phenomenon i n a manner t h a t would s t r e n g t h e n — r a t h e r t han e r a s e — t h e i r i n d i v i d u a l -i t y . He i n s i s t e d t h a t t h e o n l y way f o r them t o do so was t o adapt 346 Wagne r ' s i n n o v a t i o n s t o m u s i c a l i d e a s wh ich were d i s t i n c t l y t h e i r own, and , at t h e same t i m e , t o u n d e r s t a n d what Wagner had l e a r n e d f r om e a r l i e r m a s t e r s . En un mot , . . . e t u d i e z l e s p r o c e d e s du g rand r e f o r m a -t e u r a l l e m a n d , p e n e t r e z - v o u s de son s y s t eme , a n a l y s e z ses i n n o v a t i o n s , ses d e c o u v e r t e s , ma i s remontez a l a s o u r c e a f i n de b i e n vous r e n d r e compte comment i l e s t a r r i v e au b u t . Sans c e l a vous m o n t r e r e z p l u s e n c o r e v o t r e i m p u i s s a n c e que v o t r e i n d e p e n d a n c e , e t vous ne s e r e z que de p a l e s i m i t a t e u r s d ' u n e fo rme et de f o r m u l e s dans l e s q u e l l e s se n o i e r a v o t r e i n d i v i d u a l i t e . Le s eu l m u s i c i e n qu i p u i s s e f a i r e de l a mus ique w a g n e r i e n n e , c ' e s t Wagner. Ne 1 ' o u b l i e z pa s .137 C r i t i c a l A n a l y s i s S i n c e R e y e r ' s dea th h i s s i g n i f i c a n c e as one o f Wagner ' s e a r l i e s t and most l o y a l F rench champions has r e c e i v e d s c a n t r e c o g n i t i o n , even i n h i s home land . Y e t , as was t h e c a s e w i t h B e r l i o z , R e y e r ' s e f f o r t s on b e h a l f o f Wagner were o f v i t a l i m p o r t a n c e i n e s t a b l i s h i n g h i s mus ic i n F r a n c e . R e y e r ' s e n t h u s i a s t i c r e v i e w of t h e Wiesbaden Tannhauser i n Sep tem-be r 1857 must s u r e l y have been i n s t r u m e n t a l i n l u r i n g Wagner back t o P a r i s t h e f o l l o w i n g J a n u a r y . Georges S e r v i e r e s t e l l s us t h a t t he d i r e c -t o r o f t h e Wiesbaden t h e a t r e , L e o p o l d Amat, s t a ged Tannhauser i n t h e hope t h a t i t would r e c e i v e c o n s i d e r a b l e a t t e n t i o n f r om t h e many F rench j o u r n a l i s t s who were v a c a t i o n i n g at t h e p o p u l a r spa .138 However, a c -c o r d i n g t o bo th S e r v i e r e s and Wagner ' s b i o g r a p h e r E r n e s t Newman, t h e d e s i r e d p u b l i c i t y came not f r om t h e v a c a t i o n e r s but r a t h e r f r om Reye r and G a u t i e r , who j o u r n e y e d f r o m P a r i s t o Wiesbaden e x p r e s s l y t o hea r Tannhau se r . Newman c i t e s t h e f e u i l l e t o n s p u b l i s h e d by t h e s e two 347 c r i t i c s , t hen o b s e r v e s : " I n December, Amat sounded Wagner on t h e q u e s t i o n o f b r i n g i n g about a p e r f o r m a n c e o f t h e work at t h e P a r i s O p e r a . " 1 3 9 j s -jt not p r o b a b l e t h a t t h e g l o w i n g r e v i e w s by Reyer and G a u t i e r had come t o A m a t ' s a t t e n t i o n and had l e d him t o suppose t h a t t h e c i t y wh i ch knew o n l y t h e Tannhause r o v e r t u r e would now be eager t o hear t h e e n t i r e work? Newman d e c l a r e s t h a t A m a t ' s p r o j e c t "was t he m a t t e r wh i ch made i t i m p e r a t i v e [ f o r Wagner] t o see w i t h o u t d e l a y t o t he p r o t e c t i o n o f h i s c o p y r i g h t i n F r a n c e " 1 4 0 - - h e n c e h i s j o u r n e y t o P a r i s i n J a n u a r y 1858. R e y e r ' s r e v i e w o f t h e Wiesbaden Tannhauser may a l s o have h e l p e d b r i n g about t h e second — and l o n g o v e r d u e — p e r f o r m a n c e o f t h e Tannhause r o v e r t u r e i n P a r i s t h a t same J a n u a r y . C o n s i d e r i n g t h e f a c t t h a t n o t h i n g f r o m Wagne r ' s works had been p r e s e n t e d i n t h e F r e n c h c a p i t a l s i n c e t h e p r e m i e r e o f t h i s o v e r t u r e i n 1850, i t seems h i g h l y u n l i k e l y t h a t any c o n d u c t o r wou ld have o f f e r e d a second p e r f o r m a n c e had Reyer and G a u t i e r not b r ough t back f a v o r a b l e r e p o r t s f r o m Wie sbaden . A lmo s t as s i g n i f i c a n t as R e y e r ' s f e u i 1 l e t o n on t h e Wiesbaden T a n n - h au se r was h i s r e v i e w o f t h e t h r i c e - g i v e n c o n c e r t wh i ch Wagner c o n d u c t e d a t P a r i s i n 1 8 6 0 — t h e c o n c e r t at wh i ch mus i c f r om Per f l i e g e n d e H o l - l a n d e r , T a n n h a u s e r , L o h e n g r i n , and T r i s t a n und I s o l d e was p r e s e n t e d t o a p u b l i c wh i ch had h i t h e r t o hea rd o n l y t h e Tannhauser o v e r t u r e . I f Reyer and a h a n d f u l o f o t h e r c r i t i c s had not sp rung t o Wagner ' s d e f e n c e a f t e r t h i s c o n c e r t , t h e s t r u g g l i n g composer m igh t have abandoned a l l hope o f s e e i n g any o f h i s works s t a g e d i n P a r i s . I n s t e a d , Wagner d e t e r m i n e d t o ge t Tannhauser p roduced at t h e O p e r a , becau se he knew t h a t t he F r e n c h 348 p u b l i c a s s o c i a t e d h i s name w i t h t h a t w o r k - - a c i r c u m s t a n c e wh i ch was s u r e l y due i n p a r t t o R e y e r ' s r e v i e w o f t h e Wiesbaden p e r f o r m a n c e . When t h e O p e r a ' s Tannh'auser f e l l w i t h a r e s o u n d i n g c r a s h i n 1861 , Reyer u n f o r t u n a t e l y had no o p p o r t u n i t y t o come to t h e c o m p o s e r ' s d e f e n c e i n p r i n t . However, when he t ook up h i s pen i n 1864 t o w r i t e S o u v e n i r s d ' A l l e m a g n e he r e p e a t e d l y reminded t h e F r ench o f t h e shamefu l r e c e p t i o n a c c o r d e d Wagne r ' s wo rk , and o p e n l y urged C a r v a l h o t o a t t empt a second Wagner ian p r o d u c t i o n i n P a r i s . 1 4 1 As f e u i l l e t o n i s t e f o r t h e Debats d u r i n g t h e l a t e 1860s , Reyer d i d e v e r y t h i n g i n h i s power t o advance Wag-n e r ' s c a u s e : he c o n s c i e n t i o u s l y r e v i e w e d P a s d e l o u p ' s o c c a s i o n a l p r e -s e n t a t i o n s o f e x c e r p t s f r om Wagne r ' s w o r k s , l a s h i n g out at " c eux qu i p r e t e n d e n t que M. Wagner e s t un f o u " ; 1 4 2 n e encou raged both C a r v a l h o and P e r r i n t o avenge t h e f a i l u r e o f Tannh 'auser by p r e m i e r i n g L o h e n g r i n ; and he v a l i a n t l y s u p p o r t e d P a s d e l o u p ' s e f f o r t t o g a i n a f o o t h o l d f o r Wagner i n t h e c a p i t a l w i t h R i e n z i . D u r i n g t h e 1870s Reyer rema ined one o f t h e few s t a u n c h a d m i r e r s o f t h e German compose r , i m p l o r i n g r e a d e r s not t o c o n f u s e a r t w i t h p o l i -t i c s . The v e r a c i t y o f h i s c o n v i c t i o n t h a t L o h e n g r i n was " l ' o e u v r e de R i c h a r d Wagner l a p l u s s ympath ique au g e n i e m u s i c a l e de n o t r e p a y s " l 4 3 was borne ou t by t h e f a c t t h a t e x c e r p t s and c o m p l e t e a c t s f r om t h i s o p e r a were f a v o r a b l y r e c e i v e d i n c o n c e r t s oone r t h a n were samples f r om Tannh 'auser and t h e mus i c d ramas . 144 The i m p o r t a n c e o f R e y e r ' s e f f o r t s on b e h a l f o f L o h e n g r i n can s c a r c e l y be o v e r e m p h a s i z e d , because t h e a c c e p t a n c e o f t h i s work was t h e key t h a t f i n a l l y reopened t h e doo r s o f t h e Opera t o Wagner. 349 " L a mus ique de l ' a v e n i r " and t h e mus i c o f t h e p a s t R e y e r ' s awareness o f t h e m u s i c a l backg round o f Wagner ' s a r t was f i r s t m a n i f e s t e d i n h i s r e a c t i o n t o t h e Wiesbaden p r o d u c t i o n o f Tann - h 'auser. He had e v i d e n t l y gone t o Wiesbaden ou t o f c u r i o s i t y , w a n t i n g t o hea r and t o j u d g e f o r h i m s e l f t h e c o n t r o v e r s i a l "mus ique de l ' a v e n i r . " We can imag ine how a s t o n i s h e d he f e l t as he l i s t e n e d t o a v o c a l s t y l e w h i c h - - i n i t s s i m p l i c i t y and d e c l a m a t o r y a m p ! i t u d e - - r e m i n d e d him o f G l u c k , and t o o r c h e s t r a t i o n i n t h e r i c h and c o l o r f u l t r a d i t i o n o f Weber and B e e t h o v e n . Can we blame him f o r i m p u l s i v e l y s u g g e s t i n g t h a t Wagner ' s s o - c a l l e d "mus ique de l ' a v e n i r " s h o u l d i n s t e a d be termed " l a mus ique du p a s s e " ? 1 4 5 When Reyer d e c l a r e d i n 1860 t h a t Wagner ' s " a d m i r a t i o n s e t c r o y -a n c e s " 1 4 6 were d i s c e r n i b l e i n h i s w r i t i n g s as w e l l as i n h i s m u s i c , t h e c r i t i c was mak ing a p o i n t t h a t needed t o be c a l l e d t o t h e a t t e n t i o n o f m i d - c e n t u r y P a r i s i a n s . He d e s e r v e s t o be app l auded not o n l y f o r mak ing t h i s p o i n t , bu t a l s o f o r h o l d i n g f a s t t o i t even d u r i n g t h e 1890s , when t h e c r e a t o r o f t h e mus i c drama was r e g a r d e d by many Frenchmen as t h e v i r t u a l i n v e n t o r o f m u s i c . 1 ^ 7 We s h a l l see t h a t Reyer was r e m a r k a b l y p e r c e p t i v e c o n c e r n i n g many o f t h e m u s i c a l f o r c e s t h a t had a f f e c t e d Wag-n e r ' s a r t . R e y e r ' s c o m p a r i s o n o f t h e o p e r a t i c i d e a l s e x p r e s s e d i n Wagner ' s e a r l y w r i t i n g s — a s summar ized i n L i s z t ' s e x c e l l e n t pamph le t " L o h e n g r i n " e t "Tannh ' au se r " de R. Wagne r—and t h o s e embodied i n G l u c k ' s d e d i c a t o r y p r e f a c e s , e f f e c t i v e l y h i g h l i g h t s t h e i r f undamen ta l k i n s h i p : bo th com-p o s e r s sought t o r e l i e v e t h e drama f r om t h e " t y r a n n y " o f m u s i c . R e y e r ' s e r r o r l a y i n r e g a r d i n g t h i s k i n s h i p as e v i d e n c e t h a t Wagner had based 350 h i s d o c t r i n e s on t h o s e o f G l u c k . I t i s t r u e t h a t bo th composers " d e n i e d t h e m u s i c o - d r a m a t i c i d e a l o f t h e i r t i m e , " 1 4 8 a n c j t h a t t h e i r d o c t r i n e s had i n common c e r t a i n t h e o r e t i c a l e x i g e n c i e s , such as t h e s hunn i n g o f v o c a l d i s p l a y f o r i t s own s a k e . However, t h e con sen su s among modern a u t h o r i t i e s i s t h a t , o f t h e d i v e r s e i n f l u e n c e s wh i ch shaped Wagne r ' s a e s t h e t i c , t h e c r u c i a l m u s i c a l i n f l u e n c e was no t G l u ck but B e e t h o v e n — e s p e c i a l l y t h e Beethoven o f t h e c h o r a l f i n a l e t o t h e N i n t h Symphony.149 Reyer was a b l e t o r e a d Wagner ' s t h e o r e t i c a l w r i t i n g s i n German, but avowed f r a n k l y t h a t he c o u l d not f o l l o w " c e d e d a l e de t h e o r i e s t o u j o u r s p l u s a b s t r a i t e s , resumees dans des o e u v r e s t o u j o u r s p l u s o b s c u r e s , a mesure q u ' e l l e s a t t e i g n e n t aux d e r n i e r e s l i m i t e s de ce s p i r i t u a l i s m e qu i echappe a 1 ' a p p r e c i a t i o n des s i m p l e s m o r t e l s . " 1 5 0 Reyer t h e r e f o r e t r e a t e d t h e s e t h e o r i e s — a s he r e a d i l y a d m i t t e d — " d ' u n e fagon som-m a i r e , " 1 5 1 n e v e r d i s c u s s i n g t h e who le c o n c e p t o f t h e mus i c drama w h i c h sought t o embrace a l l t h e a r t s i n one c o m p l e t e a r t work (da s Gesamt - k u n s t w e r k ) . W i t hou t at a l l e x c u s i n g h i m , we may u n d e r s t a n d how he was l e f t g e n u i n e l y b a f f l e d by Wagne r ' s t h e o r e t i c a l w r i t i n g s , wh i ch a re o f t e n so n e b u l o u s t h a t t h e r e a d e r must put f o r t h s u s t a i n e d e f f o r t t o p i c k o u t meaning i n t h e c l o u d o f wo rd s . We s h o u l d a l s o bear i n mind t h a t , as a c r i t i c w o r k i n g f o r a d a i l y newspaper , R e y e r ' s f i e l d o f a c t i v i t y was c o n -s i d e r a b l y c i r c u m s c r i b e d bo th by t h e l i m i t e d space a v a i l a b l e f o r h i s f e u i l l e t o n and by t h e l i m i t e d m u s i c a l knowledge o f t h e v a s t m a j o r i t y o f h i s r e a d e r s . He p r o b a b l y t h o u g h t t h a t t h e s e laymen would be no more i n t e r e s t e d i n Wagner ' s c o m p l i c a t e d t h e o r i e s t han i n " l e s d i e z e s e t l e s b e m o l s , " 1 5 2 w h i c h he c a r e f u l l y a v o i d e d . In any c a s e , he knew t h a t Wagner o f t e n went c o u n t e r t o h i s t h e o r i e s i n t h e a c t u a l compos ing o f h i s 351 m a t u r e w o r k s , * 5 3 and t h a t r e a d e r s who n e v e r t h e l e s s d e s i r e d t o u n d e r s t a n d t h e s e t h e o r i e s c o u l d t u r n t o any number o f books and a r t i c l e s on " l e s d o c t r i n e s s i s ouvent a n a l y s e s du maTt re de B a y r e u t h . " 1 5 4 We can s u r e l y u n d e r s t a n d how t h e s t y l e o f t h e v o c a l w r i t i n g i n T a n n h a u s e r - - a s t y l e wh i ch Reyer d e s c r i b e d i n 1857 as "une r e a c t i o n c o n t r e l e s a r i e t t e s , l e s f i o r i t u r e s et l e s agremens de mauva i s g 0 Q t " l 5 5 _ _ r e m - j n ( j e d t h e c r i t i c o f t h e i d e a l s p r eached by h i s b e l o v e d G l u c k . However, when he l a t e r d e c l a r e d t h a t Wagner had ab so rbed s o l e l y f r o m G luck " l a v e r i t e , l ' a m p l e u r de l a d e c l a m a t i o n l y r i q u e " 1 ^ n e o v e r -e s t i m a t e d t h e i n f l u e n c e o f t h e e i g h t e e n t h - c e n t u r y r e f o r m e r . Wagner was t h o r o u g h l y f a m i l i a r w i t h at l e a s t two o f G l u c k ' s " r e f o r m " o p e r a s and was an a d m i r e r o f t h e s t y l e o f l y r i c d e c l a m a t i o n i n t h e s e wo r k s , 15 ? but he a l s o a p p r e c i a t e d t h e d i r e c t n e s s o f d r a m a t i c speech i n works by o t h e r c ompo se r s , n o t a b l y t h e bass r e c i t a t i v e i n B e e t h o v e n ' s N i n t h Symphony.158 A l t h o u g h Reyer was m i s t a k e n i n t h i n k i n g t h a t G l u c k was t h e p o i n t o f d e p a r t u r e f o r Wagner ' s i d e a s on o p e r a t i c r e f o r m i n g e n e r a l and l y r i c d e c l a m a t i o n i n p a r t i c u l a r , he was r e m a r k a b l y a c c u r a t e i n h i s a s se s sment s o f Wagne r ' s p u r e l y m u s i c a l d e b t s t o h i s p r e d e c e s s o r s . R e y e r ' s d e s c r i p -t i o n s o f t h e s i m i l a r i t i e s between L o h e n g r i n and W e b e r ' s E u r y a n t h e a r e r a t h e r s u p e r f i c i a l , as a r e h i s comments on Wagner ' s m u s i c a l debt t o B e r -l i o z ; b u t , as we s h a l l s e e , t h e s e s h o r t c o m i n g s c o u l d s c a r c e l y have been a v o i d e d . The o n l y s i g n i f i c a n t f l a w s i n R e y e r ' s d i s c u s s i o n s o f Wagne r ' s o p e r a s f r om R i e n z i t o L o h e n g r i n a r e an o v e r e s t i m a t i o n o f t h e i n f l u e n c e o f Weber on R i e n z i and an unawareness o f how t h e t h r e e l a t e r o p e r a s were a f f e c t e d by a few m ino r works o f t h e b a s i c German o p e r a t i c r e p e r t o i r e o f 352 t h e e a r l y decades o f t h e c e n t u r y - - a r e p e r t o i r e w h i c h , as we o b s e r v e d i n C h a p t e r V I , was unknown t o t h e c r i t i c . R e y e r ' s a s ses sment o f t h e m u s i c a l i n f l u e n c e s on R i e n z i i s v a l i d i n t h a t he r e c o g n i z e d Meyerbeer and S p o n t i n i as t he most i m p o r t a n t a n c e s -t o r s o f t h i s work . The f a c t t h a t he e l a b o r a t e d more on t h e i n f l u e n c e o f t h e f o r m e r t h a n t h e l a t t e r i n d i c a t e s t h a t he t hough t t h e example o f Meye rbee r was t h e more p o t e n t o f t h e two . There i s no doubt t h a t Wagner t ook M e y e r b e e r ' s P a r i s o p e r a s as an encouragement t o succeed i n t he same manner, bu t we now know t h a t he m o d e l l e d R i e n z i more on S p o n t i n i t han on Meye rbee r . 159 The o n e g i a r i n g e r r o r i n R e y e r ' s d i s c u s s i o n o f t h e m u s i c a l a n c e s t r y o f R i e n z i i s t h e s t a t e m e n t t h a t t h i s work was s t r o n g l y i n f l u e n c e d by Weber.150 n seems t h a t R e y e r , h a v i n g read i n Wagne r ' s " L e t t r e s u r l a mu s i que " s e v e r a l avowa l s o f a d m i r a t i o n f o r t h e mus ic o f Weber, was eage r t o f i n d even i n R i e n z i e v i d e n c e o f t h e i n f l u e n c e o f a composer whom he h i m s e l f a d o r e d . We may r e c a l l t h a t R e y e r ' s comments on t h e m u s i c a l a n c e s t r y o f Pe r f l i e g e n d e H o l l a n d e r were u n c h a r a c t e r i s t i c a l l y vague , bo th when he heard i t a t Weimar d u r i n g h i s voyage m u s i c a l o f 1863 -64 , and when i t was p r e -m i e r e d at P a r i s i n 1897. H i s seeming u n c e r t a i n t y can be a t t r i b u t e d p a r t l y t o i g n o r a n c e o f two works wh ich had s e r v e d as examples f o r W a g n e r — n a m e l y , H e i n r i c h M a r s c h n e r ' s Per Vampyr (1828) and Hans H e i l i n g ( 1 8 3 3 ) — a n d p a r t l y t o t h e d imness o f h i s memory o f W e b e r ' s Obe ron , t h e o t h e r majo r i n f l u e n c e on Hoi 1 "ander. 161 One wonders what Reyer meant by t h e " p a r f u m c l a s s i q u e " 1 6 2 0 f O a l a n d ' s s e c o n d - a c t a r i a ; perhaps he wou ld have ag reed w i t h C a r l P a h l h a u s t h a t P a l a n d has a " b l u f f n a i v e t y b o r d e r -i n g on b u f f o ( l i k e Rocco i n F i d e l i o ) . " 1 5 3 R e y e r ' s o p i n i o n o f t he 353 Dutchman ' s a r i a i n A c t I i s somewhat b e t t e r , f o r he re he sensed " l e s o u f f l e de Weber . " 164 /\ l e a d i n g modern a u t h o r i t y on Weber, John W a r r a c k , e x p r e s s e s a s i m i l a r o p i n i o n but i s more s p e c i f i c : he f i n d s t h a t t h e Dutchman ' s a r i a - - p a r t i c u l a r l y t h e 6/8 s e c t i o n — i s i n c e r t a i n ways a n t i c i p a t e d by " F a t a l vow" i n O b e r o n . I 6 5 Had R e y e r ' s memory o f Oberon been v i v i d on t h e two o c c a s i o n s when he r e v i e w e d Hoi l a n d e r , he m i gh t have no ted " l e s o u f f l e de Weber" i n many o t h e r p a r t s o f t h i s o p e r a , b e c a u s e , as Warrack p o i n t s o u t , Wagner had l e a r n e d much f rom t h e r u s h i n g s i x t e e n t h - n o t e s and f u r i o u s t r e m o l o s o f W e b e r ' s s t o rm mus ic i n A c t 11.166 A l t h o u g h Reyer e v i d e n t l y f a i l e d t o see Ho iVande r i n h i s t o r i -c a l p e r s p e c t i v e as a Romant i c o p e r a i n t h e wake o f Weber and M a r s c h n e r , he at l e a s t a p p r e c i a t e d i t s s i g n i f i c a n c e and p o s i t i o n i n Wagne r ' s o u t p u t : when he heard i t at Weimar he sensed i n i t t he s t i r r i n g s o f g e n i u s , and when t h i s o p e r a was p r e m i e r e d a t P a r i s he q u i t e r i g h t l y p e r c e i v e d i t as a w a t e r s h e d i n Wagner ' s de ve l opmen t . 167 L i k e R e y e r ' s a s s e s smen t s o f t he m u s i c a l backg round s o f R i e n z i and Hoi l a n d e r , h i s d e s c r i p t i o n s o f t h e f o r m a t i v e i n f l u e n c e s on Tannhauser and L o h e n g r i n were not w i t h o u t f l a w s . S i n c e t h e s e two works r e p r e s e n t e d t h e h e i g h t o f German Romant i c o p e r a i n t h e t r a d i t i o n o f Weber and M a r s c h n e r , R e y e r ' s e v a l u a t i o n s i n e v i t a b l y s u f f e r e d f r om h i s i g n o r a n c e o f t h e o p e r a s o f M a r s c h n e r — i n t h i s c a s e , bo th Hans H e i l i n g and Per Tempier und d i e J u d i n ( 1829 ) . 168 However, t h i s l a c u n a i n R e y e r ' s knowledge was not as s e r i o u s a h a n d i c a p he re as i t was i n t h e ca se o f Ho11ander , b e c a u s e Tannhauser and e s p e c i a l l y L o h e n g r i n were a f f e c t e d not so much by M a r s c h n e r as by R e y e r ' s b e l o v e d Weber. 354 A n o t h e r f l a w i n R e y e r ' s d e s c r i p t i o n s o f t h e m u s i c a l l i n e a g e o f Tannh 'auser and L o h e n g r i n was t h a t he d i d not acknowledge t h e i n f l u e n c e o f F r ench g rand o p e r a . We s h o u l d not be t o o c r i t i c a l o f such an o v e r -s i g h t as r e g a r d s L o h e n g r i n , because t h i s w o r k — w h i c h Wagner s u b t i t l e d r o m a n t i s c h e O p e r — b e l o n g s f i r m l y t o t h e t r a d i t i o n o f German Romant i c o p e r a . I t does have some o f t h e c o n v e n t i o n a l s p e c t a c l e s o f g rand o p e r a , but t h e s e neve r d i s a p p e a r e d e n t i r e l y f r om Wagne r ' s m u s i c . Tannh 'auser , on t h e o t h e r hand , i s a s y n t h e s i s o f g rand o p e r a and German Romant i c o p e r a . Donald G rou t a p t l y c h a r a c t e r i z e s i t as " a b r i l l i a n t a d a p t a t i o n o f t h e s u b s t a n c e o f t h e German Romant i c l i b r e t t o t o t h e f ramework o f g rand opera,"•-•69 w h i l e o t h e r s c h o l a r s p o i n t ou t t h a t s e t - p i e c e s l i k e t h e P i l g r i m s ' Chorus and E l i s a b e t h ' s P r a y e r , as w e l l as d e v i c e s such as t h e hunt mus i c and t h e grand ma r ch , were a lmos t c u s t o m a r y i n g rand o p e r a . 1 7 0 Why, t h e n , d i d Reyer not c a l l a t t e n t i o n t o t h e s e and o t h e r f e a t u r e s o f Tannh 'auser as b e i n g s t r o n g l i n k s t o t h e g r a n d - o p e r a t r a d i t i o n ? L e t us c o n s i d e r t h e Wiesbaden p r o d u c t i o n , wh i ch a c q u a i n t e d Reyer w i t h Tannh 'auser i n 1857. The Wiesbaden t h e a t r e was a s m a l l d u c a l t h e -a t r e i n a r e s o r t t o w n ; t o R e y e r — a c c u s t o m e d t o t h e v a s t Opera i n P a r i s — i t would have appeared v e r y s m a l l i n d e e d . The Wiesbaden t h e a t r e would a l s o have seemed d i m i n u t i v e as r e g a r d s m u s i c a l p e r s o n n e l : Reyer r e -marked t h a t t h e o r c h e s t r a was "peu nombreux , "171 a n c j w e c a n assume t h a t t h e c h o r u s was p r o p o r t i o n a t e l y modest i n s i z e . As f o r t h e mus i c i t s e l f , Reyer f ound t h e s i m p l i c i t y o f most o f t h e v o c a l l i n e s so d i f f e r e n t f rom t h e o p e r a t i c o p u l e n c e t o wh i ch he was accus tomed t h a t , as we have s e e n , t h i s s i m p l i c i t y a l o n e would have prompted him t o app l aud "de s deux m a i n s . " 1 7 2 y e s h o u l d no te one o t h e r v e r y i m p o r t a n t p o i n t : t h e 355 Wiesbaden t h e a t r e p r e s e n t e d t h e ( s econd ) Dresden v e r s i o n o f Wagner ' s o p e r a , i n wh i ch t h e " B a c c h a n a l e " at t h e b e g i n n i n g o f t h e Venusberg s cene was a pantomime r a t h e r t h a n t h e l u x u r i o u s l a r g e - s c a l e b a l l e t wh ich Wagner l a t e r p r o v i d e d f o r t h e P a r i s v e r s i o n . These d i v e r s e f a c t o r s wou ld s u r e l y have made t h e Wiesbaden p r o d u c t i o n o f Tannhauser bo th l o o k and sound r e s t r a i n e d i n c o m p a r i s o n w i t h t h e grand o p e r a s f a m i l i a r t o R e y e r . W h i l e we can u n d e r s t a n d t h e absence o f any r e f e r e n c e t o g rand o p e r a i n R e y e r ' s f e u i l l e t o n on t h e Wiesbaden T a n n h a u s e r , we must q u e s t i o n t h e same l a c u n a i n h i s r e v i e w o f t h e P a r i s v e r s i o n , wh i ch he f i n a l l y had t h e o p p o r t u n i t y t o d i s c u s s when t h e work was r e v i v e d at t h e Opera i n 1895. At t h e t i m e o f t h e r e v i v a l he must have known t h a t Tannhauser was i n many ways r e m i n i s c e n t o f g rand o p e r a , f o r he had seen t h e P a r i s v e r s i o n when i t was p r e m i e r e d i n 1861 and had s i n c e s t u d i e d t h e s c o r e . I 7 3 How-e v e r , by 1895 bo th L o h e n g r i n and D ie Wa l k l i r e had t r i u m p h e d at t he O p e r a , and " l e s wagne r i en s p r o f e s s i o n e l s " l 7 4 - - o n e o f R e y e r ' s many e x p r e s s i o n s f o r t h e c o m p o s e r ' s f a n a t i c a l a d m i r e r s - - w e r e i n s i s t i n g t h a t Tannhauser was pa s se and t h e r e f o r e unwor thy o f t h e i r i d o l . W h i l e Reyer a d m i t t e d t h a t " c e s cadence s v i e i l l o t t e s e t . . . c e s p o i n t s d ' o r g u e mis p r e c i s e -ment ou l e c h a n t e u r aime a se r e p o s e r " would be r a t h e r s u r p r i s i n g t o l i s t e n e r s who were s t i l l under t h e s p e l l o f L o h e n g r i n and D i e W a l k l i r e , he m a i n t a i n e d t h a t s ' i l [ T a n n h a u s e r ] nous a r r i v a i t a u j o u r d ' h u i , s i g n e d ' u n a u t r e nom que c e l u i de R i c h a r d Wagner, on c r i e r a i t au m i r a c l e . . . . pour moi comme pour beaucoup d ' a u t r e s , l e s o e u v r e s s ub sequen te s du m a T t r e , t o u t en e t a n t , s i l ' o n v e u t , des c o n c e p t i o n s p l u s g r a n d i o s e s , dans une fo rme p l u s a b s t r a i t e , ont l a i s s e l e c h e f - d ' o e u v r e debout 356 e t n ' e n on t p o i n t f a i t p a l i r n i l e s g r a c e s e x q u i s e s n i l e s s u b l i m e s b e a u t e s . 1 7 6 A l l o f t h i s s u g g e s t s t h a t i n 1895 Reyer d e l i b e r a t e l y r e f r a i n e d f rom p o i n t i n g out t h e l i n k s between Tannh 'auser and t h e g r a n d - o p e r a t r a d i t i o n , becau se he d i d not want t o f u e l t he arguments o f Wagner e n t h u s i a s t s who found t h i s e a r l y work an emba r r a s smen t . R e y e r ' s p e r c e p t i o n s o f " l e s o u v e n i r de W e b e r " ! 7 6 i n Tannh 'auser were v e r y a s t u t e . We can u n d e r s t a n d why he sensed Weber i n E l i s a b e t h ' s a r i a , w h i c h , i n i t s j o y f u l a n t i c i p a t i o n o f Tannh ' au se r ' s r e t u r n , i s ana logous t o A g a t h e ' s a r i a o f r a p t u r o u s a n t i c i p a t i o n at t he s i g h t o f t h e r e t u r n i n g Max. And , l i k e R e y e r , we can s c e n t Weber i n t he l o v e duet i n wh i ch E l i s a b e t h and Tannh 'auser a re f e r v e n t l y r e u n i t e d : t h i s o u t p o u r i n g i s e m o t i o n a l l y a k i n t o a duet i n wh i ch a n o t h e r v i r t u o u s h e r o i n e and her k n i g h t — E u r y a n t h e and Ado l a r - - r e a f f i rm t h e i r l o v e . ( I t i s i n t e r e s t i n g t o n o t e t h a t each o f t h e s e d u e t s and a r i a s o c c u r s i n t h e second a c t . ) We can s ugge s t t h a t t h e ha rmon ie s o f t h e g rand march r em inded Reyer o f Weber because o f t h e i r d i a t o n i c i s m ; i n d e e d , we can a p p l y t o many pages o f Tannh 'auser John W a r r a c k ' s o b s e r v a t i o n apropos o f Webe r ' s d i a t o n i c i s m i n much o f E u r y a n t h e : "The v i v i d n e s s o f h i s i n v e n t i o n even i n t h e s i m p l e s t , most d i a t o n i c mus i c . . . g i v e s a l l t he c h o r u s e s , d a n c e s , and marches . . . a n a t u r a l c o l o r and s h a r p n e s s . " ! 7 7 As Reyer i n d i c a t e d , Webe r ' s o r c h e s t r a t i o n s t r o n g l y a f f e c t e d t h a t o f Wagner. A l t h o u g h t h e l a t t e r gave t h e Romant i c o r c h e s t r a " a new smooth -nes s and r i c h n e s s o f b l e n d , " he n e v e r t h e l e s s admi red and was i n f l u e n c e d by W e b e r ' s " i n d i v i d u a l i z a t i o n , even p e r s o n a l i z a t i o n , o f t he i n s t r u -m e n t s , " ! 7 8 as can o f t e n be seen i n Tannh 'auser and L o h e n g r i n , as w e l l as 357 i n t h e mus i c d ramas .179 The a n a l o g i e s between E u r y a n t h e and L o h e n g r i n as r e g a r d s bo th p l o t and c h a r a c t e r s a r e so o b v i o u s t h a t t h e y a r e r o u t i n e l y c i t e d i n modern books on o p e r a - - a f a c t wh i ch s h o u l d o n l y h e i g h t e n ou r a d m i r a t i o n o f Reyer f o r h a v i n g noted them decades b e f o r e L o h e n g r i n became known i n P a r i s . In o r d e r t o i l l u s t r a t e t h e m u s i c a l s i m i l a r i t i e s between t he two o p e r a s he had t o choose an example w h i c h c o u l d be a p p r e c i a t e d by r e a d e r s who had l i t t l e o r no m u s i c a l e d u c a t i o n , and we must say t h a t h i s c h o i c e c o u l d not have been b e t t e r : t h e g r i m o a t h sworn by O r t r u d and F r e d e r i c k r e f l e c t s " i n a l m o s t l i t e r a l d e t a i l o f i n v e n t i o n " ! 8 0 t h e one t a k e n by t h e i r c o u n t e r p a r t s i n W e b e r ' s o p e r a . Reyer o b v i o u s l y knew b o t h E u r y a n t h e and L o h e n g r i n e x t r e m e l y w e l l , and we can t h e r e f o r e s p e c u l a t e t h a t he would have e l a b o r a t e d on t h e i r m u s i c a l r app rochement i f he had been w r i t i n g f o r a mus i c j o u r n a l or a s p e c i a l i z e d r e v i e w r a t h e r than a d a i l y newspaper . Such a h y p o t h e s i s i s s t r e n g t h e n e d by t h e f o l l o w i n g pas sage f r om t h e l e t t e r - a r t i c l e w i t h wh i ch he r e sponded t o J u d i t h Mende s ' s a r t i c l e i n La P r e s s e i n t he autumn o f 1868. Here Reyer h i n t e d t h a t he p e r c e i v e d i n t h e mus i c o f E u r y a n t h e f o r e s h a d o w i n g s o f L o h e n g r i n w h i c h were f a r more s u b t l e than t he one he had c i t e d f o r r e a d e r s o f h i s f e u i l l e t o n i n t h e D e b a t s : L o r s que vous avez l u l a p a r t i t i o n de L o h e n g r i n , madame, n ' a v e z - v o u s pas s onge , comme m o i , a E u r y a n t h e ? Et dans c e t t e g rande o e u v r e [ de Weber] . . . n ' a v e z - v o u s pas t r o u v e , sans p a r l e r de q u e l q u e s r e m i n i s c e n c e s m e l o -d i q u e s , l e s p r e m i e r s e s s a i s de ce s fo rmes n o u v e l l e s qu i son t un peu c e t t e absence de fo rme dont vous f a i t e s honneur a R i c h a r d Wagner, e t ce s r a p p e l s de ph r a s e s c a r a c t e r i s t i q u e s dont i l s ' e s t s e r v i a son t o u r , en l e u r donnant s eu lement p l u s de deve loppement e t p l u s d ' i m p o r -t a n c e dans T a c t i o n d r a m a t i q u e ? . . . [ s i c ] l 8 l 358 A n o t h e r h i g h l y s i g n i f i c a n t i d e a wh i ch Reyer might have expanded i s t h a t Wagner owed much t o t h e c o n c e r t works o f B e r l i o z . As we o b s e r v e d on page 337 , an e x c e r p t f r om one o f R e y e r ' s f e u i l l e t o n s s u g g e s t s t h a t he d e l i b e r a t e l y d i d not d i s c u s s Wagner ' s deb t t o B e r l i o z f o r f e a r o f e n -c o u r a g i n g f a n a t i c i s m bo th p ro and con Wagner. The same e x c e r p t a l s o s u g g e s t s — b y t h e g e n e r a l n a t u r e o f t h e p a r a l l e l s drawn between t he two c o m p o s e r s — t h a t , i n R e y e r ' s o p i n i o n , B e r l i o z ' s i n f l u e n c e on Wagner was so p e r v a s i v e and s u b t l e t h a t i t was l a r g e l y beyond t h e g r a sp o f h i s r e a d e r s . H i s t h o r ough f a m i l i a r i t y w i t h t h e works o f both composers must have made him aware o f t h e p a r a d o x i c a l f a c t t h a t , a p a r t f r om a few o b v i -ous r e m i n i s c e n c e s such as t h e two he o f t e n c i t e d , 1 8 2 Wagner and B e r l i o z "do not sound a l i k e , even though Wagner ' s o r c h e s t r a t i o n , m e l o d y , and a tmosphere draw h e a v i l y on B e r l i o z ' [ s ] . " 183 - j n w e c a n h a r d l y b lame Reyer f o r b e i n g r e l u c t a n t t o pu r sue t h e c o n n e c t i o n between t h e two c o m p o s e r s . L o o k i n g back o v e r R e y e r ' s w r i t i n g s on t he m u s i c a l l i n k s t o t he p a s t t h a t are d i s c e r n i b l e i n Wagner ' s f i r s t f o u r major o p e r a s , we can see t h a t t h e f l a w s i n h i s a s se s sment s a re f a r o u twe i ghed by h i s a c c u r a t e judgment s and r e m a r k a b l e i n s i g h t s . U n l i k e t h e many c o n t e m p o r a r y c r i t i c s who a t t a c k e d R i e n z i as an embodiment o f " l e s d o c t r i n e s s u b v e r s i v e s du m u s i c i e n a l l e m a n d , " 1 8 4 Reyer c o r r e c t l y p e r c e i v e d t h i s work as b e l o n g i n g e s s e n t i a l l y t o t h e t r a d i t i o n o f t h e F r ench g rand o p e r a o f Meyerbeer and S p o n t i n i . H i s i g n o r a n c e o f Ma r s chne r and o t h e r t a l e n t e d but minor com-p o s e r s o f e a r l y n i n e t e e n t h - c e n t u r y German o p e r a was a h a n d i c a p i n h i s a s s e s s i n g o f t h e m u s i c a l backg round s o f H o l l a n d e r , Tannh 'auser , and L o h e n g r i n ; however , t h i s h a n d i c a p d i d not l e a d t o s i g n i f i c a n t o v e r s i g h t s 359 e x c e p t i n t h e c a s e o f H o l l a n d e r . I f we must c r i t i c i z e Reyer f o r f a i l i n g t o d i s c u s s t h e i n f l u e n c e o f F rench g rand o p e r a on Tannhau se r , we must app l aud h i s a s t u t e judgment s c o n c e r n i n g t h e Weber ian e l e m e n t s i n t h i s work , and e s p e c i a l l y h i s r e a l i z a t i o n t h a t t h e r e were many s i m i l a r i t i e s between W e b e r ' s t h e n s c a r c e l y known E u r y a n t h e and Wagne r ' s L o h e n g r i n . Most r e m a r k a b l e o f a l l i s h i s e v i d e n t awareness o f t he f u l l e x t e n t o f Wagne r ' s m u s i c a l deb t t o B e r l i o z - - a deb t wh i ch was not w i d e l y r e c o g n i z e d f o r a n o t h e r h a l f - c e n t u r y . " L e vacarme i n f e r n a l " R e y e r ' s f e u i 1 l e t o n on t h e Wiesbaden Tannhauser was p r a i s e d by Georges S e r v i e r e s as b e i n g s u p e r i o r t o any o f t h e r e v i e w s o f t h e P a r i -s i a n p r e m i e r e , because " 1 ' a n a l y s e q u ' i l donne . . . e s t p l u s c o m p l e t e , p l u s s e r i e u s e e t p l u s e x a c t e , son a p p r e c i a t i o n e s t a u s s i p l u s sensee e t p l u s j u d i c i e u s e . " 1 8 6 S e r v i e r e s was p a r t i c u l a r l y i m p r e s s e d by t he " r a r e bonne f o i " l 8 7 o f R e y e r ' s d e n i a l o f t h e c h a r g e t h a t Wagner o v e r - u s e d t h e b r a s s and p e r c u s s i o n i n t h i s o p e r a . L i k e S e r v i e r e s , we can ag ree w i t h R e y e r ' s comment on Wagne r ' s j u d i c i o u s use o f p e r c u s s i o n i n g e n e r a l and t h e bas s drum i n p a r t i c u l a r . We must however q u e s t i o n R e y e r ' s p o s i t i o n c o n c e r n i n g t h e b r a s s , b e c a u s e , as Pau l Bekke r o b s e r v e s , " T a n n h a u s e r , w i t h i t s d o m i n a t i n g horn and t rombone s o n o r i t i e s , p r oduce s at f i r s t h e a r i n g t h e i m p r e s s i o n o f an o v e r w h e l m i n g b r a s s g r o u p . " 1 8 8 The p r o b a b l e r e a s o n why Reyer d i d not r e c e i v e such an i m p r e s s i o n i s t h a t i n t h e 1850 s , as no ted i n C h a p t e r V I , he was accus tomed t o F r e n c h ope ra s i n wh i ch both b r a s s and p e r c u s s i o n were so e x t e n s i v e l y u s e d . In c o m p a r i s o n w i t h such w o r k s , Wagne r ' s dep loyment o f t h e b r a s s — e v e n h i s M e y e r b e e r i a n 360 use o f t rombones i n t h e P i l g r i m s ' C h o r u s — w o u l d not have seemed o b j e c -t i o n a b l e . We must a l s o remember t h a t t h e Wiesbaden o r c h e s t r a was, i n R e y e r ' s wo rd s , " peu nombreux , " 189 a n c | t h e r e f o r e may not have had as l a r g e a b r a s s s e c t i o n as t h e one r e q u i r e d by Wagner. There was no such d e f i c i e n c y i n t h e o r c h e s t r a o f t h e T h e a t r e -L y r i q u e , where Reyer f i r s t hea rd R i e n z i when P a s d e l o u p c o n d u c t e d t h e P a r i s i a n p r e m i e r e i n 1869.190 Reyer f o u n d — n o t s u r p r i s i n g l y — t h a t t h e b r a s s f a n f a r e s and t h e t rombones sounded t o o p r o m i n e n t , but he s p e c u -l a t e d t h a t " c e t i n c o n v e n i e n t d i s p a r a T t r a i t ou p a s s e r a i t i n a p e r g u " l 9 l i n a t h e a t r e t h e s i z e o f t h e O p e r a , f o r w h i c h , he p o i n t e d o u t , Wagner had d e s t i n e d R i e n z i .192 R e y e r ' s s p e c u l a t i o n may have been m o t i v a t e d by an e age rne s s t o de f end a work t h a t , i n h i s o p i n i o n , was b e i n g u n f a i r l y c r i t i c i z e d i n t h e P a r i s i a n p r e s s . Time has p roved him wrong : even i n l a r g e o p e r a h o u s e s , t h e b r a s s sounds e x c e s s i v e . A p a r t f r om t h i s one m i s c a l c u l a t i o n , however , R e y e r ' s d e f e n c e i s v e r y p e r c e p t i v e . P a r t i c u l a r l y commendable i s h i s i n s i s t e n c e t h a t t h e l u x u r i a n t s o n o r i t i e s o f t h e Wagner ian o r c h e s t r a i n R i e n z i and i n t h e l a t e r works s h o u l d not be m i s t a k e n f o r mere n o i s i n e s s . 1 9 3 Wagner ' s d e s i g n f o r t h e sunken o r c h e s t r a p i t at B a y r e u t h — w i t h t h e b r a s s and p e r c u s s i o n f a r t h e s t under t h e s t a g e — w o u l d p r o v e c o n c l u s i v e l y t h a t t h i s composer was more i n t e r e s t e d i n s o n o r i t y t h a n i n vo l ume. R e y e r ' s d e f e n c e o f Wagner ' s l a r g e - s c a l e v o c a l e n s e m b l e s , l i k e t h a t o f h i s o r c h e s t r a t i o n , v i v i d l y d e m o n s t r a t e s a d e t e r m i n a t i o n t o shun c o n -t e m p o r a r y p r e j u d i c e : as Reyer o b s e r v e d , " R i c h a r d Wagner e x c e l l e a f a i r e m o u v o i r l e s masses [ c h o r a l e s ] . " 1 9 4 We may or may not agree w i t h R e y e r ' s s t a t e m e n t t h a t , i n t h e c h o r u s e s o f R i e n z i , t h e composer " s a i t donner un 361 c a r a c t e r e p a r t i c u l i e r a chacune des p a r t i e s qu i c o n c o u r e n t a l ' e f f e t de 1 ' e n s e m b l e . " l y 5 We can however s h a r e t h e c r i t i c ' s a d m i r a t i o n f o r t h e c h o r a l w r i t i n g i n Tannhause r and e s p e c i a l l y f o r t h e superb use o f massed v o i c e s bo th i n L o h e n g r i n and i n t h e r i c h l y c o n t r a p u n t a l D i e M e i s t e r - s i n g e r . 1 9 6 We canno t f i n d f a u l t w i t h R e y e r ' s comments on t h e b a l a n c e between t h e v o i c e and t h e o r c h e s t r a i n t h e mus i c d ramas . As he i n d i c a t e d , t he dynamic w e i g h t o f t h e b r a s s i s o c c a s i o n a l l y out o f p r o p o r t i o n t o t h e i m p o r t a n c e o f t h e o t h e r i n s t r u m e n t a l c o l o r s , bu t t h e o r c h e s t r a l s o n o r i t y neve r o ve rpower s t h e v o i c e . The p u b l i c ' s c o m p l a i n t s were perhaps due not o n l y t o what Reyer r e g a r d e d as t h e i r i n i t i a l i n a b i l i t y t o a p p r e c i a t e Wagner ' s o r c h e s t r a l p o l y p h o n y , but a l s o t o t he f a c t t h a t , as G e r a l d Abraham p o i n t s o u t , " m u s i c c a l c u l a t e d f o r a sunken o r c h e s t r a l p i t was b e i n g p l a y e d i n o r d i n a r y o p e r a houses . . . The l o u d e s t f o r t i s s i m o at B a y r e u t h d i d not drown t h e v o i c e . " 1 9 7 " L a n e g a t i o n de l a m e l o d i e " R e y e r ' s a t t e m p t s t o v i n d i c a t e Wagner o f t h e c h a r g e t h a t he was an enemy o f melody a r e d i s t i n g u i s h e d by t h e same q u a l i t i e s o f f a i r m i n d e d -ness and p e r c e p t i v e n e s s t h a t c h a r a c t e r i z e h i s answers t o t h e c o m p l a i n t : " T r o p de b r u i t . " H i s e a r l y r e v i e w o f Tannhauser shows him s t r u g g l i n g t o r e f u t e F e t i s ' s a c c u s a t i o n t h a t Wagner l a c k e d m e l o d i c " i d e a s " by g i v i n g h i s own i m p r e s s i o n o f t h i s c o m p o s e r ' s v o c a l w r i t i n g — an i m p r e s s i o n wh i ch be speak s i n s t i n c t i v e u n d e r s t a n d i n g o f Wagne r ' s m e l o d i c l a n g u a g e . In h i s r e v i e w o f t h e t h r i c e - g i v e n c o n c e r t at t h e T h e a t r e - I t a l i e n i n 1860, we see Reyer t a k i n g a b o l d s t e p f o r w a r d : he names Wagner i n t h e same 362 b r e a t h w i t h B e e t h o v e n , Weber, and G l u c k , t h r e e m a s t e r s whose contempo-r a r i e s had l i k e w i s e d e c r i e d t h e i r mus ic as " u n m e l o d i c . " R e y e r ' s a b i l i t y t o a p p r e c i a t e " l a m e l o d i e de M. R i c h a r d W a g n e r " l y 8 seems a l l t h e more r e m a r k a b l e when we remember t h a t t h e c o n c e r t program i n c l u d e d t h e T r i s t a n p r e l u d e , wh i ch B e r l i o z d e s c r i b e d as b e i n g " s a n s a u t r e theme q u ' u n e s o r t e de gemissement c h r o m a t i q u e . . . r e m p l i d ' a c c o r d s d i s s o n a n s dont de l o ngue s a p p o g g i a t u r e s r emp l agan t l a no te r e e l l e de l ' h a r m o n i e augmentent e n c o r e l a c r u a u t e . " l y y In t h e r e v i e w o f t h e 1860 c o n c e r t and i n l a t e r w r i t i n g s , Reyer s t r e n g t h e n e d h i s d e f e n c e o f Wagner t h e m e l o d i s t by p o i n t i n g out t h a t t h e v o c a l l i n e i s not a lways j u s t a n o t h e r s t r a n d i n a p o l y p h o n i c f a b r i c . The examples he chose t o c i t e f r o m Tannh 'auser and R i e n z i a re c o n v e n -t i o n a l numbers whose s e n t i m e n t a l i t y would have appea l ed i r r e s i s t i b l y t o m i d - c e n t u r y P a r i s i a n s , a l t h o u g h t o ou r e a r s such numbers sound " o l d f a s h i o n e d , " as E r n e s t Newman says o f W o l f r a m ' s song t o t h e E v e n i n g S t a r . 2 0 0 fv|a r iy 0 f t h e examp le s Reyer s e l e c t e d f r om L o h e n g r i n and t h e mus i c dramas a re o f g r e a t e r i n t e r e s t t o u s , not j u s t f o r t h e i r own sake but becau se t h e y d e m o n s t r a t e h i s s e n s i t i v i t y t o t h e l y r i c a l moments i n Wagner ian r o l e s - - m o m e n t s wh i ch a re cemented i n t o a c o n t i n u o u s whole by t h e Sp rechge sang and by t h e symphon ic t e x t u r e o f t h e o r c h e s t r a . Of t h e two l a t e works wh ich Reyer f ound p a r t i c u l a r l y m e l o d i o u s , o n e - - D i e M e i s t e r s i n g e r - - i s o f t e n h a i l e d f o r i t s d e l i g h t f u l a r i a s , e n s e m b l e s , c h o r u s e s , and massed f i n a l e s ; i t i s , i n t he words o f P a u l Henry L a n g , " f u l l o f s ong . " 201 The o t h e r work s i n g l e d out by R e y e r - -S i e g f r i e d - - i s somet imes c r i t i c i z e d because o f t he l e n g t h o f c e r t a i n m u s i c a l d i a l o g u e s . 2 0 2 we s h o u l d no te t h a t R e y e r , t o o , v o i c e d such a 363 c r i t i c i s m . 2 0 3 However, he e v i d e n t l y f e l t t h a t t h e l o ng d i a l o g u e s were more t h a n compensated by t h e m a g n i f i c e n t r o l e o f t h e hero and by " l e s pages c a p i t a l e s de 1 ' o u v r a g e , 1 ' 2 0 4 i n c l u d i n g t h e superb n a t u r e scenes and t h e scene o f B r u n n h i l d e ' s a w a k e n i n g . S u r e l y we canno t f i n d f a u l t w i t h such a j udgmen t . R e y e r ' s r e a s o n s f o r r e g a r d i n g Wagner as a " g r a n d r e f o r m a t e u r " The a p p r a i s i n g o f Wagner ' s t r u e s i g n i f i c a n c e i n t h e h i s t o r y o f o p e r a was a d i f f i c u l t p r o p o s i t i o n f o r R e y e r , becau se t h e German composer was s u r r ounded by l e g e n d s , m i s c o n c e p t i o n s , p r opaganda , and c o u n t e r p r o p a -ganda . From our v an tage p o i n t i n t h e t w e n t i e t h c e n t u r y we can see t h a t Reyer s h o u l d not have r e g a r d e d Wagner as a s p i r i t u a l de s cendan t o f G l u c k , f o r Wagne r ' s r e f o r m was i n c o m p a r a b l y more f a r - r e a c h i n g i n both aim and e f f e c t t h a n was G l u c k ' s . 2 0 ^ We must remember, however , t h a t t h e two composers had i n common t h e t h e o r y t h a t o p e r a i s p r o p e r l y a m u s i c a l f o r m o f d rama, and t h a t Wagner was i n d i s p u t a b l y t he g r e a t e s t r e f o r m e r i n t h e h i s t o r y o f o p e r a s i n c e t h e t i m e o f G l u c k . T h e r e f o r e , R e y e r ' s p r o -nouncement t h a t Wagner was " [ u n ] g rand r e f o r m a t e u r , comme G luck et ap re s G l u c k " 2 ° 6 i s more a p p r o p r i a t e t h a n i t m ight seem at f i r s t g l a n c e . I f we must r e g r e t t h a t Reyer neve r e l u c i d a t e d f o r h i s r e a d e r s t h e t h e o r y o f t h e Gesamtkuns twerk we must app l aud him f o r t r y i n g t o f o s t e r an u n d e r s t a n d i n g o f Wagne r ' s p r a c t i c e by d i s c u s s i n g t h e i n n o v a t i o n s w h i c h were p r o b a b l y most b a f f l i n g t o h i s r e a d e r s : t h e g r a d u a l abandon-ment o f s e t f o r m s , and t h e deve lopment o f t h e l e i t m o t i f t e c h n i q u e . We must a l s o admire h i s v e r y p e r c e p t i v e a s ses sment o f t h e net r e s u l t i n t h e mus i c d ramas . Here we do i n d e e d f i n d a " p r e d o m i n a n c e a l t e r n e e de l a 364 v o i x e t de 1 ' o r c h e s t r e , " 2 0 7 inasmuch as t h e " m e l o d y , " as Wagner u n d e r -s t o o d t h e t e r m , i s fo rmed by t h e merg i ng o f t he v o c a l d e c l a m a t i o n w i t h t h e o r c h e s t r a l w r i t i n g , so t h a t t h e m e l o d i c i n t e r e s t c e n t e r s somet imes i n t h e v o c a l p h r a s e s and somet imes i n t h e symphonic web o f l e i t -m o t i f s . 208 T n e weaken ing and e v e n t u a l d i s s o l v i n g o f t h e se t f o r m s , t o g e t h e r w i t h t h e deve lopment o f t h e l e i t m o t i f t e c h n i q u e , had t r a n s -f e r r e d more and more o f t h e burden o f e x p r e s s i o n f r om t h e v o i c e t o t he o r c h e s t r a , u n t i l f i n a l l y t h e two had become e q u a l l y i m p o r t a n t f o r t h e r e a l i z a t i o n o f t h e drama. The c u l m i n a t i o n o f Wagne r ' s r e f o r m S i n c e Wagner h i m s e l f had d e s c r i b e d T r i s t a n as t h e f i n e s t e x e m p l i f i -c a t i o n o f h i s t h e o r i e s , 2 0 9 i t i s not s u r p r i s i n g t h a t Reyer echoed t h i s pronouncement when Lamoureux i n t r o d u c e d A c t I t o t h e P a r i s i a n p u b l i c i n March 1884. Reyer had l o n g been s t u d y i n g t h e s c o r e , 2 1 0 and was t h e r e -f o r e a b l e t o e x p l a i n t o h i s r e a d e r s t h a t T r i s t a n i s t h e supreme example o f Wagner ' s r e n u n c i a t i o n o f t h e f o r m a l c o n v e n t i o n s o f t h e "number o p e r a . " We s h o u l d add t h a t Reyer was f a s c i n a t e d by t h e o r c h e s t r a l w r i t -i n g i n T r i s t a n ; 2 1 1 had he been a l i s t e n e r - s p e c t a t o r at a p r o d u c t i o n , he wou ld p r o b a b l y have p e r c e i v e d t h i s work as t h e consummat ion o f not o n l y Wagner ' s p r e c e p t s c o n c e r n i n g o p e r a t i c f o r m , but a l s o h i s t h e o r y t h a t t h e i n n e r a s p e c t o f a drama must be t h e p r o v i n c e o f t h e o r c h e s t r a . As E r n e s t Newman p o i n t s o u t , t h e i m p o r t a n c e o f t he o r c h e s t r a i n T r i s t a n a c c o u n t s f o r t h e f r e q u e n t l a c k o f a c t i o n on t h e s t a g e . The m u s i c a l t e x t u r e o f T r i s t a n i s d i f f e r e n t f r o m t h a t o f any o t h e r o f Wagne r ' s works i n t h a t i t i s a lmos t p u r e l y " s y m p h o n i c " ; o f t e n he abandons h i m s e l f t o t h e s h e e r i n t o x i c a t i o n o f " d e v e l o p i n g " t h e mood s y m b o l i s e d 365 by a p a r t i c u l a r m o t i v e f o r pages at a t i m e , t h e s t a g e s i t u a t i o n meanwh i l e r e m a i n i n g s t a b i l i s e d . Not o n l y i s t h e r e h a r d l y any a c t i o n , but a c t i o n o f any k i n d would m o s t l y be ou t o f p l a c e : t h e movement o f t he drama i s no t r e a l i s t i c but p s y c h o l o g i c a l , no t e x t e r n a l but i n t e r n a l , t h e mus i c p a s s i n g t h r o u g h a l l k i n d s o f metamorphoses t o wh i ch t h e words s e r v e o n l y t o g i v e us t h e o b j e c t i v e c l u e . 2 ! 2 * * * R e y e r ' s i n i t i a t i o n t o Wagner ' s a r t o c c u r r e d o ve r a p e r i o d o f no t j u s t y e a r s but d e c a d e s : d u r i n g t h e l a t e 1850s and t h e 1860s he became f a m i l i a r w i t h Wagner ' s f i r s t f o u r ma jo r o p e r a s , but he s c a r c e l y knew t h e m u s i c dramas u n t i l t h e e a r l y 1880 s , when s u b s t a n t i a l e x c e r p t s f r om t h e s e works began t o appear on t h e programs o f P a r i s i a n c o n c e r t s o c i e t i e s . The pas sage o f decades b r ough t changes i n h i s t a s t e f o r two w o r k s — P e r f l i e g e n d e H o l l a n d e r and T r i s t a n und I s o l d e 2 * 3 — b u t not i n h i s b a s i c v i e w o f Wagner as bo th a g r e a t r e f o r m e r and one whose a r t r e s t e d f i r m l y " s u r l e s t r a d i t i o n s immuables que nous on t l e g u e e s l e s p l u s pu re s g l o i r e s du p a s s e . " 2 1 4 H i s i n s i s t e n c e t h a t Wagner was much i n d e b t e d t o t h e pa s t r un s l i k e a l e i t m o t i f t h r o u g h a l l o f R e y e r ' s w r i t i n g s on t h i s compose r . To us i t becomes a lmos t wea r i s ome , but we canno t f a u l t Reyer f o r s t r e s s -i n g i t , because he was l i v i n g i n an age t h a t tended t o o much t o empha-s i z e what Wagner r e j e c t e d o f t h e pa s t and t o l o s e s i g h t o f t h e f a c t t h a t he was i n f l u e n c e d by composer s r a n g i n g f r o m G luck t o B e r l i o z . In R e y e r ' s w r i t i n g s on Wagner d a t i n g f r o m t h e m id -1880 s and t h e 1890s , when Wagnermania was sweep ing P a r i s , we f i n d a second and e q u a l l y p e r s i s t e n t theme: a c o n v i c t i o n t h a t t h e mus i c drama was not t h e supreme ach i evement i n t h e h i s t o r y o f l y r i c t h e a t r e . Reyer would n e i t h e r r e p u -d i a t e Hoi 1 'ander, Tannh 'auser, and L o h e n g r i n as j u v e n i l e o r s u b s t a n d a r d 366 Wagner, nor condemn a l l o t h e r compose r s ; 215 m o r e o v e r , he was not un -c r i t i c a l o f t h e mus i c d ramas .216 such a p o s i t i o n gave h im t h e q u i t e unde se r ved r e p u t a t i o n o f b e i n g a lukewarm W a g n e r i a n , when, i n f a c t , he was one o f t h e most i n t e l l i g e n t F rench a d m i r e r s o f Wagner ' s m u s i c . 2 1 7 By r e f u s i n g t o j o i n t h e Wagner ian c u l t , Reyer was s i m p l y r e m a i n i n g t r u e t o one o f t h e a r t i c l e s o f f a i t h e x p r e s s e d i n h i s f i r s t f e u i l l e t o n f o r t h e D e b a t s : " . . . s i j ' a i de t r e s v i v e s p r e d i l e c t i o n s , j e n ' a i pas de p a r t i p r i s , pas de p r e v e n t i o n s s y s t e m a t i q u e s , et j e s a i s r e c o n n a T t r e l e b e a u , p a r t o u t ou i l e s t . " 2 1 8 367 Endnote s 1 C u r t von Wes te rnhagen , Wagner: A B i o g r a p h y , t r a n s . Mary W h i t -t a l l , 2 v o l s . ( C a m b r i d g e : ' Cambr idge U n i v e r s i t y P r e s s , 1 9 7 8 ) , 1 : 49 - 50 . 2 In 1839 he came f o r t h e f i r s t t i m e t o t h e F r e n c h c a p i t a l , t h i n k -i n g t h a t he was g o i n g t o t a k e i t by s t o r m w i t h R i e n z i . A f t e r t h r e e y e a r s o f f r u i t l e s s s t r u g g l e t o g a i n a h e a r i n g f o r t h i s o p e r a and f o r s e v e r a l o f h i s s h o r t e r w o r k s , he l e f t . He r e t u r n e d i n 1849 and a g a i n i n 1850, but n e i t h e r o f t h e s e b r i e f s t a y s was s u c c e s s f u l . When he took h i s l e a v e o f t h e c a p i t a l i n t h e s p r i n g o f 1850, he was e v i d e n t l y c o n v i n c e d t h a t t h e c i t y where Meye rbee r was c e l e b r a t i n g t h e t r i u m p h o f Le P r o p h e t e was no p l a c e f o r h i m . See i b i d . , p p . 5 1 - 5 4 , 6 0 - 7 0 , 143, and 147 - 48 . 3 The p r e m i e r e o f L o h e n g r i n was p a r t o f t h e c e l e b r a t i o n s f o r t h e i n a u g u r a t i o n o f t h e s t a t u e o f He rde r at Weimar i n A u g u s t ; see G e r a r d de N e r v a l ' s a c coun t o f a l l t h e f e s t i v i t i e s i n t h e P r e s s e f e u i l l e t o n s o f 18 and 19 September 1850. L i s z t ' s r e p o r t i n c l u d e d a resume o f Wagne r ' s i d e a s on o p e r a r e f o r m . A f t e r making a p r o m i s e — w h i c h was never f u l -f i l l e d — t o a n a l y z e L o h e n g r i n i n "un p r o c h a i n a r t i c l e , " L i s z t d e c l a r e d p r o v o c a t i v e l y t h a t t h i s o p e r a must be r e g a r d e d "comme un evenement pour l a mus ique a l l e m a n d e e t comme 1 ' e x p r e s s i o n d u r a b l e de t o u t un sys teme nouveau qu i s e r a p e u t - e t r e une r e v o l u t i o n . " (JD f e u i 1 l e t o n o f 22 O c t o b e r 1850. ) The p r e c e d i n g y e a r , L i s z t had s t a g e d Tannh'auser at Weimar, and had s e n t a l o n g l a u d a t i o n o f t h i s o p e r a t o h i s f r i e n d B e r l i o z . The l a t t e r had p u b l i s h e d i t — w i t h a warm i n t r o d u c t i o n about Wagne r ' s f i r s t s t a y i n P a r i s and h i s s ub sequent m u s i c a l a c t i v i t i e s i n D r e s d e n — i n t he JD f e u i l - l e t o n o f 18 May 1849. 4 A c c o r d i n g t o Georges S e r v i e r e s , R i c h a r d Wagner j u g e en F r a n c e ( P a r i s : L i b r a i r i e i l l u s t r e e , 1 8 8 7 ) , p. 24 . B e r l i o z , f o r e xamp le , d i d no t r e v i e w i t f o r t h e JD . 5 The p a r a g r a p h , wh i ch appeared i n t h e P r e s s e f e u i l l e t o n o f 2 December 1850, has been a s c r i b e d t o Reyer i n two a r t i c l e s by S e r v i e r e s : " L e s R e l a t i o n s d ' E r n e s t Reyer e t de T h e o p h i l e G a u t i e r , " Revue d ' H i s t o i r e l i t t e r a i r e de l a F r a n c e , no . 24 ( 1 9 1 7 ) , pp . 7 2 - 7 3 ; and " L e s V i s e e s de Wagner s u r P a r i s , " L a Revue m u s i c a l e 4 (1 O c t o b e r 1 9 2 3 ) : 9 7 . 6 F r a n g o i s - J o s e p h F e t i s , " R i c h a r d Wagner: sa v i e ; son sys teme de r e n o v a t i o n de l ' o p e r a ; ses o e u v r e s comme poe te e t comme m u s i c i e n ; son p a r t i en A l l e m a g n e ; a p p r e c i a t i o n de l a v a l e u r de ses i d e e s , " RGMP 19 ( 6 , 1 3 , 2 0 , and 27 J u n e ; 11 and 25 J u l y ; and 8 Augus t 1 8 5 2 ) : 1 8 5 - 9 0 , 1 9 3 - 9 5 , 2 0 1 - 3 , 2 0 9 - 1 1 , 2 2 5 - 2 7 , 2 4 2 - 4 5 , and 2 5 7 - 5 9 . 7 A l t h o u g h F e t i s d i d not i n v e n t t h e l e gend o f " l a mus ique de l ' a v e n i r , " he avowed t h a t a m b i t i o n was m o t i v a t i n g Wagner " a t r a v a i l l e r 368 pou r l ' a v e n i r , " and e x p r e s s e d i n d i g n a t i o n at Wagne r ' s supposed a v e r s i o n t o t h e h e r i t a g e o f t h e p a s t . He t hen t r i e d t o d e m o n s t r a t e t h a t " l e s e f f o r t s de Wagner t e n d e n t a t r a n s f o r m e r l ' a r t par un s y s t e m e , ma i s non par 1 ' i n s p i r a t i o n . Et p o u r q u o i c e l a ? P a r ce^que 1 ' i n s p i r a t i o n l u i manque; p a r c e q u ' i l n ' a pas d ' i d e e s ; p a r c e q u ' i l a c o n s c i e n c e de son i n f i r -m i t e a c e t e g a r d , e t p a r c e q u ' i l c h e r c h e a l a d e g u i s e r . . . . i l n ' a p l u s v o u l u que l a p o e s i e c h a n t e e f u t un o p e r a , ma i s un drame. . . . II ne s ' a r r e t e pas l a , c a r i l s upp r ime l a m e l o d i e . " ( I b i d . , pp . 210 , 211) 8 M a r v i n C a r l s o n , The F r e n c h S t a ge i n t h e N i n e t e e n t h C e n t u r y ( M e t u c h e n , N . J . : The S c a r e c r o w P r e s s , 1 9 7 2 ) , p. 158. y See R e y e r ' s r e v i e w i n t h e CP ( f e u i l l e t o n o f 30 September 1857) and G a u t i e r ' s i n t h e M o n i t e u r ( f e u T T l e t o n o f 29 September 1 8 5 7 ) . In h i s o b i t u a r y o f G a u t i e r , Reyer d e n i e d " t o u t e c o l l a b o r a t i o n " on t he p o e t ' s r e v i e w o f t h e Wiesbaden p r o d u c t i o n (JD f e u i l l e t o n o f 1 November 1 8 7 2 ) . 10 E r n e s t Newman, The L i f e o f R i c h a r d Wagner, 4 v o l s . (New Y o r k : A l f r e d A. K n o p f , 1933 -46 ; r e p r i n t e d . , Cambr i dge : Cambr idge U n i v e r s i t y P r e s s , 1 9 7 6 ) , 2 :538 . Newman e x p l a i n s t h a t t h e c o n d u c t o r o f t h e C o n c e r t s de P a r i s - - J e a n - B a p t i s t e A r b a n , who was a l s o t he p r o f e s s o r o f c o r n e t a t t h e C o n s e r v a t o i r e - - " h a d no f u l l s c o r e and not much i d e a o f t h e mean ing o f t he w o r k . " 11 S e r v i e r e s , Wagner j u g e , p. 2 5 . 12 The g roup t h a t g a t h e r e d r e g u l a r l y at Wagne r ' s house i n c l u d e d : t h e O l l i v i e r s ; F r e d e r i c V i l l o t and P a u l Armand C h a l l e m e l - L a c o u r , who w i l l be i d e n t i f i e d i n n. 7 6 ; t h e b a r r i s t e r C h a r l e s T r u i n e t , w h o — u s i n g h i s nom de p lume, N u i t t e r — w o u l d c o l l a b o r a t e w i t h Wagner i n t r a n s l a t i n g and v e r s i f y i n g t h e l i b r e t t o o f Tannh 'auser f o r t h e O p e r a ; t h e mus i c c r i t i c s E m i l e P e r r i n (who l a t e r became d i r e c t o r o f t h e Opera) and Leon L e r o y ; and o t h e r w r i t e r s , p o e t s , a r t i s t s , and s c h o l a r s . See Maxime L e r o y , Les P r e m i e r s Amis f r a n g a i s de Wagner ( P a r i s : A. M i c h e l , 1 9 2 5 ) , pp . 19-207 Reyer avowed t h a t t h e o n l y t i m e he e ve r saw Wagner was i n 1861 , when t h e Opera was r e h e a r s i n g Tannh 'auser : " C ' e s t a ce momen t - l a que j e f i s l a c o n n a i s s a n c e de R i c h a r d Wagner, p r e s e n t e a l u i dans l e s c o u l i s s e s de l ' O p e r a par M. N u i t t e r . Et c ' e s t l a s e u l e f o i s de ma v i e que j e l ' a i v u . " (JD f e u i l l e t o n o f 23 J a n u a r y 1887 . ) 13 Wagner and B e r l i o z had been i n c o n t a c t e ve r s i n c e t he German c o m p o s e r ' s f i r s t v i s i t t o t h e F r ench c a p i t a l ( 1 8 3 9 - 4 1 ) . When Wagner had r e t u r n e d t o P a r i s i n J a n u a r y 1858 , he had c a l l e d on B e r l i o z , who had r e a d t o him t h e l i b r e t t o o f Le s T r o y e n s . Two o f t h e i r b i o g r a p h e r s -E r n e s t Newman and A d o l p h e B o s c h o t — s u g g e s t t h a t t h e r i f t between t he composer s was p r o b a b l y due i n p a r t t o B e r l i o z ' s d i s p l e a s u r e at Wagne r ' s i n t e n t i o n o f h a v i n g h i s works a c c e p t e d a t e i t h e r t he T h e a t r e - L y r i q u e o r 369 t h e O p e r a , t h e o n l y p o s s i b l e o u t l e t s f o r B e r l i o z ' s T r o y e n s . See Newman, Wagner, 2 : 537 , and A d o l p h e B o s c h o t , L ' H i s t o i r e d ' u n r o m a n t i q u e : H e c t o r B e r l i o z , v o l . 3 : Le C r e p u s c u l e d ' u n r o m a n t i q u e . . . 1842-1869 ( P a r i s : P l o n N o u r r i t , 1 9 1 3 ) , p p . 4 53 - 54 . 14 See e s p e c i a l l y t h e f o l l o w i n g : comments on " l a mus ique de l ' a v e n i r " i n g e n e r a l and Tannh 'auser i n p a r t i c u l a r , i n t h e CP f e u i l l e t o n o f 22 F e b r u a r y 1858 (an e x c e r p t i s g i v e n on p. 3 3 0 ) ; and an e d i t o r i a l we l com ing Wagne r ' s i n t e n t i o n t o p r e s e n t at P a r i s a c o n c e r t o f e x t r a c t s f r o m h i s o p e r a s , i n " C h r o n i q u e m u s i c a l e , " GN 2 (21 J a n u a r y 1 8 6 0 ) : 6 . 15 The program i s g i v e n by S e r v i e r e s i n Wagner j u g e , p. 4 3 . Each c o n c e r t was c o n d u c t e d by t h e composer . 16 " C h r o n i q u e m u s i c a l e : M. R i c h a r d Wagner, " GN 2 (4 F e b r u a r y 1 8 6 0 ) : 5 - 6 . 17 Reyer e x p r e s s e d u n q u a l i f i e d a d m i r a t i o n f o r Wagner ' s mu s i c ( i b i d . ; e x c e r p t s a re g i v e n on pp. 3 3 0 - 3 1 ) . B e r l i o z was f u l l o f p r a i s e f o r a l l o f t h e i t ems e x c e p t t h e T r i s t a n p r e l u d e , o f w h i c h — h e r e a d i l y a d m i t t e d — h e u n d e r s t o o d n o t h i n g . H i s comments on t h e c o n c e r t have been d e s c r i b e d as " r e a s o n e d and q u i t e s y m p a t h e t i c " ( J a cque s B a r z u n , B e r l i o z and t h e Romant i c C e n t u r y , 3d e d . , 2 v o l s . [New Y o r k : C o l u m b i a U n i v e r -s i t y P r e s s , 1 9 6 9 J , 2 : 1 8 0 ) . B e r l i o z ' s r e v i e w i s f u r t h e r d i s c u s s e d be low i n n. 27 . 18 A c o n t e m p o r a r y o b s e r v e d t h a t f o u r c r i t i c s were e s p e c i a l l y h o s -t i l e t o w a r d Wagner: " A z e v e d o , F e t i s , C h a d e u i l l e t r a i t e r e n t de sauvage e t de f o u . Chez Scudo , l ' h o s t i l i t e p r i t l e s p r o p o r t i o n s de l a r a g e . " ( Edouard Drumont, R i c h a r d Wagner: 1'homme e t l e m u s i c i e n [ P a r i s : E. D e n t u , 1 8 6 9 ] , p. 87) 19 The c r i t i c s f o r t h e t h e a t r i c a l j o u r n a l s , as w e l l as t h e i n f l u e n -t i a l J u l e s J a n i n (drama c r i t i c f o r t h e ^D) and t he poet C h a r l e s Baude-l a i r e , w ro t e i n Wagne r ' s d e f e n s e , but a lmos t a l l o f t h e mus ic c r i t i c s f o r t h e d a i l i e s and t h e ma jo r mus ic j o u r n a l s c e n s u r e d t h e work . Even B e r l i o z a b s t a i n e d f r om r e v i e w i n g i t f o r t h e ^JJD, l e a v i n g t h e t a s k t o h i s f r i e n d Jo seph d ' O r t i g u e . See S e r v i e r e s , Wagner j u g e , pp . 8 7 - 9 8 . Reyer was not i n t h e employ o f any p u b l i c a t i o n when Tannh 'auser was p r e m i e r e d , and t h e r e f o r e d i d not p a r t i c i p a t e i n t he c r i t i c s ' m e l e e . However, many pa s sages o f S o u v e n i r s d ' A l l e m a g n e — s u c h as t h e one quoted b e l o w — d e m o n s t r a t e t h a t , t h r e e y e a r s a f t e r t h e p r e m i e r e , he was s t i l l m o r t i f i e d by t h e r e c e p t i o n a c c o r d e d Wagne r ' s o p e r a . " J e n ' a i pas b e s o i n de r a p p e l e r l e s s cenes s c a n d a l e u s e s de l a p r e m i e r e r e p r e s e n t a t i o n de Tannh 'auser : l e s uns s i f f l a i e n t p a r c e q u ' i l s ne c o m p r e n a i e n t pas et que c e l a l e s e n n u y a i t de ne pas c o m p r e n d r e ; l e s a u t r e s s i f f l a i e n t l ' o e u v r e du c o m p o s i t e u r en pensant au l i v r e de 1 ' e c r i -v a i n [ i . e . , Oper und Drama] , a ce fameux l i v r e qu i n ' e s t 370 cependan t que l a p a r a p h r a s e d e v e l o p p e e de l a p r e f a c e d ' A l c e s t e , pour l a q u e l l e G luck n ' a j a m a i s e t e s i f f l e . " ( S o u v e n i r s d ' A l l e m a g n e , r e p r i n t e d i n Notes de mus ique [ .Pa r i s : C h a r p e n t i e r , 1 8 7 5 ] , p p . 30-3T) 2 0 D i s c u s s e d on p p . 3 2 2 - 2 3 . For e x a m p l e , he once d e c l a r e d : " P u i s s e l e s u cce s de R i e n z i f a i r e c r o i r e aux P a r i s i e n s q u ' i l s d o i v e n t a l ' a u t e u r de Tannh 'auser une e c l a t a n t e r e v a n c h e " ( JD f e u i l l e t o n o f 16 March 1 869 ) . 2 2 In t h e " F a i t s d i v e r s " co lumn o f t h e J D , 7 A p r i l 1869, p. 3. 2 3 Reyer p o i n t e d ou t t h a t R i e n z i had been composed l ong b e f o r e Wagner had f o r m u l a t e d i n h i s w r i t i n g s t h e " d o c t r i n e s " o r " s y s t e m e " w h i c h f o r y e a r s had been under a t t a c k i n t h e F r ench p r e s s . "En e f f e t , v o i c i un o p e r a en t o u t con fo rme aux t r a d i t i o n s a c c e p t e e s , e t q u i , avant d ' e t r e connu a P a r i s , n ' a v a i t cependan t pas echappe a l ' a n a t h e m e l a n c e c o n t r e l e s d o c t r i n e s s u b v e r s i v e s du m u s i c i e n a l l e m a n d , a 1 • h o s t i 1 i t e h a b i l e m e n t e n t r e t e n u e c o n t r e 1 ' e n semb le de son o e u v r e . " ( JD f e u i l l e t o n o f 18 A p r i l 1869. ) 2 4 i n t h e f a c e o f n o i s y c o n d e m n a t i o n . The a n t i - G e r m a n o u t c r i e s f i n a l l y became so s t r o n g t h a t , i n November 1 8 7 6 - - a f t e r t h e F u n e r a l March f r o m Gdtterd 'ammerung cau sed an u n p r e c e d e n t e d u p r o a r - - P a s d e l o u p t e m p o r a r -i l y suspended h i s p e r f o r m a n c e s o f Wagne r ' s m u s i c . (See R e y e r ' s u n t i t l e d a r t i c l e i n t h e JD o f 2 and 3 November 1876, p. 3.) I t was not u n t i l March 1879 t h a t P a s d e l o u p a g a i n p r e s e n t e d Wagner ( S e r v i e r e s , Wagner j u g e , p. 2 2 0 ) . " The c o n d u c t o r s Co lonne and Lamoureux began i n 1880 and 1881 r e s p e c t i v e l y t o f o l l o w P a s d e l o u p ' s l e a d by i n c l u d i n g Wagner on t h e i r p r o g r ams . A pro-Wagner movement q u i c k l y t ook shape , i t s o rgan t h e Revue wagne r i enne ( f ounded i n 1885 by Edmond D u j a r d i n ) . 2 6 T h i s d a t e i s g i v e n by S e r v i e r e s , Wagner j u g e , p. 248 . 2 7 JD f e u i l l e t o n o f 12 November 1882. Reyer d i d not e x p l a i n what he meant by Wagne r ' s " i n g r a t e c o n d u i t e e n v e r s B e r l i o z " ; pe rhap s he assumed t h a t h i s r e a d e r s would r e c a l l what was p r o b a b l y t h e wor s t e p i -sode i n t h e l o n g and complex r e l a t i o n s h i p between t h e two compo se r s . The seed o f t h i s e p i s o d e was sown when, a few days b e f o r e Wagne r ' s t h r i c e - g i v e n P a r i s i a n c o n c e r t o f 1860, t h e German composer sent B e r l i o z t h e f i r s t copy o f t h e n e w l y - p u b l i s h e d T r i s t a n , wh i ch bo re t h e d e d i c a -t i o n : "To t h e dea r and g r e a t a u t h o r o f Romeo e t J u l i e t t e , t h e g r a t e f u l a u t h o r o f T r i s t a n und I s o l d e . " Whether t h i s was i n t e n d e d as an a d r o i t p r e - c o n c e r t " b r i b e , " o r whethe r i t was s i m p l y a g e s t u r e o f s i n c e r e g r a t i t u d e and r e s p e c t , we do not know. In any c a s e , B e r l i o z r e v i e w e d t h e c o n c e r t v e r y f a v o r a b l y (a s i n d i c a t e d above i n n. 1 7 ) . He c o n c l u d e d , howeve r , by d i s c u s s i n g " l e s t h e o r i e s " t h a t were b e i n g a t t r i b u t e d t o Wagne r ' s s o - c a l l e d " e c o l e de l a mus ique de l ' a v e n i r . " I f t h i s s c h o o l 371 s t o o d f o r f r eedom and e x p r e s s i v e n e s s — f r e e d o m f rom t h e " d e s p o t i s m e " o f s i n g e r s , and a G l u c k i a n d e t e r m i n a t i o n t o s a c r i f i c e any r u l e o r c o n v e n t i o n "en f a v e u r de 1 ' e f f e t " — t h e n , s a i d B e r l i o z , he was among i t s a d h e r e n t s . I f i t meant s ometh i ng e l s e — w h i c h B e r l i o z o u t l i n e d by means o f s e v e r a l l u d i c r o u s p r o p o s i t i o n s t o t h e e f f e c t t h a t mus i c must be t h e mere handmaiden o f t h e p o e t — t h e n , s a i d B e r l i o z , he d i s s o c i a t e d h i m s e l f f r o m i t c o m p l e t e l y , r a i s i n g h i s hand and d e c l a r i n g : "Non c r e d o . " (JD f e u i l l e t o n o f 9 F e b r u a r y 1860 . ) Wagner had r e c e i v e d h e l p and encouragement f rom B e r l i o z s i n c e t h e 1840s , but he re sponded t o t h i s f a n c i f u l Non c r e d o by a c t i n g t he r o l e o f t h e i n j u r e d p a r t y , s e n d i n g B e r l i o z an a g g r i e v e d open l e t t e r wh i ch t h e l a t t e r o b l i g i n g l y p u b l i s h e d i n t h e JD_. One o f B e r l i o z ' s b i o g r a p h e r s has d e s c r i b e d t h i s l e t t e r as " a ma s te r s t r o k e f o r p u t t i n g B e r l i o z i n t h e wrong . . . . I t pe r suaded t h e F r ench Wagner ians o f B e r l i o z ' s mean and u n g r a t e f u l c o n d u c t , so t h a t i t seemed r i g h t t o d i s m i s s and d i s c r e d i t h i m . " ( B a r z u n , B e r l i o z , 2 : 173 . ) Reyer r e c a l l e d t h a t t h e who le e p i s o d e " a v a i t f a i t g rand b r u i t dans l e p u b l i c " ( " L a C r i t i q u e m u s i c a l e : C a s t i 1 - B l a z e , H. B e r l i o z , " i n Le L i v r e du c e n t e n a i r e du " J o u r n a l des D e b a t s , " 1789-1889 [ P a r i s : L i b r a i r i e P l o n , 1 8 8 9 ] , p. 4 4 0 n ) . Wagner ' s l e t t e r had been r e p r i n t e d as l a t e as 1887, i n S e r v i e r e s ' s Wagner j u g e , pp . 3 0 9 - 1 3 . 2 8 JD f e u i l l e t o n o f 20 September 1891. 2 9 I b i d . , 13 May 1893. 30 See , f o r e x a m p l e , t h e f o l l o w i n g : h i s r e v i e w o f t h e p r e m i e r e o f D i e Wa lk l i r e i n F rench t r a n s l a t i o n at t h e T h e a t r e de l a Monnaie i n B r u s s e l s ( i b i d . , 20 March 1 887 ) ; r emark s on Tannh 'auser ( i b i d . , 12 November 1 8 8 2 ) ; and t h e r e v i e w he d i s p a t c h e d f r om London a f t e r h e a r i n g D ie M e i s t e r s i n g e r f o r t h e f i r s t t i m e . ( T h i s r e v i e w was p u b l i s h e d as an anonymous l e t t e r - a r t i c l e i n t h e ^D o f 18 June 1882, p. 3. Reyer l a t e r acknowledged i t s a u t h o r s h i p i n h i s f e u i l l e t o n s o f 14 December 1884 and 21 November 1897; t h e l a t t e r i s h i s r e v i e w o f t h e P a r i s i a n p r e m i e r e o f D i e M e i s t e r s i n g e r . ) 31 " C ' e s t a Weimar que j ' a i en tendu pour l a p r e m i e r e f o i s l e Hoi -l a n d a i s v o l a n t ( d e r F l i e g e n d e H o l l a e n d e r ) . . . On y sent l e s p r e m i e r e s i n q u i e t u d e s d ' u n e s p r i t c h e r c h e u r , l e s a s p i r a t i o n s h a r d i e s d ' u n g e n i e a v e n t u r e u x , ma i s i l n ' y a pas l a e n c o r e ce s o u f f l e p u i s s a n t , c e t t e g r a n d e u r e p i q u e qu i e l e v e n t au n i v e a u des p l u s b e l l e s p r o d u c t i o n s de l ' a r t m u s i c a l c e r t a i n e s pages de L o h e n g r i n et de Tannh 'auser . . . On d i t que M. C a r v a l h o h e s i t e e n t r e l e V a i s s e a u f an tome e t L o h e n - g r i n . A sa p l a c e , j e n ' h e s i t e r a i s pas une m i n u t e : j e j o u e r a i s l e s d e u x . " ( S o u v e n i r s , r e p r i n t e d i n N o t e s , pp . 77-78 and 8 0 . ) 3 2 JD f e u i l l e t o n o f 30 September 1868. At t h a t t i m e , C a r v a l h o was no l o n g e r d i r e c t o r o f t h e T h e a t r e - L y r i q u e , but was s t i l l l e a d e r o f a v e n t u r e wh i ch he c a l l e d t h e T h e a t r e de l a R e n a i s s a n c e . He had begun t h e l a t t e r as a b r anch o f t h e L y r i q u e at t h e e l e g a n t S a l l e V e n t a d o u r , wh i ch he had s u b l e t f r om t h e d i r e c t o r o f t h e f o u n d e r i n g T h e a t r e - I t a l i e n . The 372 i n a u g u r a l p e r f o r m a n c e — a p r o d u c t i o n o f Gounod ' s F au s t on 16 March 1868 - - h a d been r e v i e w e d by Reyer (^D, 18 March 1868, p. 3 ) . For a h i s t o r y o f C a r v a l h o ' s s h o r t - l i v e d T h e a t r e de l a R e n a i s s a n c e , see S e r v i e r e s , Wagner j u g e , p p . 1 3 4 - 3 7 ; and T. 0. W a l s h , Second Emp i re O p e r a : The T h e a t r e L y r i q u e , P a r i s , 1851-1870 ( London : John C a l d e r ; New Y o r k : R i v e r r u n P r e s s , 1 9 8 1 ) , p p . 235-38 and 243. 3 3 JD f e u i l l e t o n o f 30 September 1868. (See p p . 3 3 1 - 3 2 . ) 3 4 I b i d . , 7 O c t o b e r 1868. 3 6 Reyer l a t e r r e c o l l e c t e d t h a t C a r v a l h o and P e r r i n were d i s h e a r t -ened by r e p o r t s o f t h e c o l d r e c e p t i o n a c c o r d e d t he work when i t was pe r f o rmed i n German at Baden -Baden , b e f o r e an a u d i e n c e wh i ch he s a r c a s -t i c a l l y d e s c r i b e d as "une b r i l l a n te compagnie de spo r t smen e t de t o u -r i s t e s f r a n g a i s " ( i b i d . , 20 September 1 8 9 1 ) . 3 6 I b i d . , 27 A p r i l 1879. Reyer r e p o r t e d t h a t an i n i t i a l o u t b u r s t o f h o s t i l i t y was e n e r g e t i c a l l y s i l e n c e d by t h e m a j o r i t y o f t h e a u d i e n c e , and t h a t t h e p e r f o r m a n c e p r o c e e d e d w i t h o u t f u r t h e r d i s t u r b a n c e . When t h e f i n a l e was o v e r , " on a beaucoup a p p l a u d i . " 3 7 " . . . e s t - i l p o s s i b l e de se f a i r e une i d e e e x a c t e d ' u n e oeuv re e c r i t e pour l e t h e a t r e , d ' u n e o e u v r e dont l a t rame d r a m a t i q u e se d e r o u l e au m i l i e u d ' u n e m i se en s cene qu i par i n s t a n s t o u c h e de s i p r e s a l a f e e r i e , en l ' e n t e n d a n t e x e c u t e r dans un c o n c e r t ? " ( I b i d . ) 3 8 I b i d . , 26 May 1879. 3 y I b i d . Reyer c e n s u r e d t h e p r o t e s t e r s by a r g u i n g t h a t " i l ne s ' a g i t p a s , en c e t t e a f f a i r e , . . . du c a r a c t e r e de M. R i c h a r d Wagner q u i n ' e s t r i e n moins que s y m p a t h i q u e , n i de ses e c r i t s . . . i l s ' a g i t de son t a l e n t , de son g e n i e . . . d ' u n ouv rage dont l e s p e c t a c l e e s t i n t e r e s s a n t e t dont l a mus ique . . . r e n f e r m e des beau te s de p r e m i e r o r d r e . " ( S i m i l a r r emark s had been made i n h i s r e v i e w o f t h e f i r s t p r e -s e n t a t i o n , i b i d . , 27 A p r i l 1879 . ) 4 0 See S e r v i e r e s , Wagner j u g e , pp . 2 2 8 - 3 2 . 4 1 JD f e u i l l e t o n o f 25 J a n u a r y 1882. 4 2 He avowed, f o r e x a m p l e , t h a t t h e duet f r o m A c t I I I was " s u p e r b e , en e f f e t , ma i s un peu l o n g p e u t - e t r e sans l e p r e s t i g e de l a scene e t l a pantomime des deux amans. " ( I b i d . , 30 A p r i l 1882. ) 4 3 I b i d . 4 4 See "Une L e t t r e de R i c h a r d Wagner , " L a R e n a i s s a n c e m u s i c a l e 2 (21 May 1 8 8 2 ) : 1 6 5 . We o b s e r v e d i n C h a p t e r I t h a t Reyer was one o f t h e e d i t o r s o f t h i s j o u r n a l ; Edmond D u j a r d i n was i t s e d i t o r - i n - c h i e f . As 373 no ted above, D u j a r d i n l a t e r founded t h e Revue w a g n e r i e n n e . Wagne r ' s l e t t e r was e v e n t u a l l y r e p r i n t e d by S e r v i e r e s i n Wagner j u g e , pp . 3 14 - 15 . 4 5 W h i l e a d m i t t i n g t h a t "un ouv rage perd t o u j o u r s a e t r e t r a d u i t , " he p o i n t e d ou t t h a t t r a n s l a t i o n s o f many F r e n c h o p e r a s had become v e r y p o p u l a r i n Germany, and , c o n v e r s e l y , t h a t F rench and even I t a l i a n t r a n s -l a t i o n s o f - - f o r e x a m p l e — F i d e l i o had been e n t h u s i a s t i c a l l y app l auded by P a r i s i a n s . Mo reove r , s a i d R e y e r , t h e s t o r y o f L o h e n g r i n had become t h o r o u g h l y f a m i l i a r i n t h e F r e n c h c a p i t a l , and he t h e r e f o r e f e l t c o n f i -den t t h a t " l e s s u r p r i s e s d ' u n e p r e m i e r e a u d i t i o n ne s on t p l u s a r e -d o u t e r . . . . Nous sommes murs pour c e t t e o e u v r e - c i . " The c r i t i c t hen o b s e r v e d t h a t t h e h o s t i l i t i e s o f t h e F rench p u b l i c had f a d e d , and t h a t many o f Wagne r ' s F r e n c h c o n v e r t s c o u l d , i n f a c t , be c oun ted among t he most a r d e n t o f h i s a p o s t l e s . As p r o o f o f t h i s c o n t e n t i o n , Reyer r e -c a l l e d t h e f a v o r a b l e r e c e p t i o n o f A c t s I and I I I o f L o h e n g r i n a t L a m o u r e u x ' s c o n c e r t s . (JD f e u i l l e t o n o f 1 June 18827] 4 6 Rev iewed by Reyer i n i b i d . , 22 and 29 March 1884. 4 7 I b i d . C a r v a l h o — e v i d e n t l y g r a p p l i n g w i t h t h e p h y s i c a l l i m i t a -t i o n s o f t h e Comique, and , e v e n t u a l l y , w i t h changes i n h i s r o s t e r o f p r i n c i p a l s i n g e r s — w a s i n no h u r r y t o p r e s e n t L o h e n g r i n . In t he f a l l o f 1885 t h e p r e m i e r e was not y e t i n s i g h t , and he and t h e c o n d u c t o r o f t h e Comique went t o V i e n n a and B a y r e u t h i n o r d e r bo th t o s t u d y t h e m i s e en s cene and t h e p e r f o r m a n c e p r a c t i c e s t r a d i t i o n a l l y a s s o c i a t e d w i t h t h i s work, and t o s e a r c h f o r s u i t a b l e s i n g e r s (as Reyer r e p o r t e d i n i b i d . , 28 September 1 8 8 5 ) . 4 8 I b i d . , 13 December 1885. 4 9 I b i d . , 24 J a n u a r y 1886. Reyer was i m p l y i n g t h a t t he F r e n c h would f o r g i v e Wagne r ' s c o n d u c t , j u s t as t h e y had f o r g i v e n two o t h e r com-p o s e r s who had by no means admi red t h e F r e n c h n a t i o n . 50 By March 1887 r e h e a r s a l s were i n p r o g r e s s , and Reyer r e j o i c e d t h a t t h e work would be pe r f o rmed " s an s m o d i f i c a t i o n s e t sans c o u p u r e s , t e l que l e maTt re l ' a e c r i t . " ( I b i d . , 27 March 1887. ) 51 I b i d . In h i s nex t f e u i 1 l e t o n he a g a i n e x p r e s s e d t h e s e o p i n i o n s , and c o n f i d e n t l y p r e d i c t e d t h a t L o h e n g r i n — " T u n des c h e f s - d ' o e u v r e de l a mus ique d r a m a t i q u e moderne, c e l a ne f a i t p l u s a u j o u r d ' h u i dou te pour p e r s o n n e " — w o u l d be so s u c c e s s f u l t h a t Lamoureux would have t o g i v e t w i c e as many p e r f o r m a n c e s as he had announced. ( I b i d . , 17 A p r i l 1887 . ) 52 At t h e c o n c l u s i o n o f h i s r e v i e w o f t h e p r e m i e r e , Reyer d i s g u s t -e d l y no ted t h e g o v e r n m e n t ' s a c t i o n , t h e n — e v i d e n t l y remember ing Wagne r ' s i n famous E i n e K a p i t u l a t i o n — r e m a r k e d a c i d l y : " V o i l a done une b e l l e page a a j o u t e r a nos a n n a l e s a r t i s t i q u e s , page des p l u s i n t e r e s s a n t e s e t q u ' o n p o u r r a i n t i t u l e r a i n s i : Une c a p i t u l a t i o n . " ( I b i d . , 8 May 1887 . ) 53 I b i d . , 9 November 1890. 374 5 4 I b i d . , 20 September 1891 . 55 " C h r o n i q u e m u s i c a l e : M. R i c h a r d Wagner , " GN p. 5. 56 I b i d . , p. 6. T h i s image had p r o b a b l y been c r e a t e d by a c o m b i n a -t i o n o f f o r c e s : Wagner ' s i n v o l v e m e n t i n t h e u p r i s i n g a t Dresden i n 1849, wh i ch had g i v e n him t h e r e p u t a t i o n o f b e i n g a r e p u b l i c a n and a dange rous r e v o l u t i o n a r y ; h i s w r i t i n g s , w h i c h , i n m i d - c e n t u r y F r a n c e , were much b e t t e r known than h i s m u s i c ; and t h e " p a r t i s a n , p o l i t i c a l r e v i e w s " t o wh i ch h i s w r i t i n g s had been s u b j e c t e d by F e t i s and o t h e r c r i t i c s . ( J ane F a i r F u l c h e r , " M u s i c a l A e s t h e t i c s and S o c i a l P h i l o s o p h y i n F r a n c e : 1848 -1870 " [ P h . D . d i s s e r t a t i o n , C o l u m b i a U n i v e r s i t y , 1 9 7 7 ] , p. 171 . ) 57 We f i n d such an a t t i t u d e i n , f o r e xamp le , A l b e r t W o l f f ' s r e v i e w o f R i e n z i . The i n f l u e n t i a l c r i t i c o f Le F i g a r o remarked t h a t , i f " c e d i a b l e de Wagner" had been p r e s e n t " a l a c u r i e u s e s o i r e e d ' h i e r , i l eu t c o m p r i s que ce p u b l i c s i f a c i l e a c o n t e n t e r , s i amoureux des b e l l e s c h o s e s , ne se l a i s s e r a j a m a i s impose r l a s o i - d i s a n t mus ique de l ' a v e n i r , avec ses e f f e t s de c a s s e r o l e s e t de p o r c e l a i n e f e l e e . " (Le F i g a r o , 8 A p r i l 1869. ) 6 8 The e x c e r p t f r om S o u v e n i r s quo ted i n n. 105 o f C h a p t e r V I I i s R e y e r ' s most f o r t h r i g h t e x p r e s s i o n o f h i s c o n v i c t i o n t h a t t h e P a r i s i a n p u b l i c lumped t o g e t h e r Wagner and B e r l i o z as d e t e s t a b l e m u s i c a l r e v o l u -t i o n a r i e s . 5 y CP f e u i l l e t o n o f 30 September 1857. Reyer added , c h a r a c t e r -i s t i c a l l y , t h a t he was l o a t h e t o e x p r e s s an o p i n i o n a f t e r h e a r i n g t h e work o n l y o n c e . 6 0 I b i d . , 22 F e b r u a r y 1858. He r e p e a t e d t h i s i d e a — b u t d i d no t d e v e l o p i t — l a t e r t h a t y e a r ( s ee i b i d . , 30 September 1 858 ) . 61 " C h r o n i q u e m u s i c a l e : M. R i c h a r d Wagner , " GN p. 5. 62 i b i d . , p. 6. (The " romance de Tannh 'auser " was , o f c o u r s e , W o l f -r a m ' s song t o t h e E v e n i n g S t a r . ) In t h i s r e v i e w Reyer d i d not make any o t h e r comments about Wagne r ' s ha rmon i c l a n g u a g e , and we can t h e r e f o r e assume t h a t he had no o b j e c t i o n s t o t h e ha rmon ie s o f t h e T r i s t a n p r e -l u d e . I ndeed , he c i t e d t h e p r e l u d e s t o T r i s t a n and L o h e n g r i n as " l e s e c h a n t i l l o n s l e s p l u s p u r s " o f Wagne r ' s " i n d i v i d u a l i t e . . . C ' e s t l a , en e f f e t , que vous t r o u v e r e z M. R i c h a r d Wagner dans t o u t e l a p l e n i t u d e de son g e n i e m y s t i q u e , dans t o u t e l a p e r f e c t i b i l i t e de son s y s t e m e . " C f . B e r l i o z ' s r e a c t i o n t o t h e T r i s t a n p r e l u d e ( quo ted on p. 3 6 2 ) . 63 i b i d . C f . R e y e r ' s r e s p o n s e t o t h e a c c u s a t i o n t h a t B e r l i o z was d i s d a i n f u l o f e a r l i e r compose r s ( C h a p t e r V I I , n . 4 7 ) . 6 4 Reyer had e x p r e s s e d t h i s o p i n i o n as e a r l y as 1864, i n S o u v e n i r s ( s e e t h e pa s sage quo ted above i n n. 1 9 ) . 375 6 5 JD f e u i l l e t o n o f 30 September 1868. L i s z t ' s p a m p h l e t , p u b l i s h e d i n F r e n c h by t h e L e i p z i g f i r m o f B rockhau s i n 1 851 , was a r e p r i n t o f t h e two f e u i l l e t o n s w h i c h he had sen t t o t h e ^JP a f t e r p r o d u c i n g Tannh 'auser and L o h e n g r i n a t Weimar i n 1849 and 1850 r e s p e c t i v e l y ( c i t e d above i n n . 3~}~! Reyer p r e f e r r e d L i s z t ' s pamph le t t o Wagne r ' s own w r i t i n g s , d e s c r i b i n g t h e f o r m e r as a " b r i l l a n t c o r o l l a i r e a j o u t e aux p r e m i e r s e c r i t s de Wagner , " and t he l a t t e r as " c e d e d a l e de t h e o r i e s t o u j o u r s p l u s a b s t r a i t e s " ( i b i d . ) . 6 6 I b i d . 67 J u d i t h Mendes, " R i c h a r d Wagner e t l a c r i t i q u e , " La P r e s s e , 17 O c t o b e r 1868, p. 3 . 68 R e y e r ' s l e t t e r - a r t i c l e , d a t e d " M a r d i 20 o c t o b r e , " was p u b l i s h e d w i t h t h e t i t l e " R i c h a r d Wagner e t l a c r i t i q u e ( S u i t e ) " i n i b i d . , 29 O c t o b e r 1868, p. 3 . 6 y S ee , f o r e xamp le , t h e q u o t a t i o n g i v e n on p. 345 . We s h o u l d no te t h a t , a f t e r p u b l i s h i n g R e y e r ' s l e t t e r - a r t i c l e , Mme Mendes w r o t e a second a r t i c l e , " R i c h a r d Wagner e t l a c r i t i q u e ( S u i t e e t f i n ) , " w h i c h appea red i n L a P r e s s e o f 30 O c t o b e r 1868 , p. 3. In t h i s a r t i c l e she d i d not r e s p o n d t o R e y e r ' s s t a t e m e n t s ; i n s t e a d — a s she had p rom i sed i n her f i r s t a r t i c l e — s h e a n a l y s e d L o h e n g r i n , R i e n z i , Pe r f l i e g e n d e H o l l ' a n d e r , Tann - h 'auser, T r i s t a n and P i e M e i s t e r s i n g e r . Her a n a l y s i s has been d e s c r i b e d as " p l u t o t p o e t i q u e que m u s i c a l e , ma i s abso lument h y p e r b o l i q u e . " ( S e r -v i e r e s , Wagner j u g e , p. 139 . ) 70 From G l u c k ' s d e d i c a t o r y p r e f a c e t o A l c e s t e ; quo ted by Reyer i n t h e JP f e u i 1 l e t o n o f 30 September 1868. 71 CP f e u i l l e t o n o f 30 September 1857. In t h i s r e v i e w Reyer d i d not s p e c i f y wh i ch " p a g e s " he admi red as b e i n g w o r t h y o f G l u c k . A com-ment i n a much l a t e r r e v i e w o f t h i s o p e r a ( J P f e u i l l e t o n o f 25 May 1895) s u g g e s t s t h e a t he p r o b a b l y had been a l l u d i n g t o Tannh 'auser ' s n a r r a t i v e i n A c t I I I ; see t h e q u o t a t i o n g i v e n on p. 342 . 72 j p f e u i l l e t o n o f 10 J a n u a r y 1882. Here Reyer r e p e a t e d h i s c o n -v i c t i o n t h a t " l e p o i n t de d e p a r t de R i c h a r d Wagner, c ' e s t l a p r e f a c e d ' A l c e s t e , c ' e s t G l u c k . " 73 " C h r o n i q u e m u s i c a l e : M. R i c h a r d Wagner , " GN p. 6. 7 4 J P f e u i l l e t o n o f 18 A p r i l 1869. 75 i b i d . Reyer d i d not c i t e any e x a m p l e s . 76 I b i d . In Wagne r ' s " L e t t r e su r l a m u s i q u e " t h e r e were s e v e r a l pa s s age s wh i ch t e s t i f i e d t o t h e c o m p o s e r ' s a d m i r a t i o n f o r Weber, "mon p r e m i e r m o d e l e , mon v e n e r e m a T t r e " ( p . 106 i n t h e e d i t i o n c i t e d b e l o w ) . 376 Such pa s sages would a ccoun t f o r R e y e r ' s s t a t e m e n t t h a t Wagner d i d not h e s i t a t e t o acknowledge Webe r ' s i n f l u e n c e . Wagne r ' s " L e t t r e " d a t e d f r om 1860, when t h e c o m p o s e r — s e e k i n g t o promote i n P a r i s a b e t t e r u n d e r s t a n d i n g o f h i s p r i n c i p a l i d e a s — a s k e d h i s f r i e n d C h a l l e m e l - L a c o u r t o make F r e n c h p r o s e t r a n s l a t i o n s o f t h e l i b r e t t o s o f f o u r o f h i s o p e r a s , wh i ch he wanted t o p u b l i s h w i t h a p r e -f a c e . The l a t t e r , wh i ch a l s o was t r a n s l a t e d by C h a l l e m e l - L a c o u r , t ook t h e f o rm o f a " L e t t r e su r l a mus i que , a M. F r e d e r i c V i l l o t . " ( V i l l o t , c u r a t o r o f t h e p a i n t i n g s i n t h e L o u v r e , was one o f t he f r i e n d s who a s sembled r e g u l a r l y at Wagner ' s hou se , as was C h a l l e m e l - L a c o u r . ) See Q u a t r e poemes d ' o p e r a s : " l e V a i s s e a u f a n t o m e " ; " Tannh ' a u se r " ; " L o h e n - g r i n " ; " T r i s t a n e t I s e u l t " ; p r e c e d e s d ' u n e L e t t r e s u r l a M u s i q u e , t r a n s . Pau l Armand C h a l l e m e l - L a c o u r ( P a r i s : B o u r d i l l i a t , 1 8 6 1 ; new e d . , Me r cu re de F r a n c e , 1 941 ) , p p . 1 3 - 116 . Wagner ' s " L e t t r e , " d a t ed " P a r i s , 15 septembre 1 8 6 0 , " was a l s o p u b l i s h e d i n Germany as Z u k u n f t s m u s i k . 7 7 _JD f e u i l l e t o n o f 18 A p r i l 1869. 7 8 " J ' e n s a i s l e s r e m i n i s c e n c e s e t l e s i m i t a t i o n s , l e s d e f a i l l a n c e s e t l e s v i e i l l e r i e s de s t y l e ; ma i s c ' e s t t o u t de meme l e g e n i e de Wagner q u ' o n v o i t p o i n d r e d e j a avec l e s f o r m u l e s e m b r y o n n a i r e s du drame l y r i q u e qu i se d e v e l o p p e r o n t p l u s t a r d . Quel chemin f a i t en s i peu de temps du R i e n z i au V a i s s e a u - F a n t o m e ! " ( I b i d . , 23 May 1897 [ r e v i e w o f t he P a r i s i a n p r e m i e r e o f Per f l i e g e n d e Hoi Vander i n F r ench t r a n s l a t i o n ] . ) 7 y I b i d . Reyer s u p p o r t e d h i s s t a t e m e n t by d e s c r i b i n g t he use o f t h e d e v i c e o f r e m i n i s c e n c e m o t i f s i n t h i s o p e r a ( s ee n. 1 2 6 ) . 8 0 S o u v e n i r s , r e p r i n t e d i n N o t e s , p. 78 . 81 JD f e u i l l e t o n o f 23 May 1897. In t h i s r e v i e w , Reyer r e c a l l e d t h a t he had h e a r d Wagner ' s o p e r a " i l y a q u e l q u e s annees , a B r u x e l l e s , e t 1 ' i n t e r p r e t a t i o n . . . me r e v e l a . . . des d e t a i l s q u ' a Weimar j e n ' a v a i s pas s u f f i s a m m e n t a p p r e c i e s . " The B r u s s e l s pe r f o rmance may have been a r e v i v a l o f N u i t t e r ' s F r e n c h t r a n s l a t i o n at t h e T h e a t r e de l a Monna ie , w i t h F r a n g o i s S e r v a i s as c o n d u c t o r , because Reyer had once r e m a r k e d : " J ' a v a i s vu M. S e r v a i s d i r i g e r l e V a i s s e a u Fan tome . " ( I b i d . , 18 J a n u a r y 1891 . ) In any c a s e , Reyer had not r e v i e w e d t h e B r u s s e l s p e r f o r m a n c e ; t h e r e f o r e , h i s f e u i l l e t o n on t h e P a r i s i a n p r e m i e r e i n 1897 was h i s second (and l a s t ) r e v i e w o f t h i s o p e r a . 8 2 Quoted by Reyer i n i b i d . , 7 O c t o b e r 1868. (The q u o t a t i o n appea r s on p. 101 o f Wagne r ' s " L e t t r e " i n t h e new e d i t i o n o f Q u a t r e poemes.) 83 i n h i s r e v i e w o f Wagner ' s t h r i c e - g i v e n c o n c e r t o f 1860, Reyer asked h i s r e a d e r s : "Ne s e n t e z - v o u s p o i n t p a s s e r l e s o u f f l e de Weber, de l ' a u t e u r de F r e i s c h ' u t z e t d ' E u r y a n t h e , dans l e s m a j e s t u e u x a c c o r d s de c e t t e marche du Tannh 'auser : 1 ' e n t r e e s o l e n n e l l e des c o n v i e s au Wa r tbu r g . . . ?" ( " C h r o n i q u e m u s i c a l e : M. R i c h a r d Wagner, " GN p. 6. ) T h i r t y -f i v e y e a r s l a t e r , when t h e Opera r e v i v e d Tannh 'auser , Reyer o b s e r v e d t h a t 377 t h e composer had been " h a n t e " by " l e s o u v e n i r de Weber . . . e t c ' e s t sous 1' i m p r e s s i o n du F r e i s c h l i t z e t d ' E u r y a n t h e q u ' i l a e c r i t 1' a i r d ' E l i s a b e t h e t l e duo s u i v a n t avec T a n n h a u s e r " (JD f e u i 1 l e t o n o f 25 May 1 8 9 5 ) . 8 4 CP f e u i l l e t o n o f 30 September 1857 ( r e v i e w o f Tannh 'auser a t WiesbadeTT)". 8 5 I b i d . 8 ^ A f t e r q u o t i n g Wagne r ' s remark c o n c e r n i n g " a n a l o g i e s " between Tannh 'auser and works by e a r l i e r composer s ( see above , p. 3 3 5 ) , Reyer d e c l a r e d : "Ces ' a n a l o g i e s , ' t r e s v i s i b l e s en e f f e t dans Tannh 'auser , ne s on t pas mo ins v i s i b l e s dans L o h e n g r i n " (JD f e u i l l e t o n o f 7 O c t o b e r 1 8 6 8 ) . 8 7 I b i d . , 20 September 1891 . 8 8 C o n s i d e r , f o r e xamp le , t h e f o l l o w i n g e x c e r p t f r om t h e second o f t h e two f e u i l l e t o n s on L o h e n g r i n w h i c h Reyer w ro te i n t h e autumn o f 1868, when he t hough t t h a t a P a r i s i a n p r e m i e r e o f t h e work was imminen t : " . . . l e s deux poe'mes, a i n s i que j ' a i eu T o c c a s i o n de l e f a i r e r emarque r a i l l e u r s , emprun ten t a des l e gende s d i f f e r e n t e s des c a r a c t e r e s e t des s i t u a t i o n s d r a m a t i q u e s a peu p re s s e m b l a b l e s . Le comte de Te l ramund e t O r t r u d e ne s o n t - i l s pas a g i t e s pa r l e s memes p a s s i o n s que L y s i a r t e t E g l a n t i n e ; E l s a e t L o h e n g r i n ne se t r o u v e n t -i l s p a s , comme E u r y a n t h e e t A d o l a r , p l a c e s au m i l i e u des memes s i t u a t i o n s p o e t i q u e s e t c h e v a l e r e s q u e s ? Le r o i d ' A l l e m a g n e . . . e t l e r o i de F r a n c e . . . ce s deux g rands r o i s , eux a u s s i , ne j o u e n t - i l s pas dans l ' u n e t 1 ' a u t r e poeme un r o l e p r e sque i d e n t i q u e ? " ( I b i d . , 7 O c t o b e r 1868) As i n most o f h i s o t h e r c o m p a r i s o n s o f t h e two l i b r e t t o s , Reyer added t h a t Wagne r ' s d r a m a t u r g y was s u p e r i o r . See S o u v e n i r s ( r e p r i n t e d i n N o t e s , p. 2 8 ) , and t h e f o l l o w i n g f e u i l l e t o n s i n t h e ^JD: 26 J a n u a r y 1886; 20 September 1891 ; and 25 A p r i l 1897. 8 9 S o u v e n i r s , r e p r i n t e d i n N o t e s , p. 28 . y 0 JD f e u i l l e t o n o f 8 May 1887. T h i s comment, i n R e y e r ' s r e v i e w o f t h e p r e m i e r e o f L o h e n g r i n a t t h e Eden, was r e p e a t e d v e r b a t i m i n h i s r e -v i e w o f i t s t r i u m p h at t h e Opera ( i b i d . , 20 September 1891 ) . 91 "Ce duo [ e n t r e O r t r u d e e t F r e d e r i c ] , par l e s s en t imen s qu i s ' y d e v e l o p p e n t a u t a n t que par 1 ' e x p r e s s i o n m u s i c a l e , a une g rande a n a l o g i e avec c e l u i d ' E u r y a n t h e , e n t r e E g l a n t i n e e t L y s i a r t , p l a c e au second a c t e e g a l e m e n t . " ( I b i d . , 8 May 1887 and 20 September 1891. ) 92 " C h r o n i q u e m u s i c a l e : M. R i c h a r d Wagner, " jSN p. 6. 378 y , j R e c a l l i n g Wagne r ' s t h r i c e - g i v e n c o n c e r t o f 1860, Reyer e x -p l a i n e d t h a t "an a i r o f k i n s h i p seemed t o be d i s c o v e r a b l e " between t h e f i g u r e p l a y e d by t h e v i o l i n s i n t h e accompaniment t o t he theme o f t h e P i l g r i m s ' Chorus i n t h e Tannh 'auser o v e r t u r e , and t h e f i g u r e wh i ch accompan ie s t h e o a t h o f r e c o n c i l i a t i o n i n Romeo e t J u l i e t t e . At t h e same t i m e , he made i t c l e a r t h a t he had neve r r e g a r d e d such " i n v o l u n t a r y r e m i n i s c e n c e s " as " p l a g i a r i s m s . " See " H e c t o r B e r l i o z . B i o g r a p h i c a l Notes and P e r s o n a l R e m i n i s c e n c e s , " The C e n t u r y Magaz ine 47 (December 1 8 9 3 ) : 3 0 9 . (As s t a t e d i n n. 5 o f C h a p t e r V I I , t h i s a r t i c l e was p r o b a b l y t r a n s l a t e d f r om a F r ench p u b l i c a t i o n . ) 9 4 JD f e u i l l e t o n o f 8 December 1894. 9 5 I b i d . , 30 September 1868. 9 6 I b i d . , 12 November 1882 . 9 7 I b i d . , 30 September 1868. 9 8 " Le f i n a l [du p r e m i e r a c t e ] . . . commence l e vacarme i n f e r n a l q u i va d u r e r j u s q u ' a l a f i n du t r o i s i e m e a c t e . " ( W o l f f ' s r e v i e w o f R i e n z i i n Le F i g a r o , 8 A p r i l 1869 . ) 9 9 CP f e u i l l e t o n o f 30 September 1857. 100 JD f e u i l l e t o n o f 18 A p r i l 1869. ( R e y e r ' s s t a t e m e n t was quo ted above on p. 334 . ) 101 "Comme i l n ' e t a i t guere p o s s i b l e , a p ropos de R i e n z i , de p a r l e r du d e f a u t de c a r r u r e de l a p h r a s e m e l o d i q u e e t de r e p r o c h e r a R i c h a r d Wagner d ' a v o i r r e p u d i e pour l a coupe de ses morceaux t o u t e s l e s fo rmes a c c e p t e e s , on a v e r t e m e n t c r i t i q u e l e l u x e de son i n s t r u m e n t a t i o n . Beaucoup t r o p de b r u i t , a - t - o n d i t . II ne f a u t pas c o n f o n d r e l e b r u i t avec l ' e x c e s de s o n o r i t e . Ce qu i e s t du b r u i t , c ' e s t c e t e t e r n e l f i n a l que vous r e n c o n t r e z dans l a p l u p a r t des o p e r a s i t a l i e n s , c e t t e l ongue s u i t e d ' a c c o r d s de t o n i q u e e t de d o m i n a n t e , accompagnes par t o u s l e s i n s t r u m e n s a p e r c u s s i o n de 1 ' o r c h e s t r e . " ( I b i d . ) 102 i b i d . 103 R e y e r ' s p o s i t i o n i s e x e m p l i f i e d by a pas sage f r om h i s r e v i e w o f t h e P a r i s i a n p r e m i e r e o f D i e M e i s t e r s i n g e r . As he had done when a s s e s s -i n g t h e c h o r u s e s i n R i e n z i , t h e c r i t i c c o n t r a s t e d t h e r e a c t i o n s o f m u s i -c i a n s and p u b l i c . " L a t rame i n s t r u m e n t a l e " o f e v e r - c h a n g i n g l e i t m o t i f s was o f g r e a t i n t e r e s t " p o u r l e s m u s i c i e n s . . . Ma i s l ' o r e i l l e du p u -b l i c , du g r o s p u b l i c , e s t s ouven t r e f r a c t a i r e a des c o m b i n a i s o n s de ce g e n r e : e l l e s l e d i s t r a y e n t sans l ' e m o u v o i r " ( i b i d . , 21 November 1 8 9 7 ) . 1 0 4 I b i d . , 18 J a n u a r y 1891 . 379 105 " R i c h a r d Wagner a e t e c o n d u i t pa r d e g r e s , ma i s par une pen te i r r e s i s t i b l e , . . . a l a n e g a t i o n de l a m e l o d i e " ( F e t i s , " R i c h a r d Wagner , " RGMP p. 2 2 5 ) . 1 0 6 CP f e u i l l e t o n o f 30 September 1857. 107 " C h r o n i q u e m u s i c a l e : M. R i c h a r d Wagner, " GN p. 6 . 108 i b i d . 1 ° 9 JD f e u i l l e t o n o f 18 A p r i l 1869. H O N o t a b l y t h e f o l l o w i n g : i n A c t I, " l e r e v e d ' E l s a , d ' u n e e x -p r e s s i o n s i t e n d r e , s i c h a s t e , s i p o e t i q u e " ( i b i d . , 27 A p r i l 1 8 7 9 ) ; i n A c t I I , " l a p o e t i q u e e t douce c a n t i l e n e " sung by E l s a at t h e b e g i n n i n g o f t h e B a l c o n y Scene ( i b i d . , 8 May 1887, r e p e a t e d i n 20 September 1 8 9 1 ) ; and , i n A c t I I I , t h e Wedding Cho ru s ( "un b i j o u , " i b i d . , 8 May 1 8 8 7 ) . Reyer was p a r t i c u l a r l y imp re s s ed by t he l o v e d u e t , wh i ch " p r e s e n t e une s u c c e s s i o n de ph r a s e s du c o n t o u r l e p l u s e l e g a n t , l e p l u s pur . . . que l cha rme, q u e l l e s u a v i t e e t q u e l l e t e n d r e s s e dans ce d i a l o g u e amoureux, t o u t e m p r e i n t de p o e s i e m y s t i q u e , e t dont on ne peut d i r e que l a p a s s i o n s o i t a b s en te p o u r t a n t . " ( I b i d . , 8 May 1887, r e p e a t e d i n 20 September 1891 . ) H I C o n c e r n i n g t h e scene between Siegmund and S i e g l i n d e i n A c t I o f D i e W a l k l i r e , f o r e xamp le , Reyer avowed: "On n ' a j a m a i s r i e n e c r i t de p l u s d e l i c i e u x , de p l u s p o e t i q u e e t de p l u s p a s s i o n n e que c e t t e a d o r a b l e scene . . . dans l a q u e l l e s ' e n c h a s s e , comme un pur d i a m a n t , l e f r a i s e t m e l o d i e u x 1 i e d du P r i n t e m p s . " ( I b i d . , 13 May 1893 . ) 112 In t h e l e t t e r - a r t i c l e wh i ch Reyer d i s p a t c h e d f rom London a f t e r h e a r i n g D i e M e i s t e r s i n g e r f o r t h e f i r s t t i m e , t h e r e were pas sages such as t h e f o l l o w i n g : " J e vous d i r a i pour vous a f f r i o l e r , q u ' i l y a dans c e t t e p a r t i t i o n , e s s e n t i e l l e m e n t m e l o d i q u e , des c hoeu r s d ' u n b r i o , d ' u n e f r a i c h e u r i n c o m p a r a b l e e t qu i sont a l a g a i e t e a l l e m a n d e ce que l e s c h o e u r s des o p e r a s d ' A u b e r sont a 1 ' e s p r i t f r a n g a i s . " (JTJ, 18 June 1882, p. 2 . ) A f t e r a t t e n d i n g t h e p r e m i e r e o f S i e g f r i e d at B r u s s e l s , Reyer e n -t h u s e d : "Dans aucun de ses o u v r a g e s , e x c e p t e p e u t - e t r e dans l e s MaTt re s C h a n t e u r s , Wagner n ' a mis p l u s de g a i e t e , p l u s de f r a T c h e u r , p l u s de j e u n e s s e . . . . j a m a i s he ro s n ' e u t p l u s f i e r e a l l u r e , p l u s a "emportement dans l a p a s s i o n , p l u s de p o e s i e dans T a m e , p l u s d ' e x q u i s e t e n d r e s s e au c o e u r . " (JD f e u i l l e t o n o f 18 J a n u a r y 1891 . ) H 3 I b i d . , 8 May 1887 . 114 " S y s teme ou i n n o v a t i o n , peu i m p o r t e " ( i b i d . , 22 March 1 8 8 4 ) . H 5 I b i d . , 18 A p r i l 1869. 380 H 6 L i s z t , L o h e n g r i n e t Tannh 'auser , quo ted by Reyer i n t he JD f e u i l l e t o n o f 30 September 1868. H 7 Quoted i n i b i d . 1 1 8 Reyer i n i b i d . , 27 March 1887 . 1 1 9 I b i d . , 8 May 1887. 120 i n t h i s o p e r a Reyer d i s c e r n e d many " s e t " n u m b e r s - - " d e s a i r s , une s e r e n a d e , des duo s , un q u i n t e t t e e t des morceaux d ' e n s e m b l e " - - a n d he t h e r e f o r e would not d e s c r i b e i t as a mus ic d rama. " O p e r a de g e n r e , o p e r a s e m i - s e r i a , comed ie m u s i c a l e , o p e r a - c o m i q u e ou o p e r a - b o u f f e , on peut c h o i s i r . M a i s , pour s u r , l e s MaT t re s c h a n t e u r s ne sont p o i n t un drame l y r i q u e . " ( I b i d . , 21 November 1897. ) 121 Of a l l t h e l a r g e s cenes wh i ch Reyer admi red i n t h e s e w o r k s , t h e one t h a t r e c e i v e d h i s most a r d e n t p r a i s e was t h e c o n c l u s i o n o f D i e Wal k'u're: " . . . j e ne s a u r a i s t r o p i n s i s t e r s u r l e s r i c h e s deve l oppement s e t l a s u b l i m e i n s p i r a t i o n de c e t t e emou-v a n t e scene qu i commence aux ad i eux de Wotan e t s ' a c h e v e dans un i m p e r c e p t i b l e murmure d ' o r c h e s t r e b e r g a n t l e sommeil de B r u n n h i l d ap re s 1 ' i n c a n t a t i o n du f e u . II s u f f i t a un m u s i c i e n d ' a v o i r e n f a n t e un t e l c h e f -d ' o e u v r e pour que son g e n i e ne se d i s c u t e p l u s . " ( I b i d . , 13 May 1893) 122 i b i d . , 22 March 1884. 123 R e y e r ' s awareness o f t h e n o v e l t y o f t he v o c a l w r i t i n g i n t h e mus i c dramas i s e x e m p l i f i e d by a s t a t e m e n t i n h i s r e v i e w of t h e P a r i s i a n p r e m i e r e o f D i e Wal k'u're: even i f he had had " l a p r e t e n t i o n . . . d ' a n a l y s e r l a p a r t i t i o n " f o r h i s r e a d e r s , he c o u l d not have found " l a p l u s p e t i t e c a v a t i n e , l e mo ind re a r i o s o " w h i c h t h e " l e c t e u r melomane . . . p u i s s e r e t e n i r ou c h a n t e r " ( i b i d . , 13 May 1 8 9 3 ) . 124 I b i d . , 25 May 1895 ( r e v i e w o f t h e r e v i v a l o f Tannh'auser at t h e O p e r a ) . 125 From a l e t t e r s en t by Wagner t o L i s z t when t h e l a t t e r was p r e -p a r i n g t o p r e m i e r e L o h e n g r i n at Weimar i n 1850. Quoted by Reyer i n h i s r e v i e w o f t h e p r o d u c t i o n o f t h i s work at t h e Opera (JD f e u i l l e t o n o f 20 September 1 8 9 1 ) . 126 Reyer sensed t h e b e g i n n i n g s o f l e i t m o t i f t e c h n i q u e i n Wagne r ' s use o f two m o t i f s a s s o c i a t e d w i t h t h e p r i n c i p a l c h a r a c t e r s i n t h e o p e r a : t h e " t r a i t c a r a c t e r i s t i q u e " o f t h e Dutchman, and t he r e f r a i n o f S e n t a ' s b a l l a d e . He p o i n t e d o u t , however , t h a t t h e s e r e c u r r i n g m o t i f s do not permeate t h e s c o r e - - a s do t h e l e i t m o t i f s i n t h e mus ic d r amas - - and t h a t t h e r e c u r r e n c e s " s o n t t o u t de meme, comme i l s sont a u s s i , ne l ' o u b l i e z 381 p a s , dans R o b e r t l e P i a b l e , a n t e r i e u r au V a i s s e a u - F a n t o m e d ' u n e d i z a i n e d ' a n n e e s . " ( I b i d . , 23 May 1897.) 127 . . chaque i n s t r u m e n t a un r o l e , une p e r s o n n i f i c a t i o n q u i commence quand t e l pe r sonnage e s t muet ou d i s p a r a T t . Ces a c coup l emen t s des f l u t e s e t des b a s s o n s , des h a u t b o i s e t des c l a r i n e t t e s , qu i i n t e r -rompent 1 ' anatheme du S a i n t - P e r e , c ' e s t l a p r i e r e d ' E l i s a b e t h , a r r i v a n t a t r a v e r s l e s r a y o n s d ' u n e e t o i l e j u s q u ' a u c oeu r du c h e v a l i e r Tann -h a u s e r . Ces t r a i t s a g i l e s des p r e m i e r s v i o l o n s , c ' e s t l e c h a n t des s i r e n e s , q u i se mele peu a peu au c a n t i q u e des p e l e r i n s . Et p a r t o u t j ' a i t r o u v e . . . un p r o f o n d s e n t i m e n t d r a m a t i q u e . P a r t o u t j ' a i r e -marque l a p u i s s a n c e avec l a q u e l l e M. R i c h a r d Wagner d e v e l o p p e une i d e e e t l a f a i t c i r c u l e r a t r a v e r s t o u t e s l e s phases du s e n t i m e n t q u ' i l v eu t p e i n d r e . " ( " C h r o n i q u e m u s i c a l e : M. R i c h a r d Wagner , " GN p. 6. ) 1 2 8 JP f e u i l l e t o n o f 21 June 1885 . 1 2 9 I b i d . , 13 May 1893. 1 3 0 I b i d . , 21 November 1897. 131 I b i d . , 18 J a n u a r y 1891 . To s u p p o r t h i s c o n t e n t i o n t h a t " c e t t e p redominance a l t e r n e e " was v e r y e f f e c t i v e , Reyer d i s c u s s e d the i m p o r -t a n c e o f bo th t h e v o i c e and t h e o r c h e s t r a i n t he t i t l e r o l e o f S i e g - f r i e d : "Sous l e r a p p o r t m e l o d i q u e ce r o l e e s t . . . f a v o r i s e , s o i t que l a ph r a s e r e s t e purement v o c a l e , s o i t que, c o n -f i e e a l ' o r c h e s t r e , e l l e v i e n n e donner une a c c e n t u a t i o n p l u s c o l o r e e , p l u s s a i s i s s a n t e au r e c i t du c h a n t e u r . Par e x e m p l e , c e l l e qu i r e p a r a T t s i souvent e t que l ' o n e s p e r e t o u j o u r s [ , ] dans 1 'accompagnement du r e c i t que f a i t S i e g f r i e d de l a f agon dont l e s o i s e a u x dans l e u r n i d , l e s animaux a c c o u p l e s deux par deux sous l a f e u i l -l e e [ , ] l u i r e v e l e r e n t 1 ' amour , ph ra se d ' u n e s u a v i t e p e n e t r a n t e v a r i e e chaque f o i s par des accoup lemens de t i m b r e s s i i n g e n i e u x e t s i doux . II en e s t beaucoup d ' a u t r e s , sans p a r l e r des m o t i f s t y p i q u e s en tendu s pour l a p l u p a r t dans l e R h e i n g o l d e t dans l a W a l k l i r e , que j e p o u r r a i s c i t e r . " ( I b i d . ) 1 3 2 As i n d i c a t e d i n n . 62 , Wagner ' s t h r i c e - g i v e n c o n c e r t a t P a r i s i n 1860 had a c q u a i n t e d Reyer w i t h t h e T r i s t a n p r e l u d e , wh i ch he had p r a i s e d as b e i n g one o f t h e f i n e s t examp le s o f Wagner ' s a r t . P u r i n g R e y e r ' s voyage m u s i c a l t h r o u g h Germany i n 1863-64, he had r e c e i v e d a v e r y bad i m p r e s s i o n o f T r i s t a n as a who le when he and a f r i e n d had t r i e d t o s i g h t - r e a d t h e s c o r e ( see S o u v e n i r s , r e p r i n t e d i n N o t e s , pp . 80-83). At a l a t e r d a t e , however , Reyer must have t a k e n a second l ook a t T r i s - t a n , becau se i n 1882 i t was among t he Wagner s c o r e s t h a t he o f t e n r e a d a t t h e p i a n o (JD f e u i l l e t o n o f 12 November 1882; see t h e e x c e r p t g i v e n above on p. 32TJ. L a m o u r e u x ' s p r e s e n t a t i o n o f A c t I i n 1884 was R e y e r ' s 382 r e a l i n i t i a t i o n t o t h i s mus i c d rama, b e c a u s e , as he t o l d h i s r e a d e r s , " C ' e t a i t l a p r e m i e r e f o i s que j ' e n t e n d a i s T r i s t a n e t I s e u l t a l ' o r c h e s -t r e . " ( I b i d . , 22 March 1884. ) He s e i z e d t h e o p p o r t u n i t y t o make h o n o r -a b l e amends f o r h i s r e j e c t i o n o f i t , two decades e a r l i e r , i n S o u v e n i r s . 1 3 3 JD f e u i l l e t o n o f 22 March 1884. 1 3 4 I b i d . R e y e r ' s o n l y a t t e m p t t o d e s c r i b e t he ha rmon ic l a nguage o f T r i s t a n was an ambiguous m e t a p h o r , pe rhap s i n t e n d e d t o sugges t t h a t t h e ha rmon i c r e l a t i o n s h i p s wh i ch f o rm t h e b a s i s o f t o n a l i t y had somehow been d i s s o l v e d : "Ce s on t des f l o t s d ' h a r m o n i e qu i vous e n v e l o p p e n t avec des i n t e n s i t e s d i v e r s e s ob tenue s par des p r o c e d e s q u i , i l f a u t b i e n l e d i r e , ne v a r i e n t g u e r e . " ( I b i d . ) I t i s d i s a p p o i n t i n g — b u t not s u r p r i s -i n g , g i v e n h i s a t t i t u d e toward t e c h n i c a l a n a l y s i s — t h a t Reyer d i d no t e l a b o r a t e . 1 3 5 I b i d . 1 3 6 " A t t e i n t s de wagne r i sme , nous l e somrnes a peu p re s t o u s , a des d e g r e s d i f f e r e n s p e u t - e t r e " ( i b i d . , 27 March 1 8 8 7 ) . 1 3 7 I b i d . , 10 J a n u a r y 1882 . 138 S e r v i e r e s , Wagner j u g e , p. 32 . l 3 y Newman, Wagner, 2 :538 . S e r v i e r e s , t o o , c i t e s o n l y t h e r e v i e w s by Reyer and G a u t i e r (Wagner j u g e , pp . 3 2 - 3 4 ) . 1 4 0 Newman, Wagner, 2 : 538 . * 4 1 See t h e e x c e r p t s g i v e n above i n nn . 19 and 3 1 . 1 4 2 JD f e u i l l e t o n o f 16 December 1866. 1 4 3 I b i d . , 17 A p r i l 1887. Reyer had been mak ing s t a t e m e n t s t o t h i s e f f e c t e v e r s i n c e 1879 ( see above , p. 3 2 4 ) . 1 4 4 For e xamp le , A c t I o f L o h e n g r i n was e n j o y i n g u n q u a l i f i e d s u c -c e s s at t h e C o n c e r t s Lamoureux i n 1882, f o u r y e a r s b e f o r e the p u b l i c r e c e i v e d A c t I o f D i e Wa lku re w i t h s i m i l a r e n t h u s i a s m . See i b i d . , 30 A p r i l 1882 and 28 March 1886 r e s p e c t i v e l y . I 4 6 CP f e u i l l e t o n o f 30 September 1857 ( see t he e x c e r p t g i v e n above on p p . 3 2 9 - 3 0 ] ! 146 " C h r o n i q u e m u s i c a l e : M. R i c h a r d Wagner , " GN p. 5 ( see a b o v e , p. 3 3 1 ) . 1 4 7 A r t h u r Poug i n d i s d a i n f u l l y d e s c r i b e d t h e s e f a n a t i c s as " de s p o s e u r s e t des g o d e l u r e a u x de ce t e m p s - c i , pour l e s q u e l s i l semble que 383 1 1 a u t e u r de T r i s t a n a i t i n v e n t e l a m u s i q u e . " See h i s o b i t u a r y " E r n e s t R e y e r , " Le M e n e s t r e l 75 (23 J a n u a r y 1 9 0 9 ) : 2 7 . 148 A l f r e d E i n s t e i n , G l u c k , t r a n s . E r i c B lom, The Ma s t e r M u s i c i a n s S e r i e s ( London : J . M. Dent , 1936 ; r e p r i n t e d . , New Y o r k : F a r r a r , S t r a u s and Cudahy, 1 9 6 4 ) , p. 192 . E i n s t e i n e x p l a i n s t h a t G luck r e j e c t e d " t h e o p e r a t i c t y p e o f M e t a s t a s i o , " and Wagner r e b e l l e d a g a i n s t " t h e s i n g e r ' s o p e r a o f R o s s i n i and t h e ' g r a n d o p e r a ' o f M e y e r b e e r " ( i b i d . ) . 149 Wagner ' s v i ews on t he s i g n i f i c a n c e o f B e e t h o v e n ' s h a v i n g r e s o r t e d t o t h e words o f a poet i n o r d e r t o a c h i e v e u l t i m a t e communi-c a t i o n , a re made c l e a r by G e r a l d Abraham i n h i s summary o f Oper und Drama i n A Hundred Y e a r s o f M u s i c , 4 t h e d . ( London : D u c k w o r t h , 1 9 7 4 ) , pp . 9 9 - l O T ! See a l s o t h e f o l l o w i n g : E r n e s t Newman, Wagner as Man and A r t i s t , 2d e d . (New Y o r k : A l f r e d A. K n o p f , 1924; r e p r i n t e d . , New Y o r k : V i n t a g e Book s , 1 9 6 0 ) , pp . 2 5 6 - 6 5 ; and NG, s . v . "Wagner , ( W i l h e l m ) R i c h a r d , " by C u r t von Westernhagen and C a r l D a h l h a u s , p. 111 . 1 5 0 JD f e u i l l e t o n o f 30 September 1868. 151 " R i c h a r d Wagner e t l a c r i t i q u e ( S u i t e ) [ R e y e r ' s l e t t e r - a r t i c l e t o J u d i t h M e n d e s ] , " L a P r e s s e , 29 O c t o b e r 1868, p. 3. 1 5 2 JD f e u i l l e t o n o f 19 May 1889 . 153 D i e M e i s t e r s i n g e r , f o r e x a m p l e , i s i n many ways a r e p u d i a t i o n o f Wagne r ' s t h e o r i e s : i t i s w r i t t e n i n rhymed v e r s e ; t h e c h a r a c t e r s a r e drawn not f r om myth o r l e gend but r a t h e r f r om s i x t e e n t h - c e n t u r y Nurem-b e r g ; and t h e r e a r e numerous s e t - numbe r s ( i n c l u d i n g a b a l l e t ) embedded i n t h e m u s i c a l f a b r i c . As i n d i c a t e d above ( n . 1 2 0 ) , Reyer would not d e s c r i b e t h i s work as a mus i c d rama. 154 i b i d . , 27 March 1887. 155 CP f e u i l l e t o n o f 30 September 1857 ( see the l o n g e r e x c e r p t g i v e n above , p. 3 3 3 ) . 156 JD f e u i l l e t o n o f 10 J a n u a r y 1882 . 157 As K a p e l l m e i s t e r t o t h e K i n g o f Saxony, Wagner d i r e c t e d t h e f i r s t D resden p e r f o r m a n c e s o f A rmide (5 March 1843) and I p h i g e n i a i n Au 1 i s (24 F e b r u a r y 1 8 4 7 ) . Westernhagen o b s e r v e s t h a t t he p r e s e n t a t i o n o f t h e l a t t e r was an a c t o f c o n s i d e r a b l e a u d a c i t y on Wagne r ' s p a r t , becau se " I p h i g e n i a i n A u l i s was d e c r i e d at t h a t t i m e as G l u c k ' s most d a t e d w o r k . " (Wagner, 1 :107 . ) Pau l Bekke r o f f e r s t he f o l l o w i n g s p e c u -l a t i o n c o n c e r n i n g Wagner ' s a t t i t u d e t owa rd G l u c k ' s l y r i c d e c l a m a t i o n : " . . . he c o u l d f o r g e t G l u c k ' s f o r m a l a r i a m e l o d i e s i n the g rand sweep o f h i s r e c i t a t i v e s . Here he found an i n t i m a t i o n o f s ometh ing he h i m s e l f had e n v i s a g e d ; he re was f r e e o u t l e t f o r t h e e m o t i o n a l w i l l t o e x p r e s -s i o n . " ( R i c h a r d Wagner: H i s L i f e i n H i s Work, t r a n s . M. M. Bozman [New Y o r k : W. W. N o r t o n , 1 9 3 1 J , p. 143 . ) 384 A c c o r d i n g t o B e k k e r , Wagner was p a r t i c u l a r l y i n t e r e s t e d i n t h i s r e c i t a t i v e because " t h e r e he f ound t h e same p rob lems o f i n t e r p r e t a t i o n and p e r f o r m a n c e wh i ch had i n t e r e s t e d him so d e e p l y i n G l u c k ' s r e c i t a t i v e , a f r e e - f l o w i n g me lody e m a n c i p a t e d f r o m t h e p e r i o d , ' M e l o s ' based on t h e s i g n i f i c a n t d e c l a m a t o r y p h r a s e . " ( I b i d . , p. 144 . ) Wagner may a l s o have been i n f l u e n c e d by t he s t r i v i n g f o r e x p r e s -s i v e l y a c c u r a t e t e x t u a l d e c l a m a t i o n i n pa s sages o f Webe r ' s E u r y a n t h e . As no ted i n C h a p t e r VI ( p . 2 4 2 ) , Dona ld G rou t and John Warrack f i n d i n W e b e r ' s o p e r a s u g g e s t i o n s o f Wagne r ' s S p r e c h g e s a n g . We know t h a t Wagner r e a d i l y a d m i t t e d t o h a v i n g been p r o f o u n d l y a f f e c t e d by Webe r ' s mus i c i n g e n e r a l and E u r y a n t h e i n p a r t i c u l a r : he s i g n a l l e d Weber as "mon p r e m i e r m o d e l e , mon v e n e r e m a T t r e " ; d e c l a r e d t h a t " a n a l o g i e s t r e s v i s i b l e s " c o n -n e c t e d Tannh 'auser t o e a r l i e r w o r k s , e s p e c i a l l y t h o s e o f Weber; and a c -knowledged t h e e x i s t e n c e o f o b v i o u s s i m i l a r i t i e s between t h e l i b r e t t o o f L o h e n g r i n and t h a t o f E u r y a n t h e ( see above , n. 76 and p. 3 3 6 ) . There i s o t h e r e v i d e n c e a t t e s t i n g s p e c i f i c a l l y t o Wagner ' s a d m i r a t i o n f o r E u r y a n t h e : t h e s e c o n d - a c t duet between t h e v i l l a i n and v i l l a i n e s s i n L o h e n g r i n s t r o n g l y r e s e m b l e s t h e ana l ogou s duet i n E u r y a n t h e , as Reyer o b s e r v e d ; and- -unbeknown t o t h e F r e n c h c r i t i c — W a g n e r had w r i t t e n a f u n e r a l march based e n t i r e l y on m o t i f s f r o m E u r y a n t h e on t h e o c c a s i o n o f t h e r e b u r i a l o f Webe r ' s m o r t a l r ema in s at Dresden i n 1844. 1 5 y R e y e r ' s l i k e n i n g o f t h e t r i u m p h a l march i n R i e n z i t o t h e one i n S p o n t i n i ' s 0 1 i m p i e (JD f e u i l l e t o n o f 18 A p r i l 1869) may have been i n -s p i r e d by a remark made a few y e a r s e a r l i e r by B e r l i o z i n h i s Memo i re s . (As no t ed on p. 267 o f t h i s d i s s e r t a t i o n , Reyer had r e c e i v e d one o f t h e f i v e c o p i e s o f t h e Memoires t h a t had been p r i n t e d d u r i n g B e r l i o z ' s l i f e t i m e . ) R e c a l l i n g a Dresden p e r f o r m a n c e o f t h e l a s t t h r e e a c t s o f R i e n z i , B e r l i o z had w r i t t e n : "I remember . . . a t r i u m p h a l march m o d e l l e d , though i n no s p i r i t o f s l a v i s h i m i t a t i o n , on t h e superb march i n S p o n t i n i ' s 0 1 i m p i e . " (The Memoirs o f H e c t o r B e r l i o z , t r a n s , and ed . Da v i d C a i r n s [ London : V i c t o r G o l l a n c z , 1969 ; r e p r i n t e d . , 1 9 7 7 ] , p. 303 . ) The S p o n t i n i a n e l ement i n R i e n z i i s more p e r v a s i v e t han i s s u g g e s t -ed e i t h e r by t h e one example c i t e d above , o r by R e y e r ' s g e n e r a l remark t h a t " l a muse de S p o n t i n i " had e x e r c i s e d " q u e l q u e i n f l u e n c e su r l e s t y l e de R i c h a r d Wagner a son d e b u t . " (JD f e u i l l e t o n o f 18 A p r i l 1867 ; see t h e e x c e r p t g i v e n above on p. 334.~) Wagner h i m s e l f d e c l a r e d e v e n t u a l l y t h a t t h e p r i n c i p a l i n f l u e n c e on R i e n z i had been S p o n t i n i ' s Fe rnand C o r t e z , wh i ch he had h e a r d — c o n d u c t e d by t h e c o m p o s e r — d u r i n g a s h o r t s t a y i n B e r l i n i n June 1836: "The most i m p o r t a n t a r t i s t i c e x p e r i e n c e I had came t o me t h r o u g h t h e p e r f o r m a n c e o f Fe rnand C o r t e z . . . T h i s e x t r a o r d i n a r i l y d i s t i n c t i m p r e s s i o n took a d r a s t i c h o l d o f me, and above a l l s e r v e d t o g u i d e me i n my c o n c e p t i o n o f R i e n z i . " (From t h e E n g l i s h t r a n s l a t i o n [ 1911 ] o f Mein L e b e n , quo ted by John Warrack i n "The M u s i c a l B a c k g r o u n d , " i n The Wagner Compan ion, e d . P e t e r B u r b i d g e and R i c h a r d S u t t o n [New Y o r k : Cambr idge U n i v e r s i t y P r e s s , 1 9 7 9 ] , p. 102 . ) 160 The atmosphere o f R i e n z i does not seem touched by what Reyer d e s c r i b e d as " l e s o u f f l e he ro ' i que e t c h e v a l e r e s q u e d ' E u r y a n t h e " (JD 385 f e u i l l e t o n o f 18 A p r i l 1 8 6 9 ) . R i e n z i i s s e t i n t h e M i d d l e Age s , but t h e r e i s n o t h i n g v e r y c h i v a l r i c about t h i s g rand h i s t o r i c a l o p e r a : t h e h e r o i s m d i s p l a y e d by t h e Roman t r i b u n a l and h i s devo ted s i s t e r can s c a r c e l y be l i k e n e d t o t h e b e h a v i o r o f t h e m e d i a e v a l k n i g h t s and n o b l e s i n Webe r ' s o p e r a . One o f R e y e r ' s comments however does c o n t a i n a g r a i n o f t r u t h : l i k e Weber, Wagner keeps t h e ea r i n t e r e s t e d w i t h o u t c o n s t a n t l y m o d u l a t i n g , and he does not r e s o r t t o cymba l s and bass drum i n t h e t u t t i s . 161 Both Dona ld J a y G rou t and John Warrack d e s i g n a t e M a r s c h n e r ' s two o p e r a s as h a v i n g been mode l s f o r Hoi Vande r . (See G r o u t , A S h o r t H i s t o r y o f O p e r a , 2d e d . , 2 v o l s . [New Y o r k : C o l u m b i a U n i v e r s i t y P r e s s , 1 9 6 5 J , 2 :389 and 395 ; and Warrack i n The Wagner Compan ion , pp. 1 09 - 10 . ) I t i s Warrack who names Oberon as a t h i r d v i t a l i n f l u e n c e on Wagne r ' s o p e r a ( i b i d . , p. 94 , and i dem, C a r l M a r i a von Weber, 2d e d . [ C a m b r i d g e : Cambr idge U n i v e r s i t y P r e s s , 1 9 7 6 J , p p . 3 3 6 - 3 8 ) . When Reye r heard Hoi Vander a t Weimar, f i v e y e a r s had e l a p s e d s i n c e he had seen Oberon ( T h e a t r e - L y r i q u e , 1858; r e v i v a l o f t h e 1857 p r o d u c -t i o n ) . When he r e v i e w e d t h e P a r i s i a n p r e m i e r e o f Wagne r ' s o p e r a i n 1897, R e y e r ' s memory o f Oberon would a g a i n have been d i m , because more t h a n t w e n t y y e a r s had pas sed s i n c e he had l a s t seen i t ( S a l l e V e n t a d o u r , 1 8 7 6 ) . 1 6 2 JD f e u i l l e t o n o f 23 May 1897 . 163 Car 1 D a h l h a u s , R i c h a r d Wagne r ' s Mu s i c Dramas, t r a n s . Mary W h i t -t a l l ( Cambr i dge : Cambr idge U n i v e r s i t y P r e s s , 1 9 7 9 ) , p. 14. 164 JD f e u i l l e t o n o f 23 May 1897. 165 O b e r o n ' s a r i a " i s Wagner ian not o n l y i n i t s r e s t l e s s u r g e n c y o f movement but i n t h e manner i n wh ich t he v o c a l l i n e seems t o grow out o f t h e o r c h e s t r a r a t h e r t h a n impose a c e r t a i n k i n d o f accompaniment on i t : t h i s m igh t a lmo s t be t h e F l y i n g Dutchman h i m s e l f , i n t h e 6/8 s e c t i o n o f ' D i e F r i s t i s t u m ' . " ( W a r r a c k , Weber, p. 3 38 . ) 166 I b i d . , p. 336 . 167 See t h e e x c e r p t s f r om S o u v e n i r s and f rom t h e JD f e u i l l e t o n o f 23 May 1897 , g i v e n above i n n n . 31 and 78 r e s p e c t i v e l y . 168 w a r r a c k s u g ge s t s t h a t Wagner was i n f l u e n c e d by c e r t a i n a s p e c t s o f t h e l a s t scene i n A c t I I o f Hans H e i l i n g , and t h a t t h i s o pe r a as a who le t r e a t s " t h e theme o f t h e s p l i t between t h e s p i r i t and human w o r l d s . . . i n a manner w e l l on t h e way t o a l l Wagner was t o d i s c o v e r i n t h e i d e a f o r Hoi Vande r , Tannh 'auser , and L o h e n g r i n . " (The Wagner Compan ion, p. 110 . ) Both Warrack and G rou t o b s e r v e t h a t t h e c e n t r a l s i t u a t i o n o f L o h e n g r i n i s s i m i l a r t o t h a t o f M a r s c h n e r ' s P e r Temp le r und d i e J 'u 'd in, and t h a t t h e r e i s much o f Wagne r ' s E l s a i n t h e scene o f Templer i n w F i c h Rebecca w a i t s h o p e f u l l y f o r her c h a m p i o n . ( I b i d . , p. 109; and G r o u t , O p e r a , 2 : 3 8 9 . ) 386 169 Dona ld J a y G r o u t , A H i s t o r y o f Western M u s i c , 3d r e v . e d . , w i t h C l a u d e V. P a l i s c a (New Y o r k ! W. W. N o r t o n , 1 9 8 0 ) , p. 629. 1 7 ° Rey M. L o n g y e a r , N i n e t e e n t h - C e n t u r y R o m a n t i c i s m i n M u s i c , 2d e d . , P r e n t i c e - H a l l H i s t o r y o f Mus i c S e r i e s (Eng lewood C l i f f s , N . J . : P r e n t i c e - H a l l , 1 9 7 3 ) , p. 172 ; and P a u l Henry Lang , C r i t i c a t t h e Opera (New Y o r k : W. W. N o r t o n , 1 9 7 1 ) , p. 230 . 1 7 1 CP f e u i l l e t o n o f 30 September 1857. 172 i b i d . (A l o n g e r e x c e r p t was g i v e n above on p. 3 33 . ) 173 i n R e y e r ' s r e v i e w o f t h e 1895 r e v i v a l , t h e r e i s one s t a t e m e n t i n p a r t i c u l a r wh i ch i n d i c a t e s t h a t t h e s c o r e o f t h e P a r i s v e r s i o n had become f a m i l i a r t o h im : " L a ' B a c c h a n a l e ' e t l e duo qu i s u i t n ' a v a i e n t pas a l ' o r i g i n e l e s d i m e n s i o n s q u ' i l s ont a u j o u r d ' h u i . Wagner l e s a d e v e l o p p e s en vue des r e p r e s e n t a t i o n s de l ' O p e r a , e t c ' e s t c e t t e v e r s i o n q u i a e t e c o n s e r v e e . " (JD f e u i l l e t o n o f 25 May 1895. ) 174 i b i d . 1 7 5 I b i d . 176 i b i d . 177 Wa r r a ck , Weber, p. 297 . 178 i b i d . , p. 367. 179 A f t e r Wagne r ' s t h r i c e - g i v e n c o n c e r t at t h e T h e a t r e - I t a l i e n ~ a c o n c e r t o f mus i c f r om Hoi 1 "ander, Tannh 'auser , L o h e n g r i n , and T r i s t a n - -Reyer remarked t h a t " chaque i n s t r u m e n t a un r o l e , une p e r s o n n i f i c a t i o n , " and i l l u s t r a t e d h i s p o i n t by d i s c u s s i n g t h e Tannh 'auser o v e r t u r e . ( " C h r o n i q u e m u s i c a l e : M. R i c h a r d Wagner , " GN^ p. 6 ; see t h e e x c e r p t g i v e n above i n n. 127 . ) 180 Warrack i n The Wagner Compan ion , p. 94 . 181 La P r e s s e , 29 O c t o b e r 1868, p. 3 . " . . . ce s fo rmes n o u v e l l e s q u i s on t un peu c e t t e absence de fo rme dont vous f a i t e s honneur a R i c h a r d Wagner" was p r o b a b l y an a l l u s i o n t o Mme Mendes ' s c o n t e n t i o n t h a t Wagner was t h e f i r s t composer t o change t h e " f o r m e " o f o p e r a as i t had e x i s t e d s i n c e t h e t i m e o f G l u c k : "En r e a l i t e , 1 ' a d m i r a b l e a u t e u r d ' I p h i g e n i e en Au l i d e n ' a f a i t que des t e n t a t i v e s d ' a m e l i o r a t i o n s ; i l ne s ' e s t pas v i o l emment d e l i v r e des p r e j u g e s i t a l i e n s . . . . La fo rme de l ' o p e r a e s t r e s t e e l a meme. Ouvrez une p a r t i t i o n de Wagner, vous y c h e r c h e r e z v a i nemen t c e t t e f o r m e . II a d e f i n i t i v e m e n t a b o l i l e s d i v i s i o n s c o n v e n t i o n e l l e s qu i b r i s e n t 1 ' u n i t e de l ' o e u v r e e t en f o n t un amas de p i e c e s e t de morceaux . 387 . . . La e s t l a v e r i t a b l e i n n o v a t i o n qu i a p p a r t i e n t abso lument a Wagner . " ( J u d i t h Mendes, " R i c h a r d Wagner e t l a c r i t i q u e , " i b i d . , 17 O c t o b e r 1868, p. 3) The f a c t t h a t Reyer f ound i n E u r y a n t h e " c e s fo rmes n o u v e l l e s qu i son t un peu c e t t e absence de f o r m e " s u g g e s t s an awareness t h a t , as Warrack o b -s e r v e d a c e n t u r y l a t e r , " t h e d o m i n a t i o n o f c l o s e d f o r m s " i s " g o n e , o r at any r a t e weakened" i n W e b e r ' s o p e r a , and t h a t i t t h e r e f o r e "makes an i m p o r t a n t move i n t h e d i r e c t i o n o f Wagner ian mus i c d r a m a . " (Weber, p. 289 . ) 182 Namely, a pa s sage i n t h e p r e l u d e t o A c t I I I o f L o h e n g r i n , and t h e r e i t e r a t e d f i g u r e w i t h wh i ch t h e v i o l i n s accompany t h e theme o f t h e P i l g r i m s ' Chorus i n t h e Tannh 'auser o v e r t u r e ( see above , pp . 3 3 6 - 3 7 ) . 1 8 3 B a r z u n , B e r l i o z , 2 : 193 . 1 8 4 From R e y e r ' s p r o t e s t t h a t Wagne r ' s d e t r a c t o r s had p r e j u d i c e d t h e P a r i s i a n p u b l i c a g a i n s t R i e n z i b e f o r e i t s p r e m i e r e i n t he c a p i t a l (JD f e u i l l e t o n o f 18 A p r i l 1869 ; see t h e l o n g e r e x c e r p t g i v e n above i n n. 2TT. 1 8 5 See B a r z u n , B e r l i o z , 2 :183 -86 and 1 92 - 93 ; and Warrack i n The Wagner Compan ion, p p . 111 - 12 . G e r a l d Abraham i s one o f t h e v e r y few t w e n t i e t h - c e n t u r y s c h o l a r s w h o — d e c a d e s b e f o r e t h e appea rance o f t h e f i r s t e d i t i o n o f B a r z u n ' s book ( 1 9 5 0 ) - - t o o k i m p o r t a n t n o t i c e o f Wagne r ' s m u s i c a l d e b t t o B e r l i o z . In 1924 Abraham d e c l a r e d t h a t " w i t h o u t B e r l i o z t h e r e would have been no Wagner, " and t hen s u p p o r t e d h i s p o i n t by t r a c -i n g i n d e t a i l t h e c o n n e c t i o n s between Romeo e t J u l i e t t e and T r i s t a n und I s o l d e . See "The I n f l u e n c e o f B e r l i o z on R i c h a r d Wagner, " M u s i c and L e t t e r s 5 ( J u l y 1 9 2 4 ) : 2 3 9 - 4 6 . 1 8 6 S e r v i e r e s , Wagner j u g e , p. 34 ( s ee i b i d . , pp . 84 -94 f o r e x -c e r p t s f r om a s a m p l i n g o f r e v i e w s o f t h e P a r i s i a n p r e m i e r e ) . 1 8 7 I b i d . , p. 3 4 . 1 8 8 P au l B e k k e r , The O r c h e s t r a (New Y o r k : W. W. N o r t o n , 1936; r e -p r i n t e d . , The N o r t o n L i b r a r y , 1 9 6 3 ) , p. 186. 1 8 9 CP f e u i l l e t o n o f 30 September 1857. 1 9 0 S e r v i e r e s t e l l s us t h a t "une semaine avant l a p r e m i e r e r e p r e -s e n t a t i o n , M. P a s d e l o u p e t a i t a l l e a Z u r i c h p r e n d r e l e s i n s t r u c t i o n s d e f i n i t i v e s du c o m p o s i t e u r , a f i n de se c o n f o r m e r a ses i n t e n t i o n s m u s i -c a l e s . " (Wagner j u g e , p. 143n. ) Georges B i z e t , who a t t e n d e d t h e d r e s s -r e h e a r s a l , d e s c r i b e d t h e s m a l l army o f p e r f o r m e r s : " Q a u t r e - v i n g t s m u s i c i e n s a l ' o r c h e s t r e , - - t r e n t e s u r l a s c e n e , - - c e n t t r e n t e c h o -r i s t e s , — c e n t c i n q u a n t e f i g u r a n t s . " ( L e t t e r t o Edmond G a l a b e r t , quo ted i n i b i d . , p. 142. ) 388 1 9 1 JD f e u i l l e t o n o f 18 A p r i l 1869. l y 2 I b i d . As R e y e r ' s r e a d e r s wou ld have known, t he O p e r a ' s b u i l d -i n g on t h e r u e Le P e l e t i e r ( c a p . 1,954) was much l a r g e r than t h a t o f t h e L y r i q u e on t h e P l a c e du C h a t e l e t ( c a p . 1 , 2 4 3 ) . 1 9 3 R e y e r ' s i n s i s t e n c e t h a t t h e r e i s a d i f f e r e n c e between s o n o r i t y and n o i s e may seem f a m i l i a r t o u s , f o r we ob se r ved i n C h a p t e r VI ( p . 237) t h a t he had o f t e n made t h i s p o i n t i n w r i t i n g s on F r e n c h o p e r a i n t h e 1850s . H i s d e s c r i p t i o n o f t h e s t e r e o t y p i c a l I t a l i a n f i n a l e ( quo ted above i n n. 101) was not a l u d i c r o u s e x a g g e r a t i o n : Edward Dent d e -s c r i b e d i t i n a lmo s t i d e n t i c a l t e rms i n The R i s e o f Romant i c O p e r a , e d . W in ton Dean (Cambr i d ge : Cambr idge U n i v e r s i t y P r e s s , 1 9 7 6 ) , p. 98 . * 9 4 JD f e u i l l e t o n o f 18 A p r i l 1869 ( r e v i e w o f R i e n z i ; a l o n g e r e x c e r p t was g i v e n above on p. 3 3 9 ) . Compare R e y e r ' s comments on Wagne r ' s o r c h e s t r a t i o n and t r e a t m e n t o f t h e c ho r u s i n t h i s o p e r a w i t h t h e e x c e r p t s wh i ch S e r v i e r e s quo te s f r om r e v i e w s by o t h e r c r i t i c s (Wagner j u g e , pp . 144-46 and 1 4 8 - 5 0 ) . 1 9 5 JD f e u i l l e t o n o f 18 A p r i l 1869. 1 9 6 See i b i d . , 27 A p r i l 1879 and 13 May 1893, f o r R e y e r ' s r emark s c o n c e r n i n g t h e c h o r a l w r i t i n g i n Tannh 'auser and L o h e n g r i n . When D i e M e i s t e r s i n g e r was p r e m i e r e d at P a r i s , he d e l i g h t e d l y c a l l e d h i s r e a d e r s ' a t t e n t i o n t o an o u t s t a n d i n g example o f c o n t r a p u n t a l w r i t i n g : t h e t u m u l t u o u s f i n a l e o f A c t I, " e c r i t ga e t l a a s e i z e p a r t i e s r e e l l e s . " ( I b i d . , 21 November 1897. ) 1 9 7 Abraham, A Hundred Y e a r s , p. 119. 198 " C h r o n i q u e m u s i c a l e : M. R i c h a r d Wagner , " (aN p. 6. (A l o n g e r e x c e r p t was g i v e n above, p. 340 . ) 1 9 9 JD f e u i l l e t o n o f 9 F e b r u a r y 1860 ( B e r l i o z ' s r e v i e w o f Wagner ' s c o n c e r t ) . 200 E r n e s t Newman, The Wagner Opera s (New Y o r k : A l f r e d A. K n o p f , 1 9 4 9 ) , p. 96 . In f a i r n e s s t o Wagner, Newman adds t h a t W o l f r a m ' s song " i n i t s own day w a s - r i c h i n new ha rmon i c s u g g e s t i o n s . " 201 L a n g , C r i t i c , p. 239 . See a l s o D a h l h a u s , M u s i c Dramas, pp . 75 and 7 8 ; and G r o u t , O p e r a , 2 : 4 1 8 - 1 9 . 202 Longyea r c l a i m s t h a t , i n bo th S i e g f r i e d and Das R h e i n g o l d , " t h e c o m p o s e r ' s t h e o r i e s i n t e r f e r e w i t h h i s i n s t i n c t i v e m u s i c a l and t h e a t r i -c a l s e n s e . " ( N i n e t e e n t h - C e n t u r y R o m a n t i c i s m , p. 172 . ) L a n g , t o o , i s c r i t i c a l o f S i e g f r i e d . " T h i s i s t h e t a l k i e s t o p e r a i n t h e t e t r a l o g y , f o r c i n g Wagner t o a r a t h e r f r e t f u l p l a y w i t h t h e l e i t m o t i f s t h r o u g h a s e r i e s o f d e v e l o p m e n t s . " ( C r i t i c , p. 234 . ) Lang o b j e c t s p a r t i c u l a r l y t o two d i a l o g u e s i n A c t I: t h a t o f Mime and S i e g f r i e d ( " i n t e r m i n a b l e " ) , 389 and t h e q u e s t i o n - a n d - a n s w e r game between Mime and t h e Wanderer . ( I b i d . , pp . 2 34 - 35 . ) 203 when r e v i e w i n g t h e p r e m i e r e o f S i e g f r i e d i n F rench t r a n s l a t i o n at B r u s s e l s , Reyer v e n t u r e d t h e o p i n i o n t h a t t h e " i n t e n s i t e d ' e m o t i o n " o f each o p e r a i n t h e t e t r a l o g y s l a c k e n e d "en c e r t a i n s momens oh l e s l o n g s deve loppemens donnes a l a fo rme d i a l o g u e d f o n t que t o u t e 1 ' a t t e n -t i o n va peu a peu se f i x e r su r l a c o m p l e x i t y du t r a v a i l i n s t r u m e n t a l . C ' e s t a l o r s p e u t - e t r e que l a c o n n a i s s a n c e des ph r a s e s t y p i q u e s d e v i e n t i n d i s p e n s a b l e . " Near t h e end o f t h e r e v i e w Reyer remarked t h a t t h e q u e s t i o n - a n d - a n s w e r game was one o f t h e d i a l o g u e s wh ich might be more e f f e c t i v e i f s h o r t e n e d . He a l s o o b s e r v e d t h a t t he e n c o u n t e r between A l b e r i c h and t h e Wanderer s l owed t h e movement o f t he drama " s an s e t r e au p o i n t de vue m u s i c a l d ' u n i n t e r e t b i e n p u i s s a n t " (JD f e u i l l e t o n o f 18 J a n u a r y 1 8 9 1 ) . 204 i b i d . 205 i n t h e words o f J o s eph Kerman, " W a g n e r ' s o p e r a s and h i s w r i t -i n g s f o r c e d t h e n i n e t e e n t h c e n t u r y , and t h e t w e n t i e t h , t o approach o p e r a w i t h a new h i g h - m i n d e d n e s s , wh i ch i s wan ing o n l y t o d a y . " (Opera as Drama [New Y o r k : V i n t a g e Book s , 1 9 5 6 ] , p p . 3 - 4 . ) G rout s u g ge s t s t h a t t h e most p r o f o u n d l y i n f l u e n t i a l o f " t h e Wagner ian i d e a s and methods " was " t h e p r i n c i p l e t h a t l a y at t h e b a s i s o f t h e Gesamtkuns twerk i d e a , name-l y , t h a t e v e r y d e t a i l o f a work must be c o n n e c t e d w i t h t h e d r a m a t i c p u r -pose and s e r v e t o f u r t h e r t h a t p u r p o s e . " ( O p e r a , 2 : 422 . ) 2 0 6 JD f e u i l l e t o n o f 8 May 1887. 207 i b i d . , 18 J a n u a r y 1 891 . 208 Dah lhaus m a i n t a i n s t h a t t h i s r e l a t i o n s h i p between the v o c a l l i n e and t h e o r c h e s t r a can be found a l s o i n pas sages o f L o h e n g r i n . He c i t e s as an example t h e O r t r u d - F r e d e r i c k scene at t he b e g i n n i n g o f A c t I I : "The d i a l o g u e . . . i s s u p p o r t e d a lmos t t h r o u g h o u t by o r c h e s t r a l m o t i v e s w h i c h , t o g e t h e r and i n c o n j u n c t i o n w i t h t h e v o c a l p h r a s e s , f o r m t h e ' m e l o d y ' " (Mus i c Dramas, p. 4 7 ) . 209 E V e n t h o u g h - - h e c l a i m e d — h e c o m p l e t e l y f o r g o t h i s t h e o r i e s when he was compos ing t h i s work ( s ee h i s " L e t t r e , " p. 74 i n t h e new e d i t i o n o f Q u a t r e poemes ) . 210 As i n d i c a t e d above , n. 132 . 211 A f t e r s t a t i n g t h a t he had neve r b e f o r e heard T r i s t a n w i t h t h e o r c h e s t r a , Reyer m a r v e l l e d at t h e b e a u t y o f t he o r c h e s t r a l w r i t i n g : "Ce t r a v a i l i n s t r u m e n t a l , p o u r t a n t s i c o m p l i q u e , e s t d ' u n e b e a u t e r e e l l e . N ' y c h e r c h e z p o i n t l e s p i q u a n t e s s o n o r i t e s , l e s i n g e n i e u s e s o p p o s i t i o n s de t i m b r e s que vous a i m e r i e z p e u t - e t r e a y r e n c o n t r e r et a u x q u e l l e s d ' a u t r e s o e u v r e s [ , ] q u i c e r t a i n e m e n t ne v a l e n t pas 390 c e l l e - l a e t ne s on t pas congues dans l e meme e s p r i t [ , ] vous on t h a b i t u e s . " (JD f e u i l l e t o n o f 22 March 1884) 212 Newman, The Wagner O p e r a s , pp . 2 0 2 - 3 . 213 D i s c u s s e d i n C h a p t e r I I I , pp . 1 3 1 - 3 2 . 214 CP f e u i l l e t o n o f 22 F e b r u a r y 1858. (A l o n g e r e x c e r p t was g i v e n on p. 33077 215 Reyer i n i t i a l l y v o i c e d t h i s p o s i t i o n i n h i s r e v i e w o f t he p r e -m i e r e o f La V a l k y r i e a t B r u s s e l s i n 1887. On t h i s o c c a s i o n — t h e f i r s t p r o d u c t i o n o f any p a r t o f t h e R i n g i n F rench t r a n s l a t i o n — h e d i s s o c i a t e d h i m s e l f f r om t h e " w a g n e r i e n s " who embraced o n l y t h e mus i c d ramas : " . . . que nous p a r l e z - v o u s de Tannh 'auser , du V a i s s e a u - Fantome e t de L o h e n g r i n , ouv rage s que R i c h a r d Wagner lu i -meme a r e p u d i e s ! Le v r a i ' a r t a l l e m a n d ' e t l e v r a i wagner i sme s o n t , j e l e s a i s , de d a t e p l u s r e c e n t e . M a i s , s i l a r e l i g i o n n o u v e l l e me commande de n ' a d o r e r l e d i e u que dans son i n c a r n a t i o n d e r n i e r e , de n ' a d o r e r que l u i s e u l , de m e p r i s e r t o u t l e r e s t e e t moi-meme, a l o r s non , mi H e f o i s non , j e ne s u i s pas un v r a i w a g n e r i e n . " (JD f e u i l l e t o n o f 20 March 1887) 216 We have seen t h a t , i n t h e r e v i e w o f L amou reux ' s p r e m i e r e o f A c t I o f T r i s t a n i n c o n c e r t , Reyer r e f e r r e d t o " l a t e i n t e un peu u n i f o r m e de ce s l ongue s m e l o p e e s , de ce s l o n g s r e c i t s . " ( I b i d . , 22 March 1884; e x -c e r p t e d above on p. 345 . ) We have a l s o no ted t h a t , i n h i s o p i n i o n , t h e e m o t i o n a l i n t e n s i t y o f each o p e r a i n t h e R i n g c y c l e l a g ged d u r i n g " l e s l o n g s deve loppemens donnes a l a f o rme d i a l o g u e e " ( i b i d . , 18 J a n u a r y 1891 ; see t h e e x c e r p t i n n. 2 0 3 ) . In h i s r e v i e w o f t h e B r u s s e l s p r e -m i e r e o f La V a l k y r i e a few y e a r s e a r l i e r , he e x p r e s s e d s i m i l a r r e s e r v a -t i o n s about t h e p r e v a l e n c e o f d i a l o g u e i n t h e R i n g : "II n ' y a que de t r e s r a r e s ensembles vocaux dans l a t e t r a l o g i e . . . Le d i a l o g u e , p l u s ou moins s e r r e , p l u s ou moins r a p i d e , e s t - i l done l a s e u l e fo rme m u s i -c a l e r a t i o n n e l l e dans l a q u e l l e d o i v e se d e r o u l e r l e drame l y r i q u e ? " ( I b i d . , 20 March 1887 . ) 217 D u r i n g an i n f o r m a l c o n v e r s a t i o n w i t h A r t h u r Poug i n i n 1 891 , Reyer d e f e n d e d h i s a t t i t u d e t owa rd Wagner, f o c u s i n g on h i s r e f u s a l t o condemn o t h e r c ompo se r s : " L e s w a g n e r i e n s , s i m a l a d r o i t s , s i i n t r a n s i g e a n t s , e t qu i on t f a i t en F r a n c e t a n t de t o r t a Wagner par l e u r e x c l u s i v i s m e i n e p t e e t l e u r e n t h o u s i a s m e de commande, ne s a u r a i e n t me r e p r o c h e r ma t i e d e u r a 1 ' e g a r d de Wagner, c a r j e 1 ' a d m i r e a u t a n t q u ' e u x , e t p e u t - e t r e p l u s i n t e l -l i gemment q u ' e u x . Mais j e ne me c r o i s pa s , comme e u x , o b l i g e de condamner t o u t ce qu i s ' e s t f a i t avant l u i e t en deho r s de l u i . Je c r o i s que G r e t r y , en d e p i t de sa f a i b l e i n s t r u c t i o n m u s i c a l e , e t a i t c ependan t ce q u ' o n peut a p p e l e r un g rand m u s i c i e n . Je c r o i s que B e l l i n i , p a r f o i s s i i g n o r a n t et s i m a l a d r o i t , e t a i t un g rand p o e t e en mus ique . . . J e c r o i s que l ' a r t i s t e qu i a e c r i t l a t o u c h a n t e e t p a l p i t a n t e romance de N i n a [ D a l a y r a c ] e t a i t , l u i a u s s i , un g rand a r t i s t e , e t mon a d m i r a t i o n pour Wagner ne m'empeche pas d ' a d m i r e r c e u x -l a , p a r c e q u ' e n a r t i l f a u t e t r e e c l e c t i q u e , e t s a v o i r comprendre e t a p p r e c i e r l e beau p a r t o u t ou i l se t r o u v e . " (Quoted by Poug i n i n " E r n e s t R e y e r , " p. 27) 2 1 8 JD f e u i l l e t o n o f 2 December 1866. 392 CHAPTER IX REYER AND CONTEMPORARY FRENCH COMPOSERS O v e r v i e w J a c q u e s Ba r zun has w r i t t e n : "One t e s t o f a c r i t i c ' s powers i s o f c o u r s e h i s c a p a c i t y t o d i s c o v e r new t a l e n t s , and t h i s d u t y becomes even more e x a c t i n g when t h e c r i t i c i s h i m s e l f a c r e a t o r . " 1 The p r e f e r e n c e o f Reyer t h e composer f o r t h e works o f G l u c k , S p o n t i n i , Weber, and B e r l i o z by no means p r e j u d i c e d Reye r t h e c r i t i c a g a i n s t o t h e r c ompo se r s , f o r he campaigned w i t h v i g o u r on b e h a l f o f many c o n t e m p o r a r y c o m p a t r i o t s who p roved t o be among t h e l e a d e r s o f F r e n c h mus ic d u r i n g t h e second h a l f o f t h e n i n e t e e n t h c e n t u r y . Both Gounod and S a i n t - S a e n s were warmly g r e e t e d by Reyer when t h e y began t h e i r c a r e e r s i n t h e 1850s , and t h r o u g h o u t h i s own l ong c a r e e r he e x p r e s s e d r e s p e c t f o r t h e i r g i f t s , even i f he d i d not p r o f e s s a rden t a d m i r a t i o n f o r each one o f t h e i r w o r k s . The 1860s b rough t t o h i s a t t e n -t i o n Massenet and B i z e t - - t w o o t h e r young composer s d e s t i n e d f o r g r e a t a c c l a i m - - a s w e l l as A l e x i s de C a s t i l l o n . Reyer was a s t a u n c h champion o f B i z e t , and mourned h i s e a r l y dea th as a g r e a t l o s s t o F r e n c h m u s i c . Ma s s ene t , t o o , was e n t h u s i a s t i c a l l y encou raged by R e y e r , who rema ined a p p r e c i a t i v e o f t h i s c o m p o s e r ' s sense o f i n s t r u m e n t a l c o l o r but some-t i m e s o b j e c t e d t o bo th h i s e c l e c t i c i s m and t he f a c i l e charm o f h i s m e l o d i e s . 2 Reyer c o u l d do l i t t l e more t h a n s a l u t e t h e appea rance o f t h e young C a s t i l l o n on t h e F rench m u s i c a l h o r i z o n i n 1869 ; f o u r y e a r s l a t e r 393 h i s l i f e came t o a t r a g i c a l l y p r ema tu r e end .3 D u r i n g t h e 1870s and 1880s R e y e r ' s f r a t e r n a l s u p p o r t h e l p e d l a u n c h and s u s t a i n t h e c a r e e r s o f s e v e r a l i m p o r t a n t newcomers t o t h e F r e n c h m u s i c a l s c e n e . In 1871 , a f t e r h e a r i n g f r a g m e n t s o f F r a n c k ' s e g l o g u e b i b l i q u e R u t h , he began p e r s i s t e n t l y c a l l i n g a t t e n t i o n t o t h i s u n r e c o g -n i z e d compose r , who at t h a t t i m e was known o n l y as t h e o r g a n i s t o f S a i n t e - C l o t i l d e . 4 The f o l l o w i n g y e a r , when L a l o p u b l i s h e d h i s u n p e r -fo rmed o p e r a F i e s q u e , Reyer s t a r t e d t o encou rage t h i s m u s i c i a n who, l i k e F r a n c k , had made a name f o r h i m s e l f as a p e r f o r m e r r a t h e r t han a com-p o s e r . The p r e m i e r e o f t h e g l i t t e r i n g o r c h e s t r a l r h a p s o d y Espana i n 1883 b r ough t sudden a c c l a i m t o a t h i r d m u s i c i a n who had r e a c h e d m i d d l e age b e f o r e d e v o t i n g h i m s e l f t o c o m p o s i t i o n : C h a b r i e r , whose b r i e f c a r e e r Reye r f o l l o w e d w i t h g r e a t i n t e r e s t . 5 The 1870s and 1880s a l s o a c q u a i n t e d Reyer w i t h a younger g e n e r a t i o n o f c ompose r s , i n c l u d i n g G o d a r d , d ' I n d y , and B r u n e a u . Reyer f i r s t no -t i c e d Godard i n 1 8 7 0 - - e i g h t y e a r s b e f o r e t h e symphonie d r a m a t i q u e Le Ta s se made him an o v e r n i g h t c e l e b r i t y — a n d r ema ined one o f h i s most c o n s i s t e n t a d m i r e r s . 6 i n 1874 Reyer p r a i s e d t h e o v e r t u r e Les P i c c o l o - m i n i by t h e t w e n t y - t h r e e - y e a r - o l d d ' I n d y , a s t u d e n t at t h e C o n s e r v a -t o i r e ; a dozen y e a r s l a t e r , a f t e r h e a r i n g t h e d r a m a t i c l e gend La C l o c h e , he p ronounced d ' I n d y "un m a T t r e . R e y e r was imp re s s ed by t he young B r u n e a u ' s c h o r a l symphony Leda (1884) and warmly d e f e n d e d Bruneau when, t h r e e y e a r s l a t e r , t h e p u b l i c h i s s e d h i s f i r s t o p e r a , K e r i m . 8 R e y e r ' s a c t i v i t y as f e u i l l e t o n i s t e f o r t h e Debats d e c l i n e d s t e a d i l y a f t e r 1 8 8 8 , 9 but he kep t a b r e a s t o f c o n t e m p o r a r y c u r r e n t s i n F r e n c h 394 l y r i c t h e a t r e . H i s r e v i e w s o f B r u n e a u ' s Le Reve and L ' A t t a q u e du m o u l i n m a n i f e s t g r e a t u n d e r s t a n d i n g o f t h e i d e a l s o f t h i s c o m p o s e r . 1 ° At t h e o p p o s i t e end o f t h e F r e n c h o p e r a t i c s pec t r um s t o o d Me s s a ge r , whose L a Basoche and Madame Chrysantheme were h e a r t i l y app lauded by R e y e r . H A few o f R e y e r ' s c o m p a t r i o t s acknowledged h i s encouragement w i t h a c t s o f hommage. For e xamp le , s h o r t l y a f t e r Reyer had devo ted two a r t i c l e s t o t h e young Gounod ' s c h o r u s e s f o r P o n s a r d ' s drama U l y s s e ( 1 8 5 2 ) , t h e g r a t e f u l composer p r e s e n t e d Reyer w i t h t h e s c o r e , i n s c r i b e d w i t h a " f l a t t e u s e d e d i c a c e . " - - - 2 F i f t y - f i v e y e a r s l a t e r , Bruneau pub-l i s h e d a t r i b u t e t o t h e c o m p o s e r - c r i t i c whom he d e s c r i b e d as "un des r a r e s hommes i l l u s t r e s de n o t r e epoque dont on p u i s s e a d m i r e r ega lement l ' o e u v r e et l e c a r a c t e r e . " - ' - 3 One o f t h e s t r o n g e s t i n d i c a t i o n s o f how h i g h l y Reyer was r e g a r d e d by some o f h i s c o n t e m p o r a r i e s i s t h e f a c t t h a t i n 1876, when he was nomina ted f o r t h e t h i r d t i m e t o t h e I n s t i t u t de F r a n c e , S a i n t - S a e n s and M a s s e n e t - - t w o o f t h e younger composers who were nomina ted w i t h R e y e r — w i t h d r e w i n d e f e r e n c e t o h im.14 C r i t i c a l a n a l y s i s In t h e 1850s and 1860s R e y e r , as we have s e e n , h a i l e d w i t h p r o p h e t -i c e n t h u s i a s m t h r e e young composers whose e a r l y e f f o r t s e i t h e r a t t r a c t e d l i t t l e p u b l i c a t t e n t i o n o r were o u t r i g h t f a i l u r e s : Gounod, M a s s e n e t , and B i z e t . D u r i n g t h e s e y e a r s , t o o , he i n s i s t e n t l y app l auded S a i n t -Saen s , t h e p r o d i g y who- -a s l a t e as 1860- -was making most c r i t i c s shudder a t " d e s d i s s o n a n c e s , des r e t a r d s , e t des r e c h e r c h e s de t o u t e s s o r t e s . " l 5 C o n c e r n i n g t h e t h i r t y - y e a r - o l d C a s t i l l o n , Reyer was a g a i n v i r t u a l l y c l a i r v o y a n t , d i v i n i n g t h e young man ' s e x t r a o r d i n a r y p rom i se a f t e r m e r e l y 395 e x a m i n i n g some o f h i s works f o r p i a n o . S i n c e Reyer was so o b v i o u s l y i n t e r e s t e d i n young F rench c ompo se r s , i t may seem p u z z l i n g t h a t he neve r d i s c u s s e d t h e S o c i e t e n a t i o n a l e de m u s i q u e , f ounded i n 1871 by S a i n t - S a e n s and o t h e r m u s i c i a n s d e t e r m i n e d t o encou rage t h e i r c o l l e a g u e s by g i v i n g p e r f o r m a n c e s o f t h e i r i n s t r u -menta l wo rk s . 16 R e y e r ' s s i l e n c e s h o u l d s u r e l y not be a t t r i b u t e d t o l a c k o f i n t e r e s t i n t h e s o c i e t y , whose a d h e r e n t s i n c l u d e d t h r e e o f h i s c l o s -e s t f r i e n d s : B i z e t , L a l o , and E r n e s t G u i r a u d . A more p l a u s i b l e e x p l a -n a t i o n i s t h a t Reyer c h o s e , o r was r e q u i r e d by h i s c o n t r a c t w i t h t he D e b a t s , t o f o c u s h i s a t t e n t i o n on mus i c t h a t was o f t o p i c a l i n t e r e s t t o h i s r e a d e r s , such as t h e ope ra s hea rd at t h e l y r i c t h e a t r e s and t h e works p r e s e n t e d by t h e g r e a t P a r i s i a n c o n c e r t s o c i e t i e s . The S o c i e t e n a t i o n a l e , a l t h o u g h o f v i t a l i m p o r t a n c e t o m u s i c i a n s , d i d not admit t h e p u b l i c , a n d , d u r i n g t h e e a r l y y e a r s o f i t s e x i s t e n c e , was so s m a l l t h a t i t c o u l d o n l y p r e s e n t p e r f o r m a n c e s o f chamber mus ic and p i a n o r e d u c t i o n s o f new o r c h e s t r a l s c o r e s . I t s n ickname o f " l a p e t i t e c h a p e l l e " s t u c k as l a t e as 1 8 9 4 . 1 7 I t i s a g r e a t l o s s t o mus i c h i s t o r i a n s t h a t Reyer d i d not g i v e space t o t h e c o n c e r t s o f t h e S o c i e t e n a t i o n a l e , f o r t h e r e a c t i o n s o f so a s t u t e a c r i t i c t o t h e w e a l t h o f mus i c i n t r o d u c e d by t h i s o r g a n i z a t i o n - - w h i c h s t o o d g o d f a t h e r t o a r e b i r t h o f F r ench i n s t r u m e n t a l c o m p o s i t i o n - - w o u l d be o f u n q u e s t i o n a b l e i n t e r e s t . We can be t h a n k f u l , however , t h a t at l e a s t some o f t h e names wh i ch were a s s o c i a t e d w i t h t he s o c i e t y a l s o f i g u r e d on t h e programs wh i ch had w i d e r e x p o s u r e and t h e r e f o r e were r e v i e w e d by R e y e r . 396 The oeuv re o f F r anck i s a c a s e i n p o i n t , f o r at v a r i o u s P a r i s i a n c o n c e r t s Reyer h e a r d R u t h , R e d e m p t i o n , e x c e r p t s f r o m Les B e a t i t u d e s , and some o f t h e o r gan m u s i c . W h i l e we may d i s p u t e h i s p r e f e r e n c e f o r R u t h ^ 8 o v e r b o t h Redempt ion and Les B e a t i t u d e s , we s h o u l d r e a l i z e t h a t he had good r ea son t o remember Ruth w i t h s p e c i a l f o n d n e s s : t h i s was t h e work wh i ch had r e v e a l e d t o him t h e u n r e c o g n i z e d g e n i u s o f t h e o b s c u r e o r g a n -i s t o f S a i n t e - C l o t i l d e ; and , when he f i r s t hea rd i t , o r a t o r i o - - a genre dea r t o h i s h e a r t — w a s s t i l l a r a r i t y i n F r a n c e . H i s o v e r e s t i m a t i o n o f Ruth i s c o u n t e r b a l a n c e d by h i s a s t u t e c r i t i c i s m o f F r a n c k ' s t e n d e n c y i n Redempt ion t o "mon t re un peu t r o p l e bout de l ' o r e i l l e d ' o r g a n i s t e , " l y and by h i s p r a i s e o f t h e o rgan mus i c as d e s e r v i n g o f a p l a c e b e s i d e t h e m a s t e r p i e c e s o f B a ch , H a n d e l , M e n d e l s s o h n , and S c h u m a n n . 2 0 We s h o u l d not u n d e r e s t i m a t e t h e s i g n i f i c a n c e o f L a l o and C h a b r i e r , t h e o t h e r two " m a t u r e " c o m p o s e r s — a n d members o f t h e S o c i e t e n a t i o n a l e - -whose c a r e e r s Reyer h e l p e d l a u n c h i n t h e 1870s and 1880s . L a l o w i l l l a t e r be d i s c u s s e d at l e n g t h , and we s h a l l see t h a t R e y e r ' s l o v e o f t h i s c o m p o s e r ' s two o u t s t a n d i n g works f o r t h e s t a g e d i d not b l i n d him t o t h e i m p o r t a n c e o f t h e o r c h e s t r a l m u s i c . C h a b r i e r has been p r a i s e d as one o f t h e most i n v e n t i v e F r e n c h composer s o f t h e l a t e n i n e t e e n t h c e n t u r y by such d i v e r s e f i g u r e s as R a v e l , P o u l e n c , t h e modern c r i t i c H a r o l d C. S c h o n b e r g , and t h e m u s i c o l o g i s t Dona ld J a y G r o u t ; 2 ! y e t h i s oeuv re i s now a lmo s t e n t i r e l y f o r g o t t e n . Reyer p a r t i c u l a r l y adm i red C h a b r i e r ' s " t r e s r e e l l e e t t r e s v i v a n t e p e r s o n n a l i t e " 2 2 i n t h e ha rmon i c l anguage o f Le Ro i m a l g r e l u i ( 1 8 8 7 ) — a work wh i ch i s , i n G r o u t ' s o p i n i o n , " h a r -m o n i c a l l y one o f t h e most o r i g i n a l o p e r a s comiques o f t h i s p e r i o d . " 2 3 397 A l a r g e and g i f t e d younge r g e n e r a t i o n o f composers was g r ow ing up i n F r a n c e d u r i n g t h e 1870s : F a u r e , Dupa r c , Chau s son , d ' I n d y , Me s s age r , B r u n e a u , Debus sy , and a h o s t o f o t h e r s wou ld become l a r g e l y r e s p o n s i b l e f o r an amazing f l o w e r i n g t h a t would l a s t w e l l i n t o t h e new c e n t u r y . S i n c e most o f t h e e f f o r t s o f t h e p o s t - 1 8 7 0 g e n e r a t i o n were heard at p r o -grams o f t h e S o c i e t e n a t i o n a l e , few o f t h e s e new t a l e n t s came t o p u b l i c a t t e n t i o n b e f o r e t h e 1890s , by w h i c h t i m e Reyer was d r a s t i c a l l y c u r t a i l -i n g h i s a c t i v i t i e s as a c r i t i c . The sad consequence o f t h i s s i t u a t i o n i s t h a t he had v e r y few o p p o r t u n i t i e s t o w r i t e about any o f t h e members o f t h i s e x t r a o r d i n a r y g e n e r a t i o n . One o f R e y e r ' s ma jo r l a p s e s ap ropos o f t h e young g e n e r a t i o n was h i s o v e r e s t i m a t i o n o f Ben jam in G o d a r d . T h i s p r e c o c i o u s and p r o l i f i c m u s i -c i a n , who was s c a r c e l y s i x t e e n when he began p u b l i s h i n g s o n a t a s , q u a r -t e t s , p i a no p i e c e s , and m e l o d i e s , a c q u i r e d an e n v i a b l e r e p u t a t i o n as a composer o f s a l o n mus ic b e f o r e w i n n i n g t h e P r i x de l a v i l l e de P a r i s w i t h h i s symphonie d r a m a t i q u e Le Ta s se ( 1 8 7 8 ) . T h i s w o r k - - a n example o f t h e h y b r i d genre t h a t had been i n i t i a t e d by B e r l i o z ' s Romeo e t J u l i e t t e and c o n t i n u e d by F e l i c i e n D a v i d , R e y e r , and B i z e t - - r a i s e d h i g h hopes i n t h e h e a r t s o f many, i n c l u d i n g P a s d e l o u p , who c o n d u c t e d s e v e r a l o f G o d a r d ' s l a t e r w o r k s . However, t h e p r o m i s e shown by Le T a s s e , wh i ch r ema ined R e y e r ' s f a v o r i t e o f a l l G o d a r d ' s e f f o r t s , was never f u l f i l l e d . D ' I n d y , R e y e r ' s o t h e r young " d i s c o v e r y " o f t h e 1870s , d i d f u l f i l t h e p r om i s e o f bo th Le s P i c c o l o m i n i and La C l o c h e , wh i ch won t h e P r i x de l a v i l l e de P a r i s f o r 1885. I t i s p u z z l i n g t h a t R e y e r , a f t e r w r i t i n g so p e r c e p t i v e l y about t h e s e w o r k s , r a nked t h e c o m p o s e r ' s nex t e f f o r t — t h e Symphonie c e v e n o l e — b e l o w L a C l o c h e . 2 4 How c o u l d he have made such an 398 e r r o r c o n c e r n i n g a symphony wh i ch i s now r e g a r d e d as one o f d ' I n d y ' s f i n e s t c o m p o s i t i o n s , and , i n d e e d , i s p r a i s e d by t h e m u s i c o l o g i s t and c r i t i c Pau l Landormy as "une des p l u s b e l l e s o e u v r e s q u ' a i t p r o d u i t e s l ' e c o l e des s y m p h o n i s t e s f r a n g a i s " ? 2 ^ The p r o b a b l e answer i s t h a t , f o r o n c e , Reyer a l l o w e d h i s p e r s o n a l p r e f e r e n c e f o r o p e r a t o i n f l u e n c e h i s c r i t i c a l j udgmen t . The Wagner ian i m p r i n t on Les P i c c o l o m i n i had prompted him t o remark t h a t " c ' e s t un temperament d r a m a t i q u e , f o r t i f i e par de s e r i e u s e s q u a l i t e s de s y m p h o n i s t e , " 2 ^ and t h e c h o r a l work La C l o c h e - - i n wh i ch he a g a i n d i s c e r n e d t h e s t r o n g i n f l u e n c e o f W a g n e r 2 ? — had l e d Reyer t o hope t h a t d ' I n d y ' s next s t e p would be t o a t tempt a work f o r l y r i c t h e a t r e . When t h e composer i n s t e a d t u r n e d away f r om Wagner and w ro t e a symphony based on a F r ench f o l k t u n e , R e y e r ' s d i s a p p o i n t m e n t e v i d e n t l y got t h e b e t t e r o f h i m . I r o n i c a l l y , d ' I n d y d i d e v e n t u a l l y r e a l i z e R e y e r ' s hope s : h i s F e r v a a l (1897) and L ' E t r a n g e r (1903) b r ough t about " t h e most t h o r o u g h and at t h e same t i m e t h e most p e r s o n a l a d a p t a -t i o n o f Wagner ' s methods t o F r ench o p e r a . " 2 8 R e y e r ' s a b i l i t y at t i m e s t o d i s c e r n o u t s t a n d i n g t a l e n t i n y o u t h f u l works i s d e m o n s t r a t e d not o n l y by h i s a s se s sment o f t h e t w e n t y - t h r e e -y e a r - o l d d ' I n d y ' s Les P i c c o l o m i n i , bu t a l s o by h i s r e v i e w o f B r u n e a u ' s c h o r a l symphony L e d a , composed at t h e age o f t w e n t y - f i v e . We s h o u l d n o t e , t o o , t h e a s t u t e n e s s o f h i s judgment c o n c e r n i n g B r u n e a u ' s nex t work , t h e o r i e n t a l o p e r a K e r i m . In t h i s o p e r a t i c debu t Reyer f ound a somewhat i n c o n g r u o u s m i x t u r e o f Wagner ian ha rmon ic e x p e r i m e n t s and " c o u l e u r o r i e n t a l e " ; n e v e r t h e l e s s , he p ronounced t h e s c o r e " p l e i n e de t a l e n t , " and was o u t r a g e d t h a t i t was h i s s e d because o f what t he p u b l i c p e r c e i v e d as " de s t e n d a n c e s s u b v e r s i v e s , w a g n e r i e n n e s . " 2 9 The b o l d n e s s 399 o f t h e ha rmon i c l anguage o f K e r i m was exceeded by t h a t o f B r u n e a u ' s nex t o p e r a , Le Reve ( 1 8 9 1 ) . In t h e 1 a f t e r — c o m p o s e d b e f o r e Debussy had w r i t -t e n t h e f i r s t works o f h i s m a t u r i t y — B r u n e a u u t i l i z e d sequences o f b l o c k t r i a d s and w h o l e - t o n e h a r m o n i e s . Such f e a t u r e s must s u r e l y have sounded s t r a n g e t o P a r i s i a n e a r s , and we t h e r e f o r e canno t wonder t h a t Reyer p r e f e r r e d t h e l e s s a u d a c i o u s ha rmon i c l anguage o f L ' A t t a q u e du m o u l i n ( 1 8 9 3 ) . Le Reve , L ' A t t a q u e du m o u l i n , and subsequent a t t e m p t s by Bruneau t o t r a n s p o r t t o t h e s t a g e t h e s t a r k l y r e a l i s t i c w r i t i n g s o f E m i l e Z o l a e x c i t e d more d i s c u s s i o n t han d i d t h e o p e r a s o f any o t h e r l i v i n g F r ench composer d u r i n g t h e l a s t decade o f t h e c e n t u r y . Some c r i t i c s h a i l e d him as t h e r i g h t f u l F rench s u c c e s s o r o f Wagner, w h i l e o t h e r s s t i g m a t i z e d him as a wear i some i m p o s t o r . Reyer a v o i d e d both e x t r e m e s , avowing t h a t he d i d not r e g a r d B r u n e a u ' s works as Wagner ian " b i e n que c e r t a i n s p r o c e d e s p a r t i c u l i e r s a R i c h a r d Wagner y s o i e n t e m p l o y e s . " 3 0 R e y e r ' s p r i n c i p a l r e a s on s f o r t a k i n g t h i s p o s i t i o n were t h a t t h e r e a l i s t i c dramas were " l o i n de l a l e g e n d e , de sa p o e s i e et des ses h e r o s , " 3 ! and t h a t t h e s t y l e o f l y r i c d e c l a m a t i o n was u n l i k e a n y t h i n g f ound i n Wagner. Thus , Reyer put h i s f i n g e r on t h e f a c t t h a t Bruneau was not c h a m p i o n i n g t h e cau se o f F r ench Wagner ian o p e r a , but was i n s t e a d r e a c t i n g a g a i n s t i t by b r i n g i n g t o l y r i c t h e a t r e an a u t h e n t i c p i c t u r e o f o r d i n a r y human b e i n g s enmeshed i n c u r r e n t economic and s o c i a l p r o b l e m s , w i t h o u t t h e t r a p p i n g s o f m e l o d i c appea l and e y e - c a t c h i n g h i s t o r i c a l o r m y t h o l o g i c a l s e t t i n g s . As Bruneau s a i d , " J e veux f a i r e du t h e a t r e v i v a n t , humain e t b r e f . " 3 2 Reyer c o n c l u d e d h i s r e v i e w o f L ' A t t a q u e du m o u l i n by p r e d i c t i n g t h a t "M. A l f r e d B r u n e a u , d i s c i p l e l u i - m e m e , a u r a des d i s c i p l e s a son 400 t o u r . " 3 3 C l e a r l y , t h e c r i t i c hoped t h a t B r u n e a u - - b y a b s o r b i n g t h e phenomenon o f Wagner i n a manner wh i ch s t r e n g t h e n e d h i s i n d i v i d u a l i t y - -was b l a z i n g a t r a i l wh i ch some o f h i s c o m p a t r i o t s would f o l l o w . In t h i s Reyer was s a d l y m i s t a k e n , f o r t h e o n l y o t h e r F rench composer who would pu r sue t h e i d e a l o f o p e r a t i c r e a l i s m was C h a r p e n t i e r , whose L o u i s e (1900) would e n j o y more s u c c e s s t h a n any o f B r u n e a u ' s a u s t e r e w o r k s . One name i s c o n s p i c u o u s l y absent f r om among t h e h a n d f u l o f young composers s i n g l e d out by Reyer d u r i n g t h e 1880s and 1890s : C l aude Debus sy . The l a t t e r came t o R e y e r ' s a t t e n t i o n i n 1883, when, as a mem-be r o f t h e Academie des B e a u x - A r t s , he t ook p a r t i n t h e j u d g i n g o f t h e c a n t a t a s s u b m i t t e d f o r t h e P r i x de Rome. The t w e n t y - y e a r - o l d D e b u s s y ' s s e t t i n g o f t h e poem chosen f o r t h e c o m p e t i t i o n , E m i l e M o r e a u ' s " L e G l a d i a t e u r , " was awarded second p l a c e . In a f e u i l l e t o n about t he com-p e t i t i o n , Reyer a d m i t t e d t h a t b o t h Debussy and C h a r l e s Rene--who had p l a c e d t h i r d - - h a d c l o s e l y r i v a l l e d t h e w i n n e r , Pau l V i d a l . However, Reyer e x p r e s s e d more e n t h u s i a s m f o r Rene t han f o r Debussy , whom he d e s c r i b e d as p o s s e s s i n g "un v e r i t a b l e temperament de m u s i c i e n " 3 4 but l a c k i n g V i d a l ' s e x p e r t i s e i n t h e t e c h n i q u e o f h i s a r t . Many o t h e r c r i t i c s were more s y m p a t h e t i c t owa rd D e b u s s y ' s s c o r e , o b s e r v i n g t h a t , d e s p i t e i t s v e r y e v i d e n t t e c h n i c a l d e f i c i e n c i e s , i t showed more o r i g i -n a l i t y t h a n d i d t h a t o f V i d a l . 3 6 We migh t be a b l e t o u n d e r s t a n d R e y e r ' s i n i t i a l m i s judgment o f a c l u m s i l y w r i t t e n s c o r e by an i n e x p e r i e n c e d p u p i l i f , t h e nex t y e a r , he had e x p r e s s e d a sound o p i n i o n o f t h e f a r s u p e r i o r L ' E n f a n t p r o d i g u e , w i t h w h i c h Debussy won t h e P r i x de Rome. I n s t e a d , Reyer gave no r e p o r t on t h e c o m p e t i t i o n . A n o t h e r eminent c r i t i c , A r t h u r P o u g i n , d e c l a r e d i n 401 t h e B e l g i a n r e v i e w Le Gu i de m u s i c a l t h a t t h e p r i z e s h o u l d have been awarded t o C h a r l e s Rene, and added : " C ' e s t l ' a v i s d ' u n membre de l ' A c a d e m i e , b i e n connu a B r u x e l l e s . " ^ That a c a d e m i c i a n c o u l d o n l y have been R e y e r , whose S i g u r d had t r i u m p h e d at t h e B e l g i a n c a p i t a l i n J a n u -a r y , and who had been i m p r e s s e d by R e n e ' s s u b m i s s i o n i n t h e P r i x de Rome c o m p e t i t i o n o f 1883. I f Reyer was u n e n t h u s i a s t i c about L ' E n f a n t p r o d i g u e - - a work w h i c h , f o r t h e c o m p e t i t i o n , had been d e l i b e r a t e l y p roduced i n t h e s t y l e o f t h e r e c o g n i z e d m a s t e r s o f t h e d a y 3 7 — h e must have been b e w i l d e r e d by t h e f o u r c o m p o s i t i o n s w h i c h Debussy , as w i n n e r o f t h e P r i x de Rome, s u b -m i t t e d t o t h e A c a d e m i e : Zu le ' fma; t h e p i a n o s c o r e o f Le P r i n t e m p s ; La D a m o i s e l l e e l u e ; and F a n t a i s i e . 3 8 of t h e s e f o u r , o n l y t h e l a t t e r two were c a u t i o u s l y a c c e p t e d by t h e j u r y , wh i ch c o n s i s t e d o f Reyer and t h e o t h e r f i v e h o l d e r s o f m u s i c i a n s ' c h a i r s i n t h e Academie des Beaux-A r t s . 39 We canno t but r e g r e t t h a t D e b u s s y ' s b reak w i t h t he Academie i n 1890 p r e v e n t e d t h e p u b l i c p r e s e n t a t i o n o f t h e two a c c e p t e d e n v o i s at an o f f i c i a l c o n c e r t — a n even t wh i ch R e y e r , as was h i s c u s t o m , would have r e v i e w e d f o r t h e D e b a t s . Such a c o n c e r t would have e n a b l e d him t o hea r D e b u s s y ' s mus i c w i t h t h e o r c h e s t r a f o r t h e f i r s t t i m e , and, w h i l e t h e e x p e r i e n c e m igh t not have e n t i r e l y won him o v e r — a s t h e o r c h e s t r a l p e r -f o rmance o f A c t I o f T r i s t a n had done i n 1 8 8 4 — i t might at l e a s t have made him more f a v o r a b l e t owa rd t h e young Frenchman. I t i s v e r y p o s s i b l e t h a t , becau se o f R e y e r ' s f r e q u e n t absences f r om P a r i s d u r i n g h i s l a s t decade w i t h t h e D e b a t s , he hea rd l i t t l e o r n o t h i n g o f D e b u s s y ' s m u s i c . The S o c i e t e n a t i o n a l e ' s p r e m i e r e s o f La D a m o i s e l l e e l u e ( 1 8 9 3 ) , t h e S t r i n g Q u a r t e t ( 1 8 9 3 ) , and t h e P r e l u d e a l ' a p r e s - m i d i 402 d ' u n f a u n e ( 1 8 9 4 ) - - t h e t h r e e p e r f o r m a n c e s t h a t i n t r o d u c e d Debussy t o a b road s pec t r um o f P a r i s i a n m u s i c i a n s - - w e r e a l l m i s s e d by t he v a c a t i o n i n g R e y e r . 4 0 The P r e l u d e was p r e s e n t e d by Co lonne i n 1895, and w i t h i n a few y e a r s had become p a r t o f t h e r e p e r t o i r e s o f a l l t h e P a r i s i a n c o n c e r t s o c i e t i e s , bu t we canno t say whethe r o r not Reyer happened t o hear i t d u r i n g one o f h i s b r i e f s t a y s i n t h e c a p i t a l . Even i f Reyer was u n a b l e t o a t t e n d p e r f o r m a n c e s o f D e b u s s y ' s m u s i c , he must have hea rd t a l k o f t h e young composer f r om t h e i r mutua l f r i e n d E r n e s t G u i r a u d , D e b u s s y ' s f o r m e r t e a c h e r o f c o m p o s i t i o n . Why, t h e n , d i d Reyer keep s i l e n t about Debussy? We can o n l y c o n c l u d e t h a t he was u n -a b l e t o comprehend t h i s e x t r a o r d i n a r y f i g u r e , j u s t as B e r l i o z t h i r t y y e a r s e a r l i e r had found t h a t Wagner t a x e d h i s m u s i c a l b e l i e f s beyond t h e b o u n d a r i e s o f a c c e p t a n c e . * * * S i n c e a d e t a i l e d d i s c u s s i o n o f R e y e r ' s w r i t i n g s on each o f t h e F rench composers whom he f a i t h f u l l y encou raged and s u p p o r t e d would e x t e n d beyond t h e scope o f t h i s d i s s e r t a t i o n , we s h a l l examine o n l y a r e p r e s e n t a t i v e s a m p l i n g : h i s a r t i c l e s and f e u i l l e t o n s on Gounod, S a i n t -Saen s , B i z e t , and L a l o . These f o u r composer s have been s e l e c t e d because t h e y were i m p o r t a n t f o r c e s i n F rench m u s i c a l l i f e , and because t h e i r m u s i c a l a c t i v i t i e s r e p r e s e n t i n t e r e s t i n g s i m i l a r i t i e s and c o n t r a s t s . Bo th Gounod and S a i n t - S a e n s began t h e i r c a r e e r s i n t h e 1850s , and by 1871 t h e y were w i d e l y r e c o g n i z e d as t h e p i l l a r s o f F r e n c h m u s i c . 4 1 T h e i r m u s i c a l p r o d u c t i v i t y c o n t i n u e d f o r d e c a d e s . Both men composed i n a v a r i e t y o f g e n r e s , bu t Gounod e x c e l l e d i n works f o r t h e l y r i c t h e a t r e , w h i l e S a i n t - S a e n s was more at home w i t h i n s t r u m e n t a l m u s i c . The much 403 s h o r t e r c a r e e r s o f B i z e t and L a l o began i n t h e 1860s and t h e 1870s r e s p e c t i v e l y . 4 2 N e i t h e r composer was as p r o l i f i c as Gounod o r S a i n t -Sae 'ns, and n e i t h e r e n j o y e d g r e a t a c c l a i m d u r i n g h i s l i f e t i m e . L i k e Gounod, B i z e t was at h e a r t a man o f t h e t h e a t r e , whereas L a l o , l i k e S a i n t - S a e n s , was i n c l i n e d t owa rd t h e c o n c e r t h a l l , a l t h o u g h he p e r i o d i -c a l l y s t r o v e f o r - - a n d u l t i m a t e l y a c h i e v e d — s u c c e s s i n t he t h e a t r e . R e y e r ' s w r i t i n g s on t h e s e f o u r composer s span h i s e n t i r e c a r e e r , 4 3 and r e v e a l h i s v i ews on a w ide v a r i e t y o f s i g n i f i c a n t w o r k s : s e v e r a l o f t h e p r i n c i p a l F r e n c h o p e r a s o f t h e second h a l f o f t h e n i n e t e e n t h c e n t u r y ; a w e a l t h o f i n s t r u m e n t a l m u s i c ; and a b a l l e t . Gounod R e y e r ' s a s se s sment When t h e s e v e n t y - f i v e - y e a r - o l d Gounod d i e d i n 1893, Reyer mourned t h e l o s s o f "une des g l o i r e s de l a F r a n c e . " 4 4 He had r e c o g n i z e d Gounod as one o f t h e r i s i n g s t a r s o f F r e n c h mus i c more t h a n f o r t y y e a r s p r e v i -o u s l y , d e v o t i n g two o f h i s e a r l i e s t a r t i c l e s t o t h e young c o m p o s e r ' s o p e r a Sapho (1851) and t h e c h o r u s e s f o r F r a n g o i s P o n s a r d ' s t r a g e d y U l y s s e ( 1 8 5 2 ) . 4 5 Sapho and U l y s s e were f a i l u r e s i n t h e eyes o f t h e p u b l i c , and Gounod ' s f u t u r e must t h e r e f o r e have seemed dub i ou s t o t h e u n i n i t i a t e d . However, i t d i d not seem so t o such p e r c e p t i v e c r i t i c s as A d o l p h e Adam, B e r l i o z , and R e y e r . W h i l e f i n d i n g t h a t " l e t a l e n t de M. Gounod . . . ne s ' e s t pas e n c o r e a s s e z d e b a r r a s s e de l ' a u s t e r i t e i n -s e p a r a b l e de l a forme r e l i g i e u s e " 4 ^ — n o t s u r p r i s i n g , i n v i e w o f t h e f a c t t h a t Gounod had i n i t i a l l y been o r i e n t e d t owa rd a c a p p e l l a s a c r e d m u s i c - -404 Reye r app l auded him f o r h a v i n g r e s i s t e d t h e i n f l u e n c e o f t h e t i t a n i c works o f M e y e r b e e r , whose r e p u t a t i o n i n P a r i s was t hen at i t s h e i g h t . II e s t . . . u r gen t que l e g rand drame l y r i q u e s o i t ramene a des p r o p o r t i o n s p l u s r a t i o n n e l l e s , et nous c r o y o n s q u ' u n e r e a c t i o n qu i s ' o p e r e r a dans ce but c o n -s t i t u e r a un p r o g r e s e v i d e n t et n e c e s s a i r e . . . . M. C h a r l e s Gounod . . . ne nous a v a i t pas l a i s s e de d o u t e su r ses t e n d a n c e s m u s i c a l e s . Nous n ' a c c e p t o n s pas sans c e r t a i n e s r e s e r v e s l e s t y l e de M. Gounod, mais . . . nous devons l o u e r amplement t o u t ce que son t a l e n t r e n f e r m e de d i s t i n c t i o n , d ' e l e g a n c e , d ' e l e v a t i o n e t de s i m p l i c i t y , e t t o u t ce q u ' i l peut y a v o i r dans l a n a t u r e de ce t a l e n t d ' u t i l e a l ' e n s e i g n e -ment des j e u n e s m u s i c i e n s de n o t r e epoque.47 Th roughout h i s c a r e e r Reye r r e g a r d e d Sapho and t h e c h o r u s e s f o r U l y s s e as m a s t e r p i e c e s , and d e p l o r e d t h e i r n e g l e c t . 4 8 D u r i n g t h e 1850s and 1860s , t h e T h e a t r e - L y r i q u e p r e m i e r e d t h r e e s m a l l - s c a l e works w h i c h Reyer r anked among t h e b e s t o f Gounod ' s o p e r a s : Le Medec in m a l g r e 1u i ( 1 8 5 8 ) , P h i l e m o n e t B a u c i s ( 1 8 6 0 ) , and M i r e i l l e ( 1 8 6 4 ) . He h a i l e d Le Medec in ma l g r e l u i as a g r e a t a r t i s t i c s u c c e s s — a w o n d e r f u l l y l i g h t - h a n d e d m u s i c a l r e n d e r i n g o f M o l i e r e ' s famous comedy, c o m b i n i n g d e l i g h t f u l l y r e t r o s p e c t i v e t o u c h e s w i t h Gounod ' s i n i m i t a b l e l y r i c a l g i f t and h i s d e l i c a t e c r a f t s m a n s h i p . 4 9 P h i l e m o n e t B a u c i s , a n o t h e r l i g h t h e a r t e d work based on a f a m i l i a r s t o r y , was f o r Reyer " [ u n ] p e t i t c h e f - d ' o e u v r e , . . . n i un drame, n i un v a u d e v i l l e , n i une comedie e t moins e n c o r e un o p e r a - c o m i q u e . C ' e s t une oeuv re ou l a f a n t a i s i e r e m p l a c e l a t r a d i t i o n e t se j o u e de l a r e g i e . " 5 0 Reyer was u n a b l e t o a t t e n d t h e p r e m i e r e o f t h e o p e r a d i a l o g u e M i r e i l l e i n March 1864 becau se he was t h e n on h i s o f f i c i a l m i s s i o n t o Germany; howeve r , he saw t h e L y r i q u e ' s p r o d u c t i o n b e f o r e i t c l o s e d i n 1865, and r e v i e w e d t he r e v i v a l s at t h e Opera -Comique i n 1874 and 1889. He e x p r e s s e d d e l i g h t at t he 405 P r o v e n g a l t o u c h e s wh i ch s c e n t " c e t t e oeuv re t o u t i nondee de p o e s i e et de l u m i e r e , t o u t e t i n c e l a n t e de v e r v e et de g a i e t e . " 5 1 W h i l e Reyer was e n c h a n t e d by a l l t h r e e o f t h e s e f i n e l y wrought w o r k s , he a l s o admi red t h e l o n g e r ones composed f o r t h e L y r i q u e : F a u s t (1859) and Romeo e t J u l i e t t e ( 1 8 6 7 ) . F a u s t , " t r e s c o n t e s t e a l ' o r i -g i n e , " 6 2 was e n t h u s i a s t i c a l l y de fended by Reyer and a few o t h e r c r i t i c s - - n o t a b l y B e r l i o z - - a n d soon a c h i e v e d g r e a t p o p u l a r i t y . U n l i k e F a u s t , Romeo was an o v e r n i g h t s e n s a t i o n wh i ch t h e c r i t i c s p r a i s e d en masse. R e y e r , f o r one , was p a r t i c u l a r l y i m p r e s s e d by t h e f l a i r f o r m u s i c a l c h a r a c t e r i z a t i o n w h i c h Gounod d e m o n s t r a t e d i n t h i s " o e u v r e p o e t i q u e e t c h a r m a n t e . " 6 3 Compar i s on s between Romeo and F a u s t were i n e v i t a b l e , and many c r i t i c s p r o f e s s e d a d e c i d e d p r e f e r e n c e f o r t he new work. R e y e r , however , d e m o n s t r a t e d h i s u s ua l w a r i n e s s o f mak ing a p rematu re j udgmen t : "On m 'a d e j a demande s i mes p r e f e r e n c e s e t a i e n t pour Romeo e t J u l i e t t e ou pour F a u s t . C ' e s t l a une q u e s t i o n f o r t e m b a r r a s s a n t e , a l a q u e l l e j e ne p u i s guere r e p o n d r e e n c o r e c a t e g o r i q u e m e n t . " 6 4 He l a t e r l e f t no doubt as t o wh i ch work he r e g a r d e d as Gounod ' s m a s t e r p i e c e : . . . b i e n que pas mal de gens s o i e n t d ' u n a v i s c o n -t r a i r e au m i e n , j e ne p l a c e pas c e t t e p a r t i t i o n [de Romeo e t J u l i e t t e ] su r l e meme p l a n que c e l l e de F a u s t , e t j e d o u t e que son s u c ce s a t t e i g n e j a m a i s a des p r o p o r -t i o n s a u s s i c o n s i d e r a b l e s . Le chan t de 1 ' a l o u e t t e a b i e n son charme; ma i s on se l a s s e r a de 1 ' e n t e n d r e quand on t r e s s a i l l i r a e n c o r e au r i r e s t r i d e n t de M e p h i s t o . 5 5 In h i s o b i t u a r y o f Gounod, Reyer r e c a l l e d t h a t F a u s t , when i t was p r e m i e r e d , " d e r o u t a q u e l q u e peu l a c r i t i q u e et l e p u b l i c , " because " l a fo rme en e t a i t neuve a l o r s . " 5 6 Reye r h i m s e l f , however , had not been " d e r o u t a , " as i s p r o ved by t h e s t o u t d e f e n s e he p u b l i s h e d a f t e r a t t e n d -i n g t h e p r e m i e r e . He began by a d r o i t l y q u o t i n g and r e p l y i n g t o 406 c o n t e m p o r a r y g o s s i p about t h e work . To t h o s e who c o m p l a i n e d t h a t i t was t o o s ymphon i c , t h a t t h e r e were t oo many c h o r u s e s , and t h a t t h e t r a d i t i o n a l r i t o r n e l l o s and r o u s i n g ensembles were m i s s i n g , 5 7 n e r e sponded w i t h wisdom and i n s i g h t . S i ceux qu i r a i s o n n e n t de l a s o r t e , qu i s ' a d r e s s e n t ces q u e s t i o n s ou qu i nous l e s a d r e s s e n t [ , ] e x p r i m a i e n t ne t t emen t l e u r f agon de p e n s e r , i l s a v o u e r a i e n t que ce qu i l e s c hoque , ce qu i l e u r d e p l a T t , ce qu i l e s d e r o u t e dans une oeuv re n o u v e l l e , c ' e s t l a nouveaute de l ' o e u v r e . Tout ce que l e s i n t e l l i g e n c e s m e d i o c r e s ne s a i s i s s e n t pas de p r ime a b o r d , e l l e s l e condamnent .58 By t h e n g i v i n g v o i c e t o s t i l l more c o m p l a i n t s made by l i s t e n e r s , he d e m o n s t r a t e d h i s awareness t h a t t h e p o p u l a r s t o c k f i g u r e s o f o p e r a comique had been r e p l a c e d by r e c o g n i z a b l e human b e i n g s , and t h a t t h e m u s i c a l s t y l e was t h e r e f o r e more s e r i o u s and e x p r e s s i v e . Gone were t h e gay a r i e t t e s , r e f r a i n s , and c a v a t i n a s ; gone, t o o , were t he v o c a l f i r e w o r k s o f t h e p r e m i e r e c h a n t e u s e . 5 9 A l l o f t h i s was r e p l a c e d by what t h e p u b l i c p e r c e i v e d as "un q u a t u o r a p e i n e i n d i q u e , un t r i o , un duo , une s e r e n a d e , une c h a n s o n , une v a l s e , des c h o e u r s e t d ' i n t e r m i n a b l e s r e c i t s . " 6 0 Reyer l amented t h a t any composer who, l i k e Gounod, b r o k e w i t h m u s i c a l r o u t i n e i n o r d e r t o " t r a i t e r p oe t i quemen t un s u j e t p o e t i q u e " was i n v a r i a b l y r e g a r d e d by t h e p u b l i c as "un r e v e u r . . . t o u t a f a i t i n h a b i l e a t r a d u i r e l e s d i f f e r e n t e s p e r i p e t i e s d ' u n drame ou d ' u n e c o m e d i e . " 6 1 Reyer t r i e d t o r e f u t e t h i s n o t i o n by d r a w i n g a t t e n t i o n t o t h e many p a r t s o f t h e s c o r e w h i c h , i n h i s o p i n i o n , were o u t s t a n d i n g l y e f f e c t i v e r e a l i z a t i o n s o f t h e i m p l i c a t i o n s o f t h e t e x t . One o f t h e examples he c i t e d was t h e pas sage where Fau s t and M a r g u e r i t e meet f o r t h e f i r s t t i m e : 407 "Ma b e l l e d e m o i s e l l e , o s e r a i s - j e vous o f f r i r mon b r a s e t une c o n d u i t e ? - - Je ne s u i s n i d e m o i s e l l e n i b e l l e e t j e n ' a i b e s o i n de pe r sonne pour r e n t r e r a l a m a i s o n . " M. Gounod a t r a d u i t t r e s p o e t i q u e m e n t , par une ph r a s e s u a v e , c e t t e c o n v e r s a t i o n q u i , n ' e t a i t l e c a r a c t e r e des p e r s o n n a g e s , n ' a u r a i t par e l l e - m e m e r i e n de b i e n p o e t i q u e . 6 2 Reyer a l s o t h o u g h t v e r y h i g h l y o f t h e Ke rmes se , t h e Chorus o f t h e Swords , t h e t h i r d - a c t q u a r t e t and l o v e d u e t , t h e c a t h e d r a l s c e n e , and t h e p r i s o n s c e n e . 6 3 H i s o n l y ma jo r c r i t i c i s m s c o n c e r n e d two changes made i n t h e A u e r b a c h ' s c e l l a r s c e n e — t h e i n t e r r u p t i o n o f B r a n d e r ' s Song o f t h e Rat and t h e o m i s s i o n o f M e p h i s t o p h e l e s ' s s a t i r e on t he f l e a - - a n d t h e a d a p t a t i o n o f t h e W a l p u r g i s N i g h t s c ene . 64 He c o n c l u d e d by p r o n o u n c i n g F a u s t "une o e u v r e que j e n ' h e s i t e pas a c l a s s e r parmi l e s p l u s b e l l e s de ce t e m p s - c i : une o e u v r e dans l a q u e l l e de t r e s l e g e r e s i m p e r f e c t i o n s s on t e f f a c e e s pa r des i n s p i r a t i o n s e t des beau te s de p r e m i e r o r d r e . " 6 5 Reyer d e c l a r e d t h a t Gounod ' s command o f c o m p o s i t i o n a l t e c h n i q u e had n e v e r been s u r p a s s e d , but t h a t , f o r a l l h i s consummate c r a f t s m a n s h i p , he was not at home i n e v e r y g e n r e . 6 6 of h i s f o u r g rand o p e r a s — r a n g i n g f r o m La Nonne s a n g l a n t e (1854) t o h i s l a s t work f o r t h e s t a g e , Le T r i b u t de Zamora ( 1 8 8 1 ) - - o n l y o n e , P o l y e u c t e ( 1 8 7 8 ) , found f a v o r w i t h R e y e r , who f e l t t h a t he re Gounod had r e c a p t u r e d s ometh i n g o f t h e n o b l e s i m p l i c -i t y wh i ch had d i s t i n g u i s h e d Sapho and t h e c h o r u s e s f o r U l y s s e . 6 ? U n l i k e t h e many c o n t e m p o r a r y c r i t i c s who b e l i e v e d t h a t Gounod ' s r e l i g i o u s mus i c would s u r v i v e f o r a l l e t e r n i t y , 6 8 Reyer t h o u g h t t h a t o n l y t h e Messe de S a i n t e - C e c i l e and t h e o r a t o r i o G a l l i a were t r u l y d i s t i n g u i s h e d , and he d i d not p r e d i c t i m m o r t a l i t y f o r e i t h e r one .69 The o n l y i n s t r u m e n t a l c o m p o s i t i o n s wh i ch he p a r t i c u l a r l y admi red were t h e e a r l y symphon ies i n D and E - f l a t . 7 0 As i n d i c a t e d i n t h e p r e c e d i n g p a r a g r a p h s , Reyer had r e s e r v a t i o n s about most o f Gounod ' s l a r g e - s c a l e w o r k s — b o t h s e c u l a r and s a c r e d — a n d f e l t t h a t h i s b e s t works were Sapho, t h e c h o r u s e s f o r U l y s s e , and t h e f i v e ope ra s p r e m i e r e d at t h e T h e a t r e - L y r i q u e . In t h e s e c o m p o s i t i o n s "on l e r e t r o u v e . . . avec ses f o r m u l e s et ses c adence s s i p a r t i c u l i e r e s , sa ph r a s e c o r r e c t e , e l e g a n t e , ses f i n e s c i s e l u r e s e t ses pu re s h a r m o n i e s , avec sa s c i e n c e a i m a b l e e t son charme p e n e t r a n t . " 7 1 S i n c e he was o f t h e o p i n i o n t h a t Gounod ' s t a l e n t was e s s e n t i a l l y l y r i c r a t h e r t han e p i c , Reyer app l auded him f o r not a d o p t i n g any Wagner ian p r e t e n s i o n s d u r i n g t h e l a s t dozen y e a r s o f h i s l i f e : "Gounod . . . r enonga au t h e a t r e [ a p r e s l e T r i b u t de Zamo ra ] , ne v o u l a n t ou ne pouvant p a s , comme i l l e d i s a i t l u i - m e m e , change r de D i e u x , c ' e s t - a - d i r e se r e s i g n e r a s u b i r l e s l o i s par l e s q u e l l e s l e drame l y r i q u e v e n a i t de se r e g e n e r e r , " 7 2 P a l e s -t r i n a , B a ch , and M o z a r t — t h e s e , s a i d R e y e r , were Gounod ' s m u s i c a l g od s , and he admi red t h e composer f o r c o n t i n u i n g t o draw i n s p i r a t i o n f r om them w h i l e c u l t i v a t i n g " s on s t y l e . . . t r e s p e r s o n n e l . " 7 3 C r i t i c a l a n a l y s i s We have o b s e r v e d t h a t Reyer was by no means a l o n e i n r e g a r d i n g Sapho and U l y s s e as m a s t e r p i e c e s . 7 4 Two modern a u t h o r i t i e s — M a r t i n Cooper and James H a r d i n g — a l so f i n d much t o p r a i s e i n bo th w o r k s , but Cooper remark s t h a t t h e c h a r a c t e r s i n Sapho "were r a t h e r s e n t i m e n t a l l y c o n c e i v e d , " 7 6 and H a r d i n g p o i n t s ou t s e v e r a l s h o r t c o m i n g s i n t h i s o p e r a as w e l l as i n t h e mus i c f o r U l y s s e . 7 6 The key t o u n d e r s t a n d i n g t he m i d -c e n t u r y s u c ce s_d^e s j nme o f t h e s e two works i s t o r e a l i z e t h a t , as Reyer 409 o b s e r v e d , t h e y c o n t a i n no h i n t o f M e y e r b e e r , who was then t h e monarch o f F r e n c h l y r i c t h e a t r e . To R e y e r , t h e s i m p l e , e l e g a n t v o c a l w r i t i n g and t h e modest p r o p o r t i o n s o f bo t h Sapho and U l y s s e r e p r e s e n t e d a new s p i r i t i n mus i c f o r t h e s t a g e - - a s p i r i t unencumbered by t h e c o n v e n t i o n s o f M e y e r b e e r ' s g rand p a g e a n t s , and t h e r e f o r e c l o s e r t o an i d e a l un i on o f " l a mus ique a l a t r a g e d i e . " ? ? T h i s new s p i r i t seemed t o Reyer t o be much more s i g n i f i c a n t t han what he p e r c e i v e d as t h e f l a w s i n both w o r k s . James H a r d i n g would a g r e e , f o r he makes s i m i l a r remark s c o n c e r n -i n g Sapho and U l y s s e . ? 8 L i k e R e y e r , we a g a i n sense t h i s new s p i r i t i n each o f t h e f i v e works wh i ch Gounod w ro t e f o r t h e T h e a t r e - L y r i q u e . In Le Medec in m a l g r e l u i and P h i l e m o n e t B a u c i s t h e composer u n m i s t a k a b l y shed t h e M e y e r b e e r -i a n a m b i t i o n s o f h i s e a r l i e r g rand o p e r a La Nonne s a n g ! a n t e , and, t o R e y e r ' s d e l i g h t , c u l t i v a t e d i n s t e a d h i s n a t u r a l g i f t s f o r c ha rm ing good humor, w e l l - b a l a n c e d and d i s c r e e t o r c h e s t r a t i o n , and t e n d e r l y r i c i s m . In F a u s t , M i r e i l l e , and Romeo e t J u l i e t t e he a p p l i e d t h i s new m u s i c o -d r a m a t i c l anguage t o p l o t s d e a l i n g a lmos t e x c l u s i v e l y w i t h l o v e , and became one o f t h e p r i n c i p a l c r e a t o r s o f t h e genre wh i ch we now d e s i g n a t e as o p e r a l y r i q u e . I t speaks w e l l f o r R e y e r ' s judgment t h a t , even a f t e r Romeo had become e s t a b l i s h e d i n t h e r e p e r t o i r e , he would not rank t h i s o p e r a w i t h F a u s t . W h i l e he was q u i t e r i g h t i n o b s e r v i n g t h a t c e r t a i n numbers i n Romeo show a f l a i r f o r m u s i c a l d e l i n e a t i o n o f c h a r a c t e r , 7 9 he was a l s o j u s t i f i e d i n f i n d i n g a s u r f e i t o f l o v e - m u s i c . As he p r e d i c t e d , " l e c h a n t de 1 ' a l o u e t t e " 8 0 has not won f o r Romeo t h e v a s t p o p u l a r i t y o f F a u s t , i n wh i ch a g r e a t e r v a r i e t y o f emot i on i s combined w i t h what M a r t i n Cooper d e s c r i b e s as Gounod ' s " f i n e sense o f c h a r a c t e r . " 8 1 We m igh t wonder why Reyer and o t h e r c o n t e m p o r a r y l i s t e n e r s f ound t h e fo rm o f F a u s t " n o u v e l l e , " f o r t h i s w o r k — l i k e t r a d i t i o n a l o p e r a c o m i q u e - - i s a number o p e r a . However, as R e y e r ' s r e v i e w i n d i c a t e s , t h e n o v e l t y wh i ch " d e r o u t a q u e l q u e peu l a c r i t i q u e e t l e p u b l i c " ^ 2 l a y not i n a f undamen ta l s t r u c t u r a l c h a n g e , but r a t h e r i n a c o m b i n a t i o n o f t e c h n i c a l and e x p r e s s i v e q u a l i t i e s not u s u a l l y f ound i n o p e r a c om ique . 83 T h i s r e v i e w v i v i d l y d e m o n s t r a t e s R e y e r ' s r e a l i z a t i o n t h a t F a u s t had b r ough t t o t h e gen re a m e l o d i c and ha rmon i c warmth and a human i t y o f wh i ch i t was b a d l y i n n e e d . We s h o u l d no te t h a t he app l auded t h e p a s -sage where F a u s t f i r s t meets M a r g u e r i t e and she answers h i s g r e e t i n g . Pau l Landormy s u g g e s t s t h a t t h i s s t y l e o f f l e x i b l e m e l o d y — f r e e i n r h y t h m , i n f o r m a l i n t o n e — " p r e p a r e l e chemin a nos Duparc e t a nos F a u r e , sous c e r t a i n s r a p p o r t s meme a nos Debu s s y . " 8 4 R e y e r ' s c r i t i c i s m s o f F a u s t a r e as p e r c e p t i v e as h i s words o f p r a i s e . We can c e r t a i n l y s h a r e h i s r e g r e t t h a t t h e Song o f t h e Rat i s s c a r c e l y begun b e f o r e i t i s i n t e r r u p t e d by M e p h i s t o p h e l e s ' s "Veau d ' o r , and t h a t t h e p o l i t i c a l s a t i r e on t h e f l e a i s o m i t t e d . G e o t h e ' s v e r s e s on t h e r a t and t h e f l e a m igh t have i n s p i r e d some p i q u a n t m u s i c , j u s t as t h e y had done i n B e r l i o z ' s L a Damnat ion de F a u s t . We can a l s o ag ree w i t h Reyer t h a t t h e W a l p u r g i s N i g h t s cene i s no t p a r t i c u l a r l y e f f e c -t i v e . In t h e words o f James H a r d i n g , "Gounod was not a v e r y c o n v i n c i n g d e a l e r i n h o r r o r , and t h e mus i c he p r o v i d e s f o r t h i s e p i s o d e i s a l t o -g e t h e r t o o nea t and t i d y . " 8 5 L i k e R e y e r , we put a s i d e t h e s e o b s e r v a t i o n s when we c o n s i d e r t h e abundant b e a u t i e s o f t h e work . M a r t i n Cooper avows t h a t A c t I I I a l o n e o f f e r s a v a r i e t y u n p r e c e d e n t e d i n F r e n c h o p e r a , 8 6 a n d we canno t but c o n c u r when we c o n s i d e r t h e p r i n c i p a l numbers : F a u s t ' s b e a u t i f u l c a n t a - b i l e " S a l u t , demeure c h a s t e e t p u r e " ; M a r g u e r i t e ' s b a l l a d ; he r b r i l l i a n t a r i a ( t h e Jewe l S o n g ) ; and t h e q u a r t e t and l o v e d u e t , both o f wh ich were among R e y e r ' s f a v o r i t e p a r t s o f t h e o p e r a . Sma l l wonder , t h e n , t h a t he a p p r e c i a t e d A c t I I I as " c e r t a i n e m e n t un des m e i l l e u r s de 1 ' o u v r a g e . " 8 7 To o p e r a - g o e r s accus tomed t o Wagner, V e r d i , t h e I t a l i a n v e r i s t s , and P u c c i n i , F au s t may seem t o be l a c k i n g i n d r a m a t i c f o r c e , and, t h e r e -f o r e , R e y e r ' s d e f e n c e o f Gounod ' s a b i l i t y t o " t r a d u i r e l e s d i f f e r e n t e s p e r i p e t i e s d ' u n d r a m e " 8 8 may seem u n c o n v i n c i n g . The r e s emb l ance s b e -tween Gounod ' s Fau s t and G o e t h e ' s superman, Gounod ' s t h e a t r i c a l d e v i l and t h e M e p h i s t o p h e l e s o f G o e t h e , o r M a d e m o i s e l l e M a r g u e r i t e and G r e t c h e n , a re i n f a c t v e r y s u p e r f i c i a l . However, as Reyer w i s e l y o b s e r v e d , t h e i n t e n t o f t h e l i b r e t t i s t s had not been t o c r e a t e an o p e r a t i c poem based on t h e e n t i r e d rama. They had i n s t e a d s e l e c t e d and d e v e l o p e d " t e l l e s s i t u a t i o n s qu i d e v a i e n t s e d u i r e p l u s p a r t i c u l i e r e m e n t 1 ' i m a g i n a t i o n du c o m p o s i t e u r , " 8 9 n ame l y , t h o s e r e l a t i n g t o t he l o v e -s t o r y o f Fau s t and G r e t c h e n . W i t h i n t h i s l i m i t e d c o n t e x t , t he s cenes and numbers wh i ch Reyer found " t r e s d r a m a t i q u e " y ° - - s u c h as t h e t r i o i n t h e p r i s o n s c e n e - - a r e c o m p l e t e l y s u c c e s s f u l . I n d e e d , most o f t he pages w h i c h Reyer s i n g l e d ou t a re r e g a r d e d by modern c r i t i c s and s c h o l a r s as b e i n g among t h e f i n e s t i n t h i s o p e r a — a m p l e p r o o f o f t he a s t u t e n e s s o f h i s p e r c e p t i o n s . The one p o i n t about Gounod wh i ch we might w i s h Reyer had expanded i s t h i s c o m p o s e r ' s i n d e b t e d n e s s t o h i s t h r e e m u s i c a l gods . Gounod ' s e a r l y p a s s i o n f o r Bach and P a l e s t r i n a i n s t i l l e d i n h im i d e a l s t h a t f ound 412 e x p r e s s i o n i n t h e a u s t e r e l y p o l y p h o n i c and o f t e n a c a p p e l l a s t y l e o f t h e Masses w r i t t e n d u r i n g h i s y o u t h . A l t h o u g h h i s n a t u r a l l y l y r i c a l g i f t s soon l e d him away f r om such w o r k s , h i s f i r s t i d e a l s were never q u i t e o b s c u r e d o r f o r g o t t e n , as Reyer o b s e r v e d i n h i s o b i t u a r y o f t h e com-p o s e r . 9 ! He might have i l l u s t r a t e d h i s s t a t e m e n t by d e m o n s t r a t i n g t h a t t h e i n f l u e n c e o f Bach i s appa ren t even i n p a r t s o f F a u s t , 9 2 o r by d i s -c u s s i n g t h e f o u r Masses d a t i n g f r om t h e 1890s , one o f w h i c h — t h e Messe d i t e de C l o v i s — i s based on G r e g o r i a n c h a n t s . D u r i n g Gounod ' s l i f e t i m e Reyer no ted t h e i n f l u e n c e o f Moza r t i n a few w o r k s , 9 ^ but t h i s i n f l u e n c e was much more p e r v a s i v e t h a n he i n d i c a t e d . For e x a m p l e , A r t h u r H u t c h -i n g s d i s c e r n s i n Gounod ' s mus i c " a M o z a r t e a n v e i n . . . [ o f ] e x t r e m e c h r o m a t i c s w e e t n e s s , " 9 4 and James H a r d i n g m a i n t a i n s — a p r o p o s o f t h e o p e r a s — t h a t Gounod " c o u l d not w r i t e a bass p a r t w i t h o u t s u b c o n s c i o u s l y i n v o k i n g S a r a s t r o and d i e Z a u b e r f l b t e . " 9 ^ R e y e r ' s g e n e r a l remark s c o n c e r n i n g Gounod ' s a r t show t h a t he p e r -c e i v e d t h i s c o m p o s e r ' s s t r e n g t h s and weaknesses more c l e a r l y than d i d many o f h i s c o n t e m p o r a r i e s . Gounod was i ndeed a m a s t e r f u l c r a f t s m a n ; h i s i m p e c c a b l e workmansh ip i s e x e m p l i f i e d by t h e f i n e d e t a i l s o f o r c h e s -t r a t i o n wh i ch charmed Reye r i n each o f t h e f i v e ope ra s w r i t t e n f o r t h e L y r i q u e . Ye t Gounod ' s t e c h n i c a l m a s t e r y d i d not e n a b l e him t o h a n d l e e v e r y gen re " a v e c l e meme b o n h e u r , " 9 ^ b e c a u s e , as Reyer p o i n t e d o u t , h i s t a l e n t was e s s e n t i a l l y l y r i c r a t h e r t h a n e p i c . The p r o o f o f t he l a t t e r judgment i s t h a t Gounod i s remembered n e i t h e r f o r h i s o r a t o r i o s — t h o s e g r a n d i o s e o b j e t s de p i e t e wh i ch once were v e r y p o p u l a r i n both F r a n c e and E n g l a n d — n o r f o r h i s g rand o p e r a s , h i s q u a n t i t y o f s a c r e d m u s i c , and h i s i n s t r u m e n t a l m u s i c , but r a t h e r f o r Fau s t and Romeo e t J u l i e t t e . 413 H e r e , as i n t h e o t h e r t h r e e works w r i t t e n f o r t h e L y r i q u e , we f i n d an e l e g a n t compose r , p o s s e s s i n g a f i n e ea r f o r e f f e c t s o f harmony and o r -c h e s t r a t i o n , a g i f t f o r g r a c e f u l and cha rm ing me l ody , and a genu ine i n s t i n c t f o r what may be c a l l e d drame i n t i m e . We have seen t h a t two o f R e y e r ' s f a v o r i t e works by Gounod- -Sapho and t h e c h o r u s e s f r o m U l y s s e - - a r e , s t r i c t l y s p e a k i n g , not among t h e com-p o s e r ' s b e s t , bu t t h a t t h e i r modest p r o p o r t i o n s and s i m p l e v o c a l l i n e s were a r a d i c a l d e p a r t u r e f r om c o n t e m p o r a r y f a s h i o n i n mus ic f o r t h e s t a g e . Fo r t h i s r e a s on we can u n d e r s t a n d why Reyer r anked them a l o n g -s i d e t h e works t h a t a re u n d o u b t e d l y Gounod ' s f i n e s t : t h e n o w - f o r g o t t e n Medec in m a l g r e l u i and P h i l e m o n e t B a u c i s - - e a c h o f wh i ch has a l i g h t n e s s o f t o u c h t h a t t h e composer t o o o f t e n s u p p r e s s e d l a t e r — and t he more s e r i o u s F a u s t , M i r e i l l e , and Romeo e t J u l i e t t e . Most r e m a r k a b l e o f a l l R e y e r ' s w r i t i n g s on t h e s e and o t h e r works by Gounod i s t he r e v i e w o f t h e p r e m i e r e o f F a u s t , wh i ch d e m o n s t r a t e s an immed ia te a p p r e c i a t i o n f o r t h e many f e a t u r e s t h a t s e t t h i s work a p a r t f r om c o n t e m p o r a r y o p e r a s comiques and made i t t h e pa rad i gm o f a new g e n r e . S a i n t - S a e n s R e y e r ' s a s se s sment As we have o b s e r v e d , S a i n t - S a e n s was a n o t h e r young m u s i c i a n whose t a l e n t s a t t r a c t e d R e y e r ' s a t t e n t i o n d u r i n g t h e 1850s . There was a t w e l v e - y e a r d i f f e r e n c e i n t h e i r a g e s , but t h e d u r a t i o n s o f t h e i r c a r e e r s c o i n c i d e d a lmos t e x a c t l y : S a i n t - S a e n s s t a r t e d t o make a name f o r h i m -s e l f d u r i n g t h e m i d - 1 8 5 0 s , j u s t a few y e a r s a f t e r Reyer had begun h i s c a r e e r as a c o m p o s e r - c r i t i c ; by t h e t i m e t h e l a t t e r r e t i r e d f r om t h e 414 Debats more t h a n f o r t y y e a r s l a t e r , S a i n t - S a e n s had a lmos t r e ached t h e end o f h i s own c r e a t i v e l i f e , h a v i n g c o m p l e t e d a l l t h e works upon wh ich h i s r e p u t a t i o n now r e s t s . D u r i n g R e y e r ' s l o n g c a r e e r as a c r i t i c , he managed t o r e v i e w a l l o f t h e ope ra s and many o f t h e o t h e r ma jo r s e c u l a r and s a c r e d works by S a i n t - S a e n s t h a t were heard i n P a r i s — q u i t e an a c c o m p l i s h m e n t , c o n s i d e r -i n g t h e f a c t t h a t t h i s composer was " t h e most p r o l i f i c . . . among h i s c o n t e m p o r a r i e s . " 9 ' 7 The o n l y p a r t o f S a i n t - S a e n s ' s v o l u m i n o u s o e u v r e wh i ch Reyer d i d not d i s c u s s was t h e chamber m u s i c , a lmos t a l l o f wh ich was p r e s e n t e d not at p u b l i c c o n c e r t s but r a t h e r at p e r f o r m a n c e s s p o n -s o r e d by t h e S o c i e t e n a t i o n a l e . In a d d i t i o n t o e n c o u r a g i n g and d e f e n d i n g S a i n t - S a e n s i n t he pages o f some o f P a r i s ' s most r e s p e c t e d j o u r n a l s and newspape r s , Reyer worked on h i s b e h a l f as a member o f t h e I n s t i t u t , p u t t i n g f o r t h e v e r y e f f o r t t o g a i n s u p p o r t f o r S a i n t - S a e n s when both he and Massenet were nomina ted i n 1878. N e i t h e r S a i n t - S a e n s ' s u n g r a t e f u l c o n d u c t , 9 ^ n 0 r t h e b r u t a l remark he made about S i g u r d many y e a r s l a t e r , 9 9 s ou red R e y e r ' s judgments o f h i s m u s i c . I ndeed , a few months a f t e r t he g i b e a t S i g u r d had made t h e rounds o f P a r i s i a n s a l o n s , Reyer a t t e n d e d t h e p r e m i e r e o f Samson e t D a l i 1 a at t h e E d e n - T h e a t r e , and was among t he f i r s t t o p ronounce t h i s work a m a s t e r p i e c e . 1 0 0 As e a r l y as 1854 Reyer was a p p l a u d i n g t h e young S a i n t - S a e n s as bo th a b r i l l i a n t p i a n i s t and t h e composer o f "une symphonie r e m a r q u a b l e a p l u s d ' u n t i t r e " 1 0 l ; t h e Symphony i n E - f l a t , w r i t t e n d u r i n g h i s m i d -t e e n s . W i t h i n t h e nex t dozen y e a r s Reyer hea rd a few o t h e r works by t h i s p r o d i g y , and i n 1867 — a f t e r a t t e n d i n g two c o n c e r t s o f h i s mu s i c — 415 h a i l e d him as "un des p l u s j e u n e s et des p l u s g rands m u s i c i e n s de ce t e m p s - c i . " 1 0 2 He had a l r e a d y begun c a l l i n g f o r t he p r e s e n t a t i o n o f S a i n t - S a e n s ' s f i r s t o p e r a , Le T imbre d ' a r g e n t , " q u i a t t e n d son t o u r dans l e s c a r t o n s de M. l e d i r e c t e u r du T h e a t r e - L y r i q u e . " 1 0 3 R e y e r ' s e a g e r -nes s t o hea r t h i s o p e r a was p r o b a b l y h e i g h t e n e d by h i s a p p r e c i a t i o n o f S a i n t - S a e n s ' s v e r s a t i l i t y , wh i ch he saw e x e m p l i f i e d i n works as d i v e r s e as t h e Symphony i n E - f l a t , t h e O r a t o r i o de Noe'1, a T a r e n t e l l e f o r f l u t e and c l a r i n e t w i t h o r c h e s t r a l accompan iment , t h e I n t r o d u c t i o n e t rondo c a p r i c c i o s o f o r v i o l i n and o r c h e s t r a , and t h e G m ino r P i a n o C o n c e r t o . 1 0 4 I t would be a decade b e f o r e Reyer would hear t h e i l l - f a t e d T imbre d ' a r g e n t . In t h e meant ime, S a i n t - S a e n s ' s a s s o c i a t i o n s w i t h Wagner and h i s c i r c l e d u r i n g t h e l a t e 1860s and e a r l y 1870s gave r i s e t o t he i d e a t h a t he was a d i s c i p l e o f t h e c o n t r o v e r s i a l German composer . Reyer o b j e c t e d t h a t t h i s i d e a , wh i ch he had " e n t e n d u d i r e et r e p e t e r de d r o i t e e t de gauche , 1 1 105 p r e j u d i c e d t h e p u b l i c a g a i n s t S a i n t - S a e n s ' s o n e - a c t comic o p e r a L a P r i n c e s s e j a u n e , p r e m i e r e d at t h e Opera -Comique i n 1872. Such p r e j u d i c e might a ccoun t f o r t h e f a c t t h a t , d e s p i t e i t s f a s h i o n a b l y o r i e n t a l s u b j e c t , t h e work was a f a i l u r e . I t was d ropped f rom t h e r e p e r t o i r e a f t e r o n l y f i v e p e r f o r m a n c e s , and t h e Comique c l o s e d i t s doo r s t o t h e compose r . In 1877 Le T imb re d ' a r g e n t was f i n a l l y p r e m i e r e d a t one o f t h e s h o r t - l i v e d t h e a t r e s wh i ch a t t empted t o r e p l a c e t h e o l d L y r i q u e , but t h i s s m a l l work, t o o , was i n d i f f e r e n t l y r e c e i v e d , pe rhaps becau se t h e composer was s t i l l r e p u t e d t o be " e n t a c h e de w a g n e r i s m e . " l 0 6 When t h e Opera r e j e c t e d Samson e t P a l i l a and L i s z t s pon so red t h e p r e -m i e r e at Weimar i n December 1877, Reyer was o u t r a g e d " q u ' u n t h e a t r e e t r a n g e r , un t h e a t r e a l l e m a n d . . . e n l e v e a P a r i s l a p r i m e u r d ' u n e o e u v r e e c r i t e par un maTtre f r a n g a i s de t r e s g r and r e n o m . " * 0 ? By t h e e a r l y 1880s t h e F rench p u b l i c ' s a t t i t u d e t owa rd both Wagner and S a i n t -Saens had f i n a l l y begun t o s o f t e n , ^ 8 a n c j t h e d i r e c t o r o f t h e Opera t h e r e f o r e commi s s i oned a work by S a i n t - S a e n s : Henry V I I I . I t s p r e m i e r e i n 1883 marked t h e end o f t h e c o m p o s e r ' s o s t r a c i s m f r om t h e l y r i c t h e -a t r e s o f t h e c a p i t a l . P a r i s i a n p r e m i e r e s o f ope ra s by S a i n t - S a e n s i n t h e 1870s , 1880 s , and e a r l y 1890s a f f o r d e d Reyer many o p p o r t u n i t i e s t o combat t h e n o t i o n t h a t t h i s composer was a Wagne r i a n . How, he wondered , c o u l d P a r i s i a n s f i n d Wagner l u r k i n g i n L a P r i n c e s s e j a u n e and i n t h e s m a l l o p e r a f a n t a s - t i q u e Le T imbre d ' a r g e n t ? ! 0 9 In h i s r e v i e w s o f S a i n t - S a e n s ' s l a r g e -s c a l e o p e r a s Henry V I I I , E t i e n n e M a r c e l , P r o s e r p i n e , A s c a n i o , and Samson e t P a l i l a , Reyer r e a d i l y acknowledged t h e i n f l u e n c e o f " de s p r o cede s w a g n e r i e n s , " 1 1 ° but i n s i s t e d t h a t i t was s u p e r f i c i a l . In t he f i r s t p l a c e , s a i d R e y e r , a r i a s and " s e t - n u m b e r s " were e v i d e n t d e s p i t e t h e c o n -t i n u o u s t e x t u r e ; and i n t h e s e c o n d , t h e r e c u r r i n g m o t i f s d i d not c o n s t i -t u t e t h e e s s e n t i a l m u s i c a l s u b s t a n c e and " n ' o n t pas meme l e c a r a c t e r e p r o p r e du l e i t m o t i v . " H I R e y e r ' s p o s i t i o n i s w e l l summarized i n t h e f o l l o w i n g e x c e r p t f r o m h i s r e v i e w o f A s c a n i o : Pes morceaux q u i s ' e n c h a T n e n t sans i n t e r r u p t i o n , ma i s des morceaux qu i ont un c a r a c t e r e d e t e r m i n e , qu i sont b i e n des c a v a t i n e s , des duos et des a r i e t t e s f a c i l e s a d e t a c h e r e t pouvant se s u p p r i m e r au b e s o i n sans n u i r e l e moins du monde a l a marche de T a c t i o n d r a m a t i q u e ; des r a p p e l s de ph r a se s d e j a en tendue s et ne r e p a r a i s s a n t guere que dans Taccompagnement chaque f o i s que l e s p e r i p e t i e s du drame, T e n t r e e en scene d ' u n pe r sonnage nouveau , peuvent T e x i g e r ou l e m o t i v e r , ce n ' e s t l a que l a monnaie c o u r a n t e , a s s e z c o u r a n t e a u j o u r d ' h u i , du sy s teme w a g n e r i e n . H 2 417 A ma jo r p o i n t wh i ch Reyer advanced a g a i n s t t h e a c c u s a t i o n o f Wagner ism was t h a t S a i n t - S a e n s ' s w o r k s — i n c l u d i n g h i s o p e r a s — s h o w e d him t o be an e c l e c t i c who had l e a r n e d not o n l y f r om Wagner but a l s o f r om a ho s t o f o t h e r c ompo se r s , r a n g i n g f r o m Bach t o B e r l i o z A I 3 He r e p e a t e d l y p ronounced S a i n t - S a e n s a mas te r o f " t o u s l e s a r t i f i c e s du c o n t r e - p o i n t e t de l a fugue c 1 ass i que " ;•"••••4 i n d e e d , he found c o n t r a p u n t a l c r a f t p e r -v a d i n g most o f S a i n t - S a e n s ' s m u s i c . s o m e o f t h e i n g e n i o u s i n s t r u -menta l e f f e c t s i n Samson e t P a l i l a made him t h i n k o f Weber and B e r l i o z , and he heard i n t h e l o v e duet "un echo de l a ph ra se amoureuse par e x c e l l e n c e . . . que c h a n t e n t Raoul e t V a l e n t i n e au q u a t r i e m e a c t e des H u g u e n o t s . C e r t a i n pa s sages i n S a i n t - S a e n s ' s o t h e r o p e r a s , t o o , c a l l e d t o R e y e r ' s mind Weber, B e r l i o z , Wagner, and G o u n o d . H e would n e i t h e r condemn nor condone such r e m i n i s c e n c e s : " Pe s c o m p o s i t e u r s vous d i r o n t que l ' i d e e e s t peu de c h o s e ; que t o u t e s t dans l a m a n i e r e de s ' e n s e r v i r ; d ' a u t r e s , que t o u t e i d e e qu i v i e n t au bout de l a plume e t a n t bonne a p r e n d r e e s t bonne a g a r d e r . A i n s i s o i t - i l ! " H 8 Reyer admi red t h e mus ic o f S a i n t - S a e n s ' s o p e r a s as b e i n g " t r e s f r a n g a i s e " by v i r t u e o f " l a s i m p l i c i t y de l a l i g n e m e l o d i q u e et 1 ' e l e -g a n t e c l a r t e de l a f a c t u r e . ' ' ^ 9 However, he f e l t t h a t t h e s e w o r k s — w i t h t h e e x c e p t i o n o f Samson e t P a l i l a — w e r e r a r e l y e f f e c t i v e , because t h e y c o n t a i n e d few moments o f g enu i ne d r a m a t i c f e e l i n g . C o n s i d e r t h e f o l l o w -i n g i r o n i c e x c l a m a t i o n s f r om t h e r e v i e w o f Henry V I I I , i n wh i ch S a i n t -Saens i s compared w i t h two composers whom Reyer esteemed as b e i n g among t h e g r e a t e s t m a s t e r s o f l y r i c t h e a t r e . Quel a d m i r a b l e m u s i c i e n que M. C a m i l l e S a i n t - S a e n s ! II s a i t l a mus ique a u t a n t q u ' o n l a peut s a v o i r , t a n d i s q u ' o n d i s a i t de G l u c k e t de S p o n t i n i , ce s deux m u s i c i e n s 418 de g e n i e , du p r e m i e r q u ' i l ne l a s a v a i t g u e r e , du second q u ' i l ne l a s a v a i t p a s l ^ O In R e y e r ' s o p i n i o n , Samson e t D a l i 1 a s t o o d a l o n e among S a i n t - S a e n s ' s o p e r a s because i t combined i n s p i r a t i o n w i t h consummate c r a f t s m a n s h i p . Tous l e s morceaux de l a p a r t i t i o n ne sont p e u t - e t r e pas d ' e g a l e v a l e u r ; mais t o u s p o r t e n t l a g r i f f e . . . d ' u n m a T t r e , pour qu i l a s c i e n c e m u s i c a l e n ' a p l u s de s e c r e t s . Le t r a v a i l en e s t s e r r e , et l e s i d e e s s ' y d e v e l o p p e n t avec une h a b i l e t e qu i ne f a i b l i t p a s . . . . Aucun m a T t r e , - - e t vous r e m o n t e r e z a u s s i l o i n e t a u s s i haut que vous l e v o u d r e z , - - n ' a e c r i t avec p l u s de c o r r e c t i o n , avec une p l u s s u r p r e n a n t e h a b i l e t e que l ' a u t e u r de Samson e t D a l i l a . V i e n n e a l o r s T i n s p i r a -t i o n , l ' i d e e f e c o n d a n t e , et l e c h e f - d ' o e u v r e e s t f a i t . 1 2 1 S e v e r a l f e a t u r e s o f t h i s o p e r a b i b ! i q u e - - t h e n a t u r e o f t h e s u b j e c t , t h e i m p o r t a n t r o l e o f t h e c h o r u s , and t h e c o n s i d e r a b l e use o f c o u n t e r p o i n t and f u g u e - - p r o m p t e d Reyer t o d e c l a r e t h a t " c e t ou v r a ge t i e n t l e m i l i e u e n t r e l ' o p e r a et 1 ' o r a t o r i o , se r a p p r o c h a n t beaucoup p l u s de c e l u i - c i que du p r e m i e r . " 1 2 2 As i n d i c a t e d above , Reyer p ronounced Samson e t D a l i l a S a i n t - S a e n s ' s g r e a t e s t work but d i d not w h o l e h e a r t e d l y app l aud any o t h e r o p e r a by t h i s compose r . Among S a i n t - S a e n s ' s i n s t r u m e n t a l c o m p o s i t i o n s , however , were many wh i ch Reyer h i g h l y e s t e e m e d ; i n d e e d , he once d e c l a r e d t h a t S a i n t -S a e n s ' s " o e u v r e s de p i a n o , ses c o n c e r t o s e t ses c o m p o s i t i o n s sympho-n i q u e s s u f f i r a i e n t a l a r e p u t a t i o n d ' u n m a T t r e . " 1 2 3 Of S a i n t - S a e n s ' s works f o r p i a n o o r p i a n o s , Reyer p a r t i c u l a r l y admi red t h e V a r i a t i o n s s u r un theme de B e e t h o v e n , and he h i n t e d t h a t he knew and r e l i s h e d t h e u n -p u b l i s h e d £a j2 r j£va l_des_J in^^ H i s r e v i e w s o f S a i n t - S a e n s ' s many c o n c e r t o s and symphonic works sugge s t t h a t Reyer was much more i m p r e s s e d by t h e A m ino r C e l l o C o n c e r t o , t h e C m i n o r P i a n o C o n c e r t o , and t h e S u i t e a l g e r i e n n e t h a n by t h e symphonic poems.125 However, t h e r e was one opus wh i ch he p l a c e d above t h e c o n c e r t o s and t h e S u i t e : t h e T h i r d Symphony. He m a i n t a i n e d t h a t , o f a l l S a i n t - S a e n s ' s w o r k s , t h i s a l o n e m igh t r i v a l Samson e t P a l i l a f o r " l a p r e m i e r e p l a c e . " 1 2 6 C r i t i c a l a n a l y s i s I f e v e r t h e r e was a n a t i v e F r e n c h composer who gave h i s f e l l o w -m u s i c i a n s cau se f o r r e s e n t m e n t , i t was S a i n t - S a e n s . By t h e m id -1860 s Reyer and a few o t h e r P a r i s i a n c r i t i c s had h a i l e d t h i s p r o d i g y as a m a s t e r f u l compose r , a f i n e c o n d u c t o r , a b r i l l i a n t s c o r e r e a d e r , and one o f t h e most i m p o r t a n t p i a n i s t s and o r g a n i s t s o f h i s d a y . S a i n t - S a e n s , however , was h o s t i l e t o most c o n t e m p o r a r y F r e n c h compose r s , and h i s s a r c a s t i c t o n g u e — t o g e t h e r w i t h h i s a s t o n i s h i n g m u s i c a l a b i l i t i e s and h i s m a t e r i a l s u c c e s s — m a d e him many e n e m i e s . I t i s a g r e a t t r i b u t e t o Reyer t h a t , even though he had ample cau se t o r e c i p r o c a t e S a i n t - S a e n s ' s h o s t i l i t y , he neve r d i d so i n h i s c r i t i c a l w r i t i n g s . We can t h e r e f o r e s t a t e t h a t t h e s e w r i t i n g s — 1 i k e t h o s e on B e r l i o z , but f o r a v e r y d i f f e r -e n t r e a s o n — c o m p r i s e an o u t s t a n d i n g d e m o n s t r a t i o n o f h i s r e f u s a l t o e n t e r t a i n any p e r s o n a l b i a s . R e y e r ' s d e f e n c e o f S a i n t - S a e n s ' s o p e r a s a g a i n s t t h e c h a r g e o f Wagnerism compe l s a d m i r a t i o n . In t h e c a s e o f b o t h La P r i n c e s s e j a u n e and Le T imbre d ' a r g e n t , h i s d e f e n c e i s so r a t i o n a l t h a t i t amply demon-s t r a t e s t h e i r r a t i o n a l i t y o f t h e c h a r g e . E q u a l l y c o n v i n c i n g a re h i s a rguments t h a t t h e r e s e m b l a n c e s between S a i n t - S a e n s ' s l a r g e - s c a l e o p e r a s and t h e works o f Wagner a re s u p e r f i c i a l . He was q u i t e r i g h t i n p o i n t i n g ou t t h a t , a l t h o u g h t h e mus i c i s c o n t i n u o u s , t h e i d e n t i t y o f a r i a and 420 en semb le i s r e t a i n e d ; i t was f o r t h i s r e a s o n t h a t S a i n t - S a e n s ' s ope ra s were l a t e r damned by Wagner ' s f a n a t i c a l f o l l o w e r s . R e y e r ' s comments c o n c e r n i n g S a i n t - S a e n s ' s r e c u r r i n g m o t i f s r e v e a l h i s awareness t h a t t h i s c o m p o s e r - - l i k e so many o t h e r s , i n c l u d i n g Reyer h i m s e l f - - u s e d t h e r e m i n i s c e n c e m o t i f m e r e l y as an e x c e p t i o n a l d e v i c e , a m u s i c a l " t a g " wh i ch does no t have t h e s t r u c t u r a l r o l e o f t h e Wagner ian l e i t m o t i f . Reyer might have added t h a t Henry V I I I , E t i e n n e M a r c e l , P r o s e r p i n e , and A s c a n i o a r e a k i n t o t h e h i s t o r i c a l pagean t s o f Meyerbeer r a t h e r than t h e l e g e n d a r y o r m y t h o l o g i c a l dramas o f Wagner, and t h a t even t h e o r a t o r i o -l i k e ^ a m s o j i _ e t _ r j a l j J ^ v e s t i g e s o f F rench g rand o p e r a . 1 2 ? R e y e r ' s d i s c u s s i o n o f S a i n t - S a e n s ' s e c l e c t i c i s m e f f e c t i v e l y demon-s t r a t e s t h a t t h e l a t t e r was f a m i l i a r w i t h many composers b e s i d e s Wagner. Bach and Handel were among t h e " c l a s s i c s " upon whose works t h e young S a i n t - S a e n s had been n u r t u r e d , and we t h e r e f o r e canno t be s u r p r i s e d t h a t - - a s Reyer i n d i c a t e d — h e was a ma s te r o f c o u n t e r p o i n t . Reyer was a l s o j u s t i f i e d i n f i n d i n g echoes o f v a r i o u s composers i n Samson e t D a l i l a . ^ e s h o u l d n o t e t h a t such a u t h o r i t i e s as Jean B o n n e r o t , A r t h u r H e r v e y , and James H a r d i n g s u p p o r t R e y e r ' s v i ew t h a t S a i n t - S a e n s ' s o t h e r o p e r a s , t o o , r e v e a l t r a c e s o f many i n f l u e n c e s . 1 2 9 R e y e r ' s o b s e r v a t i o n t h a t Samson e t D a l i l a l e a n s t oward o r a t o r i o i s v e r y p e r c e p t i v e ; unbeknown t o h i m , t h i s work had t w i c e been pe r f o rmed as an o r a t o r i o at B r u s s e l s , w i t h S a i n t - S a e n s as c o n d u c t o r . 1 3 0 The use o f " l a f ugue e t a u t r e s a r t i f i c e s s c o l a s t i q u e s " l 3 1 i s i ndeed m a s t e r f u l , p a r -t i c u l a r l y i n t h e f i r s t - a c t c h o r u s e s and t h e f i n a l p r i e s t l y s c e n e , a l l o f w h i c h were among R e y e r ' s f a v o r i t e p a r t s o f t h e o p e r a . The i n s t r u m e n t a -t i o n , wh i ch he a l s o s i n g l e d ou t f o r s p e c i a l p r a i s e , i s h i g h l y c o l o r e d 421 and v e r y d e s c r i p t i v e . 1 3 2 j n s h o r t , R e y e r ' s a p p r a i s a l o f Samson e t D a l i l a was q u i t e a s t u t e . He a g a i n d e m o n s t r a t e d f i n e c r i t i c a l judgment w i t h r e g a r d t o many- -a l t h o u g h not a l l - - o f S a i n t - S a e n s ' s n o n - t h e a t r i c a l w o r k s . Among R e y e r ' s f a v o r i t e s were no f e w e r t h a n n i n e o f t h e i n s t r u m e n t a l c o m p o s i t i o n s t h a t a r e most o f t e n pe r f o rmed t o d a y : t h e V a r i a t i o n s s u r un theme de B e e t h o - v e n , t h e C a r n a v a l des an imaux , t h e p i a n o c o n c e r t o s i n G m ino r and C m i n o r , t h e c e l l o c o n c e r t o i n A m i n o r , t h e I n t r o d u c t i o n e t rondo c a p r i c - c i o s o , t h e symphonic poems Le Rouet d 'Ompha le and Danse m a c a b r e , and t h e T h i r d Symphony. On t h e o t h e r hand , a few o f S a i n t - S a e n s ' s i n s t r u m e n t a l works were o v e r e s t i m a t e d by R e y e r . We c a n n o t , f o r e x a m p l e , s ha re h i s p r e f e r e n c e f o r t h e S u i t e a l g e r i e n n e o ve r t h e be s t o f t he symphonic poems.133 £ v e n m o r e u n t e n a b l e i s h i s p o s i t i o n t h a t t h e T h i r d Symphony i s S a i n t - S a e n s ' s g r e a t e s t i n s t r u m e n t a l c o m p o s i t i o n . To be s u r e , i t i s e x p e r t l y c r a f t e d and i s one o f t h e c o m p o s e r ' s f i n e s t e f f o r t s , but t h e g rand l a t e - R o m a n t i c manner w h i c h Reyer f ound so i m p r e s s i v e i n t h i s symphony was not r e a l l y S a i n t - S a e n s ' s f o r t e . 1 3 4 A c c o r d i n g t o Georges S e r v i e r e s , 1 3 5 t h e u n p r e t e n t i o u s n e s s , e l e g a n c e , and s k i l l f u l c r a f t s m a n -s h i p t h a t d i s t i n g u i s h S a i n t - S a e n s ' s b e s t w r i t i n g a re e x e m p l i f i e d by h i s f i n e s t c o n c e r t o s : t h e B m ino r V i o l i n C o n c e r t o , wh i ch Reyer never h e a r d ; and t h e A m i n o r C e l l o C o n c e r t o as w e l l as t h e C m i n o r P i a n o C o n c e r t o , bo th o f wh i ch Reyer j u s t i f i a b l y r anked above t h e symphonic poems. A l t h o u g h t h e c r i t i c was o v e r l y i m p r e s s e d by t h e T h i r d Symphony, h i s p e r c e p t i o n o f S a i n t - S a e n s ' s m u s i c a l p e r s o n a l i t y was i n many ways e x c e l -l e n t . He c l e a r l y saw how l i t t l e S a i n t - S a e n s ' s l a r g e - s c a l e ope ra s owed t o Wagner, and r e a l i z e d t h a t none o f t h e s m a l l e r ones s t r a y e d f a r f r o m 422 t h e t r a d i t i o n s o f o p e r a comique and o p e r e t t e . 1 3 6 He a l s o u n d e r s t o o d t h a t , p a r a d o x i c a l l y , S a i n t - S a e n s was both an e c l e c t i c and a t h o r o u g h l y F r e n c h compose r . Pau l Henry Lang has d e s c r i b e d him as " t h e p e r f e c t t y p e o f t h e e c l e c t i c m u s i c i a n o f t a l e n t . . . . he knew e v e r y t h i n g and used e v e r y t h i n g " l 3 7 _ _ a s t a t e m e n t wh i ch we would q u a l i f y by add ing t h a t wha t -e v e r he used was f i r s t pas sed t h r ough a f i l t e r o f v e r y G a l l i c c o n c e r n f o r c l a r i t y and o r d e r . As f o r R e y e r ' s c o n v i c t i o n t h a t S a i n t - S a e n s ' s t e c h n i q u e had never been s u r p a s s e d , t h i s , t o o , i s w e l l f o u n d e d . A c c o r d -i n g t o M a r t i n Coope r , no c o n t e m p o r a r y F r e n c h composer e x c e p t Gounod p o s s e s s e d a t e c h n i c a l m a s t e r y c o m p a r a b l e w i t h t h a t o f S a i n t - S a e n s , 1 3 8 and m u s i c o l o g i s t s o f t e n e x c l a i m o v e r - - t o quo te W i l l i a m S. Newman's f e l i c i t o u s p h r a s e - - " t h a t p r e v a i l i n g sense i n h i s mus ic o f o b j e c t i v i t y and a b s t r a c t p e r f e c t i o n . " 1 3 9 y e m u s t a l s o app l aud Reye r f o r h a v i n g r e a l i z e d t h a t , as was t h e c a s e w i t h Gounod, t e c h n i c a l m a s t e r y d i d not e n a b l e S a i n t - S a e n s t o e x c e l i n e v e r y g e n r e : d e s p i t e h i s c o n v i c t i o n t h a t Samson e t D a l i l a was S a i n t - S a e n s ' s m a s t e r p i e c e , he a p p r e c i a t e d the f a c t t h a t t h i s composer was o r i e n t e d more t oward t h e c o n c e r t h a l l t han t h e t h e a t r e . R e y e r ' s w r i t i n g s on S a i n t - S a e n s , l i k e t h o s e on Gounod, d e m o n s t r a t e t h a t he was at h i s most p e r c e p t i v e when j u d g i n g mus i c f o r t h e t h e a t r e . V i v i d p r o o f o f t h i s i s a f f o r d e d by compa r i n g h i s r e v i e w s o f S a i n t -S a e n s ' s o p e r a s w i t h h i s e v a l u a t i o n s o f t h e T h i r d Symphony and t he c o n -c e r t o s . When r e v i e w i n g t h e f o u r h i s t o r i c a l ope ra s Reyer found t h a t S a i n t - S a e n s ' s a t t e m p t s at t h e g rand manner were u n c o n v i n c i n g , whereas he was so i m p r e s s e d by t h e g r a n d i o s e T h i r d Symphony t h a t he j udged i t w o r t h y o f r i v a l l i n g t h e b i b l i c a l o p e r a Samson e t Dal i l a f o r f i r s t p l a c e 423 i n S a i n t - S a e n s ' s o e u v r e . F u r t h e r m o r e , R e y e r ' s argument t h a t t he mus ic o f t h i s composer was " t r e s f r a n g a i s e " ! 4 0 was p r e s e n t e d o n l y i n w r i t i n g s on t h e o p e r a s , even though some o f t h e c o n c e r t o s would have b e t t e r i l l u s t r a t e d t h e p o i n t . Thus i t seems t h a t , a l t h o u g h h i s judgment s o f t h e c o n c e r t works were u s u a l l y good and somet imes e x c e l l e n t , i t was when e v a l u a t i n g t h e o p e r a s t h a t Reyer p e r c e i v e d S a i n t - S a e n s as he r e a l l y was: a composer who was at h i s b e s t when a n s w e r i n g t o " t h e q u a l i t i e s f o r wh ich F rench a r t i s famous — l o g i c , c l a r i t y , m o d e r a t i o n , and b a l a n c e . " I 4 * B i z e t R e y e r ' s a s se s sment E a r l y i n 1862, a f t e r t h e young Georges B i z e t had h e l p e d Gounod w i t h t h e r e h e a r s a l s f o r La R e i n e de Saba , he was engaged by Reyer t o a s s i s t i n p r e p a r i n g E r o s t r a t e f o r i t s p r e m i e r e at Baden -Baden . Thus began an e n d u r i n g f r i e n d s h i p between t h e f o r m e r w i n n e r o f t h e P r i x de Rome and t h e c o m p o s e r - c r i t i c who, as m u s i c a l f e u i l l e t o n i s t e o f t h e i n f l u e n t i a l D e b a t s , would p r o v i d e i n v a l u a b l e s u p p o r t f o r B i z e t , e n c o u r a g i n g him d u r -i n g y e a r s o f f a i l u r e and t hen d e f e n d i n g t h e c o n t r o v e r s i a l Carmen. R e y e r ' s f i r s t o p p o r t u n i t y t o c a l l h i s r e a d e r s ' a t t e n t i o n t o h i s young f r i e n d came i n l a t e December 1867, when L a J o l i e F i l l e de P e r t h - -t h e second o p e r a by B i z e t t o r e c e i v e a h e a r i n g i n P a r i s h — w a s p r e -m i e r e d at t h e T h e a t r e - L y r i q u e . A f t e r d e f t l y p o i n t i n g out t he i n e p t i t u d e o f t h e l i b r e t t o , Reyer admi red t h e many m e r i t s o f t h e composer who had t r i e d t o cope w i t h such m a t e r i a l . H e t h e n b rough t up t h e q u e s t i o n o f B i z e t ' s e c l e c t i c i s m and h i s c o n c e s s i o n s t o c o n v e n t i o n : 424 . . . i l e s t a un age ou l e s h e s i t a t i o n s sont p e r m i s e s , e t s i sa p o s i t i o n ne T a u t o r i s e pas e n c o r e a e t r e ext remement s ob re de t o u t e s c o n c e s s i o n s f a i t e s au gout du p u b l i c e t a l a v i r t u o s i t e de c e r t a i n s a r t i s t e s , ce ne sont l a , a mes y e u x , que des d e f a u t s de j e u n e s s e dont l e temps l e c o r r i g e r a , et dont l u i - m e m e , s i on l u i deman-d a i t sa p r o f e s s i o n de f o i s u r l ' a r t m u s i c a l , s e r a i t l e p r e m i e r a s ' a c c u s e r . 1 4 4 In t h e d i s c u s s i o n o f i n d i v i d u a l numbers o f t h e s c o r e he s i n g l e d out two f o r s p e c i a l p r a i s e : t h e Gypsy D a n c e - - " c e p e t i t b i j o u s y m p h o n i q u e " * 4 5 - -and R a l p h ' s d r i n k i n g - s o n g . U n f o r t u n a t e l y , t h e f a v o u r a b l e r e a c t i o n s o f Reyer and s e v e r a l o t h e r members o f t h e P a r i s i a n p r e s s d i d not b r i n g s u c -c e s s t o L a J o l i e F i l l e de P e r t h , wh i ch was w i t hd r awn a f t e r o n l y e i g h t e e n p e r f o r m a n c e s . B i z e t ' s nex t work f o r t h e s t a g e , t h e o n e - a c t D j a m i l e h ( 1 8 7 2 ) , f a r e d no b e t t e r t h a n i t s p r e d e c e s s o r . A f t e r o n l y e l e v e n p e r f o r m a n c e s at t h e Opera -Comique t h i s o r i e n t a l f a n t a s y succumbed t o a c o m b i n a t i o n o f f a c -t o r s , p r i n c i p a l l y t h e u n d r a m a t i c l i b r e t t o , t he m e d i o c r e c a s t , and t h e c h a r g e s o f Wagnerism t h a t were b e i n g aimed at v i r t u a l l y e v e r y new work .146 However, t h e r e were s e v e r a l a p p r o v i n g r e v i e w s , o f wh i ch B i z e t ' s f a v o r i t e was t h e one by R e y e r . The l a t t e r de vo ted most o f a f e u i l l e t o n t o t h i s s m a l l o p e r a com ique , p r a i s i n g B i z e t f o r c o n v e y i n g t h e e x o t i c f l a v o r o f o r i e n t a l mus i c w i t h o u t making t h e c r a s s e r r o r o f t r y i n g t o i m i t a t e n a t i v e i n s t r u m e n t s and s c a l e s . 1 4 7 He h a i l e d B i z e t as t h e f o r e m o s t composer o f " l a j e une e c o l e " and D j a m i l e h as t h e f i r s t work o f h i s a r t i s t i c m a t u r i t y : "I I y a dans c e t ouv rage p l u s que l a m a n i f e s t a -t i o n d ' u n t a l e n t , i l y a 1 ' e x p r e s s i o n d ' u n e v o l o n t e . " 1 4 8 D j a m i l e h was f o l l o w e d a few months l a t e r by t h e i l l - f a t e d p r o d u c -t i o n o f A l phon se D a u d e t ' s p a s t o r a l t r a g e d y L ' A r l e s i e n n e , f o r wh i ch B i z e t 425 had w r i t t e n i n c i d e n t a l m u s i c . He had done so at t h e i n v i t a t i o n o f C a r v a l h o , who was t r y i n g t o r e v i v e me l od rame - - an o l d and d i s c r e d i t e d f o r m - - a t t h e T h e a t r e du V a u d e v i l l e . Owing t o t h e low r e p u t e o f t he g e n r e , o n l y two mus i c c r i t i c s o f t h e d a i l y p r e s s b o t h e r e d t o a t t e n d t h e p r o d u c t i o n : Johannes Weber o f Le Temps, and R e y e r , B i z e t ' s f a i t h f u l f r i e n d . Reyer p r o c l a i m e d t h e s c o r e a m a s t e r p i e c e , m a r v e l l i n g both at t h e c o m p o s e r ' s i n g e n i o u s t r e a t m e n t o f t h e t w e n t y - s i x - p i e c e o r c h e s t r a at h i s d i s p o s a l , and at t h e s k i l l w i t h wh ich he had woven t r a d i t i o n a l P r o v e n c a l t u n e s i n t o t h e s c o r e . Young m u s i c i a n s , Reyer u r g e d , s h o u l d go t o h e a r L ' A r l e s i e n n e and t a k e h e a r t f rom the ach ievement o f a composer " q u i , i l y a q u e l q u e s annees a p e i n e , e t a i t comme vous su r l e s bancs d ' e c o l e . " 1 4 y Johannes Weber, t o o , p r a i s e d B i z e t ' s m u s i c , but t h e drama c r i t i c s and t h e a u d i e n c e s r e s e n t e d i t as an i n t e r f e r e n c e i n t h e domain o f l i t e r a t u r e . The p l a y c l o s e d a f t e r o n l y t w e n t y - o n e p e r f o r m a n c e s . "I was happy w i t h . . . [ t h e ] s c o r e o f L ' A r l e s i e n n e , as s e v e r a l m u s i c i a n s whose a p p r o v a l I seek have s e r i o u s l y encou raged me, " 150 w ro t e B i z e t a f t e r t h e f a i l u r e o f D a u d e t ' s p l a y . T h i s group o f a d m i r e r s - - w h i c h i n c l u d e d Reye r - -may w e l l have been r e s p o n s i b l e f o r t h e s u r v i v a l o f t h e mus i c f o r L ' A r l e s i e n n e . I n s t e a d o f a l l o w i n g h i s s c o r e t o d i s a p p e a r , t he composer r e o r c h e s t r a t e d f o u r o f t he p r i n c i p a l p i e c e s and j o i n e d them t o g e t h e r t o f o rm a s u i t e , wh i ch was d e s t i n e d t o become so p o p u l a r t h a t i t wou ld spark bo th t h e making o f a second s u i t e a f t e r h i s death and t h e r e v i v a l o f D a u d e t ' s p l a y . When t h e s u i t e f a s h i o n e d by B i z e t was s u c -c e s s f u l l y p r e m i e r e d by P a s d e l o u p on 10 November 1872, t he e x u l t a n t Reyer a f f i r m e d h i s f a i t h i n t h e o r i g i n a l s c o r e and i t s composer : 426 Je ne s a i s ce q u ' i l a d v i e n d r a dans l ' a v e n i r du drame de M. Daudet , . . . ma i s j e s a i s b i e n que l a p a r t i t i o n de M. Georges B i z e t r e s t e r a comme une des oeuv re s l e s p l u s e x q u i s e s et l e s p l u s f i n e m e n t t r a v a i l l e e s de ce j e u n e c o m p o s i t e u r . . . As surement j e ne veux p o i n t me f a i r e p a s s e r pour p r o p h e t e ; ma i s j e n ' h e s i t e pas a p r e d i r e que c e l u i qu ' o n a p p e l a i t i l y a q u e l q u e s annees a p e i n e l e p e t i t B i z e t . . . s e r a dans un a v e n i r p r o c h a i n un des maTt res de 1 ' e c o l e f r a n g a i s e . 1 5 1 The p u b l i c ' s i n d i f f e r e n c e t o B i z e t ' s nex t work f o r t h e s t a g e , Carmen ( 1 8 7 5 ) , seemed t o b e l i e R e y e r ' s hopes f o r h i s f r i e n d . A l t h o u g h i t had f o r t y - e i g h t p e r f o r m a n c e s i n i t s f i r s t y e a r at t h e Ope r a -Com ique , i t p l a y e d t o s m a l l e r and s m a l l e r h o u s e s , and t he members o f t h e P a r i s i a n p r e s s — w i t h o n l y t h r e e or f o u r e x c e p t i o n s l 5 2 _ _ v - j 0 - | e n t i y condemned both l i b r e t t o and m u s i c . Reyer r a l l i e d t o h i s f r i e n d ' s s u p p o r t , c o n c l u d i n g h i s 2500-word r e v i e w w i t h t h e f o l l o w i n g p r o p h e t i c u t t e r a n c e : " . . . Carmen n ' e s t pas m o r t e , e t a 1 'Ope ra -Comique on en a vu b i e n d ' a u t r e s qu i sont r evenue s d ' a u s s i l o i n . " 1 5 3 Reyer a l l o t t e d t o B i z e t ' s s c o r e o n l y a few p a r a g r a p h s — l e s s t h a n o n e - t h i r d o f t h e r e v i e w . The r e a s o n s f o r such b r e v i t y can r e a d i l y be d e d u c e d : he e v i d e n t l y f e l t t h a t he had t o do h i s utmost t o t r y t o w in a c c e p t a n c e f o r t h e l i b r e t t o , becau se t h e r e p u t a t i o n o f M e r i m e e ' s s t o r y was f r i g h t e n i n g o f f t h e p u b l i c ; 1 5 4 and he was somewhat d i s a p p o i n t e d t h a t B i z e t had not c o n t i n u e d d e v e l o p i n g h i s g i f t f o r d e l i c a t e l y o r i e n t a l e x o t i c i s m . 1 5 5 However, Reyer q u i c k l y put a s i d e t h i s d i s a p p o i n t m e n t i n o r d e r f i r s t t o de fend t h e composer a g a i n s t t h e a c c u s a t i o n t h a t he had p l a g i a r i z e d some o f t h e m u s i c , t hen t o e x p r e s s e n t h u s i a s m f o r t h e o r c h e s t r a t i o n , and f i n a l l y t o admire a few o f t h e v o c a l numbers as w e l l as t h e f i n a l s c e n e . 427 The c h a r g e t h a t B i z e t had p l a g i a r i z e d m a t e r i a l f r om p o p u l a r S p a n i s h songs and f r o m F r e n c h o p e r a s comiques on Span i s h s u b j e c t s was i n d i g n a n t -l y d i s m i s s e d by R e y e r . He m a i n t a i n e d t h a t i t was " a b s o l umen t d e p l a c e d ' a p p l i q u e r " such a c h a r g e a un c o m p o s i t e u r qu i a a u t a n t de t a l e n t e t a u t a n t d ' i m a g i n a t i o n que M. B i z e t . . . . l e s c a s t a g n e t t e s de Carmen d o i v e n t n e c e s s a i r e m e n t f a i r e pense r a d 1 a u t r e s c a s t a g n e t t e s , p a r c e q u ' i l n ' y a pas beaucoup de n o u -v e l l e s r e s s o u r c e s n i de nouveaux e f f e t s a a t t e n d r e d ' u n t e l i n s t r u m e n t . 1 5 6 Reyer acknowledged t h a t t h e melody o f Ca rmen ' s h abane ra " v i e n t en d r o i t e l i g n e de l ' A m e r i q u e du S ud , " 1 57 D u t , i n s i s t e d t h a t B i z e t had made i t h i s own by means o f t h e i n g e n i o u s o r c h e s t r a l accompan iment . Ap ropos o f t he o r c h e s t r a t i o n o f t h e work as a w h o l e , Reyer d e c l a r e d : "M. B i z e t e s t pa s se maTtre dans l ' a r t de 1 ' i n s t r u m e n t a t i o n , e t nu l n ' a p l u s que l u i l e s e c r e t des f i n e s ha rmon ie s et des j o l i s accoup lemens de t i m b r e s . " 1 5 8 H 6 a l s o s i n g l e d out f o r s p e c i a l p r a i s e a h a n d f u l o f v o c a l n u m b e r s — t h e " f o r t j o 1 i " c h o r u s o f t h e c i g a r e t t e g i r l s , t h e " p e t i t q u i n t e t t e a d m i -r a b l e m e n t e c r i t , " and t h e f i r s t - and s e c o n d - a c t due t s o f Carmen and Don J o s e — a n d " l a g rande scene f i n a l e dans l a q u e l l e l e s e c l a t a n t e s f a n f a r e s du c i r q u e f o rmen t un c o n t r a s t e s i s a i s i s s a n t et d r a m a t i q u e avec l a mort de Carmen. "159 The O c t o b e r 1875 p r o d u c t i o n o f Carmen i n V i e n n a l e d t o a s u c c e s s i o n o f t r i u m p h s i n Europe and A m e r i c a , but C a r v a l h o — w h o had become d i r e c t o r o f t h e Opera -Comique i n l a t e 1 8 7 5 — h a d no i n t e r e s t i n r e v i v i n g a work wh i ch he h i m s e l f f ound d i s t a s t e f u l . I t was not u n t i l 1883 t h a t he f i n a l l y bowed t o t h e demand f o r Carmen among t h e p a t r o n s o f h i s t h e a t r e and v a r i o u s members o f t h e F rench government as w e l l as the p r e s s . 1 5 0 428 C a r v a l h o ' s r e v i v a l o f Carmen i n A p r i l 1883 was so p o o r l y r e h e a r s e d , s h a b b i l y s t a g e d , b a d l y c u t , and u n s u i t a b l y c a s t t h a t i t a rou sed t h e w r a t h o f t h e p u b l i c and s t r o n g p e r s o n a l a t t a c k s on t h e d i r e c t o r by a number o f c r i t i c s , i n c l u d i n g Reye r . 161 D e s p i t e t he d e f e c t s i n t he p r o -d u c t i o n B i z e t ' s mus i c was v i c t o r i o u s , c o n q u e r i n g t h e p u b l i c and v e r y n e a r l y c o n q u e r i n g R e y e r . He f i r s t c o n f e s s e d t h a t t h e s t a u n c h s uppo r t he had g i v e n Carmen i n 1875 had not meant t h a t he had been c o m p l e t e l y won o ve r by B i z e t ' s s c o r e . Tout en r endan t j u s t i c e au m e r i t e i n c o n t e s t a b l e de l ' o e u v r e , j e r e g r e t t a i s de n ' y p o i n t t r o u v e r a un a s s e z haut deg re 1 ' a f f i r m a t i o n des d o c t r i n e s que l e j eune m u s i c i e n p r o f e s s a i t . . . . II se m i t a j o u e r des c a s -t a g n e t t e s e t a s u r v e i l l e r ses r y t h m e s . II e c r i v a i t pour Carmen des chansons e t des s e g u i d i l l e s et pour E s c a m i l l o 1 ' a i r du T o r e a d o r . T o r e a d o r , en g a r d e ! E n f i n , l u i , l ' a u t e u r de D j a m i l e h e t de l ' A r l e - s i e n n e , i l d e v i n t l ' a u t e u r d ' u n o p e r a comique e s -p a g n o l . 1 6 2 Reyer t h e n i n s i s t e d t h a t he no l o n g e r t hough t t h e s c o r e was s e r i o u s l y mar red by t h e s e p o p u l a r - s o u n d i n g s ong s , and he warmly p r a i s e d t h e work as a w h o l e . M a l g r e un c e r t a i n c h o i x d ' i d e e s m e l o d i q u e s que j ' e s t i m e t o u t e j u s t e pour ce q u ' e l l e s me semb len t v a l o i r , Carmen e s t evidemment l ' o e u v r e d ' u n maTt re h a b i l e parmi l e s p l u s h a b i l e s . . . . . . . i l y a une t e l l e v e r v e , une t e l l e abondance m e l o d i q u e , t a n t de j e u n e s s e , t a n t de g r a c e , t a n t de f r a T c h e u r e t t a n t de t a l e n t a u s s i dans c e t t e p a r t i t i o n de Carmen, i l y a une s i p a r f a i t e a f f i n i t e e n t r e l e poeme e t l a p a r t i t i o n q u ' i l e s t ho r s de dou te pour moi que Carmen ne compte un j o u r parmi l e s p l u s g rands s u c -ce s de 1 ' O p e r a - C o m i q u e , l e s p l u s g rands et l e s p l u s m e r i t e s . Ma i s 1 ' A r l e s i e n n e r e s t e r a t o u j o u r s , pour que l que s m u s i c i e n s , l e c h e f - d ' o e u v r e de B i z e t . 1 6 3 429 Thanks t o Ca rmen ' s s u c c e s s at t h e b o x - o f f i c e i n A p r i l , C a r v a l h o r e v i v e d i t t h e f o l l o w i n g O c t o b e r , and gave i t t he p r o d u c t i o n i t d e s e r v e d . T h i s t i m e , Reyer f e l l c o m p l e t e l y under t h e s p e l l o f B i z e t ' s m u s i c . He now r e g a r d e d t h e p o p u l a r e lement as b e i n g a d r a m a t i c n e c e s s i t y r a t h e r t han an o b e i s a n c e t o t h e p u b l i c , and added t h a t t h i s e l ement was b a l a n c e d by i n n u m e r a b l e pages wh i ch would s a t i s f y t he most e x a c t i n g m u s i c a l c o n n o i s s e u r . P l u s on en tend c e t t e j o l i e p a r t i t i o n de Carmen, p l u s on l ' a p p r e c i e , p l u s on T a i m e . . . . J e veux b i e n q u ' i l y a i t abondance de r y thmes e s p a g n o l s dans Carmen; ne f a l l a i t - i l pas donner des s e g u i d i l l e s , des b o l e r o s et des habane ra s a c e t t e mano la qu i c h a n t e l e p o i n g su r l a h anche , l e s d o i g t s armes de c a s t a g n e t t e s , e t l a n g a n t des b o u f f e e s de t a b a c au nez de ses amoureux? M a i s , a c o t e de ces h a b a n e r a s , de ces s e g u i d i l l e s et ces b o l e r o s . . . combien de pages e x q u i s e s et d ' u n e hau te v a l e u r m u s i c a l e que l e s v r a i s c o n n a i s s e u r s ne se l a s s e n t pas d ' a d m i r e r ! 1 6 4 F i n a l l y , he p ronounced Carmen "un c h e f - d ' o e u v r e " and p r e d i c t e d t h a t i t " v i v r a l ong temps e t a u r a g a r d e t o u t e sa f r a T c h e u r , t o u t e son o r i g i n a l i t e meme quand nous ne s e r o n s p l u s l a pour 1 ' e n t e n d r e , meme quand Mme G a l l i -M a r i e ne s e r a p l u s l a pour l a c h a n t e r . " 1 6 5 Hav ing f i n a l l y become c a p t i v a t e d by t h e b e a u t y o f Carmen, Reyer neve r a g a i n i n d i c a t e d t h a t he would rank t h i s s c o r e be l ow L ' A r l e s i e n n e . Had he wanted t o a f f i r m h i s o l d p r e f e r e n c e , he had a g o l d e n o p p o r t u n i t y t o do so i n 1885, when D a u d e t ' s p l a y was v e r y s u c c e s s f u l l y r e v i v e d at t h e Odeon w i t h none o t h e r t han t h e r e v e r e d Co l onne c o n d u c t i n g B i z e t ' s m u s i c . However, Reyer s i m p l y v o i c e d d e l i g h t t h a t t h i s " v r a i r e g a l pour l e s g o u r m e t s " ! 6 6 n a d f i n a l l y become p o p u l a r , and added t h a t i t c o u l d not be f u l l y a p p r e c i a t e d a p a r t f r o m t h e drama i t was i n t e n d e d t o i l l u s t r a t e . 430 A f t e r B i z e t ' s dea th Reyer o f t e n l amented t h a t t h i s young ma s te r had not been a c c o r d e d d u r i n g h i s l i f e t i m e t h e r e c o g n i t i o n he had d e s e r v e d . 1 6 7 Reyer h i m s e l f was proud t o be a b l e t o d e c l a r e i n h i s o b i t u a r y o f t h e composer t h a t " j e n ' a i pas a t t e n d u que Georges B i z e t f u t mort pour l e l o u e r , " 1 6 8 a n d n e app l auded t h e h a n d f u l o f o t h e r m u s i c i a n s who had t r i e d t o advance B i z e t ' s c a r e e r . 1 6 9 u e c o n c l u d e d w i t h some h a r s h words f o r t h e a d m i n i s t r a t i o n o f F r a n c e ' s p r e m i e r e l y r i c t h e a t r e : . . . l ' O p e r a , encombre de r i c h e s s e s , n ' a j a m a i s d a i g n e j e t e r l e s yeux su r ce g rand e t s o l i d e m u s i c i e n . . . L ' h i s t o i r e j u g e r a p l u s severement q u ' o n ne pense c e t t e i n d i f f e r e n c e avec l a q u e l l e une a d m i n i s t r a t i o n o m n i -p o t e n t e e t o r g u e i l l e u s e de ses p r o f i t s r e g a r d e se m o r f o n d r e t o u t a u t o u r d ' e l l e des t a l e n s q u ' u n peu de s o l l i c i t u d e e u t promptement d e v e l o p p e s , e t a u x q u e l s e l l e ne l a i s s e d ' a u t r e c o n s o l a t i o n que l e d e d a i n de l a s p e c u -l a t i o n t r i o m p h a n t e e t T a m o u r de c e t a r t qu i T i n t e r e s s e s i p e u . I ? 0 C r i t i c a l a n a l y s i s R e y e r ' s w r i t i n g s on B i z e t d e m o n s t r a t e once a g a i n t h e a c u t e p e r c e p -t i v e n e s s w i t h wh i ch he e v a l u a t e d works f o r t h e s t a g e . H i s r e v i e w o f La J o l i e F i l l e de P e r t h i s a p r ime e x a m p l e , f o r here he showed g r e a t s e n s i t i v i t y t o l i b r e t t o and mus ic a l i k e . The l i b r e t t o i s g e n e r a l l y c o n s i d e r e d one o f t h e w o r s t B i z e t e ve r s e t , and such a u t h o r i t i e s as Winton Dean and M ina C u r t i s s f i n d t h e s c o r e mar red by o b v i o u s e c l e c t i -c i s m , c o p i o u s v o c a l o r n a m e n t a t i o n , and o t h e r c o n c e s s i o n s t o t h e p u b l i c t a s t e . However, l i k e R e y e r , both a u t h o r i t i e s e xcu se t h e s e m u s i c a l d e f e c t s on g rounds o f t h e c o m p o s e r ' s y o u t h and u n e s t a b l i s h e d p o s i t i o n . We s h o u l d n o t e t h a t t h e two numbers wh i ch Reyer most a d m i r e d — t h e Gypsy Dance and R a l p h ' s d r i n k i n g - s o n g — a r e a l s o s i n g l e d out by Dean and C u r t i s s as b e i n g among t h e b e s t i n t h e o p e r a . 1 7 1 431 As p r e v i o u s l y i n d i c a t e d , B i z e t p r e f e r r e d R e y e r ' s f e u i 1 l e t o n on D j a m i l e h t o a l l o t h e r c o n t e m p o r a r y r e v i e w s o f t h e work . T h i s s h o u l d not l e a d us t o suppose e i t h e r t h a t R e y e r ' s r e v i e w was t oo l a u d a t o r y o r t h a t i t was d e v o i d o f c r i t i c i s m . H i s p r a i s e o f t he s c o r e was w e l l d e s e r v e d , f o r , i n Winton D e a n ' s wo rd s , " D j a m i l e h c o n t a i n s some o f B i z e t ' s most s t r i k i n g m u s i c . " ! 7 2 W h i l e a p p l a u d i n g t h e c o m p o s e r ' s new-found " v o -l o n t e , " * 7 3 Reye r o b s e r v e d t h a t t h e work was r e n d e r e d s l i g h t l y uneven by o c c a s i o n a l l a p s e s wh i ch c a l l e d t o mind mus i c by o t h e r c ompo se r s . N e v e r -t h e l e s s , he de fended B i z e t w i t h t h e s e n s i b l e remark t h a t " l e m u s i c i e n qu i t r e b u c h e en f a i s a n t un pas en avant e s t p l u s d i g n e d ' i n t e r e t que c e l u i qu i nous montre avec q u e l l e a i s a n c e i l s a i t f a i r e un pas en a r r i e r e . " - 1 - 7 4 We can c e r t a i n l y ag ree w i t h Reyer t h a t Djami l e h i s t h e f i r s t f r u i t o f B i z e t ' s a r t i s t i c m a t u r i t y , because t h e same o p i n i o n was e x p r e s s e d by t h e composer h i m s e l f and has s i n c e been endo r s ed by modern a u t h o r i t i e s . I 7 5 R e y e r ' s comments on t h e e x o t i c c o l o r i n g o f D j a m i l e h were so i n -s i g h t f u l t h a t t h e y have been quo ted by M ina C u r t i s s as t he b e s t e x p l a n a -t i o n o f " t h e n a t u r e o f e x o t i c i s m i n B i z e t ' s m u s i c . " I 7 6 Reyer u n d e r s t o o d t h a t t h i s c o m p o s e r - - l i k e so many o f h i s F r e n c h c o n t e m p o r a r i e s — w a s c o n -t e n t t o c r e a t e an e x o t i c i s m t h a t was not a u t h e n t i c but i n s t e a d p u r e l y s u b j e c t i v e and e v o c a t i v e . As f a r as Reyer was c o n c e r n e d , such e x o t i c i s m was t h e o n l y k i n d t h a t would have been a c c e p t e d by P a r i s i a n o p e r a - g o e r s ; a u t h e n t i c e x o t i c i s m wou ld have g r a t e d upon t h e i r e a r s because t h e y were unaccus tomed t o i t . He h i m s e l f , we s h o u l d n o t e , was s p e a k i n g as someone who had come t o know and l o v e a u t h e n t i c A rab mus ic d u r i n g s o j o u r n s i n A l g e r i a and E g y p t . I 7 7 We can h a r d l y a rgue w i t h h i s judgment t h a t such 432 m u s i c would have been u n a p p r e c i a t e d by c o n t e m p o r a r y P a r i s i a n a u d i e n c e s , f o r even m u s i c a l s c h o l a r s had s c a r c e l y begun t o r e a l i z e t h a t mus i c o u t s i d e t h e European a r t t r a d i t i o n m e r i t e d s e r i o u s s t u d y . We owe a deb t o f g r a t i t u d e t o Reyer and t o t he h a n d f u l o f o t h e r c r i t i c s and composer s who p r a i s e d t h e mus ic f o r L ' A r l e s i e n n e , becau se t h e y h e l p e d i n s u r e t h e s u r v i v a l o f a s c o r e wh i ch i s g e n e r a l l y r e g a r d e d as one o f B i z e t ' s f i n e s t . Reyer s h o u l d pe rhaps have e x p l a i n e d t h a t t h e P r o v e n g a l c o l o r i s by no means dependent on t he t r a d i t i o n a l m e l o d i e s used by B i z e t , f o r t h e s c o r e i s so permeated w i t h t h e s p i r i t o f P r o v e n -g a l f o l k mus ic t h a t t h e t h r e e g e n u i n e f o l k m e l o d i e s a r e i n d i s t i n g u i s h -a b l e t o l i s t e n e r s u n f a m i l i a r w i t h them. In t h e words o f Winton Dean, " T h e r e i s n o t h i n g s y n t h e t i c about h i s l o c a l c o l o u r ; i t js_ t h e P r o v e n c e o f D a u d e t ' s p l a y . " 1 7 8 Of a l l R e y e r ' s w r i t i n g s on B i z e t ' s m u s i c , t h e r e v i e w s o f f i r s t t h e p r e m i e r e o f Carmen i n March 1875 and t hen t h e two r e v i v a l s i n A p r i l and O c t o b e r 1883 a r e t h e most i n t e r e s t i n g , inasmuch as t h e y c h r o n i c l e h i s c h a n g i n g p e r c e p t i o n o f t h e work wh i ch he f i n a l l y r e c o g n i z e d as B i z e t ' s m a s t e r p i e c e . We m igh t wonder why Reye r - -who had been so a l i v e t o t h e b e a u t i e s o f F au s t i n 1859- -was not i m m e d i a t e l y won o ve r by Carmen, w h i c h , no l e s s t h a n Gounod ' s work , was a landmark i n t he h i s t o r y o f o p e r a c o m i q u e . The p r o b a b l e e x p l a n a t i o n i s t h a t when he heard F a u s t he had neve r b e f o r e e n c o u n t e r e d an o p e r a c o m i q u e 1 7 9 based on such a p o e t i c s u b j e c t and i n f u s e d w i t h mus i c o f such a s e r i o u s and e m o t i o n a l l y l y r i c s t y l e , whereas when he a t t e n d e d t h e p r e m i e r e o f Carmen he had a l r e a d y been benumbed by o p e r a s comiques s e t i n S p a i n and f i l l e d w i t h t he rhy thms o f S pan i s h dances and t h e c l i c k i n g o f c a s t a n e t s ad nauseam. 433 E ve r s i n c e t h e t r i u m p h o f A u b e r ' s d e l i g h t f u l Le Domino n o i r at t h e Opera -Comique i n 1837, t h e P a r i s i a n p u b l i c had been i n f a t u a t e d w i t h a r o m a n t i c image o f S p a i n , and many a F r e n c h composer had t h e r e f o r e sought t o make a name f o r h i m s e l f by w r i t i n g an o p e r a comique on a S pan i s h s ub -j e c t . 180 I t was i n A p r i l 1883- -when Carmen was r e v i v e d f o r t h e f i r s t t i m e a t P a r i s — t h a t Reyer f i n a l l y c o n f e s s e d t o h a v i n g a lways had t h e f e e l i n g t h a t B i z e t , d i s h e a r t e n e d by t h e f a i l u r e s o f such o r i g i n a l works as Djami1 eh and L ' A r l e s i e n n e , had r e s o r t e d t o t h e o l d t a c t i c o f c o u r t i n g t h e p u b l i c w i t h "un o p e r a comique e s p a g n o l . " 1 8 1 At t h e same t i m e , t h e c r i t i c v e r b a l i z e d h i s d i s t a s t e f o r t h e p o p u l a r e lement i n Carmen: t h e h a b a n e r a , s e g u i d i l l a s , and b o l e r o s . B e f o r e we pass judgment on t h i s a d m i s s i o n o f d i s a p p o i n t m e n t , we s h o u l d be aware not o n l y o f t h e P a r i s i a n p u b l i c ' s l o v e o f o p e r a s comiques s e t i n S p a i n , but a l s o o f a n o t h e r a s p e c t o f t h e c o n t e m p o r a r y i n f a t u a t i o n w i t h S p a n i s h " l o c a l c o l o r " : t h e r age f o r songs by such composers as Y r a d i e r and G a s t a m b i d e . These t u n e s were hea rd c o n s t a n t l y at P a r i s i a n c a f e s - c h a n t a n t s d u r i n g t h e 1860s and 1870s , and became so u b i q u i t o u s t h a t a c o n t e m p o r a r y c r i t i c e x c l a i m e d d i s d a i n f u l l y at " t h e t hou sand S p a n i s h m e l o d i e s e v e r y b o d y i s s i n g i n g and p l a y i n g on g u i t a r s . " 1 8 2 Fo r R e y e r , Ca rmen ' s h a b a n e r a , her s e g u i d i l l a , and t h e many o t h e r o b v i o u s l y a p p e a l i n g v o c a l m e l o d i e s i n B i z e t ' s o p e r a p r o b a b l y sounded t o o much l i k e t h e f a m i l i a r c a f e m u s i c . 1 8 3 H i s d i s t a s t e f o r t h i s e lement i n Ca rmen - - a d i s t a s t e wh i ch he had e v i d e n t l y f e l t i n 1875 but d i d not e x p r e s s i n w r i t i n g u n t i l A p r i l 1 8 8 3 - - i s t h e r e f o r e u n d e r s t a n d a b l e . 434 D e s p i t e h i s a d m i t t e d d i s a p p o i n t m e n t c o n c e r n i n g t h e p o p u l a r - s o u n d i n g " S p a n i s h " songs i n Carmen, R e y e r ' s r e v i e w o f t h e A p r i l 1883 r e v i v a l was, as we have s e e n , much warmer t han t h a t o f t h e 1875 p r e m i e r e . M o r e o v e r , t h e A p r i l r e v i e w i n c l u d e d t h e s i g n i f i c a n t s t a t e m e n t t h a t " i l y a une s i p a r f a i t e a f f i n i t e e n t r e l e poeme e t l a p a r t i t i o n . " 1 8 4 when t h e work was r e v i v e d f o r t h e second t i m e - - j u s t s i x months 1 a t e r - - R e y e r ' s sense o f an a f f i n i t y between l i b r e t t o and s c o r e c r y s t a l l i z e d i n t o a r e a l i z a t i o n t h a t t h e b l a t a n t l y a p p e a l i n g songs were a d r a m a t i c n e c e s s i t y , because t h e y matched t h e ha rd r e a l i s m o f t h i s t r a g i c s t o r y o f gypsy l i f e . By r e v e a l i n g an e v e r - i n c r e a s i n g a p p r e c i a t i o n f o r Carmen, R e y e r ' s r e v i e w s o f t h i s work d e m o n s t r a t e t h e i n t e l l e c t u a l i n t e g r i t y w i t h wh i ch he app roached c r i t i c a l w r i t i n g . In March 1875, when both t h e mus ic and t h e l i b r e t t o were b e i n g a t t a c k e d by a l l but a few members o f t h e P a r i -s i a n p r e s s , Reyer gave Carmen as much s t r o n g s uppo r t as h i s a r t i s t i c c o n s c i e n c e would a l l o w : he de fended a l i b r e t t o wh ich most c r i t i c s f ound " o b s c e n e " and a h e r o i n e who was r e v o l u t i o n a r y f o r t he t i m e ; he a rgued e f f e c t i v e l y a g a i n s t t h e c h a r g e o f p l a g i a r i s m ; he e x p r e s s e d u n q u a l i f i e d a d m i r a t i o n f o r t h e o r c h e s t r a t i o n ; and he p r a i s e d some o f t he b e s t ensembles and d u e t s . We s h o u l d t a k e p a r t i c u l a r no te o f h i s immed ia te and d i s c e r n i n g a p p r e c i a t i o n o f bo th t h e l i b r e t t o and t he i n s t r u m e n t a -t i o n , f o r t h e l i b r e t t o has l o ng been r e c o g n i z e d as an e x p e r t d r a m a t i c r e w o r k i n g o f M e r i m e e ' s s t o r y , w h i l e t h e s c o r e — t o quo te Win ton Dean — " s e t s t h e crown on B i z e t ' s c l a i m as one o f t h e supreme ma s t e r s o f t h e o r c h e s t r a . " 1 8 5 R e y e r ' s r e v i e w s o f t h e two r e v i v a l s show how q u i c k l y he r e a c h e d an u n d e r s t a n d i n g o f t h e s i g n i f i c a n c e o f t h e S p a n i s h i d i oms i n Carmen: i n A p r i l 1883 he d e c l a r e d t h a t B i z e t ' s o p e r a was a g r e a t work 435 d e s p i t e i t s many p o p u l a r - s o u n d i n g m e l o d i e s , and i n O c t o b e r he at l a s t r e a l i z e d t h a t such m e l o d i e s were n e c e s s a r y t o t he d rama. H i s r e v i e w s o f Carmen t h u s d e m o n s t r a t e as v i v i d l y as do h i s w r i t i n g s on Fau s t and T r i s t a n t h a t , i n s t e a d o f r e s e n t i n g t h e i d e a o f change or i n n o v a t i o n , Reyer was bo th w i l l i n g and a b l e t o f a thom a work t h a t r e q u i r e d new eyes and e a r s i n t h e t h e a t r e . L a l o R e y e r ' s a s ses sment Edouard L a l o was a n o t h e r m u s i c i a n who, i n R e y e r ' s o p i n i o n , " n ' a pas eu de son v i v a n t l a p l a c e que l u i a s s i g n a i t son t a l e n t s i c o m p l e t , s i p e r s o n n e l e t s i e l e v e . " 1 8 6 Reyer had become a p e r s o n a l f r i e n d o f L a l o ' s i n t h e e a r l y 1870s , and , as had been t h e ca se w i t h B i z e t , t he f r i e n d s h i p l a s t e d u n t i l t h e c o m p o s e r ' s d e a t h . In 1872, when L a l o p u b l i s h e d at h i s own expense t he v o c a l s c o r e o f h i s f i r s t o p e r a , F i e s q u e , Reyer i m m e d i a t e l y began t a k i n g a hand i n t h e c a r e e r o f " [ c e t ] a r t i s t e qu i a beaucoup p l u s de n o t o r i e t e comme v i r t u o s e que comme c o m p o s i t e u r . " 1 8 7 R e y e r ' s i n t e r e s t i n L a l o ' s work d i d not open t h e doo r s o f t h e O p e r a , but i t at l e a s t b r o u g h t F i e s q u e t o t h e a t t e n t i o n o f P a s d e l o u p , who p r e s e n t e d two e x c e r p t s at h i s c o n c e r t s l a t e r t h a t y e a r . The mixed r e a c t i o n s f r o m P a s d e l o u p ' s a u d i e n c e s d i d not shake R e y e r ' s f a i t h i n t h e composer : " . . . M. L a l o r e s t e a nos yeux un m u s i c i e n c o n v a i n c u , h a b i l e au maniement de l ' o r c h e s t r e , e t doue de q u a l i t e s s e r i e u s e s qu i nous semblent d i g n e s d ' e t r e e n c o u r a g e e s . 1 , 1 8 8 Unab le t o g a i n a c c e p t a n c e f o r F i e s q u e at e i t h e r t h e P a r i s Opera o r t h e T h e a t r e de l a Monnaie i n B r u s s e l s , t h e d i s c o u r a g e d L a l o began 436 d e v o t i n g h i m s e l f t o i n s t r u m e n t a l m u s i c . Thanks i n p a r t t o c o n t i n u e d s u p p o r t f r om bo th Reyer and P a s d e l o u p - - w h o were soon j o i n e d by Lamoureux, C o l o n n e , t h e v i o l i n v i r t u o s o S a r a s a t e , and o t h e r s - - L a l o made a name f o r h i m s e l f d u r i n g t h e 1870s and t h e e a r l y 1880s w i t h a s e r i e s o f symphon ic c o n c e r t w o r k s . The F m a j o r V i o l i n C o n c e r t o , p r e m i e r e d by S a r a s a t e i n 1874, was L a l o ' s f i r s t s i g n a l s u c c e s s , and Reyer g e n e r o u s l y gave s e v e r a l co lumns o f a f e u i l l e t o n t o an e v a l u a t i o n o f t h i s " o e u v r e d i s t i n g u e e qu i t emo i gne des a s p i r a t i o n s e l e v e e s du c o m p o s i t e u r . " 1 8 9 He app l auded t h e c o n c e r t o and some o f t h e l a t e r works as b e i n g o f h i g h q u a l i t y and sound t e c h n i q u e , 1 9 ° but h i s f a v o r i t e was t h e Symphonie e s p a g n o l e f o r v i o l i n and o r c h e s t r a , " une c o m p o s i t i o n f o r t o r i g i n a l e , i n s t r u m e n t e d avec gout e t t r e s h a b i l e m e n t c o n d u i t e d ' u n bout a 1 ' a u t r e . " l y l He i n c l u d e d i t i n h i s l i s t o f t h e b e s t symphonic works i n t r o d u c e d i n P a r i s i n 1875.192 I t was i n t h e m i d s t o f t h i s h i g h l y p r o d u c t i v e p e r i o d t h a t L a l o began w o r k i n g on h i s second o p e r a , Le Ro i d ' Y s . The o v e r t u r e was p r e -m i e r e d by P a s d e l o u p on 14 November 1876, and e v e n t u a l l y found i t s way i n t o t h e r e p e r t o i r e s o f a l l t h e ma jo r P a r i s i a n c o n c e r t s o c i e t i e s . Reyer r e p e a t e d l y admi red i t and c a l l e d f o r t h e s t a g i n g o f t h e o p e r a " q u i , non p l u s heu reux que F i e s q u e , n ' e s t pas e n c o r e s o r t i du p o r t e f e u i l l e de M. L a l o . " 1 9 3 Whereas F i e s q u e had been r e j e c t e d because t h e composer had been unknown, Le Ro i d ' Y s now s u f f e r e d t he same f a t e because o f h i s n o t o r i e t y as a s y m p h o n i s t . D i r e c t o r s were u n w i l l i n g t o r i s k p r e m i e r i n g an o p e r a by a composer whose r e p u t a t i o n , as Pau l Landormy l a t e r w r o t e , " s e l i m i t a i t s t r i c t e m e n t aux a u d i t e u r s , a l o r s b i e n peu nombreux, des c o n c e r t s . " 1 9 4 L a l o ' s new o p e r a would not be hea rd u n t i l 1888.195 437 In t h e meant ime, t h e d i r e c t o r o f t h e O p e r a — a p p r e h e n s i v e about a c c e p t i n g Le Ro i d ' Y s but u n w i l l i n g t o t u r n h i s back on a composer whose c o n c e r t works were v e r y s u c c e s s f u l — asked L a l o t o w r i t e t he mus i c f o r a b a l l e t , Namouna. R e h e a r s a l s began i n September 1881 , but f r om t h e o u t s e t were p l a g u e d by t h e d a n c e r s ' d i s l i k e o f L a l o ' s s c o r e . When t h e P a r i s i a n p r e s s got wind o f t h e b a l l e t m a s t e r ' s c o m p l a i n t t h a t t h e mus i c was t o o symphonic t o be s u i t a b l e f o r d a n c e , R e y e r - - r e m e m b e r i n g h i s own b a l l e t , S a c o u n t a l a - - w r y l y o b s e r v e d : " J e s a i s ce que c ' e s t ; j ' a i pa s se pa r l a . " 1 9 6 H 6 l e a p e d t o L a l o ' s d e f e n c e by w i t t i l y r e m i n i s c i n g about t h e f r u s t r a t i o n s o f t r y i n g t o s a t i s f y " l e s e x i g e n c e s du m a t t r e de b a l l e t . . . de l a p r e m i e r e danseuse e t meme de l a s e c o n d e , e t meme de l a t r o i s i e m e , " and he c o n c l u d e d by avowing t h a t "on d a n s e r a su r l a mus ique de M. L a l o , e t l e s amateurs de c h o r e g r a p h i e ne s e r o n t pas l e s s e u l s a a p p l a u d i r e t a e t r e s a t i s f a i t s . " l y 7 A f t e r many i n t r i g u e s and p o s t p o n e m e n t s , a l l o f wh i ch were e a g e r l y c h r o n i c l e d by g o s s i p y j o u r n a l i s t s , Namouna was f i n a l l y p r e m i e r e d on 6 March 1882. However, t h e b u l k o f t h e p u b l i c — p r e j u d i c e d , p e r h a p s , by t h e s t o r i e s t h e y had r ead about t h e w o r k — g r e e t e d i t w i t h such i n d i f f e r -ence t h a t i t was d ropped f r om t h e r e p e r t o i r e a f t e r o n l y f i f t e e n p e r f o r -mances. Reyer was one o f t h e c o n n o i s s e u r s who p r o c l a i m e d t h e m u s i c a l v a l u e o f L a l o ' s s c o r e , p r a i s i n g t h e composer f o r f o l l o w i n g " s on i n s t i n c t de m u s i c i e n d e l i c a t , d ' h a r m o n i s t e i n g e n i e u x , e p r i s des r y thmes nouveaux , des c o m b i n a i s o n s l e s p l u s o s e e s " i n s t e a d o f c a t e r i n g t o " l e s amateurs de mus ique g a i e , de mus ique d a n s a n t e , de mus ique f a c i l e a r e t e n i r . " He a l s o l a s h e d out a t t h e c h a r g e t h a t L a l o ' s s c o r e was t oo s ymphon i c . T r u e , " c e u x q u i a iment l a mus ique r y t h m e e " would not f i n d i n Namouna 438 s t e r e o t y p i c a l q u a d r i l l e s , w a l t z e s , and m a z u r k a s . " M a i s vous y t r o u v e r e z , sans t r o p c h e r c h e r , des m o t i f s e x q u i s sur l e s q u e l s , j e vous a s s u r e , l ' h a b i t u d e en e t a n t p r i s e , i l n ' e s t pas p l u s d i f f i c i l e de dan se r que su r des m o t i f s v u l g a i r e s . " He i l l u s t r a t e d h i s p o i n t w i t h no f ewe r t h a n seven examp le s f r om L a l o ' s s c o r e , and p r e d i c t e d t h a t i t would be a p p r e c i a t e d by c o n c e r t - g o e r s i f not by t h e h a b i t u e s o f t h e t h e a t r e . 1 9 8 R e y e r ' s p r ophecy was q u i c k l y f u l f i l l e d , f o r two o r c h e s t r a l s u i t e s wh i ch t h e composer made f r o m t h e b a l l e t became v e r y p o p u l a r soon a f t e r L a l o ' s f r i e n d Lamoureux began i n c l u d i n g them on h i s p r og r ams . T h e i r s u c c e s s may have been t h e f a c t o r wh i ch prompted a P a r i s i a n f i r m t o pub -l i s h t h e s c o r e o f Namouna f i v e y e a r s a f t e r t h i s b a l l e t had d i s a p p e a r e d f r om t h e s t a g e o f t h e O p e r a . Reyer d e l i g h t e d l y c a l l e d a t t e n t i o n t o t h e p u b l i c a t i o n , and s e i z e d t h e o p p o r t u n i t y t o i n s i s t t h a t t h e f o r s a k e n b a l l e t s h o u l d be r e v i v e d because t he p o p u l a r i t y o f t h e s u i t e s was " l a p r e u v e de l a v a l e u r m u s i c a l e et de l ' i n t e r e t symphonique qu i d i s t i n g u e n t l ' o e u v r e . 1 , 1 9 9 T h i s p l e a - - l i k e e a r l i e r ones wh ich he and o t h e r m u s i c i a n s had made on b e h a l f o f N a m o u n a 2 O Q - - f e l l on dea f e a r s , but Reyer d i d not abandon t h e c a u s e . When he r e v i e w e d t h e l o n g - a w a i t e d p r e m i e r e o f Le Ro i d ' Y s he i n c l u d e d a p a r a g r a p h about " c e d e l i c i e u x b a l l e t " ; 2 0 1 and f o u r y e a r s l a t e r , i n h i s o b i t u a r y o f t h e compose r , he wondered i f Namouna wou ld someday be b rough t back t o l i f e by e i t h e r " 1 ' i n i t i a t i v e de q u e l q u e d i r e c t e u r i n t e l l i g e n t e t h a r d i ou l a p r o t e c t i o n de q u e l q u e b a l l e r i n a i n f l u e n t e . " 2 0 2 U n l i k e Namouna, L a l o ' s o p e r a Le Ro i d ' Y s - - r e 1 u c t a n t l y a c c e p t e d by t h e Opera -Comique and p r e m i e r e d on 7 May 1 8 8 8 - - p r o v e d t o be an immed ia te s u c c e s s , b r i n g i n g l e g rand p u b l i c t o L a l o a mere f o u r y e a r s b e f o r e h i s 439 d e a t h . Reyer warmly s a l u t e d i t as " une oeuv re d i s t i n g u e , une oeuv re de m a T t r e , " and r e j o i c e d t h a t i t had s h a t t e r e d t h e l o n g - s t a n d i n g p r e j u d i c e "que M. L a l o , dont l a v a l e u r de s y m p h o n i s t e e s t i n d i s c u t a b l e , n ' a v a i t pas l e s q u a l i t e s n e c e s s a i r e s au c o m p o s i t e u r d r a m a t i q u e . " 2 0 3 He expanded t h i s i d e a by d e c l a r i n g t h a t L a l o was a mas te r o f t h e a r t o f o r c h e s t r a l l y s u p p o r t i n g t h e v o i c e w i t h o u t s a c r i f i c i n g e i t h e r r i c h n e s s o f s c o r i n g o r i n g e n i o u s n e s s and e l e g a n c e o f harmony. T h i s f i n e b a l a n c e between v o i c e and o r c h e s t r a , s a i d R e y e r , c o u l d be a p p r e c i a t e d p a r t i c u l a r l y i n p o r t i o n s o f t h e o p e r a wh i ch e x e m p l i f y " l e c o t e p o e t i q u e " 2 0 4 0 f t h e sombre B r e t o n l e g e n d . He t h e n t r i e d t o d e m o n s t r a t e t h a t t h e composer was e q u a l l y at home w i t h t h e " e p i s o d e s d r a m a t i q u e s , " w h i c h were r e n d e r e d w i t h "une p u i s s a n c e d ' i n s p i r a t i o n " such as c o u l d be e x p e c t e d f r om the composer o f t h e w e l l - k n o w n o v e r t u r e t o t h i s o p e r a . 2 0 5 Reyer f i n i s h e d h i s a n a l y s i s o f t h e s c o r e by b r i e f l y a n s w e r i n g t h e i n e v i t a b l e q u e s t i o n : " E t l e wagner i sme de M. L a l o , que d e v i e n t - i l dans t o u t c e l a ? Ma f o i , j e n ' e n a i t r o u v e t r a c e n u l l e p a r t . " 2 0 6 J u s t as Reyer had c o n c l u d e d h i s o b i t u a r y o f B i z e t w i t h a s c a t h i n g i n d i c t m e n t o f t h e Ope ra , so he ended L a l o ' s by s a d l y o b s e r v i n g t h a t t h i s composer had neve r r e c e i v e d a p p r o p r i a t e r e c o g n i t i o n . " L ' h a b i t a palmes v e r t e s [de 1 ' I n s t i t u t de F r a n c e ] n ' a pas e t e e tendu sur l e c e r c u e i l du pauv re g rand a r t i s t e . Nous i r o n s q u e l q u e j o u r depo se r s u r sa tombe une cou ronne de l a u r i e r . " 2 0 7 C r i t i c a l a n a l y s i s The mus i c o f L a l o , l i k e t h a t o f so many o t h e r F rench composer s between B e r l i o z and Debus sy , l i e s l a r g e l y n e g l e c t e d . H i s name i s kept 440 a l i v e by two wo r k s : t h e Symphonie e s p a g n o l e , wh ich a s s u r e s him an e n d u r i n g n i c h e i n t h e Romant i c r e p e r t o i r e , and Le Ro i d ' Y s , wh i ch can s t i l l be hea rd i n P a r i s . Yet L a l o ' s F r ench c o n t e m p o r a r i e s h e l d him i n h i g h r e g a r d , and , as i n d i c a t e d above, Reyer t hough t t h a t t h e l a t e composer had d e s e r v e d even g r e a t e r renown. Was such an o p i n i o n j u s t i f i e d ? In t h e pages t h a t f o l l o w we s h a l l endeavour t o answer t h i s q u e s t i o n . When L a l o p u b l i s h e d t h e v o c a l s c o r e o f h i s u n f o r t u n a t e F i e s q u e i n 1872, Reyer o b s e r v e d t h a t i t " r e n f e r m e des pages f o r t b e l l e s " 2 0 8 a n c j t h a t t h e work as a who le r e v e a l e d a composer o f some s t a t u r e . T h i s i s q u i t e t r u e , a c c o r d i n g t o Georges S e r v i e r e s and , most r e c e n t l y , Hugh M a c d o n a l d . A l t h o u g h S e r v i e r e s f i n d s some o f t he mus ic l e s s t han i n -s p i r e d , he p ronounce s F i e s q u e a work o f " h a u t e v a l e u r . " 2 0 9 Macdona ld i s even warmer i n h i s p r a i s e : " . . . f o r a f i r s t o p e r a , t h e mus i c i s e x t r a o r d i n a r i l y d e f t and v a r i e d , o c c a s i o n a l l y pompous but never d u l l , and f u l l o f b r i l l i a n t l y s u c c e s s f u l number s . " 210 I f F i e s q u e were not encumbered w i t h a l i b r e t t o w h i c h — a s S e r v i e r e s and Macdona ld a g r e e — i s d e e p l y f l a w e d , we c o u l d e n d o r s e R e y e r ' s i n i t i a l recommendat ion t h a t t h i s o p e r a be s t a g e d . The f a c t t h a t he neve r a g a i n urged i t s p r o d u c t i o n s u g -g e s t s t h a t he came t o t h e r e a l i z a t i o n t h a t t h e h i g h amount o f s t r o n g , m e l o d i o u s mus i c i n L a l o ' s s c o r e c o u l d not compensate f o r t h e m e d i o c r i t y o f t h e 1 i b r e t t o . R e y e r ' s a d m i r a t i o n f o r t h e c r a f t s m a n s h i p o f L a l o ' s o r c h e s t r a l works s h o u l d come as no s u r p r i s e t o t h o s e f a m i l i a r w i t h h i s o e u v r e . By s t e e p -i n g h i m s e l f i n i n s t r u m e n t a l mus i c by German composers r a n g i n g f rom Haydn t o Schumann and Brahms, L a l o a c q u i r e d what has been d e s c r i b e d as " a 441 s y m p h o n i s t 1 s c o n c e r n f o r s t r u c t u r e and f o r m , " 2 H as w e l l as g r e a t s k i l l i n t h e h a n d l i n g o f t h e o r c h e s t r a . These q u a l i t i e s were combined w i t h an abundance o f m e l o d i c i n v e n t i o n , such as we f i n d i n t h e Symphonie e s - p a g n o l e . As p r e v i o u s l y n o t e d , t h i s was R e y e r ' s f a v o r i t e among L a l o ' s o r c h e s t r a l c o m p o s i t i o n s , and i t has r ema ined t h e most p o p u l a r . Reyer was n e v e r t h e l e s s c o r r e c t i n m a i n t a i n i n g t h a t s e v e r a l o t h e r o r c h e s t r a l works by L a l o d e s e r v e d t o be remembered. He app l auded t h r e e i n p a r t i c u -l a r : t h e F ma jo r V i o l i n C o n c e r t o , wh i ch f o r many y e a r s r anked w i t h t h e Symphonie e s p a g n o l e as one o f t h e c l a s s i c s o f v i o l i n c o n c e r t o l i t e r a -t u r e ; t h e D m i n o r C e l l o C o n c e r t o , p r a i s e d by S e r v i e r e s as "une des m e i l l e u r e s c o m p o s i t i o n s qu i a i e n t e t e e c r i t e s pour c e t i n s t r u m e n t " ; 2 1 2 and t h e R a p s o d i e n o r v e g i e n n e , w h i c h - - l i k e S a i n t - S a e n s ' s S u i t e a l g e - r i e n n e - - i s an a t t r a c t i v e l y e x o t i c " p e r i o d p i e c e , " and s h o u l d not be compared w i t h g e n u i n e l y n a t i o n a l m u s i c . A f t e r e n d u r i n g t h e v i c i s s i t u d e s o f F i e s q u e , L a l o was a b l e t o t a k e c o m f o r t i n t h e t r i u m p h o f t h e Symphonie e s p a g n o l e and t h e l i m i t e d s u c -c e s s e s o f most o f h i s o t h e r o r c h e s t r a l w o r k s . However, h i s f o r t u n e s soon t ook a t u r n f o r t h e w o r s e : t h e mar ty rdom o f h i s s c o r e f o r t h e b a l l e t Namouna--a t a l e o f s l a v e s and p i r a t e s i n a n c i e n t C o r f u — w a s , i n t h e words o f h i s f r i e n d R e y e r , " L e p l u s p o i g n a n t c h a g r i n de sa v i e . " 2 1 3 When we examine t h e s c o r e and l i s t e n t o t h e two s u i t e s , we can ag ree w i t h M i c h a e l W i l l i a m s o n t h a t t h e s t y l e o f t h i s b a l l e t mus i c was, f o r i t s t i m e , " u n u s u a l l y s o p h i s t i c a t e d and s y m p h o n i c . " 2 1 4 We can a l s o u n d e r s t a n d why such a s k i l l f u l s c o r e was h i g h l y r e g a r d e d by R e y e r , S a i n t - S a e n s , M a s s e n e t , and o t h e r c o n t e m p o r a r y m u s i c i a n s , i n c l u d i n g t h e s e v e n t e e n - y e a r - o l d Debussy , who e x p r e s s e d such v o c i f e r o u s e n t h u s i a s m at 442 one o f t h e p e r f o r m a n c e s t h a t he had t o be t u r n e d out o f t he t h e a t r e . He r ema ined an a r d e n t a d m i r e r o f t h i s work , r e c a l l i n g i n 1901 t h a t " p a rm i t r o p de s t u p i d e s b a l l e t s , i l y eu t une m a n i e r e de c h e f - d ' o e u v r e : l a Namouna d ' E d . L a l o . On ne s a i t q u e l l e s ou rde f e r o c i t e l ' a e n t e r r e e s i p ro fondement que pe r sonne n ' e n p a r l e p l u s . . . [ s i c ] c ' e s t t r i s t e pour l a m u s i q u e . " 2 1 5 When we i n v e s t i g a t e c o n t e m p o r a r y r e v i e w s , 2 1 6 we f i n d t h a t t he " s o u r d e f e r o c i t e " was due bo th t o r e s e n t m e n t at t he i d e a o f a sympho- n i s t e w r i t i n g mus i c f o r t he s t a g e , and t o i n d i g n a t i o n at t h e t u m u l t o f a number known as t h e " F e t e f o r a i n e . " T h i s d e p i c t i o n o f a n a t i v e f e s t i v a l was a f i e r y dance o f g r e a t l e n g t h and b r i l l i a n c e , accompan ied on t he s t a g e by an a l l e g o r i c a l c h a r i o t f i l l e d w i t h m u s i c i a n s p l a y i n g a f a n f a r e and themes e v o c a t i v e o f Greek f o l k m u s i c . To t he O p e r a ' s p a t r o n s and t o many c r i t i c s , t h e n a t u r a l i s t i c c o l o r o f t h i s m u s i c — w h i c h Reyer de f ended f r o m t h e f i r s t 2 1 7 - - s e e m e d u t t e r l y i n c o m p a t i b l e w i t h and even dangerous t o t h e d i g n i t y o f F r a n c e ' s p r e m i e r e l y r i c t h e a t r e , and t h e r e s u l t a n t s c a n d a l c o n t r i b u t e d much t o Namouna ' s e a r l y d e m i s e . The f o l l o w i n g e x -c e r p t f r o m Ga s ton S e r p e t t e ' s r e v i e w i n Le P r e s s e i s t y p i c a l o f t he h a r s h c r i t i c i s m s aimed at L a l o ' s s c o r e : Les t e n d a n c e s symphon iques du c o m p o s i t e u r 1 ' a b s o r -bent au p o i n t q u ' i l semble a v o i r o u b l i e q u ' o n d o i t d a n s e r su r sa mu s i que . Ce ne s on t que f o r m u l e s b i z a r r e s , e t r a n g e t e s ha rmon iques ou f r a g m e n t s r e p e t e s a s a t i e t e . . . . Dans l e deux ieme t a b l e a u , une f a n f a r e p l a c e e su r un c h a r f a i t e n t e n d r e une f i g u r e . . . d ' u n e p l a t i t u d e d e -s e s p e r a n t e ; . . . t o u t ce morceau a f a i t su r l e p u b l i c de l a p r e m i e r e r e p r e s e n t a t i o n une f a c h e u s e i m p r e s -s i o n . 2 1 8 443 Reyer showed r e m a r k a b l e p r e s c i e n c e i n i n s i s t i n g t h a t L a l o ' s " m o t i f s e x q u i s e s " 2 1 9 would e v e n t u a l l y be found no more d i f f i c u l t t o dance t o t h a n t h e s t e r e o t y p i c a l w a l t z e s and mazurkas o f o t h e r n i n e t e e n t h - c e n t u r y b a l l e t s . He c o u l d not know t h a t more t han f i f t y y e a r s would e l a p s e b e -f o r e he would be p roved r i g h t . I t was i n 1943 t h a t Se rge L i f a r , b a l l e t m a s t e r at t h e Opera and t h e l a s t o f D i a g h i l e v ' s c h o r e o g r a p h i c d i s -c o v e r i e s , 2 2 0 f ound i n L a l o ' s s c o r e " a g l o r i o u s e x cu se f o r a p r o d i g i o u s t e c h n i c a l d i s p l a y — o f t h e r i c h n e s s o f t h e Opera s c h o o l i n g , and t h e i n g e n u i t i e s o f h i s own n e o c l a s s i c a l s t y l e . " 2 2 1 T a k i n g c e r t a i n numbers f r o m L a l o ' s s c o r e , he c r e a t e d an a b s t r a c t b a l l e t e n t i t l e d S u i t e en b l a n c , wh i ch s t i l l r e c e i v e s e x u l t a n t p e r f o r m a n c e s at t he Opera and was f o r many y e a r s a s t a p l e o f t h e r e p e r t o i r e s o f o t h e r F rench b a l l e t com-p a n i e s . 2 2 2 The s o l o dances have l o n g been t r e a s u r e d by b a l l e r i n a s . W h i l e we s h o u l d be t h a n k f u l t h a t some o f t he mus ic f r om Namouna was e f f e c t i v e l y used by L i f a r , we s h o u l d t a k e no te o f M i c h a e l W i l l i a m s o n ' s a v o w a l : " . . . t h e i n s p i r a t i o n o f t he mus i c i s so c l o s e l y l i n k e d w i t h t h e o r i g i n a l book [ i . e . , s c e n a r i o ] t h a t i t c anno t make i t s f u l l e f f e c t u n t i l some company has t h e c ou r age t o r e v i v e i t i n i t s e n t i r e t y . " 2 2 3 The s c e n a r i o by C h a r l e s N u i t t e r may have i t s weakne s s e s , but t he same can be s a i d o f t h e s c e n a r i o s o f D e l i b e s ' s C o p p e l i a and S y l v i a , two o t h e r l a t e Romant i c b a l l e t s wh i ch — a c c o r d i n g t o A r n o l d H a s k e l l — o w e t h e i r s u r -v i v a l t o t h e i r c h a r m i n g m u s i c . 2 2 4 In any c a s e , N u i t t e r ' s s c e n a r i o had an i m p o r t a n t p o i n t i n i t s f a v o r : i t e n a b l e d L a l o t o e x p l o i t t o t he f u l l h i s n a t u r a l t e n d e n c y t o t h e e x o t i c . I f t he c h o r e o g r a p h y by L u c i e n P e t i p a were s upe r s eded by a new c h o r e o g r a p h i c v e r s i o n o f t h e o r i g i n a l s c e n a r i o , Namouna m igh t f i n d an e n d u r i n g p l a c e i n t h e b a l l e t r e p e r t o i r e . 444 When L a l o t u r n e d h i s hand t o o p e r a f o r t h e f i r s t t i m e s i n c e t he c o m p l e t i o n o f F i e s q u e , he cho se a s u b j e c t w h i c h , a l t h o u g h n a t i o n a l , must have h e l d f o r him an e x o t i c a p p e a l : t h e B r e t o n l e gend was a lmos t as f a r beyond t h e c u l t u r a l e x p e r i e n c e o f a n i n e t e e n t h - c e n t u r y Frenchman r e a r e d at L i l l e and r e s i d i n g i n P a r i s as was t h e t a l e o f remote C o r f u . As had been t h e c a s e w i t h Namouna, such a s t i m u l u s i n s p i r e d him to c r e a t e an o u t s t a n d i n g w o r k — i n t h e words o f P a u l Landormy, " un c h e f - d ' o e u v r e . " 2 2 6 What emerges c l e a r l y f r o m R e y e r ' s d i s c u s s i o n o f t h e l y r i c and d r a m a t i c a s p e c t s o f Le Roi d ' Y s i s t h a t L a l o was w e l l a b l e t o d e p i c t c o n t r a s t i n g s i t u a t i o n s . Such an a b i l i t y i s , n e e d l e s s t o s a y , a p r e -r e q u i s i t e f o r a m u s i c a l d r a m a t i s t , and we s h o u l d g i v e Reyer c r e d i t f o r d e m o n s t r a t i n g t h a t L a l o p o s s e s s e d i t . What does not e m e r g e — o r , r a t h e r , emerges o n l y o b i i q u e l y — i s t h a t t h e composer was endowed w i t h a n o t h e r e s s e n t i a l q u a l i t y , name ly , t h e a b i l i t y t o d e l i n e a t e t h e c h a r a c t e r s . R e y e r ' s i n s i s t e n c e t h a t L a l o knew how t o w r i t e f o r t h e l y r i c t h e a t r e would have been more c o n v i n c i n g i f he had d i s c u s s e d i n l e s s d e t a i l t h e r e n d e r i n g o f c o n t r a s t i n g s i t u a t i o n s and had saved some space f o r a c o n -s i d e r a t i o n o f how L a l o ' s mus i c i n t e r p r e t s and c l a r i f i e s the p e r s o n a l -i t i e s o f t h e c h a r a c t e r s as t h e drama u n f o l d s . Fo r e x a m p l e , a d i s c u s s i o n o f t h e m u s i c a l d e l i n e a t i o n o f t h e two s i s t e r s — M a r g a r e d and R o z e n n - -wou ld have p roved u s e f u l t o d e m o n s t r a t e L a l o ' s a b i l i t i e s as a m u s i c a l d r a m a t i s t . Georges S e r v i e r e s f i n d s t h a t t h e s i s t e r s ' A c t I I c o n f r o n t a -t i o n scene " a e l l e s e u l e s u f f i r a i t a p r o u v e r l a v a l e u r de L a l o comme c o m p o s i t e u r d r a m a t i q u e . " 2 2 6 We can ag ree w i t h Reyer t h a t t h i s s c o r e i s not W a g n e r i a n , but we must f a u l t h im f o r mak ing no a t tempt t o p r ove t h e v a l i d i t y o f h i s 445 o p i n i o n . Le Ro i d ' Y s i s f r e q u e n t l y l a b e l e d Wagner ian because o f t h e ha rmon i c r i c h n e s s , t h e o c c a s i o n a l use o f r e m i n i s c e n c e m o t i f s , and t h e l e g e n d a r y s u b j e c t - m a t t e r . However, t h e s e r e a s o n s seem i n s u f f i c i e n t t o j u s t i f y t h e Wagner ian t a g . 2 2 7 j n e m a n y i i m p i d o r c h e s t r a l t e x t u r e s and t h e abundance o f e a s i l y - g r a s p e d m e l o d i c i d e a s , wh i ch a re o f t e n o f B r e t o n o r i g i n , a re f a r removed f r o m t h e p o l y p h o n i c c o m p l e x i t y o f Wagner ian mu s i c drama. M o r e o v e r , s e t - numbe r s a r e s t i l l d i s c e r n i b l e , even i f t h e y a r e not common e n t i t i e s w i t h i n t h e c o n t i n u o u s m u s i c a l f a b r i c . As f o r t h e l i b r e t t o , i t i s dom ina ted by t h e s e n t i m e n t a l l o v e i n t e r e s t , and o n l y f a i n t l y s u g g e s t s a s y m b o l i c a l l y s i g n i f i c a n t n a t i o n a l l e g e n d . S t u a r t Sha rp p o i n t s ou t t h a t two o f t h e a f o r e m e n t i o n e d f e a t u r e s — t h e m e l o d i c appea l o f t h e s c o r e and t h e d o m i n a t i o n o f t h e l i b r e t t o by t h e l o v e i n t e r e s t — a r e among t h e o p e r a l y r i q u e t r a i t s wh i ch p r e v a i l i n t h i s wo rk .228 There a r e a l s o many v e s t i g e s o f F r ench g rand o p e r a , such as t h e f r e q u e n t m a s s i v e c h o r a l s cenes and " t h e e c l a t a n t m e r v e i l l e u x e n d -i n g " 2 2 9 ^ n w n - j c n ys i s e n g u l f e d by t h e s e a . In s h o r t , both t h e l i b r e t t o and t h e s c o r e d i s p l a y f e a t u r e s wh i ch f i r m l y l i n k t h i s work t o t he m a i n -s t r e a m o f n i n e t e e n t h - c e n t u r y F r e n c h o p e r a . We can u n h e s i t a t i n g l y c o n c u r w i t h Reyer t h a t L a l o was not f u l l y a p p r e c i a t e d d u r i n g h i s l i f e t i m e . F i e s q u e — w h i c h , d e s p i t e i t s f l a w s , d e s e r v e d t o have won t h e c o m p e t i t i o n f o r wh i ch i t was w r i t t e n 2 3 0 — w a s neve r p r o d u c e d , and o n l y t h e b a l l e t mus i c ( D i v e r t i s s e m e n t ) became p o p u l a r on c o n c e r t p rog rams . A l t h o u g h t h e V i o l i n C o n c e r t o , t h e R a p s o d i e n o r v e g i e n n e , and e s p e c i a l l y t h e Symphonie e s p a g n o l e were v e r y w e l l r e c e i v e d by P a r i s i a n a u d i e n c e s , t h e e x c e l l e n t C e l l o C o n c e r t o had o n l y a s u c c e s d ' e s t i m e . As we have s e e n , t h e r e m a r k a b l e s c o r e o f Namouna was 446 u n f a i r l y c r i t i c i z e d by t h o s e who c o u l d not c o n c e i v e o f a s ymphon i s t e w r i t i n g mus i c f o r t h e s t a g e . T h i s same p r e j u d i c e a lmos t k e p t Le Ro i d ' Y s f r o m e v e r s e e i n g t h e l i g h t o f day , and t h e t r i u m p h o f t h i s work came t o o l a t e f o r t h e a i l i n g composer .231 Throughout L a l o ' s c a r e e r , Reyer e x p r e s s e d more e n t h u s i a s m f o r Namouna and Le Roi d ' Y s t han f o r t h e Symphonie e s p a g n o l e o r any o f t h e o t h e r o r c h e s t r a l w o r k s . Yet i n h i s o b i t u a r y o f t h i s compose r , Reyer s t a t e d : " L ' o e u v r e de L a l o l u i s u r v i v r a ; son oeuv re symphonique d ' a b o r d , qu i p o u r r a i t s u f f i r e a l a renommee d ' u n g rand m u s i c i e n ; son oeuv re de t h e a t r e a u s s i . " 2 3 2 j n e p r o b a b l e r ea son f o r R e y e r ' s a c c o r d i n g p r e c e d e n c e t o t h e o r c h e s t r a l mus i c i s t h a t he t h o u g h t i t was o f g r e a t e r h i s t o r i c a l i m p o r t a n c e t han t h e two o u t s t a n d i n g works f o r t h e s t a g e . I f t h i s was i n d e e d h i s r e a s o n , i t was a v a l i d o n e , becau se Namouna and Le Ro i d ' Y s were i s o l a t e d phenomena wh i ch had v e r y l i t t l e d e m o n s t r a b l e i n f l u e n c e on t h e deve lopment o f F r ench m u s i c , whereas L a l o ' s o r c h e s t r a l works c o n t r i b u t e d t o t h e r e v i t a l i z a t i o n o f F rench i n s t r u m e n t a l c o m p o s i t i o n d u r i n g t h e decades f o l l o w i n g t h e F r a n c o - P r u s s i a n War. In t h e words o f Landormy, " I I f a u t j o i n d r e l e nom de L a l o a c e l u i de S a i n t - S a e n s p a r c e que ce s deux m u s i c i e n s c o n t r i b u e r e n t l e s p r e m i e r s a donner a l a mus ique symphonique en F r a n c e l a p l a c e q u ' e l l e n ' a v a i t j a m a i s p o s s e d e e . " 2 3 3 Summary As Reyer t h e composer d e v o t e d h i m s e l f a lmos t e x c l u s i v e l y t o o p e r a , we might s u s p e c t t h a t he had a g r e a t e r u n d e r s t a n d i n g o f and sympathy f o r t h i s g en re t han f o r any o t h e r , a n d , c o n s e q u e n t l y , t h a t h i s w r i t i n g s about o p e r a would be t h e b e s t i n d i c a t i o n o f h i s c r i t i c a l j udgmen t . T h i s 447 c h a p t e r has d e m o n s t r a t e d t h a t h i s o p i n i o n s c o n c e r n i n g d i v e r s e ope ra s were r e m a r k a b l y a s t u t e , and t h a t t h r o u g h o u t h i s c a r e e r he both welcomed and u n d e r s t o o d i n n o v a t i o n s i n t h i s s p h e r e . C o n s i d e r h i s a p p r e c i a t i o n s o f t h e f o l l o w i n g : Gounod ' s Sapho, a r e v o l t a g a i n s t t h e hegemony o f M e y e r b e e r i a n g rand o p e r a ; F a u s t , t h e pa rad i gm o f what has become known as o p e r a l y r i q u e ; B i z e t ' s Carmen, wh i ch i n f u s e d o p e r a comique w i t h a q u a l i t y o f r e a l i s m t h a t , i n t h e words o f Winton Dean, "was i m p l i c i t i n t h e f o rm but u s u a l l y e v a d e d " ; 2 3 4 S a i n t - S a e n s ' s Samson e t D a l i l a , a h y b r i d o f o p e r a and o r a t o r i o ; L a l o ' s Le Ro i d ' Y s , a s y n t h e s i s o f g rand o p e r a and o p e r a l y r i q u e ; and B r u n e a u ' s Le Reve and L ' A t t a q u e du m o u l i n , each o f wh i ch d i s p l a y s a b l e n d o f r e a l i s m and Wagner i sm. Apropos o f o p e r a , t h e n , R e y e r ' s judgment was a lmos t i n f a l l i b l e . Was i t e q u a l l y good as r e g a r d s o t h e r t y p e s o f mus i c f o r t h e s t a ge ? We have seen t h a t h i s a s se s sment s o f i n c i d e n t a l mus i c by Gounod and B i z e t as w e l l as a b a l l e t by L a l o were r e m a r k a b l y p r e s c i e n t . The f a c t t h a t we f i n d among h i s w r i t i n g s e x c e l l e n t r e v i e w s o f s c o r e s f o r o t h e r p l a y s and b a l l e t s l e a d s us t o c o n c l u d e t h a t he spoke w i t h as much e x p e r t i s e i n t h e s e a r ea s as he d i d i n h i s r e v i e w s o f o p e r a s . 2 3 5 Compared w i t h h i s j udgment s o f mu s i c f o r t h e s t a g e , R e y e r ' s p r o -nouncements on n o n - t h e a t r i c a l g en r e s were not as c o n s i s t e n t l y p e r c e p -t i v e . As we have o b s e r v e d , he e i t h e r o v e r - o r u n d e r e s t i m a t e d c e r t a i n works by F r a n c k , S a i n t - S a e n s , G o d a r d , and d ' I n d y , and he f a i l e d t o acknowledge Debussy as a p o w e r f u l new v o i c e . H i s e v i d e n t i n a b i l i t y t o u n d e r s t a n d Debussy s t r i k i n g l y d e m o n s t r a t e s t h a t Reyer was l e s s p r o g r e s -s i v e i n h i s a t t i t u d e toward c o n c e r t mus i c t han i n h i s approach t o o p e r a . Whereas t h r o u g h o u t h i s l i f e he was r e c e p t i v e t o i n n o v a t i o n s i n 448 o p e r a , h i s t a s t e i n c o n c e r t mus i c was a lways f o r composers whose s t y l e s were d e r i v a t i v e , such as t h e e c l e c t i c S a i n t - S a e n s , o r F ranck and L a l o , bo th o f whom w r o t e o r c h e s t r a l mus i c i n an e s s e n t i a l l y German t r a d i t i o n . We have seen t h a t R e y e r ' s a s se s sment s o f c o n t e m p o r a r i e s r a n g i n g f r o m Gounod t o C h a b r i e r were u s u a l l y more a c c u r a t e t han h i s p r o n o u n c e -ments c o n c e r n i n g composers o f t h e p o s t - 1 8 7 0 g e n e r a t i o n . The p r o b a b l e r e a s o n f o r t h i s d i s p a r i t y i s t h a t most o f t h e young g e n e r a t i o n s t ood o u t s i d e " t h e p r e v a i l i n g m u s i c a l ' E s t a b l i s h m e n t , ' wh i ch s t r e s s e d o p e r a as t h e h i g h e s t f o rm o f m u s i c a l e x p r e s s i o n . " 2 3 6 /\ s w e m ight e x p e c t , t h e young F rench composers whose mus i c Reyer f ound p a r t i c u l a r l y a t t r a c t i v e w e r e - - w i t h one e x c e p t i o n — t h e most d e r i v a t i v e f i g u r e s , such as G o d a r d , d ' I n d y , and Me s sage r . We cannot be s u r p r i s e d t h a t t he e x c e p t i o n , A l f r e d B r u n e a u , was t h e one who devo ted h i m s e l f p r i m a r i l y t o t he genre wh i ch Reyer b e s t knew and u n d e r s t o o d : o p e r a . * * * A f t e r R e y e r ' s d e a t h , s e v e r a l F rench w r i t e r s on mus ic p a i d t r i b u t e t o him f o r h a v i n g s e l f l e s s l y encou raged and de fended h i s f e l l o w -compo se r s . In t h e words o f Ado l phe B o s c h o t , " quan t a ses p r o p r e c o n -c u r r e n t s . . . qu i e t a i e n t souvent p l u s heureux et p l u s j e u n e s que l u i , Reyer l e u r r e n d i t t o u j o u r s j u s t i c e avec bonne g r a c e et meme avec un s i n c e r e e n t h o u s i a s m e . " 2 3 7 H i s w i l l i n g n e s s t o l e nd a h e l p i n g hand t o g i f t e d c o l l e a g u e s was e v i d e n t l y m o t i v a t e d by a d e s i r e t o spa re them f r om t h e f a t e o f h a v i n g t o endure y e a r s o f n e g l e c t i n t h e i r own c o u n t r y , w a t c h i n g " l e u r cheveux b l a n c h i r , l e u r m a n u s c r i t j a u n i r . " 2 3 8 j h e a c u t e -ness o f h i s empathy f o r composers who, l i k e h i m s e l f , s u f f e r e d such n e g l e c t can be sensed i n i n n u m e r a b l e pas sages i n h i s w r i t i n g s . 2 3 9 One 449 o f t h e most p o i g n a n t o f a l l i s t h e f o l l o w i n g , wh i ch was w r i t t e n i n 1872 a f t e r t h e e g l o g u e b i b l i q u e R u t h - - b y a then-unknown f i f t y - y e a r - o l d o r g a n i s t - - h a d been p r e s e n t e d i n i t s e n t i r e t y f o r t h e f i r s t t i m e s i n c e 1846. S i M. Ce sa r F r anck eu t ob tenu i l y a v i n g t - c i n q ans l e s u cce s q u ' i l o b t i e n t a u j o u r d ' h u i , combien d ' o e u v r e s n ' a u r a i t - i l pas p r o d u i t e s qu i p e u t - e t r e ont e t e e t o u f -f e e s par l e decou r a gemen t , l e dou te de soi-meme e t l a t r i s t e n e c e s s i t e de p o u r v o i r aux b e s o i n s de chaque j o u r ! Et n ' a l l e z pas c r o i r e que l e s a p p l a u d i s s e m e n s qu i l u i ont e t e p r o d i g u e s , T ' e m o t i o n de que l que s un s , et t o u t e s ces mains qu i ont t enu a honneur de s e r r e r l a s i e n n e ap re s l e c o n c e r t , l ' o n t dedommage en une s o i r e e de Tongues annees de s o l i t u d e , de s i l e n c e , d ' o u b T i . 2 4 0 450 Endnote s 1 J a cque s B a r z u n , B e r l i o z and t h e Romant i c C e n t u r y , 3d e d . , 2 v o l s . (New Y o r k : C o l u m b i a U n i v e r s i t y P r e s s , 1 9 6 9 ) , 2 : 2 6 1 . 2 Reye r admi red M a s s e n e t ' s i n s t r u m e n t a t i o n i n works as d i v e r s e as t h e e a r l y S u i t e d ' o r c h e s t r e , t h e i n c i d e n t a l mus i c f o r L e c o n t e de L i s l e ' s Les E r i n n y e s , t h e drame s a c r e M a r i e - M a g d e l e i n e , and t h e o p e r a E s c l a r - monde (JD f e u i l l e t o n s o f 18 A p r i l 1867 , 10 November 1883 , 23 A p r i l 1873, and 19 May 1889 r e s p e c t i v e l y ) . However, he was most imp re s s ed by t h e t r e a t m e n t o f t h e o r c h e s t r a i n t h e o p e r a Manon ( i b i d . , 26 J a n u a r y 1884, and see t h e q u o t a t i o n c i t e d i n C h a p t e r IV , p. 1 5 0 ) . One o f t h e few works i n w h i c h Reyer f o u n d M a s s e n e t ' s e c l e c t i c i s m o b j e c t i o n a b l e was t h e o p e r a Le Ro i de L a h o r e . H e r e , Reyer f i r s t no ted r e m i n i s c e n c e s o f F r e n c h , I t a l i a n , and German o p e r a s , and t h e n o b s e r v e d i r o n i c a l l y : " L ' i n f l u e n c e wagne r i enne se f a i t - e l l e s e n t i r a u t a n t q u ' o n l ' a d i t . . . ? Je ne l e pense pa s . . . . Je t r o u v e , au c o n t r a i r e , que l e j e u n e m a T t r e , c a r e s s a n t t o u r a t o u r l e s s t y l e s des t r o i s e c o l e s , a f a i t une p a r t e g a l e a c h a c u n e . " ( I b i d . , 10 May 1877 . ) Reyer was d e l i g h t e d by t h e t o u c h i n g n a i v e t e o f s e v e r a l m e l o d i e s i n M a s s e n e t ' s e a r l y w o r k s — s u c h as M a r i e - M a g d e l e i n e — a n d admi red many o f t h e m e l o d i e s i n Manon. However, when he r e v i e w e d some o f t h e o t h e r o p e r a s , he c o u l d not r e f r a i n f r om g e n t l y mock ing t h e f a c i l e m e l o d i c charm w h i c h conque red t h e p u b l i c ( s e e , e . g . , t h e q u o t a t i o n apropos o f H e r o d i a d e i n C h a p t e r I I I , p. 1 2 6 ) . 3 C a s t i l l o n ' s S u i t e and h i s e i g h t Fugues f o r p i a n o , a l l o f w h i c h were p u b l i s h e d when t h e composer was b a r e l y t h i r t y , were d e s c r i b e d by Reyer as " e c r i t e s de main de m a i t r e . . . on y t r o u v e a s s e z de s c i e n c e e t a s s e z d ' o r i g i n a l i t e pour e t a b l i r l a bonne renommee d ' u n a r t i s t e . " ( I b i d . , 15 J a n u a r y 1869. ) 4 R e y e r ' s f i r s t n o t i c e c o n c e r n i n g Ruth was quoted i n C h a p t e r I I , p. 95 . H i s r e p e a t e d avowa l s o f e n t h u s i a s m f o r t h i s work may have been p a r t l y r e s p o n s i b l e f o r t h e f a c t t h a t , i n 1872, i t was pe r f o rmed i n i t s e n t i r e t y f o r t h e f i r s t t i m e s i n c e J a n u a r y 1846 ( see t h e JD f e u i l l e t o n s o f 24 O c t o b e r and 16 November 1871 , as w e l l as 18 May 1 8 7 2 ) . The t r i -umph o f Ruth must have cau sed q u i t e a s t i r i n P a r i s , becau se two p e r f o r -mances o f F r a n c k ' s h i t h e r t o - u n h e a r d o r a t o r i o Redempt ion and a n o t h e r p e r f o r m a n c e o f Ruth were g i v e n i n t h e y e a r s 1 873 - 75 ; see R e y e r ' s r e v i e w s i n i b i d . , 23 A p r i l 1873 ( p r e m i e r e o f R e d e m p t i o n ) , 13 December 1873 ( R u t h ) , and 27 March 1875 (Redemption")": Reyer p r e f e r r e d Ruth t o F r a n c k ' s l a r g e r o r a t o r i o s ( R e d e m p t i o n , Les B e a t i t u d e s ) and h i s o p e r a s . Fo r e x a m p l e , when r e v i e w i n g t h e pos thumous -l y p u b l i s h e d s c o r e o f t h e o p e r a G h i s e l l e , Reyer remembered Ruth as b e i n g " un v r a i p e t i t c h e f - d ' o e u v r e " and o b s e r v e d w i s t f u l l y t h a t , " d e p u i s Ruth e t R e b e c c a , " t h e c o m p o s e r ' s a s p i r a t i o n s " n ' a l l a i e n t p l u s aux d e l i c a -t e s s e s a t t e n d r i e s de l ' e g l o g u e ou de l ' i d y l l e . " ( I b i d . , 12 A p r i l 1896 . ) 451 5 Reye r was not p r e s e n t at t h e p r e m i e r e o f E spana , but t he nex t y e a r he s t u d i e d t h e s c o r e , hea rd t h e work , and h a i l e d i t w i t h s u p e r l a -t i v e s : "I I ne s ' e s t r i e n f a i t dans ce genre de p l u s o r i g i n a l , de p l u s h a r d i , de p l u s p i t t o r e s q u e m e n t i n s t r u m e n t s . " ( I b i d . , 20 A p r i l 1884 ; see a l s o i b i d . , 21 December 1884. ) That same y e a r , a f t e r h e a r i n g e x c e r p t s f r o m C h a b r i e r ' s o p e r a G w e n d o l i n e , Reyer e x c l a i m e d t h a t " l e c o m p o s i t e u r . . . e s t des mieux doue s , L e t ] f e r a p a r l e r de l u i un j o u r s u r q u e l q u e g rande s c e n e . " ( I b i d . , 16 November 1884 . ) U n f o r t u n a t e l y , t h i s b road h i n t was not heeded by t h e O p e r a , and C h a b r i e r e v e n t u a l l y t ook h i s s c o r e t o B r u s s e l s . Reyer g l a d l y went t h e r e f o r t h e p r e m i e r e , and e x p r e s s e d g r e a t a d m i r a t i o n f o r t h i s " o e u v r e ext remement i n t e r e s s a n t e , r e n f e r m a n t des pages s u p e r b e s " ( i b i d . , 18 A p r i l 1 8 8 6 ) . H i s p r a i s e o f Gwendo l i n e may have h e l p e d pave t h e way f o r t h e a c c e p t a n c e o f C h a b r i e r ' s comic o p e r a Le Ro i m a l g r e l u i at t h e Opera -Comique t h e f o l l o w i n g y e a r ( see R e y e r ' s r e v i e w o f t he p r e m i e r e , i b i d . , 22 May 1 8 8 7 ) . 6 The f i r s t c o m p o s i t i o n by Godard wh i ch a t t r a c t e d R e y e r ' s a t t e n t i o n was a s o n a t a f o r v i o l i n and p i a n o ( i b i d . , 27 F e b r u a r y 1 8 7 0 ) . E i g h t y e a r s l a t e r , a f t e r h e a r i n g Le Ta s se t w i c e , Reyer remarked t h a t i t a l o n e would be s u f f i c i e n t t o p l a c e Godard " p a r m i l e s c o m p o s i t e u r s l e s p l u s v a i l l a n s , l e s mieux doues de n o t r e e p o q u e . " ( I b i d . , 1 J a n u a r y 1879 . ) Reyer s t r o v e t o g a i n h e a r i n g s f o r t h r e e o f G o d a r d ' s o p e r a s : Les G u e l p h e s , J o c e l y n , and Dan te . A f t e r e n j o y i n g f r a g m e n t s o f Les Gue lphe s i n c o n c e r t , he began t o u r g e — i n v a i n — t h a t t h i s work be s t a ged at t h e Opera -Comique ( i b i d . , 30 March and 19 A p r i l 1 8 8 5 ) . Unab le t o go t o B r u s s e l s f o r t h e p r e m i e r e o f J o c e l y n , he n e v e r t h e l e s s a n a l y z e d both t h e l i b r e t t o and t h e s c o r e i n d e t a i l ( i b i d . , 4 March 1 888 ) . H i s a t t e n t i o n t o t h i s work may have been one o f t h e f a c t o r s wh i ch prompted t he d i r e c -t o r o f P a r i s ' s s h o r t - l i v e d T h e a t r e - L y r i q u e N a t i o n a l t o p r e s e n t i t l a t e r t h a t y e a r ( s ee R e y e r ' s r e v i e w i n i b i d . , 21 O c t o b e r 1 8 8 8 ) . T h i s p r o d u c -t i o n , i n t u r n , may have h e l p e d t o open t h e way f o r t h e a c c e p t a n c e o f G o d a r d ' s nex t o p e r a , Dan te , at t h e Opera -Comique ( i b i d . , 20 May 1 8 9 0 ) . Reyer much p r e f e r r e d J o c e l y n t o D a n t e , but Le Ta s se r e m a i n e d h i s f a v o r i t e o f a l l G o d a r d ' s works ( i b i d . , 20 May 1 890 ) . See h i s a r t i c l e " B e n j a m i n G o d a r d , " Le F i g a r o , 22 November 1904, p. 1; r e p r i n t e d as " P o u r Ben jam in G o d a r d , " Le Monde m u s i c a l 17 (30 J a n u a r y 1 9 0 5 ) : 1 4 . ? JD f e u i l l e t o n o f 28 March 1886. The r e v i e w o f Les P i c c o l o m i n i appeared i n i b i d . , 8 F e b r u a r y 1874. 8 Leda was composed i n 1882 but not p r e m i e r e d u n t i l 1884 ( i b i d . , 20 A p r i l 1 8 8 4 ) . Reyer r e v i e w e d t he p r e m i e r e o f Ke r im i n i b i d . , 12 June 1887. 9 We may r e c o l l e c t t h a t Reyer t u r n e d s i x t y - f i v e i n December 1888 and f r o m t h e n on took l o n g h o l i d a y s a n n u a l l y i n bo th w i n t e r and summer. D u r i n g h i s l a s t s i x y e a r s w i t h t h e J_D (1893-98) he was, i n e f f e c t , s e m i -r e t i r e d , s h a r i n g h i s d u t i e s w i t h A d o l p h e J u l l i e n and w r i t i n g f ewer and f e w e r f e u i l l e t o n s ( see C h a p t e r I, p. 3 6 ) . 452 1 0 Le Reve and L ' A t t a q u e du m o u l i n were r e v i e w e d by Reyer i n t he JD f e u i l l e t o n s o f 21 June 1891 and 25 November 1893 r e s p e c t i v e l y . 1 1 See i b i d . , 8 June 1890 ( L a Ba soche ) and 5 F e b r u a r y 1893 (Madame C h r y s a n t h e m e ) . Reyer a l s o admi red Le C h e v a l i e r d ' H a r m e n t a l ( i b i d . , 1 0 May 1 8 9 6 ) . 12 As Reyer r e c a l l e d i n h i s o b i t u a r y o f Gounod ( i b i d . , 28 O c t o b e r 1 8 9 3 ) . The a r t i c l e s on U l y s s e a r e c i t e d b e l o w , n. 4 5 . 13 A l f r e d B r u n e a u , " E r n e s t R e y e r , " M u s i c a 5, Reyer number ( F e b r u a r y 1 9 0 7 ) : 1 9 . 14 Ado l phe J u l l i e n , E r n e s t R e y e r , Les m u s i c i e n s c e l e b r e s ( P a r i s : H. Lau ren s [ 1 9 0 9 ] ) , p. 95 . 15 From an u n s p e c i f i e d i s s u e o f t h e RGMP, quo ted by Pau l Landormy i n La Mus ique f r a n g a i s e de F r anck a Debus sy , 10 th e d . ( P a r i s : G a l l i -ma rd , 1 9 4 3 ) , p. 10 . 16 The i d e a o f such a s o c i e t y had been c o n c e i v e d and d i s c u s s e d at t h e Monday e v e n i n g g a t h e r i n g s w h i c h S a i n t - S a e n s had h o s t e d at h i s home d u r i n g t h e 1860s . S a i n t - S a e n s ' s p r i n c i p a l a s s i s t a n t i n r e a l i z i n g t he p r o j e c t was Romaine B u s s i n e - - a mus i c t e a c h e r who l a t e r became a p r o f e s -s o r o f s i n g i n g at t he C o n s e r v a t o i r e — a n d t o g e t h e r t h e y c o - f o u n d e d t he S o c i e t e ' n a t i o n a l e on 25 F e b r u a r y 1871 . B u s s i n e s e r ved as p r e s i d e n t , S a i n t - S a e n s as v i c e - p r e s i d e n t , and t he young composer A l e x i s de C a s t i l l o n was a p p o i n t e d s e c r e t a r y . The o t h e r founder -members i n c l u d e d G u i r a u d , F r a n c k , F a u r e , and L a l o . Among t he f i r s t t o j o i n t he s o c i e t y - - w h i c h began g i v i n g c o n c e r t s i n November 1 8 7 1 — w e r e Duparc and B i z e t . See i b i d . , pp . 7 - 9 , and James H a r d i n g , S a i n t - S a e n s and H i s C i r c l e ( London : Chapman & H a l l , 1 9 6 5 ) , p p . 109-11 and 113 -14 . 17 Leon V a i l a s , C l a u d e Debussy e t son temps ( P a r i s : E d i t i o n s A l b i n M i c h e l , 1 9 5 8 ) , p. 179. On l y once d u r i n g t he p e r i o d o f R e y e r ' s a c t i v i t y as a c r i t i c d i d t h e " p e t i t e c h a p e l l e " t r a n s f o r m i t s e l f i n t o a v a s t t e m p l e by o p e n i n g i t s doo r s t o t h e p u b l i c : t h e o c c a s i o n was t h e e a g e r l y a w a i t e d p r e m i e r e o f D e b u s s y ' s f i r s t o r c h e s t r a l work, t h e P r e l u d e a 1 ' a p r e s - m i d i d ' u n f a u n e , on 22 December 1894 ( r e p e a t e d the n e x t d a y ) . 18 V a i l as has s u gge s t ed t h a t t h e " i n g e n u i t e m e l o d i q u e " and o t h e r f e a t u r e s wh i ch now make Ruth sound " e n f a n t i n e " were once t h e s o u r c e s o f i t s a p p e a l : " T o u t c e l a , ne f u t - c e pas l a c a u s e , c h e z l e s a u d i t e u r s de 1 ' a u t r e s i e c l e , de 1 ' i m p r e s s i o n d ' i n e f f a b l e c a n d e u r , qu i semble l e s a v o i r e n chan te s . . . ?" ( La V e r i t a b l e H i s t o i r e de Ce sa r F r anck ( 1822 - 1890) [ P a r i s : F l a m m a r i o n , 1 9 5 5 ] , pp . 9 5 - 9 6 ) . L a u r e n c e Dav i e s a g r ee s t h a t " l o o k e d at t h r o u g h modern e y e s , . . . Ruth l a c k s c o l o r and move-m e n t , " but he f i n d s some o f i t " i m m e d i a t e l y a p p e a l i n g , " and, l i k e V a l l a s , he no te s a S c h u b e r t i a n " a r t l e s s n e s s " ( Ce s a r F r a n c k and H i s C i r c l e [ L ondon : B a r r i e & J e n k i n s , 1 9 7 0 ] , p p . 6 1 - 6 2 ) . 453 1 9 JD f e u i l l e t o n o f 27 March 1875. 2 0 I b i d . , 2 June 1889. 21 Fo r t h e comments o f Rave l and P o u l e n c , see NG, s . v . " C h a b r i e r , ( A l e x i s - ) E m m a n u e l , " by Myr i am Soumagnac, p. 97. H a r o l d C. S c h o n b e r g , s e n i o r mus i c c r i t i c f o r t h e New York T imes s i n c e 1960, has d e s c r i b e d C h a b r i e r as " w i t h i n h i s r e s t r i c t e d f r ame . . . one o f t h e most r e m a r k -a b l e composer s o f t h e p e r i o d " (The L i v e s o f t h e G r e a t Composers [New Y o r k : W. W. N o r t o n , 1 9 7 0 ] , p. 328T- See a l s o Dona ld J a y G r o u t , A S h o r t H i s t o r y o f O p e r a , 2d e d . , 2 v o l s . (New Y o r k : C o l u m b i a U n i v e r s i t y P r e s s , 1 9 6 5 ) , 2 : 4 29 - 30 . 2 2 JD f e u i l l e t o n o f 22 May 1887. 2 3 G r o u t , O p e r a , 2 : 430 . 2 4 A l t h o u g h Reyer admi red i n t h e Symphonie c e v e n o l e "une s u r e t e de main e t un h a b i l e t e de f a c t u r e ext remement r e m a r q u a b l e s , " he f e l t t h a t , i n c o m p a r i s o n w i t h La C l o c h e , " l a symphon ie n o u v e l l e n ' a n i l a meme i m p o r t a n c e , n i l e s memes deve l oppemens " (JD f e u i 1 l e t o n o f 27 March 1 887 ) . 2!> Landormy, De F ranck a Debus sy , pp . 1 8 0 - 8 1 . 2 6 JD f e u i l l e t o n o f 8 F e b r u a r y 1874. 2 7 Reyer d e c l a r e d t h a t L a C l o c h e was " i n s p i r e de Wagner e t de B e r l i o z , c e l a n ' e s t pas d o u t e u x " ( i b i d . , 28 March 1 886 ) . Dav i e s f i n d s t h a t d ' I n d y ' s work b e a r s a " t o o f r e q u e n t r e s e m b l a n c e " t o Wagne r ' s D i e M e i s t e r s i n g e r von NLirnberg ( C i r c l e , p. 1 5 0 ) . M a r t i n Cooper goes so f a r as t o d e s c r i b e La C l o c h e as " a F r ench model o f D i e M e i s t e r s i n g e r " ( F r e n c h M u s i c : From t h e Death o f B e r l i o z t o t h e Death o f F au re [ London : O x f o r d U n i v e r s i t y P r e s s , 1 9 5 1 J , p. 7 2 ) . 2 ^ G r o u t , O p e r a , 2 :430 . Bo th F e r v a a l and L ' E t r a n g e r were p r e m i e r e d a t t h e T h e a t r e de l a Monnaie i n B r u s s e l s . Two y e a r s b e f o r e the p r e m i e r e o f F e r v a a l , however , an e x c e r p t was p r e s e n t e d i n P a r i s at one o f t h e C o n c e r t s de l ' O p e r a . Reyer warmly p r a i s e d t h i s " a v a n t - g o u t de l ' o e u v r e i n e d i t e " (JD f e u i l l e t o n o f 23 November 1 8 9 5 ) . 2 9 I b i d . , 12 June 1887. 3 0 I b i d . , 21 June 1891 . 31 I b i d . 3 2 Quoted i n Coope r , F r e n c h M u s i c , p. 103. 3 3 JD f e u i l l e t o n o f 25 November 1893. 454 3 4 I b i d . , 28 O c t o b e r 1883. 3 5 See Va l l a s ( Debu s s y , pp . 52 -53 ) f o r some c o n t e m p o r a r y j udgment s o f D e b u s s y ' s c a n t a t a . 3 ^ P o u g i n ' s remark i s quo ted i n i b i d . , p. 56 . 3 7 Namely, Ma s s ene t , L a l o , G u i r a u d , and D e l i b e s , a c c o r d i n g t o Edward L o c k s p e i s e r , Debussy : H i s L i f e and M i n d , 2d e d . , 2 v o l s . ( L o n -don : C a s s e l l and C o . , 1966 ; r e p r i n t e d . w i t h c o r r e c t i o n s , Cambr i dge : Cambr idge U n i v e r s i t y P r e s s , 1 9 7 8 ) , 1 :62. 3 8 The f u l l s c o r e o f Le P r i n t e m p s , t h e e n v o i f o r 1887, was d e -s t r o y e d i n a f i r e at t h e b i n d e r s — o r so t h e Academie was t o l d ( i b i d . , 1 : 7 5 ) . Both La D a m o i s e l l e e l u e and F a n t a i s i e were w r i t t e n at P a r i s , but were s u b m i t t e d as t h e e n v o i s f o r t h e y e a r s 1889 and 1890 r e s p e c t i v e l y . 3 9 The o t h e r f i v e members o f t h e j u r y were Ambro i s e Thomas, Gounod, D e l i b e s , Ma s s ene t , and S a i n t - S a e n s . We can o b t a i n an i d e a o f how t h i s augus t g roup r e a c t e d t o t h e mus i c o f t h e young Debussy by r e a d i n g " C l a u d e Debussy j u g e par l ' A c a d e m i e , " Le Monde m u s i c a l 16 (15 November 1 9 0 4 ) : 2 9 8 . T h i s a r t i c l e c o n s i s t s o f e x c e r p t s r e p r i n t e d f rom t h e o f f i -c i a l r e p o r t s on Le P r i n t e m p s and La D a m o i s e l l e e l u e . 4 0 La D a m o i s e l l e e l u e and t h e S t r i n g Q u a r t e t were p r e m i e r e d on 8 A p r i l and 29 December 1893 r e s p e c t i v e l y . On bo th o c c a s i o n s Reyer was t a k i n g h o l i d a y s : he p u b l i s h e d no f e u i ! l e t o n s between 5 F e b r u a r y and 13 May, and none d u r i n g December. ( A d o l p h e J u l l i e n s u b s t i t u t e d f o r Reyer t h r o u g h o u t t h e months o f Ma r ch , A p r i l , and December, as w e l l as at o t h e r t i m e s d u r i n g t h e y e a r . ) As i n d i c a t e d above ( n . 1 7 ) , t h e P r e l u d e a l ' a p r e s - m i d i d ' u n f a u n e was p r e m i e r e d i n December 1894. A ga i n Reyer was on h i s annua l w i n t e r h o l i d a y : h i s l a s t f e u i 1 l e t o n o f 1894 appeared on 8 December, and J u l l i e n then s u b s t i t u t e d f o r him u n t i l mid-May 1895. 4 1 M a r t i n Cooper p o i n t s ou t t h a t i n 1871 S a i n t - S a e n s found h i m s e l f v i r t u a l l y t h e dean o f F r ench compo se r s : B e r l i o z had d i e d i n 1 869 ; Gounod had f l e d t o Eng l and i n September 1870, s h o r t l y a f t e r t he o u t b r e a k o f t h e F r a n c o - P r u s s i a n War; and A u b e r — h e a d o f t h e C o n s e r v a t o i r e s i n c e 1 842—was d y i n g . I t was S a i n t - S a e n s who bo th c o n c e i v e d and was t he p r i n c i p a l f o u n d e r o f t h e S o c i e t e n a t i o n a l e de mu s i que , and, t h e r e f o r e , " i t was i n e v i t a b l e t h a t . . . t h e men whom he c o l l e c t e d round him . . . l o o k e d t o t h e new g o d s — t o L i s z t among f o r e i g n e r s and t o Gounod and S a i n t - S a e n s h i m s e l f i n F r a n c e — f o r encouragement and l e a d e r s h i p . " A l t h o u g h Gounod had t a k e n r e f u g e i n E n g l a n d , he was h i g h l y esteemed i n o f f i c i a l c i r c l e s . On 10 June 1 8 7 1 — s h o r t l y a f t e r t he w a r ' s t r a g i c a f t e r m a t h , t h e Commune, had e n d e d — h e r e c e i v e d a t London a l e t t e r i n -f o r m i n g him t h a t he was e x p e c t e d t o p ropo se h i m s e l f as d i r e c t o r o f t h e C o n s e r v a t o i r e . ( A f t e r c o n s i d e r i n g t h e m a t t e r f o r a few d a y s , he r e p l i e d t h a t he would not seek t h i s p o s i t i o n . ) See J a c q u e s - G a b r i e l Prod 'homme and A r t h u r D a n d e l o t , Gounod ( 1 8 1 8 - 1 8 9 3 ) : s a v i e e t se s o e u v r e s , d ' a p r e s 455 des documents i n e d i t s , w i t h a p r e f a c e by C a m i l l e S a i n t - S a e n s , 2 v o l s . ( P a r i s : Ch. D e l a g r a v e , 1 9 1 1 ) , 2 : 127 . 4 2 B i z e t ' s c a r e e r c u l m i n a t e d i n Carmen, p r e m i e r e d j u s t a few months b e f o r e h i s dea th i n 1875. L a l o ' s p r o d u c t i v e l i f e was e s s e n t i a l l y o v e r when he c o m p l e t e d Le R o i d ' Y s , p r e m i e r e d i n 1888. He worked on two more s t a g e c o m p o s i t i o n s — t h e pantomime Neron (1891) and t he o p e r a L a J a c - q u e r i e , wh i ch was l e f t u n f i n i s h e d at h i s d e a t h i n 1 8 9 4 — b u t both works drew on e a r l i e r c o m p o s i t i o n s . 4 3 The w r i t i n g s r e a c h as f a r back as 1852, and as f a r f o r w a r d as 1897. In 1852, t h e y e a r i n w h i c h Reyer began p u b l i s h i n g mus i c c r i t i c i s m under h i s own name, he d e v o t e d two o f h i s a r t i c l e s t o Gounod ( see b e l o w , n. 4 5 ) . In 1897, t he y e a r b e f o r e Reyer r e t i r e d , he r e v i e w e d S a i n t -S a e n s ' s i n c i d e n t a l mus i c f o r a c o n t e m p o r a r y F r e n c h a d a p t a t i o n o f S o p h o c l e s ' s A n t i g o n e (JD f e u i l l e t o n o f 8 August 1 8 9 7 ) . 4 4 I b i d . , 28 O c t o b e r 1893 . 4 6 In 1852 Reyer became mus i c c r i t i c o f bo th t h e Revue de P a r i s and L ' A thenaeum f r a n g a i s , and he r e v i e w e d Gounod ' s c h o r u s e s f o r U l y s s e i n each p u b l i c a t i o n . See " L e s Choeurs d ' U l y s s e , pa r M. C h a r l e s Gounod , " RP 10 ( J u l y 1 8 5 2 ) : 1 4 5 - 4 8 ; and " C h r o n i q u e m u s i c a l e : Les Choeur s d ' U l y s s e , par M. Gounod , " A thF 1 (10 and 17 J u l y 1 8 5 2 ) : 3 1 - 3 2 . The l a t t e r a r t i c l e i n c l u d e s r e f l e c t i o n s on Sapho, and w i l l h e r e a f t e r be c i t e d as " [ Sapho and] Les Choeur s d ' U l y s s e . " Gounod ' s t h r e e - a c t o p e r a had l e f t t h e s t a g e o f t h e Opera a f t e r o n l y seven p e r f o r m a n c e s i n 1851. 4 6 " [ S apho and] Le s Choeur s d ' U l y s s e , " A thF p. 3 1 . 4 7 i b i d . 4 8 F i f t e e n y e a r s a f t e r t h e p r e m i e r e o f U l y s s e , some o f t h e c h o r u s e s were p r e s e n t e d a t one o f t h e c o n c e r t s o f t h e s h o r t - l i v e d S o c i e t e de l ' A t h e n e e ( s ee R e y e r ' s r e v i e w i n t h e JD f e u i l l e t o n o f 16 F e b r u a r y 1 8 6 7 ) . Sapho was r e v i v e d t w i c e , but at n e i t h e r t i m e i n i t s o r i g i n a l f o r m . Fo r t h e f i r s t r e v i v a l i t was r e d u c e d f r om t h r e e a c t s t o two (CP f e u i l l e t o n o f 7 August 1 8 5 8 ) ; f o r t h e second r e v i v a l , t h e work was " r e m a n i e e de f ond en c o m b l e " (JD f e u i l l e t o n o f 6 A p r i l 1 8 8 4 ) . As l a t e as 1893, when Reyer w r o t e Gounod ' s o b i t u a r y , he d e c l a r e d t h a t t h e p r e m i e r e s o f t h e o r i g i n a l Sapho and U l y s s e w e r e , f o r h im, " deux d a t e s i n o u b l i a b l e s . " A f t e r remember ing t h a t he had t r i e d i n v a i n t o p e r s u a d e Co l onne t o p r e s e n t a l l o f t h e c h o r u s e s f o r U l y s s e a t t he Con -c e r t s du C h a t e l e t , Reyer c a l l e d f o r a r e v i v a l o f P o n s a r d ' s t r a g e d y " p o u r e n t e n d r e l e s c h o e u r s . " Ap ropos o f Sapho, Reyer r e i t e r a t e d h i s c o n v i c -t i o n t h a t t h e t i t l e r o l e — w r i t t e n f o r t h e g r e a t m e z z o - s o p r a n o P a u l i n e V i a r d o t - G a r c i a — w a s "un de ses p l u s beaux r o l e s e n t r e F i d e s [ de Meye r -b e e r ] e t Orphee [de G l u c k ] . " (JD f e u i l l e t o n o f 28 Oc tobe r 1893 . ) 4 9 In R e y e r ' s o p i n i o n , " l a c o u l e u r r e t r o s p e c t i v e e t a i t a peu p r e s i n d i s p e n s a b l e " f o r t h e m u s i c a l r e n d e r i n g o f M o l i e r e ' s c l a s s i c . He 456 t h e r e f o r e admi red Gounod f o r h a v i n g i m i t a t e d Rameau, L u l l y , Haydn, and M o z a r t , "ma i s non pas s e r v i l e m e n t , non pas en p l a g i a i r e " ( " C h r o n i q u e m u s i c a l e , " RF Annee 4 , Tome 12 [10 F e b r u a r y 1 8 5 8 ] : 1 2 5 ) . See a l s o R e y e r ' s e a r l i e r r e v i e w o f t h e same p r o d u c t i o n (CP f e u i l l e t o n o f 24 J a n u a r y 1 8 5 8 ) , and h i s r e v i e w o f a r e v i v a l at t h e Opera -Comique (JD f e u i l l e t o n o f 31 May 1 8 7 2 ) . As we o b s e r v e d i n C h a p t e r IV (pp. 1 5 0 - 5 1 ) , Reyer was imp re s s ed by t h e ways i n wh i ch Gounod used c e r t a i n i n s t r u m e n t s t o c o n t r i b u t e t o t h e humor o f M o l i e r e ' s work . 5 0 " C h r o n i q u e m u s i c a l e , " GN 2 (3 March 1 8 6 0 ) : 5 . The p u b l i c , w h i c h had made G o u n o d ' s F a u s t t h e g r e a t e s t s u c c e s s o f t h e p r e c e d i n g y e a r , r e -c e i v e d P h i l e m o n e t B a u c i s w i t h such i n d i f f e r e n c e t h a t i t was d ropped a f t e r o n l y t h i r t e e n p e r f o r m a n c e s . Much t o R e y e r ' s d e l i g h t , i t was r e -v i v e d many y e a r s l a t e r at t h e Opera -Comique (JD f e u i l l e t o n s o f 28 May 1876 and 27 F e b r u a r y 1 8 7 7 ) . S h o r t e n e d f r om t h r e e a c t s t o two , i t became a g r e a t s u c c e s s . 5 1 JD f e u i l l e t o n o f 28 O c t o b e r 1893 ( o b i t u a r y o f Gounod) . In h i s r e v i e w o f t h e 1874 r e v i v a l , Reyer c i t e d as examples o f P r o v e n g a l c o l o r t h e p a s t o r a l c h o r u s at t h e o p e n i n g o f t h e work , t h e f a r a n d o l e i n A c t I I , and , i n bo th t h e v i s i o n scene and t h e f i n a l number, t h e theme S a i n t e i v r e s s e , d i v i n e e x t a s e , " q u i e x h a l e comme un par fum des a n c i e n s Noe l s de l a P r o v e n c e . " ( I b i d . , 15 November 1874. ) Gounod ' s o p e r a — w h i c h was based on F r e d e r i c M i s t r a l ' s P r o v e n g a l poem M i r e i o — p a s s e d t h r o u g h a number o f d i f f e r e n t a r r a n g e m e n t s , f i r s t at t h e T h e a t r e - L y r i q u e and t hen at t h e Ope ra -Comique . The work f i n a l l y a c h i e v e d s u c c e s s at t h e Comique a f t e r t h e Rhone scene and t he Crau scene were d e l e t e d , and a happy e n d i n g s u b s t i t u t e d f o r t h e o r i g i n a l t r a g i c denouement. (See t h e r e v i e w o f t h i s " v e r s i o n n o u v e l l e " i n i b i d . , 3 December 1889 . ) Reyer d i s a p p r o v e d o f t h e c h a n g e s : " . . . l e s t a b l e a u x du Rhone e t de l a C rau . . . s on t p e u t - e t r e l e s deux p l u s b e l l e s pages de l a p a r t i t i o n . Quant au denouement . . . j e ne 1 ' a p p r o u v e pas d a v a n -t a g e . . . . E l 1es son t q u e l q u e f o i s t e r r i b l e s l e s e x i g e n c e s du s u c c e s . " ( I b i d . , 28 O c t o b e r 1893. ) 52 As Reyer r e c a l l e d i n i b i d . , 16 March 1869. 53 I b i d . , 5 May 1867. Reyer was p r e p a r e d t o o v e r l o o k J u l i e t t e ' s w a l t z - s o n g ( " J e veux v i v r e dans l e r e v e " ) i n h i s p r a i s e o f Gounod ' s sense o f c h a r a c t e r : "I I a donne e t su c o n s e r v e r a chacun de ses pe r sonnages c e t t e p h y s i o n o m i e p a r t i c u l i e r e don t t o u t m u s i c i e n d rama-t i q u e d o i t se p r e o c c u p e r s ' i l v e u t a r r i v e r a composer des t y p e s e t non p o i n t a e c r i r e des r o l e s ; l a v a l s e que c h a n t e J u l i e t t e au p r e m i e r a c t e e s t un i n c i d e n t m u s i c a l d ' u n e p o r t e e t r o p min ime pour que l e s p l u s d e l i c a t s p u i s s e n t l ' o p p o s e r a M. Gounod comme une s e r i e u s e c o n t r a d i c t i o n . " ( I b i d . ) 5 4 I b i d . 457 5 5 I b i d . , 28 O c t o b e r 1893. " L e c h a n t de T a l o u e t t e " p r o b a b l y r e f e r s bo th t o t h e song o f t h e l a r k at t h e end o f t h e l o v e duet i n A c t IV, a n d - - i n a more g e n e r a l s e n s e — t o t h e abundant l o v e - m u s i c i n t h i s o p e r a . 5 6 I b i d . 57 Reyer began h i s p a r a p h r a s e o f t h e p u b l i c ' s c o m p l a i n t s by o b s e r v -i n g t h a t " P o u r b i e n des gens M. Gounod e s t un s y m p h o n i s t e : Sapho e t l a Nonne s a n g ! a n t e r e v e l e n t un t a l e n t de sym-p h o n i s t e qu i e x c l u t n a t u r e l l e m e n t , chez l ' a u t e u r de ce s deux b e l l e s p a r t i t i o n s , t o u t e e spece d ' a p t i t u d e d rama-t i q u e . F a u s t e s t a u s s i une s y m p h o n i e . . . [ s i c ] une sym-phon i e avec c h o e u r s , c a r l e s c h o e u r s de Fau s t o n t e t e remarques par t o u t l e monde. . . . [Gounod] met t r o p s ouven t l a s t a t u e dans 1 ' o r c h e s t r e , e t par moments t e l l e p a r t i e d ' a l t o s ou de c l a r i n e t t e s c h a n t e d ' u n fagon b i e n p l u s m e l o d i q u e , b i e n p l u s i m p o r t a n t e que l e b a r y t o n ou l e sop rano qu i e s t en s c e n e . . . . ou commence l a c a v a -t i n e ? Et p o u r q u o i , c o n t r a i r e m e n t a ce qu i a l i e u , c e t t e romance, ce duo, ne s o n t - i l s pas p r e c e d e s d ' u n e r i t o u r -n e l l e ? . . . Ou e s t l e q u i n t e t t e de MoTse, ou e s t l e f i n a l e de Don J u a n , ou e s t l e s e p t u o r de L u c i e ? " (CP f e u i l l e t o n o f 29 March 1859) 5 8 I b i d . 5 y Reye r c o n t i n u e d h i s p a r a p h r a s e o f t h e p u b l i c ' s c o m p l a i n t s : "Nous sommes des P a r i s i e n s de l a v i e i l l e r o c h e e t nous aimons l e s g a i s f l o n s - f l o n s , l e s j o y e u x r e f r a i n s e t l e s c a v a t i n e s qu i ne s on t pas depou r vue s de r i t o u r n e l l e s : Ah! q u ' i l f a i t done bon , q u ' i l f a i t done b o n . . . e n t e n d r e un j o l i t e n o r a l a v o i x p o i n t u e e t n a s i l l a r d e nous c h a n t e r : Je p a r s , j e p a r s , j e p a r s , j e p a r s , en v i d a n t s a coupe e t son s a c . Pauv re Fanchon , pauv re M a r g o t , vous v o i l a devenue l a M a r g u e r i t e du d i a b l e : vous ne r o u c o u l e r e z p l u s comme a u t r e f o i s ; v o t r e j upon s ' e s t a l l o n g e d ' u n e aune, vous e t e s t r i s t e e t r e v e u s e , e t c e l a ne nous amuse gue re de vous e n t e n d r e c o n f i e r v o t r e amour aux e t o i l e s e t vos d o u l e u r s au bon D i e u . " ( I b i d . ) The a l l u s i o n t o " F a n c h o n " and " M a r g o t " r e q u i r e s e x p l a n a t i o n : t h e s e were t h e h e r o i n e s o f C l a p i s s o n ' s o p e r a s comiques L a F a n c h o n n e t t e and M a r g o t , w h i c h had been p r e m i e r e d at t h e T h e a t r e - L y r i q u e i n 1856 and 1857 r e s p e c -t i v e l y . Both r o l e s had been c r e a t e d by t h e s op rano C a r o l i n e M i o l a n -C a r v a l h o , who, i n 1859, was G o u n o d ' s f i r s t M a r g u e r i t e . D u r i n g t h a t y e a r , t h e v e r y s u c c e s s f u l L a F a n c h o n n e t t e was s t i l l d r aw i ng crowds t o t h e L y r i q u e . 6 0 I b i d . 458 6 1 I b i d . 6 2 I b i d . 6 3 The pages wh i ch r e c e i v e d R e y e r ' s h i g h e s t p r a i s e were t he l o v e duet and t h e p r i s o n s c e n e . Apropos o f t h e d u e t , he e x c l a i m e d : " N ' e s t -i l pas v r a i . . . que l e m u s i c i e n a s u r p a s s e l e p o e t e ? " When d e s c r i b i n g t h e " e x c e l l e n t e s c h o s e s " i n t h e p r i s o n s c e n e , Reyer noted " l e r a p p e l de c e t t e ph r a s e suave que ces deux amants on t c h a n t e e a l e u r p r e m i e r e r e n -c o n t r e . " He was a l s o imp re s sed by t h e " t r i o t r e s d r a m a t i q u e " and by M a r g u e r i t e ' s a p o t h e o s i s , " t r a i t e e avec beaucoup de g r andeu r e t d ' e l e v a -t i o n . " ( I b i d . ) 64 " L ' e p i s o d e d ' H e l e n e " — t h e c o n j u r i n g o f He len o f T r oy and t h e o r g y o v e r wh i ch she p r e s i d e s — s t r u c k Reyer as b e i n g m e r e l y a p r e t e x t f o r "un d e c o r d ' u n e r i c h e s s e e b l o u i s s a n t e . " He added : " L e r e c i t de M e p h i s -t o p h e l e s e t l e s c o u p l e t s b a c h i q u e s de F a u s t on t e t e beaucoup mieux a p p r e c i e s que l e s g l a p i s s e m e n t s des d i a b l e s s e s c hevauchan t su r l e u r s manches a b a l a i s f o u r c h u s , e t pou s s an t des hou! hou ! avec accompagnement de cymba le s e t de p e t i t e f l u t e . " ( I b i d . ) 6 5 I b i d . 6 6 "Gounod a t o u c h e a t o u s l e s g e n r e s s i n o n t o u j o u r s avec l e meme bonheu r , du moins avec une s u p e r i o r i t y i n c o n t e s t a b l e , " w r o t e Reyer i n h i s o b i t u a r y o f t h e compose r . The c r i t i c c o n t i n u e d : " J e ne c r o i s pas q u ' i l s ' e n t r o u v e un s e u l , parmi l e s m u s i c i e n s c o n t e m p o r a i n s , qu i son t ou qu i a i t e t e p l u s i n s t r u i t que l u i dans son a r t e t p l u s f a m i l i a r i s e avec t o u t e s l e s r e s s o u r c e s du m e t i e r . " (JD f e u i l l e t o n o f 28 O c t o b e r 1893 . ) 6 7 As examples o f t h i s s i m p l i c i t y , Reyer c i t e d " 1 ' i n v o c a t i o n a V e s t a , d ' u n e l i g n e s i c l a s s i q u e , s i pure j u s q u ' a l a m o d u l a t i o n en r e b e m o l , e t l a marche r e l i g i e u s e du d i e u P a n , " wh i ch " f o n t songer a M o z a r t e t a G l u c k . " He added t h a t t h e h e r o i n e — P a u l i n e — w a s "un c a r a c t e r e s i m p l e e t g r a n d " ( i b i d . , 15 O c t o b e r 1 8 7 8 ) . Reyer d i d h i s b e s t t o c u s h i o n t h e f a l l o f t h e young Gounod ' s f i r s t g rand o p e r a , La Nonne s a n g l a n t e , by c a l l i n g a t t e n t i o n t o t he i n e p t i t u d e o f S c r i b e ' s l i b r e t t o ; see " C h r o n i q u e m u s i c a l e , " A thF 3 (28 O c t o b e r 1 8 5 4 ) : 1 0 1 2 - 1 4 . As we o b s e r v e d i n C h a p t e r I ( p . 2 9 ) , d u r i n g t h e e a r l y 1860s t h e r e was a h i a t u s i n R e y e r ' s c a r e e r as a c r i t c . He t h e r e f o r e d i d not r e v i e w Gounod ' s second g rand o p e r a , La R e i n e de Saba ( 1 8 6 2 ) . Decades l a t e r , i n h i s o b i t u a r y o f t h e compose r , Reyer i n d i c a t e d t h a t he admi red o n l y a f ew " p a g e s " o f t h i s work (JD f e u i l l e t o n o f 28 O c t o b e r 1 8 9 3 ) . In R e y e r ' s r e v i e w o f Gounod ' s f o u r t h and l a s t g rand o p e r a , Le T r i b u t de Zamora, t h e r e i s an u n d e r c u r r e n t o f i r o n y wh ich s u g ge s t s t h a t t h e c r i t i c f ound t h i s work l o n g - w i n d e d and f r e q u e n t l y bana l ( i b i d . , 7 A p r i l 1 8 8 1 ) . For comments on R e y e r ' s a s se s sment o f t h e l i b r e t t o , see C h a p t e r I I ( n . 5 7 ) . 459 b ° S a i n t - S a e n s , f o r e x a m p l e , w r o t e : " P o u r sa mus ique r e l i g i e u s e , . . . j e l a c r o i s , p l u s que t o u t e a u t r e , d e s t i n e e a s o u t e n i r l a g l o i r e de son nom, quand l e temps . . . l u i a u r a e l e v e l e t r o n e d ' o r s u r l e q u e l i l r e c e v r a l ' e n c e n s des g e n e r a t i o n s f u t u r e s . " ( P o r t r a i t s e t s o u v e n i r s [ P a r i s : S o c i e t e d ' E d i t i o n a r t i s t i q u e , 1 9 0 0 ] , p. 9 6 . ) 6 9 See R e y e r ' s o b i t u a r y o f Gounod (JD f e u i l l e t o n o f 28 O c t o b e r 1893) and t h e f o l l o w i n g r e v i e w s : " C h r o n i q u e m u s i c a l e , " A thF 4 (15 December 1855 ) :1082 (Messe de S a i n t e - C e c i l e ) ; JD f e u i l l e t o n o f 16 November 1871 ( G a l l i a ) ; and i b i d . , 27 A p r i l 1879 ( " F e s t i v a l Gounod , " w h i c h i n c l u d e d both t h e Messe and Gal 1 i a ) . 7 0 Reye r was v e r y c o m p l i m e n t a r y c o n c e r n i n g t he Symphony i n D when he hea rd i t a t v a r i o u s c o n c e r t s i n 1855 and 1856 ; see " C h r o n i q u e m u s i -c a l e , " A thF 4 (10 F e b r u a r y 1 8 5 5 ) : 1 2 4 ; i b i d . (29 December 1 8 5 5 ) : 1 1 2 9 ; and " C h r o n i q u e m u s i c a l e , " RF_ Annee 1, Tome 3 (20 J a n u a r y 1 856 ) : 5 14 . A f t e r f i r s t h e a r i n g t h e Symphony i n E - f l a t , Reyer was u n w i l l i n g t o say whethe r he p r e f e r r e d t h i s work t o t h e e a r l i e r symphony; see " C h r o -n i q u e m u s i c a l e , " A thF 5 (16 F e b r u a r y 1 8 5 6 ) : 1 3 3 . However, when he wro te Gounod ' s o b i t u a r y n e a r l y f o r t y y e a r s l a t e r , t h e Symphony i n E - f l a t was t h e one wh i ch he deemed w o r t h y " d ' e t r e men t i onnee avec e l o g e s " (JD f e u i l l e t o n o f 28 O c t o b e r 1 8 9 3 ) . 7 1 I b i d . , 15 O c t o b e r 1878. 7 2 I b i d . , 28 O c t o b e r 1893 . 7 3 I b i d . 7 4 As men t i oned on p. 4 03 , A d o l p h e Adam and B e r l i o z were among t h e a d m i r e r s o f bo t h w o r k s . To t h e s e names we may add a n o t h e r : B i z e t . He became a c q u a i n t e d w i t h Sapho and U l y s s e d u r i n g h i s e a r l y t e e n s , and " r e t a i n e d a l i f e l o n g e n t h u s i a s m " f o r them, a c c o r d i n g t o M ina C u r t i s s , B i z e t and H i s Wor ld ( London : Seeke r & Warbu rg , 1 959 ) , p. 34. 75 Coope r , F r e n c h M u s i c , p. 12 . 7 6 See James H a r d i n g , Gounod ( London : George A l l e n & Unw in , 1 9 7 3 ) , pp . 70 and 79 . 77 " [ Sapho and] Le s Choeur s d ' U l y s s e , " A thF p. 3 1 . 78 Compare H a r d i n g ' s r emark s (Gounod, pp . 69 and 83) w i t h t h o s e o f Reyer ( quo ted above , p. 4 0 4 ) . 7 9 R e y e r ' s p r a i s e o f Gounod ' s d e l i n e a t i o n o f c h a r a c t e r ( see above , n. 53) i s echoed by H a r d i n g : "Romeo and J u l i e t , F r i a r L a u r e n c e and T y b a l t , were p e o p l e o f f l e s h and b l o o d t o h i m . " (Gounod, p. 145. ) H a r d i n g d e s c r i b e s J u l i e t ' s w a l t z - s o n g as Gounod ' s " r i t u a l s a c r i f i c e at t h e a l t a r o f Madame C a r v a l h o [ t h e p r i m a donna who c r e a t e d t h e r o l e ] " ( i b i d . , p. 1 4 2 ) . 460 8 0 JD f e u i l l e t o n o f 28 O c t o b e r 1893; see t h e l o n g e r q u o t a t i o n g i v e n above , p. 4i0~5! 81 NG, s . v . "Gounod , C h a r l e s ( F r a n g o i s ) , " by M a r t i n Coope r , p. 582 . 8 2 j p f e u i l l e t o n o f 28 O c t o b e r 1893 ; see above , p. 4 05 . 83 My comments on Gounod ' s work a r e based on P a u l L a n d o r m y ' s " F a u s t , " de Gounod: E tude e t a n a l y s e ( P a r i s : M e l l o t t e e , 1 9 4 4 ) . 8 4 I b i d . , p. 96 . 85 H a r d i n g , Gounod, p. 111 . 86 Coope r , "Gounod " i n NG, p. 582 . 8 7 CP f e u i l l e t o n o f 29 March 1859. 8 8 I b i d . 39 I b i d . 90 I b i d . ; see above , pp. 406 -7 and n. 6 3 . 91 JD f e u i l l e t o n o f 28 O c t o b e r 1893; see above, p. 408 . 92 Cooper c i t e s t he f o l l o w i n g as examples o f t h e i n f l u e n c e o f Bach : " t h e so lemn c h r o m a t i c s t y l e o f t h e i n t r o d u c t i o n , wh i ch appear s a g a i n i n t h e c h u r c h s c e n e " ; t h e " l o n g p e d a l " t h a t i n t r o d u c e s t he c h a r a c t e r F a u s t ; and t h e " c o n t r a p u n t a l w r i t i n g " f o r t h e t r i p l e c ho r u s wh i ch b e g i n s t h e Kermesse s c e n e . ( "Gounod " i n NG, p. 5 82 . ) 93 i n c l u d i n g Le Medec in m a l g r e l u i and P o l y e u c t e ( see above, nn . 49 and 6 7 ) , as w e l l as t h e andante o f t h e Symphony i n D ( see " C h r o n i q u e m u s i c a l e , " A thF 4 [10 F e b r u a r y 1 8 5 5 ] : 1 2 4 ) . 9 4 A r t h u r H u t c h i n g s , " The Keyboa rd M u s i c , " i n The Moza r t Compan ion, e d . H. C. Robb i n s Landon and Dona ld M i t c h e l l ( London ! R o c k l i f f , 1956; r e p r i n t e d . , w i t h c o r r e c t i o n s , New Y o r k : W. W. N o r t o n , 1 9 6 9 ) , p. 6 3 . 95 H a r d i n g , Gounod, p. 88 . 96 JD f e u i l l e t o n o f 28 O c t o b e r 1893. 97 Rey M. L o n g y e a r , N i n e t e e n t h - C e n t u r y R o m a n t i c i s m i n M u s i c , 2d e d . , P r e n t i c e - H a l l H i s t o r y o f M u s i c S e r i e s (Eng lewood C l i f f s , N . J . : P r e n t i c e - H a l l , 1 9 7 3 ) , p. 211 . 9 8 D e s c r i b e d by Ado lphe J u l l i e n i n " R e y e r i n t i m e d ' a p r e s des l e t t r e s i n e d i t e s , " La Revue m u s i c a l e 5 (1 J a n u a r y 1 9 2 4 ) : 1 7 . 461 99 " C ' e s t p l e i n d ' i d e e s , ma i s c ' e s t f . . t u comme q u a t ' s o u s . " Quoted by Reyer i n t h e JD f e u i l l e t o n o f 30 March 1890. 100 A c c o r d i n g t o Henry R o u j o n , I n s t i t u t de F r a n c e . Academie des B e a u x - A r t s . N o t i c e su r l a v i e e t l e s t r a y a u x de M. E r n e s t Reyer ( 1 8 2 3 - 1 9 0 9 ) , membre de 1 ' A cadem ie ( P a r i s : F i r m i n - D i d o t , 1 9 1 1 ) , p. 19 . The P a r i s i a n p r e m i e r e o f Samson e t D a l i 1 a ( E d e n - T h e a t r e , 31 Oc tobe r 1890) was r e v i e w e d by Reyer i n t h e JD f e u i l l e t o n o f 9 November 1890. 1 0 1 "Revue m u s i c a l e , " RP 21 (1 May 1854) :474. Reyer had heard t h e symphony i n M a r c h , and had t a k e n i m p o r t a n t n o t i c e o f i t i n i b i d . , 20 (15 March 1854 ) : 1016 . 1 0 2 JD f e u i l l e t o n o f 14 May 1867 . 1 0 3 I b i d . , 3 J a n u a r y 1867. 104 Rev iewed i n t h e f o l l o w i n g : " C h r o n i q u e de l a q u i n z a i n e : Revue m u s i c a l e , " RP 20 (15 March 1854 ) :1016 ( t h e Symphony i n E - f l a t ) ; JD f e u i l l e t o n o f 3 J a n u a r y 1867 ( a c o n c e r t s p i r i t u e l ) ; i b i d . , 14 May 1867 (two o r c h e s t r a l c o n c e r t s ) ; and i b i d . , 28 December 1868 ( t h e G m ino r P i a n o C o n c e r t o ) . 1 ° 5 JD f e u i l l e t o n o f 19 June 1872 . 1 0 6 I b i d . , 27 F e b r u a r y 1877. 107 i b i d . , 19 December 1877. A c c o r d i n g t o a c o n t e m p o r a r y w r i t e r on m u s i c , t h e s u c c e s s o f Samson a t Weimar was s c a r c e l y men t i oned by F r e n c h c r i t i c s , w i t h t h e e x c e p t i o n o f Reyer ( i b i d . ) , D a l l o z o f t h e J o u r n a l de m u s i q u e , and L. de Fou r caud o f t h e G a u l o i s . See Georges S e r v i e r e s , La Mus ique f r a n g a i s e moderne: Ce s a r F r a n c k ; Edouard L a l o ; J u l e s M a s s e n e t ; E r n e s t R e y e r ; C a m i l l e S a i n t - S a e n s ( P a r i s " : G. Havard f i l s , 1 8 9 7 ) , p. 341n. 108 S a i n t - S a e n s ' s E t i e n n e M a r c e l was p r e m i e r e d a t Lyons on 8 F e b -r u a r y 1879 , and was so w e l l r e c e i v e d t h a t i t h e l d t h e s t a g e f o r t h i r t y s u c c e s s i v e p e r f o r m a n c e s . E x c e r p t s f r o m t h i s o p e r a were app lauded i n P a r i s at c o n c e r t s o f P a s d e l o u p and C o l o n n e i n 1879 and 1880. ( Fo r e x a m p l e , t h e I n t r o d u c t i o n , t h e b a l l e t , and t h e f i n a l e o f A c t I were p r e s e n t e d at two s u c c e s s i v e C o n c e r t s du C h a t e l e t ; see R e y e r ' s r e v i e w i n t h e JD f e u i l l e t o n o f 30 November 1879 . ) As we o b s e r v e d i n C h a p t e r V I I I , a pro-Wagner movement began t o d e v e l o p i n P a r i s d u r i n g t h e e a r l y 1880s . I ndeed , Reyer once remarked t h a t Wagner and B e r l i o z " t i e n n e n t 1 ' a f f i c h e avec l e p l u s de s u cce s au C i r q u e - d ' H i v e r [ C o n c e r t s P a s d e l o u p ] comme au C h a t e l e t [ C o n c e r t s C o l o n n e ] . " ( I b i d . , 29 J a n u a r y 1882 . ) 109 Reyer c h a r a c t e r i z e d La P r i n c e s s e j a u n e as "une oeuv re f i n e , e l e g a n t e , c o l o r e e , " i n wh i ch t h e composer " p a s s e du s t y l e j a p o n a i s au s t y l e h a b i t u e l de 1 ' O p e r a - C o m i q u e . " He o b s e r v e d s e n s i b l y : "M . C a m i l l e 462 S a i n t - S a e n s n ' a u r a i t pas c h o i s i . . . un a u s s i p e t i t c a d r e que c e l u i de l a P r i n c e s s e j a u n e . . . pour se m o n t r e r l e p a r t i s a n z e l e d ' u n sy s teme nouveau e t p r o voque r une d i s c u s s i o n s e r i e u s e . II e s t p l u s h a b i l e que c e l a e t b i e n mieux a v i s e . " ( I b i d . , 19 June 1872. ) A f t e r h e a r i n g Le T imbre d ' a r g e n t , Reyer p o i n t e d out t h a t S a i n t -Saens had made some " c o n c e s s i o n s au gout p a r i s i e n . " The rumor t h a t t h e composer n e v e r t h e l e s s r ema ined " e n t a c h e de w a g n e r i s m e , " Reyer o b s e r v e d s a r d o n i c a l l y , " s e r e p e t a i t dans l e s c o u l o i r s , t o u t en f r e d o n n a n t q u e l -ques unes des p l u s f a c i l e s m e l o d i e s du j e u n e m a T t r e : l e choeu r c a r n a -v a l e s q u e e t l a chanson n a p o l i t a i n e de S p i r i d i o n , par e x e m p l e . " ( I b i d . , 27 F e b r u a r y 1877 . ) 1 1° I b i d . , 30 March 1890 ( r e v i e w o f A s c a n i o ) . See a l s o t he f o l l o w -i n g r e v i e w s i n i b i d . : 11 March 1883 (Hen ry V I I I ) ; 25 O c t o b e r 1884 ( E t i e n n e M a r c e l ) ; 27 March 1887 ( P r o s e r p i n e ) ; 9 November 1890 and 27 November 1892 (Samson e t D a l i l a at t h e E d e n - T h e a t r e and t h e Opera r e s p e c t i v e l y ) . H I I b i d . , 27 November 1892. 1 1 2 I b i d . , 30 March 1890. Of a l l t h e ope ra s by S a i n t - S a e n s t h a t were s t a g e d a t P a r i s d u r i n g t h e p e r i o d o f R e y e r ' s a c t i v i t y as c r i t i c , o n l y one e scaped t he p u b l i c ' s c h a r g e o f Wagner i sm: P h r y n e , a t w o - a c t o p e r a com ique . See R e y e r ' s r e v i e w o f t h e p r e m i e r e o f " c e t t e j o l i e p e t i t e p a r t i t i o n " ( i b i d . , 27 May 1 8 9 3 ) . 113 »|\|ourri de f o r t e s e t u d e s , seconde par une i n t e l l i g e n c e hor s l i g n e e t pa r des a p t i t u d e s m e r v e i l l e u s e s , i l a pu t o u t app rend re e t t o u t s ' a s s i m i l e r . Sa memoire d e f i e t o u t e s l e s s u r p r i s e s : . . . i l n ' e s t pas un p r e l u d e , pas une f u gue de Bach q u ' i l n ' a i t r e t e n u s e t q u ' i l ne p u i s s e e x e c u t e r ; i l connaTt R i c h a r d Wagner comme B e e t h o v e n ; M o z a r t e t B e r l i o z n ' o n t p l u s r i e n a l u i r e v e l e r . " ( I b i d . , 27 F e b r u a r y 1877. ) H 4 I b i d . , 8 September 1867. 115 He admi red t h e T a r e n t e l l e as one o f S a i n t - S a e n s ' s most a s t o n -i s h i n g d e m o n s t r a t i o n s o f h i s m a s t e r y o f c o u n t e r p o i n t - - " u n de ces t o u r s de f o r c e a u x q u e l s l e s savans m u s i c i e n s se p l a T s e n t q u e l q u e f o i s , e t q u i s on t doub lement r e u s s i s l o r s q u ' i l s p l a T s e n t a t o u t l e monde. " ( I b i d . , 14 May 1867 . ) See a l s o t h e f o l l o w i n g s a m p l i n g o f r e v i e w s i n i b i d . : 8 September 1867 ( t h e c a n t a t a Le s Noces de P r o m e t h e e ) ; 19 June 1872 ( L a P r i n c e s s e j a u n e ) ; 27 J a n u a r y 1880 ( t h e c h o r a l work L a L y r e e t l a H a r p e ) ; and 30 March 1890 ( A s c a n i o ) . 116 I b i d . , 9 November 1890 ( r e p e a t e d v e r b a t i m i n h i s r e v i e w o f t h e O p e r a ' s p r o d u c t i o n , i b i d . , 27 November 189TT Apropos o f t he i n s t r u -m e n t a t i o n o f t h e work as a w h o l e , Reyer w r o t e : "I I m ' a r r i v e , en e c o u t a n t ce que l a f l u t e e t l e c o r a n g l a i s murmurent , d ' o u b l i e r l e s j e u x de scene e t l e d i a l o g u e des v o i x . Te l t r a i t de v i o l o n en s o u r d i n e s me r a v i t , e t j e me pame au s o u p i r p r o l o n g e d ' u n e no te de 463 c l a r i n e t t e ou de c o r . Je d o i s b i e n des j o u i s s a n c e s de ce gen re a B e r l i o z e t a Weber; j ' e n d o i s b i e n q u e l q u e s -unes a u s s i a M. C a m i l l e S a i n t - S a e n s . " ( I b i d . , 9 November 1890 and 27 November 1892) I* 7 For e x a m p l e , i n A c t IV o f Henry V I I I Reyer d i s c e r n e d t h e i n -f l u e n c e o f f i r s t Gounod and then Wagner: t h e k i n g ' s c a n t a b i l e amoroso " A n n e , ma b i e n a i m e e ! " r em inded him o f He rmosa ' s romanza "Tu t r o u v e s done que ce n ' e s t pas a s s e z " i n Gounod ' s Le T r i b u t de Zamora; and , i n t h e q u a r t e t wh i ch f o l l o w s t h e c a n t a b i l e amoroso, t h e pas sage f r o m E m ino r t o E m a j o r r e c a l l e d f o r Reyer "une p r o g r e s s i o n a d m i r a b l e " i n the "marche r e l i g i e u s e " i n A c t I I o f L o h e n g r i n . ( I b i d . , 11 March 1883. ) Reyer a g a i n heard Wagner i n a r e c u r r i n g ph ra se o f A s c a n i o , and Gounod i n an accompaniment f o r bas soon i n P h r y n e . ( I b i d . , 30 March 1890 and 27 May 1893 r e s p e c t i v e l y . ) Pa s sages i n Ph ryne and i n two o t h e r o p e r a s r em inded Reyer o f B e r -l i o z and Weber: t h e unusua l peda l i n t h e s e c o n d - a c t t r i o o f Ph r yne r e -c a l l e d f o r him t h e peda l i n t h e s e p t e t o f B e r l i o z ' s Les T r o y e n s ( i b i d . ) ; he sensed "un s o u f f l e de Weber" i n t h e duet o f Conrad and H e l e n e i n A c t I I I o f Le T imb re d ' a r g e n t ( i b i d . , 27 F e b r u a r y 1 8 7 7 ) ; and whenever he hea rd t he m o t i f o f t h e " E n t r e e des Bohemiens " i n the b a l l e t o f E t i e n n e M a r c e l he r e c o l l e c t e d t h e p s e u d o - T u r k i s h theme wh i ch b e g i n s t he f i n a l e o f A c t I I I o f Oberon ( i b i d . , 30 November 1879 and 25 O c t o b e r 1 8 8 4 ) . 1 1 8 I b i d . , 30 March 1890. 1 1 9 I b i d . , 11 March 1883 and 25 O c t o b e r 1884. 1 2° I b i d . , 11 March 1883. 121 I b i d . , 9 November 1890 and 27 November 1892. Much o f t he mus i c wh i ch Reyer f ound most e f f e c t i v e i n t h i s o p e r a b e l o n g s t o D a l i l a : t h e s e d u c t i v e m e l o d i e s i n A c t I; he r a r i a - - " d e v e n u c l a s s i q u e a u j o u r d ' h u i " — at t h e b e g i n n i n g o f A c t I I ; t he l o v e duet wh i ch she i n i t i a t e s w i t h "Mon c o e u r s ' o e u v r e a t a v o i x " ; and her c a n o n i c duet w i t h t he H i gh P r i e s t i n A c t I I I . Reyer was a l s o imp re s s ed by some o f t h e c h o r a l numbers , e s p e c i a l l y t h e Hebrews ' o p e n i n g c ho r u s o f l a m e n t a t i o n , t h e i r r e p l y t o Samson ' s a s s u r a n c e s o f d e l i v e r a n c e , t h e c h o r u s sung by t h e maidens t o t h e v i c t o r i o u s Samson, a n d - - i n A c t I l l — t h e P h i l i s t i n e s ' t r i u m p h a n t "Dagon se r e v e l e . " 122 I b i d . , 9 November 1890 and 27 November 1892 . 123 i b i d . , 30 March 1890. 124 Apropos o f t h e V a r i a t i o n s s u r un theme de B e e t h o v e n , see i b i d . , 29 J u l y 1875. R e y e r ' s h i n t t h a t he knew t h e C a r n a v a l des animaux a p p e a r s i n h i s r e v i e w o f P h r y n e : t h e c r i t i c i n s i s t e d t h a t , i n t h i s o p e r a c om ique , S a i n t - S a e n s d i d not a t t e m p t t o be " d r o l e comme i l l ' a e t e dans c e r t a i n e s p l a i s a n t e r i e s m u s i c a l e s que ses i n t i m e s c o n n a i s s e n t b i e n " ( i b i d . , 27 May 1 8 9 3 ) . 464 . ! 25 T n e A m i n o r C e l l o C o n c e r t o s t r u c k Reyer as b e i n g s u p e r b l y s u i t e d t o t h e s o l o i n s t r u m e n t : " . . . n ' a y a n t pas e t e e c r i t pour f a i r e b r i l l e r l a v i r t u o s i t e de 1 ' e x e c u t a n t , on n ' y t r o u v e r i e n de ce qu i a l t e r e , de ce qu i d e f i g u r e l e c a r a c t e r e du p l u s n o b l e e t du p l u s p o e t i q u e des i n s t r u m e n s . " ( I b i d . , 28 J a n u a r y 1878 . ) He p r a i s e d t he C m i n o r P i a n o C o n c e r t o as " [ u n e ] o e u v r e m a g i s t r a l e , savamment t r a i t e e , . . . o e u v r e p e r s o n n e l l e a u s s i , degagee de t o u t e f o r m u l e s c o l a s t i q u e " ( i b i d . , 9 November 1 875 ) . In h i s r e v i e w o f t h e S u i t e a l g e r i e n n e Reyer app l auded S a i n t - S a e n s f o r c a p t u r i n g t h e c a c h e t o f Arab mus i c w i t h o u t b o r r o w i n g a u t h e n t i c m o t i f s ( c f . h i s comments on t h e n a t u r e o f t h e e x o t i c i s m i n B i z e t ' s D j a m i l e h , p. 424 and n. 1 4 7 ) . Reyer d e s c r i b e d two p i e c e s i n t h e S u i t e a l g e r i e n n e - - " R h a p s o d i e mauresque " and " R e v e r i e du s o i r " - - a s " v e r i t a b l e s c h e f s - d ' o e u v r e de c o u l e u r e t de p o e s i e . " ( I b i d . , 15 J a n u a r y 1881. ) The p r e m i e r e s o f S a i n t - S a e n s ' s f i r s t t h r e e symphonic poems were r e v i e w e d by Reyer i n i b i d . : 1 November 1872 (Le Rouet d ' O m p h a l e ) ; 13 December 1873 ( P h a e t o n ) ; and 29 J a n u a r y 1875 (Danse m a c a b r e ) . S a i n t -S a e n s ' s f o u r t h and l a s t symphon ic poem, La J e u n e s s e d ' H e r c u l e ( 1 8 7 7 ) , i s no t men t i oned i n R e y e r ' s c r i t i c a l w r i t i n g s . 1 2 6 I b i d . , 9 November 1890 and 27 November 1892. 1 2 7 The i n f l u e n c e o f Meyerbeer i s s t r o n g i n Henry V I I I , a c c o r d i n g t o H a r d i n g ( S a i n t - S a e n s , p . 163) and Cooper ( F r e n c h M u s i c , p . 4 4 ) . Bo th Henry V I I I and E t i e n n e M a r c e l d e a l w i t h h i s t o r i c a l s u b j e c t s . The p l o t s o f P r o s e r p i n e and A s c a n i o a r e f i c t i o n a l , b u t , as Cooper p o i n t s o u t , t h e h i s t o r i c a l backg round s a re " amp l y d e t a i l e d " ( i b i d . ) . In Samson e t D a l i l a , as i n g rand o p e r a , we f i n d s p e c t a c u l a r crowd s c e n e s , p r o c e s -s i o n s , and d a n c e s . 1 2 8 As A l f r e d E i n s t e i n o b s e r v e d , " B e n e a t h t h e . . . s u r f a c e o f t h e work , t h e r e f l o w hundreds o f c u r r e n t s . " G l u c k , H a n d e l , M e y e r b e e r , and Mas senet were among t h e composers whose i n f l u e n c e E i n s t e i n d i s c e r n e d i n t h i s o p e r a . See M u s i c i n t h e Romant i c E r a (New Y o r k : W. W. N o r t o n , 1 9 4 7 ) , p. 260. 1 2 y See Jean B o n n e r o t , C. S a i n t - S a e n s : s a v i e e t son o e u v r e ( P a r i s : A. Durand e t f i l s , 1 9 1 4 ) , p p . 108 , 124, and 136 (ap ropos o f Henry V I I I , P r o s e r p i n e , and A s c a n i o r e s p e c t i v e l y ) ; A r t h u r H e r v e y , S a i n t - Saens (New Y o r k : Dodd Mead & C o . , 1922 ; r e p r i n t e d . , W e s t p o r t , Connec -t i c u t : Greenwood P r e s s , 1 9 7 0 ) , pp . 55 and 67 ( E t i e n n e M a r c e l and A s c a n i o ) ; and H a r d i n g , S a i n t - S a e n s , p p . 162-63 and 176 (Henry V I I I and A s c a n i o ) . 130 on 5 and 6 May 1878, S a i n t - S a e n s c o n d u c t e d Samson e t D a l i l a "comme un o r a t o r i o " a t c o n c e r t s o f t h e Grande -Ha rmon ie o f B r u s s e l s . (See S e r v i e r e s , Mus ique f r a n g a i s e , p. 3 46 . ) Reyer o u t l i n e d t he l o n g h i s t o r y o f Samson when t h e work was s t a g e d at t h e E d e n - T h e a t r e and a g a i n when i t was p roduced at t h e O p e r a , bu t on n e i t h e r o c c a s i o n d i d he m e n t i o n t h e p e r f o r m a n c e s a t B r u s s e l s . (See t h e JD f e u i l l e t o n s o f 9 November 1890 and 27 November 1892. ) 465 1 3 1 I b i d . , 9 November 1890 and 27 November 1892. 1 3 2 We s h o u l d t a k e no te o f t h e l a r g e o r c h e s t r a l f o r c e m a r s h a l l e d f o r Samson: i n a d d i t i o n t o t h e s t r i n g s and t h e u sua l woodwinds , t h e composer u t i l i z e d a t h i r d f l u t e , a c o r a n g l a i s , a bass c l a r i n e t , a d o u b l e b a s s o o n , f o u r h o r n s , two t r u m p e t s , two c o r n e t s , t h r e e t r o m b o n e s , a bass t u b a , two o p h i c l e i d e s , two h a r p s , t h r e e k e t t l e d r u m s , a bass drum, c y m b a l s , a t r i a n g l e , a g l o c k e n s p i e l , c r o t a l e s , c a s t a n e t s made o f wood and i r o n , a tambour de b a s q u e , and a t am- t am. 1 3 3 S e v e r a l a u t h o r i t i e s on S a i n t - S a e n s ' s mus i c r e g a r d L e R o u e t d ' O m p h a l e , Danse macabre , and t h e l i t t l e - k n o w n Phaeton as b e i n g t h e c o m p o s e r ' s b e s t symphonic poems and among h i s f i n e s t o r c h e s t r a l w o r k s . (See H a r d i n g , S a i n t - S a e n s , p p . 1 21 - 24 ; C o o p e r , F r e n c h M u s i c , p. 2 0 ; and S e r v i e r e s , Mus ique f r a n g a i s e , pp . 3 0 4 - 5 , 307-9.") The S u i t e a l g e r i e n n e , on t h e o t h e r hand , i s one o f t h e c o m p o s e r ' s " o e u v r e s d ' o r c h e s t r e d ' u n e v a l e u r s e c o n d a i r e " ( S e r v i e r e s , S a i n t - S a e n s , Les MaTt re s de l a mus ique [ P a r i s : F e l i x A l c a n , 1 9 2 3 ] , p. 1 2 8 ) . R e y e r ' s p r e f e r e n c e f o r t h e S u i t e may have been due l a r g e l y t o h i s f o ndne s s f o r A l g e r i a , where he had s pen t s e v e r a l y e a r s o f h i s y o u t h . 1 3 4 H a r d i n g s u c c i n c t l y c h a r a c t e r i z e s t h e T h i r d as " t h i s monumental a t t e m p t at g r a n d i o s e u t t e r a n c e by a man whose n a t u r a l bent was f o r w i t r a t h e r t h a n p a s s i o n . " ( S a i n t - S a e n s , p. 172 . ) 135 S e r v i e r e s , S a i n t - S a e n s , p. 135 . 1 3 6 See e s p e c i a l l y t h e r e v i e w s o f La P r i n c e s s e j a u n e and Ph ryne (JD f e u i l l e t o n s o f 19 June 1872 and 27 May 1 8 9 3 ) . H a r d i n g b e g i n s h i s d i s c u s s i o n o f La P r i n c e s s e j a u n e by s p e c u l a t i n g t h a t " had S a i n t - S a e n s chosen t o c u l t i v a t e h i s undoubted g i f t f o r o p e r e t t a i t i s p r o b a b l e t h a t h i s s t a g e w o r k s , i n s t e a d o f l a n g u i s h i n g on d u s t y s h e l v e s as t h e y do now, wou ld c o n t i n u e t o e n t e r t a i n a p p r e c i a t i v e a u d i e n c e s . " ( S a i n t - S a e n s , p. 119. ) 1 3 7 P au l Henry Lang , M u s i c i n Wes te rn C i v i l i z a t i o n (New Y o r k : W. W. N o r t o n , 1 9 4 1 ) , p. 928. 1 3 8 NG, s . v . " G o u n o d , " p. 585 . l 3 y W i l l i a m S. Newman, The S o n a t a S i n c e B e e t h o v e n , 2d ed . (New Y o r k : W. W. N o r t o n , 1 9 7 2 ) , p. 528. 1 4 0 JD f e u i l l e t o n o f 11 March 1883 ; see above, p. 417 . 1 4 * Coope r , F r e n c h M u s i c , p. 2. I 4 2 The f i r s t was Les P e c h e u r s de p e r l e s , wh i ch was p r e m i e r e d on 20 September 1863 and ran f o r o n l y e i g h t e e n p e r f o r m a n c e s , c l o s i n g on 23 November. D u r i n g t h e e a r l y 1860s , as we may r e c a l l , t h e r e was a h i a t u s 466 i n R e y e r ' s c a r e e r as c r i t i c ; he t h e r e f o r e d i d not r e v i e w B i z e t ' s o p e r a . B e r l i o z , t hen c r i t i c o f t h e 3D, r e v i e w e d Les Pecheu r s de p e r l e s i n h i s l a s t f e u i l l e t o n (8 O c t o b e r 1 8 6 3 ) . R e y e r ' s o p p o r t u n i t y t o d i s c u s s B i z e t ' s o p e r a came t w e n t y - s i x y e a r s l a t e r , when the work was s t aged a t Monte C a r l o ( i b i d . , 3 March 1 8 8 9 ) . 143 Among t h e " m e r i t e s " w h i c h Reyer p r a i s e d was B i z e t ' s knowledge o f h i s a r t : "Quand l a s c i e n c e m u s i c a l e n ' a p l u s eu de s e c r e t s pour l u i , i l a demande a 1 ' e t u d e des g rands m a l t r e s c e t t e n o u r r i t u r e f o r t e e t v i v i f i a n t e sans l a q u e l l e l e s i n t e l l i g e n c e s , meme l e s p l u s s u p e r i e u r e s , f i n i s s e n t par s ' e t i o l e r e t s ' e t e i n d r e . " ( I b i d . , 6 J a n u a r y 1868 . ) 144 i b i d . 145 i b i d . 146 see C u r t i s s , B i z e t , pp . 322-23 and 325 . As we have n o t e d , S a i n t - S a e n s ' s La P r i n c e s s e j a u n e - - p r e m i e r e d at t h e Opera -Comique a month a f t e r D j a m i l e h - - w a s a l s o a s s a i l e d by rumors t h a t t h e composer had been i n f l u e n c e d by t h e mus ic o f Wagner. 14? Reyer e x p l a i n e d t h a t t h e s c o r e was " l a v r a i e mus ique o r i e n t a l e " i n t h e sense t h a t i t was n a t i v e mus i c " t e l l e que l ' o n t c o m p r i s e . . . ceux q u i , e t a n t a l l e s dans l e pays meme, en ont r a p p o r t e des s o u v e n i r s . E l l e e s t v r a i e non pa r 1 ' i m i t a t i o n de c e r t a i n s e f f e t s d ' i n s t r u m e n s s u i g e n e r i s , non par l ' e m p l o i d ' u n e gamme t o u t e d i f f e r e n t e de l a n o t r e , ma i s b i e n par l ' a c c o m -pagnement q u ' e l l e f a i t au paysage que n o t r e i m a g i n a t i o n evoque ou au t a b l e a u q u i pa s se sous nos y e u x . C ' e s t une v e r i t e un peu de c o n v e n t i o n , un peu h a b i l l e e s i l ' o n v e u t , ma i s une v e r i t e qu i t i e n t compte de l a d e l i c a t e s s e de nos o r e i l l e s e t de l a n a t u r e des s e n s a t i o n s m u s i c a l e s a u x q u e l l e s nous sommes h a b i t u e s . " (JD f e u i l l e t o n o f 31 May 1872) 148 i b i d . In R e y e r ' s o p i n i o n , t h i s " v o l o n t e " was m a n i f e s t e d by a r e f u s a l t o make c o n c e s s i o n s t o t h e p u b l i c t a s t e : "Non v r a i m e n t vous ne t r o u v e r e z dans l a p a r t i t i o n de D j a m i l e h n i v i e i l l e s f o r m u l e s f o r t g ou tee s n i b a n a l i t e s t o u j o u r s t r e s a p p l a u d i e s . " He s u p p o r t e d h i s a s s e r -t i o n by p o i n t i n g ou t t h a t t he mus i c f o r S p l e n d i a n o , t he c o m i c a l s e r v a n t , was f r e e o f t h e b u f f o e l ement wh i ch t h e p u b l i c l o v e d . 149 I b i d . , 10 O c t o b e r 1872 . 150 T r a n s l a t e d by C u r t i s s , B i z e t , p. 339 . 151 JD f e u i l l e t o n o f 17 November 1872 . 152 Namely , V i c t o r i n de J o n c i e r e s i n L a L i b e r t e , t he poe t Theodore de B a n v i l l e i n Le N a t i o n a l , Reyer i n t h e J_D, and Johannes Weber i n 467 Le Temps, a c c o r d i n g t o W in ton Dean, B i z e t , 3d r e v . e d . , The Ma s t e r M u s i -c i a n s S e r i e s ( London : J . M. Dent & Son s , 1975 ) , pp . 119 -20 . 1 5 3 JD f e u i l l e t o n o f 14 March 1875. 154 Most c r i t i c s were p r o n o u n c i n g t h e l i b r e t t o t oo immoral and b r u t a l f o r t h e s t a g e . Reyer c o u n t e r e d by d e c l a r i n g t h a t t he l i b r e t t i s t s had " t e m p e r e " M e r i m e e ' s s u p p o s e d l y obscene s t o r y t o such a deg ree t h a t he f e l t f r e e t o r e t e l l i t "meme dans l e s c o l o n n e s de ce j o u r n a l , " and he p r oceeded t o do so at l e n g t h . He a l s o admi red t h e l i b r e t t i s t s f o r h a v -i n g " b i e n t e m p e r e " t h e c h a r a c t e r o f t h e h e r o i n e w i t h o u t d e s t r o y i n g " c e p i q u a n t r e l i e f q u ' e l l e a dans l e roman, e t qu i e x p l i q u e s u f f i s a m m e n t au l e c t e u r i n t e l l i g e n t l a p a s s i o n de don J o s e . " To c r i t i c s and o t h e r l i s t e n e r s who had been s c a n d a l i z e d by t h e murder o f t h e h e r o i n e - - a f t e r a l l , murder had neve r b e f o r e been seen on t h e s t a g e o f "un a s i l e su r pour l e s f a m i l i e s l e s p l u s p u r i t a i n e s " - - R e y e r r e p l i e d t h a t " i l f a l l a i t b i e n p u n i r l e v i c e , ne pouvant pas recompense r l a v e r t u . " E q u a l l y p e r c e p t i v e was h i s e x p l a n a t i o n o f why t h e l i b r e t -t i s t s had a l t e r e d t h e l o c a l e o f t h i s denouement: t h e a u d i e n c e had t o be a s s u r e d t h a t j u s t i c e would q u i c k l y be done t o Ca rmen ' s m u r d e r e r ; t h e r e -f o r e t h e c u r t a i n r o s e not on M e r i m e e ' s " g o r g e s o l i t a i r e " but r a t h e r on " l e v o i s i n a g e du c i r q u e , " so t h a t t h e a u d i e n c e c o u l d see "une h o n o r a b l e compagn ie d ' a l c a d e s e t de c o r r e g i d o r s . " ( I b i d . ) 155 such a n i m p r e s s i o n i s g i v e n by t h e f o l l o w i n g pa r a g r aph i n R e y e r ' s r e v i e w : "M. B i z e t , ap re s D j a m i l e h , s ' e s t mi s a r e f l e c h i r s u r l a d i f f i c u l t y de f a i r e a p p r e c i e r par l e p u b l i c l e s d e l i c a t e s s e s d ' u n e oeuv re f i n e , d i s t i n g u e e e t ayant une c e r t a i n e s a veu r p o e t i q u e . Et a l a s u i t e de ces r e f l e x -i o n s i l a e c r i t l a p a r t i t i o n de Carmen. Ce p r e a m b u l e , d ' a i l l e u r s t r e s c o u r t , nous d i s p e n s e d ' e t a b l i r l a mo i nd r e c o m p a r a i s o n e n t r e Carmen e t D j a m i l e h . " ( I b i d . ) 156 i b i d . 157 i b i d . The habane ra was based on " E l A r r e g l i t o ou l a Promesse de m a r i a g e " by t h e S p a n i s h - A m e r i c a n composer S e b a s t i a n Y r a d i e r . B i z e t had a p p a r e n t l y m i s t a k e n i t f o r a f o l k s o n g ; when i t s a u t h o r s h i p was p o i n t e d ou t he men t i oned t h e d e r i v a t i o n i n a no te t o t he f i r s t e d i t i o n o f t h e v o c a l s c o r e , wh i ch appeared a week a f t e r t h e p r e m i e r e (Dean, B i z e t , pp . 229 and 1 2 0 ) . Reyer e v i d e n t l y knew about t h e d e r i v a t i o n o f t he habane ra e i t h e r f r o m t h e no te on t h e v o c a l s c o r e , o r f r om Y r a d i e r ' s c o l l e c t i o n F l e u r s d ' E s p a g n e ( p u b l i s h e d by Heugel i n 1 8 6 4 ) , o r f r om t h e o r i g i n a l p u b l i c a -t i o n o f t h i s s ong , wh i ch was a d v e r t i s e d as e a r l y as 1863 on t h e l a s t page o f Le M e n e s t r e l 30 (4 J a n u a r y 1 8 6 3 ) . S u b s c r i b e r s t o t he "mus i que de c h a n t " o f f e r e d by t h i s p e r i o d i c a l r e c e i v e d " E l A r r e g l i t o " w i t h t h e n e x t i s s u e (11 J a n u a r y 1 8 6 3 ) . 468 1 5 8 JD f e u i l l e t o n o f 14 March 1875. Reyer p a r t i c u l a r l y l i k e d " c e d e l i c i e u x d i a l o g u e de c l a r i n e t t e e t de b a s s o n " i n t h e e n t r ' a c t e p r e c e d -i n g A c t I I . T h i s e n t r ' a c t e , t h e s m u g g l e r s ' march i n A c t I I I , and t he p r o c e s s i o n wh i ch b e g i n s A c t I V — a l l were i n c l u d e d i n R e y e r ' s e n u m e r a t i o n o f " l e s morceaux . . . l e s mieux r e u s s i s . " 159 i b i d . Du L o c l e r e v i v e d Carmen i n November 1875, j u s t s i x months a f t e r B i z e t ' s d e a t h . The a tmosphere i n t h e t h e a t r e was heavy w i t h m o u r n i n g — a s i s e v i d e n t i n R e y e r ' s r e v i e w ( i b i d . , 21 November 1 8 7 5 ) — a n d t h e work was p e r f o r m e d o n l y t h i r t e e n t i m e s . 160 One such demand f r o m Reyer began : "Carmen se j o u e p a r t o u t a l ' e t r a n g e r , e t p a r t o u t c e t t e cha rmante p a r t i t i o n o b t i e n t l e p l u s g rand s u c c e s . II n ' y a pas q u ' a P a r i s q u ' o n ne l a j o u e p a s , q u ' o n ne l a j o u e p l u s . " ( I b i d . , 12 November 1882. ) 1 6 1 See i b i d . , 29 A p r i l 1883. 1 6 2 I b i d . 163 i b i d . Reyer was not y e t c a p t i v a t e d by t h e s c o r e o f Carmen, but he p ronounced t h e l i b r e t t o "un des p l u s amusans, des mieux c o n s t r u i t s e t des p l u s i n t e r e s s a n s qu i s o i e n t au r e p e r t o i r e de l a s a l l e F a v a r t [ i . e . , T h e a t r e de 1 ' O p e r a - C o m i q u e ] . " 164 i b i d . , 10 November 1883 . 165 I b i d . Reyer compared t h e i n t e r p r e t a t i o n s o f t h e two s i n g e r s who had appeared i n t h e t i t l e r o l e i n p r o d u c t i o n s o f Carmen a t t he Comique: t h e m e z z o - s o p r a n o G a l l i - M a r i e , who had c r e a t e d t h e r o l e i n 1875 and was s i n g i n g i t i n t h e c u r r e n t r e v i v a l ; and t h e soprano A d e l e I s a a c , t h e Carmen o f t h e A p r i l 1883 r e v i v a l . He l e f t no doubt t h a t he r e g a r d e d G a l l i - M a r i e as " l a v r a i e Ca rmen . " 166 i b i d . , 24 May 1885 . 167 See t h e f o l l o w i n g JD f e u i l l e t o n s : 13 June 1875 ( o b i t u a r y o f B i z e t ) ; 29 A p r i l 1883 ( r e v i e w o f C a r v a l h o ' s f i r s t r e v i v a l o f Ca rmen ) ; and 15 November 1885 ( r e v i e w o f t h e r e v i v a l o f L ' A r l e s i e n n e a t t he Odeon) . 168 i b i d . , 13 June 1875. 169 Reyer s i n g l e d ou t t h e f o l l o w i n g p e r s o n s : C a r v a l h o , who had encou raged B i z e t ' s " d e b u t s " by c o m m i s s i o n i n g and p r e m i e r i n g t h r e e works ( Le s P e c h e u r s de p e r l e s , La J o l i e F i l l e de P e r t h , and L ' A r l e s i e n n e ) ; P a s d e l o u p , who had g i v e n B i z e t ' s mus i c a p l a c e on h i s c o n c e r t p r og r ams ; and du L o c l e , who had p r e m i e r e d D j a m i l e h and had both commis s i oned and p r e m i e r e d Carmen. ( I b i d . ) 469 170 I b i d . 171 See t h e d i s c u s s i o n s o f La J o l i e F i l l e de P e r t h i n C u r t i s s , B i z e t ( p p . 175 and 2 1 1 - 1 4 ) , and i n Dean, B i z e t (pp .T77-85). 1 7 2 Dean, B i z e t , p. 199 . 173 JD f e u i l l e t o n o f 31 May 1872 ; see t h e l o n g e r q u o t a t i o n g i v e n above , p. 424 . 174 i b i d . 175 i n a l e t t e r t o h i s f r i e n d Edmond G a l a b e r t , B i z e t no ted t h a t s e v e r a l members o f t h e p r e s s had been " v e r y warm" t owa rd D j a m i l e h . He added : "What p l e a s e s me more t han t h e o p i n i o n s o f a l l t h e s e gen t l emen i s t h e a b s o l u t e c e r t a i n t y o f h a v i n g f ound my way. I know what I am d o i n g . " ( T r a n s l a t e d by C u r t i s s , B i z e t , p. 325 . ) Dean ag rees t h a t " m u s i c a l l y D j a m i l e h i s h i s f i r s t r e a l l y matu re work " ( B i z e t , p. 1 9 8 ) , and M a r t i n Cooper d e s c r i b e s i t as " h i s f i r s t c o m p l e t e l y o r i g i n a l work , h i s own i n i t s f a i l i n g s as w e l l as i n i t s f e l i c i t i e s . " (Georges B i z e t [ L ondon : O x f o r d U n i v e r s i t y P r e s s , 1 9 3 8 ] , p. 8 7 . ) 176 C u r t i s s , B i z e t , p. 4 02 . 177 As a y o u t h , Reyer l i v e d f o r s e v e r a l y e a r s i n A l g e r i a ; as mus i c c r i t i c o f t h e ^ D , he went t o C a i r o f o r t h e w o r l d p r e m i e r e o f ATda i n 1871 , and was so f a s c i n a t e d by Egypt t h a t he spent months t r a v e l l i n g around t h e c o u n t r y ( see t h e JD f e u i l l e t o n s o f 16 J a n u a r y and 17 F e b r u a r y 1 8 7 2 ) . Reyer r e t u r n e d t o P a r i s a few weeks b e f o r e t he p r e m i e r e o f D j a m i l e h . In h i s r e v i e w o f t h i s work he f o n d l y r e c a l l e d t h a t he had o f t e n s a t f o r hour s "dans un c a f e t u r c , " s p e l l b o u n d by n a t i v e m u s i c i a n s p l a y i n g Arab mus i c ( i b i d . , 31 May 1 8 7 2 ) . 178 Dean, B i z e t , p. 2 02 . 179 F a u s t i s a lways pe r f o rmed w i t h t h e r e c i t a t i v e s p r o v i d e d by Gounod i n 1860, and modern s c h o l a r s u s u a l l y c l a s s i f y t h i s work as an o p e r a l y r i q u e . We s h o u l d however remember t h a t t h e o r i g i n a l v e r s i o n — w h i c h Reyer r e v i e w e d — c o n t a i n e d spoken d i a l o g u e , and was t h e r e f o r e an o p e r a com ique . 180 A r e c e n t e f f o r t i n t h i s v e i n was M a s s e n e t ' s Don C e s a r de B a z a n , w h i c h was p r a i s e d by many c r i t i c s but not by Reye r . He f e l t t h a t i t had been w r i t t e n s o l e l y " p ou r f l a t t e r l e gout du p u b l i c , " and he c h i d e d t h e composer f o r h a v i n g r e l i e d on "de s r e m i n i s c e n c e s empruntees au r e p e r -t o i r e n a t i o n a l d ' Y r a d i e r e t de G a s t a m b i d e . " (JD f e u i l l e t o n o f 13 Decem-be r 1872 . ) 181 I b i d . , 29 A p r i l 1883; see t h e l o n g e r e x c e r p t g i v e n above, p. 428 . 470 i o Y T r a n s l a t e d by C u r t i s s , B i z e t , p. 401. The e x c e r p t i s f rom the r e v i e w o f t he p r e m i e r e o f Carmen by t h e mus i c c r i t i c o f La P a t r i e , M. de Themines (pseudonym o f A c h i l l e de L a u z i e r e s , Ma rqu i s de T h e m i n e s ) . 1 8 3 we m a y r e c a l l t h a t t h e v o c a l numbers admi red by Reyer i n 1875 were not t h e s o l o s , but r a t h e r t h e c h o r u s o f t h e c i g a r e t t e g i r l s , t h e q u i n t e t , t h e d u e t s between Carmen and Don J o s e i n A c t s I and I I , and t h e i r c o n f r o n t a t i o n a t t h e end o f t h e o p e r a ( see above, p. 427). 1 8 4 JD f e u i l l e t o n o f 29 A p r i l 1883; see t h e l o n g e r e x c e r p t g i v e n above , p. 428. 1 8 5 Dean, B i z e t , p. 235. 1 8 6 JD f e u i l l e t o n o f 15 May 1892 ( o b i t u a r y o f L a l o ) . 1 8 7 I b i d . , 19 June 1872. L a l o was a founder -member o f t h e A r m i n g a u d - J a c q u a r d q u a r t e t , one o f t h e chamber mus i c ensembles a c t i v e i n m i d - c e n t u r y P a r i s . In 1866-67 he composed F i e s q u e i n r e s p o n s e t o a com-p e t i t i o n opened by t h e T h e a t r e - L y r i q u e . L a l o ' s t h r e e - a c t g rand o p e r a d i d not win t h e c o m p e t i t i o n ( s ee b e l o w , n. 230), and was neve r p e r -f o r m e d . 1 8 8 I b i d . , 29 December 1872. The f i r s t e x c e r p t - - t h e b a l l e t m u s i c ( D i v e r t i s s e m e n t ) - - " a p rovoque . . . des m a n i f e s t a t i o n s c o n t r a d i c t o i r e s , " a l t h o u g h t h e s e c o n d , wh i ch Reyer d i d no t name, " a t r o u v e g r a c e d e v a n t l e s c l a s s i q u e s l e s p l u s r e n f r o g n e s . " 1 8 9 I b i d . , 8 F e b r u a r y 1874. l y 0 He was p a r t i c u l a r l y i m p r e s s e d by t h e D m ino r C e l l o C o n c e r t o , "un morceau t r e s savamment e c r i t e t t r e s f i n e m e n t i n s t r u m e n t s , m e t t a n t en r e l i e f avec un a r t e t une s o b r i e t e du m e i l l e u r gout l e t a l e n t du v i r t u o s e . " ( I b i d . , 19 December 1877.) See a l s o h i s comments c o n c e r n i n g t h e R h a p s o d i e n o r v e g i e n n e f o r o r c h e s t r a ( i b i d . , 6 November 1887). 1 9 1 I b i d . , 27 F e b r u a r y 1875. 192 T n e o t h e r works l i s t e d by Reyer were : S a i n t - S a e n s ' s Danse macabre and h i s C m ino r P i a n o C o n c e r t o ; M a s s e n e t ' s Scenes d r a m a t i q u e s ; and an anonymous Lamento d e d i c a t e d t o t h e memory o f B i z e t ( i b i d . , 26 December 1875). 1 9 3 I b i d . , 16 J a n u a r y 1877. More t h a n a y e a r l a t e r , t h e o v e r t u r e t o Le Ro i d ' Y s was pe r f o rmed at an o f f i c i a l c o n c e r t g i v e n d u r i n g t h e P a r i s E x p o s i t i o n , and Reyer a g a i n c a l l e d f o r t h e s t a g i n g o f L a l o ' s new o p e r a ( i b i d . , 5 J u l y 1878). I 9 4 Landormy, De F r a n c k a Debus sy , p. 24 . 471 i y b By wh i ch t i m e L a l o had c o m p l e t e l y r e v i s e d i t , s e t t i n g i t i n t h r e e a c t s i n s t e a d o f f i v e , as he e x p l a i n e d i n a l e t t e r w r i t t e n t o Reyer a t t h e t i m e o f t h e p r e m i e r e . E x c e r p t s f r om t h i s l e t t e r a re quoted i n R e y e r ' s r e v i e w o f t h e p r e m i e r e o f Le Ro i d ' Y s (JD f e u i l l e t o n o f 13 May 1 8 8 8 ) . 196 I b i d . , 10 September 1881. L i k e Namouna, R e y e r ' s S a c o u n t a l a (1858) was c h o r e o g r a p h e d by L u c i e n P e t i p a , who f o r many y e a r s was a c t i v e as bo th c h o r e o g r a p h e r and b a l l e t m a s t e r at t h e O p e r a . Reyer c o u l d w e l l imag i ne what t h e c u r r e n t b a l l e t m a s t e r , M e r a n t e , was s a y i n g t o L a l o : "Comment r e g l e r s u r ces c o m p l i c a t i o n s d ' o r c h e s t r e , s u r ces d e s s i n s qu i se h e u r t e n t , qu i se c o n t r a r i e n t , nos p i r o u e t t e s e t nos e n t r e - c h a t s ? E t comment v o u l e z - v o u s que l a p r e m i e r e danseuse b o n d i s s e s i l a g r o s s e c a i s s e ne marque pas l e r y thme au c o r n e t a p i s t o n s ? " 197 i b i d . 198 i b i d . , 12 March 1882. The seven dances s i n g l e d ou t by Reyer we re : " P a s de l a Cha rmeuse , " " V a l s e de l a C i g a r e t t e , " "Danse des F o r -b a n s , " "Danse r o u m a i n e , " " Pa s de l a b o u q u e t i e r e , " " S i e s t e des e s c l a v e s , " and " D i v e r t i s s e m e n t des f l e u r s . " 199 i b i d . , 9 O c t o b e r 1887. Reyer added: " P e u t - e t r e s i on l a r e -e n t e n d a i t a u j o u r d ' h u i , p l u s a t t e n t i v e m e n t , sans p r e v e n t i o n e t sans p a r t i p r i s , t r o u v e r a i t - o n q u ' a p r e s t o u t e l l e e s t d i g n e de f i g u r e r a c o t e de c e r t a i n s ouv r a ge s du meme gen re qu i ne q u i t t e n t pas l ' a f f i c h e de 1 ' O p e r a . " 2 0 0 In 1882, t h r e e a d m i r e r s o f Namoj jna- -Reyer , S a i n t - S a e n s , and M a s s e n e t , a l l o f whom were t h e n members o f t h e Academie des B e a u x - A r t s o f t h e I n s t i t u t — s o u g h t t o c o n s o l e L a l o f o r t h e demise o f t h i s b a l l e t by p r o p o s i n g t h a t i t be awarded t h e P r i x Monb ine . The Academie r e j e c t e d t h e p r o p o s a l , on g rounds t h a t t he p r i z e was " d e s t i n e , en p r i n c i p e , a r ecompense r t o u s l e s deux ans l e m e i l l e u r o p e r a - c o m i q u e recemment r e p r e -s e n t e " (Landormy, De F r a n c k a Debus sy , pp . 3 1 - 3 2 ) . A t some p o i n t , Reyer h i m s e l f went t o see V a u c o r b e i l - - d i r e c t o r o f t h e Opera u n t i l 1 884 - - and t r i e d t o pe r suade him t o r e v i v e Namouna. T h i s i n c i d e n t was r e c a l l e d by t h e c r i t i c i n h i s o b i t u a r y o f L a l o ( J D ' f e u i l l e t o n o f 15 May 1 8 9 2 ) . 2 ° 1 I b i d . , 13 May 1888. He ended t h e pa r a g r aph by d e c l a r i n g t e r s e -l y t h a t t h e s e t s o f Namouna " n ' e x i s t e n t p l u s . " From a c o n t e m p o r a r y s o u r c e we l e a r n t h a t R i t t and G a i l h a r d , who had s u cceeded V a u c o r b e i l as c o - d i r e c t o r s o f t h e Ope ra i n 1884, had c o n v e r t e d t h e s e t s " p o u r s e r v i r de c a d r e au b a l l e t des Deux p i g e o n s [ d ' A n d r e M e s s a g e r ] . " S e r v i e r e s , Mus ique f r a n g a i s e , p. 947) 2 0 2 JD f e u i l l e t o n o f 15 May 1892. 2 0 3 I b i d . , 13 May 1888. 472 204 i b i d . H i s f a v o r i t e example was t h e " t a b l e a u des f i a n g a i l l e s , " i n w h i c h L a l o d e p i c t e d B r e t o n m a r r i a g e cus toms and u t i l i z e d t he w e l l -known f o l k s o n g Nous sommes venus vous v o i r , Madame l a m a r i e e . Reyer p r a i s e d t h e e n t i r e scene as b e i n g " d ' u n e c o u l e u r d e l i c i e u s e , d ' u n e e x q u i s e f r a T c h e u r . " Among t h e o t h e r examples he c i t e d were two pa s sages sung by Rozenn d u r i n g s cenes w i t h her s i s t e r , M a r g a r e d : t h e " d e l i c i e u s e m e l o d i e " w h i c h b e g i n s w i t h t h e words "En s i l e n c e p o u r q u o i s o u f f r i r ? " ( A c t I ) ; and t h e c a n t i l e n a "Que t a j u s t i c e f a s s e t a i r e " ( A c t I I , c o n -f r o n t a t i o n s c e n e ) . 205 i b i d . One o f t h e examples wh i ch Reyer c i t e d t o s u p p o r t h i s s t a t e m e n t c o n c e r n i n g L a l o ' s r e n d e r i n g o f t h e " e p i s o d e s d r a m a t i q u e s " was t h e s i s t e r s ' c o n f r o n t a t i o n s c e n e : " J e n ' a i l o u e que l e c o t e p o e t i q u e du duo des deux femmes; j e d o i s en s i g n a l e r a u s s i l e s pa s sages ou s ' e x h a l e l a f u r e u r j a l o u s e de Margared a c c u s a n t sa s oeu r e t m a u d i s s a n t M y l i o . " Reyer was a l s o imp re s s ed by t h e c o n s p i r a c y scene wh i ch c o n c l u d e s A c t I I , and by t h e s t r i k i n g c o n t r a s t o f t h e " t e r r i b l e s i m p r e c a t i o n s de Karnak e t de M a r g a r e d " and t h e " c h a n t s r e l i g i e u x en tendus dans l a c h a p e l l e pendant l e m a r i a g e de Rozenn e t de M y l i o " i n A c t I I I . 206 I b i d . 207 I b i d . , 15 May 1892. 208 i b i d . , 19 June 1872. 209 S e r v i e r e s , Mus ique f r a n g a i s e , p. 68 . 210 N G , s . v . " L a l o , E d o u a r d ( - V i c t o i r e - A n t o i n e ) , " by Hugh M a c d o n a l d , p. 388 . 211 S t u a r t W a l t e r S h a r p , J r . , "The T w i l i g h t o f F r e n c h Opera L y r i q u e , 1880 -1900 " (D.M.A. d i s s e r t a t i o n , U n i v e r s i t y o f K e n t u c k y , 1 9 7 5 ) , p. 5 1 . 212 S e r v i e r e s , Mus ique f r a n g a i s e , p. 8 1 . 213 JD f e u i l l e t o n o f 15 May 1892. 214 M i c h a e l E. W i l l i a m s o n , " E d o u a r d L a l o : 1 8 2 3 - 1 8 9 2 , " i n The Decca Book o f B a l l e t , e d . Dav id Drew, w i t h an I n t r o d u c t i o n by E r n e s t Ansermet and a S h o r t H i s t o r y o f B a l l e t by A r n o l d L. H a s k e l l ( London : F r e d e r i c k M u l l e r , 1 9 5 8 ) , p. 178. 215 From D e b u s s y ' s a r t i c l e " O p e r a s , " La Revue b l a n c h e , 15 May 1901 ; r e p r i n t e d i n C l a u d e Debussy : " M o n s i e u r C r o c h e " e t a u t r e s e c r i t s , E d i t i o n c o m p l e t e de son oeuv re c r i t i q u e avec une i n t r o d u c t i o n e t des n o t e s pa r F r a n g o i s L e s u r e ( P a r i s : G a l l i m a r d , 1 971 ) , p. 39 . 216 Such as t h e f o l l o w i n g : H. M o r e n o ' s " Sema ine t h e a t r a l e : Namouna," Le M e n e s t r e l 48 (12 March 1 8 8 2 ) : 1 1 5 ; Augu s te V i t u ' s " P r e m i e r e s 473 r e p r e s e n t a t i o n s . O p e r a . - - Namouna, b a l l e t en deux a c t e s e t t r o i s t a b l e a u x , pa r MM. N u i t t e r e t P e t i p a , mus ique de M. Edouard L a l o , " Le F i g a r o , - 7 March 1882, p. 3; and Gas ton S e r p e t t e ' s f e u i l l e t o n i n La P r e s s e , 14 March 1882. 21 7 A f t e r d e s c r i b i n g a f e l l o w - l i s t e n e r ' s o u t r a g e d r e a c t i o n to t h e f a n f a r e m o t i f , Reyer w r o t e : "A ce v o i s i n - l a j ' a v a i s b i e n e n v i e de r e p o n d r e : . . . ce m o t i f h e l l e n i q u e ou i o n i e n , s i p o n t - n e u f , s i v u l g a i r e q u ' i l vous p a r a i s s e , en son e x p r e s s i o n n a t u r a l i s t e , e s t d ' u n e c o u l e u r l o c a l e e x c e l l e n t e , t r e s en s i t u a t i o n e t t r a v a i l l e de main de m a T t r e , avec ses c o n t r e - s u j e t s s i heureusement t r o u v e s , sa cadence f i n a l e s i i n a t t e n d u e . " (JD f e u i l l e t o n o f 12 March 1882) 2 1 8 S e r p e t t e , L a P r e s s e f e u i l l e t o n o f 14 March 1882. V i t u and Moreno were not so r a s p i n g i n t h e i r c r i t i c i s m s , but both were s c a n -d a l i z e d by t h e f a n f a r e , wh i ch Moreno d i s m i s s e d as b e i n g " d ' u n s t y l e i n a d m i s s i b l e su r l a scene de l ' O p e r a . " ( "Namouna, " p. 115; see a l s o V i t u , " P r e m i e r e s r e p r e s e n t a t i o n s , " p. 3). Y e a r s l a t e r , when t h e p o p u l a r i t y o f t h e two o r c h e s t r a l s u i t e s drawn f r om Namouna prompted t h e p u b l i c a t i o n o f t h e o r i g i n a l s c o r e , Reyer p o i n t e d out t h a t t h e s u p p o s e d l y s h o c k i n g " F e t e f o r a i n e " had a lways been e n t h u s i a s t i c a l l y app l auded as t h e c o n c l u d i n g number i n S u i t e No. 1. He added t a r t l y : " I I p a r a T t meme que p l u s i e u r s abonnees de l ' O p e r a ne l e r e c o n n u r e n t pas e t f u r e n t des p l u s z e l e s a T a p p l a u d i r . " (JD f e u i l l e t o n o f 9 O c t o b e r 1887.) 219 I b i d . , 12 March 1882; see t he l o n g e r q u o t a t i o n g i v e n above , p. 438. 220 s e e " S e r g e L i f a r " i n C y r i l W i l l i a m Beaumon t ' s Comp le te Book o f B a l l e t s , r e v . e d . ( London : Putnam, 1949), pp . 982-84. 221 Mary C l a r k e and C lement C r i s p , The B a l l e t G o e r ' s Gu i de (New Y o r k : A l f r e d A. K n o p f , 1981), p. 270. 222 Namely, t h e t o u r i n g Grand B a l l e t du Ma rqu i s de Cuevas (wh i ch p r e s e n t e d i t under t he t i t l e N o i r e t b l a n c ) and the Nouveau B a l l e t de Monte C a r l o . I t e n t e r e d t h e r e p e r t o i r e o f t h e London F e s t i v a l B a l l e t i n 1966. At t h e P a r i s O p e r a , i t " r e m a i n s a heady and t h r i l l i n g e x p e r i -e n c e . " ( I b i d . ) 223 W i l l i a m s o n , " L a l o , " i n D e c c a , p. 179. 224 A r n o l d H a s k e l l , "A S h o r t H i s t o r y o f B a l l e t , " i n i b i d . , p. 8. 225 Landormy, De F r anck a Debus sy , p. 34. 226 S e r v i e r e s , Mus ique f r a n g a i s e , p. 105. As we ob se r ved i n n n . 204 and 205, R e y e r ' s comments on t h i s s cene were v e r y b r i e f . 474 2 2 7 To my know ledge , t h e b e s t a n a l y s i s o f t h i s o p e r a i s t h e c h a p t e r " L a l o ' s Le Ro i d ' Y s " i n S h a r p ' s d i s s e r t a t i o n " O p e r a L y r i q u e , 1 8 8 0 - 1 9 0 0 , " pp . 2 2 3 - 7 3 . My comments a re based l a r g e l y on t h i s s o u r c e . 2 2 8 I b i d . , p. 354. 2 2 9 P a t r i c k J . S m i t h , The Ten th Muse: A H i s t o r i c a l S t u d y o f t h e Opera L i b r e t t o (New Y o r k : A l f r e d A. K n o p f , 1 9 7 0 ) , p. 313. 2 3 0 As p r e v i o u s l y n o t e d , t h e c o m p e t i t i o n was opened by t h e T h e a t r e -L y r i q u e . The j u d g i n g took p l a c e i n 1869, and t he work s e l e c t e d by t h e j u r y was Le M a g n i f i q u e , a o n e - a c t o p e r a by t h e p i a n i s t - c o m p o s e r J u l e s P h i l i p p o t . Seven y e a r s a f t e r t h e demi se o f t h e L y r i q u e , Ph i 1 i p p o t ' s work was p r e m i e r e d at t h e O p e r a - N a t i o n a l - L y r i q u e . Reyer b l u n t l y p r o -nounced t h e p r i z e - w i n n i n g o p e r a "un ouv r a ge sans aucune v a l e u r " (JD f e u i 1 l e t o n o f 18 June 1 8 7 6 ) . Reyer was not t h e o n l y c r i t i c who was d i s a p p o i n t e d by Ph i 1 i p p o t ' s work: Georges S e r v i e r e s r e c a l l e d t h a t Le M a g n i f i q u e " e u t pour r e s u l t a t de d e j u g e r p i t e u s e m e n t l e j u r y de 1869, t a n t l e l i v r e t p a r u t bana l e t l a mus ique m e d i o c r e . " (Mus ique f r a n g a i s e , p. 68 . ) 2 3 1 In L a l o ' s o b i t u a r y , Reyer r e c a l l e d t h a t " c ' e s t p re sque par o r d r e m i n i s t e r i e l que f u t impose l e Ro i d ' Y s au t h e a t r e pour l e q u e l c e t t e o e u v r e e x q u i s e d e v a i t e t r e a l a f o i s un t r e s g rand honneur e t un s i g rand s u c c e s . " (JD f e u i l l e t o n o f 15 May 1892 . ) A l t h o u g h L a l o ' s work was no t an o p e r a com ique , i t was awarded t h e P r i x Monbine ( i d e n t i f i e d above , n. 2 0 0 ) . 2 3 2 I b i d . 2 3 3 Landormy, De F r a n c k a Debus sy , p. 19. 2 3 ^ NG, s . v . " O p e r a , F r a n c e : o p e r a c o m i q u e , " by Winton Dean, p. 579. 2 3 ^ See , f o r e x a m p l e , h i s comments on t h e s t r e n g t h s and weaknes ses o f t h e young M a s s e n e t ' s i n c i d e n t a l mus i c f o r L e c o n t e de L i s l e ' s Les E r i n n y e s (JD f e u i l l e t o n o f 28 May 1 8 7 6 ) , and h i s r e v i e w o f t he f i r s t r e v i v a l o f D e l i b e s ' s S y l v i a ( i b i d . , 26 June 1 8 9 2 ) . When t h i s b a l l e t was p r e m i e r e d i n 1876, Reyer was u n a b l e t o r e v i e w i t , b e c a u s e — a s he r e -c a l l e d i n 1 8 9 2 — " i l n ' e n t r a i t p o i n t dans l a f o n c t i o n que j e r e m p l i s au r e z - d e - c h a u s s e e de ce j o u r n a l de r e n d r e compte des b a l l e t s . " ( I b i d . ) The p r i v i l e g e o f r e v i e w i n g b a l l e t s f o r t h e JD had t r a d i t i o n a l l y be l onged t o t h e drama c r i t i c . In 1880, however , t h i s p r i v i l e g e was s e e m i n g l y t r a n s f e r r e d t o R e y e r , who d e v o t e d h i s f e u i 1 l e t o n o f 12 December t o W i d o r ' s b a l l e t La K o r r i g a n e . L a l o ' s Namouna, t he nex t b a l l e t p r e m i e r e d a t t h e O p e r a , was a l s o r e v i e w e d by R e y e r . A few months a f t e r t h i s p r e -m i e r e , Reyer e x p l a i n e d t o h i s r e a d e r s t h a t he had r e q u e s t e d and been g r a n t e d t h e p r i v i l e g e o f r e v i e w i n g "de s evenemens c h o r e g r a p h i q u e s " becau se " 1 ' i m p o r t a n c e de l a mus ique d a n s a n t e augmen ta i t . . . e t t e n d a i t a d e v e n i r s ymphon i que . " ( I b i d . , 2 J u l y 1882 . ) 475 236 L o n g y e a r , N i n e t e e n t h - C e n t u r y R o m a n t i c i s m , p. 262 . 237 A d o l p h e B o s c h o t , Chez l e s m u s i c i e n s (du x v i i i e s i e c l e a nos j o u r s ) , 3 v o l s . ( P a r i s : P l o n - N o u r r i t , L 1 9 2 2 - 2 6 J ) , 2 :106 . R e y e r ' s s up -p o r t o f c o n t e m p o r a r y F r ench composer s was app l auded a l s o by h i s b i o g -r a p h e r s : see J u l l i e n ( R e y e r , p. 9 4 ) , and Hen r i d i C u r z o n , E r n e s t R e y e r , sa v i e e t ses o e u v r e s (1823 -1909) ( P a r i s : P e r r i n , 1 9 2 4 ) , pp . 2 10 - 22 . 238 j p f e u i l l e t o n o f 14 May 1881 . 239 such as h i s f r e q u e n t e x p r e s s i o n s o f d i s t r e s s o ve r t he i g n o r i n g o f w i n n e r s o f t h e P r i x de Rome a f t e r t h e i r r e t u r n t o P a r i s . See t h e f o l l o w i n g JD f e u i l l e t o n s : 16 November 1867 ; 16 March 1869 ( c o n c e r n i n g E r n e s t G u i r a u d ) ; 29 J u l y 1871 ; 17 May 1873; 13 F e b r u a r y 1878; 6 November 1887 ( r e g a r d i n g Gu s t a ve C h a r p e n t i e r ) ; 8 A p r i l 1888; 6 November 1894; and 12 June 1898. 240 i b i d . , 18 May 1872. 476 CHAPTER X CONCLUSION For n e a r l y f o r t y y e a r s — f r o m 1852, when h i s f i r s t s i g n e d a r t i c l e appea red i n t h e Revue de P a r i s , u n t i l t h e l a t e 1880 s , when he began t o c u r t a i l h i s a c t i v i t i e s as f e u i l l e t o n i s t e o f t h e J o u r n a l des D e b a t s — E r n e s t Reyer was one o f t h e most p r o g r e s s i v e mus i c c r i t i c s i n F r a n c e . W i th w i t and i n s i g h t he de fended t h e i n n o v a t o r s , c a l l e d a t t e n t i o n t o t h e young and t h e unknown, and p r o c l a i m e d t h e m u s i c a l v a l u e o f c o u n t l e s s o l d and new works wh ich s u f f e r e d n e g l e c t , i n d i f f e r e n c e , m i s u n d e r s t a n d i n g , o r h o s t i l i t y . Of c o u r s e , l i k e any c r i t i c , he had h i s l i m i t a t i o n s : he was not as p e r c e p t i v e a j u d g e o f c o n c e r t mus i c as o f o p e r a and o t h e r t h e -a t r i c a l g e n r e s ; a n d — p e r h a p s because he was employed by F r e n c h p u b l i c a -t i o n s — h e was p r e o c c u p i e d w i t h c o n t e m p o r a r y F rench compose r s , t o t h e v i r t u a l e x c l u s i o n o f a l l f o r e i g n e r s e x c e p t Wagner. Yet i f t h e r e was much mus i c wh i ch Reyer e i t h e r d i d not know o r d e l i b e r a t e l y r e f r a i n e d f r o m d i s c u s s i n g , at l e a s t he f o c u s e d h i s c r i t i c a l a t t e n t i o n s on t he gen re s wh i ch he b e s t knew and u n d e r s t o o d . The t h e a t r e was R e y e r ' s w o r l d ; but w i t h i n i t he was a g r e a t man, and somet imes he saw beyond i t . H i s w r i t i n g s on t h e a t r i c a l and n o n - t h e a t r i c a l g en re s a l i k e show him t o be a c u l t u r e d i n d i v i d u a l who t h o u g h t s e r i o u s l y and h o n e s t l y about t h e mus i c he r e v i e w e d , and who knew h i s b u s i n e s s w e l l , s i n c e he h i m s e l f was a composer . In mus i c one must be a b l e t o " r e c o n n a T t r e l e b e a u , p a r t o u t ou i l e s t " — t h i s i s pe rhaps t h e c e n t r a l a r t i c l e o f R e y e r ' s " p r o f e s s i o n de 477 f o i , " 1 f o r i t r e c u r s a g a i n and a g a i n i n h i s w r i t i n g s . When we c o n s i d e r h i s 1 i t e r a r y oeuv re as a w h o l e , we f i n d r e v e a l e d w i t h s t u n n i n g c l a r i t y no t o n l y t h i s t e n e t but a l s o t h e many o t h e r f a c e t s o f h i s c r i t i c a l p e r -s o n a l i t y : h i s f o ndne s s f o r t h e p o e t i c and t h e p i c t u r e s q u e ; h i s use o f i m a g i n a t i v e and f i c t i o n a l d e v i c e s as an a i d t o c r i t i c a l a rgument , as i n t h e w r i t i n g s o f Weber, Schumann, and B e r l i o z ; h i s i r r e p r e s s i b l e w i t and h i s B e r l i o z i a n i r o n y ; h i s c a p a c i t y f o r bo th e n t h u s i a s m and i n d i g n a t i o n ; h i s d i s d a i n f o r m e d i o c r i t y , whe the r i t be i n c o m p o s i t i o n o r p e r f o r m a n c e ; h i s i n t e n s e d i s s a t i s f a c t i o n w i t h t h e commerc i a l and o f f i c i a l a s p e c t s o f m u s i c a l l i f e , e s p e c i a l l y as r e g a r d s P a r i s i a n l y r i c t h e a t r e s ; h i s c o n -tempt f o r academic dogma; and h i s r e s p e c t f o r new mus i c as w e l l as o l d . Above a l l , we f i n d h i s t e c h n i c a l c o m p e t e n c e — o r , r a t h e r , h i s p r o f e s s i o n -a l u n d e r s t a n d i n g o f m u s i c — a n d h i s i n t e l l e c t u a l i n t e g r i t y , wh i ch m o t i -v a t e d him t o " r e c o n n a T t r e l e b e a u " w i t h o u t h y p o c r i s y and w i t h o u t p a r t i p r i s . The many f a c e t s o f t h i s e x t r a o r d i n a r y c r i t i c a l p e r s o n a l i t y a r e r e f l e c t e d i n p r o s e w h i c h , f o r f a c i l i t y and n e a t n e s s , f o r e l e g a n c e and u n f o r c e d g r a c e , app roache s t h a t o f B e r l i o z and o t h e r F r ench c r i t i c s a p p r e c i a t e d f o r t h e i r w r i t i n g s t y l e , such as J u l e s J a n i n and T h e o p h i l e G a u t i e r . I f Reyer r anked some o f B e r l i o z ' s e s s a y s on t he a r t o f G l u c k , S p o n t i n i , and Bee thoven as b e i n g among t h e m a s t e r p i e c e s o f F r ench mus i c c r i t i c i s m , we can say t h e same o f many o f R e y e r ' s w r i t i n g s on Weber, B e r l i o z , and Wagner, as w e l l as h i s p o i g n a n t f a n t a s y " H i s t o i r e d ' u n m u s i c i e n " and r e v i e w o f t h e p r e m i e r e o f G o u n o d ' s F a u s t . We m igh t add t h a t R e y e r ' s S o u v e n i r s d ' A l l e m a g n e i s a w o r t h y complement t o B e r l i o z ' s e a r l i e r Voyage m u s i c a l en A l l e m a g n e e t en I t a l i e . 478 W i l l i a m A p t h o r p , a n i n e t e e n t h - c e n t u r y Amer i c an c r i t i c , admi red what he c h a r a c t e r i z e d as " t h e F rench s t y l e o f s o - c a l l e d p e r s o n a l c r i t i c i s m ; where t h e c r i t i c . . . g i v e s h i s own o p i n i o n s f o r what t h e y a re w o r t h , and f i g h t s f o r h i s own i d e a s . " T h i s manner i s e x e m p l i f i e d not o n l y by t h e w r i t i n g s o f B e r l i o z , J a n i n , and G a u t i e r , but a l s o by t h o s e o f R e y e r . He spoke not as an i n f a l l i b l e j u d g e d e c i d i n g ex c a t h e d r a whethe r a work was good or b ad , but r a t h e r as someone who m igh t be d i s c u s s i n g a f a v o r i t e s u b j e c t , f r e q u e n t l y l e a v e n i n g m u s i c a l i n s t r u c t i o n w i t h a n e c -d o t e s and w i t t i c i s m s . By s p e a k i n g f o r no one but h i m s e l f , Reyer was a b l e t o p l a c e h i s i d e a s i n t h e s t r o n g e s t p o s s i b l e l i g h t , and t h i s h e l p s make h i s w r i t i n g t r u l y a l i v e and s u g g e s t i v e . I t o b v i o u s l y made p e o p l e t h i n k — e s p e c i a l l y about G l u c k , B e r l i o z , Wagner, and many an o b s c u r e c o n t e m p o r a r y F r e n c h composer . And mak ing p e o p l e t h i n k i s , t o quo te A p t h o r p , " p e r h a p s t h e v e r y b e s t t h i n g t h a t any c r i t i c i s m can d o . " 2 The i n f l u e n c e o f B e r l i o z i s a g a i n a p p a r e n t i n R e y e r ' s c r i t i c a l t h o u g h t and p r a c t i c e . He founded h i s app roach t o c r i t i c a l w r i t i n g on t h r e e f undamen ta l p r i n c i p l e s o f c r i t i c i s m w h i c h we f i n d e x e m p l i f i e d i n t h e w r i t i n g s o f B e r l i o z : p r o f e s s i o n a l u n d e r s t a n d i n g o f m u s i c , i n t e l l e c -t u a l i n t e g r i t y , and t h e c o n s i s t e n t a p p l i c a t i o n o f an a e s t h e t i c . W i th r e g a r d t o o p e r a — t h e genre upon w h i c h R e y e r , l i k e B e r l i o z , f o c u s e d most o f h i s a t t e n t i o n — h i s a e s t h e t i c i s s t r i k i n g l y s i m i l a r t o t h a t o f t h e o l d e r c r i t i c , f o r each man v i ewed drama as t he e s s ence o f o p e r a , and each c o n s e q u e n t l y made t h e i m p l i c a t i o n s o f t h e drama h i s o v e r r i d i n g c o n -c e r n when a s s e s s i n g any a s p e c t o f o p e r a t i c c o m p o s i t i o n o r p e r f o r m a n c e . 3 F i n a l l y , Reyer championed many o f B e r l i o z ' s c a u s e s . S i n c e he s ha red w i t h h i s d i s t i n g u i s h e d c o l l e a g u e t h e c o n v i c t i o n t h a t a s c o r e s h o u l d be 479 p e r f o r m e d as w r i t t e n , he a t t a c k e d t h e t a m p e r i n g s o f c o n d u c t o r s , s i n g e r s , and o t h e r a r t i s t s , as w e l l as such t r a v e s t i e s as C a s t i l - B l a z e ' s Rob i n des b o i s . He s t r u g g l e d t o pe r s uade h i s r e a d e r s t o r e c o g n i z e t he good and t h e b e a u t i f u l i n G l u c k , S p o n t i n i , and " a u t h e n t i c " Weber; and he sought a t t e n t i o n a l s o f o r p r o m i s i n g F r e n c h composer s o f h i s g e n e r a t i o n . Apropos o f one o f t h e n i n e t e e n t h - c e n t u r y p i o n e e r s o f m u s i c o l o g y and m u s i c j o u r n a l i s m , P e t e r B loom has w r i t t e n : " I n some ways I b e l i e v e i t i s f a i r t o s ay t h a t F r a n g o i s - J o s e p h F e t i s l i v e d t o o l o n g . " 4 The same may be t r u e o f R e y e r , f o r , as we s h a l l see i n t h e pages t h a t f o l l o w , h i s ma jo r b a t t l e s as a c r i t i c were l a r g e l y o ve r by t h e l a t e 1880 s . In 1858, when t h e r e were rumors t h a t t h e Opera m igh t r e v i v e a work by G l u ck f o r t h e f i r s t t i m e i n t e n y e a r s , Reyer spoke ou t v i g o r o u s l y i n f a v o r o f such a r e v i v a l . H i s words were l o s t on t h e c o n s e r v a t i v e a d -m i n i s t r a t i o n o f t h e O p e r a , but p r o b a b l y h e l p e d d e c i d e t h e more a d v e n t u r -ous C a r v a l h o t o mount Orphee a t t h e T h e a t r e - L y r i q u e t h e v e r y n e x t y e a r . T h i s , we may r e c a l l , s p a r k e d t h e b r i e f G l u c k i a n r e n a i s s a n c e i n m i d -c e n t u r y P a r i s . The G l u c k C e n t e n a r y i n 1887 a f f o r d e d Reyer a no the r o p p o r t u n i t y t o t r y t o r e k i n d l e i n t e r e s t i n t h e n e g l e c t e d compose r , and he s e i z e d i t w i t h bo th hands , avowing t h a t G l u c k was one o f t h e t h r e e o r f o u r m u s i c i a n s who " p o u v a i e n t r e g a r d e r Moza r t en f a c e . " 6 T h i s p l e a f o r a G l u c k r e v i v a l was foredoomed t o f a i l u r e , because i t came on t he eve o f Wagne r ' s f i n a l t r i u m p h : he had a l r e a d y emerged v i c t o r i o u s on t he p r o -grams o f P a r i s i a n c o n c e r t s o c i e t i e s , and, as Reyer s u r e l y s e n s e d , would soon t a k e t h e c a p i t a l ' s l y r i c t h e a t r e s by s t o r m . The c r e d i t f o r i n s p i r i n g t h e u n d e r t a k i n g o f a c r i t i c a l e d i t i o n o f G l u c k ' s p r i n c i p a l ope ra s b e l o n g s t o B e r l i o z , bu t Reyer c o n s c i e n t i o u s l y 480 f o l l o w e d t h e p r o g r e s s o f t h e e d i t i o n u n t i l he became s e m i r e t i r e d i n 1893. As we have s e e n , he d i d more t han j u s t p r a i s e t h e e f f o r t s o f t h e e d i t o r s : t h r o u g h h i s f e u i l l e t o n he a p p e a l e d on t h e i r b e h a l f f o r a s s i s -t a n c e i n l o c a t i n g two f r a g m e n t s t h a t were m i s s i n g f rom t h e m a n u s c r i p t o f A l c e s t e . Such s u p p o r t f r om t h e mus i c c r i t i c o f t h e Debat s must s u r e l y have c o n t r i b u t e d t o t he s u c c e s s o f t h e s e r i e s , f o r t h i s newspaper was one o f t h e most r e s p e c t e d and w i d e l y r e a d i n n i n e t e e n t h - c e n t u r y F r a n c e . R e y e r ' s e f f o r t s on b e h a l f o f t h e mus i c o f S p o n t i n i and Weber were no t as s u c c e s s f u l as h i s c r u s a d e f o r G l u c k . N e i t h e r h i s p e r s i s t e n t demanding o f a r e v i v a l o f L a V e s t a l e , nor h i s c o n d u c t i n g o f e x c e r p t s f r o m t h i s work at t h e two " f e s t i v a l s " w h i c h he o r g a n i z e d t o honor t h e memory o f B e r l i o z , b r ough t S p o n t i n i ' s m a s t e r p i e c e back t o t he s t a g e o f t h e O p e r a . D u r i n g t h e 1850s and 1860s R e y e r ' s e n t h u s i a s m f o r t he L y r i q u e ' s p r o d u c t i o n s o f W e b e r ' s Obe ron , E u r y a n t h e , Abou Ha s san , and Per F r e i s c h u ' t z d i d not f o s t e r a vogue f o r " a u t h e n t i c " Weber; i n d e e d , a f t e r F r e i s c h ' u t z was w i t hd r awn f rom t h e L y r i q u e ' s r e p e r t o i r e i n 1868, o n l y two y e a r s e l a p s e d b e f o r e t h e Opera r e v i v e d a t r u n c a t e d v e r s i o n f o r use as a c u r t a i n - r a i s e r . R e y e r ' s w r i t i n g s on Weber, r a n g i n g f rom r e v i e w s o f p r o -d u c t i o n s a t t h e L y r i q u e t o c r i t i q u e s o f t h e O p e r a ' s use o f F r e i s c h ' u t z d u r i n g t h e 1870s and 1880s , e m p h a t i c a l l y r emind us t h a t he s ha red w i t h B e r l i o z a c r i t i c a l p o s i t i o n wh i ch h i s i l l u s t r i o u s c o l l e a g u e had been among t h e f i r s t t o e n u n c i a t e : mus i c s h o u l d be pe r f o rmed as w r i t t e n . Fo r R e y e r , as f o r B e r l i o z , t h e c o m p o s e r ' s u t t e r a n c e was above t he t a m p e r i n g o f a r r a n g e r s and p e r f o r m e r s . We can r e a d i l y see t h a t R e y e r ' s e s s e n t i a l a ch i e vemen t s as a cham-p i o n o f t h e mus ic o f B e r l i o z were a c c o m p l i s h e d b e f o r e t h e dawning o f t h e 481 1880s . By t hen t h e p r o - B e r l i o z movement, f o r wh i ch Reyer was l a r g e l y r e s p o n s i b l e , had become w e l l e s t a b l i s h e d : t he two commemorat ive " f e s t i -v a l s " had won l a u r e l s f o r t h e decea sed compose r ; La Damnat ion de F a u s t had been l a u n c h e d on i t s s p e c t a c u l a r c a r e e r ; B e r l i o z ' s o t h e r l a r g e c o n -c e r t works had been s u c c e s s f u l l y b r ough t b e f o r e t h e p u b l i c by Co lonne and P a s d e l o u p ; and t h e s e c o n d u c t o r s had g i v e n L a P r i s e de T r o i e i n c o n -c e r t . I t i s p r o b a b l e t h a t , w i t h o r w i t h o u t R e y e r ' s e f f o r t s , t h e p r o -B e r l i o z movement would e v e n t u a l l y have l e d t o t h e s t a g i n g o f t h i s c o m p o s e r ' s o p e r a s . However, R e y e r ' s c o n t i n u a l l o b b y i n g f o r such p r o d u c -t i o n s d u r i n g t h e 1880s and 1890s s u r e l y h e l p e d b r i n g about both t h e r e v i v a l o f Les T royen s a C a r t h a g e and t h e p r e m i e r e o f La P r i s e de T r o i e s oone r t h a n m i gh t have been e x p e c t e d . R e y e r ' s s t r u g g l e t o g a i n a h e a r i n g f o r Wagne r ' s mus i c c o n t i n u e d l o n g e r t han d i d h i s f i g h t f o r B e r l i o z , because t h e F r a n c o - P r u s s i a n War and Wagne r ' s E i n e K a p i t u l a t i o n were s e r i o u s s e t b a c k s t o the a c c e p t a n c e o f h i s mus i c i n F r a n c e . We canno t but wonder how much l o n g e r t h i s a c c e p t a n c e would have been d e l a y e d i f such men as Reyer and P a s d e l o u p — two o f Wagne r ' s e a r l i e s t F r e n c h champions b e f o r e t h e w a r — h a d no t r ema i ned l o y a l t o h i s cause d u r i n g t h e 1870s . A l t h o u g h e x c e r p t s and e n t i r e a c t s f r o m Wagner ' s works began t o a c h i e v e s u c c e s s on t h e programs o f P a r i s i a n c o n c e r t s o c i e t i e s d u r i n g t h e e a r l y 1880 s , t h e b a t t l e t o e s t a b l i s h h i s mus ic i n F r ance was not f i n a l l y won u n t i l 1887, when Lamoureux p r e m i e r e d L o h e n g r i n a t t he E d e n - T h e a t r e . As we o b s e r v e d i n C h a p t e r V I I I , much o f t h e c r e d i t f o r t h i s p r e m i e r e b e l o n g s t o R e y e r , becau se he had i n s i s t e d f o r decades t h a t , o f a l l Wagne r ' s w o r k s , L o h e n g r i n was t h e one most l i k e l y t o be w e l l r e c e i v e d by t h e F r ench 482 p u b l i c . The a lmos t u n q u a l i f i e d s u c c e s s o f t h i s p r e m i e r e was i ndeed t he b r e a k t h r o u g h wh i ch opened t o Wagner t h e l o n g - c l o s e d doo r s o f t h e Ope ra . Most o f R e y e r ' s e f f o r t s on b e h a l f o f c o n t e m p o r a r y F r e n c h composers were l i k e w i s e o v e r by t h e l a t e 1880 s . Gounod and S a i n t - S a e n s , bo th o f whom owed much t o R e y e r ' s encou ragemen t , were acknowledged as t h e g r e a t -e s t l i v i n g F r ench composer s a t t h e t i m e o f t h e F r a n c o - P r u s s i a n War. D u r i n g t h e y e a r s p r e c e d i n g and f o l l o w i n g t h e war , B i z e t - - s u s t a i n e d l a r g e l y by Reyer and a h a n d f u l o f o t h e r m u s i c i a n s who had f a i t h i n t h e young c o m p o s e r ' s t a l e n t — p e r s e v e r e d t h r o u g h r e p e a t e d f a i l u r e s and p r o -duced t h e two works w i t h wh i ch he t r i u m p h e d p o s t h u m o u s l y : L ' A r l e s i e n n e and Carmen. L a l o , who m igh t have r enounced h i s s c a r c e l y begun c a r e e r had Reyer not t u r n e d t h e l i g h t on t h e unpe r f o rmed F i e s q u e i n 1872, went on t o e n r i c h F r e n c h mus i c w i t h s e v e r a l f i n e o r c h e s t r a l c o m p o s i t i o n s and two o u t s t a n d i n g works f o r t h e s t a g e . To t h i s l i s t o f f o u r i m p o r t a n t composer s who b e n e f i t e d immeasu rab l y f r o m the s u p p o r t o f one o f P a r i s ' s most i n f l u e n t i a l c r i t i c s we must add t he names o f s e v e r a l o t h e r s who were much i n d e b t e d t o h im, p a r t i c u l a r l y a t t he b e g i n n i n g s o f t h e i r c a r e e r s : Ma s s ene t , C h a b r i e r , d ' I n d y , B r uneau , a n d — a b o v e a l l — F r a n c k , whom Reyer h e l p e d r e s c u e f r o m what m i gh t have been t r a g i c o b l i v i o n . As we have o b s e r v e d i n t h e p r e c e d i n g page s , Reyer d e m o n s t r a t e d keen a p p r e c i a t i o n f o r a w ide v a r i e t y o f Romant i c and p o s t - R o m a n t i c compose r s , r a n g i n g f r o m Weber t o B runeau . D u r i n g t h e 1890s , however , t h e aged c r i t i c seems t o have become somewhat s e t i n h i s m u s i c a l ways , inasmuch as he was u n a b l e t o comprehend t h e r a d i c a l t r e n d s i n F rench m u s i c . Fo r e x a m p l e , he o f t e n e x p r e s s e d t he f e a r t h a t many young composers were i n danger o f l o s i n g t h e i r i n d i v i d u a l i t y by b l i n d l y embrac i ng t h e Wagner ian 483 f a i t h ; he d i d not r e a l i z e t h a t t h e y were t r y i n g t o d i s c o v e r new pa th s by t a k i n g t o u n p r e c e d e n t e d ex t r emes Wagne r ' s ha rmon i c e x p e r i m e n t s , r i c h n e s s o f i n s t r u m e n t a t i o n , and d e c l a m a t o r y s t y l e o f v o c a l w r i t i n g . 6 A t t he o p p o s i t e end o f t h e F r ench m u s i c a l s p e c t r u m t h e r e was t he v e r y u n -Wagner ian Debus sy , about whom Reye r m a i n t a i n e d a p r u d e n t s i l e n c e wh i ch can be a t t r i b u t e d t o s hee r b e w i l d e r m e n t at t h e composer who was s t r a y i n g t h e f a r t h e s t f r om t h e m u s i c a l l anguage o f German R o m a n t i c i s m . Reyer was, i n f a c t , q u i t e b a f f l e d by t h e t e n d e n c i e s m a n i f e s t e d by most young F r e n c h composer s d u r i n g t h e c l o s i n g y e a r s o f t h e c e n t u r y . C o n s i d e r t he f o l l o w i n g o u t b u r s t d a t i n g f r o m 1894: . . . j e vous a s s u r e que l ' i d e e m e l o d i q u e e s t de p l u s en p l u s b a n n i e des c o m p o s i t i o n s de 1 ' E c o l e moderne ; e l l e en e s t b a n n i e avec l e meme d e d a i n que 1 ' a c c o r d p a r f a i t . . . M a i s , a i n s i que vous p e u t - e t r e , j e me pe rd s dans ce chaos de d i s s o n a n c e s e t d ' e n c h e v e t r e m e n t s de r y t h m e s , dans ce decha i nement d ' e x t r a v a g a n t e s s o n o r i t e s a u x q u e l s j e sens b i e n que mon o r e i l l e ne s ' h a b i t u e r a j a m a i s . Que d e v i e n n e n t done l e s s a i n e s e t b i e n f a i s a n t e s d o c t r i n e s que l ' o n e n s e i g n e au C o n s e r v a t o i r e ? A u t a n t de v i e i l l e s g u e n i l l e s que l a p l u p a r t des e l e v e s n ' a s p i r e n t q u ' a s e c o u e r . . . . Ma i s i l s on t du t a l e n t , n ' e s t - c e pas? O u i , i l s en o n t , e t b e a u c o u p . 7 Thus we f i n d t h e s e v e n t y - y e a r - o l d R e y e r — w h o had l o n g de fended t r a n s -g r e s s i o n s o f t h e r u l e s f o r t h e sake o f d r a m a t i c e f f e c t — n o s t a l g i c a l l y w o n d e r i n g what was happen i n g t o t h e s e r u l e s . Reyer may have been a c o n s e r v a t i v e i n h i s l a t e r y e a r s , but he n e v e r became a r e a c t i o n a r y , f o r , as he s t a t e d i n t h e e x c e r p t c i t e d above, he r e s p e c t e d t h e t a l e n t s g r ow ing up around h im. One o f t h e most s t r i k i n g p r o o f s o f h i s r e s p e c t i s t h e f a c t t h a t , whenever he was i n P a r i s d u r i n g t h e m u s i c a l season o f 1895 -96 , he made a p o i n t o f a t t e n d i n g a s e r i e s o f c o n c e r t s wh i ch t h e c o - d i r e c t o r s o f t h e Opera o r g a n i z e d "en g rande p a r t i e pour f a i r e c o n n a T t r e l e s j e u n e s , l e s a u d a c i e u x . " ° He had r e s e r v a t i o n s about many o f t h e works he e n c o u n t e r e d at t h e s e c o n c e r t s , but he was not h o s t i l e t oward any o f t h e m - - n o t even toward B r u n e a u ' s e a r l y Requ iem, i n wh i ch we f i n d t h e ha r sh d i s s o n a n c e s and o t h e r b o l d e f f e c t s wh i ch c h a r a c -t e r i z e a l s o h i s contemporaneous o p e r a Le R e v e . 9 R e y e r ' s r e v i e w s o f b o t h Le Reve and L ' A t t a q u e du m o u l i n d e m o n s t r a t e t h a t , i n t h e r e a l m o f o p e r a , h i s c r i t i c a l judgment r e t a i n e d d u r i n g t he 1890s s ometh i ng o f i t s f o r m e r k e e n n e s s , f o r t h e s e r e v i e w s bespeak g r e a t i n t e r e s t i n what would p r ove t o be t h e most s i g n i f i c a n t o p e r a t i c move-ment o f t h e d e c a d e - - t h e movement now known as r e a l i s m o r n a t u r a l i sm.10 C o n s i d e r i n g t h e f a c t t h a t Reyer was t hen r e j o i c i n g i n Wagne r ' s t r i u m p h s a t P a r i s i a n l y r i c t h e a t r e s , we c anno t but app l aud h i s a b i l i t y t o a p p r e -c i a t e s i m u l t a n e o u s l y a new movement wh i ch was, i n many ways , a r e a c t i o n t o Wagner ian mus i c d rama. S u r e l y t h i s i s t h e most v i v i d i l l u s t r a t i o n o f h i s l i f e l o n g f i d e l i t y t o h i s p r i n c i p l e t h a t one must a lways be r e a d y t o " r e c o n n a T t r e l e b e a u . " * * * R e y e r ' s enormous c r i t i c a l oeuv re i s c o m p a r a b l e t o t h a t o f B e r l i o z i n s i z e , a n d — a c c o r d i n g t o two o f h i s c o u n t r y m e n - - i t " c o n t r i b u a pour sa p a r t au r e l e v e m e n t du gout m u s i c a l en F r a n c e dans l e d e r n i e r t i e r s du X I X e s i e c l e . " H However, as we o b s e r v e d at t h e b e g i n n i n g o f t h i s s t u d y , l e s s t h a n t e n p e r c e n t o f t h i s h i g h l y s i g n i f i c a n t c o r p u s o f l i t e r a t u r e has been made a v a i l a b l e i n c o l l e c t e d v o l u m e s . These two c o l l e c t i o n s - -R e y e r ' s Notes de mus ique and t he p o s t h u m o u s l y p r e p a r e d Qua ran te ans de m u s i q u e - - i n c l u d e some o f h i s f i n e s t w r i t i n g s , 12 t>ut many o t h e r i m p o r t a n t t e x t s r ema i n u n s a l v a g e d . The two c o l l e c t i o n s t o g e t h e r o f f e r n o t h i n g on 485 S p o n t i n i , o n l y one f e u i l l e t o n on G l u c k , and one on W e b e r ; * 3 a n d n 0 w can we be c o n t e n t t o r e ad about G o u n o d ' s F a u s t and L a l o ' s Le Ro i d ' Y s bu t no t t h e i r Romeo e t J u l i e t t e and Namouna? C l e a r l y , i t would be o f i n t e r -e s t t o know R e y e r ' s o p i n i o n s on such momentous o c c a s i o n s as t he p r e m i e r e o f L ' E n f a n c e du C h r i s t c o n d u c t e d by i t s compose r , o r t h e P a r i s i a n p r e -m i e r e s o f such d i s t i n g u i s h e d f o r e i g n works as V e r d i ' s AT da and F a l s t a f f , Wagne r ' s L o h e n g r i n , and P u c c i n i ' s L a Boheme, o r t h e f i r s t p e r f o rmance o f D i e Wa l k l i r e i n F r ench at B r u s s e l s . Would we not v a l u e R e y e r ' s w r i t i n g s on many o t h e r s i g n i f i c a n t w o r k s , such as B e r l i o z ' s Romeo e t J u l i e t t e and Requ iem, o r B r u n e a u ' s Le Reve and L ' A t t a q u e du m o u l i n ? Pau l Henry Lang has p r e f a c e d a s e l e c t i o n o f h i s own w r i t i n g s f r o m t h e d e f u n c t New York H e r a l d T r i b u n e w i t h t h e o b s e r v a t i o n t h a t " i d e a s not c o l l e c t e d i n t o a book a re l i k e t h e u n b u r i e d ; t h e y can n e i t h e r l i v e nor d i e . " * 4 The i d e a s o f Reyer have l o n g been f o r g o t t e n because t h e v a s t m a j o r i t y r ema i n i n l i t e r a r y l i m b o , s c a t t e r e d t h r o u g h t h e y e l l o w i n g pages o f more t h a n a dozen p e r i o d i c a l s and newspape r s . The e s s e n t i a l pu rpo se o f t h i s d i s s e r t a t i o n has been t o b r i n g back t o l i f e t h e most s i g n i f i c a n t o f t h e s e i d e a s w h i l e l a y i n g t he f o u n d a t i o n f o r t h e r e s u r r e c t i n g o f t h e o t h e r s by l o c a t i n g h i s w r i t i n g s i n t h e d i v e r s e p u b l i c a t i o n s o f t he n i n e t e e n t h - c e n t u r y F rench p r e s s - - a documenta r y s o u r c e o f monumental p r o -p o r t i o n s wh i ch mus i c h i s t o r i a n s a r e o n l y now mak ing a c o n c e r t e d e f f o r t t o e x p l o r e . But t h e work o f r e s u r r e c t i o n w i l l not be c o m p l e t e u n t i l , as i s b e i n g done f o r B e r l i o z , R e y e r ' s v a s t c r i t i c a l oeuv re i s c o l l e c t e d and r e p r i n t e d , and t hu s made r e a d i l y a c c e s s i b l e . On l y t hen s h a l l we be a b l e t o a p p r e c i a t e f u l l y t h e e x t r a o r d i n a r y man who, f o r n e a r l y f o r t y y e a r s , s u r v e y e d t h e F r e n c h m u s i c a l l a n d s c a p e and d e s c r i b e d i t w i t h wi sdom, i n t e g r i t y , and l i t e r a r y v i r t u o s i t y . 487 Endnotes 1 JD f e u i l l e t o n o f 2 December 1866. R e y e r ' s " p r o f e s s i o n de f o i " was d i s c u s s e d i n C h a p t e r I I I , pp . 118 -20 and 129 - 30 . 2 Quoted i n Max G r a f , Composer and C r i t i c : Two Hundred Y e a r s o f M u s i c C r i t i c i s m (New Y o r k : W. W. N o r t o n , 1946; The N o r t o n L i b r a r y , 1971) , p. 309. 3 The p r i n c i p l e s o f B e r l i o z ' s a e s t h e t i c and t h e c o n s i s t e n c y o f t h e i r a p p l i c a t i o n a re b r ough t ou t w i t h g r e a t c l a r i t y by H. Robe r t Cohen i n " B e r l i o z on t h e Opera ( 1 8 2 9 - 1 8 4 9 ) : A S tudy i n Mu s i c C r i t i c i s m " ( Ph .D . d i s s e r t a t i o n , New York U n i v e r s i t y , 1 9 7 3 ) . 4 P e t e r An thony B l oom, " F r a n g o i s - J o s e p h F e t i s and t h e Revue M u s i c a l e ( 1 8 2 7 - 1 8 3 5 ) " (Ph .D. d i s s e r t a t i o n , U n i v e r s i t y o f P e n n s y l v a n i a , 1972) , p. 417 . 5 JD f e u i l l e t o n o f 4 December 1887. As e x p l a i n e d i n C h a p t e r VI ( n . 3 9 ) , Reyer was a l l u d i n g t o a s t a t e m e n t he had w r i t t e n on t he o c c a s i o n o f t h e c e n t e n a r y o f M o z a r t ' s Don G i o v a n n i e a r l i e r t h a t y e a r . 6 In 1891 he made t h e f o l l o w i n g o b s e r v a t i o n c o n c e r n i n g r e c e n t w i n -n e r s o f t h e P r i x de Rome: "Ces j e u n e s gens s u i v e n t l e c o u r a n t : l a i s s o n s - l e s f a i r e , d o n n o n s - l e u r l e temps de se c a l m e r , e t ne nous v o i l o n s pas l a f a c e . Le p e r i l , d ' a i l l e u r s , n ' e s t pas dans l a t e n t a t i v e e l l e - m e m e , ma i s dans l ' e m p l o i p l u s ou moins h a b i l e des moyens que sa r e a l i s a t i o n e x i g e . Sup-posez un j e u n e m u s i c i e n dont l e s c o n n a i s s a n c e s t e c h -n i q u e s s on t i n s u f f i s a n t e s . . . ; supposez que son i n s t r u m e n t a t i o n ne s o i t pas t o u j o u r s a l a h a u t e u r de son i n s p i r a t i o n . . . ; supposez e n f i n que sa p e r s o n n a l i t e . . . se n o i e dans des c o m b i n a i s o n s , dans des c h i n o i -s e r i e s a u x q u e l l e s l a p r e o c c u p a t i o n d ' e c r i r e ' s e l o n l a f o r m u l e ' d o i t f a t a l e m e n t 1 ' e n t r a T n e r , a l o r s . . . vous ne s e r e z pas e l o i g n e de c o n c l u r e que t ou s l e s e f f o r t s du j e u n e c o m p o s i t e u r n ' o n t a b o u t i , en somme, q u ' a une t e n -t a t i v e t r e s h o n o r a b l e , j e l e veux b i e n , ma i s p a r f a i t e -ment s t e r i l e . " ( I b i d , 21 June 1891) 7 I b i d . , 5 May 1894. 8 I b i d . , 23 November 1895 ( r e v i e w o f t h e f i r s t c o n c e r t ) . Reyer m i s s e d t he second c o n c e r t , wh i ch was a r e p e t i t i o n o f t h e f i r s t , bu t a t t e n d e d t h e t h i r d c o n c e r t as w e l l as t h e f i n a l one ( see i b i d . , 21 December 1895 and 12 A p r i l 1 8 9 6 ) . At t h e s e p e r f o r m a n c e s he heard a 488 v a r i e t y o f mus i c by young compose r s : an e x c e r p t f r om d ' I n d y ' s t h e n -unknown o p e r a F e r v a a l (ment i oned i n n. 28 o f C h a p t e r I X ) ; t he "Cha s se f a n t a s t i q u e " f r o m C a m i l l e E r l a n g e r ' s d r a m a t i c l e g e n d S a i n t J u l i e n 1 ' H o s p i t a l i e r ; B r u n e a u ' s Requ iem; Pau l V i d a l ' s d r a m a t i c l e gend S a i n t G e o r g e s ; and an u n p u b l i s h e d o v e r t u r e by one Eugene M e s t r e s . 9 The Requiem had been c o m p l e t e d i n 1 8 8 8 - - j u s t two y e a r s b e f o r e Le Reve - - and had been p r e m i e r e d a t London by t h e Bach C h o i r . Reyer heard t h e work f o r t h e f i r s t t i m e at t h e C o n c e r t s p i r i t u e l wh i ch c o n c l u d e d t he s e r i e s o f C o n c e r t s de l ' O p e r a ( i b i d . , 12 A p r i l 1 8 96 ) . 1 0 The l o n g v a c a t i o n s t a k e n by Reyer d u r i n g h i s l a s t decade w i t h t h e I^D ( see C h a p t e r I, p. 36) p r e v e n t e d him f r om h e a r i n g more t han a h a n d f u l o f t h e works wh i ch e x e m p l i f y o p e r a t i c r e a l i s m or n a t u r a l i s m : a p a r t f r om Le Reve and L ' A t t a q u e du m o u l i n , he knew o n l y M a s c a g n i ' s C a v a l l e r i a r u s t i c a n a and P u c c i n i ' s La Boheme ( r e v i e w e d i n i b i d . , 23 November 1895 and 26 June 1898 r e s p e c t i v e l y ) . H Pau l Landormy and Jo seph L o i s e l , " L ' I n s t i t u t de F r a n c e e t l e P r i x de Rome: E r n e s t R e y e r , " i n EMDC, I I , 6 : 3553 . 12 N o t a b l y S o u v e n i r s d ' A l l e m a g n e , t h e f i c t i o n a l a r t i c l e " H i s t o i r e d ' u n m u s i c i e n , " t h e 1868 s t u d y o f L o h e n g r i n , t h e o b i t u a r y " H e c t o r B e r -l i o z , " and r e v i e w s o f t h e f o l l o w i n g : Tannh'auser at Wiesbaden ( 1 8 5 7 ) ; t h e p r e m i e r e o f F au s t ( T h e a t r e - L y r i q u e , 1 8 5 9 ) ; a r e v i v a l o f F i d e l i o ( T h e a t r e - I t a l i e n , 1 8 6 9 ) ; C o l o n n e ' s r e v i v a l o f La Damnat ion de Fau s t ( 1 8 7 7 ) ; and P a s d e l o u p ' s p r e m i e r e o f La P r i s e de T r o i e i n c o n c e r t ( 1 8 7 9 ) . See pp . 729-32 i n A p p e n d i x A f o r a c o m p l e t e i t e m i z a t i o n o f t he c o n t e n t s o f bo th Notes de mus ique ( P a r i s : C h a r p e n t i e r , 1875) and Qua ran te ans de mus ique ( P a r i s : C a l m a n n - L e v y , 1 9 0 9 ) . As p r e v i o u s l y i n d i c a t e d , Qua ran te was c o m p i l e d by E m i l e H e n r i o t . 13 R e y e r ' s r e v i e w of t h e p r o d u c t i o n o f E u r y a n t h e a t t h e T h e a t r e -L y r i q u e (1858) and h i s f e u i l l e t o n on t h e G l u c k C e n t e n a r y (1887) were r e p r i n t e d i n Q u a r a n t e . We canno t but r e g r e t t h a t so many o f h i s w r i t -i n g s about t h o s e two composers were o v e r l o o k e d , and t h a t S p o n t i n i was no t r e p r e s e n t e d i n e i t h e r c o l l e c t i o n . Among t h e most r e g r e t t a b l e o m i s -s i o n s a re r e v i e w s o f t h e f o l l o w i n g : t he l a s t n i n e t e e n t h - c e n t u r y r e v i v a l o f La V e s t a l e (Ope r a , 1 8 5 4 ) ; t h e p r e m i e r e o f Oberon i n F r e n c h t r a n s l a -t i o n ( T h e a t r e - L y r i q u e , 1 8 5 7 ) ; t h e L y r i q u e ' s p r o d u c t i o n s o f Rob i n des b o i s and a t r a n s l a t i o n o f F r e i s c h u ' t z (1855 and 1866 r e s p e c t i v e l y ) ; t h e O p e r a ' s p r o d u c t i o n s o f two v e r y d i f f e r e n t t r u n c a t e d v e r s i o n s o f t h e 1841 t r a n s l a t i o n o f F r e i s c h u ' t z ( w i t h r e c i t a t i v e s by B e r l i o z ) as c u r t a i n -r a i s e r s i n 1870 and 1876; t h e r e v i v a l o f I p h i g e n i e en T a u r i d e ( T h e a t r e -L y r i q u e , 1 8 6 8 ) ; and t h e r e v i v a l o f O r f e o ed E u r i d i c e ( S a l l e de l a G a T t e , 1 8 8 9 ) . 14 P a u l Henry Lang , C r i t i c a t t h e Opera (New Y o r k : W. W. N o r t o n , 1 9 7 1 ) , p. 1 2 . 489 BIBLIOGRAPHY Abraham, G e r a l d . A Hundred Yea r s o f M u s i c . 4 t h e d . London: Duck-w o r t h , 1974 . . "The I n f l u e n c e o f B e r l i o z on R i c h a r d Wagner . " Mu s i c and L e t t e r s 5 ( J u l y 1 9 2 4 ) : 2 3 9 - 4 6 . A c h t e r , Mor ton J a y . " F e l i c i e n D a v i d , A m b r o i s e Thomas, and F r e n c h Opera L y r i q u e , 1 8 5 0 - 1 8 7 0 . " Ph.D. d i s s e r t a t i o n , U n i v e r s i t y o f M i c h i g a n , 1972. "Un Au tog r aphe de E. R e y e r . " Le Monde m u s i c a l 21 (30 J a n u a r y 1 9 0 9 ) : [ t h r e e unnumbered p a g e s ] . A f a c s i m i l e o f t h e MS o f " B e r l i o z . - - S o u v e n i r s i n t i m e s , " an a r t i c l e p u b l i s h e d i n 1903 i n Le Monde m u s i c a l . ( Fo r a b i b l i o g r a p h y o f R e y e r ' s c r i t i c a l w r i t i n g s i n p e r i o d i c a l s and newspape r s , see A p p e n d i x A . ) B a k e r ' s B i o g r a p h i c a l D i c t i o n a r y o f M u s i c i a n s . 7 th e d . , c o m p l e t e l y r e -v i s e d by N i c o l a s S l o n i m s k y . New Y o r k : S c h i r m e r Book s ; London: C o l l i e r M a c m i l l a n , 1984. B a r z u n , J a c q u e s . B e r l i o z and t h e Romant i c C e n t u r y . 3d e d . 2 v o l s . New Y o r k : C o l u m b i a U n i v e r s i t y P r e s s , 1969. Beaumont, C y r i l W i l l i a m . Comp le te Book o f B a l l e t s . Rev. e d . London: Putnam, 1949. B e a u n i e r , A n d r e . "Au j o u r l e j o u r : E r n e s t R e y e r . " J o u r n a l des D e b a t s , 12 November 1901. . "Une V i s i t e a M. R e y e r . " Le F i g a r o , 9 March 1903. B e k k e r , P a u l . The O r c h e s t r a . New Y o r k : W. W. N o r t o n , 1936 ; r e p r i n t e d . , The N o r t o n L i b r a r y , 1963. . R i c h a r d Wagner: H i s L i f e i n H i s Work. T r a n s l a t e d by M. M. Bozman. New Y o r k : W. W. N o r t o n , 1931 . B e l l a i g u e , C a m i l l e . " P o u r l e c e n t e n a i r e de R e y e r . " Le F i g a r o , 30 November 1923. . "Revue m u s i c a l e . . . E r n e s t R e y e r . " Revue des Deux Mondes 49 (15 F e b r u a r y 1 9 0 9 ) : 9 3 1 - 3 3 . 490 B e n o i s t , Rene. " L e C e n t e n a i r e de R e y e r . " La Grande Revue 27 (November 1 9 2 3 ) : 3 3 - 6 2 . B e r l i o z , H e c t o r . " . . . C o n c e r t s , c o n c e r t s e t c o n c e r t s . " Rev iew o f t h e p r e m i e r e o f Le S e l a m , by E r n e s t R e y e r . J o u r n a l des D e b a t s , f e u i l l e t o n o f 13 A p r i l 1850. . Grand t r a i t e d ' i n s t r u m e n t a t i o n e t d ' o r c h e s t r a t i o n moderne s . P a r i s : S c h o n e n b e r g e r , 1844. . Les G r o t e s q u e s de l a m u s i q u e . P a r i s : B o u r d i l l i a t , 1854. . The Memoirs o f H e c t o r B e r l i o z . T r a n s l a t e d and e d i t e d by D a v i d C a i r n s . London : V i c t o r G o l l a n c z , 1969; r e p r i n t e d . , 1977. . "Revue m u s i c a l e . . . [ T h e a t r e de l ' O p e r a : ] S a c o u n t a l a ; M. Reyer . . . . " J o u r n a l des D e b a t s , f e u i l l e t o n o f 31 Augus t 1858. . Les S o i r e e s de 1 ' o r c h e s t r e . T e x t e e t a b l i , avec i n t r o d u c t i o n , n o t e s e t c h o i x de v a r i a n t e s , p a r Leon G u i c h a r d . P r e f a c e de Henry B a r r a u d . P a r i s : G r l i n d , 1968. (A vo lume i n t h e p ropo sed f i r s t c o m p l e t e e d i t i o n o f B e r l i o z ' s Oeuvres l i t t e r a i r e s . P r e p a r e d i n c o l l a b o r a t i o n w i t h l e C e n t r e n a t i o n a l de l a r e c h e r c h e s c i e n t i f i q u e [ F r a n c e ] . ) . " T h e a t r e - I t a l i e n . C o n c e r t s de R i c h a r d Wagner. La Mus ique de l ' a v e n i r . " J o u r n a l des D e b a t s , f e u i l l e t o n o f 9 F e b r u a r y 1860. . " . . . T h e a t r e - L y r i q u e . P r e m i e r e r e p r e s e n t a t i o n de MaTt re W o l f r a m , o p e r a en un a c t e de M. M e r y , mus ique de M. Reyer . . . . " J o u r n a l des D e b a t s , f e u i l l e t o n o f 10 June 1854. . " T h e a t r e - L y r i q u e . P r e m i e r e r e p r e s e n t a t i o n de l a S t a t u e , o p e r a en t r o i s a c t e s , de MM. J u l e s B a r b i e r e t C a r r e , mus ique de M. Reyer . . . . " J o u r n a l des D e b a t s , f e u i l l e t o n o f 24 A p r i l 1861 . . " . . . [ T h e a t r e de l ' O p e r a : ] d e r n i e r e s r e p r e s e n t a t i o n s de S a c o u n t a l a , l a mus ique de M. Reyer . . . . " J o u r n a l des D e b a t s , f e u i l l e t o n o f 15 September 1858. . A t r a v e r s c h a n t s . T e x t e e t a b l i , avec no te s e t c h o i x de v a r i -a n t e s , p a r Leon G u i c h a r d . P r e f a c e de J a c q u e s C h a i l l e y . P a r i s : Gru 'nd, 1971 . (A vo lume i n t h e p ropo sed f i r s t c o m p l e t e e d i t i o n o f B e r l i o z ' s Oeuvres l i t t e r a i r e s . P r e p a r e d i n c o l l a b o r a t i o n w i t h l e C e n t r e n a t i o n a l de l a r e c h e r c h e s c i e n t i f i q u e [ F r a n c e ] . ) . Voyage m u s i c a l en A l l e m a g n e e t en I t a l i e . E tudes su r B e e t h o v e n , G l u c k , e t Weber. Me langes e t n o u v e l l e s . 2 v o l s . P a r i s : J u l e s L a b i t t e , 1844; r e p r i n t e d . , Westmead, F a r n b o r o u g h : Gregg I n t e r n a t i o n a l , 1970. 491 B loom, P e t e r A n t h o n y . " F r a n g o i s - J o s e p h F e t i s and t h e Revue M u s i c a l e ( 1 8 2 7 - 1 8 3 5 ) . " Ph.D. d i s s e r t a t i o n , U n i v e r s i t y o f P e n n s y l v a n i a , 1972. 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V o l . 3 : Le C r e p u s c u l e d ' u n r o m a n t i q u e . . . 1842 -1869 . P a r i s : P l o n - N o u r r i t , T 9 T 3 ! . I n s t i t u t de F r a n c e . Academie des B e a u x - A r t s . I n a u g u r a t i o n du monument d ' E r n e s t Reyer a M a r s e i l l e , l e 16 decembre 1934. P a r i s : F i r m i n - D i d o t , 1934 . . M a t t r e s d ' h i e r e t de j a d i s . P a r i s : L i b r a i r i e P l o n , 1944 . . "Un M u s i c i e n de t h e a t r e : R e y e r . " L ' E c h o de P a r i s , 7 J a n u a r y I9T0. . P o r t r a i t s de m u s i c i e n s . 3 v o l s . P a r i s : L i b r a i r i e P l o n , T946 -50 . . " L a V i e de P a r i s : l a B i b l i o t h e q u e de l ' O p e r a . " Le F i g a r o , 20 J a n u a r y 1909. B o u y e r , Raymond. " L a M u s i q u e : E r n e s t R e y e r . L ' i n s p i r a t i o n d e f u n t e d ' E r n e s t Reyer e t sa p l a c e dans l e s metamorphoses r e c e n t e s de l a mus ique f r a n g a i s e g e r m a n i s e e . — L ' a r t p e r s o n n e l e t l e c a r a c t e r e o r i g i n a l d ' u n r o m a n t i q u e m a r s e i l l a i s . - - Un ique a u d i t i o n de 1 a V e s t a l e e t d ' E u r y a n t h e , ses i n i t i a t r i c e s . - - Reyer c r i t i q u e e t p r o p h e t e . " La Revue b l e u e ; r e v u e p o l i t i q u e e t l i t t e r a i r e 47 (6 F e b r u a r y 1 9 0 9 ) : 1 8 7 - 9 0 . B r e n e t , M i c h e l [ M a r i e B o b i l l i e r ] . " L e s F e u i l l e t o n s d ' E r n e s t R e y e r . " Le C o u r r i e r m u s i c a l 13 (15 J a n u a r y 1910) : 5 4 - 5 7 . B r e v a n n e s , R a o u l . " S i g u r d . " M u s i c a 5, Reyer number ( F e b r u a r y 1 9 0 7 ) : 2 2 . 492 B r o g a n , Den i s W. The F r e n c h N a t i o n : From Napo leon t o P e t a i n , 1814 - 1940. London"! 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"Revue m u s i c a l e . T h e a t r e - L y r i q u e : l r e r e p r e s e n t a t i o n de l a S t a t u e , o p e r a comique en t r o i s a c t e s e t c i n q t a b l e a u x , p a r o l e s de MM. M i c h e l C a r r e e t J u l e s B a r b i e r , mus ique de M. E r n e s t Reyer . . . . " La P a t r i e , f e u i l l e t o n o f 16 A p r i l 1861 . F r e d e r i x , G u s t a v e . "Revue m u s i c a l e . Salammbo [de M. E r n e s t R e y e r ] a B r u x e l l e s . " J o u r n a l des D e b a t s , f e u i l l e t o n o f 18 F e b r u a r y 1890. . "Une P r e m i e r e R e p r e s e n t a t i o n a B r u x e l l e s . " Rev iew o f S i g u r d , by E r n e s t R e y e r . J o u r n a l des D e b a t s , 16 J a n u a r y 1884. 496 F r i e d l a n d , Bea . L o u i s e F a r r e n c , 1804 -1875 : Composer , P e r f o r m e r , S c h o l a r . S t u d i e s i n M u s i c o l o g y , n o . 32 . Ann A r b o r , M i c h i g a n : UMI R e s e a r c h P r e s s , 1980. 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( Comp le te c i t a t i o n s o f t h e s e and o t h e r p u b l i s h e d w r i t i n g s by Reyer a r e g i v e n i n Append i x B o f t h i s d i s s e r t a -t i o n . ) . L. A. S. [ L e t t r e s a u t o g r a p h e s s i g n e e s . ] B i b l i o t h e q u e de 1 ' O p e r a , P a r i s . A c o l l e c t i o n o f 269 l e t t e r s , 6 c a r t e s de v i s i t e , and 4 t e l e g r a m s , as w e l l as MSS o f 3 a r t i c l e s . Inasmuch as t h e p r e s e n t s t u d y i s p r i m a r i l y c o n c e r n e d w i t h R e y e r ' s c r i t i c a l w r i t i n g s , I have not f e l t i t n e c e s s a r y t o i n c l u d e he re a c a t a l o g o f h i s p r i v a t e communica-503 t i o n s , bu t have c o n f i n e d m y s e l f t o i t ems c i t e d i n t h i s d i s s e r t a -t i o n : no . 235 . L e t t e r t o a " c h e r a m i " ( C a m i l l e du L o c l e ) , d a t e d " F l o r e n c e , 18 mai 6 5 . " no . 236. 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J u l e s Ma s s ene t . - - Le T r i omphe d ' A p q l l o n par M. L o u i s G a l l e t . - - Deuxieme S o i r e e : A n t i g o n e , t r a g e d i e de S o p h o c l e t r a d u i t par MM. Pau l M e u r i c e e t Augus te V a c q u e r i e , mus ique de M. C a m i l l e S a i n t - S a e n s . " ( T h i s a r t i c l e was pub -l i s h e d as t h e f e u i 1 l e t o n o f t h e J o u r n a l des D e b a t s , 8 Augus t 1897. ) no . 283 . MS a r t i c l e , u n d a t e d , e n t i t l e d " L e t t r e du M i d i . " ( T h i s a r t i c l e was p u b l i s h e d as t h e f e u i ! l e t o n o f t he J o u r n a l des D e b a t s , 16 March 1895. ) R o u j o n , Hen ry . A r t i s t e s e t amis des a r t s . P a r i s : L i b r a i r i e H a c h e t t e , 1912. . I n s t i t u t de F r a n c e . Academie des B e a u x - A r t s . N o t i c e s u r l a v i e e t ~ l e s t r a v a u x de M. E r n e s t Reye r ( 1 8 2 3 - 1 9 0 9 ) , membre de 1'AcademTeT P a r i s : F i r m i n - D i d o t , 1911 . ( F i r s t p u b l i s h e d i n t he J o u r n a l des D e b a t s , 12 November 1911 , s u p p l e m e n t . ) R o u v i e r e , B a l s a n de l a . " E r n e s t Reyer ( 1 8 2 3 - 1 9 0 9 ) . " M u s i c a 8 (March 1 9 0 9 ) : 3 5 - 3 6 . S a i n t - S a e n s , C a m i l l e . E c o l e b u i s s o n n i e r e : n o t e s e t s o u v e n i r s . P a r i s : P i e r r e L a f i t t e , 19TT. . Harmonie e t m e l o d i e . P a r i s : C a l m a n n - L e v y , 1885 . . P o r t r a i t s e t s o u v e n i r s . P a r i s : S o c i e t e d ' E d i t i o n a r t i s -t i q u e , 1900. S c h o n b e r g , H a r o l d C. The L i v e s o f t h e G r e a t Composer s . New Y o r k : W. W. N o r t o n , 1970. 504 Schwab, F r . " C o u r r i e r des Eaux: B a d e . " La F r a n c e m u s i c a l e 29 (13 August 1 8 6 5 ) : 2 5 6 . S cudo , P a u l . L ' A n n e e m u s i c a l e . 3 v o l s . P a r i s : L. H a c h e t t e , 1860 -1862. . De 1 ' i n f l u e n c e du mouvement r o m a n t i q u e s u r l ' a r t m u s i c a l e t du r o l e q u ' a v o u l u j o u e r M. H. B e r l i o z . 1846. R e p r i n t e d i n S c u d o ' s c o l l e c t i o n C r i t i q u e e t l i t t e r a t u r e m u s i c a l e s : p r e m i e r e s e r i e . 3d e d . P a r T s l L. H a c h e t t e , 1856. . "Revue m u s i c a l e . . . La S t a t u e , de M. R e y e r . " Revue des Deux Mondes 33 (1 May 1 8 6 1 ) : 2 2 3 - 2 9 . S e r p e t t e , G a s t o n . " C h r o n i q u e m u s i c a l e . T h e a t r e n a t i o n a l de l ' O p e r a . - - P r e m i e r e r e p r e s e n t a t i o n de Namouna, b a l l e t en deux a c t e s e t t r o i s t a b l e a u x , de MM. N u i t t e r e t P e t i p a , mus ique de M. Ed. L a l o . . . . " La P r e s s e , f e u i l l e t o n o f 14 March 1882. S e r v i e r e s , G e o r g e s . L a Mus ique f r a n g a i s e moderne: C e s a r F r a n c k ; Edouard L a l o ; J u l e s M a s s e n e t ; E r n e s t R e y e r ; C a m i l l e S a i n t - S a e n s . P a r i s : G. Havard f i l s , 1897. . " L e s R e l a t i o n s d ' E r n e s t Reyer e t de T h e o p h i l e G a u t i e r . " Revue d ' H i s t o i r e l i t t e r a i r e de l a F r a n c e , no. 24 ( 1 9 1 7 ) , pp . 6 5 - 7 9 . . Rev iew o f Qua r an te ans de m u s i q u e , by E r n e s t R e y e r . B u i l e t i n f r a n g a i s de l a S. I. M. 5 (15 December 1 9 0 9 ) : 1 0 5 2 - 5 3 . . R i c h a r d Wagner j u g e en F r a n c e . P a r i s : L i b r i a r i e i l l u s t r e e , T887. . S a i n t - S a e n s . Les MaTt re s de l a mu s i que . P a r i s : F e l i x A l c a n , 1923. . " L e s V i s e e s de Wagner su r P a r i s . " La Revue m u s i c a l e 4 , s p e c i a l number (1 O c t o b e r 1 9 2 3 ) : 8 8 - 1 1 0 . S h a r p , S t e w a r t W a l t e r , J r . "The T w i l i g h t o f F r ench Opera L y r i q u e , 1880 -1 9 0 0 . " D.M.A. d i s s e r t a t i o n , U n i v e r s i t y o f K e n t u c k y , 1975. S m i t h , P a t r i c k J . "The m u s i c a l u n d e r g r o u n d : a c o m p a r i s o n o f p i r a t e r e c o r d i n g s . E r n e s t R e y e r : S i g u r d ( 1 8 8 4 ) . " M u s i c a l N e w s l e t t e r 5 (Summer 1 9 7 5 ) : 1 9 - 2 1 . . The Ten th Muse: A H i s t o r i c a l S t udy o f t h e Opera L i b r e t t o . New Y o r k : A l f r e d A. K n o p f , 1970. S o l e n i e r e , Eugene de . " E r n e s t R e y e r . " Le Monde m u s i c a l 15 (15 March 1 9 0 3 ) : 6 9 - 7 0 . 505 S o u b i e s , A l b e r t . H i s t o i r e du T h e a t r e - L y r i q u e : 1851 -1870 . P a r i s : L i b r a i r i e F i s c h b a c h e r , 1899. S o u b i e s , A l b e r t , and C h a r l e s M a l h e r b e . H i s t o i r e de 1 ' O p e r a - C o m i q u e : l a seconde S a l l e F a v a r t . 2 v o l s . P a r i s : L i b r a i r i e Marpon e t F l a m m a r i o n , 1892 , 1893 ; r e p r i n t e d . i n 1 v o l . , Geneva : M i n k o f f , 1978. S p e n c e r , M i c h a e l . " T h e o p h i l e G a u t i e r , mu s i c c r i t i c . " Mus i c and L e t t e r s 49 ( J a n u a r y 1 9 6 8 ) : 4 - 1 7 . S p o e l b e r c h de L o v e n j o u l , C h a r l e s V i c t o r M a x i m i l i e n A l b e r t , V i comte d e . L u n d i s d ' u n c h e r c h e u r . P a r i s : C a l m a n n - L e v y , 1894. Teneo , M a r t i a l . " L e t t r e s i n e d i t e s d ' E r n e s t R e y e r . " La Revue b l e u e ; r e v u e p o l i t i q u e e t l i t t e r a i r e 60 (21 J a n u a r y and 4 F e b r u a r y 1 922 ) : 33 -36 and 6 9 - 7 3 . T i e r s o t , J u l i e n . Un D e m i s i e c l e de mus ique f r a n g a i s e : e n t r e l e s deux g u e r r e s , 1870 -1917 . Les MaTt re s de l a mu s i que . P a r i s : L i b r a i r i e F e l i x A l c a n , 1918. U l r i c h , Homer. Symphonic M u s i c : I t s E v o l u t i o n S i n c e t h e R e n a i s s a n c e . New York and London: C o l u m b i a U n i v e r s i t y P r e s s , 1952. V a l l a s , L e o n . C l a u d e Debussy e t son temps . P a r i s : E d i t i o n s A l b i n M i c h e l , 1958. . La V e r i t a b l e H i s t o i r e de Ce sa r F r a n c k ( 1 8 2 2 - 1 8 9 0 ) . P a r i s : F l a m m a r i o n , 1955. V a p e r e a u , G u s t a v e . D i c t i o n n a i r e u n i v e r s e l des c o n t e m p o r a i n s . 6 t h e d . 2 v o l s . P a r i s : L i b r a i r i e H a c h e t t e , 1892. V i e l , Edmond. " O p e r a N a t i o n a l . O u v e r t u r e . M o s q u i t a l a s o r c i e r e , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. S c r i b e e t G. V a e z , mus ique de M. X a v i e r B o i s s e l o t . " Le M e n e s t r e l 18 (5 O c t o b e r 1 8 5 1 ) : [ 1 - 2 ] . V i n c e n s , C h a r l e s . E l o g e d ' E r n e s t R e y e r , de 1 ' I n s t i t u t , A s s o c i e de 1 ' A cademie des S c i e n c e s , L e t t r e s e t B e a u x - A r t s de M a r s e i l l e . P r ononce en Seance p u b l i q u e de T A c a d e m i e , l e 6 J u i n 1909. M a r s e i l l e : B a r l a t i e r , 1909. V i t u , A u g u s t e . " P r e m i e r e s r e p r e s e n t a t i o n s . O p e r a . — Namouna, b a l l e t en deux a c t e s e t t r o i s t a b l e a u x , pa r MM. N u i t t e r e t P e t i p a , mus ique de M. Edouard L a l o . " Le F i g a r o , 7 March 1882. V o g e l , C h a r l e s . " L e C e n t e n a i r e de R e y e r . " Le J o u r n a l , 1 December 1923 . 506 V u i l l e m i n , L o u i s . " E r n e s t R e y e r , 1823 -1909 . C o n f e r e n c e l u e aux C o n c e r t s - P a s d e l o u p ( O p e r a , 25 n o v e m b r e ) . " Le M e n e s t r e l 82 (3 and 10 December 1920 ) : 469 - 72 and 4 8 1 - 8 3 . V u i l l e r m o z , E m i l e . " L e R e s c a p e . " Rev iew o f Qua ran te ans de m u s i q u e , by E r n e s t R e y e r . Le s Ma rge s , n o . 5 ( J a n u a r y - J u n e 1 9 1 0 ) , p p . 6 0 - 6 6 . Wagner, R i c h a r d . "Une L e t t r e de R i c h a r d Wagner . " L a R e n a i s s a n c e m u s i c a l e 2 (21 May 1 8 8 2 ) : 1 6 5 . . Qua t r e poemes d ' o p e r a s : " l e V a i s s e a u f a n t o m e " ; " Tannh ' a u se r " ; " L o h e n g r i n " ; " T r i s t a n e t I s e u l t " ; p r e c e d e s d ' u n e L e t t r e s u r l a M u s i q u e . T r a n s l a t e d by Pau l Armand C h a l l e m e l - L a c o u r . P a r i s : Me r cu re de F r a n c e , 1941 . ( F i r s t p u b l i s h e d as Q u a t r e poemes d ' o p e r a s t r a d u i t s en p r o s e f r a n g a i s e , p r e c e d e s d ' u n e l e t t r e s u r l a mu s i que . P a r i s : B o u r d i l l i a t , 1861 . ) Wa l s h , T. J . Second Emp i re O p e r a : The T h e a t r e L y r i q u e , P a r i s , 1 8 5 1 - 1870. London: John C a l d e r , 1981 ; New Y o r k : R i v e r r u n P r e s s , 1981 . W a r r a c k , J o h n . C a r l M a r i a von Weber. 2d e d . Cambr i dge : Cambr idge U n i v e r s i t y P r e s s , 1976. . "The M u s i c a l B a c k g r o u n d . " In The Wagner Compan ion, e d i t e d by P e t e r B u r b i d g e and R i c h a r d S u t t o n . New Y o r k : Cambr idge U n i v e r s i t y P r e s s , 1979. Wes te rnhagen , C u r t v o n . Wagner: A B i o g r a p h y . T r a n s l a t e d by Mary W h i t t a l l . 2 v o l s . Cambr i d ge : Cambr idge U n i v e r s i t y P r e s s , 1978. [ W i d o r , C h a r l e s - M a r i e . ] " R e y e r i n t i m e . " Le F i g a r o , 19 J a n u a r y 1909. W o l f f , A l b e r t . " G a z e t t e de P a r i s . T h e a t r e - L y r i q u e : R i e n z i , p a r o l e s e t mus ique de M. R i c h a r d Wagner . " Le F i g a r o , 8 A p r i l 1869. W o l f f , S t e p h a n e . L ' O p e r a au P a l a i s G a m i e r ( 1 8 7 5 - 1 9 6 2 ) . D i s c o g r a p h i e d ' A n d r e L e j e u n e ! P a r i s : depose au j o u r n a l V E n t r ' a c t e , 1962. W o t t o n , Tom S. H e c t o r B e r l i o z . London: O x f o r d U n i v e r s i t y P r e s s , Humphrey M i l f o r d , 1935. Z a f r a n , E r i c . L i b r e t t o t r a n s l a t i o n , n o t e s , and s t o r y s y n o p s i s f o r E r n e s t R e y e r ' s S i g u r d . Pe r f o rmed by Guy C h a u v e t , Andrea G u i o t , e t a l . , c o n d u c t e d by Manuel R o s e n t h a l . P r i v a t e r e c o r d i n g . BJRS 1411 , 1974; t r a n s l a t i o n , n o t e s , and s y n o p s i s c o p y r i g h t 1977 by BJR E n t e r -p r i s e s I n c . 507 APPENDIX A REYER 'S CRITICAL WRITINGS IN NEWSPAPERS AND PERIODICALS G e n e r a l Remarks The f undamen ta l o b s t a c l e t o t h e l o c a t i n g o f R e y e r ' s c r i t i c a l w r i t -i n g s i s our l a c k o f b i b l i o g r a p h i c c o n t r o l o ve r n i n e t e e n t h - and e a r l y t w e n t i e t h - c e n t u r y F r ench newspapers and p e r i o d i c a l s . As H. Robe r t Cohen has p o i n t e d o u t , d e t a i l e d i n d e x i n g o f such p u b l i c a t i o n s " i s t he e x c e p -t i o n r a t h e r t han t h e r u l e , " and, t h e r e f o r e , t h e s c h o l a r w i s h i n g t o r e t r i e v e s p e c i f i c i n f o r m a t i o n f r om a g i v e n s o u r c e "must s i m p l y r e s i g n h i m s e l f t o t u r n i n g l i t e r a l l y hundreds i f not t hou s and s o f pages i n o r d e r t o l o c a t e t h e r e l e v a n t document s ." 1 We m igh t add t h a t t he s c h o l a r s e e k -i n g R e y e r ' s w r i t i n g s c o u l d not be c e r t a i n o f f i n d i n g a l l o f them u n l e s s he examined i n t h i s l a b o r i o u s manner e v e r y newspape r , mus ic r e v i e w , and l i t e r a r y j o u r n a l p u b l i s h e d i n P a r i s d u r i n g t h e more t h a n f i f t y y e a r s t h a t Reyer was a c t i v e as a w r i t e r on m u s i c . S i n c e i t was appa ren t t h a t t h e c o m p i l i n g o f a c o m p l e t e b i b l i o g r a p h y o f R e y e r ' s c r i t i c a l w r i t i n g s i n p e r i o d i c a l s o u r c e s a l o n e would r e q u i r e y e a r s — o r d e c a d e s — o f work , I was o b l i g e d t o l i m i t my b i b l i o g r a p h i c r e s e a r c h t o a goa l f e a s i b l e w i t h i n t h e c o n t e x t o f t h e p r e p a r a t i o n o f t h i s d i s s e r t a t i o n . My b i b l i o g r a p h y t h e r e f o r e i n c l u d e s t h e f o l l o w i n g : a l l o f R e y e r ' s f e u i l l e t o n s ; a l l o f t h e a r t i c l e s he p u b l i s h e d i n j o u r n a l s t o w h i c h he was a r e g u l a r c o n t r i b u t o r ; and a r e p r e s e n t a t i v e s a m p l i n g o f h i s o t h e r w r i t i n g s , such as i s o l a t e d t i t l e d a r t i c l e s , l e t t e r - a r t i c l e s , 508 u n t i t l e d i t e m s , and m a t e r i a l s wh i ch can be a t t r i b u t e d t o h im. With t h i s goa l i n m i n d , I examined two g roups o f s o u r c e s : (1) t h e s i x newspapers and n i n e j o u r n a l s w i t h w h i c h , I had d i s c o v e r e d , Reyer had been a s s o c i -a ted as e d i t o r and/or w r i t e r ; 2 and (2 ) s i x o t h e r s o u r c e s — t w o news-p a p e r s , one l i t e r a r y j o u r n a l , and t h r e e mus i c r e v i e w s — w h i c h were among t h e f o r e m o s t p u b l i c a t i o n s o f t h e F rench p e r i o d i c a l p r e s s i n R e y e r ' s t i m e , and t o wh i ch he m igh t t h e r e f o r e have c o n t r i b u t e d . The manner i n w h i c h I d e a l t w i t h each s o u r c e was d e t e r m i n e d p a r t l y by t h e n a t u r e o f t h e s o u r c e , and p a r t l y by i t s i m p o r t a n c e — e i t h e r known o r p o s s i b l e — i n R e y e r ' s c a r e e r . Fo r t h e r e a d e r ' s c o n v e n i e n c e , I show i n t a b u l a r f o rm t h e methods o f e x a m i n a t i o n and t h e c h r o n o l o g i c a l p e r i o d (o r p e r i o d s ) s u r v e y e d f o r each s o u r c e , and t h u s keep t o a minimum my d e -s c r i p t i o n s . Two t a b l e s a re p r e s e n t e d f o r each o f t h e two g r o u p s : t h e f i r s t t a b l e c i t e s a l l s o u r c e s c o m p r i s i n g t h e g r o u p , and o u t l i n e s t h e methods o f i n v e s t i g a t i o n ; t h e second t a b l e e x p l a i n s more f u l l y my app roach t o each i n d e x e d s o u r c e w i t h i n t h e g r o u p . In o r d e r t o i m p a r t some deg ree o f c o n s i s t e n c y t o my b i b l i o g r a p h i c s u r v e y , I e s t a b l i s h e d a t e r m i n u s a quo and a t e r m i n u s ad quern f o r my e x a m i n a t i o n o f each s o u r c e . The f o r m e r , J a n u a r y 1850 , was chosen f o r two r e a s o n s : (1 ) i t a n t e d a t e d by a w ide m a r g i n — t w o y e a r s — t h e e a r l i e s t s i g n e d a r t i c l e known t o me when I s t a r t e d my s e a r c h f o r R e y e r ' s w r i t -i n g s ; 3 and (2) 1850 was t h e y e a r d u r i n g wh i ch he began g h o s t w r i t i n g f o r h i s f r i e n d G a u t i e r , an a c t i v i t y wh i ch must s u r e l y be c o n s t r u e d as t he f i r s t phase i n t h e l i t e r a r y c a r e e r o f t h e young m u s i c i a n . The t e r m i n u s ad quern, December 1908, was a l s o s e l e c t e d f o r two r e a s o n s : (1 ) i t p o s t -d a t e d by two y e a r s t h e i t e m w h i c h I u n d e r s t o o d t o be R e y e r ' s f i n a l e f f o r t as a w r i t e r on m u s i c ; 4 and (2) 1908 was t h e l a s t y e a r d u r i n g wh i ch he c o u l d have been a c t i v e i n t h i s c a p a c i t y , f o r on 1 J a n u a r y 1909 he s u f f e r e d t h e f i r s t a t t a c k s o f t h e i l l n e s s t o wh i ch he succumbed a f o r t n i g h t l a t e r . Group 1: P u b l i c a t i o n s Which Reyer Se r ved as E d i t o r and/or W r i t e r The methods d e v i s e d f o r t h e e x a m i n i n g o f each o f t h e s o u r c e s com-p r i s i n g Group 1 depended upon two f a c t o r s : ( 1 ) t h e l e n g t h o f t h e s o u r c e ' s e x i s t e n c e ; and (2) t h e p r e s e n c e or absence o f b i b l i o g r a p h i c a i d s , such as t a b l e s o f c o n t e n t s , sommaires o f i n d i v i d u a l i s s u e s , o r i n d e x e s . Because o f t h e r e l a t i v e s h o r t n e s s o f t h e i r l i f e s p a n s and/or t h e p r e s e n c e o f b i b l i o g r a p h i c a i d s , I was a b l e t o conduc t c o m p r e h e n s i v e e x a m i n a t i o n s o f t h e f o l l o w i n g p u b l i c a t i o n s : Le C o u r r i e r de P a r i s , Revue de P a r i s , L ' A thenaeum f r a n g a i s , Revue f r a n g a i s e , La G a z e t t e du No rd , and La R e n a i s s a n c e m u s i c a l e , each o f w h i c h was checked i n i t s e n t i r e t y ; and Le M o n i t e u r u n i v e r s e l , L a F r a n c e m u s i c a l e , and Revue e t G a z e t t e m u s i c a l e de P a r i s , each o f wh i ch was examined f r o m t h e t e r m i n u s a quo u n t i l t h e c e s s a t i o n o f p u b l i c a t i o n . I t was u n f e a s i b l e t o s e a r c h so t h o r o u g h l y t h e s i x o t h e r s o u r c e s i n Group 1: t h e l o n g - l i v e d newspaper s L a P r e s s e ( 1 8 3 6 - 1 9 3 5 ) , L ' I n d e p e n - dance b e i g e ( 1 8 4 8 - 1 9 4 0 ) , J o u r n a l des Debat s ( 1 7 8 9 - 1 9 4 4 ) , and Le F i g a r o ( 1826 - ), and t h e j o u r n a l s L ' A r t i s t e (1831 -1904) and Le Monde m u s i c a l ( 1 8 8 9 - 1 9 4 0 ) . I t h e r e f o r e d e v i s e d two r u l e s o f thumb w h i c h , t o g e t h e r w i t h t h e use o f t h e t e r m i n u s a quo and t h e t e r m i n u s ad quern, would b r i n g some deg ree o f c o n s i s t e n c y t o my s e a r c h e s . One r u l e was t h a t I wou ld 510 b e g i n an e x a m i n a t i o n o f a g i v e n s o u r c e w i t h e i t h e r R e y e r ' s f i r s t known a r t i c l e o r f e u i 1 l e t o n i n t h a t s o u r c e , o r - - i f I l a c k e d t h i s i n f o r m a t i o n - - t h e t e r m i n u s a quo . The second r u l e was t a i l o r e d f o r Le F i g a r o , L ' A r t i s t e , and Le Monde m u s i c a l - - s o u r c e s t o w h i c h Reyer had c o n t r i b u t e d an a r t i c l e ( s ) bu t w i t h wh i ch he had n o t , t o my know ledge , been a s s o c i -a t e d on a r e g u l a r b a s i s . A c c o r d i n g t o t h i s r u l e , wh i ch can be c a l l e d t h e " f o u r - y e a r r u l e , " I wou ld i n v e s t i g a t e a minimum o f f o u r c o n s e c u t i v e y e a r s bo th p r e c e d i n g and f o l l o w i n g t h e y e a r i n wh i ch t h e a r t i c l e ap -p e a r e d ( u n l e s s such an i n v e s t i g a t i o n would l e a d beyond e i t h e r t h e t e r m i n u s a quo o r t h e t e r m i n u s ad quern). The newspaper s L a P r e s s e and L ' I n d e p e n d a n c e b e i g e were t h e o n l y s o u r c e s t o wh i ch I d i d not a p p l y t h e s e r u l e s , b e c a u s e , f o r r e a s o n s t h a t s h a l l be e x p l a i n e d b e l o w , n e i t h e r p u b l i c a t i o n needed t o be examined as t h o r o u g h l y as d i d t h e o t h e r s com-p r i s i n g Group 1. " L a P r e s s e " and " L ' I n d e p e n d a n c e b e i g e " As we o b s e r v e d i n C h a p t e r I, Reyer e v i d e n t l y c o l l a b o r a t e d w i t h o r g h o s t w r o t e f o r h i s f r i e n d G a u t i e r on t h e f e u i ! l e t o n i n L a P r e s s e f r o m 1850 u n t i l A p r i l 1855, when G a u t i e r l e f t t h i s p u b l i c a t i o n t o become f e u i l l e t o n i s t e o f Le M o n i t e u r u n i v e r s e l . Georges S e r v i e r e s , one o f t h e s c h o l a r s who has s t u d i e d t h e R e y e r - G a u t i e r c o l l a b o r a t i o n , s t a t e s u n c a t e -g o r i c a l l y t h a t " R e y e r n ' a j a m a i s e c r i t a l a P r e s s e sous son nom; j e 1 ' a i c o n t r o l e . G i v e n t h e c o n t e x t o f my b i b l i o g r a p h i c s e a r c h , i t seemed p o i n t l e s s t o d u p l i c a t e S e r v i e r e s ' s e x a m i n a t i o n o f a l l t h e f e u i l l e t o n s d a t i n g f r o m 1850 t o A p r i l 1855, so I s e l e c t e d at random two s i x - m o n t h p e r i o d s — J u l y t h r o u g h December f o r t h e y e a r s 1852 and 1 8 5 4 — a n d checked 511 each f e u i l l e t o n f o r e i t h e r R e y e r ' s s i g n a t u r e or h i s i n i t i a l s . F i n d i n g n e i t h e r , I a c c e p t e d S e r v i e r e s ' s s t a t e m e n t . I a l s o a c c e p t e d h i s c o n t e n -t i o n t h a t Reyer had not c o n t r i b u t e d mus i c c r i t i c i s m — e i t h e r s i g n e d or anonymous - - t o La P r e s s e a f t e r G a u t i e r ' s d e p a r t u r e , because t he l a t t e r ' s s u c c e s s o r , Pau l de S a i n t - V i c t o r , p r i d e d h i m s e l f on h i s knowledge o f mu s i c and t h e r e f o r e " s e p a s s a de c o n s e i l l e r . " 6 M o r e o v e r , I knew t h a t Reyer was by t h e n ab so rbed w i t h h i s d u a l c a r e e r as a r i s i n g young com-po se r and as c r i t i c f o r b o t h L ' A thenaeum f r a n g a i s and t h e Revue f r a n - g a i s e , and t h a t i n A p r i l 1857 he became a f e u i l l e t o n i s t e i n h i s own r i g h t f o r Le C o u r r i e r de P a r i s . In v i e w o f a l l t h e s e c i r c u m s t a n c e s , i t seemed r e a s o n a b l e t o c o n f i n e f u r t h e r e x a m i n a t i o n o f L a P r e s s e t o t h e a c t i v i t i e s i n d i c a t e d be low i n T a b l e I.7 The c i r c u m s t a n c e s o f R e y e r ' s a f f i l i a t i o n w i t h L ' I n d e p e n d a n c e b e i g e were as unu sua l as t h o s e s u r r o u n d i n g h i s a s s o c i a t i o n w i t h L a P r e s s e . The e v i d e n c e l i n k i n g Reye r t o t he B e l g i a n newspaper o c c u r s f i r s t i n h i s o b i t u a r y o f G a u t i e r , and i s l a t e r r e p e a t e d i n h i s r e v i e w o f t h e p r e m i e r e o f D i e Wa l k l i r e i n F r e n c h at B r u s s e l s . On both o c c a s i o n s Reyer avowed t h a t he had had no p a r t i n G a u t i e r ' s r e v i e w o f t he Wiesbaden p r o d u c t i o n o f Tannh 'auser but a d m i t t e d t h a t he had anonymous ly s en t t o L ' I n depen - dance b e i g e "une c o u r t e c o r r e s p o n d a n c e que m ' a v a i t p r i e de f a i r e en son absence mon ami Pau l d ' l v o y . " 8 One can r e a d i l y imag i ne t h a t d ' l v o y was eage r t o have a r e v i e w o f a work by a composer who, i n B r u s s e l s as i n P a r i s , was t hen h i g h l y c o n t r o v e r s i a l . However, i t i s u n l i k e l y t h a t R e y e r , who was t r y i n g t o make a name f o r h i m s e l f i n P a r i s , sen t any o t h e r m a t e r i a l t o t h e B e l g i a n n e w s p a p e r . 9 I t h e r e f o r e c o n f i n e d my 512 e x a m i n a t i o n o f t h i s s o u r c e t o t h e v e r i f i c a t i o n o f a modern s c h o l a r ' s c i t a t i o n o f t h e anonymous r e v i e w . 1 ° " J o u r n a l des D e b a t s " G e n e r a l r emark s The e x a m i n a t i o n o f one o t h e r s o u r c e i n Group l - - t h e D e b a t s - - a l s o r e q u i r e s some e x p l a n a t i o n . T h i s newspaper , wh i ch was o f paramount i m p o r t a n c e i n R e y e r ' s c a r e e r , posed two un i que p r o b l e m s : (1) R e y e r ' s a f f i l i a t i o n w i t h i t spanned l i t e r a l l y d e c a d e s , inasmuch as he c o n t r i b -u t e d w r i t i n g s bo th d u r i n g h i s t e n u r e as f e u i l l e t o n i s t e and a f t e r h i s r e t i r e m e n t ; and (2 ) b e f o r e h i s r e t i r e m e n t t h e Debats d i d not r e g u l a r l y i n c l u d e even t h e most r u d i m e n t a r y b i b l i o g r a p h i c a i d , name ly , a sommaire o f t he majo r f e a t u r e s i n an i s s u e . O b v i o u s l y , the o n l y way t o uncove r a l l o f t h e i t ems p u b l i s h e d by Reyer i n t h i s newspaper d u r i n g and a f t e r h i s t e n u r e as f e u i l l e t o n i s t e , as w e l l as any t h a t he m igh t have c o n -t r i b u t e d b e f o r e he became f e u i l l e t o n i s t e , would be by s c r u t i n i z i n g each page o f e v e r y i s s u e f r o m t h e t e r m i n u s a quo u n t i l t h e t e r m i n u s ad quern (1 J a n u a r y 1850-31 December 1 908 ) . Such an enormous t a s k would have been i m p o s s i b l e w i t h i n the c o n t e x t o f t h e p r e s e n t u n d e r t a k i n g . I t h e r e f o r e a t t e m p t e d o n l y t o a c h i e v e t h e f o l l o w i n g g o a l s : (1 ) t h e l o c a t i n g o f a l l o f R e y e r ' s f e u i l l e t o n s , wh i ch c o n s t i t u t e d h i s majo r c o n t r i b u t i o n t o t h e D e b a t s ; (2 ) t h e v e r i f y i n g o f E m i l e H e n r i o t ' s b i b l i o g r a p h y o f R e y e r ' s w r i t i n g s f o r t h i s n e w s p a p e r - - a b i b l i o g r a p h y wh i ch i n c l u d e s a few m i s c e l l a n e o u s i t ems as w e l l a s , s up -p o s e d l y , a l l o f h i s f e u i l l e t o n s ; ! ! and (3 ) t h e l o c a t i n g o f some, i f not a l l , o f t h e m i s c e l l a n e o u s w r i t i n g s not l i s t e d by H e n r i o t . In o r d e r t o 513 a c h i e v e t h e s e g o a l s I d e v i s e d and a p p l i e d a c o m b i n a t i o n o f t h r e e methods : (1 ) t h e page -by -page s c r u t i n i z i n g o f e v e r y i s s u e p u b l i s h e d d u r i n g one y e a r s e l e c t e d at random f r om each decade o f R e y e r ' s t e n u r e as f e u i l l e t o n i s t e ; (2 ) t h e s c a n n i n g o f a l l o t h e r i s s u e s p u b l i s h e d between 2 December 1866--when Reye r announced h i m s e l f as t h e new f e u i l l e t o n i s t e - -and 31 December 1901 , t h e l a t t e r d a t e h a v i n g been chosen because i t was t h e l a s t day o f t h e o n l y y e a r d u r i n g w h i c h , a c c o r d i n g t o H e n r i o t , t he r e t i r e d Reyer w ro t e a n y t h i n g f o r t h e D e b a t s ; and (3 ) t h e s p o t - c h e c k i n g o f each scanned y e a r and o f t h e s u c c e e d i n g y e a r s , up t o and i n c l u d i n g t h e t e r m i n u s ad quern ( 1 9 0 8 ) . The methods o f s c a n n i n g and s p o t - c h e c k i n g a r e e x p l a i n e d be l ow . The s c a n n i n g o f t h e Debat s (1866-1901) The method w h i c h I d e s c r i b e as " s c a n n i n g " c o n s i s t e d o f s p e c i f i c p r o c e s s e s f o r a g i v e n i s s u e : (1) r e a d i n g t h e sommai re , i f one was p r o -v i d e d ; (2 ) g l a n c i n g at each page t o l o c a t e t h e f e u i l l e t o n o r f e u i l l e - t o n s , and s i m u l t a n e o u s l y c h e c k i n g t h i s t e x t f o r R e y e r ' s s i g n a t u r e ; and (3) v e r i f y i n g any i t e m w h i c h , a c c o r d i n g t o H e n r i o t ' s b i b l i o g r a p h y , appea red i n t h a t i s s u e . The s c a n n i n g r e v e a l e d t h a t H e n r i o t had o v e r -l o o k e d one o f R e y e r ' s f e u i l l e t o n s , and t h a t h i s b i b l i o g r a p h y was s e r i -o u s l y f l a w e d by i n n u m e r a b l e t y p o g r a p h i c a l e r r o r s and by t h e o m i t t i n g o r t h e s h o r t e n i n g o f numerous s u b t i t l e s o f f e u i l l e t o n s . The s c a n n i n g a l s o b r o u g h t t o l i g h t a f a c t not men t i oned e i t h e r by H e n r i o t o r by R e y e r ' s b i o g r a p h e r s , Ado l phe J u l l i e n and H e n r i de C u r z o n : i n 1893 Reyer became s e m i r e t i r e d , p a s s i n g h i s f e u i l l e t o n i s t e ' s pen t o J u l l i e n d u r i n g w i n t e r and summer h o l i d a y s . In l a t e r y e a r s he a l t e r n a t e d w i t h J u l l i e n , 514 c o n t r i b u t i n g f ewe r and f ewe r f e u i l l e t o n s u n t i l h i s r e t i r e m e n t at t he end o f June 1898. The s p o t - c h e c k i n g o f t h e Debat s ( 1 866 - 1901 ; 1902-1908) In o r d e r bo th t o supp lement t h e method o f s c a n n i n g d e s c r i b e d above and t o d e t e r m i n e whethe r o r not H e n r i o t was c o r r e c t i n d e s i g n a t i n g 1901 as t h e o n l y y e a r d u r i n g wh i ch t h e r e t i r e d Reyer p u b l i s h e d m a t e r i a l i n t h i s newspaper , I made s p o t - c h e c k s by s c r u t i n i z i n g each page o f a c e r -t a i n number o f i s s u e s per y e a r . As we s h a l l s e e , t h e y e a r s 1866-1901 were s u b j e c t e d t o more s p o t - c h e c k s t h a n were t h e l a t e r y e a r s . Wi th t h e e x c e p t i o n o f t h e f o u r y e a r s w h i c h I had a l r e a d y examined i n t h e i r e n t i r e t y ( s ee T a b l e I ) , each y e a r f r om the p e r i o d 1866-1901 was s p o t - c h e c k e d by means o f a p age -b y - page s t u d y o f a minimum o f s i x i s s u e s . I f my r e a d i n g o f t h e l i t e r a t u r e about Reyer had i n f o r m e d me t h a t a g i v e n y e a r o f t h e Debats would y i e l d an i t e m ( s ) o v e r l o o k e d by H e n r i o t , I c h o s e f o r each i t e m a b l o c k o f days o r weeks f r om wh i ch I examined c o n s e c u t i v e i s s u e s u n t i l I f ound t h e i t e m i n q u e s t i o n . 1 2 I f , on t h e o t h e r hand, t h e Reyer l i t e r a t u r e had not i n d i c a t e d t h a t a g i v e n y e a r would y i e l d an i t e m ( s ) o m i t t e d by H e n r i o t , I chose n o n - c o n s e c u t i v e i s s u e s , none o f wh i ch c o n t a i n e d a f e u i l l e t o n by R e y e r . As t h e p o s s i b i l i t y t h a t t h e r e t i r e d Reyer had c o n t r i b u t e d t o t h e Debat s became i n c r e a s i n g l y remote w i t h h i s a d v a n c i n g age, I d e c i d e d t h a t t h e y e a r s f o l l o w i n g 1901 d i d not need as many s p o t - c h e c k s as t he p r e c e d -i n g y e a r s . T h e r e f o r e , i n each o f t h e y e a r s 1902-1908 I s c r u t i n i z e d o n l y f o u r i s s u e s i n s t e a d o f a minimum of s i x . 515 O t h e r S o u r c e s i n Group 1 The s o u r c e whose i m p o r t a n c e i n R e y e r ' s c a r e e r was second o n l y t o t h a t o f t h e Debat s was, o f c o u r s e , Le C o u r r i e r de P a r i s , wh i ch he s e r v e d as f e u i l l e t o n i s t e f o r n e a r l y t h r e e y e a r s . T h i s newspaper was r e l a t i v e l y s h o r t - l i v e d , l a s t i n g f r om 12 A p r i l 1857 u n t i l t h e end o f June 1860, and I was t h e r e f o r e a b l e t o examine each page o f e v e r y i s s u e . My g o a l s were s i m i l a r t o t h o s e wh i ch had d e t e r m i n e d my methods f o r e x a m i n i n g t h e D e b a t s : (1 ) t h e l o c a t i n g o f a l l o f R e y e r ' s f e u i l l e t o n s ; (2) t h e v e r i f y -i n g o f H e n r i o t ' s b i b l i o g r a p h y ; and (3) t h e u n c o v e r i n g o f any m i s c e l l a -neous w r i t i n g s not l i s t e d by H e n r i o t . My e x a m i n a t i o n r e v e a l e d t h a t , f o r t h e C o u r r i e r as f o r t h e D e b a t s , H e n r i o t ' s c i t a t i o n s were o f t e n f l a w e d , and h i s b i b l i o g r a p h y was i n c o m p l e t e . As p r e v i o u s l y i n d i c a t e d , my e x a m i n a t i o n s o f many o t h e r s o u r c e s i n Group 1 were f a c i l i t a t e d by t h e p r e s e n c e o f b i b l i o g r a p h i c a i d s , such as s omma i re s , t a b l e s o f c o n t e n t s , o r c u m u l a t i o n s o f such t a b l e s . These a i d s e n a b l e d me t o examine c o m p r e h e n s i v e l y f i v e s h o r t - l i v e d j o u r n a l s : Revue de P a r i s , La F r a n c e m u s i c a l e , Revue f r a n g a i s e , La G a z e t t e du N o r d , and L a R e n a i s s a n c e m u s i c a l e . The method a p p l i e d t o t h e s e f i v e can be summar ized as f o l l o w s : i n a d d i t i o n t o r e a d i n g a l l sommaires o r t a b l e s f o r i s s u e s t h a t appeared between 1850 and 1908, I examined each page o f any f e a t u r e whose g e n e r i c t i t l e s u g ge s t ed t h a t i t m igh t i n c l u d e a s e c -t i o n on m u s i c . I 3 My c o m p r e h e n s i v e e x a m i n a t i o n s o f t h r e e o t h e r s o u r c e s i n Group 1 — t h e j o u r n a l s L ' A thenaeum f r a n g a i s and Revue e t G a z e t t e m u s i c a l e de P a r i s , and t h e newspaper Le M o n i t e u r u n i v e r s e l - - w e r e made p o s s i b l e by t h e p r e s e n c e o f an i n d e x ( e s ) f o r each s o u r c e . However, no s i n g l e 516 app roach would have been adequate f o r c h e c k i n g t h e i n d e x e s o f a l l t h r e e s o u r c e s , because each was i ndexed a c c o r d i n g t o a d i f f e r e n t s e t o f norms, and t h e f o r m a t s o f t h e i n d e x e s underwent c hange s . The app roaches I d e -v i s e d f o r c u l l i n g R e y e r ' s w r i t i n g s f r om t h e s e s o u r c e s a re d e s c r i b e d i n T a b l e I I . Of t h e f i f t e e n s o u r c e s c o m p r i s i n g Group 1, t h r e e r ema in t o be c o n -s i d e r e d h e r e : t h e j o u r n a l s L ' A r t i s t e and Le Monde m u s i c a l , and t he newspaper Le F i g a r o . The e x a m i n a t i o n s o f t h e s e p u b l i c a t i o n s were u n d e r -t a k e n because I had e n c o u n t e r e d i n c o m p l e t e b i b l i o g r a p h i c c i t a t i o n s o f t h r e e a r t i c l e s — c i t a t i o n s wh i ch had d i r e c t e d me t o t h e s e s o u r c e s . In c o m p l i a n c e w i t h t h e two r u l e s d e s c r i b e d on pages 509 - 10 , I f i r s t l o c a t e d each a r t i c l e , 1 4 then examined t h e s o u r c e f o r f o u r c o n s e c u t i v e y e a r s bo th p r e c e d i n g and f o l l o w i n g t h e y e a r o f t h e a r t i c l e ' s a p p e a r a n c e . In a d d i -t i o n , I made s y s t e m a t i c s p o t - c h e c k s i n each s o u r c e . For e x a m p l e , my s p o t - c h e c k s i n Le F i g a r o were d e s i g n e d t o supp lement t he o t h e r methods a p p l i e d t o i t so t h a t , f o r each decade o f R e y e r ' s t e n u r e as f e u i l l e t o n - i s t e o f t h e D e b a t s , and f o r each y e a r a f t e r h i s r e t i r e m e n t f r om t h a t p o s t , I examined a minimum o f f o u r i s s u e s f r o m Le F i g a r o . 1 5 T a b l e s I and I I The methods d e v i s e d f o r t h e e x a m i n i n g o f t h e p u b l i c a t i o n s c o m p r i s -i n g Group 1, and t h e d a t e s t o wh i ch one or more o f t h e s e methods was a p p l i e d i n a g i v e n p u b l i c a t i o n , a r e p r e s e n t e d i n two t a b l e s . In b o t h , t h e p u b l i c a t i o n s a re l i s t e d c h r o n o l o g i c a l l y a c c o r d i n g t o t he da te o f R e y e r ' s e a r l i e s t known a f f i l i a t i o n w i t h them. TABLE I GROUP 1: PUBLICATIONS EXAMINED AND METHODS OF EXAMINATION Page -by -Page S c r u t i n y E x a m i n a t i o n o f Sommaires , T a b l e s o f C o n t e n t s , and Other L i s t s O the r P r o c e d u r e s A d d i t i o n a l S p o t - C h e c k s La P r e s s e ( J u l y 1 8 3 6 - J u l y 1935; d a i l y ) 18 -29 O c t . 1868 1850 - 54: V e r i f y i n g o f S e r v i e r e s ' s c i t a t i o n s o f 10 f e u i l l e t o n s 1851 - 55 : S e a r c h i n g o f g roups o f c o n s e c u t i v e f e u i l l e t o n s t o l o c a t e i t ems f o r wh i ch S e r v i e r e s gave i n c o m p l e t e c i t a t i o n s E x a m i n i n g o f a l l f e u i l l e -t o n s f o r two s i x - m o n t h p e r i o d s : J u l y - D e c . 1852 and J u l y - D e c . 1854 Revue de P a r i s ( O c t . 1 8 5 1 - J a n . 1858; m o n t h l y , t hen b i m o n t h l y ) 15 S e p t . 1 853 - A l l t a b l e s o f c o n -1 J a n . 1858: t e n t s " C h r o n i q u e de l a q u i n z a i n e " i—» TABLE I - - c o n t i n u e d Page -by -Page S c r u t i n y E x a m i n a t i o n o f Sommaires , T a b l e s o f C o n t e n t s , and O the r L i s t s Other P r o c e d u r e s A d d i t i o n a l S p o t - C h e c k s L 1 Athenaeum f r a n g a i s ( J u l y 1 8 5 2 - J u l y 1856; w e e k l y ; i n Aug. 1856 absorbed by t h e Revue c o n t e m p o r a i n e ; supp lement t o t h e Revue, 1858-1866 and A p r . 1867-May 1870) Annual l i s t o f p r i n -c i p a l c o l l a b o r a t o r s o f AthF A l l e x t a n t i ndexe s o f both AthF and Revue ( see T a b l e I I ) T a b l e s o f c o n t e n t s o f a v a i l a b l e i s s u e s o f Revue f o r t h e u n -i ndexed y e a r s (1858 and 1859 ) , and f o r t h e f i n a l months ( J a n . - M a y 1870) A t h F : sommaire o f each i s s u e o f 1856 ( t h e y e a r f o r wh i ch o n l y one i n d e x was e x t a n t ) Revue : some o r a l l t a b l e s o f c o n t e n t s f o r t he f o l -l o w i n g i n d e x e d y e a r s : 1860 ( a l l ) 1862 ( J u l y - D e c . ) 1863 ( a l l ) 1864 ( J u l y - D e c . ) 1865 ( J u l y - D e c . ) 1866 ( J a n . - J u n e ) 1869 ( J u l y - D e c . ) La F r ance m u s i c a l e ( 1837 -1870 ; week l y ) 1850 -70 : sommaire o f each i s s u e TABLE I - - c o n t i n u e d Page -by -Page E x a m i n a t i o n o f Other P r o c e d u r e s A d d i t i o n a l S p o t - C h e c k s S c r u t i n y Sommaires , T a b l e s o f C o n t e n t s , and O the r L i s t s Revue f r a n g a i s e ( F eb . 1 8 5 5 - J u l y 1859; t r i m o n t h l y ) A l l t a b l e s o f c o n -t e n t s Le C o u r r i e r de P a r i s ( A p r . 1857-June 1860; d a i l y ) A l l i s s u e s L ' I n dependance b e i g e ( F eb . 1 848 -Ap r . 1858, J a n . 1859-May 1940; d a i l y ) V e r i f i c a t i o n o f S p e n c e r ' s c i t a t i o n o f R e y e r ' s anony-mous r e v i e w of t h e W i e s -baden Tannh'auser L ' A r t i s t e ( 1831 -Dec . 1904; f r e q u e n c y v a r i e d ) 1857: c u m u l a t i v e A p p l i c a t i o n o f " 4 - y e a r T a b l e s o f c o n t e n t s f o r t a b l e o f c o n t e n t s r u l e " by e x a m i n i n g t a b l e s t h e r e s t o f t h e 1850s and ( s e a r c h f o r a r t i c l e o f c o n t e n t s f o r 1853-56 and f o r most o f t h e 1860s -90s about B e r l i o z ) 1858-61 ( i . e . , 1 8 5 0 - 5 2 ; 1863, 1865 , 1 867 - 68 ; 1870 -73 , 1875 , 1 8 7 8 - 7 9 ; 1881 , TABLE I - - c o n t i n u e d Page -by -Page S c r u t i n y E x a m i n a t i o n o f Sommaires , T a b l e s o f C o n t e n t s , and O the r L i s t s Other P r o c e d u r e s A d d i t i o n a l S p o t - C h e c k s 1 8 8 4 - 8 5 , 1 888 - 89 ; 1890, 1892 , 1894 , 1896, and 1 8 9 8 - 9 9 ) . A l l e x t a n t i s s u e s f r o m 1900 -04 : e x a m i n a t i o n o f sommaire o r page -by -page s c r u t i n y Revue e t G a z e t t e m u s i c a l e de P a r i s ( 1834 -1880 ; week l y ) A l l e x t a n t l i s t s o f c o l l a b o r a t o r s ( i . e . , 1868-80) 1850 -80 : a l l i n dexe s o f a u t h o r s and names ( see T a b l e I I ) La G a z e t t e du Nord ( O c t . 1859-June 1860; w e e k l y ) Sommaire o f each i s s u e TABLE I- - c o n t i n u e d Page -by -Page E x a m i n a t i o n o f Other P r o c e d u r e s A d d i t i o n a l S p o t - C h e c k s S c r u t i n y Sommaires , T a b l e s o f C o n t e n t s , and Other L i s t s Le M o n i t e u r u n i v e r s e l ( 1789 -1871 ; d a i l y ) 1850 -71 : annua l i n -dex ( see T a b l e I I ) J o u r n a l des Debats (Aug. 1789 -Aug. 1944; d a i l y ) A l l i s s u e s f r om 1 y e a r s e l e c t e d at random f rom each decade o f R e y e r ' s t e n u r e ( i . e . , 1867, 1871 , 1884, and 1892) 2 Dec. 1866-31 Dec. 1901 : scan o f a l l i s s u e s 1 8 6 6 - 1 9 0 1 : p age -b y - page s c r u t i n y o f a minimum o f 6 i s s u e s per y e a r 1 902 - 08 : page -by -page s c r u t i n y o f 4 i s s u e s per y e a r La R e n a i s s a n c e m u s i c a l e (Mar . 1 8 8 1 - O c t . 1883 ; w e e k l y ) A l l t a b l e s o f c o n -t e n t s 1 8 8 1 : page -by -page s c r u -t i n y o f a l l i s s u e s Le Monde m u s i c a l ( 1889 -1940; b i m o n t h l y , l a t e r m o n t h l y ) 30 S e p t . - 3 0 O c t . 1890 ( s e a r c h f o r C u m u l a t i v e t a b l e o f c o n t e n t s f o r 1903 A p p l i c a t i o n o f t h e " 4 - y e a r r u l e " by e x a m i n i n g e i t h e r 1 889 - 99 : p a g e - b y - p a g e s c r u t i n y o f 1 i s s u e chosen TABLE I - - c o n t i n u e d Page -by -Page S c r u t i n y E x a m i n a t i o n o f Sommaires , T a b l e s o f C o n t e n t s , and Other L i s t s Other P r o c e d u r e s A d d i t i o n a l S p o t - C h e c k s speech h o n o r i n g B e r l i o z ) ( s e a r c h f o r a r t i c l e and/or speech com-memorat ing t h e B e r l i o z C e n t e n a r y ) t h e c u m u l a t i v e t a b l e o f c o n t e n t s o r t h e sommaire o f e v e r y i s s u e , f o r each o f t h e y e a r s 1899-1902 and 1904-08 a t random f rom e v e r y t h i r d y e a r ( i . e . , 1889, 1892, 1895 , and 1898) Le F i g a r o ( J a n . 1826- ; d a i l y ) 1-22 Nov. 1904 ( s e a r c h f o r a r t i -c l e about Benjamin Godard) A p p l i c a t i o n o f t h e " 4 - y e a r r u l e " by e x a m i n i n g a l l i s s u e s i n 1 month chosen a t random f rom each o f t h e f o l l o w i n g y e a r s : 1900-03 ( S e p t . , J u n e , May, and Mar . ) and 1905-08 ( J a n . , J u l y , A p r . , and F e b . ) V e r i f i c a t i o n o f 2 l e t t e r s ( i s s u e s o f 23 and 27 Nov. 1899) E x a m i n a t i o n o f sommaire o r p a g e - b y - p a g e s c r u t i n y o f e a ch o f t h e f o l l o w i n g i s s u e s : 14 -17 Mar . 1869 Nov. 1876 ( a l l i s s u e s ) 17 -20 O c t . 1886 1 6 - 26 S e p t . 1895 7 -13 Mar . 1896 13 -20 J u l y and 1 7 - 20 O c t . 1899 TABLE I I EXAMINATION OF INDEXES OF PUBLICATIONS IN GROUP 1 D e s c r i p t i o n o f Indexes Methods o f E x a m i n a t i o n L 'A thenaeum f r a n g a i s 1 852 - 55 : a l l 3 annual i n d e x e s ( i n d e x o f au -t h o r s ; a l p h a b e t i c a l i n d e x o f s u b j e c t s ; a n a l y t i c a l i ndex o f s u b j e c t s ) 1856: a l p h a b e t i c a l i n d e x o f s u b j e c t s ( t h e o n l y i ndex e x t a n t ) Fo r each o f t he y e a r s 1852-55 : 1. C o l l a t e d a l l page r e f e r e n c e s f r o m t h e f o l l o w i n g : (a) t h e e n t r y " R e y e r " i n t h e i ndex o f a u t h o r s (b) t h e e n t r y " M u s i c a l e ( C h r o n i q u e ) " i n t h e a l p h a b e t i c a l i ndex o f s ub -j e c t s ( c ) t h e s u b d i v i s i o n " M u s i q u e : c h r o n i q u e m u s i c a l e " under t h e e n t r y " T h e a t r e s " i n t h e a n a l y t i c a l i n d e x o f s u b j e c t s . 2. Examined each page t o c u l l ou t t h e " C h r o n i q u e s " by R e y e r . Fo r t h e y e a r 1856: 1. Noted a l l page r e f e r e n c e s f r om t h e e n t r y " M u s i c a l e ( C h r o n i q u e ) . " 2 . Examined each page t o c u l l out t h e " C h r o n i q u e s " by R e y e r . L ' A thenaeum as supp lement t o t h e Revue c o n t e m p o r a i n e 1860 -69 : bo th o f t he annua l i n dexe s t o t h e Fo r each p a i r o f i n d e x e s : 1. Scanned t h e i ndex o f a u t h o r s f o r " R e y e r , " bu t f ound no such e n t r y . Revue and i t s s u p p l e - 2 . V e r i f i e d t h e a c c u r a c y o f t h e i n d e x o f a u t h o r s by s e a r c h i n g f o r R e y e r ' s ment ( i n d e x o f a u t h o r s ; name i n t h e s u b j e c t i n d e x , i n wh i ch t h e d e s c r i p t i v e s u b - e n t r i e s a lways a n a l y t i c a l i ndex of i n c l u d e d a u t h o r s ' names. My method c o n s i s t e d o f two s t e p s : s u b j e c t s ) (a) Scan o f t h e g e n e r a l a l p h a b e t i c a l o r d e r o f s u b j e c t e n t r i e s , t o choose t h e ones wh i ch might p e r t a i n t o mu s i c and/or m u s i c i a n s . ( Fo r each y e a r , t h e s u b j e c t e n t r i e s s e l e c t e d w e r e : " A r c h e o l o g i e e t B e a u x - A r t s , " " B i o g r a p h i e e t P o r t r a i t s , " and " M e l a n g e s . " ) (b) Scan o f d e s c r i p t i v e s u b - e n t r i e s t o see i f R e y e r ' s name a p p e a r e d . (The "Revue m u s i c a l e " and i t s a u t h o r [ s ] were a lway s l i s t e d as a s u b - e n t r y under " A r c h e o l o g i e e t B e a u x - A r t s . " ) TABLE I I - - c o n t i n u e d D e s c r i p t i o n o f Indexes Methods o f E x a m i n a t i o n Revue e t G a z e t t e m u s i c a l e de P a r i s 1 850 - 73 : annua l i n -dexes o f names and a u t h o r s 1874 -80 : annual i ndex o f names ( t h e s e p a r a t e i n d e x o f a u t h o r s had been d i s c o n t i n u e d ) Fo r each p a i r o f i ndexe s o f names and a u t h o r s ( 1 8 5 0 - 7 3 ) : 1. C o l l a t e d a l l page r e f e r e n c e s s . v . " R e y e r , " i n c a se a r e f e r e n c e ( s ) b e -l o n g i n g i n t h e i ndex o f a u t h o r s had been p r i n t e d by m i s t a k e i n t h e i n -dex o f names. 2. Examined each page t o c u l l out w r i t i n g s by R e y e r . Fo r each i ndex o f names ( 1 8 7 4 - 8 0 ) : 1. Noted a l l page r e f e r e n c e s s . v . " R e y e r . " 2 . Examined each page t o c u l l out w r i t i n g s by R e y e r . Le M o n i t e u r u n i v e r s e l 1 850 - 71 : annual T a b l e a l p h a b e t i q u e Fo r each T a b l e : 1. Scanned t h e g e n e r a l a l p h a b e t i c a l o r d e r f o r " R e y e r , " but f ound no such e n t r y . 2. Sea r ched f o r R e y e r ' s name i n t h e d e s c r i p t i v e s u b - e n t r i e s o f s e l e c t e d s u b j e c t e n t r i e s . My method c o n s i s t e d o f two s t e p s : (a) Scan o f t he g e n e r a l a l p h a b e t i c a l o r d e r , t o choose s u b j e c t e n t r i e s wh ich might p e r t a i n t o mus ic and/or m u s i c i a n s . ( I n t h e i n d e x e s f o r t h e y e a r s 1850 -52 , t h e s u b j e c t e n t r i e s s e l e c t e d w e r e : " M u s i -q u e , " " N e c r o l o g i e , " and " V o y a g e s . " In t h e f u l l e r i n d e x e s f o r t he y e a r s 1853 -71 , an a d d i t i o n a l f i v e e n t r i e s were s e l e c t e d : " B i b l i -o g r a p h i e , " " B i o g r a p h i e , " " F e u i l l e t o n s , " " T h e a t r e s , " and " V a r i -e t e s . " ) (b) Scan o f d e s c r i p t i v e s u b - e n t r i e s . ( Reye r was c i t e d as a u t h o r o n l y t w i c e : i n t he s u b - e n t r y " S o u v e n i r s d ' A l l e m a g n e , " under " M u s i q u e " i n t h e i ndexe s f o r 1864 and 1865. ) TABLE I I - - c o n t i n u e d D e s c r i p t i o n o f Indexes Methods o f E x a m i n a t i o n 3. V e r i f i e d each page r e f e r e n c e by l o c a t i n g S o u v e n i r s i n t h e M o n i t e u r i t -s e l f . IN3 en 526 Group 2: O the r Ma jo r P u b l i c a t i o n s My methods o f e x a m i n i n g t h e s i x s o u r c e s c o m p r i s i n g t h i s g roup r e q u i r e r e l a t i v e l y few words o f e x p l a n a t i o n t o supp lement t h e i n f o r m a -t i o n t h a t w i l l be g i v e n i n t h e p a i r o f t a b l e s . For t h e t h r e e i n d e x e d s o u r c e s — t h e Revue des Deux Mondes and t h e newspapers L ' I I1 u s t r a t i o n and Le T e m p s - - ! examined a l l a p p r o p r i a t e i n d e x e s a v a i l a b l e a t t h e B i b l i o -t h e q u e N a t i o n a l e ( P a r i s ) , and t hu s checked Le Temps t o 1894 and both t he Revue and L ' I l l u s t r a t i o n t o 1908. Two o f t h e o t h e r s o u r c e s — L e Menes- t r e l and t h e B e l g i a n j o u r n a l Le Gu ide m u s i c a l — w e r e not i n d e x e d , but each was supp lemented a n n u a l l y by a c u m u l a t i v e t a b l e o f c o n t e n t s , and t h e Gu i de a l s o p u b l i s h e d a y e a r l y l i s t o f p r i n c i p a u x c o l l a b o r a t e u r s . By u t i l i z i n g t h e s e t o o l s I examined bo th j o u r n a l s t o 1908, s t a r t i n g i n t h e M e n e s t r e l w i t h 1850 ( t h e t e r m i n u s a quo) and i n t h e Gu i de w i t h 1889 (when p u b l i c a t i o n began a t P a r i s ) . The s i x t h s o u r c e i n Group 2 was t h e j o u r n a l L ' A r t m u s i c a l , wh i ch was n e i t h e r i n d e x e d nor s upp lemented by c u m u l a t i v e t a b l e s and/or l i s t s . I n deed , d u r i n g t h e f i r s t phase o f i t s e x i s t e n c e (1860-70) i t was pub -l i s h e d w i t h o u t even a sommaire o f each i s s u e , and t h i s f e a t u r e was no t a lway s i n c l u d e d d u r i n g t h e second phase ( 1 8 7 2 - 9 4 ) . To examine t h i s s o u r c e c o m p r e h e n s i v e l y by t u r n i n g pages and r e a d i n g sommaires would have t a k e n a p r o h i b i t i v e amount o f t i m e , and seemed u n n e c e s s a r y because I had n e v e r e n c o u n t e r e d any e v i d e n c e l i n k i n g R e y e r ' s name w i t h t h i s j o u r n a l . I t h e r e f o r e examined o n l y a s a m p l i n g o f y e a r s , as i n d i c a t e d i n T a b l e I I I . The R e p e r t o i r e I n t e r n a t i o n a l de l a P r e s s e M u s i c a l e (RIPM) has s c h e d u l e d f o r p u b l i c a t i o n i n 1988 a c a t a l o g and i n d e x o f L ' A r t m u s i c a l . 527 D i a n a S n i g u r o w i c z , a g r a d u a t e f e l l o w o f t h e RIPM r e s e a r c h c e n t e r at t h e U n i v e r s i t y o f M a r y l a n d , C o l l e g e P a r k , has k i n d l y i n f o r m e d me t h a t n o t h i n g b e a r i n g R e y e r ' s s i g n a t u r e was w r i t t e n e x p r e s s l y f o r t h i s j o u r -n a l , a l t h o u g h i t y i e l d s r e p r i n t s o f a few o f h i s w r i t i n g s . 1 6 T a b l e s I I I and IV The t a b l e s wh i ch summar ize my s e a r c h e s o f t h e p u b l i c a t i o n s c o m p r i s -i n g Group 2 u t i l i z e e s s e n t i a l l y t h e same f o r m a t s as t h e i r c o u n t e r p a r t s f o r Group 1. The o n l y changes a re t h e f o l l o w i n g : (1 ) t h e p u b l i c a t i o n s a r e l i s t e d i n o r d e r o f d a t e o f f o u n d i n g , because Reyer a p p a r e n t l y d i d no t s e r v e any o f them as w r i t e r and/or e d i t o r ; and (2 ) t h e c a t e g o r y " O t h e r P r o c e d u r e s " i s d e l e t e d because h i s e v i d e n t l a c k o f a f f i l i a t i o n w i t h t h e s e p u b l i c a t i o n s meant t h a t t h e y d i d not need t o be examined as t h o r o u g h l y as were t h o s e i n Group 1. TABLE I I I GROUP 2: PUBLICATIONS EXAMINED AND METHODS OF EXAMINATION Page -by -Page S c r u t i n y E x a m i n a t i o n o f Sommaires, T a b l e s o f C o n t e n t s , and O the r L i s t s A d d i t i o n a l S p o t - C h e c k s Revue des Deux Mondes ( 1831 -1971 ; s em imon th l y ) Index o f a u t h o r s ( see T a b l e IV) Le M e n e s t r e l ( 1833 -1914 , 1919 -1940 ; w e e k l y ) 1850-1908: annual c u m u l a t i v e t a b l e o f c o n -t e n t s L ' I l l u s t r a t i o n ( 1843 - ; w e e k l y ) Index des noms de p e r s o n n e s . . . . 1843-1932 ( see T a b l e IV) Le Gu ide m u s i c a l (Mar . 1855-1914, 1917 -1918 ; f r o m 1889 p u b l i s h e d a t P a r i s and B r u s s e l s ; w e e k l y ) 1903: t h e B e r l i o z num- 1889-1908: annual c u m u l a t i v e t a b l e o f c o n -be r ( s e a r c h f o r speech t e n t s and annual l i s t o f p r i n c i p a u x c o l l a b o -and/or a r t i c l e commemor- r a t e u r s a t i n g t h e B e r l i o z Cen -t e n a r y ) TABLE I I I — c o n t i n u e d Page -by -Page S c r u t i n y E x a m i n a t i o n o f Sommaires, T a b l e s o f C o n t e n t s , and Other L i s t s A d d i t i o n a l S p o t - C h e c k s L ' A r t m u s i c a l ( 1860 -1870 , 1872-1894; w e e k l y o r s e m i m o n t h l y ; i n c o r p o r a t e d by t h e Gu i de m u s i c a l on 1 O c t . 1894) F i r s t phase ( 1 8 6 0 - 7 0 ) : 1 o r 2 months f rom a s a m p l i n g o f y e a r s ( i . e . , J u l y and Nov. 1863; Mar. 1865 ; S e p t . 1868; and Mar. 1870) Second phase ( 1 8 7 2 - 9 4 ) : O c t . 1892 ( f r om the 1 1 -month p e r i o d when no sommaires were p r o v i d e d ) Second phase ( 1 8 7 2 - 9 4 ) : a l l sommaires f o r a s a m p l i n g o f y e a r s ( i . e . , 1873 , 1875 , 1879, 1884, 1885 , 1889, 1890, and 1894) A l l sommaires f o r J a n . -Feb . 1876 and f o r J a n . -June 1892 Le Temps ( A p r . 1861-Nov. 1942; d a i l y ) Index o f names ( t o 1894; see T a b l e IV) TABLE IV EXAMINATION OF INDEXES OF PUBLICATIONS IN GROUP 2 D e s c r i p t i o n o f Indexes Methods o f E x a m i n a t i o n Revue des Deux Mondes Index o f a u t h o r s i n each o f t he f i r s t 5 vo lumes o f T a b l e s (1831-1911) Checked f o r " R e y e r , " but found no such e n t r y . L ' 1 1 1 u s t r a t i o n Index des noms de p e r -sonnes . Index des noms g e o g r a p h i q u e s . 1843-1932 1. Noted t he page r e f e r e n c e s s . v . " R e y e r . " 2 . L o c a t e d each i n L ' 1 1 1 u s t r a t i o n . (The r e f e r e n c e s d e s i g n a t e d m a t e r i a l s o f i c o n o g r a p h i c a l i n t e r e s t , an e x c e r p t f r om t h e v o c a l s c o r e o f Salammbo, and w r i t i n g s about R e y e r , bu t n o t h i n g w r i t t e n by h im. ) Le Temps Index des noms de p e r -sonnes f i g u r a n t dans l e s t a b l e s e t dans l a l i s t e des r e d a c t e u r s . 8 v o l s . (1861-94) Fo r each vo lume: 1. Noted t h e page r e f e r e n c e ( s ) s . v . " R e y e r " i n t h e i n d e x o f names. 2 . S i n c e a l l page r e f e r e n c e s i n t h a t i n d e x d e s i g n a t e d l o c a t i o n s i n t h e s u b j e c t i ndex and t h e i ndex o f c o l l a b o r a t o r s , I l o o k e d f o r each " R e y e r " page r e f e r e n c e i n both i n d e x e s . I f o u n d t h e r e f e r e n c e s i n t he s u b j e c t i n d e x ; Reyer was not c i t e d i n t h e i n d e x o f c o l l a b o r a t o r s . 531 B i b l i o g r a p h y o f R e y e r ' s C r i t i c a l W r i t i n g s As t h e p r e c e d i n g pages have shown, t he b i b l i o g r a p h y i s comprehen -s i v e as r e g a r d s most o f t h e p u b l i c a t i o n s e xam ined : i n Group 1, t he C o u r r i e r de P a r i s , Revue de P a r i s , L ' A thenaeum f r a n g a i s , Revue f r a n - g a i s e , La G a z e t t e du N o r d , La R e n a i s s a n c e m u s i c a l e , Le M o n i t e u r u n i v e r - s e l , La F r a n c e m u s i c a l e , and Revue e t G a z e t t e m u s i c a l e de P a r i s ; and, i n Group 2, t h e Revue des Deux Mondes, L ' I I 1 u s t r a t i o n , Le M e n e s t r e l , Le Gu ide m u s i c a l , and L ' A r t m u s i c a l . The seven s o u r c e s wh i ch were t o o e x -t e n s i v e t o be s e a r c h e d c o m p r e h e n s i v e l y - - t h e newspapers L a P r e s s e , L ' I n d e p e n d a n c e b e i g e , J o u r n a l des D e b a t s , Le F i g a r o , and Le Temps, and t h e j o u r n a l s L ' A r t i s t e and Le Monde m u s i c a l - - m i g h t , o f c o u r s e , y i e l d more m i s c e l l a n e o u s w r i t i n g s t h a n I u n c o v e r e d . Such w r i t i n g s m i gh t a l s o appear i n some o f t h e l i t e r a l l y hundreds o f o t h e r n i n e t e e t h - c e n t u r y F r ench p e r i o d i c a l p u b l i c a t i o n s . In s h o r t , I do not c l a i m t o have found a l l o f R e y e r ' s c r i t i c a l w r i t i n g s . However, by l o c a t i n g h i s f e u i l l e t o n s and t h e a r t i c l e s he pub -l i s h e d i n j o u r n a l s t o wh i ch he c o n t r i b u t e d r e g u l a r l y , as w e l l as a r e p -r e s e n t a t i v e s a m p l i n g o f h i s m i s c e l l a n e o u s w r i t i n g s , I have a c h i e v e d t h e b i b l i o g r a p h i c g o a l s s e t f o r t h at t h e b e g i n n i n g o f t h i s A p p e n d i x . The b i b l i o g r a p h y i s i n s e v e r a l ways modeled on J a c q u e s - G a b r i e l P r od ' h omme ' s " B i b l i o g r a p h i e b e r l i o z i e n n e . " 1 7 L i k e P rod 'homme, I have o r g a n i z e d t h e c i t a t i o n s i n c h r o n o l o g i c a l o r d e r : f o r a g i v e n y e a r , R e y e r ' s w r i t i n g s a re l i s t e d c h r o n o l o g i c a l l y beneath t he t i t l e o f each p u b l i c a t i o n . A l s o l i k e Prod 'homme, I have r e p r o d u c e d any s u b t i t l e ( s ) , have added e x p l a n a t o r y i n f o r m a t i o n whenever i t seemed n e c e s s a r y , and 532 have i n d i c a t e d wh i ch w r i t i n g s were r e p r i n t e d o r e x c e r p t e d i n t he c o l -l e c t e d vo lumes o f R e y e r ' s c r i t i c i s m . However, as w i l l be shown b e l o w , t h i s b i b l i o g r a p h y d i f f e r s f r o m t h a t o f Prod 'homme i n t h r e e r e s p e c t s : ( 1 ) u p p e r - and l o w e r - c a s e l e t t e r s s y m b o l i z e v a r i o u s c a t e g o r i e s o f w r i t -i n g s ; (2) u n s i g n e d w r i t i n g s wh i ch can be i d e n t i f i e d as b e i n g by Reyer a r e i n c l u d e d i n t h e c h r o n o l o g i c a l l i s t ; and ( 3 ) f o r a l l w r i t i n g s — s i g n e d o r u n s i g n e d — d a y s and months o f p u b l i c a t i o n a r e e x p r e s s e d i n a r a b i c n u m e r a l s . C a t e g o r i e s o f s i g n e d o r un s i g ned w r i t i n g s I have c l a s s i f i e d R e y e r ' s j o u r n a l i s t i c o u t p u t a c c o r d i n g t o t h e f o l -l o w i n g c a t e g o r i e s , each o f wh i ch i s s y m b o l i z e d by a l e t t e r ( s ) : F f e u i 1 l e t o n f p a r t o f a f e u i l l e t o n A a r t i c l e ( t i t l e d o r u n t i t l e d ) LA l e t t e r - a r t i c l e ( t i t l e d o r u n t i t l e d ) U u n t i t l e d i t e m ( such as a n o t i c e , announcement, o b i t u a r y , o r a l e t t e r t o an e d i t o r o r j o u r n a l -i s t 1 8 ) R r e p r i n t f r om an unknown s o u r c e 1 9 In c o n j u n c t i o n w i t h t h e s y m b o l i c l e t t e r s , I have used t h r e e o t h e r sym-b o l s : * u n s i g n e d f r e p r i n t e d o r e x c e r p t e d i n No te s de mus ique t t r e p r i n t e d o r e x c e r p t e d i n Qua ran te ans de mus ique I f an i t e m i s bo th u n s i g n e d and r e p r i n t e d i n one o f t h e c o m p i l a t i o n s , t h e n t h e a s t e r i s k i s used i n c o m b i n a t i o n w i t h e i t h e r t h e dagger o r t h e 533 d o u b l e dagge r . Fo r e xamp le , two u n s i g n e d f e u i l l e t o n s w h i c h are r e -p r i n t e d i n Notes a re each i n d i c a t e d by * F t i n t he b i b l i o g r a p h y . ( F o r t h e r e a d e r ' s c o n v e n i e n c e , t h e c o n t e n t s o f Notes and Qua ran te a r e p r e -s e n t e d at t h e end o f t h e b i b l i o g r a p h y . ) F u r t h e r i n f o r m a t i o n c o n c e r n i n g un s i g ned w r i t i n g s An e x p l a n a t i o n i s o b v i o u s l y n e c e s s a r y i n t h e ca se o f any w r i t i n g w h i c h , a l t h o u g h n e i t h e r s i g n e d nor r e p r i n t e d i n one o f R e y e r ' s c o m p i l a -t i o n s , i s n e v e r t h e l e s s i n c l u d e d i n t h e b i b l i o g r a p h y . I f Reyer acknow-l e d g e d h i m s e l f as au tho r o f t h e u n s i g n e d w r i t i n g by m e n t i o n i n g i t i n s ometh i ng t h a t he s i g n e d , I c i t e t he l a t t e r i n squa re b r a c k e t s b e s i d e t h e l e t t e r ( s ) s y m b o l i z i n g t h e u n s i g n e d w r i t i n g . Fo r e xamp le , * L A [ J D F-21/11/1897] d e s i g n a t e s an u n s i g n e d l e t t e r - a r t i c l e whose a u t h o r s h i p Reyer acknowledged i n h i s JD f e u i l l e t o n o f 21 November 1897. I f someone o t h e r t h a n Reyer i d e n t i f i e d t h i s c r i t i c as t h e a u t h o r o f t h e u n s i g n e d w r i t i n g , t h e n an a p p r o p r i a t e a b b r e v i a t i o n ( s ) and a page number( s ) a r e e n c l o s e d i n t h e s qua re b r a c k e t s . As i n d i c a t e d be l ow , each a b b r e v i a t i o n s t and s f o r bo th t h e pe r s on who made t h e a t t r i b u t i o n and t he s o u r c e i n wh ich i t was made: CurR - H e n r i de C u r z o n . E r n e s t R e y e r , sa v i e e t ses o euv re s ( 1 8 2 3 - 1 9 0 9 T P a r i s ' : P e r r i n , 1924. HenT - E m i l e H e n r i o t . " T a b l e c h r o n o l o g i q u e des f e u i l l e t o n s d ' E r n e s t Reyer pa ru s dans l e C o u r - r i e r de P a r i s e t l e J o u r n a l des Debats ( 1857 -1 8 9 9 ) . " In Qua ran te ans de mu s i que , by E r n e s t R e y e r . C o m p i l e d , w i t h a p r e f a c e and n o t e s , by E m i l e H e n r i o t . P a r i s : C a l m a n n - L e v y , 1909. J u l R - A d o l p h e J u l l i e n . E r n e s t R e y e r . Les M u s i c i e n s c e l e b r e s . P a r i s : H e n r i L a u r e n s , [ 1 9 0 9 ] . LamR - [ t h i s d i s s e r t a t i o n ] 534 SerG - Georges S e r v i e r e s . " L e s r e l a t i o n s d ' E r n e s t Reyer e t de T h e o p h i l e G a u t i e r . " Revue d ' H i s - t o i r e l i t t e r a i r e de l a F r a n c e , no. 24 ( 1 9 1 7 ) , pp . 6 5 - 7 9 . Thus , a c i t a t i o n such as * L A [ C u r R 191] d e s i g n a t e s an un s i g ned l e t t e r -a r t i c l e a t t r i b u t e d t o Reyer on page 191 o f C u r z o n ' s monograph. I f an a t t r i b u t i o n o c c u r s i n more t han one o f t h e s e f i v e s o u r c e s , a l l a p p r o -p r i a t e a b b r e v i a t i o n s and page numbers a re e n c l o s e d w i t h i n t h e s qua re b r a c k e t s . Fo r e xamp le , * LA [Cu rR 190, HenT 415] d e s i g n a t e s an u n s i g n e d l e t t e r - a r t i c l e a t t r i b u t e d t o Reyer bo th on page 190 o f C u r z o n ' s mono-g raph and on page 415 o f H e n r i o t ' s b i b l i o g r a p h y . P u b l i c a t i o n d a t a Fo r each e n t r y , t h e b i b l i o g r a p h i c i n f o r m a t i o n d i s c u s s e d above i s hyphena ted t o t h e p u b l i c a t i o n d a t a . I f t h e p u b l i c a t i o n i s a p e r i o d i c a l , t h e n t h e d a t a c o n s i s t s o f t h e vo lume number, t h e day and month o f i s s u e , and t h e page number ( s ) p e r t i n e n t f o r t h e e n t r y . I f t h e p u b l i c a t i o n i s a newspape r , t h e n t h e d a t a c o n s i s t s o f t h e day and month o f i s s u e , and t h e page n u m b e r ( s ) - - u n l e s s t h e w r i t i n g i s p a r t o r a l l o f a f e u i l l e t o n , w h i c h can r e a d i l y be l o c a t e d w i t h o u t t h e a i d o f a page r e f e r e n c e . A l l p u b l i -c a t i o n d a t a i s e x p r e s s e d i n a r a b i c n u m e r a l s . Thus , f o r t h e y e a r 1852, t h e f i r s t w r i t i n g by Reyer i n t he t h e n -m o n t h l y Reyj j ie_dj_Par i£ i s i d e n t i f i e d i n t h e b i b l i o g r a p h y as A - 8 ( 0 0 / 0 5 ) : 1 5 0 - 6 1 , wh i ch d e s i g n a t e s a s i g n e d a r t i c l e p u b l i s h e d i n Tome 8 (May) on pages 1 5 0 - 6 1 . S i m i l a r l y , f o r t h e y e a r 1855, R e y e r ' s f i r s t w r i t i n g i n t h e t r i m o n t h l y Revue f r a n g a i s e i s i d e n t i f i e d as A - l ( 1 0 / 0 2 ) : 7 0 - 7 7 , wh i ch means a s i g n e d a r t i c l e i n Tome 1 ( i s s u e o f 10 F e b r u a r y ) on pages 7 0 - 7 7 . One more example w i l l s u f f i c e : f o r t h e y e a r 1850, t h e f i r s t w r i t i n g l i s t e d under L a P r e s s e i s * f [ S e r G 7 2 ] - 2 / 1 2 , w h i c h i n d i c a t e s t h a t t h e w r i t i n g i n q u e s t i o n c o n s t i t u t e s p a r t o f a f e u i l l e t o n , i s a t t r i b u t e d t o Reyer on page 72 o f S e r v i e r e s ' s a r t i c l e , and appea r s i n L a P r e s s e o f 2 December. 536 1850 La P r e s s e [ Rev i ew o f t he P a r i s i a n p r e m i e r e o f t h e o v e r t u r e t o Tannh ' au se r . ] * f [ S e r G 72 ] -02/T2 1851 La P r e s s e " O p e r a - N a t i o n a l [ l a t e r T h e a t r e - L y r i q u e ] . O u v e r t u r e . M o s q u i t a l a S o r c i e r e , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. S c r i b e e t V a e z , mus ique de M. X a v i e r B o i s s e l o t . " * f [ S e r G 72 n. 4 ] - 2 9/09 1852 La P r e s s e " T h e a t r e s : Grand O p e r a . Le J u i f - E r r a n t , o p e r a en c i n q a c t e s ; p a r o l e s de MM. S c r i b e e t S a i n t - G e o r g e s ; mus ique de M. H a l e v y . " * F [ S e r G 74 ] -26/04 " C h r o n i q u e m u s i c a l e . Les c hoeu r s d ' U l y s s e , par M. Gounod. - - F. C h o p i n , p a r F r a n z L i s z t . " * f [ S e r G 74 ] -29/06 " C h r o n i q u e m u s i c a l e . F e t e s de L i l l e . [ R e p o r t on a c o m p e t i t i o n o f G e r -man, F r e n c h , and B e l g i a n c h o r a l s o c i e t i e s , h o s t e d by t h e S o c i e t e c h o r a l e de L i l l e . - - Ope ra -Comique : M i l e M i o l a n ( l a t e r Mme C a r v a l h o ) i n a r e -v i v a l o f A u b e r 1 s A c t e o n . ] " * f [ LamR 105 n. 5 ] - 06/07 " O p e r a - C o m i q u e . La C r o i x de M a r i e , o p e r a comique en t r o i s a c t e s , p a -r o l e s de MM. L o c k r o y e t Denne ry , mus ique de M. Aime M a i l l a r t . " * f [ S e r G 74 ] -26/07 [Recommendat ion t h a t t h e t w e n t y - f i f t h a n n i v e r s a r y o f L e s u e u r ' s d e a t h be commemorated by t h e s t a g i n g o f h i s A l e x a n d r e a Baby!one at t h e O p e r a . ] • * f L Se rG 74J -30/08 " O p e r a . R e p r i s e de J e r u s a l e m , o p e r a en q u a t r e a c t e s , poeme de MM. A l p h o n s e Royer e t Gu s t ave V a e z , mus ique de M. V e r d i . " * f [ S e r G 74 ] -06/09 " T h e a t r e - L y r i q u e . F l o r e e t Z e p h y r , un a c t e , par MM. C h [ a r l e s ] D e s l y s , de Leuven e t Eugene G a u t i e r . " * f [ S e r G 74 ] -18/10 537 " T h e a t r e - L y r i q u e . La Ferme de K i l m o o r , o p e r a comique en deux a c t e s , p a r o l e s de MM. C h a r l e s D e s l y s e t Woes t yn , mus ique de M. V a r n e y . " * f [ S e r G 74J-01/11 [ B r i e f r e v i e w o f a p e r f o r m a n c e o f R e y e r ' s Le Selam by t h e S o c i e t e S a i n t e - C e c i 1 e . ] * f [ S e r G 74 ] -08/ l l " C h r o n i q u e m u s i c a l e . [M. F a u r e , b a r i t o n e . — M. L e o p o l d C a r i o l , c e l l i s t . - - M. Augu s te M o r e l , t h e new d i r e c t o r o f t h e C o n s e r v a t o i r e at M a r s e i l i e . ] " * f [ L amR 105 n . 5 ] - 1 5 / l l " T h e a t r e - I t a l i e n . L u i s a M i l l e r , o p e r a - s e r i a en t r o i s a c t e s , poeme de S a l v a d o r Cammarano, mus ique de G i u s e p p e V e r d i . " * f [ S e r G 74]-13/12 " O p e r a - C o m i q u e . Marco Spada , p a r o l e s de M. S c r i b e , mus ique de M. A u b e r . Debut de M i l e C a r o l i n e D u p r e z . " 2 0 * f [ S e r G 72]-27/12 Revue de P a r i s " M u s i q u e . O p e r a : Le J u i f E r r a n t , o p e r a en c i n q a c t e s , p a r o l e s de MM. S c r i b e e t de S a i n t - G e o r g e s , mus ique de M. H a l e v y . " A - 8 ( 0 0 / 0 5 ) : 1 5 0 - 6 1 " L e s Choeur s d ' U l y s s e , par M. C h a r l e s Gounod . " A - 1 0 ( 0 0 / 0 7 ) : 1 4 5 - 4 8 " C r i t i q u e m u s i c a l e . O p e r a : R o b e r t l e D i a b l e ; c o n t i n u a t i o n des d e b u t s de M i l e Emmy L a g r u a ; M. M a t h i e u ; M. Bauche. G i s e l l e ; c o n t i n u a t i o n des debu t s de M i l e R e g i n a F o r l i . - - Ope ra -Com ique : Les deux J a k e t , un a c t e de M. P l a n a r d , mus ique de M. J u s t i n Cadaux. - - R e o u v e r t u r e du t r o i s i e m e t h e a t r e l y r i q u e . - - Les f e t e s d ' A b b e v i l l e [ i n a u g u r a t i o n o f a s t a t u e o f L e s u e u r ; commemorat ive c o n c e r t ] . " A - 1 2 ( 0 0 / 0 9 ) : 1 4 4 - 4 8 " C r i t i q u e m u s i c a l e . Ope ra -Com ique : Le P e r e G a i l 1 a r d , t r o i s a c t e s , p a r MM. T. Sauvage e t H. Rebe r . - - T h e a t r e - L y r i q u e : S i j ' e t a i s r o i , t r o i s a c t e s , p a r MM. Dennery , B r e s i l e t A d o l p h e Adam." A - 1 3 ( 0 0 / 1 0 ) : 1 4 2 - 4 6 L ' A thenaeum f r a n g a i s " C h r o n i q u e m u s i c a l e . [Sapho and] Les Choeur s d ' U l y s s e , pa r M. Gounod . " A - l ( 1 0 and 17/07 ) : 31 - 32 538 " C h r o n i q u e m u s i c a l e . [ F u r t h e r remark s on Gounod ' s c h o r u s e s f o r U l y s s e . - - ] T h e a t r e de 1 ' O p e r a - C o m i q u e : La C r o i x de M a r i e , t r o i s a c t e s , pa r MM. L o c k r o y e t Dennery , mus ique de M. Aime M a i l l a r t . " A - l ( 2 4 / 0 7 ) : 6 0 - 6 1 " C h r o n i q u e m u s i c a l e . [ O p e r a : Debut o f M. M a t h i e u i n L u c i e de Lammermoor. - - Ope ra -Com ique : M i l e M i o l a n i n a r e v i v a l o f Ado lphe Adam ' s G i r a l d a . - - F o r t h c o m i n g r e o p e n i n g o f t h e O p e r a - N a t i o n a l ( l a t e r T h e a t r e - L y r i q u e ) . ] " A - l ( 0 7 / 0 8 ) : 9 0 - 9 1 " C h r o n i q u e m u s i c a l e . P i e r r e Dupont m u s i c i e n . " A - l ( 2 1 / 0 8 ) : 1 2 3 - 2 4 " C h r o n i q u e m u s i c a l e . Les poemes l y r i q u e s [ e d i t o r i a l on a c o n t e m p o r a r y s i t u a t i o n i n wh i ch most F r ench l i b r e t t o s a re by " de s p a r o l i e r s " i n s t e a d o f " de s p o e t e s " ] . - - [ O p e r a - C o m i q u e : ] Les deux J a k e t , o p e r a comique en un a c t e , p a r o l e s de M. de P l a n a r d , mus ique de M. J u s t i n Cadaux. - -[ O p e r a : ] R o b e r t l e P i a b l e , d e b u t s de M i l e Emmy L a g r u a . R e p r i s e de G i s e l l e , debu t s de M i l e R e g i n a F o r l i . - - R e o u v e r t u r e du t r o i s i e m e t h e a t r e l y r i q u e . " A - l ( 2 8 / 0 8 ) : 1 3 9 - 4 0 " C h r o n i q u e m u s i c a l e . O p e r a : R e p r i s e de J e r u s a l e m , poeme de MM. A l p h o n s e Royer e t Gu s t a ve Vaez , mus ique de M. V e r d i . — T h e a t r e - L y r i q u e : S i j ' e t a i s r o i , o p e r a comique en t r o i s a c t e s e t q u a t r e t a b l e a u x , p a r o l e s de MM. Oennery e t B r e s i l , mus i que de M. Ado l phe Adam." A - l ( l l / 0 9 ) : 1 6 8 - 6 9 " C h r o n i q u e m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Le p e r e G a i l l a r d , o p e r a comique en t r o i s a c t e s , p a r o l e s de M. T. Sauvage, mus ique de M. H e n r i Rebe r . - - T h e a t r e - L y r i q u e [ e d i t o r i a l o b j e c t i n g t o t h e p e r f o r m i n g o f S i j ' e t a i s r o i by a dua l c a s t o f p r i n c i p a l s on s u c c e s s i v e e v e n i n g s ] . " A - l ( 1 8 / 0 9 ) : 1 8 4 - 8 5 " C h r o n i q u e m u s i c a l e . T h e a t r e - L y r i q u e : F l o r e e t Z e p h y r , o p e r a comique en un a c t e , p a r o l e s de MM. de Leuven e t C h a r l e s D e s l y s , mus ique de M. Eugene G a u t i e r . " A - l ( 1 6 / 1 0 ) : 2 5 2 " C h r o n i q u e m u s i c a l e . Les S o i r e e s de V i e n n e , v a l s e s - c a p r i c e s d ' a p r e s S c h u b e r t , p a r F r a n z L i s z t . - - T h e a t r e - L y r i q u e : C h o i s y - l e - R o i , o p e r a comique en un a c t e , p a r o l e s de MM. M i c h e l C a r r e e t de L e u v e n , mus ique de M. Eugene G a u t i e r . [ R e v i v a l o f R o s s i n i ' s . La P i e v o l e u s e at t h e L y r i q u e . ] " A - l ( 2 3 / 1 0 ) : 2 6 3 - 6 4 " C h r o n i q u e m u s i c a l e . T h e a t r e - L y r i q u e : La Ferme de K i l m o o r , o p e r a comique en deux a c t e s , p a r o l e s de MM. C h a r l e s D e s l y s e t Woestyne, mus ique de M. V a r n e y . " A - l ( 0 6 / l l ) : 2 9 6 - 9 7 539 " C h r o n i q u e m u s i c a l e . O p e r a : MoTse [by R o s s i n i ] . - - Ope ra -Com ique : Les M y s t e r e s d ' U d o l p h e , o p e r a comique en t r o i s a c t e s pa r MM. S c r i b e e t Germain D e l a v i g n e , mus ique de M. C l a p i s s o n . - - T h e a t r e - L y r i q u e : R e p r i s e du P o s t i l i o n de Longjumeau [by A d o l p h e Adam] . " A - l ( 1 3 / l l ) : 3 1 5 - 1 6 " C h r o n i q u e m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Debut de M. Fau re dans l e CaTd [by Ambro i s e Thomas ] . " A - l ( 2 0 / l l ) : 3 3 1 " C h r o n i q u e m u s i c a l e . R e o u v e r t u r e du T h e a t r e - I t a l i e n : O t e l l o [by R o s s i n i ] . - - La F e t e des A r t s , c a n t a t e e x e c u t e e au t h e a t r e de l ' O p e r a -Comique, p o e s i e de M. Mery, mus ique de M. Ado lphe Adam. — T h e a t r e -L y r i q u e : La P e r l e du B r e s i l [ b y F e l i c i e n D a v i d ] ( r e p r i s e ) . - - N o u v e l l e s des t h e a t r e s l y r i q u e s . - - S onne t s de M. E v a r i s t e B o u l a y - P a t y , m i s en mus ique pa r M. C h a r l e s Manry . - - C o n c e r t s de l a S o c i e t e symphonique [ n e w l y f ounded by A r i s t i d e F a r r e n c ] . " A - l ( 2 7 / l l ) : 3 4 7 - 4 8 La F r a n c e m u s i c a l e " P i e r r e Dupont , m u s i c i e n . [The same a r t i c l e as A thF A - l ( 2 1 / 0 8 ) : 1 2 3 - 2 4 , but s e v e r a l s e r i o u s t y p o g r a p h i c a l e r r o r s i n t he l a t t e r a re he re c o r r e c t -e d . ] " 2 ! A - 1 6 ( 2 9 / 0 8 ) : 2 8 4 - 8 6 1853 La P r e s s e " T h e a t r e s : O p e r a . La F r o n d e , o p e r a en c i n q a c t e s , poeme de MM. Augus te Maquet e t J u l e s L a c r o i x , mus ique de M. N i e d e r m e y e r . " * F [ S e r G 74 ] -10/05 " O p e r a - C o m i q u e . L ' E p r e u v e v i l l a g e o i s e [by G r e t r y ] . " * f [ S e r G 72 ] - 30/05 Revue de P a r i s " C r i t i q u e m u s i c a l e . [ R e v i v a l o f t h e T h e a t r e - I t a l i e n under a new d i r e c -t o r , A l e x a n d r e C o r t i . Remarks on C o r t i ' s f i r s t two p r o d u c t i o n s : R o s s i n i ' s O t e l l o and D o n i z e t t i ' s L a Sonnambu la . Rev iew o f h i s c u r r e n t p r o d u c t i o n : t h e P a r i s i a n p r e m i e r e o f V e r d i ' s L u i s a Mi H e r . - - T h e a t r e -L y r i q u e : G u i l l e r y l e t r o m p e t t e , ou l e s C h a r l a t a n s , l i b r e t t o by Beaup l an and de L e u v e n , mus i c by S a r m i e n t o . - - T h e a t r e de 1 ' O p e r a - C o m i q u e : Marco Spada , l i b r e t t o by S c r i b e , m u s i c by A u b e r . — C o n c e r t s . — B r i e f r e v i e w o f B e r l i o z ' s Les S o i r e e s de 1 ' o r c h e s t r e . ] " A - 1 6 ( 0 0 / 0 1 ) : 1 5 7 - 6 2 540 " C r i t i q u e m u s i c a l e . [ T h e a t r e - I t a l i e n : Don G i o v a n n i . M i l e B e l t r a m e l 1 i i n I P u r i t a n i and i n Norma. - - T h e a t r e de l ' O p e r a : R e v i v a l o f R o s s i n i ' s Le Comte O r y . V e r d i ' s L o u i s e M i l l e r . - - T h e a t r e de 1 ' Ope ra -Comique : Le M i r o i r , l i b r e t t o by B a y a r d , mus ic by G a s t i n e l . Le S o u r d , ou l ' A u b e r g e p l e i n e , l i b r e t t o by de Leuven and L a n g l e ( a f t e r D e s f o r g e s ) , m u s i c by A d o l p h e Adam. Les Noces de J e a n n e t t e , l i b r e t t o by Ca r re ' and B a r b i e r , m u s i c by Masse. - - T h e a t r e - L y r i q u e : Le L u t i n de 1 a v a l l e e , o p e r a -b a l l e t , s c e n a r i o by A l b o i z e and C a r r e , mus i c by Eugene G a u t i e r . - - Con -c e r t s . ] " A - 1 6 ( 0 0 / 0 3 ) : 4 9 3 - 9 9 " C r i t i q u e m u s i c a l e . [ T h e a t r e - L y r i q u e : Les Amours du d i a b l e , a p a s t i c h e by S a i n t - G e o r g e s and G r i s a r . Le Ro i des h a l l e s , l i b r e t t o by de Leuven and B r u n s w i c k , mus i c by A d o l p h e Adam. - - T h e a t r e de 1 ' Ope ra -Com ique : La T o n e l 1 i , l i b r e t t o by Sauvage, m u s i c by Ambro i s e T h o m a s . ] " A - 1 7 ( 0 0 / 0 5 ) : 3 0 6 - 0 8 " C r i t i q u e m u s i c a l e . [ T h e a t r e de l ' O p e r a : L a F r o n d e , l i b r e t t o by J u l e s L a c r o i x and Augu s te Maquet , m u s i c by N i e d e r m e y e r . — T h e a t r e de V O p e r a -Comique: E d i t o r i a l on G i l b e r t D u p r e z ' s w i t h d r a w a l o f La L e t t r e au bon D i e u . Rev iew o f L 'Ombre a r g e n t i n e , l i b r e t t o by de B i e v i l l e and t he l a t e B a y a r d , mus i c by M o n f o r t . - - T h e a t r e - L y r i q u e : Co l i n - M a i l 1ard, l i b r e t t o by C a r r e and V e r n e , mu s i c by H i g n a r d . L ' O r g a n i s t e dans 1 ' e m b a r r a s , l i b r e t t o by A l b o i z e , mus i c by W e k e r l i n . - - T h e a t r e - I t a l i e n : P a r i s i a n p r e m i e r e o f M e r c a d a n t e ' s II B r a v o . — C o n c e r t s . ] " A - 1 7 ( 0 0 / 0 6 ) : 4 7 6 - 8 1 " C h r o n i q u e de l a q u i n z a i n e : Revue m u s i c a l e . [ T h e a t r e de 1 ' O p e r a -Comique : ] Le Nabab, o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. S c r i b e e t S a i n t - G e o r g e s , mus ique de M. F. H a l e v y . ~ [ T h e a t r e - L y r i q u e : ] La M o i s s o n n e u s e , d r a m e - l y r i q u e en q u a t r e a c t e s e t c i n q t a b l e a u x , p a r o l e s de MM. A n i c e t B o u r g e o i s e t M i c h e l Mas son , mus ique de M. A. V o g e l . L a P r i n c e s s e de T r e b i z o n d e , p r o l o g u e en deux t a b l e a u x , [ l i b r e t t o by de L e u v e n , ] mus ique de MM. W e k e r l i n , N. L o u i s , e t c . , e t c . [ i . e . , T h i e r r y , R o s s i n i , Ado lphe Adam, and Eugene G a u t i e r ] - - Les S o i r e e s d ' a u t o m n e , douze m e l o d i e s , pa r M. A l f r e d D u f r e s n e . - - Le T h e a t r e - I t a l i e n [ a n n o u n c e -ment t h a t C o r t i has been succeeded by C o l o n e l R a g a n i , who p rom i se s t o r eengage ' d e s e e l e b r i t e s ' ] . " A - 1 8 ( 1 5 / 0 9 ) : 9 7 6 - 8 1 " C h r o n i q u e de l a q u i n z a i n e : Revue m u s i c a l e . T h e a t r e de l ' O p e r a : A e l i a e t M y s i s , b a l l e t - p a n t o m i m e en deux a c t e s , de M. M a z i l i e r , mus ique de M. H e n r i P o t i e r . — T h e a t r e - L y r i q u e : B o n s o i r , v o i s i n , o p e r a comique en un a c t e , p a r o l e s de MM. B r u n s w i c k e t A r t h u r de B e a u p l a n , mus ique de M. F e r d i n a n d P o i z e . Le B i j o u p e r d u , o p e r a comique en t r o i s a c t e s , par M. de L e u v e n , mus ique de M. A d o l p h e Adam. Debut de Mme M a r i e Cabe l [ f o r whom Le B i j o u pe rdu was w r i t t e n ] . " A - 1 9 ( 1 5 / 1 0 ) : 3 2 4 - 3 2 " C h r o n i q u e de l a q u i n z a i n e : Revue m u s i c a l e . Ope ra : Le M a T t r e - c h a n t e u r , o p e r a en deux a c t e s , p a r o l e s de M. Hen r i T r i a n o n , mus i que de 541 M. L i m n a n d e r . - - Ope ra -Com ique : C o l e t t e , o p e r a comique en t r o i s a c t e s , p a r o l e s de M. P l a n a r d , mus ique de M. J u s t i n Cadaux. - - T h e a t r e - L y r i q u e : Le D i a b l e - a - q u a t r e , o p e r a comique en t r o i s a c t e s , p a r o l e s de S e d a i n e , mus ique de S o l i e [ s c o r e r e v i s e d and c o r r e c t e d by Ado l phe Adam]. Le Danseur du r o i , o p e r a - b a l l e t de M. S a i n t - L e o n [ m u s i c by Eugene G a u t i e r ] . " A - 1 9 ( 0 1 / l l ) : 4 9 1 - 9 6 " C h r o n i q u e de l a q u i n z a i n e : Revue m u s i c a l e . O p e r a : J o v i t a , ou l e s B o u c a n i e r s , b a l l e t - p a n t o m i m e en t r o i s t a b l e a u x , pa r M. M a z i l i e r , mus ique de M. Theodore L a b a r r e . Debut de Mme R o s a t i . ~ T h e a t r e - L y r i q u e : R e p r i s e des Amours du d i a b l e . - - S a l l e H e r z : Les A i g l e s , heroTde l y r i q u e , p a r o l e s de M. Hermann Du C a s s e , mus ique de M. C h e l a r d . — T h e a t r e des V a r i e t e s : P e p i t o , o p e r a comique en un a c t e , p a r o l e s de M. Leon B a t t u , mus ique de M. O f f e n b a c h . - - N o u v e l l e s m u s i c a l e s . " A - 1 9 ( 0 1 / 1 2 ) : 8 3 8 - 4 3 " C h r o n i q u e de l a q u i n z a i n e : Revue m u s i c a l e . T h e a t r e - L y r i q u e : G e o r g e t t e , ou l e M o u l i n de F o n t e n o y , o p e r a - b o u f f e en un a c t e , p a r o l e s de M. Gus tave V a e z , mus ique de M. G e v a e r t . S i j ' e t a i s r o i , o p e r a comique en t r o i s a c t e s , de M. Ado lphe Adam ( R e p r i s e ) . - - La Danse aux f l a m b e a u x , de Meye rbee r [ p e r f o r m e d a t a b e n e f i t c o n c e r t at t h e S a l l e S a i n t e -C e c i l e ] . - - T h e a t r e - I t a l i e n : L u c r e z i a B o r g i a , I P u r i t a n i , e t c . [ T a m b u r i n i , A l b o n i , and t h e o t h e r ' m e r v e i l l e u x t a l e n t s ' who have p e r f o r m e d at t h i s t h e a t r e s i n c e i t s r e o p e n i n g under C o l o n e l Ragan i have t e m p o r a r i l y r e c a p t u r e d i t s a u d i e n c e . ] " A - 19 ( 15/12 ) : 1018 - 21 L ' A t henaeum f r a n g a i s " C h r o n i q u e m u s i c a l e . T h e a t r e - L y r i q u e : Les Amours du d i a b l e , o p e r a en q u a t r e a c t e s e t h u i t t a b l e a u x , p a r o l e s de S a i n t - G e o r g e s , mus ique de M. A l b e r t G r i s a r . [ E d i t o r i a l on t h e need f o r a s u b s i d y f o r t h e T h e a t r e -L y r i q u e . ] " A - 2 ( 1 9 / 0 3 ) : 2 7 1 - 7 2 " C h r o n i q u e m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : L a T o n e l 1 i , o p e r a comique en deux a c t e s , p a r o l e s de M. T. Sauvage, mus ique de M. Ambro i s e Thomas. "22 A - 2 ( 0 9 / 0 4 ) : 3 4 7 - 4 8 " C h r o n i q u e m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Le Nabab, o p e r a comique en t r o i s a c t e s , pa r MM. S c r i b e e t S a i n t - G e o r g e s , mus ique de M. F. H a l e v y . " A - 2 ( 1 0 / 0 9 ) : 8 7 2 - 7 3 " C h r o n i q u e m u s i c a l e . T h e a t r e - L y r i q u e : L a P r i n c e s s e de T r e b i z o n d e , p r o l o g u e en deux t a b l e a u x , p a r o l e s de M. [de L e u v e n J , mus ique de MM. W e k e r l i n , M. L o u i s , T h i e r r y , e t c . e t c . L a M o i s s o n n e u s e , o p e r a en q u a t r e a c t e s e t c i n q t a b l e a u x , p a r o l e s de MM. A m c e t B o u r g e o i s [and M i c h e l 542 M a s s o n ] , mus i que de M. V o g e l . " A - 2 ( 2 4 / 0 9 ) : 9 1 7 - 1 8 " C h r o n i q u e m u s i c a l e . T h e a t r e - L y r i q u e : B o n s o i r , v o i s i n , o p e r a comique en un a c t e , p a r o l e s de MM. B r u n s w i c k e t A r t h u r de B e a u p l a n , mus ique de M. F e r d i n a n d P o i z e . Le B i j o u p e r d u , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. de Leuven e t D e s f o r g e s , mus ique de M. Ado lphe Adam. Debut de Mme M a r i e C a b e l . - - O p e r a : Le M a t t r e - c h a n t e u r , o p e r a en deux a c t e s , p a r o l e s de M. Hen r i T r i a n o n , mus ique de M. L i m n a n d e r . " A - 2 ( 2 2 / 1 0 ) : 1 0 1 7 - 1 8 1854 La P r e s s e [ R e v i e w o f a c o n c e r t g i v e n by t h e S o c i e t e des d e r n i e r s q u a t u o r s de Bee thoven (Quatuo r M a u r i n - S a b a t t i e r - M a s - C h e v i l 1 a r d ) on 13 J a n u a r y 1854 . ] * f [ S e r G 73] -24/01 " T h e a t r e s : O p e r a . La Nonne s a n g l a n t e , o p e r a en c i n q a c t e s , p a r o l e s de MM. S c r i b e e t Germa in D e l a v i g n e , mus ique de M. Gounod. "23 * F [ S e r G 75 ] -24/10 " O p e r a . La Nonne s a n g ! a n t e ( s u i t e ) . " * f [ S e r G 75 ] - 31/10 " C h r o n i q u e m u s i c a l e . [ Rev i ew o f t h e f i r s t c o n c e r t g i v e n by t h e S o c i e t e S a i n t e - C e c i l e under t h e ba ton o f i t s new c o n d u c t o r , A . - M . - B . B a r b e r e a u . . - - Announcement o f t h e f o r t h c o m i n g p r e m i e r e o f B e r l i o z ' s L ' E n f a n c e du C h r i s t . — Rev i ew o f a c o n c e r t g i v e n by t h e young p i a n i s t Theodore R i t t e r . ] " * f [ L amR 105 n. 5 ] - 05/12 " L ' E n f a n c e du C h r i s t , t r i l o g i e s a c r e e , p a r o l e s e t mus ique d ' H e c t o r B e r l i o z . " * f [ S e r G 74 ] -28/12 Revue de P a r i s " C h r o n i q u e de l a q u i n z a i n e : Revue m u s i c a l e . T h e a t r e - L y r i q u e : E l i s a b e t h , o p e r a en t r o i s a c t e s , p a r o l e s de MM. de Leuven e t B r u n s w i c k , mus ique de D o n i z e t t i , m i se en o r d r e p r M. F o n t a n a , son e l e v e . R e n t r e e de M i l e Duez dans l e B a r b i e r de S e v i l l e . - - Ope ra -Comique : Les P a p i l l o t e s de M. B e n o i s t , un a c t e , par MM. M i c h e l C a r r e e t J u l e s B a r b i e r , mus ique de M. Hen r i R e b e r . Debuts de M i l e B o u l a r t dans l e s Noces de J e a n n e t t e . - - P r e m i e r e seance de l a S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e . - - S a l l e H e r z : C o n c e r t de M i l e C l a u s s [ p i a n i s t ] , - -N o u v e l l e s d i v e r s e s . " A - 2 0 ( 1 5 / 0 1 ) : 3 2 9 - 3 6 543 " C h r o n i q u e de l a q u i n z a i n e : Revue m u s i c a l e . Ope ra : Debuts de M i l e S o p h i e C r u v e l l i dans l e s Hugueno t s . - - T h e a t r e - L y r i q u e : Les E t o i l e s , o p e r a - b a l l e t en deux a c t e s , p a r o l e s de M. C l a i r v i l l e , mus ique de M. P i l a t i . Debuts de M. L a g r a ve dans E l i s a b e t h . - - T h e a t r e - I t a l i e n : La Gaz za L a d r a . Debuts de Mme E r n e s t a G r i s i . ~ S o c i e t e S a i n t e - C e c i l e . - -S a l l e H e r z : A u d i t i o n de I ' a l b u m d ' E t i e n n e Arnaud [ s o n g s ] . - - S a l l e P l e y e l : Les d e r n i e r s q u a t u o r s de Beethoven [ a t t h e f o r t n i g h t l y c o n c e r t s o f t h e Mau r i n Q u a r t e t ] , - - [A lbum o f songs by ] M. L e o p o l d Amat. - -D i c t i o n n a i r e de mus ique de MM. E s c u d i e r f r e r e s . - - N o u v e l l e s . " A - 2 0 ( 1 5 / 0 2 ) : 6 6 6 - 7 2 " C h r o n i q u e de l a q u i n z a i n e : Revue m u s i c a l e . T h e a t r e de l ' O p e r a -Comique: L ' E t o i l e du N o r d , o p e r a comique en t r o i s a c t e s , p a r o l e s de M. Eugene S c r i b e , mus ique de M. M e y e r b e e r . " A - 2 0 ( 0 1 / 0 3 ) : 8 3 7 - 4 4 " C h r o n i q u e de l a q u i n z a i n e : Revue m u s i c a l e . T h e a t r e - L y r i q u e : La F i l l e i n v i s i b l e , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. Dupin e t de S a i n t - G e o r g e s , mus ique de M. A d r i e n B o T e l d i e u [ r e v i e w i n c l u d e s an e d i -t o r i a l on t h e c o n t e m p o r a r y p r a c t i c e o f r e l y i n g on a h a n d f u l o f p o p u l a r l i b r e t t i s t s ] . - - Ope r a -Com ique : La 7 6 5 e r e p r e s e n t a t i o n de l a Dame b l a n c h e . Debuts de M. P u g e t . - - S o c i e t e S a i n t e - C e c i l e : P r e c i o s a , d r a m e - l y r i q u e de Weber. - - S a l l e H e r z : C o n c e r t de M. Theodore R i t t e r [ debu t o f t h e t h i r t e e n - y e a r - o l d p i a n i s t ] . - - N o u v e l l e s . " A - 2 0 ( 1 5 / 0 3 ) : 1 0 1 0 - 1 6 " C h r o n i q u e de l a q u i n z a i n e : Revue m u s i c a l e . T h e a t r e de l ' O p e r a : La V e s t a l e , de S p o n t i n i . ( R e p r i s e . ) - - T h e a t r e - L y r i q u e : L a P r o m i s e , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. de Leuven e t B r u n s w i c k , mus ique de M. L. C l a p i s s o n . — Messe de M. C a m i l l e S c h u b e r t . - - S a l l e H e r z : C o n c e r t de l a F r a n c e m u s i c a l e : Mme U g a l d e , M. R i t t e r , e t c . [ C o n c e r t was s pon so red by t h i s p u b l i c a t i o n f o r i t s s u b s c r i b e r s . - - B r i e f r e v i e w o f a s e x t e t f o r p i a no and s t r i n g s by Mme F a r r e n c . ] " A - 2 1 ( 0 1 / 0 4 ) : 1 5 4 - 6 0 " C h r o n i q u e de l a q u i n z a i n e : Revue m u s i c a l e . T h e a t r e - L y r i q u e : Une R e n c o n t r e dans l e Danube, o p e r a comique en deux a c t e s , p a r o l e s de MM. J . de W a i l l y e t Germain D e l a v i g n e , mus ique de M. Pau l H e n r i o n . La R e i n e d ' u n j o u r ( r e p r i s e ) , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. S c r i b e e t S a i n t - G e o r g e s , mus ique de M. Ado l phe Adam. C o n t i n u a t i o n des d e b u t s du t e n o r L a g r a v e . R e n t r e e de Mme M e i l l e t . — Ope ra -Com ique : Le Songe d ' u n e n u i t d ' e t e ( r e p r i s e ) , o p e r a comique en t r o i s a c t e s , p a r o l e s de M. de L e u v e n , mus ique de M. Ambro i s e Thomas. - - C o n c e r t s . - - N o u v e l l e s . " A - 2 1 ( 0 1 / 0 5 ) : 4 7 0 - 7 6 " C h r o n i q u e de l a q u i n z a i n e : Revue m u s i c a l e . T h e a t r e de l ' O p e r a : Gemma, b a l l e t en deux a c t e s e t c i n q t a b l e a u x , par M. T h e o p h i l e G a u t i e r e t Mme C e r r i t o , mus ique de M. l e comte G a b r i e l l i . [Debut o f M i l e C r u v e l l i as A l i c e i n a; r e v i v a l o f R o b e r t l e d i a b l e . ] — T h e a t r e de 1 ' O p e r a - C o m i q u e : L a F i a n c e e du d i a b l e , o p e r a comique en t r o i s a c t e s , p a r MM. S c r i b e e t Romand, mus i que de M. V i c t o r Masse. - - N e c r o l o g i e : 544 M. Georges Bousquet [ c o n d u c t o r and mus i c c r i t i c ] . " A - 2 2 ( 0 1 / 0 7 ) : 1 5 4 - 6 0 " C h r o n i q u e de l a q u i n z a i n e : Revue m u s i c a l e . T h e a t r e de l ' O p e r a -Comique: Les T r o v a t e l l e s , o p e r a comique en un a c t e , p a r o l e s de MM. M i c h e l C a r r e e t J u l e s L o r i n , mus ique de M. D u p r a t o . - - N e c r o l o g i e : M. J u l e s S e v e s t e [ d i r e c t o r o f t h e T h e a t r e - L y r i q u e , 1 8 5 2 - 5 4 ] . - - N o u v e l l e s . " A - 2 2 ( 1 5 / 0 7 ) : 3 1 1 - 1 5 " C h r o n i q u e de l a q u i n z a i n e : Revue m u s i c a l e . T h e a t r e de l ' O p e r a -Comique: L ' O p e r a au camp, o p e r a comique en un a c t e , p a r o l e s de M. Pau l F o u c h e r , mus ique de M. V a r n e y . - - N o u v e l l e s [ i n c l u d i n g an e d i t o r i a l on t h e ' s t a r s y s t e m ' a t t h e T h e a t r e - L y r i q u e ] . " A - 2 2 ( 0 1 / 0 9 ) : 7 9 3 - 8 0 0 " C h r o n i q u e de l a q u i n z a i n e : Revue m u s i c a l e . T h e a t r e - I t a l i e n : R e o u v e r -t u r e . La S e m i r a m i d e . Debuts de Mmes B o s i o , Borgh i -Mamo, e t de M. G a s s i e r . - - Ope ra -Comique : R e p r i s e du P r e aux C l e r c s . Debuts de Mme Co l s on . Les S a b o t s de l a m a r q u i s e , o p e r a comique en un a c t e , p a r o l e s de MM. M i c h e l C a r r e e t J u l e s B a r b i e r , mus ique de M. E r n e s t B o u l a n g e r . - -T h e a t r e - L y r i q u e : R e o u v e r t u r e . La P r o m i s e . Le B i l l e t de M a r g u e r i t e , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. de Leuven e t B r u n s w i c k , mus ique de M. G e v a e r t [an a p o l o g y t h a t t h e r e i s no space l e f t f o r a r e v i e w o f t h i s w o r k ] . " A - 2 3 ( 1 5 / 1 0 ) : 3 1 2 - 1 6 " C h r o n i q u e de l a q u i n z a i n e : Revue m u s i c a l e . T h e a t r e - I t a l i e n : M a t h i l d e de S h a b r a n , o p e r a s e m i - s e r i a , de R o s s i n i . [ Rev i ew b e g i n s w i t h an e d i -t o r i a l t o t h e e f f e c t t h a t t h i s t h e a t r e , i n s t e a d o f c o n c e n t r a t i n g on R o s s i n i , s h o u l d g i v e ' une p a r t e g a l e a t o u s l e s c o m p o s i t e u r s i t a l i e n s , p a s s e s , p r e s e n t s e t f u t u r s , ' i n c l u d i n g V e r d i . ] — T h e a t r e - L y r i q u e : Schahabaham 11 , o p e r a - b o u f f e en un a c t e , p a r o l e s de MM. de Leuven e t M i c h e l C a r r e , mus ique de M. Eugene G a u t i e r . [ N o t i c e s o f r e v i v a l s o f P o i s e ' s B o n s o i r , v o i s i n , W e k e r l i n ' s L ' O r g a n i s t e , and A d o l p h e Adam ' s Le B i j o u pe rdu a t t h e L y r i q u e . ] " A - 2 3 ( 1 5 / l l ) : 6 5 0 - 5 2 L ' A thenaeum f r a n g a i s " C h r o n i q u e m u s i c a l e . T h e a t r e - L y r i q u e : E l i s a b e t h , ou l a F i l l e du p r o - s c r i t , o p e r a en t r o i s a c t e s , p a r o l e s de MM. de Leuven e t B r u n s w i c k , mus ique de D o n i z e t t i . - - Ope r a -Com ique : Les P a p i l l o t e s de M. B e n o i s t , o p e r a comique en un a c t e , pa r MM. M i c h e l C a r r e e t J u l e s B a r b i e r , mus ique de M. Hen r i R e b e r . " A - 3 ( 2 8 / 0 1 ) : 8 1 - 8 2 " C h r o n i q u e m u s i c a l e . T h e a t r e de T O p e r a - C o m i q u e : L ' E t o i l e du N o r d , o p e r a comique en t r o i s a c t e s , p a r o l e s de M. S c r i b e , mus ique de M. Meye r -b e e r . — [ N o t i c e : ] T h e a t r e - L y r i q u e : Les E t o i l e s , [ o p e r a - b a l l e t , words by M. C l a i r v i l l e , m u s i c ] pa r M. P i l a t i . " A - 3 ( 2 5 / 0 2 ) : 1 7 3 - 7 5 545 " C h r o n i q u e m u s i c a l e . T h e a t r e - L y r i q u e : La F i l l e i n v i s i b l e , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. de S a i n t - G e o r g e s e t D u p i n , mus ique de M. A d r i e n B o T e l d i e u . — S a l l e S a i n t e - C e c i l e : P r e c i o s a , drame l y r i q u e de Weber [ p e r f o r m e d by t h e S o c i e t e S a i n t e - C e c i l e under t h e d i r e c t i o n o f F . - J . - B . S e g h e r s ] . " A - 3 ( l l / 0 3 ) : 2 2 3 - 2 5 " C h r o n i q u e m u s i c a l e . Ope ra : R e p r i s e de l a V e s t a l e , o p e r a en t r o i s a c t e s , de S p o n t i n i . - - T h e a t r e - L y r i q u e : La P r o m i s e , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. Leuven e t B r u n s w i c k , mus ique de M. C I a p i s s o n . " A - 3 ( 2 5 / 0 3 ) : 2 6 8 - 7 0 " C h r o n i q u e m u s i c a l e . Ope ra : Gemma, b a l l e t en deux a c t e s e t c i n q t a b l e a u x , l i v r e t de M. T h e o p h i l e G a u t i e r , mus ique de M. l e comte G a b r i e l 1 i , c h o r e g r a p h i e de Mme C e r r i t o . [Debut o f M i l e S o p h i e C r u v e l l i as A l i c e i n M e y e r b e e r ' s R o b e r t l e d i a b l e . ] — Ope ra -Com ique : La F i a n c e e du d i a b l e , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. S c r i b e e t Romand, mus ique de M. V i c t o r Masse. - - N e c r o l o g i e : M. Georges Bousquet [ c o n d u c t o r and mus i c c r i t i c ] . " A - 3 ( 2 4 / 0 6 ) : 5 8 3 - 8 4 " C h r o n i q u e m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Les T r o v a t e l l e s , o p e r a comique en un a c t e , p a r o l e s de M. M i c h e l C a r r e e t de f e u J u l e s L o r i n , mus ique de M. D u p r a t o . — [ O b i t u a r y : ] M. S e v e s t e [ d i r e c t o r o f t h e T h e a t r e - L y r i q u e , 1 8 5 2 - 5 4 ] . - - R e o r g a n i s a t i o n de l ' O p e r a [ announce -ment t h a t i t has been p l a c e d under t h e s u r v e i l l a n c e o f a gove rnmenta l c o u n c i l , a l t h o u g h N e s t o r Roquep lan r e t a i n s t h e f u n c t i o n s o f d i r e c t o r ] . " A - 3 ( 1 5 / 0 7 ) : 6 5 4 - 5 5 " C h r o n i q u e m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : L ' O p e r a au camp, o p e r a comique en un a c t e , p a r o l e s de M. Pau l F o u c h e r , mus ique de M. V a r n e y . - - R e p r e s e n t a t i o n s g r a t u i t e s [ M e y e r b e e r ' s Robe r t l e d i a b l e and Haydee at t h e Opera and t h e Opera -Comique r e s p e c t i v e l y ] . - - T h e a t r e -L y r i q u e [ e d i t o r i a l on t h e e n t r u s t i n g o f t h e p r i v i l e g e o f t he L y r i q u e t o t h e c u r r e n t d i r e c t o r o f t h e Comique, E m i l e P e r r i n ] . — [ O b i t u a r y : ] P i e r r e L a u r e n t [ a young s i n g e r who had j o i n e d t h e L y r i q u e i n 1 8 5 3 ] . — M. C I a p i s s o n [announcement t h a t bo th he and B e r l i o z have been nomina ted f o r e l e c t i o n t o t h e I n s t i t u t de F r a n c e ] . " A - 3 ( 0 2 / 0 9 ) : 8 2 2 - 2 3 " C h r o n i q u e m u s i c a l e . Ope ra -Comique : Les S abo t s de l a M a r q u i s e , p a r o l e s de MM. C a r r e e t B a r b i e r , mus i que de M. E. B o u l a n g e r . L— Reopen i ng o f t h e T h e a t r e - L y r i q u e : N o t i c e s o f r e v i v a l s o f C I a p i s s o n ' s La P rom i se and A d o l p h e Adam's La R e i n e d ' u n j o u r . ] — T h e a t r e - L y r i q u e : Le B i l l e t de M a r g u e r i t e , p a r o l e s de MM. de Leuven e t B r u n s w i c k , mus ique de M. G e v a e r t . - - R e o u v e r t u r e des I t a l i e n s [ p r i n c i p a l s i n g e r s i n t he company a s semb led by C o l o n e l R a g a n i ] . " A - 3 ( 2 1 / 1 0 ) : 9 8 9 - 9 1 546 " C h r o n i q u e m u s i c a l e . Ope ra : La Nonne s a n g ! a n t e , o p e r a en c i n q a c t e s , p a r o l e s de MM. S c r i b e e t Germain D e l a v i g n e , mus ique de M. C h a r l e s Gounod . " A - 3 ( 2 8 / 1 0 ) : 1 0 1 2 - 1 4 " C h r o n i q u e m u s i c a l e . T h e a t r e - L y r i q u e : Schahabaham I I , o p e r a - b o u f f e en un a c t e , p a r o l e s de MM. Leuven e t M i c h e l C a r r e , mus ique de M. Eugene G a u t i e r . - - T h e a t r e - I t a l i e n : M a t i l d e d i S h a b r a n , o p e r a s e m i - s e r i a de R o s s i n i . " A - 3 ( 1 8 / l l ) : 1 0 8 8 - 8 9 " C h r o n i q u e m u s i c a l e . L ' E n f a n c e du C h r i s t , t r i l o g i e s a c r e e , p a r o l e s e t mus ique de M. B e r l i o z . [ C o n d u c t e d by t h e composer . Rev iew i s p r eceded by a s k e t c h o f B e r l i o z ' s t w e n t y - f i v e - y e a r c a r e e r as compose r , c o n d u c t o r , and c r i t i c ] - - E t u d e s de Mme F a r r e n c [ f o r p i a n o ] . " A - 3 ( 3 0 / 1 2 ) : 1 2 2 8 - 3 1 1855 L ' A thenaeum f r a n g a i s " C h r o n i q u e m u s i c a l e . T h e a t r e - L y r i q u e : Le M u l e t i e r de T o l e d e , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. Dennery e t C l a i r v i l l e , mus ique de M. Ado lphe Adam. - - T h e a t r e - I t a l i e n : II T r o v a t o r e , drame l y r i q u e en q u a t r e a c t e s , poeme de f e u Cammarano, mus ique de M. V e r d i . — N o u v e l l e s [ n o t a b l y an announcement t h a t B e r l i o z w i l l c o n d u c t L ' E n f a n c e du C h r i s t t h r e e t i m e s at t h e T h e a t r e - I t a l i e n ] . " A - 4 ( 1 3 / 0 1 ) : 3 7 - 3 8 " C h r o n i q u e m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Le Ch i en du j a r d i n i e r , o p e r a comique en un a c t e , p a r o l e s de MM. L o c k r o y e t Cormon, mus ique de M. A l b e r t G r i s a r . [ - - T h e a t r e - I t a l i e n : R e t u r n o f M i l e E r n e s t a G r i s i i n D o n i z e t t i ' s L i n d a d i Chamoun i x . ] - - P r e m i e r c o n c e r t du [ S o c i e t e des c o n c e r t s du] C o n s e r v a t o i r e . - - S a l l e S a i n t e - C e c i l e : p r e m i e r c o n c e r t . - - C o n c e r t de l a F r a n c e m u s i c a l e [ t h e f i r s t o f t h r e e c o n c e r t s wh i ch t h i s j o u r n a l s pon so red a n n u a l l y f o r i t s s u b s c r i b e r s ] . " A - 4 ( 0 3 / 0 2 ) : 1 0 5 - 0 6 " C h r o n i q u e m u s i c a l e . T h e a t r e - L y r i q u e : R o b i n des b o i s , o p e r a f a n t a s t i q u e en t r o i s a c t e s e t q u a t r e t a b l e a u x , i m i t e du F r e y s c h l i t z [ s i c ] , pa r MM. C a s t i l - B l a z e e t Sauvage , mus ique de Weber"! [ Rev i ew i s p r e c e d e d by an e d i t o r i a l d e p l o r i n g t h e F r e n c h p u b l i c ' s a c c e p t a n c e o f such a r r angement s and i t s i n d i f f e r e n c e t o ' l a bonne m u s i q u e . ' ] - -T h e a t r e - I t a l i e n : G l i a r a b i n e l l e Gal l i e , drame l y r i q u e en q u a t r e p a r t i e s , mus ique de M. G i o v a n n i P a c i n i . - - C o n c e r t s [ s e cond c o n c e r t o f t h e season o f P a s d e l o u p ' s S o c i e t e des j e u n e s a r t i s t e s du C o n s e r v a t o i r e ] . " A - 4 ( 1 0 / 0 2 ) : 1 2 2 - 2 4 547 " C h r o n i q u e m u s i c a l e . Ope ra -Comique : M i s s F a u v e t t e , o p e r a comique en un a c t e , p a r o l e s de MM. M i c h e l C a r r e e t J u l e s B a r b i e r , mus ique de V i c t o r Masse. - - T h e a t r e - I t a l i e n : I P u r i t a n i ( r e p r i s e ) . - - C o n c e r t s [ S o c i e t e S a i n t e - C e c i l e ; S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e ; t h e Mau r i n Qua r -t e t ; Mme Amedee T a r d i e u ( C h a r l o t t e de M a l l e v i l l e , p i a n i s t ) ] . " A - 4 ( 0 3 / 0 3 ) : 1 7 0 - 7 1 " C h r o n i q u e m u s i c a l e . Ope ra -Comique : Yvonne, o p e r a comique en un a c t e , p a r o l e s de M. de L e u v e n , mus ique de M. l e p r i n c e de l a Moskowa. [ R e v i e w b e g i n s w i t h remark s c o n c e r n i n g a n o t h e r composer who, l i k e t h e p r i n c e , has been w a i t i n g f o r y e a r s t o o b t a i n a h e a r i n g i n P a r i s : A . - A . - E . E l w a r t . ] R e p r i s e du CaTd [by A m b r o i s e Thomas ] . - - T h e a t r e - L y r i q u e : Les Cha rmeur s , o p e r a comique en un a c t e , p a r o l e s de M. de L e u v e n , mus ique de M. F e r d i n a n d P o i s e . - - C o n c e r t s [ S o c i e t e des c o n c e r t s du C o n s e r v a -t o i r e ] . " A - 4 ( 3 1 / 0 3 ) : 2 6 3 - 6 5 " C h r o n i q u e m u s i c a l e . [ E d i t o r i a l on t h e need t o b u i l d a c o n c e r t h a l l i n t i m e f o r t h e E x p o s i t i o n at P a r i s . - - The l y r i c t h e a t r e s p r e p a r e f o r t he E x p o s i t i o n : t h e Opera r e h e a r s e s V e r d i ' s Les Vep re s s i c i l i e n n e s ; P e r r i n , as d i r e c t o r o f bo th t h e Opera -Comique and t h e T h e a t r e - L y r i q u e , r e h e a r s e s and commi s s i on s works f r o m ' l e s c o m p o s i t e u r s l e s p l u s f a v o r i s e s , ' i n -c l u d i n g A u b e r , H a l e v y , F e l i c i e n D a v i d , and Masse . — ] T h e a t r e de 1 ' O p e r a - C o m i q u e : La Cour de C e l i m e n e , o p e r a comique en deux a c t e s , p a r o l e s de M. R o s i e r , mus ique de M. Ambro i s e Thomas. - - T h e a t r e - L y r i q u e : L i s e t t e , o p e r a comique en deux a c t e s , p a r o l e s de M. Sauvage, mus ique de M. O r t o l a n . - - C o n c e r t h i s t o r i q u e donne par M. F e t i s . [ R e v i e w b e g i n s w i t h a summary o f F e t i s ' s l e c t u r e on f i f t e e n t h - and s i x t e e n t h - c e n t u r y m u s i c . ] " A - 4 ( 2 8 / 0 4 ) : 3 5 1 - 5 3 " C h r o n i q u e m u s i c a l e . T h e a t r e - L y r i q u e : J a g u a r i t a 1 ' i n d i e n n e , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. de Leuven e t S a i n t - G e o r g e s , mus ique de M. H a l e v y . [ Rev i ew i n c l u d e s a b r i e f e d i t o r i a l on P e r r i n ' s p e r p e t u a t i o n o f t h e ' s t a r s y s t e m ' a t t h e L y r i q u e . ] — S o c i e t e S a i n t e - C e c i l e [ n o t i c e t h a t M u r a t e t has s u c ceeded Ba rbe reau as c o n d u c t o r ] . " A - 4 ( 2 6 / 0 5 ) : 4 4 0 - 4 2 " C h r o n i q u e m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Jenny B e l l , o p e r a comique en t r o i s a c t e s , p a r o l e s de M. S c r i b e , mus ique de M. A u b e r . [Open ing p a r a g r a p h c a l l s a t t e n t i o n t o S c r i b e ' s a d m i s s i o n t h a t he ' n e connaT t que c i n q s u j e t s de p i e c e s . ' ] — T h e a t r e - L y r i q u e : Les Compagnons de l a m a r j o l a i n e , p a r o l e s de MM. M i c h e l C a r r e e t J u l e s V e r n e , mus ique de M. A r i s t i d e H i g n a r d . " A - 4 ( 2 3 / 0 6 ) : 5 3 2 - 3 3 " C h r o n i q u e m u s i c a l e . Ope ra : Les Vep re s s i c i l i e n n e s , o p e r a en c i n q a c t e s , p a r o l e s de MM. S c r i b e e t D u v e y r i e r , mus ique de M. V e r d i . " A - 4 ( 3 0 / 0 6 ) : 5 5 0 - 5 2 548 " C h r o n i q u e m u s i c a l e . F e t e s de B l o i s . [ Rev i ew o f t h e c o n c e r t g i v e n at t h e annua l two -day c e l e b r a t i o n . ] - - R e o u v e r t u r e du T h e a t r e - L y r i q u e . [ E d i t o r i a l on P e r r i n ' s c o n t i n u i n g n e g l e c t o f young compose r s : t h e new season has opened w i t h A u b e r ' s La S i r e n e and H a l e v y ' s J a g u a r i t a 1 ' i n d i e n n e , j u s t as t he o l d season c l o s e d w i t h t h o s e two w o r k s . ] " A - 4 ( 2 2 / 0 9 ) : 8 1 6 - 1 8 " C h r o n i q u e m u s i c a l e . [Long e d i t o r i a l on P e r r i n ' s t e n u r e as d i r e c t o r o f t h e T h e a t r e - L y r i q u e . - - N o t i c e s : ] T h e a t r e - L y r i q u e : M a r i e , o p e r a comique d ' H e r o l d ( r e p r i s e ) . Une N u i t a S e v i l l e , o p e r a comique en un a c t e , p a r o l e s de MM. N u i t t e r e t Beaumont, mus ique de M. F r e d e r i c B a r b i e r . " A - 4 ( 2 9 / 0 9 ) : 8 3 9 - 4 1 " C h r o n i q u e m u s i c a l e . T h e a t r e de l ' O p e r a : S a i n t e - C l a i r e , drame l y r i q u e en t r o i s a c t e s , i m i t e de l ' a l l e m a n d de Mme B i r c h - P f e i f f e r , pa r M. G u s t a v e O p p e l t , mus ique de M. l e due E r n e s t de S a x e - C o b o u r g - G o t h a . - -Un ion c h o r a l e de C o l o g n e . [ Rev i ew o f a s e r i e s o f c o n c e r t s g i v e n at P a r i s by t h i s f o r e i g n g r o u p ; e d i t o r i a l on both t he P a r i s i a n p u b l i c ' s l a c k o f i n t e r e s t i n c h o r a l m u s i c , and t h e c o n s e q u e n t l y low s t a n d a r d o f m u s i c i a n s h i p wh i ch c h a r a c t e r i z e s t h e c h o r u s e s o f t h e c a p i t a l ' s l y r i c t h e a t r e s and c o n c e r t s o c i e t i e s . ] - - T h e a t r e - I t a l i e n [announcement o f S a l v i ' s r e s i g n a t i o n as p r i n c i p a l t e n o r and d i r e c t o r . — Announcements c o n c e r n i n g t h e T h e a t r e - L y r i q u e ( n o t a b l y t h e appo in tment o f P e r r i n ' s s u c -c e s s o r , P e l l e g r i n ) ] . " A - 4 ( 2 0 / 1 0 ) : 9 0 5 - 0 7 " C h r o n i q u e m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Le Housard de B e r c h i n i , o p e r a comique en deux a c t e s , p a r o l e s de M. R o z i e r , mus ique de M. Adam. D e u c a l i o n e t P y r r h a , o p e r a comique en un a c t e , p a r o l e s de MM. M i c h e l C a r r e e t J u l e s B a r b i e r , mus ique de M. M o n t f o r t . - - C o n c e r t s : M i l e V a l e n t i n e B i a n c h i [ s o p r a n o ] , Mme F a r r e n c [whose n o n e t t o and f a n t a s y on a theme by Count G a l l e n b e r g had been i n c l u d e d on t h e program o f M i l e B i a n c h i ' s c o n c e r t ] , M. Theodore R i t t e r [ p i a n i s t ] . " A - 4 ( 1 0 / l l ) : 9 7 4 - 7 5 " C h r o n i q u e m u s i c a l e . T h e a t r e - L y r i q u e : Les L a v a n d i e r e s de S an t a r em, o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. Dennery e t G range , mus ique de M. G e v a e r t . [ Rev i ew b e g i n s w i t h an e d i t o r i a l p r o t e s t i n g bo th the poor q u a l i t y o f t h e l i b r e t t o s o f 'MM. l e s f o u r n i s s e u r s o r d i n a i r e s de nos t h e a t r e s l y r i q u e s ' and t h e v i r t u a l monopo ly imposed by t h e s e l i b r e t t i s t s ' a l ' a i d e de l e u r p r e t e n d u e r e p u t a t i o n . ' ] " A - 4 ( 1 7 / l l ) : 9 9 3 " C h r o n i q u e m u s i c a l e . E g l i s e S a i n t - E u s t a c h e : Messe de S a i n t e - C e c i l e composee pa r M. C h a r l e s Gounod. [ Rev i ew i s p r e f a c e d by an e d i t o r i a l t o t h e e f f e c t t h a t ' l e s c o m p o s i t e u r s que l e p u b l i c n ' a c c l a m e pas p a r ce q u ' i l s ne f l a t t e n t pas ses man ies . . . t e n d e n t - i l s a se r e f u g i e r de p l u s en p l u s dans l e domaine de l a symphonie e t de l a mus ique r e l i g i -e u s e . ' ] - - T h e a t r e - L y r i q u e : Le S e c r e t de l ' o n c l e V i n c e n t , o p e r a comique 549 en un a c t e , p a r o l e s de M. Hen r i B o i s s e a u x , mus ique de M. Theodore L a j a r t e . " A - 4 ( 1 5 / 1 2 ) : 1 0 8 2 - 8 3 " C h r o n i q u e m u s i c a l e . T h e a t r e - L y r i q u e : Le S o l i t a i r e , o p e r a comique en t r o i s a c t e s , p a r o l e s de M. de P l a n a r d , mus ique de M. C a r a f a ( r e p r i s e ) . - - S a l l e H e r z : p r e m i e r c o n c e r t de l a S o c i e t e des j e u n e s e l eves du Con -s e r v a t o i r e . [Comments on t h e p e r f o r m a n c e o f two e x c e r p t s f r o m G l u c k ' s A rm ide l e a d i n t o a b r i e f e d i t o r i a l on t h e n e g l e c t o f t h i s composer at t h e C o n s e r v a t o i r e and a t t h e l y r i c t h e a t r e s o f P a r i s . ] " A - 4 ( 2 9/12 ) : 1 129 La F r a n c e m u s i c a l e " M a t i n e e m u s i c a l e de Mme P i e r s o n - B o d i n . [ — S o i r e e m u s i c a l e at t he home o f M. L e t e l l i e r . ] " *A[LamR 106 n. 6 ] - 1 9 ( 2 2 / 0 4 ) : 1 2 5 Revue f r a n g a i s e " C h r o n i q u e m u s i c a l e . L ' E n f a n c e du C h r i s t , t r i l o g i e s a c r e e , p a r o l e s e t mus ique de M. H e c t o r B e r l i o z . [ Rev i ew i n c l u d e s a d e s c r i p t i o n o f t h e g e n e s i s o f each p a r t o f t h e t r i l o g y . ] - - T h e a t r e - I t a l i e n : II T r o v a t o r e , o p e r a en q u a t r e a c t e s , mus ique de M. V e r d i . L i n d a d i Chamoun i ; r e n t r e e de M i l e E. G r i s i . [ T h i s s u b t i t l e i s e r r o n e o u s , because Reyer does not m e n t i o n e i t h e r L i n d a o r M i l e G r i s i . ] - - T h e a t r e de 1 1 O p e r a - C o m i q u e : Le Ch i en du j a r d i n n e r , o p e r a comique en un a c t e , p a r o l e s de MM. L o c k r o y e t Cormon, mus ique de M. A l b e r t G r i s a r . - - A lbums [ l i s t o f ' l e s albums l e s p l u s en vogue c e t t e a n n e e , ' n a m e l y , t h o s e o f P i e r r e Dupont ( i n c o l l a b o r -a t i o n w i t h R e y e r ) , E t i e n n e A r n a u d , and L e o p o l d A m a t ] . " A - l ( 1 0 / 0 2 ) : 7 0 - 7 7 " C h r o n i q u e m u s i c a l e . T h e a t r e - L y r i q u e : J a g u a r i t a l ' i n d i e n n e . [ L i b r e t t o by S a i n t - G e o r g e s and de L e u v e n , mus i c by H a l e v y . Rev iew beg i n s w i t h an e d i t o r i a l on t h e demands o f t h e L y r i q u e ' s ' s t a r , ' Mme C a b e l , f o r whom J a g u a r i t a was w r i t t e n . ] " A - l ( 0 1 / 0 6 ) : 5 2 9 - 3 6 " C h r o n i q u e m u s i c a l e . [ T h e a t r e de l ' O p e r a : ] Les Vep re s s i c i l i e n n e s . [ L i b r e t t o by S c r i b e and D u v e y r i e r , mus i c by V e r d i . - - B r i e f r e v i e w o f t h e T h e a t r e - L y r i q u e ' s p r e m i e r e o f t h e o n e - a c t o p e r a comique Les Compagnons de l a m a r j o l a i n e , l i b r e t t o by C a r r e and V e r n e , mus i c by H i g n a r d . ] " A - l ( 2 0 / 0 7 ) : 1 8 6 - 9 2 " C h r o n i q u e m u s i c a l e . [ T h e a t r e de l ' O p e r a : S a i n t e - C l a i r e , drame l y r i q u e i n t h r e e a c t s , l i b r e t t o by Mme B i r c h - P f e i f f e r , t r a n s l a t e d i n t o F r e n c h by M. Gu s t a ve O p p e l t , mus i c by Duke E r n s t o f S a x e - C o b u r g - G o t h a . - - T h e a t r e - L y r i q u e : Une N u i t a S e v i l l e , o p e r a comique i n one a c t , 550 l i b r e t t o by N u i t t e r and Beaumont, m u s i c by B a r b i e r . - - C o n c e r t s : Mme P l e y e l ( p i a n i s t ) . S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e . Un ion c h o r a l de C o l o g n e . ] " A - l ( 1 0 / 1 0 ) : 6 1 3 - 2 0 " C h r o n i q u e m u s i c a l e . [ T h e a t r e - L y r i q u e : Les L a v a n d i e r e s de S a n t a r e m , o p e r a comique i n t h r e e a c t s , l i b r e t t o by Dennery and G range , mu s i c by G e v a e r t . - - T h e a t r e de 1 1 O p e r a - C o m i q u e : Le Housard de B e r c h i n i , o p e r a comique i n two a c t s , l i b r e t t o by R o z i e r , m u s i c by Ado l phe Adam. D e u c a l i o n e t P y r r h a , o p e r a comique i n one a c t , l i b r e t t o by C a r r e and B a r b i e r , m u s i c by M o n t f o r t . J " A-K01/11) :107-12 " C h r o n i q u e m u s i c a l e . [ Rev i ews o f c o n c e r t s c o n d u c t e d a l t e r n a t e l y by B e r l i o z and F e l i c i e n Dav i d at t h e P a l a i s de V I n d u s t r i e o f t h e P a r i s E x p o s i t i o n ; remark s on t h e need f o r ' une v e r i t a b l e s a l l e de c o n c e r t s . ' — T h e a t r e - L y r i q u e : Rose e t N a r c i s s e , o p e r a comique i n one a c t , l i b r e t t o by N u i t t e r and Beaumont, mus i c by B a r b i e r ( c u r t a i n - r a i s e r f o r H a l e v y ' s J a g u a r i t a ) . Le S e c r e t de l ' o n c l e V i n c e n t , o p e r a comique i n one a c t , l i b r e t t o by B o i s s e a u x , mus ic by de L a j a r t e . - - C o n c e r t s : Mme Roncon i ( s i n g e r ) . Theodore R i t t e r and t he Mau r i n Q u a r t e t . ] " A - l ( 0 1 / 1 2 ) : 2 5 1 - 5 6 1856 L ' A thenaeum f r a n g a i s " C h r o n i q u e m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Les S a i s o n s , o p e r a comique en t r o i s a c t e s e t q u a t r e t a b l e a u x , p a r o l e s de MM. M i c h e l C a r r e e t J u l e s B a r b i e r , mus ique de M. V i c t o r Masse. - - T h e a t r e - L y r i q u e : L ' H a b i t de n o c e , o p e r a comique en un a c t e , p a r o l e s de MM. Dennery e t B i g n o n , mus ique de M. Pau l C u z e n t . Debut de M i l e P o u i l l e y dans J a g u a r i t a . " A - 5 ( 1 3 / 0 1 ) : 3 3 - 3 4 " C h r o n i q u e m u s i c a l e . T h e a t r e - L y r i q u e : F a l s t a f f , o p e r a comique en un a c t e , p a r o l e s de MM. de Leuven e t S a i n t - G e o r g e s , mus ique de M. Adam. Le Sourd ou 1 ' Aube r ge p l e i n e , o p e r a comique en t r o i s a c t e s a r r a n g e par M. de L e u v e n , d ' a p r e s D e s f o r g e s , mus ique de M. Adam. Un p r o c h a i n o p e r a de M. C l a p i s s o n . Un p r o c h a i n o p e r a de M. Adam. [The comments c o n c e r n i n g C l a p i s s o n and Adam a re p a r t o f an e d i t o r i a l on t h e i r d o m i n a t i o n o f t h e r e p e r t o i r e o f t h e L y r i q u e . ] — P r e m i e r c o n c e r t du C o n s e r v a t o i r e [ S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e ] . " A - 5 ( 2 6 / 0 1 ) : 7 8 - 7 9 " C h r o n i q u e m u s i c a l e . [News o f t h e l y r i c t h e a t r e s : F o r t h c o m i n g r e t u r n o f Mme Cabe l ( f o r m e r l y t h e ' s t a r ' o f t h e T h e a t r e - L y r i q u e ) t o t h e O p e r a -Comique ; t h e L y r i q u e ' s pos tponement o f t h e e a g e r l y - a w a i t e d debut o f C a b e l ' s r e p l a c e m e n t , Mme M i o l a n - C a r v a l h o ( f o r m e r l y o f t h e Com ique ) . - -E d i t o r i a l on t h e need t o s u b s i d i z e t h e L y r i q u e . - - Rev i ew o f t h e l a s t 551 p e r f o r m a n c e o f L ' E n f a n c e du C h r i s t c o n d u c t e d by B e r l i o z b e f o r e h i s d e p a r t u r e ( w i t h Theodore R i t t e r ) f o r a c o n c e r t t o u r o f Germany. - - C o n -c e r t o f M i l e D a r j o u ( p i a n i s t ) . - - T h e a t r e - I t a l i e n : R e v i v a l o f Don G i o v a n n i . - - C o n c e r t s : S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e . S o c i e t e des j e u n e s a r t i s t e s du C o n s e r v a t o i r e . Mme Amedee T a r d i e u ( p i a n i s t ) . ] " A - 5 ( 1 6 / 0 2 ) : 1 3 2 - 3 3 " C h r o n i q u e m u s i c a l e . T h e a t r e - I t a l i e n : L ' A s s e d i o d i F i r e n z e , o p e r a en t r o i s a c t e s , mus ique de M. B o t t e s i n i . - - La n o u v e l l e d i r e c t i o n du T h e a t r e - L y r i q u e . [ N o t i c e t h a t P e l l e g r i n has been succeeded by C a r v a l h o , husband o f Mme M i o l a n - C a r v a l h o . R e y e r ' s a d v i c e t o t h e new d i r e c t o r . ] - -C o n c e r t de M. Lemmens [one o f B e l g i u m ' s f i n e s t o r g a n i s t s and p i a n i s t s , p e r f o r m i n g on t he p i a n o and t h e p e d a l - p i a n o ] . " A - 5 ( 0 1 / 0 3 ) : 1 7 0 - 7 1 " C h r o n i q u e m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Manon L e s c a u t , o p e r a comique en t r o i s a c t e s , p a r o l e s de M. Eugene S c r i b e , mus i que de M. A u b e r . - - C o n c e r t s du C o n s e r v a t o i r e e t des J e u n e s - A r t i s t e s [ S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e ; S o c i e t e des j e u n e s a r t i s t e s du C o n s e r v a -t o i r e ] . " A - 5 ( 0 8 / 0 3 ) : 1 8 9 - 9 1 " C h r o n i q u e m u s i c a l e . T h e a t r e - L y r i q u e : La F a n c h o n n e t t e , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. Leuven e t S a i n t - G e o r g e s , mus ique de M. C I a p i s s o n . [ Rev i ew c o n c l u d e s w i t h a p a r a g r a p h r e c o g n i z i n g Mme M i o l a n -C a r v a l h o as ' une de nos g randes c a n t a t r i c e s . ' ] " A - 5 ( 1 5 / 0 3 ) : 2 1 3 - 1 4 " C h r o n i q u e m u s i c a l e . T h e a t r e - L y r i q u e : M a m ' z e l l e G e n e v i e v e , o p e r a comique en deux a c t e s , p a r o l e s de MM. B run sw i ck e t de B e a u p l a n , mus ique de M. Ado lphe Adam. - - C o n c e r t s . [ E m i l e P r u d e n t , c o m p o s e r - p i a n i s t . S o c i e t e des j e u n e s a r t i s t e s du C o n s e r v a t o i r e . Annua l c o n c e r t s p i r i t u e l o f t h e S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e . C o n c e r t s pon so red a n n u a l -l y by La F r a n c e m u s i c a l e f o r i t s s u b s c r i b e r s . ] " A - 5 ( 2 9 / 0 3 ) : 2 7 0 - 7 1 " C h r o n i q u e m u s i c a l e . T h e a t r e de 1 ' Ope r a -Com ique : Le C h e r c h e u r d ' e s p r i t , o p e r a comique en un a c t e , p a r o l e s de M. Edouard F o u s s i e r , mus ique de M. B e s a n z o n i . - - C o n c e r t s . [ E d i t o r i a l l a m e n t i n g t h a t so many c o n c e r t s a r e g i v e n by p u b l i c i t y - s e e k i n g ' n u l l i t e s a r t i s t i q u e s , ' and so few by ' l e s v e r i t a b l e s a r t i s t e s , ' such as P a u l i n ( s i n g e r ) , Lebouc ( c e l -l i s t ) , and D e l s a r t e ( s i n g e r ) . Rev iew o f s e r i e s o f c o n c e r t s g i v e n by P a u l i n and Lebouc . Rev iew o f c o n c e r t s g i v e n by D e l s a r t e ( i n c l u d i n g a c o n c e r t h i s t o r i q u e , wh i ch i n v o l v e d t he p a r t i c i p a t i o n o f Mme P a u l i n e V i a r d o t - G a r c i a and o t h e r no ted s i n g e r s and i n s t r u m e n t a l i s t s , as w e l l as a c h o r u s ) . - - D e l s a r t e ' s A r c h i v e s de c h a n t . - - S o i r e e g i v e n by L o u i s Lacombe ( p i a n i s t ) . - - Rev iew o f L a combe ' s a r rangement o f Webe r ' s I n v i t a - t i o n a l a w a l s e [ s i c ] : Reyer o b j e c t s t o a r rangement s o f p i a n o mus i c by Weber, because t h e composer ' e t a i t un t r e s h a b i l e p i a n i s t e ' and w ro t e w e l l f o r p i a n o . ] " A - 5 ( 2 6 / 0 4 ) : 3 5 7 - 5 9 552 " C h r o n i q u e m u s i c a l e . T h e a t r e - L y r i q u e : Le Chapeau du r o i , o p e r a comique en un a c t e , p a r o l e s de M. Edouard F o u r n i e r , mus ique de M. Hen r i C a s p e r s . [ B e f o r e r e t e l l i n g t h e s t o r y , w h i c h i s s e t i n t h e t i m e o f L o u i s X I , Reyer e x p l a i n s t h a t m u s i c i a n s s h o u l d v e n e r a t e t h e memory o f t h i s k i n g f o r s e v e r a l r e a s o n s : he improved t he s t a t u s o f t h e s i n g e r s i n h i s c h a p e l and t h e m e n e s t r e l s at h i s c o u r t ; Ockeghem was h i s f i r s t c h a p e l a i n ; t h e k i n g ' s e x c e l l e n t c h a p e l l e m u s i c a l e was i m i t a t e d by mem-b e r s o f h i s f a m i l y ; i n s h o r t , ' s o u s son regne l a mus ique e t a i t t r e s f l o r i s s a n t e . ' ~ B r i e f r e v i e w o f an o v e r t u r e by R i t t e r , t he m a n u s c r i p t o f w h i c h Reyer had s t u d i e d b e f o r e t h e young c o m p o s e r - p i a n i s t l e f t a g a i n f o r G e r m a n y . ] " A - 5 ( 0 3 / 0 5 ) : 3 7 5 - 7 6 " C h r o n i q u e m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : V a l e n t i n e d ' A u b i g n y , p i e c e en t r o i s a c t e s , p a r o l e s de MM. M i c h e l C a r r e e t J u l e s B a r b i e r , mus ique de M. F. H a l e v y . [ Rev i ew i s p r e ceded by an e d i t o r i a l about t h e f a c t t h a t ' n o s ope ra s comiques modernes son t en g e n e r a l a u s s i c o m p l i -que s , a u s s i v o l u m i n e u x , a u s s i s o l e n n e l l e s que l e s g rands o p e r a s d ' a u t r e -f o i s . ' In t h e r e v i e w p r o p e r , Reyer d e f e n d s H a l e v y a g a i n s t t h e a c c u s a -t i o n t h a t t h i s composer ' s ' e f f o r g a i t va i nement de c o u r i r ap re s l a m e l o d i e ' by i n s i s t i n g t h a t a m u s i c a l ph r a s e wh i ch ' n ' a pas un sens b i e n p r e c i s pour 1 ' o r e i l l e du v u l g a i r e ' s h o u l d not be d e c r i e d as b e i n g unme-l o d i c . ] " A - 5 ( 1 0 / 0 5 ) : 3 9 7 - 9 9 " C h r o n i q u e m u s i c a l e . T h e a t r e - L y r i q u e : R e p r i s e de S i j ' e t a i s r o i . [ R e v i e w i n c l u d e s a s se s sment s o f two s i n g e r s who were mak ing t h e i r P a r i -s i a n d e b u t s : MM. S c o t t and G r i l l o n . ] - - C o n c e r t s [ M i l e Clemertce L a v a l , p i a n i s t ] . " A - 5 ( 1 7 / 0 5 ) : 4 2 1 - 2 2 " C h r o n i q u e m u s i c a l e . T h e a t r e des B o u f f e s - P a r i s i e n s : L ' I m p r e s s a r i o , o p e r a - b o u f f e en un a c t e , p a r o l e s adap tee s s u r l a mus ique de Moza r t par MM. Leon B a t t u e t L u d o v i c H a l e v y . [ Reye r f i r s t draws upon O u l i b i s c h e f f ' s b i o g r a p h y o f Moza r t f o r a summary o f bo th t he o r i g i n and t h e s u b j e c t o f t h i s o p e r a b u f f a . He no te s t h a t , s i n c e M o z a r t ' s t i m e , t h e s c o r e has been augmented by b o r r o w i n g s f r om t h e c o m p o s e r ' s o t h e r w o r k s , and t h a t ' l ' o u v r a g e r e p r e s e n t s aux B o u f f e s - P a r i s i e n s e s t t e l q u ' o n l e j o u e en A l l e m a g n e a u j o u r d ' h u i . ' The l i b r e t t o , however , has been ' m o d i f i e de f o n d en c o m b l e ' by B a t t u and H a l e v y , and Reyer t h e n t e l l s t h e i r v e r s i o n o f t h e s t o r y b e f o r e d i s c u s s i n g t h e mus ic and the i n t e r p r e t a t i o n . ] " A - 5 ( 3 1 / 0 5 ) : 4 7 0 - 7 1 " C h r o n i q u e m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : P a q u e r e t t e , un a c t e , p a r o l e s de MM. Grange e t C h a r l e s de l a R o u n a t , mus ique de M. J . D u p r a t o . - - T h e a t r e des B o u f f e s - P a r i s i e n s : Venus au m o u l i n d ' A m p i p h r o s , o p e r a comique en un a c t e , p a r o l e s de M. B r e s i l , mus ique de M. D e s t r i b a u d . " A - 5 ( 2 1 / 0 6 ) : 5 3 4 - 3 5 553 Revue f r a n g a i s e " C h r o n i q u e m u s i c a l e . [ T h e a t r e - L y r i q u e : ] L ' H a b i t de n o c e , o p e r a comique en un a c t e [ l i b r e t t o by Dennery and B i g n o n , mus i c by C u z e n t ] , M i l e P o u i l l e y e t Mme C a b e l . - - C o n c e r t s [ S o c i e t e des j e u n e s e l e v e s du C o n s e r -v a t o i r e ; S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e ] . - - Theodore R i t t e r [ R e y e r t r a n s l a t e s f r om t h e F r a n k f u r t C o n v e r s a t i o n s b l a t t n o t i c e s a t t e s t -i n g t o t h e s u c c e s s o f t h e r e c e n t German t o u r o f R i t t e r and t h e Mau r i n Q u a r t e t . Announcement t h a t t h e s e a r t i s t s have resumed t h e i r f o r t n i g h t l y c o n c e r t s a t P a r i s ; r e v i e w o f t he f i r s t c o n c e r t . ] " A - l ( 2 0 / 0 1 ) : 5 1 2 - 1 6 " C h r o n i q u e m u s i c a l e . [ E d i t o r i a l on t h e sameness o f t h e l i b r e t t o s o f S c r i b e and h i s i m i t a t o r s , and on t h e n e g a t i v e e f f e c t s o f t h e d o m i n a t i o n o f such l i b r e t t o s i n P a r i s i a n l y r i c t h e a t r e s . - - T h e a t r e de 1 ' O p e r a -Comique: Manon L e s c a u t , o p e r a comique i n t h r e e a c t s , l i b r e t t o by S c r i b e , m u s i c by Aube r . - - T h e a t r e - L y r i q u e : La F a n c h o n n e t t e , o p e r a comique i n t h r e e a c t s , l i b r e t t o by de Leuven and S a i n t - G e o r g e s , mus i c by C l a p i s s o n . C o n c e r t : M. D e l o f f r e ( v i o l i n ) and Mme D e l o f f r e ( p i a n o ) . ] " A - 2 ( 2 0 / 0 3 ) : 3 3 3 - 3 9 " C h r o n i q u e m u s i c a l e . T h e a t r e - L y r i q u e : M a m ' z e l l e G e n e v i e v e [ o p e r a comique i n two a c t s , l i b r e t t o by B r un sw i c k and B e a u p l a n , m u s i c by A d o l p h e Adam.] - - Ope ra -Com ique : Le C h e r c h e u r d ' e s p r i t [ o p e r a comique i n one a c t , l i b r e t t o by F o u s s i e r , m u s i c by B e s a n z o n i ] . - - C o n c e r t s [ V i v i e r , ' l e c o r n i s t e i n i m i t a b l e ' ; Leon L e c i e u x ( v i o l i n ) ] . " A - 2 ( 2 0 / 0 4 ) : 5 0 5 - 1 0 " C h r o n i q u e m u s i c a l e . Ope ra -Comique : V a l e n t i n e d ' A u b i g n y [ o p e r a comique i n two a c t s , l i b r e t t o by B r un sw i c k and B e a u p l a n , mus ic by A d o l p h e Adam. Rev iew c o n c l u d e s w i t h t h e o b s e r v a t i o n t h a t t h i s wo rk , l i k e most p r e s e n t -ed a t t h e Comique ' d e p u i s q u e l q u e t e m p s , ' i s ' p l u t o t un grand o p e r a q u ' u n o p e r a comique . . . Supp r imez un p e t i t bout de d i a l o g u e , e t e n t r e l e s deux gen re s l a d i s t i n c t i o n ne s e r a b i e n t o t p l u s p o s s i b l e . ' ] - -T h e a t r e - L y r i q u e : Le Chapeau du r o i [ o p e r a comique i n one a c t , l i b r e t t o by Edouard F o u r n i e r , mus i c by H e n r i C a s p e r s J . - - C o n c e r t s [M. J a c q u a r t ( c e l l o ) ; M i l e V i r g i n i e Huet ( p i a n o ) ] . - - M. Ado l phe Adam [ o b i t u a r y ] . " A - 2 ( 2 0 / 0 5 ) : 1 6 3 - 7 0 " C h r o n i q u e m u s i c a l e . [ T h e a t r e de 1 ' Opera -Comique and T h e a t r e - L y r i q u e : R e v i v a l s o f G r e t r y ' s R i c h a r d C o e u r - d e - L i o n . Compar i s on o f t h e two p r o -d u c t i o n s i n c l u d e s b r i e f e d i t o r i a l s o n : A d o l p h e Adam's m o d e r n i z a t i o n o f t h e o r i g i n a l i n s t r u m e n t a t i o n ; t h e man ia f o r r e t o u c h i n g m a s t e r p i e c e s o f t h e p a s t ; t h e need t o s u b s i d i z e t h e L y r i q u e . - - T h e a t r e des B o u f f e s -P a r i s i e n s : L ' I m p r e s a r i o , o p e r a - b o u f f e i n one a c t , l i b r e t t o adapted by Leon B a t t u and L u d o v i c H a l e v y , mus i c by M o z a r t . Venus au m o u l i n d ' A m p i p h r o s , o p e r a comique i n one a c t , l i b r e t t o by B r e s i 1 , ^ m u s i c by D e s t r i b a u d . - - T h e a t r e de 1 ' O pe r a -Com ique : P a q u e r e t t e , p i e c e i n one a c t , l i b r e t t o by Grange and C h a r l e s de l a Rouna t , m u s i c by D u p r a t o . ] " A - 2 ( 1 0 / 0 6 ) : 2 9 1 - 9 6 554 " C h r o n i q u e m u s i c a l e . [ E d i t o r i a l : D u r i n g t h e summer, t h e l y r i c t h e a t r e s s h o u l d c l o s e i n s t e a d o f s u b j e c t i n g l i s t e n e r s t o t h e s e c o n d - r a t e s i n g e r s k e p t i n r e s e r v e t o r e p l a c e t h e v a c a t i o n i n g p r i n c i p a l s . - - ] Concou r s d ' o r p h e o n s a B l o i s . [ Reye r was one o f a h a l f - d o z e n m u s i c i a n s i n v i t e d t o j u d g e a c o m p e t i t i o n o f p r o v i n c i a l c h o r a l s o c i e t i e s . He d e s c r i b e s t he c o m p e t i t i o n and recommends t h a t t h e d i r e c t o r s o f t h e s e c h o i r s adopt one o r a n o t h e r o f t h e e x i s t i n g ' s y s t e m e s ' f o r t h e m u s i c a l e d u c a t i o n o f t h e i r s i n g e r s , as i s done i n B e l g i u m and Germany. ] - - Mme U g a l d e [ i n a r e v i v a l o f Ambro i s e Thomas ' s Le CaTd a t t h e O p e r a - C o m i q u e ] . " A - 2 ( 0 1 / 0 8 ) : 5 6 - 6 1 " C h r o n i q u e m u s i c a l e . [ T h e a t r e de l ' O p e r a : R e v i v a l o f R o s s i n i ' s G u i l l a u m e T e l l ( r e v i e w i n c l u d e s a b r i e f e d i t o r i a l on t h e y e a r s o f m u t i -l a t i o n s u f f e r e d by t h i s work , wh i ch i s f i n a l l y b e i n g p r e s e n t e d a l m o s t e x a c t l y as w r i t t e n ) . The b a l l e t Les E l f e s , mu s i c by Count G a b r i e l 1 i . Mme Borghi -Mamo as F i d e s i n M e y e r b e e r ' s Le P r o p h e t e . - - T h e a t r e de 1 ' O p e r a - C o m i q u e : R e v i v a l o f H e r o l d ' s Zampa ( r e v i e w i s p r eceded by an e d i t o r i a l r e g r e t t i n g t h a t most o f t h e new works w r i t t e n f o r t h e Comique a r e more s u i t e d t o t he O p e r a ) . ~ T h e a t r e - L y r i q u e : Reyer p r e d i c t s t h a t , d u r i n g t h e new s e a s o n , C a r v a l h o w i l l g i v e f u r t h e r p r o o f ' de son h a b i l e t e a d m i n i s t r a t i v e e t de sa s o l l i c i t u d e pour l e s j e u n e s c o m p o s i t e u r s . ' ~ T h e a t r e des B o u f f e s - P a r i s i e n s : Reyer p r a i s e s i t as b e i n g t h e o n l y o t h e r P a r i s i a n l y r i c t h e a t r e wh i ch opens i t s doo r s t o young compose r s . B r i e f r e v i e w o f G u e t t e u r de n u i t , by B l a c q u i e r e . ] " A - 2 ( 2 0 / 0 9 ) : 3 4 8 - 5 6 " C h r o n i q u e m u s i c a l e . M. V e r d i e t l e T h e a t r e - I t a l i e n . [ V e r d i ' s w i t h -d r awa l o f II T r o v a t o r e p rompts Reyer t o e d i t o r i a l i z e f i r s t on t h e com-p o s e r ' s c o n d u c t t oward t h e t h e a t r e wh i ch had made h i s works a lmos t as p o p u l a r i n F r a n c e as i n I t a l y , and t h e n on V e r d i ' s f ame, wh i ch was mak-i n g t h e p u b l i c l o s e i n t e r e s t i n such m a s t e r s as R o s s i n i , B e l l i n i , and D o n i z e t t i . ] - - Mme M e d o r i [ i n t h e O p e r a ' s r e v i v a l o f V e r d i ' s Les Vep re s s i c i l i e n n e s . - - T h e a t r e - I t a l i e n : E a r l i e r p r o d u c t i o n s o f t he season ( R o s s i n i ' s La C e n e r e n t o l a ; B e l l i n i ' s B e a t r i c e d i T e n d a ) . - - T h e a t r e de 1 ' O p e r a - C o m i q u e : Mme C a b e l ' s f a i l u r e as C a t h e r i n e i n M e y e r b e e r ' s L ' E t o i l e du N o r d . ] - - [ T h e a t r e - L y r i q u e : ] Les Dragons de V i l i a r s L I i b r e t t o by Cormon and L o c k r o y , m u s i c by Mai 11 a r t ] . " A - 2 ( 2 0 / 1 0 ) : 5 4 1 - 4 8 " C h r o n i q u e m u s i c a l e . [ T h e a t r e de l ' O p e r a : The d i s p a t c h i n g o f t a l e n t s c o u t s t o I t a l y i n s e a r c h o f a new p r i m a donna i n s p i r e s an e d i t o r i a l on t h e i n a d e q u a c y o f t h e C o n s e r v a t o i r e and t h e con sequen t r e l i a n c e upon I t a l i a n s i n g e r s . Reyer then d i s c u s s e s Mme D e l i g n e - L a u t e r s (whom the Opera engaged f o r l a c k o f an I t a l i a n ' d i s c o v e r y ' ) and her f o r t h c o m i n g debu t as L eono re i n P a c i n i ' s F r e n c h t r a n s l a t i o n o f T r o v a t o r e . P r e m i e r e o f L a Rose de F l o r e n c e , l i b r e t t o by S a i n t - G e o r g e s , mus ic by B i l l e t t a . - -T h e a t r e de l ' O p e r a - C o m i q u e : R e v i v a l o f B o T e l d i e u ' s Jean de P a r i s . ] " A - 2 ( 0 1 / 1 2 ) : 2 5 1 - 5 6 " C h r o n i q u e m u s i c a l e . [ T h e a t r e de l ' O p e r a : M i l e W e r t h e i m b e r ' s f a i t h -f u l p e r f o r m a n c e s o f L eono re i n D o n i z e t t i ' s L a F a v o r i t e and F i d e s i n 555 M e y e r b e e r ' s Le P r o p h e t e . E d i t o r i a l o b j e c t i n g t h a t most c o n t e m p o r a r y s i n g e r s a re i n s t e a d ' p r e t s a s a c r i f i e r l ' i d e e du m u s i c i e n au p r o f i t de l e u r s q u a l i t e s ou de l e u r s d e f a u t s . ' — T h e a t r e des B o u f f e s - P a r i s i e n s : M ' s i e u L a n d r y , l i b r e t t o by du L o c l e , mus ic by D u p r a t o . - - T h e a t r e -I t a l i e n : P r e m i e r e o f V e r d i ' s L a T r a v i a t a . - - T h e a t r e de V O p e r a -Comique: Le S y l p h e , l i b r e t t o by S a i n t - G e o r g e s , mus i c by C l a p i s s o n . MaT t re P a t h e l i n , l i b r e t t o by de Leuven and L a n g l e , m u s i c by B a z i n . - -Mme F a r r e n c : her two new t r i o s ; ' l a p l a c e q u ' e l l e d e v r a i t a v o i r ' i n F r e n c h m u s i c a l l i f e . — Album by C l a p i s s o n i s recommended t o ' d e s d i l e t t a n t i . ' ] " A - 2 ( 2 0 / 1 2 ) : 3 7 7 - 8 4 1857 L a F r a n c e m u s i c a l e " L e s C o n c e r t s h i s t o r i q u e s du c l a v e c i n e t du p i a no par M. e t Mme F a r r e n c . [ I n c l u d e s t h e c o m p l e t e t e x t o f t h e d i s c o u r s e r e ad by M. F a r r e n c b e f o r e t h e p e r f o r m a n c e o f t h e f i r s t h a l f o f t he p r o g r a m . ] " *A[LamR 106 n . 6 ] - 2 1 ( 0 6 / 1 2 ) : 3 9 5 - 9 6 " L e s C o n c e r t s h i s t o r i q u e s du c l a v e c i n e t du p i a n o par M. e t Mme F a r r e n c ( S u i t e ) . [ I n c l u d e s t h e c o m p l e t e t e x t o f t h e d i s c o u r s e r e ad by M. F a r r e n c b e f o r e t h e pe r f o rmance o f t h e second h a l f o f t h e p r o g r a m . ] " *A[LamR 106 n. 6 ] - 2 1 ( 2 0 / 1 2 ) : 4 1 0 - 1 1 Revue f r a n g a i s e " C h r o n i q u e m u s i c a l e . [ T h e a t r e - L y r i q u e : La R e i n e T o p a z e , l i b r e t t o by L o c k r o y and B a t t u , mus i c by Masse. Rev iew i s p r eceded by a l o ng e d i -t o r i a l d e c r y i n g a c o n t e m p o r a r y s i t u a t i o n i n t h e l y r i c t h e a t r e s : s umptu -ous d e c o r s and ' l e nom magique d ' u n e c a n t a t r i c e a r o u l a d e s ' can make a g r e a t s u c c e s s o f a work whose l i b r e t t o and mus i c a re m e d i o c r e . — R e v i e w o f J u l e s de G r o o t ' s E tudes f o r p i a n o . - - T h e a t r e de l ' O p e r a : Mme D e l i g n e - L a u t e r s ' s t r i u m p h i n t h e p r e m i e r e o f Le T r o u v e r e . - - T h e a t r e de 1 ' O p e r a - C o m i q u e : Mme Uga lde i n a r e v i v a l o f D o n i z e t t i ' s L a F i l l e du r e g i m e n t . - - A p e r f o r m a n c e o f t h e S o c i e t e des c o n c e r t s du C o n s e r v a -t o i r e . J " A - 2 ( 2 0 / 0 1 ) : 5 6 6 - 7 3 " C h r o n i q u e m u s i c a l e . [ T h e a t r e de 1 ' O p e r a - C o m i q u e : ] P s yche [ l i b r e t t o by J u l e s B a r b i e r and M i c h e l C a r r e , mus i c by A m b r o i s e Thomas. Rev iew i n -c l u d e s e d i t o r i a l o p i n i o n s on t he 1 u x u r i o u s n e s s o f t h e d e c o r s and t he c o n t e m p o r a r y p r a c t i c e o f t a i l o r i n g o p e r a t i c r o l e s t o f l a t t e r t he e x h i b i -t i o n i s m o f a s i n g e r . - - T h e a t r e - I t a l i e n : P a r i s i a n p r e m i e r e o f V e r d i ' s ] R i g o l e t t o . - - C o n s e r v a t o i r e I m p e r i a l e de Mu s i que . [ Rev i ew o f t he most r e c e n t p e r f o r m a n c e o f t h e S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e . - -Rev iew o f M i s c e l l a n e o u s , a s e r i e s o f p i a no p i e c e s by A r t h u r K a l k b r e n n e r , 556 son and p u p i l o f t h e c e l e b r a t e d p i a n i s t . ] " A - 3 ( 2 0 / 0 2 ) : 1 8 6 - 9 2 " C h r o n i q u e m u s i c a l e . [ T h e a t r e - L y r i q u e : W e b e r ' s Oberon , t r a n s l a t e d by C. N u i t t e r , A. Beaumont, and P. de C h a z o t . Rev iew b e g i n s w i t h a l o n g e d i t o r i a l on t h e s t a t e o f m u s i c a l t a s t e i n F r a n c e : t h e p o p u l a r i t y o f C a s t i l - B l a z e ' s t r a v e s t i e s o f Webe r ' s o p e r a s ; t h e F r e n c h p u b l i c ' s w i l l -i n g n e s s t o l e a v e any s c o r e at t h e mercy o f t h e t r a n s l a t o r , d i r e c t o r , and/or p e r f o r m e r s ; and t h e need bo th t o r a i s e t h e l e v e l o f t h e p u b l i c ' s m u s i c a l t a s t e and t o improve t h e s k i l l s o f young s i n g e r s by r e v i v i n g n e g l e c t e d m a s t e r p i e c e s and p r e m i e r i n g o u t s t a n d i n g modern works f r om a l l c o u n t r i e s . - - C o n c e r t s : F o r t n i g h t l y c o n c e r t s o f Lebouc ( c e l l o ) . Con -c e r t o f M i l e M a r i e D a r j o u ( p i a n o ) . ] " A - 3 ( 2 0 / 0 3 ) : 3 7 7 - 8 4 " C h r o n i q u e m u s i c a l e . [ P r i v a t e c o n c e r t s : Sponso red by t h e P l e y e l f i r m and f e a t u r i n g s e v e r a l a r t i s t s , i n c l u d i n g t h e young S a i n t - S a e n s p l a y i n g a new p e d a l i e r ( p e d a l - p i a n o ) . Sponso red by t h e d i r e c t o r s o f t h e RGMP and f e a t u r i n g t h e b o u f f o s i n g e r B e r t h e l i e r as w e l l as t h e h o r n - p l a y e r V i v i e r . - - C o n c e r t s o f t h e S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e . (Rev iew i n c l u d e s a b r i e f e d i t o r i a l a g a i n s t t he p r a c t i c e o f u s i n g t h e s t r i n g c h o i r o f t h e o r c h e s t r a t o p e r f o r m , f o r e xamp le , a s t r i n g q u a r t e t by Haydn. ) - - T h e a t r e de l ' O p e r a : The b a l l e t Marco Spada , s c e n a r i o by M a z i l i e r ( a f t e r t h e o p e r a comique by S c r i b e ) , mus ic by A u b e r . - - C o n c e r t o f Mme F a r r e n c and a s s i s t i n g a r t i s t s . ( Rev i ew i n c l u d e s a b r i e f e d i t o -r i a l u r g i n g t h a t her mus i c be pe r f o rmed by t h e S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e . ) ] " A - 3 ( 1 0 / 0 4 ) : 5 0 8 - 1 2 " H i s t o i r e d ' u n m u s i c i e n . " A t - 3 ( 2 0 / 0 6 ) : 3 2 1 - 2 9 " L e s Concou r s o r p h e o n i q u e s . [ E d i t o r i a l on t h e n e c e s s i t y o f r e g e n e r a t i n g t h e r e p e r t o i r e s o f F r e n c h c h o r a l s o c i e t i e s , t o h e l p r a i s e ' l e n i v e a u de 1 ' i n t e l l i g e n c e m u s i c a l e chez l e s m a s s e s . ' — The c o m p e t i t i o n at Bo rdeaux : E d i t o r i a l on t h e need f o r b e t t e r m u s i c a l e d u c a t i o n i n t h i s and o t h e r s o u t h e r n c i t i e s i n o r d e r t o c u l t i v a t e t h e many f i n e v o i c e s wh i ch c o u l d g r a c e P a r i s i a n l y r i c t h e a t r e s . Rev iew o f t h e c o m p e t i t i o n a t Bo rdeaux . — A few words on t h e c o m p e t i t i o n s at Caen and D i j o n . ] " A - 3 ( 0 1 / 0 9 ) : 2 5 2 - 5 6 Le C o u r r i e r de P a r i s " Revue m u s i c a l e . [ T h e a t r e de 1 ' O p e r a - C o m i q u e : J o c o n d e , l i b r e t t o by E t i e n n e ( a f t e r L a f o n t a i n e ) , mus i c by N i c o l o I s o u a r d . - - T h e a t r e de l ' O p e r a : F r a n g o i s V i l l o n , o p e r a i n one a c t , l i b r e t t o by G o t , m u s i c by Membree; used as a c u r t a i n - r a i s e r f o r A u b e r ' s new b a l l e t , Marco Spada . ( Rev i ew o f V i l l o n i s p r e c e d e d by an e d i t o r i a l p r o t e s t i n g t h e p r a c t i c e o f u s i n g an o p e r a as a c u r t a i n - r a i s e r . ) Debut o f M i l e de L a Pommeraye i n a r e v i v a l o f H a l e v y ' s La R e i n e de C h y p r e . - - B e r l i o z ' s r e a d i n g o f h i s 557 l i b r e t t o f o r a ' g r a n d o p e r a en c i n q a c t e s ' (Les T r o y e n s ) . - - C o n c e r t s : The young p i a n i s t - c o m p s o e r Theodore R i t t e r . The p i a n i s t Anton R u b i n -s t e i n . ] " F-29/04 "Revue m u s i c a l e . [ E d i t o r i a l on t h e p u r s u i t o f v i r t u o s i t y : p i a n i s t s and p i a n i s t e s - c o m p o s i t e u r s ; s i n g e r s , many o f whom canno t r e a d m u s i c . - - An e x c e p t i o n a l p i a n i s t - c o m p o s e r : An ton R u b i n s t e i n . Rev iew o f h i s second c o n c e r t at P a r i s . - - T h e a t r e des B o u f f e s - P a r i s i e n s : A b r i e f c ompa r i s on o f two new works ( L ' O p e r a aux f e n e t r e s by G a s t i n e l and La Pomme de T u r q u i e by M i l e P a u l i n e T h y s ) . - - An anecdo te about R o s s i n i . ] " F-15/05 "Revue m u s i c a l e . [ T h e a t r e - L y r i q u e : Les N u i t s d ' E s p a g n e , o p e r a comique i n two a c t s , l i b r e t t o by M i c h e l C a r r e ( a f t e r B e a u m a r c h a i s ) , m u s i c by T h e o p h i l e Semet. (Rev iew b e g i n s w i t h a b r i e f e d i t o r i a l on a f i x t u r e i n P a r i s i a n t h e a t r e s : t h e c l a q u e . ) - - T h e a t r e de V O p e r a - C o m i q u e : La C l e des champs, o p e r a comique i n one a c t , mus i c by P i e r r e - L o u i s D e f f e s . - -New p u b l i c a t i o n s : Legons de l e c t u r e m u s i c a l e , by F r o m e n t a l H a l e v y . Manuel p r a t i q u e e t e l e m e n t a i r e d ' h a r m o n i e , by F i t t o n . - - C o n c e r t s : S o i r e e m u s i c a l e o f Mme F a r r e n c . C o n c e r t t o u r o f M i l e Wer the imber ( c o n t r a l t o ) . J " F-29/05 "Revue m u s i c a l e . [ T h e a t r e de 1 ' O p e r a - C o m i q u e : Les Dames c a p i t a i n e s , o p e r a comique i n t h r e e a c t s , l i b r e t t o by M e l e s v i l l e , mus i c by Hen r i R e b e r . J " F-12/06 " C h r o n i q u e m u s i c a l e . [ E d i t o r i a l on t h e T h e a t r e - L y r i q u e ' s r e s p o n s i b i l i -t i e s t oward ' j e u n e s c o m p o s i t e u r s . ' D e s c r i p t i o n o f t h e m o d i f i c a t i o n s b e -i n g made i n W e b e r ' s E u r y a n t h e i n p r e p a r a t i o n f o r t h e p r e m i e r e o f a new t r a n s l a t i o n . — T h e a t r e de 1 ' O p e r a - C o m i q u e : Le Ma r i a ge e x t r a v a g a n t , v a u d e v i l l e ( f i r s t pe r f o rmed i n 1812) c o n v e r t e d i n t o an o p e r a com ique , mu s i c by Eugene G a u t i e r . ] " F-26/06 " C h r o n i q u e m u s i c a l e . [ C o m p e t i t i o n o f o r pheon s ( c h o r a l s o c i e t i e s ) f r o m t h e F r e n c h p r o v i n c e s , h e l d at Bordeaux on 28 June 1857. — Reye r r e -c o u n t s what he was t o l d c o n c e r n i n g t h e s u c c e s s o f M a r i e C a b e l ' s r e c e n t appea r ance at t h e Bordeaux t h e a t r e : he r f a r e w e l l p e r f o r m a n c e had been i n M e y e r b e e r ' s L ' E t o i l e du No rd , i n w h i c h , ' a l a demande g e n e r a l e , ' she had i n t e r p o l a t e d t h e ' a i r des F r a i s e s , q u ' e l l e a p o p u l a r i s e e t qu i l ' a p o p u l a r i s e d . ' ( T h i s a i r was f r o m A d o l p h e Adam's Le B i j o u p e r d u , p r e -m i e r e d at t h e T h e a t r e - L y r i q u e i n 1853 . ) - - T h e a t r e de 1 ' Ope ra -Com ique : S t o c k h a u s e n i n a r e v i v a l o f B o T e l d i e u ' s L a F e t e du v i l l a g e v o i s i n . Debuts o f M i l e Dupuy, M. B a r r i e l l e , and M. N i c o l a s i n a r e v i v a l o f H a l e v y ' s Les M o u s q u e t a i r e s de l a r e i n e . ] " F-14/07 558 " C h r o n i q u e m u s i c a l e . [ R e y e r f i r s t p r i n t s a l e t t e r f r om M a r i e Cabe l d e n y i n g h i s r e p o r t t h a t she had i n t e r p o l a t e d t h e ' a i r des F r a i s e s ' i n L ' E t o i l e du N o r d , and t h e n p rove s t h e t r u t h o f h i s r e p o r t by p u b l i s h i n g an e x t r a c t f r om T u n des j o u r n a u x l e s p l u s s p i r i t u e l s e t l e s mieux r e d i g e s de B o r d e a u x . ' — C o m p e t i t i o n o f o rpheons a t Caen , 19 J u l y 1857 . - - T h e a t r e de l ' O p e r a : A m a l i a F e r r a r i s i n a r e v i v a l o f Ado l phe Adam's b a l l e t O r f a . — New p u b l i c a t i o n s : P i a n o e t ude s by Mme l a baronne du V e r g e r Tnee M o r e l ) . - - T h e a t r e de 1 ' O p e r a - C o m i q u e : Debut o f t he t e n o r J o u r d a n as Lo redan i n a r e v i v a l o f A u b e r ' s Haydee. - - T h e a t r e - L y r i q u e : Announcement o f majo r works wh i ch w i l l be p r e s e n t e d d u r i n g t h e nex t s e a s o n . - - T h e a t r e des B o u f f e s - P a r i s i e n s : Une D e m o i s e l l e en l o t e r i e , o p e r e t t e by O f f e n b a c h ; debut o f M i l e L o u i s e T a u t i n i n t h e p r i n c i p a l r o l e . J " F-31/07 " C h r o n i q u e m u s i c a l e . [ E d i t o r i a l on t h e i n a d e q u a c i e s o f t h e C o n s e r v a -t o i r e ' s t h r e e - y e a r program f o r s t u d e n t s o f s i n g i n g , and on t h e need t o c r e a t e b o t h ' une c l a s s e d ' e n s e i g n e m e n t p r a t i q u e ' and ' une c l a s s e dans l a q u e l l e l e s e l e v e s i r o n t app rend re un iquement l ' a n c i e n r e p e r t o i r e . ' — C o m p e t i t i o n o f o rpheons a t D i j o n . (Rev iew i n c l u d e s remark s on two p r o -m i s i n g D i j o n n a i s m u s i c i a n s : t h e composer C h a r l e s P o i s o t and t he v i o l i n -i s t J u l e s M e r c i e r . ) - - T h e a t r e de 1 ' O p e r a - C o m i q u e : Mme Cabe l and M i l e L ' H e r i t i e r . ] " F-28/08 " C h r o n i q u e m u s i c a l e . [ T h e a t r e - L y r i q u e : ] E u r y a n t h e [ l i b r e t t o by H. von Chez y , t r a n s l a t e d and adapted by de Leuven and S a i n t - G e o r g e s , m u s i c by W e b e r ] . " F t t - 1 1 / 0 9 " C h r o n i q u e m u s i c a l e . [ F e t e s a t W i e s b a d e n : ] Tannh 'auser . O p e r a -r o m a n t i q u e de R i c h a r d Wagner. [ - - C o n c e r t . - - L e o p o l d Amat, o r g a n i z e r o f t h e f e t e s . ] " F t t - 3 0 / 0 9 " C h r o n i q u e m u s i c a l e . [ Rev i ew o f Canon G o s c h l e r ' s t r a n s l a t i o n o f Georg N i c o l a u s von N i s s e n ' s c o l l e c t i o n o f M o z a r t ' s c o r r e s p o n d e n c e ( V i e d ' u n a r t i s t e Chretien au d i x - h u i t i e m e s i e c l e , e x t r a i t e de s a correspondance a u t h e n t i q u e , t r a d u i t e e t p u b l i e e pour l a p r e m i e r e f o i s en frangais, pa r J . G o s c h l e r , c h a n o i n e h o n o r a i r e , a n c i e n d i r e c t e u r du c o l l e g e S t a n i s l a s ) . - - T h e a t r e de 1 ' O p e r a - C o m i q u e : Ro i don P e d r e , m u s i c by F e r d i n a n d P o i s e . - - T h e a t r e - L y r i q u e : MaTt re G r i f f a r d , o p e r a comique i n one a c t , l i b r e t t o by Mes tepes and Ja ime f i l s , mu s i c by Leo D e l i b e s . J " F-14/10 " C h r o n i q u e m u s i c a l e . [ T h e a t r e - L y r i q u e : E d i t o r i a l on S c r i b e ' s b r e a k i n g o f a c o n t r a c t . R e h e a r s a l s o f M a r g o t , ou l a F i l l e u l e du s e i g n e u r , by C l a p i s s o n . S i x t y - f o u r t h p e r f o r m a n c e o f W e b e r ' s Obe ron . R e v i v a l o f R e y e r ' s MaTt re W o l f r a m . — I n a u g u r a l c o n c e r t o f t h e S a l l e B e e t h o v e n . - -T h e a t r e des B o u f f e s - P a r i s i e n s : N o t i c e s o f O f f e n b a c h ' s Le M a r i a g e aux 559 1 a n t e r n e s and t h e young E r l a n g e r ' s L ' A r b r e de R o b i n s o n . ] " F-30/10 " C h r o n i q u e m u s i c a l e . M a r g o t , o p e r a comique en t r o i s a c t e s . P a r o l e s de MM. de Leuven e t de S a i n t - G e o r g e s , mus i que de M. L o u i s C l a p i s s o n . R e p r e s e n t s pour l a p r e m i e r e f o i s au T h e a t r e - L y r i q u e l e 5 novembre 1 8 5 7 . " F-12/11 " C h r o n i q u e m u s i c a l e . [ E d i t o r i a l a p p l a u d i n g P a s d e l o u p ' s d e c i s i o n t o p r e s e n t P a r t I o f M e n d e l s s o h n ' s E l i j a h (a work neve r b e f o r e pe r f o rmed i n P a r i s ) a t a c o n c e r t o f t h e S o c i e t e des j e u n e s a r t i s t e s du C o n s e r v a -t o i r e . E d i t o r i a l on t h e need f o r a c o n c e r t h a l l i n P a r i s . - - C o n c e r t o f e a r l y mu s i c f o r c l a v e c i n and p i a n o , at t h e home o f t he F a r r e n c s . — New p u b l i c a t o n s : Two books o f p i a n o e t u d e s by L o u i s Messemaecker s ( E t ude s de s t y l e and E tude s c a r a c t e r i s t i q u e s ) . — B r i e f e d i t o r i a l u r g i n g t h a t t h e r e p e r t o i r e o f t h e T h e a t r e - I t a l i e n be e n r i c h e d w i t h t h e I t a l i a n o p e r a s o f Moza r t and C i m a r o s a . - - O the r new p u b l i c a t i o n s : Spec imen de g rammai re m u s i c a l e , by B e r n a r d i n Rahn, and La T r a n s p o s i t i o n rendue f a c i l e , by Eugene P a t u r e l du T e r r a i l . ] " F-29/11 " C h r o n i q u e m u s i c a l e . [ T h e a t r e de 1 ' O p e r a - C o m i q u e : Le C a r n a v a l de V e n i s e , l i b r e t t o by Sauvage, m u s i c by Ambro i s e Thomas. - - S o c i e t e des j e u n e s a r t i s t e s du C o n s e r v a t o i r e : C o n c e r t f e a t u r i n g P a r t I o f E l i j a h . ] " F-16/12 L ' I ndependance b e i g e " F e t e s de W ie sbaden . [Da ted ' W i e s b a d e n , 25 s e p t e m b r e . ' I n c l u d e s a b r i e f r e v i e w o f T a n n h ' a u s e r . ] " * L A [ J D F - 0 1 / l l / 1 8 7 2 ] - 3 0 / 0 9 , p. 3 L ' A r t i s t e " G a l e r i e du X I X e s i e c l e : IX. H e c t o r B e r l i o z . " A - 2 ( 0 6 / 1 2 ) : 2 0 9 - 1 4 1858 Revue f r a n g a i s e " C h r o n i q u e m u s i c a l e . [ E d i t o r i a l p r a i s i n g C a r v a l h o f o r p r o v i n g t h a t h i s o b j e c t i v e as d i r e c t o r o f t h e T h e a t r e - L y r i q u e i s ' 1 ' a m e l i o r a t i o n du s o r t des j e u n e s c o m p o s i t e u r s . ' Rev iews o f p r e m i e r e s at t h e L y r i q u e : La D e m o i s e l l e d ' h o n n e u r , o p e r a comique i n t h r e e a c t s , l i b r e t t o by Mes tepes and Kau f fmann , m u s i c by Semet. Le Medec in malgre* l u i , o p e r a comique i n t h r e e a c t s , l i b r e t t o by B a r b i e r and C a r r e ( a f t e r M o l i e r e ) , mus i c by Gounod. - - Remarks on Gounod ' s c u r r e n t p r o j e c t : Ivan l e T e r r i b l e , a 560 f i v e - a c t g rand o p e r a d e s t i n e d f o r t h e O p e r a . - - N o t i c e s : Debut o f M i l e A r t o t as F i d e s i n Le P r o p h e t e at t h e Ope ra . R e v i v a l o f A u b e r ' s F r a D i a y o l o a t t h e Ope ra -Com ique . R o s s i n i ' s o p e r e t t a B r u s c h i n o a t t h e T h e a t r e des B o u f f e s - P a r i s i e n s . ] " A - 4 ( 1 0 / 0 2 ) : 1 1 7 - 2 8 L a F r a n c e m u s i c a l e " S eance s m u s i c a l e s . Deuxieme m a t i n e e de Mme P i e r s o n - B o d i n . — P r e m i e r e s o i r e e de M. M a r m o n t e l . - - P r e m i e r e s o i r e e de M. B a i l l o t . " *A[LamR 106 n. 6 ] - 2 2 ( 1 0 / 0 1 ) : 1 0 - 1 1 " L e s S o i r e e s de M. M a r m o n t e l . " A - 2 2 ( 0 6 / 0 6 ) : 1 8 1 - 8 2 Le C o u r r i e r de P a r i s " C h r o n i q u e m u s i c a l e . [ T h e a t r e - L y r i q u e : L a D e m o i s e l l e d ' h o n n e u r , o p e r a i n t h r e e a c t s , l i b r e t t o by Mestepes and Kau f fmann , m u s i c by T h e o p h i l e Semet. (Rev iew i n c l u d e s an e d i t o r i a l o b j e c t i n g t o t h e c o n t e m p o r a r y ' h a b i t u d e ' o f o v e r u s i n g t r o m b o n e s , c y m b a l s , and bass drum.) A n e c d o t e c o n c e r n i n g a r e c e n t p e r f o r m a n c e o f C l a p i s s o n ' s M a r g o t . — T h e a t r e des B o u f f e s - P a r i s i e n s : Remarks on R o s s i n i ' s o p e r e t t a B r u s c h i n o . - - C o n c e r t s p o n s o r e d by L a F r a n c e m u s i c a l e f o r i t s s u b s c r i b e r s . — T h e a t r e de 1 ' O p e r a - C o m i q u e : M. B a rbo t and M i l e L e f e b v r e i n a r e v i v a l o f A u b e r ' s F r a D i a v o l o . - - New p u b l i c a t i o n s : Albums and w a l t z e s recommended ' a u x a m a t e u r s . ' J " F-13/01 " C h r o n i q u e m u s i c a l e . [ T h e a t r e - L y r i q u e : Le Medec in m a l g r e l u i , o p e r a comique i n t h r e e a c t s , l i b r e t t o by C a r r e and B a r b i e r ( a f t e r M o l i e r e ) , mus i c by Gounod. (Rev iew i n c l u d e s a s h o r t a c coun t o f Gounod ' s p r i n c i p a l e a r l y w o r k s . ) — S o c i e t e des j e u n e s a r t i s t e s du C o n s e r v a t o i r e : The o v e r t u r e o f M e y e r b e e r ' s i n c i d e n t a l mus i c t o S t r u e n s e e at t h e f i r s t c o n -c e r t . O the r works at t h e f i r s t , s e c o n d , and t h i r d c o n c e r t s . - - T h e a t r e -I t a l i e n : Debut o f Mme S a l v i n i - D o n a t e l l i as N o r i n a i n D o n i z e t t i ' s Don P a s q u a l e . - - New p u b l i c a t i o n : Cour s d ' h a r m o n i e by F r a n g o i s B a z i n . ] " F-24/01 " C h r o n i q u e m u s i c a l e . [ T h e a t r e de 1 ' O p e r a - C o m i q u e : Les D e s e s p e r e s , l i b r e t t o by de Leuven and M o i n a u x , m u s i c by B a z i n . ( Rev i ew c a l l s a t t e n -t i o n t o one o f t h e l i b r e t t i s t s ' w i t t y t o u c h e s : a c h a r a c t e r c o n f i d e s t h a t he i s w r i t i n g a t r e a t i s e e n t i t l e d De 1 ' i n f l u e n c e des queues de p o i s s o n su r l e s o n d u l a t i o n s de l a mer. Reyer no te s t h a t such a work had i n f a c t been w r i t t e n , and t h a t t h e announcement o f i t s p u b l i c a t i o n had bo rne a p r i n t e r ' s b l u n d e r wh i ch had l o n g been a j o k e i n t h e w o r l d o f F r e n c h l i t e r a t u r e and a r t s . ) — Le Chant d ' A n t o n i a , o d e - s y m p h o n i e , words by Am. B u r i o n ( a f t e r E. T. A. H o f f m a n n ) , mus i c by V i c t o r C h e r i . ( Rev i ew recommends t h i s young composer t o t h e d i r e c t o r s o f t h e Comique and t he 561 L y r i q u e . ) - - C h a r l e s L e b o u c ' s f i r s t c o n c e r t o f 'mu s i que c l a s s i q u e e t h i s t o r i q u e . ' - - T h e a t r e de l ' O p e r a : Debut o f M i l e D e s i r e e A r t o t as F i d e s i n Le P r o p h e t e . ] " F t - 0 7 / 0 2 " C h r o n i q u e m u s i c a l e . [The p i a n i s t - c o m p o s e r Henry L i t o l f f : B i o g r a p h i c a l s k e t c h . Remarks on m u s i c a l l i f e i n Germany ( i n c l u d i n g a b r i e f d i g r e s s i o n c o n c e r n i n g Wagner and ' l a mus ique de l ' a v e n i r ' ) . L i t o l f f ' s c o n c e r t o - s y m p h o n i e no . 4 at a c o n c e r t o f t he S o c i e t e des j e u n e s a r t i s t e s du C o n s e r v a t o i r e . - - T h e a t r e - I t a l i e n : P a r i s i a n p r e m i e r e o f M a r t a , by F r i e d r i c h von F l o t o w . (Rev iew i n c l u d e s a b r i e f h i s t o r y o f t h i s work, wh i ch f o r many y e a r s had been p o p u l a r o u t s i d e F r a n c e . ) - - C o n c e r t : Mme Ida B r u n i n g ( s op r ano ) and Mme E r n e s t a G r i s i ( c o n t r a l t o ) . ] " F-22/02 " C h r o n i q u e m u s i c a l e . [ T h e a t r e de l ' O p e r a : ] La M a g i c i e n n e . [Opera i n f i v e a c t s , l i b r e t t o by de S a i n t - G e o r g e s , mu s i c by H a l e v y . (Rev iew i s i n t r o d u c e d by an anecdo te c o n c e r n i n g one o f R e y e r ' s f r i e n d s , t he poe t M e r y . ) ] " F-25/03 " C h r o n i q u e m u s i c a l e . [ T h e a t r e - I t a l i e n : Don D e s i d e r i o , o p e r a b u f f a i n two a c t s , m u s i c by P r i n c e Jo seph P o n i a t o w s k i . (Rev iew b e g i n s w i t h a s h o r t a c c o u n t o f t h i s n o b l e m a n ' s a c t i v i t i e s as composer and amateur s i n g e r . ) P a r i s i a n debut o f t h e I t a l i a n t e n o r E n r i c o T a m b e r l i k i n R o s s i n i ' s O t e l l o . T a m b e r l i k ' s famous ' u t d i e z e ' ( h i g h C - s ha rp f r o m t h e c h e s t ) . - - T h e a t r e - L y r i q u e ^ R e v i v a l o f F e l i c i e n D a v i d ' s o p e r a comique L a P e r l e du B r e s i 1 . - - T h e a t r e de 1 ' O p e r a - C o m i q u e : Q u e n t i n Du rward , o p e r a comique i n two a c t s , l i b r e t t o by C a r r e and Cormon ( a f t e r S i r W a l t e r S c o t t ) , mus i c by G e v a e r t . ] " F-07/04 " C h r o n i q u e m u s i c a l e . [ T h e a t r e - L y r i q u e : ] P r e c i o s a . [ B i l l e d as an ' o p e r a comique de Webe r . ' (Reyer d e m o n s t r a t e s t h a t i t was a t r a v e s t y , a ' c a s t i l b l a z e r i e , ' o f t h e o r i g i n a l . ) Don A l m a n z o r , o p e r a comique i n one a c t , l i b r e t t o by Eugene Labot and L o u i s U l b a c h , mus i c by Renaud de V i l b a c h . ( T h i s work p r e c e d e d P r e c i o s a t o make a d o u b l e b i l l . ) ] " F-24/04 " C h r o n i q u e m u s i c a l e . [ W i t t y d e s c r i p t i o n s o f t h e t y p i c a l m a t i n e e s and s o i r e e s m u s i c a l e s wh i ch a re g i v e n ' p e n d a n t t o u t l ' h i v e r . . . dans l e monde de l a b o u r g e o i s i e , de l a f i n a n c e ou de l a n o b l e s s e . ' - - Rev iew o f a c o n c e r t g i v e n by L i t o l f f i n t h e p r e s t i g i o u s S a l l e du C o n s e r v a t o i r e , w i t h B e r l i o z c o n d u c t i n g t h e o r c h e s t r a , and a program c o m p r i s i n g mus ic by L i t o l f f and B e r l i o z . - - C o n c e r t s by c e l e b r a t e d f o r e i g n v i r t u o s o s : W i e n i a w s k i ( v i o l i n ) . B a z z i n i ( v i o l i n ) . — S o i r e e o f t he composer C h a r l e s P o i s o t . ] " F-16/05 " C h r o n i q u e m u s i c a l e . [ T h e a t r e - L y r i q u e : ] Les Noces de F i g a r o . [New t r a n s l a t i o n by C a r r e and B a r b i e r . (Rev iew b e g i n s w i t h a b r i e f h i s t o r y 562 o f P a r i s i a n p r o d u c t i o n s o f t h i s ' c h e f - d ' o e u v r e p re sque i nconnu a l a g e n e r a t i o n c o n t e m p o r a i n e . ' ) ] G a s t i b e l z a [ r e v i v a l o f t h e f i r s t work by Mai 11 a r t ] . " F -30/05 " C h r o n i q u e m u s i c a l e . [ C o m p e t i t i o n o f o rpheons a t D i j o n . - - T h e a t r e de l ' O p e r a : R e v i v a l o f Gounod ' s o p e r a Sapho, condensed f r o m t h e o r i g i n a l t h r e e a c t s i n t o two , and used as a c u r t a i n - r a i s e r . - - T h e a t r e de 1 ' Ope ra -Comique : R e v i v a l o f G r e t r y ' s Les M e p r i s e s pa r r e s s e m b l a n c e . (Rev iew b e g i n s w i t h an e d i t o r i a l u r g i n g t h e d i r e c t o r o f t h e Comique t o e x p l o i t f u r t h e r t h e ' r i c h e r e p e r t o i r e ' o f G r e t r y and o t h e r ' v i e u x m a T t r e s ' v i r t u a l l y unknown t o t h e p u b l i c . ) ] " F-07/08 " C h r o n i q u e m u s i c a l e . [ ' F e s t i v a l ' o r g a n i z e d and c o n d u c t e d by B e r l i o z at Baden-Baden (mus i c by Weber, L i t o l f f , M o z a r t , B e r l i o z , and B e e t h o v e n ) . Reye r f o c u s e s on t h e f o l l o w i n g : L i t o l f f ' s s u c c e s s as c o m p o s e r - p i a n i s t ; Mme Cha r ton -Demeur , who sang J u l i e t t e ' s s t r o p h e s f r om Romeo e t J u l i e t t e and an a r i a f r om Les Noces de F i g a r o ; and t h e i n s t r u m e n t a l l o v e scene as w e l l as t h e S c h e r z o f r o m Romeo e t J u l i e t t e . - - Remarks on B e r l i o z as c r i t i c . ] " F-12/09 " C h r o n i q u e m u s i c a l e . [ E d i t o r i a l u r g i n g t h e Opera t o r e v i v e t he ma jo r works o f G l u c k and o t h e r ' v i e u x m a T t r e s , ' f o r t h e sake o f i m p r o v i n g ' 1 ' e d u c a t i o n des a r t i s t e s e t . . . l e gout du p u b l i c ' - - Remarks on t h e f o r t h c o m i n g p r e m i e r e o f F e l i c i e n D a v i d ' s f i r s t work f o r t he O p e r a : H e r c u l a n u m . ] " F-30/09 " C h r o n i q u e m u s i c a l e . [ T h e a t r e - L y r i q u e : B r o s k o v a n o , o p e r a comique i n two a c t s , l i b r e t t o by H e n r i B o i s s e a u x , mus i c by P i e r r e L o u i s D e f f e s . R e v i v a l o f Obe ron . - - T h e a t r e - I t a l i e n : Mme R o s i n a Penco and M. L u d o v i c o G r a z i a n i i n a r e v i v a l o f La T r a v i a t a . Debut o f M i l e de Ruda i n a r e v i v a l o f R i g o l e t t o . - - T h e a t r e de l ' O p e r a : Debut o f M i l e A u d i b e r t i n Le T r o u v e r e . F o r t h c o m i n g debut o f t h e b a l l e r i n a Emmy L i v r y i n L a S y l p h i d e . J ' T F-17/10 " C h r o n i q u e m u s i c a l e . [ T h e a t r e de l ' O p e r a : Debut o f Emma L i v r y i n a r e v i v a l o f La S y l p h i d e by S c h n e i t z h o e f f e r . (Rev iew i n c l u d e s a s k e t c h o f t h e l i f e and works o f t h i s o b s c u r e ' a r t i s t e s i r i c h e m e n t d o u e . ' ) Gounod ' s Sapho as c u r t a i n - r a i s e r f o r La S y l p h i d e . ( R e y e r ' s o b j e c t i o n t o such m u t i l a t i o n prompts him t o r e c o u n t an anecdo te t o l d by M e y e r b e e r , c o n c e r n i n g C i m a r o s a ' s r e f u s a l t o s h o r t e n one o f h i s w o r k s . ) - - T h e a t r e de 1 ' Ope ra -Comique : F o r t h c o m i n g p r e m i e r e o f a new t h r e e - a c t work by M e y e r b e e r . - - T h e a t r e - I t a l i e n : R e v i v a l o f Be l 1 i n i ' s Norma. Anecdo te t o l d by ' un ami de B e l l i n i . ' - - A p e r f o r m a n c e o f t h e C o n c e r t s de P a r i s ( c o n d u c t e d by V i c t o r E l b e l ) . ] " F -31/10 563 " C h r o n i q u e m u s i c a l e . [ T h e a t r e de 1 1 O p e r a - C o m i q u e : La B a c c h a n t e , o p e r a comique i n two a c t s , mus i c by Eugene G a u t i e r . - - E d i t o r i a l on t h e i l l e f f e c t s o f t h e O p e r a ' s c a t e r i n g t o t he p u b l i c ' s demand f o r phenomenal v o i c e s . ] " F-16/11 " C h r o n i q u e m u s i c a l e . [The y e a r l y p e r f o r m a n c e s pon so red on S a i n t C e c i l i a Day by t h e A s s o c i a t i o n des a r t i s t e s - m u s i c i e n s : Mass by Weber. — T h e a t r e - I t a l i e n : R e v i v a l o f M e r c a d a n t e ' s II G u i r a m e n t o . ( Rev i ew b e g i n s w i t h an a s ses sment o f M e r c a d a n t e ' s p l a c e i n t h e h i s t o r y o f I t a l i a n o p e r a . ) — An e v e n i n g o f chamber mus i c g i v e n by a q u a r t e t a s sembled by t h e v i o l i n i s t H e n r i V i e u x t e m p s . - - Annual c o n c e r t o f t h e S o c i e t e de b i e n f a i s a n c e du q u a r t i e r de l a Monna ie . - - T h e a t r e de l ' O p e r a : Debut o f M i l e M icheau i n t h e t i t l e r o l e o f La M a g i c i e n n e prompts Reyer t o e d i -t o r i a l i z e on a c o n t e m p o r a r y s i t u a t i o n i n wh i ch C o n s e r v a t o i r e s t u d e n t s , i f recommended by p r e s t i g i o u s p r o f e s s o r s , a re g i v e n r o l e s at t h e Opera b e f o r e t h e y a re r e a d y t o appear on ' u ne scene oh b i e n des r e p u t a t i o n s a c q u i s e s s on t venues e c h o u e r . ' ] " F-01/12 [A s h o r t n o t i c e on Mme C a r o l i n e Ba rbo t (nee D o u v r y ) : t h e e a r l y y e a r s o f he r c a r e e r ; her debut at t h e Opera as V a l e n t i n e i n Les H u g u e n o t s . ] 2 4 U-04/12, p. 2 " C h r o n i q u e m u s i c a l e . [ E d i t o r i a l on t h e O p e r a - C o m i q u e ' s r e p e a t e d p o s t -ponements o f t h e p r e m i e r e o f C l a p i s s o n ' s T r o i s - N i c o l a s . - - Rev iew o f C l a p i s s o n ' s Album ( t w e l v e ' r o m a n c e s ' ) f o r t h e y e a r 1859, w i t h comments on t h e p o p u l a r i t y o f ' l a na ' fve r o m a n c e . ' - - T h e a t r e de l ' O p e r a : Debut o f Mme B a r b o t i n Le s H u g u e n o t s . ] " F -16/02 Revue e t G a z e t t e m u s i c a l e de P a r i s " S o n a t e en mi bemol pour deux p i a n o s [ b y Theodore R i t t e r ] . " A - 2 5 ( 0 8 / 0 8 ) : 2 6 5 - 6 6 1859 Le C o u r r i e r de P a r i s " C h r o n i q u e m u s i c a l e . [ T h e a t r e de 1 ' O p e r a - C o m i q u e : T r o i s - N i c o l a s , o p e r a comique i n t h r e e a c t s , l i b r e t t o by S c r i b e and B e r n a r d L o p e z , mus ic by C l a p i s s o n . (Rev iew i n c l u d e s a l o n g e x c e r p t f r om t he s o u r c e upon wh i ch t h e l i b r e t t o was b a s e d : a n o t i c e on D a l a y r a c i n Ado l phe Adam's S o u v e n i r s d ' u n m u s i c i e n . ) ] " F-01/01 " C h r o n i q u e m u s i c a l e . [News c o n c e r n i n g t h e Ope ra -Comique : Succes s o f T r o i s - N i c o l a s . R e h e a r s a l s o f a new o p e r a by M e y e r b e e r . - - T h e a t r e -564 L y r i q u e : E d i t o r i a l on t h e p r a c t i c e o f a l t e r n a t i n g t h e l a t e s t s u c c e s s f u l p r o d u c t i o n w i t h ' l a p i e c e du l e n d e m a i n ' (a s e c o n d - r a t e p r o d u c t i o n o f an e a r l i e r s u c c e s s ) . Debut o f M i l e Lecomte i n a r e v i v a l o f S e m e t ' s La D e m o i s e l l e d ' h o n n e u r . - - C o n c e r t s : S o c i e t e des j e u n e s a r t i s t e s du C o n s e r v a t o i r e ( w i t h t h e v i o l i n i s t S a i n t o n as gues t a r t i s t ) . S o i r e e o f t h e v i o l i n i s t G l e i c h a u f f . - - T h e a t r e - I t a l i e n : N o t i c e s o f t h e r e v i v a l s o f R o s s i n i ' s Semi ramide and F l o t o w ' s M a r t h a . ] " F-19/01 " C h r o n i q u e m u s i c a l e . [ C o n c e r t o f Jacque s Baur ( p i a n i s t ) . - - The T h e a t r e - I t a l i e n . ] " F-30/01 " C h r o n i q u e m u s i c a l e . [ E d i t o r i a l r e s p o n d i n g t o an a r t i c l e on t he s t a t e o f F rench c r i t i c i s m (Henry T r i a n o n ' s 'Ou en e s t l a c r i t i q u e ? ' p u b l i s h e d i n t h e G a z e t t e des T h e a t r e s . T r i a n o n was a d m i n i s t r a t o r - g e n e r a l o f t h e Ope r a -Com ique . ) - - C o n c e r t o f Zan i de F e r r a n t i ( g u i t a r ) . ] " F-13/02 " C h r o n i q u e m u s i c a l e . [ H e n r i V i e u x t e m p s : As man and a r t i s t . Second c o n c e r t o f t h e y e a r ( f e a t u r i n g h i s F a n t a s i a a p p a s i o n n a t a f o r v i o l i n and o r c h e s t r a ) . The s i n g e r M i l e L i s c h t n e r , gue s t a r t i s t a t V i e u x t e m p s ' s f i r s t c o n c e r t . - - N o t i c e s o f p e r f o r m a n c e s at t h e l y r i c t h e a t r e s : The r e p e t i t i o n g e n e r a l e o f Gounod ' s F au s t at t h e T h e a t r e - L y r i q u e . R e v i v a l o f D o n i z e t t i ' s L ' E l i s i r d ' amo re a t t he T h e a t r e - I t a l i e n . — C o n c e r t s : P a r i s i a n debut o f t h e v i o l i n i s t B e c k e r . The t h r e e ' s o i r e e s de mus ique c l a s s i q u e ' g i v e n by t h e c e l l i s t Lebouc ( w i t h a s s i s t i n g a r t i s t s ) . ] " F-01/03 " C h r o n i q u e m u s i c a l e . T h e a t r e de l ' O p e r a : He rcu lanum [ o p e r a i n f o u r a c t s , l i b r e t t y by Mery and Hado t , m u s i c by F e l i c i e n D a v i d . ( Rev i ew i s p r e ceded by a summary o f D a v i d ' s f i f t e e n - y e a r c a r e e r as c o m p o s e r . ) ] - -T h e a t r e - L y r i q u e : La Fee C a r a b o s s e . [ R e y e r announces i t s ' t r e s b r i l l ant s u c c e s ' and a p o l o g i z e s t h a t l a c k o f space o b l i g e s him ' de r e n v o y e r a un p r o c h a i n a r t i c l e l e c o m p t e - r e n d u . ' ] " F-08/03 " C h r o n i q u e m u s i c a l e . [ T h e a t r e - L y r i q u e : F a u s t , o p e r a d i a l o g u e i n f i v e a c t s , l i b r e t t o by B a r b i e r and C a r r e ( a f t e r G o e t h e ) , m u s i c by Gounod. La Fee C a r a b o s s e , o p e r a comique i n t h r e e a c t s , l i b r e t t o by L o c k r o y and C o g n i a r d , m u s i c by Masse. — E n r i c o T a m b e r l i k . — Les G r o t e s q u e s de l a m u s i q u e , by H e c t o r B e r l i o z . - - C o n c e r t s . ] " F-29/03 " C h r o n i q u e m u s i c a l e . T h e a t r e de V O p e r a - C o m i q u e : Le Pa rdon de PI o'er - m e l . [Ope ra comique i n t h r e e a c t s , l i b r e t t o by B a r b i e r and C a r r e , mu s i c by M e y e r b e e r . (Rev iew i n c l u d e s a b r i e f e d i t o r i a l o b j e c t i n g t o t he pub-l i c ' s c o m p l a i n t t h a t 'M. Meyerbeer e s t s ouven t a c o u r t de m e l o d i e s . ' ) ] " F-15/04 565 " C h r o n i q u e m u s i c a l e . C o n c e r t s p i r i t u e l de M. H e c t o r B e r l i o z [ a t t h e O p e r a - C o m i q u e ] : L ' E n f a n c e du C h r i s t , f ragmens de F a u s t [ r e v i e w o f ' L e Sommeil de F a u s t ' and t h e ' V a l s e des S y l p h e s ' l e a d s t o remarks on t he need f o r a c o n c e r t h a l l ] . — [ C o n c e r t s : ] M. de H a r t o g [ c o m p o s e r ] . M. Georges M a t h i a s [ c o m p o s e r - p i a n i s t ] . M. Hans de Bulow [Hans von B l i l ow, p i a n i s t ] . MM. B e s e k i r s k y e t Arwed P o o r t e n [ R u s s i a n v i o l i n i s t and c e l -l i s t r e s p e c t i v e l y ] . - - [ T h e a t r e - F r a n g a i s : ] Les c hoeu r s d ' A t h a l i e , par M. J u l e s Cohen. - - [ D o n i z e t t i ' s ] P o l i u t o au T h e a t r e - I t a l i e n . - - M i l e W e r t h e i m b e r . M. M i c h e l B e r g s o n . [Remarks on B e r g s o n ' s ' L a Peche aux f i a n c e s ' and on t h e c o n t r a l t o M i l e W e r t h e i m b e r ' s impromptu p e r f o r m a n c e o f i t at a s o i r e e . ] " F-30/04 " C h r o n i q u e m u s i c a l e . T h e a t r e - L y r i q u e : L ' E n l e v e m e n t au s e r a i ! [ t r a n s -l a t e d and adapted by P r o s p e r P a s c a l ] . Abou Hassan [ t r a n s l a t e d by N u i t t e r and Beaumont ] . - - Ope ra -Comique : Le D i a b l e au m o u l i n . [ R e y e r a p o l o g i z e s t h a t l a c k o f space o b l i g e s h im ' de r e n v o y e r l e c ompte - r endu . . . a un p r o c h a i n n u m e r o . ' ] " F-18/05 " C h r o n i q u e m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Le D i a b l e au m o u l i n [ l i b r e t t o by Cormon and C a r r e , mus i c by F r a n g o i s G e v a e r t ] . " F-31/05 " C h r o n i q u e m u s i c a l e . [Announcement s : C l o s i n g o f t h e Opera -Comique and t h e T h e a t r e - L y r i q u e f o r t h e summer. - - Remarks on t h e need t o s u b s i d i z e t h e L y r i q u e . — B r i e f e d i t o r i a l e n c o u r a g i n g t h e L y r i q u e t o s t a g e G l u c k ' s o p e r a s . — T h e a t r e de l ' O p e r a : R e v i v a l o f Les Vep re s s i c i l i e n n e s . — E d i t o r i a l on a new i n v e n t i o n known as t h e p i a no m e c a n i q u e . - - T h e a t r e des B o u f f e s - P a r i s i e n s : L ' O m e l e t t e a l a F o l l e m b u c h e , by Leo D e l i b e s . — Outdoor o r c h e s t r a l c o n c e r t s c o n d u c t e d by A l f r e d M u s a r d . ] " F-16/06 " C h r o n i q u e m u s i c a l e . [A s h o r t a c coun t o f t h e d i v e r s e works o f t h e compose r , t h e o r i s t , and s c h o l a r Johann Georg K a s t n e r , new ly e l e c t e d t o t h e Academie des B e a u x - A r t s o f t h e I n s t i t u t de F r a n c e . — T h e a t r e de l ' O p e r a : Announcement o f works t o be p r e s e n t e d d u r i n g t he season 1859 -60 . - - T h e a t r e de 1 ' O p e r a - C o m i q u e : Debut o f M i l e C o r d i e r i n a r e v i v a l o f A u b e r ' s L ' A m b a s s a d r i c e . ] " F -26/07 " C h r o n i q u e m u s i c a l e . [A p l e a s u r e t r i p t h r o u g h S w i t z e r l a n d : N e u c h a t e l . W e b e r ' s P r e c i o s a , pe r f o rmed at E r l a c h by a t r a v e l l i n g German company. (Reye r compares t h i s f a i t h f u l r e n d e r i n g w i t h t h e t r a v e s t y p r e s e n t e d ' s o u s l e nom d ' o p e r a c o m i q u e ' a t t h e T h e a t r e - L y r i q u e i n 1858 . ) The S o c i e t e de G r u t l y , a c h o r a l s o c i e t y ' t r e s p o p u l a i r e en S u i s s e e t en A l l e m a g n e . ' ] " F-23/08 " C h r o n i q u e m u s i c a l e . [Da ted ' L u n d i , l a c de B i e n n e . ' C o n t i n u a t i o n o f R e y e r ' s t r i p t h r o u g h S w i t z e r l a n d : L u c e r n e and R i g i . From R i g i t o 566 I n t e r ! a c h e n . I n t e r l a c h e n and t h e s u r r o u n d i n g r e g i o n . ] " F-06/09 " C h r o n i q u e m u s i c a l e . [Da ted ' B a d e , m a r d i . ' Rev iew o f t h e ' f e s t i v a l ' o r g a n i z e d and c o n d u c t e d by B e r l i o z at Baden-Baden (mus i c by B e r l i o z , M e y e r b e e r , S p o n t i n i , R i t t e r , R o s s i n i , B e e t h o v e n , and Weber, as w e l l as ' une romance r u s s e e t une chanson f r a n g a i s e ' ) . Reyer c o n c e n t r a t e s on t h e two e x c e r p t s f r om t h e u n p u b l i s h e d Les T r o y e n s : C a s s a n d r e ' s s c e n e , e n d i n g i n t he duet w i t h C h o r e b e ; and t h e l o v e duet o f D ido and A e n e a s . ] " F-07/09 " C h r o n i q u e m u s i c a l e . [ R e t u r n t o P a r i s . - - T h e a t r e de l ' O p e r a : B e l l i n i ' s Romeo e t J u l i e t t e , t r a n s l a t e d by N u i t t e r . Rev iew i n c l u d e s e d i t o r i a l i z i n g on t h e use o f an o p e r a as m e r e l y ' un p r e t e x t e au debut de l a c a n t a t r i c e ' ( t h e c o n t r a l t o Mme V e s t v a l i ) . ] " F-13/09 " C h r o n i q u e m u s i c a l e . [ Rev i ew o f summer and e a r l y autumn a c t i v i t i e s a t t h e l y r i c t h e a t r e s : Debut o f M i l e Monrose i n a r e v i v a l o f Ambro i s e Thomas ' s Le Songe d ' u n e n u i t d ' e t e a t t h e Ope ra -Comique . Debut o f M i l e M a r i e Sax as t h e Coun te s s i n Le s Noces de F i g a r o a t t he T h e a t r e -L y r i q u e . - - I n a u g u r a t i o n o f t h e w i n t e r season at t h e Ope ra -Comique : Re -v i v a l o f M e y e r b e e r ' s Le Pardon de P l o e r m e l . - - T h e a t r e - I t a l i e n : N o t i c e s o f r e c e n t p r o d u c t i o n s o f V e r d i ' s La T r a v i a t a , R o s s i n i ' s L ' l t a l i a n a i n A l g e r i , and M e r c a d a n t e ' s G i u r a m e n t o . The s i n g e r M a r i n i , an a d d i t i o n t o t h e r o s t e r o f p r i n c i p a l s . - - Volume 1 o f t h e F a r r e n c s ' Le T r e s o r des p i a n i s t e s . ] " F -18/10 " C h r o n i q u e m u s i c a l e . [ E d i t o r i a l on t he need f o r a ' s a l l e de c o n c e r t , p rop rement d i t e , 1 b o t h t o s t i m u l a t e and t o p r o v i d e an o u t l e t f o r ' a r -t i s t e s q u i composent des o r a t o r i o s , des c o n c e r t o s e t des s y m p h o n i e s . ' Reye r s e t s f o r t h h i s c o n c e p t i o n o f an i d e a l c o n c e r t h a l l , wh i ch would have a permanent ' s o c i e t e l y r i q u e , p h i l h a r m o n i q u e , ou s y m p h o n i q u e . ' ] " F-25/10 " C h r o n i q u e m u s i c a l e . [ T h e a t r e de l ' O p e r a : Debut o f t h e M a r c h i s i o s i s t e r s i n R o s s i n i ' s S e m i r a m i s , F r ench t r a n s l a t i o n by Mery. N o t i c e s o f r e v i v a l s o f F l o t o w ' s L 'Ame en p e i n e as a c u r t a i n - r a i s e r , and Count G a b r i e l l i ' s b a l l e t Les E l f e s . - - T h e a t r e - I t a l i e n : N o t i c e o f t he r e t u r n o f Mme Borgh i -Mamo i n a r e v i v a l o f R o s s i n i ' s B a r b i e r e d i S i v i g l i a . - -T h e a t r e - L y r i q u e : M a m ' z e l l e P e n e l o p e , o p e r a comique i n one a c t , l i b r e t t o by H e n r i B o i s s e a u x , mu s i c by de L a j a r t e . - - The p i a n o i n c l i n e ( m o d i f i e d u p r i g h t ) i n v e n t e d by E i s e n m e n g e r . - - O b i t u a r y o f Ludwig Spohr (based on t h e n o t i c e p u b l i s h e d i n t he V i e n n a R e c e n s i o n e n ) . ] " F-08/11 " C h r o n i q u e m u s i c a l e . [ ' F e s t i v a l ' h o n o r i n g t h e memory o f F r i e d r i c h S c h i l l e r : ' l a l i s t e des morceaux q u i ont e t e j o u e s , c h a n t e s e t d e -c l a r i e s ' ; r e v i e w o f two u n p u b l i s h e d works w r i t t e n by Meye rbeer f o r t h e o c c a s i o n ( i . e . , La Marche de S c h i 1 1 e r and a c a n t a t a on a poem by 567 L. P f a u ) . — Chansons du t r o u b a d o u r , a c o l l e c t i o n o f songs by D e l p h i n B a l l e y g u i e r , whom Reyer recommends t o t h e a t t e n t i o n o f t h e d i r e c t o r o f t h e O p e r a - C o m i q u e . ] " F-15/11 1860 La G a z e t t e du Nord " C h r o n i q u e m u s i c a l e . [ E d i t o r i a l on ' l a p r e d i l e c t i o n du p u b l i c pour l a mus ique i t a l i e n n e . ' ] T h e a t r e - I t a l i e n : M a r g h e r i t a l a m e n d i a n t e , m S l o -drame en t r o i s a c t e s , p a r o l e s de M. P i a v e , mus ique de M. Gaetano B r a g a . [ - - The S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e and i t s r e s p o n s i b i l i t y t owa rd ' c o m p o s i t e u r s v i v a n t s ' as w e l l as ' l e s mort i l l u s t r e s . ' — C o l -l e c t i o n o f songs by Pau l d ' E s t r i b a u d . ] " A - 2 ( 0 7 / 0 1 ) : 5 - 6 " C h r o n i q u e m u s i c a l e . [ O b i t u a r y o f t h e c o n d u c t o r N a r c i s s e G i r a r d , s u c c e s s o r o f Habeneck bo th at t h e S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e and at t he O p e r a . - - P r e m i e r e s o f works by l i v i n g F r e n c h compose r s : Gounod ' s c h o r a l s e t t i n g o f t h e p sa lm Sur l e f l e u v e S t r a n g e r ( Super f1umina) a t t h e S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e . A symphony by Demerssemann at t h e S o c i e t e des j e u n e s a r t i s t e s du C o n s e r v a t o i r e . — N o t i c e on Wagner: h i s d e c i s i o n t o put h i s mus i c b e f o r e t h e P a r i s i a n p u b l i c ; t h e c o n t r o v e r s i e s he had a r o u s e d ; R e y e r ' s d e t e r m i n a t i o n not t o be i n f l u e n c e d by e i t h e r ' 1 ' e n t h o u s i a s m e de c e u x - c i ' o r ' 1 ' o p p o s i t i o n de c e u x - l a . ' - - C o l l e c t i o n o f songs by V a u c o r b e i 1 . ] " A - 2 ( 2 1 / 0 1 ) : 5 - 6 " C h r o n i q u e m u s i c a l e . M. R i c h a r d Wagner. [ R e v i e w o f t h e second p e r f o r -mance o f Wagne r ' s t h r i c e - g i v e n c o n c e r t at t h e T h e a t r e - I t a l i e n . (Rev iew i s i n t r o d u c e d by an e d i t o r i a l r e g r e t t i n g t h a t ' e n F r a n c e , b i e n p l u s q u ' e n A l l e m a g n e , nous sommes h a b i t u e s a l a pompe du s p e c t a c l e . ' ] " A - 2 ( 0 4 / 0 2 ) : 5 - 6 " C h r o n i q u e m u s i c a l e . [ T h e a t r e de 1 ' Ope ra -Comique : Le Roman d ' E l v i r e , o p e r a comique i n t h r e e a c t s , l i b r e t t o by A l e x a n d r e Dumas and de L euven , mu s i c by Ambro i s e Thomas. - - T h e a t r e - I t a l i e n : Don G i o v a n n i . — C o n c e r t o f t h e S o c i e t e des j e u n e s S i e v e s du C o n s e r v a t o i r e . - - O the r c o n c e r t s : Hans von Bu'low ( p i a n o ) . J a c q u e s Dupu i s ( v i o l i n ) . Zan i de F e r r a n t i ( g u i t a r ) . Lebouc and Becke r ( c e l l o and v i o l i n r e s p e c t i v e l y ) . ] " A - 2 ( 1 8 / 0 2 ) : 5 - 6 " C h r o n i q u e m u s i c a l e . [ T h S a t r e - L y r i q u e : Ph i l Smon e t B a u c i s , o p e r a i n t h r e e a c t s , l i b r e t t o by B a r b i e r and C a r r e , mus ic by Gounod. — T h S a t r e de V O p S r a - C o m i q u e : R e v i v a l o f Ma s s S ' s G a l a t h e e . ] " A - 2 ( 0 3 / 0 3 ) : 5 - 6 " C h r o n i q u e m u s i c a l e . [ T h S a t r e de 1 ' OpS ra : P i e r r e de M S d i c i s , o p e r a i n f o u r a c t s , l i b r e t t o by P a c i n i and de S a i n t - G e o r g e s , m u s i c by P r i n c e 568 J o seph P o n i a t o w s k i . ] " A - 2 ( 1 7 / 0 3 ) : 4 - 5 " C h r o n i q u e m u s i c a l e . [ T h e a t r e - L y r i q u e : G i l B i a s , o p e r a comique i n f i v e a c t s , l i b r e t t o by C a r r e and B a r b i e r , m u s i c by T h e o p h i l e Semet. ( Rev i ew i n c l u d e s an e d i t o r i a l a g a i n s t t h e w i d e s p r e a d p r a c t i c e o f w r i t i n g a p r i n -c i p a l r o l e f o r a s p e c i f i c s i n g e r . ) ~ C o n c e r t s : S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e . S o c i e t e des j e u n e s a r t i s t e s du C o n s e r v a t o i r e . ] " A - 2 ( 3 1 / 0 3 ) : 5 - 6 " C h r o n i q u e m u s i c a l e . [ E d i t o r i a l on t h e need f o r a c o n c e r t h a l l , wh i ch s h o u l d be a d m i n i s t e r e d l i k e a s u b s i d i z e d l y r i c t h e a t r e and s h o u l d have s i n g e r s as w e l l as i n s t r u m e n t a l i s t s a t t h e d i s p o s a l o f ' l e m u s i c i e n qu i e c r i t des o r a t o r i o s e t des symphon ies ou l e v i r t u o s e qu i a b e s o i n d ' u n o r c h e s t r e pour accompagner 1 ' o e u v r e q u ' i l i n t e r p r e t e . ' — Rev i ew o f t he c o n c e r t s and s o i r e e s m u s i c a l e s o f t h e s e a s o n : E m i l e P r u d e n t ( p i a n i s t -c o m p o s e r ) . Theodore R i t t e r ( p i a n i s t - c o m p o s e r ) and C a m i l l o S i v o r i ( v i o -l i n i s t ) . E m i l e Fo rgues ( p i a n i s t ) . F o r e i g n p i a n i s t s ( n o t a b l y Hans von B l i l ow , Z a r z y c k y , and Mme S z a r v a d y [ W i l h e l m i n e C l a u s s ] ) . L o u i s Lacombe ( p i a n i s t - c o m p o s e r ) . Hans S o e l i n g ( p i a n i s t ) . C h a r l e s Lebouc ( c e l l i s t ) . K r a f z o f f ( R u s s i a n t e n o r ) . C a s e l l a ( c e l l i s t - c o m p o s e r ) . Koempel ( y i o l o n s o l o t o t h e K i n g o f H a n o v e r ) . The young I z i d o r e L o t t o ( v i o l i n i s t ) . ] " A - 2 ( 1 4 / 0 4 ) : 5 - 6 " C h r o n i q u e m u s i c a l e . [ E d i t o r i a l on t h e ways i n wh ich t h e c o n t e m p o r a r y s i t u a t i o n i n t h e l y r i c t h e a t r e s encou rage s composers t o s t r i v e f o r q u a n -t i t y r a t h e r t han q u a l i t y o f w o r k s . - - T h e a t r e de 1 ' O p e r a - C o m i q u e : Le C h a t e a u - T r o m p e t t e , o p e r a comique i n t h r e e a c t s , l i b r e t t o by Car re ' and Cormon, m u s i c by G e v a e r t . - - C o n c e r t : Mme Y u n g - G u i b e r t ( p i a n o ) and M i l e Wer the imber ( c o n t r a l t o ) . - - Announcement: Program o f t h e f o r t h c o m i n g London c o n c e r t o f t h e t h r e e t hou sand o r p h e o n i s t e s o f F r a n c e , t o be c o n -d u c t e d by D e l a p o r t e . ] " A - 2 ( 2 8 / 0 4 ) : 5 - 6 " C h r o n i q u e m u s i c a l e . [Remarks on t h e s u c c e s s o f o p e r a s by Weber, G l u c k , M o z a r t , and Beethoven at t h e T h e a t r e - L y r i q u e ; o b j e c t i o n t o Mme V i a r d o t -G a r c i a ' s a d d i t i o n o f a p o i n t d ' o r g u e i n bo th Orphee and F i d e l i o . - -T h e a t r e - L y r i q u e : F i d e l i o , F rench t r a n s l a t i o n by C a r r e and B a r b i e r . (Rev iew i s p r e ceded by some ' d e t a i l s h i s t o r i q u e s e t c h r o n o l o g i q u e s ' on B e e t h o v e n ' s f i r s t and second v e r s i o n s as w e l l as h i s f i n a l s e t t i n g , and on p r o d u c t i o n s a t P a r i s i n German and I t a l i a n . ) — T h e a t r e de 1 ' O p e r a -Comique: Posthumous p r e m i e r e o f R i t a , ou l e Ma r i b a t t u , l i b r e t t o by G u s t a v e V a e z , m u s i c by D o n i z e t t i . - - ' B e r c e u s e ' by Mne A. F e r r a n d . ] " A - 2 ( 1 2 / 0 5 ) : 5 - 6 " C h r o n i q u e m u s i c a l e . [ E d i t o r i a l on t h e ' s t a r s y s t e m ' i n t h e l y r i c t h e -a t r e s . ] " A - 2 ( 0 9 / 0 6 ) : 4 - 5 569 1864 Le M o n i t e u r u n i v e r s e l " S o u v e n i r s d ' A l l e m a g n e . [ D e d i c a t e d ' A M. l e comte W a l e w s k i . ' S e r i a l -i z e d i n t h e f e u i l l e t o n o f t h e f o l l o w i n g i s s u e s : 1 9 , 2 0 , 2 2 , 2 7 , 29 , and 30 November; and 16, 22 , 2 5 , and 31 D e c e m b e r . ] " F t - 1 9 / 1 1 t o 31/12 1865 Le M o n i t e u r u n i v e r s e l " S o u v e n i r s d ' A l l e m a g n e . [ S e r i a l i z a t i o n c o m p l e t e d i n t he f e u i l l e t o n o f t h e f o l l o w i n g i s s u e s : 3 , 4 , 6 , 7 , 1 2 , 1 5 , 1 8 , 20 , and 22 J a n u a r y . ] " F t - 0 3/01 t o 22/01 1866 J o u r n a l des Debat s " [ ' P r o f e s s i o n de f o i . ' - - ] Ope r a -Com ique . M i gnon , o p e r a comique en t r o i s a c t e s e t c i n q t a b l e a u x , p a r o l e s de MM. M i c h e l C a r r e e t J u l e s B a r b i e r , mus ique de M. A m b r o i s e Thomas (de 1 ' I n s t i t u t ) . " F-02/12 "Revue m u s i c a l e . T h e a t r e - L y r i q u e : Le F r e i s c h u ' t z [new t r a n s l a t i o n by H e n r i T r i a n o n and Eugene G a u t i e r ] . — Ope ra -Comique : L a i 1a-Roukh e t 1e C h i e n du J a r d i n i e r ( r e p r i s e s ) . - - T h e a t r e - I t a l i e n : Sapho [ r e v i e w o f t h e r e v i v a l o f P a c i n i ' s S a f f o c o n c l u d e s w i t h a p l e a f o r Gounod ' s Sapho, ' c e r e m a r q u a b l e o u v r a g e , t r e s i n j u s t e m e n t d e l a i s s e ' ] . — F a n t a i s i e s -P a r i s i e n n e s : Le C h a n t e u r f l o r e n t i n [ l i b r e t t o by A l f r e d and Edouard B l a u , m u s i c by J u l e s D u p r a t o ] . - - A t henee m u s i c a l e t a u t r e s f a n t a i s i e s . [ E x c e r p t s f r o m L o h e n g r i n and Tannh 'auser a re b e i n g p r e s e n t e d by P a s d e l o u p a t c o n c e r t s o f bo th t h e r e c e n t l y f ounded S o c i e t e de 1 ' A t h e n e e and t he C o n c e r t s p o p u l a i r e s ; and H a i n l , c o n d u c t o r o f t h e S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e , p l a n s t o p r e s e n t an e x c e r p t f r o m L o h e n g r i n l a t e r i n t h e s e a s o n . Reyer f a n t a s i z e s t h a t ' c e s deux d o c t e u r s de l ' o r c h e s t r e r e u s -s i r o n t . . . a g u e r i r ceux qu i p r e t e n d e n t que M. Wagner e s t un f o u . ' ] " F-16/12 1867 J o u r n a l des Debat s "Revue m u s i c a l e . [ E d i t o r i a l s u g g e s t i n g t h a t t he d i r e c t o r o f t h e T h e a t r e - I t a l i e n r e s t o r e p r o s p e r i t y t o t h i s e n t e r p r i s e by b r o a d e n i n g t h e r e p e r t o i r e : i f t h e e x i s t i n g company p e r f o r m e d i n a l t e r n a t i o n w i t h a 570 German company, t h e d i r e c t o r c o u l d p r e s e n t not o n l y I t a l i a n o p e r a , bu t a l s o German o p e r a and t h e many works t h a t had been t r a n s l a t e d i n t o e i t h e r l a n g u a g e . - - The c o l d r e c e p t i o n o f Gounod ' s P r e s du f l e u v e e t r a n g e r a t a p e r f o r m a n c e o f t h e S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e p rompts Reyer t o e d i t o r i a l i z e on t h i s o r g a n i z a t i o n ' s u n w i l l i n g n e s s t o ' s o r t i r . . . du v i e u x r e p e r t o i r e . ' - - S o c i e t e de 1 ' A t h e n e e : M e n d e l s -s o h n ' s c h o r u s e s t o A t h a l i e . Theodore R i t t e r , g u e s t a r t i s t at t he second c o n c e r t . - - C o n c e r t s p i r i t u e l d i r e c t e d by S a i n t - S a e n s at t h e M a d e l e i n e . - - E x t r a c t f r om a l e t t e r d e s c r i b i n g t he e n t h u s i a s t i c r e c e p t i o n a c co rded B e r l i o z ' s La Damnat ion de Fau s t a t V i e n n a i n December. (Reyer l a t e r i d e n t i f i e d B e r l i o z as t h e w r i t e r o f t h i s l e t t e r ; see F - 1 5 / 1 2 / 1 8 7 8 . ) ] " F-03/01 "Revue m u s i c a l e . S t r u e n s e e , t r a g e d i e de M i c h a e l B e e r , mus ique de G. M e y e r b e e r . [The announcement t h a t t h i s s c o r e would be pe r f o rmed i n i t s e n t i r e t y f o r t h e f i r s t t i m e i n P a r i s a t one o f t h e c o n c e r t s o f t h e S o c i -e t e de V A t h e n e e i n s p i r e s Reyer t o ' d o n n e r , par a n t i c i p a t i o n , 1 ' a n a l y s e du drame e t c e l l e de l a p a r t i t i o n . ' ] — [The newly f o u n d e d ] S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e de S t r a s b o u r g . [ - - Rev i ew o f Les A l p e s , two works f o r p i a n o by A l e x a n d r e L o v i e , a p i a n i s t - c o m p o s e r r e s i d i n g a t A v i g n o n . ] " F t - 1 5 / 0 1 [ N o t i c e o f a p r e m i e r e at t h e T h e a t r e - L y r i q u e : D e v i n - D u v i v i e r ' s Debo rah , a " s u c c e s h o n o r a b l e . " ] U-16/01, p. 2 "Revue m u s i c a l e . T h e a t r e - L y r i q u e : Debo rah , o p e r a en t r o i s a c t e s , p a r o l e s de M. A. F a v r e [and Edouard P l o u v i e r , a f t e r S i r W a l t e r S c o t t ] , mus ique de M. D e v i n - D u v i v i e r . " F-27/01 "Revue m u s i c a l e . T h e a t r e - L y r i q u e : S a r d a n a p a l e , o p e r a en t r o i s a c t e s e t c i n q t a b l e a u x , p a r o l e s de M. Becque , mus ique de M. V i c t o r i n J o n c i e r e s . — Les d e c o r s des T r oyen s [u sed f o r S a r d a n a p a l e ] . - - T h e a t r e - I t a l i e n : d e b u t s de M i l e L a u r a H a r r i s dans l a Sonnambu la . - - S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e : l e s c h o e u r s d ' A t h a l i e . - - [ S o c i e t e de l ' ] A t h e n e e : l e D e s e r t e t l e s c h o e u r s d ' U l y s s e . - - M e l o d i e s n o u v e l l e s [by B i z e t and o t h e r s ] e t l i v r e s nouveauxT [ R e y e r names t h r e e books t o be r e v i e w e d i n 'mon p r o c h a i n f e u i l l e t o n . ' - - C o n c e r t s : Duvernoy ( p i a n i s t ) . F o r t h -coming appea rance s o f Koempel ( v i o l i n i s t ) and V i eux temps ( v i o l i n i s t ) . ] " F-16/02 "Revue m u s i c a l e . [New b o o k s : ] L a Semaine s a i n t e au V a t i c a n , e t u d e m u s i c a l e e t p i t t o r e s q u e , par M. L u d o v i c C e l l e r . - - T r a i t e a n a l y t i q u e e t c o m p l e t de l ' a r t de m o d u l e r , pa r M. Johannes Weber. — De 1 ' E n s e i g nemen t du p i a n o , c o n s e i l aux j e u n e s p r o f e s s e u r s , par M. F e l i x Le Couppey. - -T h e a t r e de l ' O p e r a - C o m i q u e : Le F i l s du b r i g a d i e r , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. L a b i c h e e t D e l a c o u r , mus i que de M. V i c t o r Mas se . - - C o n c e r t s . [ S t r u e n s e e at an A thenee c o n c e r t . Koempel as s o l o i s t a t one o f t h e C o n c e r t s p o p u l a i r e s . C o n c e r t o f L o u i s e C a n t i n 571 ( p i a n i s t ) a t t h e S a l l e P l e y e l . ] " F -28/02 "Revue m u s i c a l e . T h e a t r e i m p e r i a l de l ' O p e r a : Don C a r l o s , o p e r a en c i n q a c t e s , poeme de Mery e t de M. C a m i l l e Du L o c l e , mus ique de M. V e r d i . " F-20/03 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : La G r a n d ' - T a n t e , o p e r a comique en un a c t e , p a r o l e s de M. A d e n i s e G r a n d v a l e t L i - e . , A d e n i s and G r a n d v a l l e t ] , mus ique de M. J u l e s Ma s s ene t . - - Les p r i x de Rome. - - Les j e u n e s c o m p o s i t e u r s . [ E d i t o r i a l on t h e d i f f i c u l t i e s t h a t c o n f r o n t w i n -n e r s o f t h e P r i x de Rome and o t h e r young composers who seek t o l a u n c h t h e i r c a r e e r s a t P a r i s i a n l y r i c t h e a t r e s . - - N o t i c e s : M a s s e n e t ' s S u i t e d ' o r c h e s t r e a t one o f t h e C o n c e r t s p o p u l a i r e s . P a r i s i a n debut o f t he V i e n n e s e s op rano G a b r i e l l e K r au s s as L e o n o r a i n II T r o v a t o r e at t h e T h e a t r e - I t a l i e n . ] " F-18/04 [ N o t i c e o f a p r e m i e r e at t h e T h e a t r e - L y r i q u e : Gounod ' s Romeo e t J u l i - e t t e , t h e s u c c e s s o f wh i ch was " t r e s g r a n d . " ] U-29/04, p. 2 " T h e a t r e - L y r i q u e . Romeo e t J u l i e t t e , o p e r a en c i n q a c t e s , [ p a r o l e s ] de MM. J u l e s B a r b i e r e t M i c h e l C a r r e , mus i que de M. C h a r l e s Gounod. [ - -I n a u g u r a l c o n c e r t o f a s e r i e s o f ' r e p r e s e n t a t i o n s - c o n c e r t s ' t o be g i v e n t h r i c e w e e k l y a t t h e L y r i q u e : g ue s t a r t i s t s C a r l o t t a P a t t i ( s o p r a n o ) and H e n r i V i eux temps ( v i o l i n i s t ) . ] " F-05/05 "Revue m u s i c a l e . [ G e n e r a l remark s on ' l a s a i s o n de c o n c e r t s . ' - - C o n -c e r t o f Hube r t Leona rd ( v i o l i n i s t ) . Comments on Leonard as p e r f o r m e r , compose r , and pedagogue. - - Mme C h a r l o t t e T a r d i e u de M a l l e v l l e ( p i a n -i s t ) . - - Two e i g h t e e n - y e a r - o l d p i a n i s t s : M i l e s L o u i s e C a n t i n and L au re B e d e l . - - ' L a mus ique c l a s s i q u e ' a t t h e annua l c o n c e r t o f M i l e Mangin ( p i a n i s t ) . - - P r o d i g i e s : t h e W a l d t e u f e l s i s t e r s ; t h e P o l l i n i s i s t e r s . — R e c o l l e c t i o n s o f K a r l Augus t K r e b s ( K a p e l l m e i s t e r a t t h e Dresden c o u r t o p e r a ) p r e c e d e a b r i e f r e v i e w o f a c o n c e r t g i v e n by h i s d a u g h t e r , M a r i a ( p i a n i s t ) . - - R e f l e c t i o n s on t h e ' v i e p a i s i b l e e t h o n o r e e ' l e d by composers who w r i t e chamber mus ic i n s t e a d o f mus ic f o r t h e t h e a t r e . P i a n o t r i o s by Jakob R o s e n h a i n and B e r t h o l d Damcke. — Two c o n c e r t s c o n -s i s t i n g m a i n l y o f works by S a i n t - S a e n s . — S o i r e e s m u s i c a l e s : C a r o l i n e Bonna i s ( s i n g e r ) . J u l i e n S auzay ( v i o l i n i s t ) . - - Chamber mus i c by Hen r i Reber at a c o n c e r t g i v e n by A c h i l l e D ien ( v i o l i n i s t ) and a s s i s t i n g a r t i s t s . ~ Names o f o t h e r p e r f o r m e r s and new c o m p o s i t i o n s wh i ch m e r i t 1 1 ' a d m i r a t i o n de l a f o u l e . ' ] " F-14/05 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : r e p r i s e de 1 ' E t o i l e du N o r d . - - T h e a t r e des F a n t a i s i e s - P a r i s i e n n e s : 1 ' P i e du C a i r e ( 1 ' O c a d e l C a i r o ) , o p e r a - b o u f f e i n e d i t de M o z a r t , p a r i e s de M. V i c t o r W i l d e r . [ — 572 C o n c e r t g i v e n by W i e n i a w s k i ( v i o l i n i s t ) . - - New m e l o d i e s r e c e i v e d f rom Germany and S t r a s b o u r g . - - S a l l e de l ' A t h e n e e : s o i r e e i n memory o f t h e v i o l i n i s t H e i n r i c h E r n s t . (The p e r f o r m e r s i n c l u d e d t h e v i o l i n i s t Jo seph J o a c h i m and t h e c o n t r a l t o A m a l i e J o a c h i m . ) - - O b i t u a r y o f t h e s op rano Mme P e r s i a n i . ] " F-18/06 "Revue m u s i c a l e . [Open ing r emark s t o t h e e f f e c t t h a t many F rench com-p o s e r s who have o b t a i n e d l i t t l e o r no s u c c e s s at P a r i s i a n l y r i c t h e a t r e s a r e now w r i t i n g ' l a mus ique r e l i g i e u s e . ' - - Masses by f o u r c o n t e m p o r a r y c ompo se r s : C h a r l e s C o l i n ; Theodore de L a j a r t e ; P r i n c e P o n i a t o w s k i ; Mme l a v i c o m t e s s e de G r a n d v a l . — Les Sept p a r o l e s du C h r i s t , by Theodore D u b o i s . - - C o n c e r t s pon so red at V e r s a i l l e s by t h e S o c i e t e des amis des a r t s de S e i n e - e t - O i s e : Mass by Jo seph d ' O r t i g u e , and t h e o r a t o r i o T o b i e , words by Leon H a l e v y , m u s i c by Eugene O r t o l a n . B r i e f e d i t o r i a l u r g i n g t h a t Gounod ' s o r a t o r i o T o b i e , wh i ch had been p r e m i e r e d a t London , be pe r f o rmed at P a r i s . - - C o n c e r t o f t h e S o c i e t e de b i e n f a i s a n c e o f t he Church o f S a i n t - R o c h . M. V e r v o i t t e , c o n d u c t o r o f t h i s s o c i e t y and ' p r o p a g a t e u r i n f a t i g a b l e de l a mus ique des v i e u x m a T t r e s . ' — E d i t o r i a l a g a i n s t t h e c o n t e m p o r a r y p r a c t i c e o f c a p i t a l i z i n g on t h e s u c c e s s o f one work ( i n t h i s c a s e , Gounod ' s Romeo e t J u l i e t t e ) t o draw a t t e n t i o n t o a n o t h e r based on t h e same s u b j e c t ( Le s Amans de Verone by R i c h a r d Y r v i d , pseudonym o f t h e m a r q u i s d ' l v r y ) . ~ Volume One o f a p r o j e c t e d e d i t i o n o f a l l t h e works composed by C h e r u b i n i f o r t h e Roya l Chapel d u r i n g t h e p e r i o d 1815 t o 1830. - - N o t i c e o f t h e debut o f M i l e D e v r i e s i n L a Som- nambule a t t h e T h e a t r e - L y r i q u e . ] " F-04/08 "Revue m u s i c a l e . E x p o s i t i o n u n i v e r s e l l e . [ E d i t o r i a l on t he need f o r a good c o n c e r t h a l l s u i t a b l e f o r l a r g e f o r c e s . ] — Les Noces de P r o m e t h e e , c a n t a t e , p a r o l e s de M. Romain C o r n u t , mus ique de M. C a m i l l e S a i n t -Saens . [ T h i s c a n t a t a had won a c o m p e t i t i o n i n s t i t u t e d by t h e E x p o s i t i o n c o m m i t t e e . B e f o r e r e v i e w i n g t h e work , Reyer r e c o u n t s t h e d i f f i c u l t i e s c au sed by t h e a u t h o r i t i e s ' r e l u c t a n c e both t o have i t pe r f o rmed and t o pay out t h e ca sh p r i z e . ] - - Mus i que c h i n o i s e , mus ique m i l i t a i r e , o r p h e -o n s , mus ique s u e d o i s e e t c o n c e r t s h i s t o r i q u e s . [Reye r r e g r e t s t h a t t h e E x p o s i t i o n commi t t ee had r enounced t he i d e a o f g i v i n g a s e r i e s o f ' c o n -c e r t s h i s t o r i q u e s , ' and had i n s t e a d s p o n s o r e d ' c o n c e r t s c h i n o i s ' a t w h i c h C h i n e s e mus i c was p l a y e d by an ensemble o f o c c i d e n t a l i n s t r u -m e n t s . ] — [ N o t i c e : ] L ' o u v e r t u r e du T h e a t r e - I t a l i e n [ w i t h A d e l i n a P a t t i i n L a S o n n a m b u l a ] . " F-08/09 " E x p o s i t i o n u n i v e r s e l l e . Les i n s t r u m e n s , l e s ouv r age s de mus ique ( e d i -t i o n s ) . ( P r e m i e r a r t i c l e ) . [ A m e r i c a n p i a n o s : S t e i n w a y ; C h i c k e r i n g . P i a n o s f r o m V i e n n a , B e r l i n , S t u t t g a r t , and M a d r i d . - - V i o l i n s by F r e n c h m a k e r s : M. V u i l l a u m e ; M. G r i v e l , who c l a i m s t o have d i s c o v e r e d the s e c r e t o f t h e v a r n i s h used by A n t o n i o S t a d i v a r i . — V a l v e d b r a s s i n s t r u -m e n t s : Ado l phe Sax . E d i t o r i a l o p p o s i n g t h e use o f v a l v e d i n s t r u m e n t s f o r p e r f o r m a n c e s o f mus i c by Beethoven and W e b e r . ] " F-22/09 573 " E x p o s i t i o n u n i v e r s e l l e . Les i n s t r u m e n s , l e s ouv rage s de mus ique ( e d i -t i o n s ) . (Deuxieme a r t i c l e . ) [ S a x ' s v a l v e d f l u t e . - - S a x ' s s u g g e s t e d m o d i f i c a t i o n s t o t i m p a n i and drums. H i s s e t o f t h i r t e e n ' t i m b a l e s c h r o -m a t i q u e s . " - - S a x ' s b r a s s b a s s o o n . - - De s i gn s by Sax: a c o n c e r t h a l l s u i t a b l e f o r l a r g e f o r c e s ; a l y r i c t h e a t r e w i t h a sunken o r c h e s t r a l p i t . - - One o f S a x ' s l a t e s t i n v e n t i o n s : an a p p a r a t u s f o r c i r c u l a t i n g and p u r i f y i n g t h e a i r i n a room. - - 'Un s a xho rn m o n s t r e ' ( c o n t r a b a s s s a x h o r n ? ) . ] " F-27/09 " E x p o s i t i o n u n i v e r s e l l e . Les i n s t r u m e n s , l e s ouv r age s de mus ique ( e d i -t i o n s ) . ( T r o i s i e m e e t d e r n i e r a r t i c l e . ) [Comments on t h e i n t e r n a t i o n a l j u r y ' s d i s t r i b u t i o n o f t h e p r i z e s f o r i n s t r u m e n t m a k i n g : b r a s s i n s t r u -m e n t s ; woodwinds . - - S p a n i s h g u i t a r s . - - Harps e x h i b i t e d by t h e E r a r d company. R e f l e c t i o n s on t h e s c a r c i t y o f h a r p i s t s i n F r a n c e . - - The c o l -l e c t i o n o f A s i a n i n s t r u m e n t s p rompts Reyer t o r e g r e t t h a t t h e E x p o s i t i o n c ommi t t ee had s pon so red ' d e s c o n c e r t s p s e u d o - c h i n o i s ' i n s t e a d o f b r i n g -i n g t o P a r i s n a t i v e m u s i c i a n s . ~ ' M u s i c i e n s t z i g a n e s ' : t h e z y m b a l a p l a y e r at t h e c a f e F a n t a ; e x c e r p t s f r om L i s z t ' s book Des Bohemiens e t de l e u r mus ique en H o n g r i e ; an i n c i d e n t wh i ch t h e R u s s i a n n o v e l i s t Turgenev r e c o u n t e d t o R e y e r . — R u s s i a n p i a n o s . - - I n s t r u m e n t s o f ' d e s p e u p l e s o r i e n t a u x ' : c o l l e c t i o n s f r o m Eg yp t , T u r k e y , C h i n a , J a p a n , and G r e e c e . — New p u b l i c a t i o n s : s c o r e s , ' s o l f e g e s , ' and 'methodes d ' e n s e i g n e m e n t ' e x h i b i t e d by F r ench f i r m s ( Lemo ine , H e u g e l , Choudens, Brandus e t D u f o u r , E s c u d i e r e t G e r a r d ) . — A v i s u a l t e a c h i n g a i d i n v e n t e d by P a u r a u x , p r o -f e s s o r o f mus i c at t h e l y c e e L o u i s - l e - G r a n d . ] " F-19/10 [ N o t i c e o f a p r e m i e r e a t t h e O p e r a : " l ' a c c u e i l t r e s s y m p a t h i q u e " o f Du-p r a t o ' s La F i a n c e e de C o r i n t h e ( c u r t a i n - r a i s e r f o r a r e v i v a l o f Ado l phe Ad am's b a l l e t Le C o r s a i r e ) . ] U-23/10, p. 2 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : La F i a n c e e de C o r i n t h e , o p e r a en un a c t e , poeme de M. C a m i l l e Du L o c l e , mus ique de M. D u p r a t o . — T h e a t r e - L y r i q u e : Les B l e u e t s , [ o p e r a comique i n f o u r a c t s , ] p a r o l e s de MM. Cormon e t T r i a n o n , mus ique de M. J u l e s Cohen. [ — N o t i c e t h a t Grand Duchess H e l e n , who ' a p p r e c i e comme i l c o n v i e n t l e g e n i e d ' u n i l l u s t r e c o m p o s i t e u r , ' has i n v i t e d B e r l i o z t o S t . P e t e r s b u r g t o c o n d u c t a s e r i e s o f c o n c e r t s . ] " F-01/11 "Revue m u s i c a l e . [ Ap r opo s o f a Memoire wh i ch t h e composer X a v i e r B o i s -s e l o t had sen t t o t h e mayor o f M a r s e i l l e , and wh i ch had s u b s e q u e n t l y been p u b l i s h e d i n Le N o u v e l l i s t e : Reyer quo te s and d i s c u s s e s e x c e r p t s i n wh i ch he f i n d s ' d e s c o n s i d e r a t i o n s du p l u s haut i n t e r e t su r l a mus ique en g e n e r a l e t su r l e deve loppement q u ' i l c o n v i e n d r a i t de l u i donner dans l e s e t a b l i s s e m e n s m u n i c i p a u x en p r o v i n c e . ' He t h e n e l a b -o r a t e s on t he need f o r ' u n peu de d e c e n t r a l i s a t i o n m u s i c a l e , ' recommend-i n g t h a t w i n n e r s o f t h e P r i x de Rome, upon t h e i r r e t u r n f rom t h e V i l l a M e d i c i , be named ' m a T t r e s de c h a p e l l e ou d i r e c t e u r s de mus ique a t t a c h e s 574 aux t h e a t r e s de p r o v i n c e . ' - - T h e a t r e - I t a l i e n : r e v i e w o f t h e r e p e r t o i r e s i n c e 3 September , when t he new season began ; comments on ' l e s a r t i s t e s q u i o n t debu te c e t t e a n n e e . ' — T h e a t r e de l ' O p e r a : debut o f t he t e n o r C o l i n i n Don J u a n . - - T h e a t r e - L y r i q u e : b r i e f e d i t o r i a l on t h e demise o f J u l e s C o h e n ' s Les B l e u e t s . ] " F-16/11 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a - C o m i q u e : Rob i n s on C r u s o e , o p e r a comique en t r o i s a c t e s e t c i n q t a b l e a u x , p a r o l e s de MM. Cormon e t H e c t o r C r e m i e u x , mus ique de M. J a c q u e s O f f e n b a c h . - - T h e a t r e des F a n t a i s i e s -P a r i s i e n n e s : l e P l a n t e u r , o p e r a comique en deux a c t e s , p a r o l e s de M. de S a i n t - G e o r g e s , mus ique d ' H i p p o l y t e Monpou. ~ [ T h e a t r e de l ' ] 0 p e r a : G u i l l a u m e T e l l . " F-29/11 [ N o t i c e t h a t t h e p o p u l a r i t y o f chamber mus i c i n "nos v i l l e s de p r o v i n c e " i s b e i n g p roved by t h e s u c c e s s f u l t o u r o f an ensemble o f P a r i s i a n m u s i -c i a n s : Mme C h a r l o t t e T a r d i e u de M a l l e v i l l e ( p i a n o ) and a s t r i n g q u a r t e t (MM. M a u r i n , Mas, B o u l a r t , and Demunck) . ] U-09/12, p. 3 "Revue m u s i c a l e . T h e a t r e - L y r i q u e : C a r d i 1 1 a c , o p e r a en t r o i s a c t e s e t q u a t r e t a b l e a u x , p a r o l e s de MM. N u i t t e r e t Beaumont, mus ique de M. L u c i e n Daut re sme. [ - - Comments on rumors t h a t t h e L y r i q u e would s t a g e Tannh 'auser and had renounced P e d r o t t i ' s o p e r a b u f f a T u t t i i n m a s c h e r a . ] " F-187T2 1868 L a P r e s s e " R i c h a r d Wagner e t l a c r i t i q u e . ( S u i t e . ) [ A d d r e s s e d ' A Madame J u d i t h Mendes* and d a t e d ' M a r d i 20 o c t o b r e . ' W r i t t e n i n r e s p o n s e t o t h e f i r s t i n s t a l l m e n t o f J u d i t h G a u t i e r M e n d e s ' s a r t i c l e ' R i c h a r d Wagner e t l a c r i t i q u e ' ( L a P r e s s e , 17 O c t o b e r , 1868, p. 3 ) . ] " LA -29/10 , p. 3 J o u r n a l des Debats " T h e a t r e - L y r i q u e : l a J o l i e F i l l e de P e r t h , o p e r a en q u a t r e a c t e s e t c i n q t a b l e a u x , p a r o l e s de MM. de S a i n t - G e o r g e s e t J u l e s A d e n i s , mus ique de M. Georges B i z e t . - - T h e a t r e - I t a l i e n [ b r i e f e d i t o r i a l on t h e d i r e c -t o r ' s i n t e n t i o n t o sue L a F r a n c e m u s i c a l e ] . " F t t - 0 6 / 0 1 " V a r i e t e s . Revue m u s i c a l e . B i b l i o g r a p h i e [ r e v i e w o f new p u b l i c a -t i o n s ] . P a r e m i o l o g i e m u s i c a l e de l a l a ngue f r a n g a i s e , ou e x p l i c a t i o n des p r o v e r b e s , l o c u t i o n s p r o v e r b i a l e s , mots f i g u r e s qu i t i r e n t l e u r o r i g i n e de l a mu s i que , accompagnee de r e c h e r c h e s s u r un g rand nombre 575 a " e x p r e s s i o n s du meme genre empruntees aux l angue s e t r a n g e r e s , e t s u i v i e de l a S a i n t - J u l i e n des M e n e t r i e r s , s y m p h o n i e - c a n t a t e a g rand o r c h e s t r e avec s o l o s e t c h o e u r s , par Georges K a s t n e r , membre de 1 ' I n s t i t u t . [ - - ] L o u i s van B e e t h o v e n , s a v i e e t ses o e u v r e s , d ' a p r e s l e s p l u s r e c e n s documens, par Mme A. A u i l l e y . [ - - ] L ' a r t ha rmon ique aux douz ieme e t t r e i z i e m e s i e c l e s , p a r E. Cous semaker , c o r r e s p o n d a n t de 1 ' I n s t i t u t , membre c o r r e s p o n d a n t de 1 ' A cademie i m p e r i a l e de V i e n n e , membre t i t u l a i r e non r e s i d a n t du c o m i t e i m p e r i a l e des t r a v a u x h i s t o r i q u e s , e t c . [ - - ] E tude s s u r l a mus ique g r e c q u e , l e p l a i n c h a n t e t l a t o n a l i t e moderne , par A l i x T i r o n . " A - 1 9 / 0 1 , pp . 2 -3 " T h e a t r e - I t a l i e n : II T e m p i a r i o , o p e r a en t r o i s a c t e s , t i r e du roman d ' I v a n h o e , de W a l t e r - S c o t t , par J e r o m e - M a r i e M a r i n i , mus ique de Othon N i c o l a T L O t t o N i c o l a i ] . - - S o c i e t e des C o n c e r t s du C o n s e r v a t o i r e . - -C o n c e r t s p o p u l a i r e s . - - H e c t o r B e r l i o z en R u s s i e . " F-06/02 [ N o t i c e o f s u c c e s s e s at t h e new ly r e s t o r e d T h e a t r e des F a n t a i s i e s -P a r i s i e n n e s : p r e m i e r e o f La C r o i s a d e des dames ( V i c t o r W i l d e r ' s F r e n c h t r a n s l a t i o n o f S c h u b e r t ' s D i e V e r s c h w o r e n e n ) ; r e v i v a l o f Ado lphe Adam's o p e r e t t a Le F a r f a d e t ; p r e m i e r e o f a o n e - a c t o p e r a by E m i l e Du rand . ] 0 - 08/02 , p. 3 [ N o t i c e o f a s u c c e s s f u l p r e m i e r e at t h e Ope ra -Com ique : A u b e r ' s Le P r e - m i e r J o u r de b o n h e u r . ] U-17/02, p. 3 "Revue m u s i c a l e . T h e a t r e de 1 ' Ope ra -Com ique : l e P r e m i e r j o u r de b o n - h e u r , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. Ado lphe d ' E n n e r y LDenne ry ] e t Eugene Cormon, mus i que de M. Aube r . - - T h e a t r e des F a n t a i s i e s - P a r i s i e n n e s : l a C r o i s a d e des Dames, o p e r a comique en un a c t e , p a r o l e s de M. W i l d e r , mus ique de F r a n g o i s S c h u b e r t ; 1 ' E l i x i r de C o r n e l i u s , o p e r a comique en un a c t e , p a r o l e s de MM. Hen r i M e i l h a c e t A r t h u r D e l a v i g n e , mus ique de M. E m i l e Du rand . - - C o n c e r t de M. Lamoureux [an o r c h e s t r a l c o n c e r t o r g a n i z e d and c o n d u c t e d by t h e f u t u r e f o u n d e r o f t h e C o n c e r t s L a m o u r e u x ] . - - P r e m i e r e r e p r e s e n t a t i o n de Romeo e t J u l i e t t e a V i e n n e . [Reye r summar izes what he has r e ad c o n c e r n i n g t h e g r e a t s u c -c e s s o f Gounod ' s o p e r a . ] " F -25/02 [ N o t i c e c o n c e r n i n g t h e i n a u g u r a t i o n o f t h e " g r and o r g u e " a t N o t r e Dame c a t h e d r a l : Reyer p r o t e s t s t h a t he and many o t h e r s i n v i t e d t o t h e c e r e -mony were t u r n e d away, becau se "aucune p r e c a u t i o n n ' a v a i t e t e p r i s e pour que l e s i n v i t e s pu s s en t a r r i v e r aux p l a c e s qu i l e u r e t a i e n t d e s i g n e e s . " ] U-12/03, p. 2 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : H a m l e t , o p e r a en c i n q a c t e s , p a r o l e s de MM. M i c h e l C a r r e e t J u l e s B a r b i e r , mus ique de M. Ambro i se Thomas. " F-14/03 576 [ N o t i c e : C a r v a l h o i s t r y i n g t o improve t h e f i n a n c i a l s i t u a t i o n o f t h e T h e a t r e - L y r i q u e by h a v i n g t h e company p e r f o r m not o n l y at i t s home i n t h e P l a c e du C h a t e l e t , bu t a l s o at t h e e l e g a n t S a l l e Ven t adou r ( w h i c h he has s u b l e t f r om t h e f o u n d e r i n g T h e a t r e - I t a l i e n ) . H i s v e n t u r e at t h e Ven t adou r i s known as " l e T h e a t r e de l a R e n a i s s a n c e , " and has been i n a u -g u r a t e d by a s u c c e s s f u l p r o d u c t i o n o f Gounod ' s F a u s t . ] U-18/03, p. 3 "Revue m u s i c a l e . B i b l i o g r a p h i e . (Deuxieme a r t i c l e . ) La mus ique aux P a y s - B a s avant l e d i x - n e u v i e m e s i e c l e , documens i n e d i t s e t annotes par Edmond Van de r S t r a e t e n . Tome l e r . [ - - ] E t u d e s p r a t i q u e s de s t y l e v o c a l ( l e g o n s e c r i t e s ) , pa r M. S tephen de La M a d e l a i n e . " F-02/04 "Revue m u s i c a l e . T h e a t r e de V O p e r a - C o m i q u e : La P a r t du d i a b l e [ by A u b e r ; r e v i v a l ] . - - Rose e t C o l a s [by Mon s i gny ; r e v i v a l ] . — Mademoi - s e l l e S y l v i a [ o p e r a comique i n one a c t , m u s i c by Samuel D a v i d ; r e v i e w o f t h i s c u r t a i n - r a i s e r i n c l u d e s e d i t o r i a l i z i n g on t h e s i t u a t i o n o f Dav i d and o t h e r w i n n e r s o f t h e P r i x de Rome]. - - T h e a t r e - I t a l i e n : G i o yanna d ' A r c o [ l i b r e t t o by S o l e r a , mus i c by V e r d i ] . - - T h e a t r e de l ' A t h e n e e : F l e u r - d e - T h e [ o p e r e t t a ; l i b r e t t o by C h i v o t and Du ru , m u s i c by C h a r l e s L e c o c q ] . — T h e a t r e de l a R e n a i s s a n c e : Romeo e t J u l i e t t e . [ R e y e r ' s r e v i e w of t h i s r e v i v a l o f Gounod ' s work l e a d s t o a b r i e f e d i t o r i a l on C a r v a l h o ' s ' d o u b l e e n t r e p r i s e . ' ] - - T h e a t r e de l ' O p e r a : L a F i a n c e e de C o r i n t h e [by D u p r a t o ; r e v i v a l ] . - - [ R e v i v a l s at t h e ] T h e a t r e des F a n t a i s i e s - P a r i s i e n n e s : Le M u l e t i e r [by H e r o l d ] , Roger Bontemps [ ' u n a n c i e n v a u d e v i l l e ' by Be rna rd Lopez and C l a i r v i l l e , m u s i c by D e b i l l e -m o n t ] . - - M. B a r s o t t i [ o b i t u a r y o f t h e f o r m e r d i r e c t o r o f t h e M a r s e i l l e C o n s e r v a t o i r e ] . - - M. de G a s p e r i n i [ o b i t u a r y o f a mus ic c r i t i c who, l i k e R e y e r , was one o f Wagner ' s e a r l i e s t champions i n F r a n c e ] . " F-22/04 "Revue m u s i c a l e . T h e a t r e - I t a l i e n : La C o n t e s s i n a , o p e r a s e m i - s e r i a en t r o i s a c t e s , p a r o l e s i t a l i e n n e s de M. de L a u z i e r e s ( d ' a p r e s un l i v r e t de MM. de S a i n t - G e o r g e s e t J u l e s A d e n i s ) , mus ique de [ P r i n c e ] Jo seph P o n i a t o w s k i . — F e r m e t u r e du T h e a t r e - L y r i q u e e t du T h e a t r e de l a R e n a i s -s a n c e . - - T h e a t r e de 1 ' O p e r a - C o m i q u e : La P e n i t e n t e , un a c t e , de MM. H e n r i M e i l h a c e t W. B u s n a c h , mus ique de Mme de G r a n d v a l . [ - - Church o f S a i n t e - G e n e v i e v e : P a r t I o f ] L a P a s s i o n , de J e a n - S e b a s t i e n Bach . [ Reye r a p o l o g i e s t h a t l a c k o f space p r e c l u d e s a r e v i e w o f ' un s u j e t a u s s i e l e v e . ' ] " F-17/05 "Revue m u s i c a l e . T h e a t r e des F a n t a i s i e s - P a r i s i e n n e s : l e B a r b i e r de S e v i l l e , de P a i s i e l l o . - - [The S o c i e t e des O r a t o r i o s , f ounded by P a s d e -l o u p . I n a u g u r a l c o n c e r t a t S a i n t e - G e n e v i e v e : P a r t I o f ] L a P a s s i o n , de Bach [ F r e n c h t r a n s l a t i o n by M a u r i c e B o u r g e s ] . [ - - ] Mus ique r e l i g i e u s e . [ C h a u v e t ' s Q u i n z e E tude s p r e p a r a t o i r e s aux o e u v r e s de Bach and o t h e r w o r k s . At t h e Chu rch o f S a i n t - E u s t a c h e : B o u r g a u l t - D u c o u d r a y ' s S t a b a t m a t e r ; Mass by F r a n g o i s Schwab. At t h e Church o f S a i n t - R o c h : s eance s o f t h e S o c i e t e academique de mus ique s a c r e e , d i r e c t e d by V e r v i o t t e and 577 c o n s e c r a t e d t o s a c r e d mus i c by m a s t e r s r a n g i n g f r o m P a l e s t r i n a t o B e e t h o v e n ; a p e r f o r m a n c e o f P a l e s t r i n a ' s S t a b a t m a t e r , d i r e c t e d by a M. B l a i s e . ] " F-31/05 "Revue m u s i c a l e . C o n c e r t s . ( P r e m i e r a r t i c l e . ) [Mme M o n b e l l i ( s o p r a n o ) and C h a r l e s de B e r i o t ( p i a n o ) . - - M i l e L a u r e Bede l ( p i a n o ) . - - J a cque s Baur ( p i a n o ) . - - S ona ta f o r p i a n o and v i o l i n , Op. 40 , by t h e p i a n i s t -composer J e a n - H e n r i B o n e w i t z . - - F e d e r i g o C o n s o l o ( v i o l i n ) . - - E. D e l a -bo rde ( p e d a l p i a n o ) and M i l e Wer the imber ( c o n t r a l t o ) . — ' L e c e l e b r e A r n o l d i * ( v o c a l coach t o such s i n g e r s as M i l e Wer the imber and J e a n -B a p t i s t e F a u r e , t h e O p e r a ' s famous b a r i t o n e ) . - - C o n c e r t o f chamber m u s i c : A c h i l l e D ien ( v i o l i n ) and a s s i s t i n g a r t i s t s . — B e n e f i t c o n c e r t f e a t u r i n g mus i c by E l w a r t , P r i l l e u x and C r o s t i . - - M i l e Leona F e r r a r y ( p i a n o ) . - - ' L e s en f an s F remeaux ' ( c e l l o , v i o l i n , and p i a n o ) , a s s i s t e d by Anton R u b i n s t e i n . - - G a r c i n ( p i a n i s t - c o m p o s e r ) . - - F r i e d r i c h G e r n s -heim as composer and p i a n i s t . ] " F -02/08 "Revue m u s i c a l e . C o n c e r t s . (Deuxieme a r t i c l e . ) [The C e r c l e des Beaux -A r t s : i t s f o u n d e r and o r g a n i z e r , t h e v i o l i n i s t Georges J a c o b i ; a r e c e n t s o i r e e m u s i c a l e . - - C o n c e r t o f W i l h e l m K r i i g e r ( p i a n i s t - c o m p o s e r ) : c o n -c e r t o and e t u d e s by K r i i g e r , m e l o d i e s by Ben jamin G o d a r d . - - M i l e s R i t a and N i n a P e l 1 i n i ( s i n g e r s ) and H e n r i K o w a l s k i ( p i a n i s t ) . - - O r c h e s t r a l c o n c e r t at t h e C a s i n o C a d e t , c o n d u c t e d by J e a n - B a p t i s t e A r b a n , w i t h g ue s t a r t i s t A l e x a n d r e L u i g i n i ( v i o l i n i s t ) . — L o u i s e P a l l o c ( p i a n i s t ) . - - Gennaro P e r r e l l i ( p i a n i s t - c o m p o s e r ) . - - M i l e Dona de P o t i e r ( p i a n -i s t ) . - - Chamber mus i c by t h e p i a n i s t - c o m p o s e r J akob R o s e n h a i n . - - E d i -t o r i a l on t h e c o n s e r v a t i s m o f t he commi t t ee wh i ch chooses t he r e p e r t o i r e o f t h e S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e . - - A young b a r i t o n e w i t h ' un b r i l l ant a v e n i r ' : V i c t o r M a u r e l , one o f t h e gue s t a r t i s t s at a p i a n o r e c i t a l . - - The p i a n i s t Mme H. Rouxe l (nee A n g e l e T a i l h a r d a t ) . — Anton R u b i n s t e i n as p i a n i s t and compose r . — C o n c e r t o f E r n e s t S t o e g e r ( p i a n i s t - c o m p o s e r ) . - - Mme Begu i n - Sa l omon ( p i a n i s t ) . — S o i r e e o f cham-be r mus i c at t he home o f t h e v i o l i n i s t Eugene S auzay . - - C o n c e r t o f J u l i e n Sauzay ( v i o l i n i s t ; son o f Eugene ) . - - Eugene-Leon V i v i e r as ho rn v i r t u o s o and c o m p o s e r . ] " F-08/08 "Revue m u s i c a l e . A p r opo s du F l o r e n t i n , ouv rage mis au c o n c o u r s par l a D i r e c t i o n de 1 ' O p e r a - C o m i q u e , e t mi s en mus ique par c i n q u a n t e - t r o i s c o n -c u r r e n s . [ E d i t o r i a l i n w h i c h Reyer e x p l a i n s h i s r e s e r v a t i o n s about ' l e s c o n c o u r s en g e n e r a l e t . . . l e c o n c o u r s de 1 'Ope ra -Com ique en p a r t i c u -l i e r . ' ] — Le T h e a t r e - L y r i q u e . [Comments on t he c h o o s i n g o f J u l e s P a s d e l o u p t o s u c ceed t h e b a n k r u p t C a r v a l h o as d i r e c t o r o f t h i s t h e a t r e . ] - - M. C a r v a l h o . [A r e t r o s p e c t i v e e x a m i n a t i o n o f h i s d i r e c t o r s h i p . ] - -M. P a s d e l o u p . [ R e f l e c t i o n s on h i s c h a m p i o n i n g o f Wagne r ' s mus i c at t he C o n c e r t s p o p u l a i r e s and h i s i n t e n t i o n t o p r e m i e r e R i e n z i at t h e L y r i q u e . ] " F-01/09 578 "Revue m u s i c a l e . A p ropo s de L o h e n g r i n e t de R i c h a r d Wagner. ( P r e m i e r a r t i c l e . ) [Rumors o f an impend ing p r e m i e r e o f L o h e n g r i n i n P a r i s prompt Reyer t o urge t h e d i r e c t o r s o f t he l y r i c t h e a t r e s not t o be daun ted by r e p o r t s f r o m Baden -Baden , where t h i s o p e r a had been c o o l l y r e c e i v e d by ' une b r i l l an te compagnie de spor tmen e t de t o u r i s t e s f r a n g a i s . ' - - R e -marks on t h e s u c c e s s o f L o h e n g r i n i n Germany a f t e r L i s z t had p r e m i e r e d t h e work at Weimar i n 1850. - - Compar i s on o f Wagner ' s t h e o r i e s o f o p e r -a t i c r e f o r m and t h o s e o f G l u c k . ] " F t - 3 0 / 0 9 "Revue m u s i c a l e . A p ropos de L o h e n g r i n e t de R i c h a r d Wagner. (Deuxieme a r t i c l e . ) [ ' A n a l o g i e s t r e s v i s i b l e s ' between t h e l i b r e t t o o f L o h e n g r i n and t h a t o f Webe r ' s E u r y a n t h e . - - The s o u r c e s upon wh i ch Wagner based h i s l i b r e t t o . - - R e t e l l i n g o f t h e s t o r y o f L o h e n g r i n ' d an s ses m o i n d r e s d e t a i l s . . . a f i n d ' e n donner une i d e e a ceux qu i ne l e c o n n a i s s e n t guere e t q u i en m e d i s e n t b e a u c o u p . ' ] " F t - 0 7 / 1 0 "Revue m u s i c a l e . R e f l e x i o n s p r e l i m i n a i r e s . [The e v e r - g r o w i n g p o p u l a r -i t y o f t h e o p e r e t t a t h e a t r e s . The r e c e p t i o n o f f r a g m e n t s f r o m D i e M e i s t e r s i n g e r a t t h e C o n c e r t s p o p u l a i r e s . The d e a r t h o f c o n t e m p o r a r y F r ench symphon ic m u s i c . E d i t o r i a l o b j e c t i n g t h a t t h e l y r i c t h e a t r e s a re a c c o r d i n g more i m p o r t a n c e ' a des c h a n t e u r s ou a des c a n t a t r i c e s dont l e p u b l i c s ' e n g o u ' t han t o t h e m u s i c a l v a l u e o f a w o r k . ] — T h e a t r e -I t a l i e n . [Comments on t h e p u b l i c ' s c o n t i n u i n g i n t e r e s t i n v i r t u o s i t y and i n w e l l - k n o w n numbers , and i t s i n d i f f e r e n c e bo th t o ' l e r e s t e de l a p a r t i t i o n ' and t o ' o e u v r e s n o u v e l l e s . ' Q u e s t i o n s r a i s e d by t h e d i r e c -t o r ' s p r om i s e t o p r e s e n t two new o p e r a s . B r i e f r emark s on t h e p r i n c i p a l s i n g e r s at t h i s t h e a t r e . ] — T h e a t r e des B o u f f e s - P a r i s i e n s . - - T h e a t r e de l ' A t h e n e e . [ ' Q u e l q u e s m o t s ' about t h e o p e r e t t a s wh i ch i n a u g u r a t e d t h e new s e a s o n : a t t h e B o u f f e s - P a r i s i e n s , O f f e n b a c h ' s L ' l l e de T u l i p a - t a n , Le F i f r e e n c h a n t e , and L a P e r i c h o l e , as w e l l as N i b e l l e ' s L ' A r c h e - M a r i o n ; and , at t h e A t h e n e e , L a u r e n t de R i l i e ' s Le P e t i t - P o u c e t . ] — T h e a t r e des F a n t a i s i e s - P a r i s i e n n e s . [Announcement o f a new o p e r e t t a , Le S o l d a t m a l g r e 1 u i , l i b r e t t o by C h i v o t and Du ru , mu s i c by F r e d e r i c B a r -b i e r . J - - M e l o d i e s de M. Henry A l t e s . - - M e l o d i e s de M. V i c t o r Ma s s e . " F-23/10 " V a r i e t e s . B i b l i o g r a p h i e m u s i c a l e [ r e v i e w o f new p u b l i c a t i o n s ] . Les M u s i c i e n s c e l e b r e s , d e p u i s l e s e i z i e m e s i e c l e j u s q u ' a nos j o u r s , par M. F e l i x C l e m e n t . - - L ' A c o u s t i q u e e t l e s phenomenes du s o n , par M. R. Radau. ~ Les O r i g i n e s de l ' o p e r a e t de l e b a l l e t de l a r e i n e ( 1 5 8 1 ) , pa r M. L u d o v i c C e l l e r . - - D i c t i o n n a i r e de l a mus ique a p p l i q u e e a 1 ' amour , pa r M. A l b e r t de L a s a l l e . — Mes s o u v e n i r s ( l e s V i r t u o s e s ) , par M. Leon E s c u d i e r . - - Mi s e r e s d ' u n p r i x de Rome, par M. A l b e r i c S e c o n d . — Le T r e s o r des p i a n i s t e s , p a r A r i s t i d e F a r r e n c e t Mme L o u i s e F a r r e n c . - - B e l l i n i , s a v i e e t ses o e u v r e s , par M. A r t h u r P o u g i n . " A - 0 4 / 1 1 , p p . 2-3 "Revue m u s i c a l e . T h e a t r e - L y r i q u e : D i s c o u r s d ' o u v e r t u r e . [ Reye r r e -c a l l s d i v e r s e rumors t h a t had c i r c u l a t e d b e f o r e t h e r e o p e n i n g , t hen 579 d e f e n d s P a s d e l o u p ' s c h o i c e o f two w e l l - k n o w n works ( H a l e v y ' s Le Va l d ' A n d o r r e and R o s s i n i ' s Le B a r b i e r de S e v i l l e ) as t h e f i r s t o f f e r e m g s o f t h e new e n t e r p r i s e . R e y e r ' s d e f e n c e c o n c l u d e s w i t h an i m a g i n a t i v e d e v i c e : a l o n g ' d i s c o u r s ' w h i c h , he d e c l a r e s , P a s d e l o u p m igh t have wanted t o add re s s t o t h e a u d i e n c e on o p e n i n g n i g h t . - - Remarks on t he r e l i a n c e on r e v i v a l s at t h e Ope ra , t h e Ope ra -Comique , and t h e B o u f f e s -P a r i s i e n s . ] - - F a n t a i s i e s - P a r i s i e n n e s : La F e t e du v i l l a g e v o i s i n [ by B o i e l d i e u ; r e v i v a l ] . ~ Le N e o p h y t e , mus ique d ' u n t a b l e a u de M. Gu s t ave Dore [an o r c h e s t r a l c o m p o s i t i o n by A . - E . V a u c o r b e i l , i n s p i r e d by one o f D o r e ' s p a i n t i n g s ] . — M e d i t a t i o n pour p i a n o , pa r A . - E . V a u c o r b e i l [ t h e c o m p o s e r ' s p i a n o r e d u c t i o n o f Le Neophy te , s upp lemented by ' un programme e x p l i c a t i f ' ] . — Poeme d ' a v r i l [ c y c l e o f seven s o n g s ] , par J . M a s s e n e t . - - [ N o t i c e o f t h e p u b l i c a t i o n o f o t h e r s c o r e s : ] M e l o d i e s [ and p i a no p i e c e s as w e l l as e t u d e s ] de MM. B i z e t , D u v i v i e r e t C a m i l l e S a i n t -Saen s . - - O p e r a : R e p r i s e des H u g u e n o t s . " F-14/11 "Revue m u s i c a l e . [ O b i t u a r y o f ] R o s s i n i . - - T h e a t r e de l ' O p e r a : Les Hugueno t s ; Mme C a r v a l h o [ h e r Ope ra debut as M a r g u e r i t e i n Gounod ' s F a u s t ] . [ F o r t h c o m i n g appea rance o f t h e O p e r a ' s C h r i s t i n e N i l s s o n i n t he same r o l e . Mme P a u l i n e L u c c a , t h e M a r g u e r i t e o f t h e Roya l Opera o f B e r -l i n . B r i e f c o m p a r i s o n o f t h e r e p e r t o i r e o f t h e B e r l i n Opera and t h a t o f t h e P a r i s O p e r a . ] ~ T h e a t r e - L y r i q u e : I p h i g e n i e en T a u r i d e ; Mme L a c a z e [ i n t h e t i t l e r o l e ] . " F t - 2 9 / 1 1 "Revue m u s i c a l e . T h e a t r e i m p e r i a l de 1 ' O p e r a - C o m i q u e : [Remarks on t he d i s p u t e between t h e a d m i n i s t r a t i o n o f t h i s t h e a t r e and t h e S o c i e t e des a u t e u r s e t c o m p o s i t e u r s d r a m a t i q u e s . ] Le C o r r i c o l o , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. L a b i c h e e t D e l a c o u r , mus ique de M. F e r d i n a n d P o i s e . [ R e v i e w i s p r e ceded by an e d i t o r i a l on t h e c u r r e n t r e p e r t o i r e o f t h i s t h e a t r e . ] - - Encore un mot , q u i , j e l ' e s p e r e , ne s e r a pas l e d e r -n i e r , s u r I p h i g e n i e en T a u r i d e [ a t t h e T h e a t r e - L y r i q u e ] . - - C o n c e r t s p o p u l a i r e s ; c o n c e r t s Uhlmann [ ( ? ) a p e r f o r m a n c e a t V e r s a i l l e s , f e a t u r i n g C a r l o t t a P a t t i ( s o p r a n o ) , Theodore R i t t e r ( p i a n o ) , V i eux temps ( v i o l i n ) , B o t t e s i n i ( d o u i b l e - b a s s v i r t u o s o ) , and Oacqua r t ( c e l l o ) , ] e t r e u n i o n s , i n t i m e s [ a s e x t e t by Mme F a r r e n c f o r p i a n o and wind i n s t r u m e n t s , p l a y e d a t t h e home o f Mme P i e r s o n - B o d i n ] . — T h e a t r e de l ' O p e r a : Depa r t de M i l e M a r i e B a t t u . — M. T i l m a n t , M. D e l o f f r e . [ N o t i c e t h a t T i l m a n t has r e t i r e d as c o n d u c t o r o f t h e Opera -Comique o r c h e s t r a , and has been s u c -ceeded by D e l o f f r e , f o r m e r l y c o n d u c t o r at t h e T h e a t r e - L y r i q u e and at C a r v a l h o ' s d e f u n c t T h e a t r e de l a R e n a i s s a n c e . ] " F-06/12 "Revue m u s i c a l e . [ E d i t o r i a l on t h e c u r r e n t s i t u a t i o n i n t he l y r i c t h e -a t r e s : t h e i n t e n t i o n o f t h e F a n t a i s i e s - P a r i s i e n n e s t o w in r i g h t s t o works t h a t have l o n g been n e g l e c t e d by t h e Ope r a -Com ique ; t h e C o m i q u e ' s announcement o f f o r t h o c m i n g r e v i v a l s o f such w o r k s ; s i n g e r s and works a p p r o p r i a t e d f r om t h e T h e a t r e - L y r i q u e by t h e Comique and t he O p e r a ; t h e L y r i q u e ' s need t o r e b u i l d i t s r e p e r t o i r e w i t h works wh i ch t h e Opera has n e g l e c t e d o r r e j e c t e d . ] T h e a t r e - L y r i q u e : Le B r a s s e u r de P r e s t o n , o p e r a 580 comique en t r o i s a c t e s , p a r o l e s de MM. de Leuven e t B r u n s w i c k , mus ique d ' A d o l p h e Adam [ o r i g i n a l l y pe r f o rmed at t h e O p e r a - C o m i q u e ] . [Remarks on t h e l a s t p e r f o r m a n c e s o f I p h i g e n i e en T a u r i d e . ] — T h e a t r e des F a n t a i s i e s - P a r i s i e n n e s : G i l l e r a v i s s e u r , o p e r a comique en un a c t e , p a r o l e s de M. T. Sauvage, mus ique de M. A l b e r t G r i s a r [ o r i g i n a l l y p e r -formed at t h e O p e r a - C o m i q u e ] . - - T h e a t r e des B o u f f e s - P a r i s i e n s : P e t i t Bonhomme v i t e n c o r e , o p e r a comique en deux a c t e s , p a r o l e s de M. E m i l e de N a j a c , mus ique de M. D e f f e s . - - T h e a t r e de 1 ' A t h e n e e : Le s Honneurs de l a g u e r r e , o p e r a comique en deux a c t e s , p a r o l e s de M. P h i l i p p e G i l l e , mus ique de M. J u l e s C o s t e . — [Th ree s u c c e s s e s at t h e ] C o n c e r t s popu -l a t e s : C o n c e r t o en s o l m ineu r de M. C a m i l l e S a i n t - S a e n s . - - Symphonie en r e de R o b e r t Schumann. ~ Adag i o de Romeo e t J u l i e t t e , de M. H e c t o r B e r l i o z . [ - - ] T h e a t r e - I t a l i e n : ^ R e v i v a l ° f R o s s i n i ' s ] O t e l l o . M i l e K r a u s s , M. T a m b e r l i c k [ i n t h e p r i n c i p a l r o l e s ] . — T h e a t r e de 1 ' O p e r a -Comique: [ B e n e f i t c o n c e r t f o r ] Mme U g a l d e , [ a t w h i c h ] M i l e Wer the imber [ r e c e i v e d an o v a t i o n f o r he r p e r f o r m a n c e i n A c t IV o f V a c c a j ' s Romeo e t J u l i e t t e ] . " F-28/12 1869 J o u r n a l des Debat s "Revue m u s i c a l e . T h e a t r e - I t a l i e n : P i c c o l i n o , o p e r a en t r o i s a c t e s , mus ique de Mme de G r a n d v a l , poeme de M. de L a u z i e r e s , d ' a p r e s l a comed ie de M. V i c t o r i e n S a r d o u . - - T h e a t r e - L y r i q u e . [ R e y e r u rges P a s d e l o u p t o s t o p r e l y i n g on r e v i v a l s . ] - - C o n c e r t s p o p u l a i r e s du C i r q u e . [ S u c c e s s o f ' l a marche r e l i g i e u s e ' f r o m L o h e n g r i n . A p i a n o c o n c e r t o by Henry L i t o l f f . ] ~ S u i t e e t Fugues pour l e p i a n o , par M. A l e x i s de C a s t i l l o n . — S ona te s pour p i a n o e t v i o l o n , par J o a c h i m R a f f . " F-15/01 "Revue m u s i c a l e . [ E d i t o r i a l on t h e C o n s e r v a t o i r e ' s annua l c o m p e t i t i o n f o r t h e P r i x de Rome, and on t h e s i t u a t i o n o f young F r e n c h composers i n g e n e r a l . ] D a n i e l , c a n t a t e c o u r o n n e e [ w i n n e r o f t h e P r i x de Rome], p a r o l e s de M. C i c i l e , mus ique de M. W i n t z w e i l e r . La meme, mus ique de M. A l f r e d R a b u t e a u . - - Enco re M i l e Wer the imber dans l e q u a t r i e m e a c t e de Romeo e t J u l i e t t e , de V a c c a j . [ T h i s s c e n e , wh i ch had r e c e i v e d an o v a -t i o n at t h e b e n e f i t c o n c e r t f o r Mme Uga lde i n December, was s t a ged a f t e r b o t h p e r f o r m a n c e s o f W i n t z w e i l e r ' s c a n t a t a . ] — Don Juan au T h e a t r e -L y r i q u e ; M i l e H i s s o n dans l e r o l e de V a l e n t i n e des Huguenots [ a t t h e O p e r a ] . " F-28/01 "Revue m u s i c a l e . T h e a t r e des F a n t a i s i e s - P a r i s i e n n e s : Une F o l i e a Rome, o p e r a - b o u f f e , en t r o i s a c t e s , p a r o l e s de M. V i c t o r W i l d e r , mus ique de M. F r e d e r i c R i c c i . - - T h e a t r e - L y r i q u e : Debut de M i l e A g l a j a O r g e n i [ a s V i o l e t t a i n D u p r e z ' s t r a n s l a t i o n o f La T r a v i a t a ] . [The bass F. L u t z , one o f t h e p r i n c i p a l s i n P a s d e l o u p ' s company. ] - - Messe de M. Leon K r e u t z e r [ a t t h e Chu rch o f t h e T r i n i t e ] . - - S t a b a t mate r de M. J u l e s 581 Regnaud. - - Cen t un c h o r a l s de J e a n - S e b a s t i e n B a c h , r e d u i t s pour o r g u e , harmonium ou p i a n o , ad l i b i t u m , pa r M. Augu s te Du rand . - - C o n c e r t s . [ S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e : t h e 'ma r che r e l i g i e u s e ' f r o m L o h e n g r i n . ] - - Annonce s . [ F o r t h c o m i n g c o n c e r t s : M i l e C e l e s t i n e M a u r i c e ( p i a n o ) . M. E l y D e l a b o r d e ( ? ) . ] " F-12/02 "Revue m u s i c a l e . [Remarks i n p r a i s e o f ' d e s m u s i c i e n s d ' o r c h e s t r e en g e n e r a l . ' — ] Le 5 e c o n c e r t o symphonique d ' H e n r y L i t o l f f . [ T h i s p i a no c o n c e r t o was g i v e n an impromptu r e a d i n g at t h e S a l l e V a l e n t i n o by t h e o r c h e s t r a o f L i t o l f f s f r i e n d J e a n - B a p t i s t e A r b a n , w i t h L i t o l f f p l a y i n g t h e p i a n o p a r t . One o f t h e few pe r s on s p r e s e n t at t h i s r e a d i n g was R e y e r , who p r e f a c e s h i s comments on t h e c o n c e r t o w i t h a d e s c r i p t i o n o f L i t o l f f s c a r e e r as composer s i n c e h i s a r r i v a l a t P a r i s i n 1 858 . ] ~ Le r o i des A u l n e s , o p e r a comique en un a c t e , p a r o l e s de MM. C. G u e r o u i t e t G. W a l l i n g e r , mus ique de M. Edmond Weber. [ A f t e r r e a d i n g about t he s u c -c e s s f u l p r e m i e r e o f t h i s young c o m p o s e r ' s work at S t r a s b o u r g , Reyer u rges t h a t i t be pe r f o rmed a t P a r i s . ] - - A p ropos de l a r e p r e s e n t a t i o n de F a u s t , a l ' O p e r a . [Comments on t h e p r e p a r a t i o n o f a new p r o d u c t i o n , w i t h C h r i s t i n e N i l s s o n as M a r g u e r i t e . ] " F-28/02 [ O b i t u a r y n o t i c e : B e r l i o z . ] U-10/03, p. 2 [ L e t t e r t o t h e e d i t o r : Reyer o b s e r v e s t h a t t he newspaper has announced h i s c a n d i d a c y f o r e l e c t i o n t o t he l a t e B e r l i o z ' s c h a i r i n the I n s t i t u t de F r a n c e . He t h e n d e c l a r e s t h a t he has w i t hd r awn h i s name, out o f r e s p e c t bo th f o r t h e memory o f B e r l i o z and f o r a f e l l o w - n o m i n e e , F e l i c i e n D a v i d . (The e d i t o r o f t h e Debats no te s t h a t Reyer sent t h e same l e t t e r t o t h e e d i t o r s o f two o t h e r newspape r s : La F r a n c e and Le F i g a r o . ) ] U-15/03, p. 2 "Revue m u s i c a l e . [ T h e a t r e de l ' ] 0 p e r a : F a u s t . [ F i r s t p r o d u c t i o n w i t h a b a l l e t (mus i c by Gounod) . The r o l e o f M a r g u e r i t e was sung by C h r i s -t i n e N i l s s o n . Rev iew i s p r e ceded by a b r i e f h i s t o r y o f t h e r e c e p t i o n o f Gounod ' s o p e r a i n F r a n c e and i n Germany. ] - - T h e a t r e - L y r i q u e : En P r i s o n , o p e r a comique en un a c t e , p a r o l e s de MM. Cha i gneau e t B o v e r a t , mus ique de M. E r n e s t G u i r a u d . - - C o n c e r t de M i l e C e l e s t i n e M a u r i c e [ ( p i a n i s t ) , w i t h a s s i s t i n g a r t i s t s ] . - - H i s t o i r e g e n e r a l e de l a m u s i q u e , pa r M. F e t i s [ n o t i c e o f t h e p u b l i c a t i o n o f t h e f i r s t v o l u m e ] . — O p e r a -Comique: V e r t - V e r t [ l i b r e t t o by C h a r l e s N u i t t e r and H e n r i M e i l h a c (based on a v a u d e v i l l e by de L e u v e n ) , mus i c by O f f e n b a c h ] . - - Fragmens de Romeo e t J u l i e t t e , d ' H e c t o r B e r l i o z , e x e c u t e s [ b y P a s d e l o u p and h i s o r c h e s t r a ] au d e r n i e r c o n c e r t du C i r q u e - N a p o l e o n . " F-16/03 " [ O b i t u a r y o f ] H e c t o r B e r l i o z . " A t - 3 1 / 0 3 , p. 3 582 [ N o t i c e o f a p r e m i e r e at t h e T h e a t r e - L y r i q u e : Wagne r ' s R i e n z i , an " o e u v r e de j e u n e s s e " w h i c h " p o u r r a i t c o u r o n n e r d ignement l a c a r r i e r e de p l u s d ' u n c o m p o s i t e u r . " ] * U [ J D F -18/04/1869 ] -07/04 , p. 3 "Revue m u s i c a l e . T h e a t r e - L y r i q u e : R i e n z i , o p e r a en c i n q a c t e s de R i c h a r d Wagner, t r a d u c t i o n f r a n g a i s e de MM. N u i t t e r e t G u i l l i a u m e . - -[ N o t i c e o f a f o r t h c o m i n g ] C o n c e r t de M. V i v i e r [ h o r n v i r t u o s o ] . - - Mme M a r i e Sa s s a B r u x e l l e s . [ R e y e r n o t e s t h a t t he c e l e b r a t e d s o p r a n o , whose c o n t r a c t w i t h t h e P a r i s Opera would soon e x p i r e , was a l r e a d y e n j o y i n g o v a t i o n s at t h e T h e a t r e de l a M o n n a i e . ] " F t - r -18/04 "Revue m u s i c a l e . Les C o n c e r t s . ( P r e m i e r a r t i c l e . ) [ E d i t o r i a l on t h e need t o b u i l d a c o n c e r t h a l l s u i t a b l e f o r l a r g e f o r c e s . - - D e l a b o r d e as p e r f o r m e r ( p i a n o and peda l p i a n o ) and compose r . — V i o l i n s o n a t a by J o a c h i m R a f f , pe r f o rmed by Huber t Leona rd ( v i o l i n ) and A l f r e d J a e l l ( p i a n o ) . - - Fou r seances o f chamber mus i c g i v e n by t h e p i a n i s t A l p h o n s e Duvernoy and a s s i s t i n g a r t i s t s . - - Debut o f G u s t a v e P r adeau ( p i a n i s t -c o m p o s e r ) . - - Chamber mus i c and m e l o d i e s by Andre' O e s c h n e r . - - Edouard B r o u s t e t ' s Symphonie c o n c e r t a n t e f o r p i a n o and o r c h e s t r a . - - M e l o d i e s and o t h e r c o m p o s i t i o n s by L o u i s Lacombe. - - C o n c e r t s pon so red by t h e j o u r n a l P a r i s f o r i t s s u b s c r i b e r s , and f e a t u r i n g s i n g e r s f r om t h e T h e a t r e - I t a l i e n . - - V i v i e r as horn v i r t u o s o and compose r . ~ S o i r e e a t t h e S a l l e E r a r d : s e l e c t i o n s f r om t h e F a r r e n c s ' Le T r e s o r des p i a n i s t e s ; La F o l i a ( s e t o f v a r i a t i o n s by C o r e l l i ) ; a q u i n t e t and a v i o l i n s o n a t a by Mme F a r r e n c . - - Announcement o f a f o r t h c o m i n g o u t d o o r c o n c e r t o f '1 ' o r c h e s t r e que d i r i g e 1 ' h a b i l e M. C r e s s o n n o i s ' on t h e C h a m p s - E l y s e e s . — P o s t s c r i p t c o n c e r n i n g t h e r e p l a c i n g o f M i l e N i l s s o n w i t h Mme C a r v a l h o i n t h e O p e r a ' s p r o d u c t i o n o f F a u s t . ] " F-30/04 "Revue m u s i c a l e . Les C o n c e r t s . (Deuxieme a r t i c l e . ) [ E d i t o r i a l on t h e p r a c t i c e o f l u r i n g t h e p u b l i c t o a c o n c e r t by means o f m i s l e a d i n g a d v e r -t i s i n g . - - B r a h m s ' s S t r i n g S e x t e t Op. 18 a t a c o n c e r t o f t he Seances p o p u l a i r e s de mus ique de chambre ( f ounded by t h e t h e n - v i o l i n i s t L amou reux ) . - - The Quatuo r f l o r e n t i n . - - M i l e L a u r e Bede l ( p i a n i s t ) . — I n s t r u m e n t a l mus i c by H e n r i R e b e r . - - S e r i e s o f c o n c e r t s o f chamber mu s i c chez t h e v i o l i n i s t Eugene S au zay . — C o n c e r t o f J u l i e n Sauzay ( v i o l i n i s t ) and Mme C h a r l o t t e T a r d i e u de M a l l e v i l l e ( p i a n i s t ) . — S o i r e e m u s i c a l e o f t h e S o c i e t e des s y m p h o n i s t e s ( d i r e c t e d by L e o p o l d D e l e d i q u e ) . — C o n c e r t s o f P a r i s i a n c h o r a l s o c i e t i e s : t h e Orpheon de P a r i s ; t h e L i e d e r k r a n z . - - E r n e s t S t o e g e r as p i a n i s t and composer . - -Remarks on ' d ' a u t r e s c o m p o s i t i o n s ' : a c o l l e c t i o n o f p i a n o mus ic by F e l i x G o d e f r o i d ; f o u r songs by O ' K e l l y ; a c ho r u s by Augus te L i ppmann . - -Georges P f e i f f e r as p i a n i s t and compose r . — S o i r e e m u s i c a l e g i v e n by a young t e n o r named G i r a r d o t . ] " F - l l / 0 5 "Revue m u s i c a l e . T h e a t r e - L y r i q u e : Don Q u i c h o t t e , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. J u l e s B a r b i e r e t M i c h e l C a r r e , mus ique de 583 M. E r n e s t B o u l a n g e r . - - T h e a t r e de 1 1 Opera -Comique : R e p r i s e de J a g u a - r i t a [ 1 ' i n d i e n n e ] , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. de Leuven e t de S a i n t - G e o r g e s , mus i que de F. H a l e v y [ p r e m i e r e d at t he T h e a t r e - L y r i q u e i n 1 8 5 5 ] . - - M. P o u s s a r d [ ' u n v i o l i n i s t e ho r s l i g n e 1 ] . " F-26/05 "Revue m u s i c a l e . Seance a n n u e l l e de l a S o c i e t e des a u t e u r s e t c o m p o s i -t e u r s . - - T h e a t r e de 1 ' O pe r a -Com ique : La F o n t a i n e de B e r n y , un a c t e , p a r o l e s de M. A l b e r i c S e c o n d , mus ique de M. Ado lphe N i b e l l e . - - Deux m e l o d i e s de M. An tony Chouden s . " F-12/06 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : R e p r i s e du P r o p h e t e . - - R e p r e s e n -t a t i o n e x t r a o r d i n a i r e a l a P o r t e - S a i n t - M a r t i n ( i n t e r m e d e m u s i c a l ) . [ R e -v i e w o f t h e m u s i c a l segment o f a b e n e f i t f o r two a c t o r s o f t h e T h e a t r e du V a u d e v i l l e . The mus i c c o n s i s t e d a lmo s t e n t i r e l y o f w e l l - k n o w n num-b e r s f r om o p e r a , pe r f o rmed by M a r i e Sass and o t h e r c e l e b r a t e d s i n g e r s . ] - - L ' Ange d e c h u , f ragmens d ' u n o p e r a i n e d i t de M. X a v i e r B o i s s e l o t , e x e c u t e s a M a r s e i l l e . [ R e y e r r e p o r t s on t h e s u c c e s s o f ' n o t r e c h e r e t eminent c o n f r e r e ' by g i v i n g e x t r a c t s f r om a r e v i e w p u b l i s h e d i n a p r o -v i n c i a l n e w s p a p e r . ] - - C o n c e r t de M. Morphy. [The program c o n s i s t e d m a i n l y o f s i x t e e n t h - c e n t u r y p i e c e s f o r v i h u e l a , t r a n s c r i b e d by Morphy f o r h a r p s i c h o r d . Reyer n o t e s t h a t Morphy w i l l i n c l u d e t h e s e p i e c e s i n a f o r t h c o m i n g p u b l i c a t i o n : Les A n n a l e s de 1 ' h i s t o i r e m u s i c a l e en E s pagne . ] — N o u v e l l e s m e l o d i e s de M. Ch. Gounod. - - La c a n t a t e c o u r o n -nee pa r l e j u r y du g r a n d - p r i x de Rome. [Announcement t h a t t h e p r i z e has been awarded t o a M. Taudou, s t u d e n t o f H e n r i R e b e r . ] " F-07/07 " V a r i e t e s . B i b l i o g r a p h i e m u s i c a l e [book r e v i e w ] . H i s t o i r e g e n e r a l e de l a mus ique d e p u i s l e s temps l e s p l u s a n c i e n s j u s q u ' a nos j o u r s , (tome 1 ) , pa r M. F . - J . F e t i s . — L. . . ( T i t l e s o f o t h e r books a re t h e n l i s t e d , bu t o n l y F e t i s ' s vo lume i s r e v i e w e d i n t h i s f i r s t o f two a r t i c l e s . ) ] " A - 14/07 , p. 3 " V a r i e t e s . B i b l i o g r a p h i e m u s i c a l e . H i s t o i r e g e n e r a l e de l a mus ique d e p u i s l e s temps l e s p l u s a n c i e n s j u s q u ' a nos j o u r s , (tome 1 ) , par M. F . - J . F e t i s [ r e v i e w e d i n t h e p r e c e d i n g a r t i c l e ] . - - L a M u s i q u e , l e s M u s i c i e n s e t l e s I n s t r umens de mus ique chez l e s d i f f e r e n s p e u p l e s du monde, par M. Oscar C o m e t t a n t . — Les L u t h i e r s i t a l i e n s aux d i x - s e p t i e m e e t d i x - h u i t i e m e s i e c l e s , n o u v e l l e e d i t i o n du P a r f a i t L u t h i e r , de 1 ' abbe S i b i r e , s u i v i e de n o t e s s u r l e s maTt re s des d i v e r s e s e c o l e s , par M. J . G a l l a y . - - L ' E c o l e de 1 ' accompagnement , ouv rage f a i s a n t s u i t e a 1 ' E t ude s u r l e q u a t u o r , par M. Eugene S auzay . - - H i s t o i r e de W.-A. M o z a r t , sa v i e e t son o e u v r e , d ' a p r e s l a g rande b i o g r a p h i e de G . - N . de N i s s e n , aug -mented de n o u v e l l e s l e t t r e s e t de documens a u t h e n t i q u e s , t r a d u i t e de l ' a l l e m a n d pa r M. A l b e r t S o w i n s k i . — L ' A r t du c h a n t e t l ' e c o l e a c t u - e l l e , pa r M. C h a r l e s Del p r a t . " A - 15/07 , p. 3 584 "Revue m u s i c a l e . Mignon e t l e T h e a t r e - I t a l i e n . [ E d i t o r i a l on a d i s p u t e o v e r Thomas ' s h i g h l y s u c c e s s f u l o p e r a , wh ich t h e d i r e c t o r o f t h e I t a l i e n wants t o t a k e f r om t h e r e p e r t o i r e o f t h e O p e r a - C o m i q u e . ] — Le c o n c o u r s du T h e a t r e - L y r i q u e . [Remarks on t h e r e s u l t s o f a c o m p e t i t i o n f o r new o p e r a s . ] — Une l e t t r e de M. C h a r l e s B e a u q u i e r . [The l i b r e t t i s t o f L a l o ' s F i e s q u e , wh i ch had p l a c e d t h i r d i n t h e L y r i q u e ' s c o m p e t i t i o n , had s e n t a l e t t e r o f p r o t e s t t o C a m i l l e D o u c e t , D i r e c t o r - G e n e r a l o f S t a t e T h e a t r e s . Reyer examines B e a u q u i e r ' s g r i e v a n c e s , q u o t i n g e x t e n s i v e l y f r o m t h e l e t t e r t o D o u c e t . ] — La commi s s i on des a u t e u r s e t c o m p o s i t e u r s d r a m a t i q u e s e t M. M a r t i n e t . [ B r i e f e d i t o r i a l on a d i s p u t e between t h i s s o c i e t y and t h e d i r e c t o r o f t h e T h e a t r e de l ' A t h e n e e ( F a n t a i s i e s -P a r i s i e n n e s ) . ] - - N o u v e l l e s des t h e a t r e s l y r i q u e s . — Le f e s t i v a l de B r u x e l l e s . [Remarks on an i n t e r n a t i o n a l c h o r a l c o n c e r t wh ich w i l l be p r e s e n t e d at t h e o p e n i n g o f t h e new Gare du M i d i at B r u s s e l s . ] " F - l l / 0 9 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : La P e t i t e F a d e t t e , p i e c e en t r o i s a c t e s e t c i n q t a b l e a u x , de George Sand , mus ique de M. T h . Semet. - - T h e a t r e - L y r i q u e : Le D e r n i e r J o u r de P o m p e i , o p e r a en q u a t r e a c t e s , de MM. N u i t t e r e t Beaumont, mus ique de M. V i c t o r i e n J o n c i e r e s . - -[Remarks on ' d eux b o u f f o n e r i e s ' t r a n s l a t e d by N u i t t e r and Beaumont f o r t h e ] T h e a t r e de l ' A t h e n e e : Le D o c t e u r C r i s p i n [ t h e R i c c i b r o t h e r s ' C r i s p i n o e l a c o m a r e ] , l e s Masques L C a r l o P e d r o t t i ' s T u t t i i n mas- c h e r a ] . — L N o t i c e o f t h e s u c c e s s o f a ' b o u f f o n e r i e i n d i e n n e ' at t h e ] T h e a t r e des B o u f f e s - P a r i s i e n s : Le Ra j ah de Mysore [ l i b r e t t o by C h i v o t and Du ru , mus ic by L e c o c q ] . — Debut de M i l e M e l a n i e Reboux [ a s V a l e n -t i n e i n Les Hugueno t s ] a l ' O p e r a . - - A p ropos d ' u n e l e t t r e de M. P. B a g i e r , d i r e c t e u r du T h e a t r e - I t a l i e n . [ E d i t o r i a l a g a i n s t B a g i e r ' s p r o -j e c t o f p r e s e n t i n g i n I t a l i a n t r a n s l a t i o n F r e n c h works b e l o n g i n g t o t he r e p e r t o i r e s o f t h e Ope ra , t h e Ope ra -Comique , and t h e T h e a t r e - L y r i q u e . ] " F-28/09 "Revue m u s i c a l e . S o c i e t e des C o n c e r t s de l ' O p e r a . [ E d i t o r i a l e n c o u r a g -i n g Henry L i t o l f f ' d an s une e n t r e p r i s e h a r d i , ma i s g rande e t b e l l e ' : t h e f o u n d i n g o f a t h i r d o r c h e s t r a l s o c i e t y , wh i ch would p r e s e n t c o n c e r t s o f o l d and new o r c h e s t r a l and c h o r a l mus i c at t h e S a l l e de l ' O p e r a . ] " F-20/10 "Revue m u s i c a l e . T h e a t r e - I t a l i e n : R e p r e s e n t a t i o n s e t c o n c e r t s e x t r a -o r d i n a i r e s . [ E d i t o r i a l a p p l a u d i n g B a g i e r ' s p l a n t o p r e s e n t a ' nouveau programme' o f o p e r a s and c o n c e r t s : t h e r e p e r t o i r e o f o p e r a s , t o be g i v e n i n I t a l i a n , would i n c l u d e both n e g l e c t e d m a s t e r p i e c e s ( such as F i d e l i o ) and c o n t e m p o r a r y F r e n c h w o r k s ; t h e c o n c e r t s wou ld p r e s e n t ' d e s symphon ies e t des o e u v r e s l y r i q u e s de maTt re s f r a n g a i s e t de maT t re s a l l e m a n d s . ' ] - - F i d e l i o . [ R e y e r u rges B a g i e r not t o depend s o l e l y on t h e t a l e n t o f G a b r i e l l e K r a u s s (who w i l l s i n g t he t i t l e r o l e ) t o make a s u c c e s s o f a work wh i ch has neve r f ound f a v o r w i t h t h e F r e n c h p u b l i c ] — [Remarks on t h e f o r t h c o m i n g i n a u g u r a t i o n o f B a g i e r ' s c o n c e r t s w i t h t h e P a r i s i a n p r e m i e r e o f ] Le Pa rad i s e t l a P e r i , [and n o t i c e o f t he p u b l i c a t i o n o f ] l ' A n a t h e m e du C h a n t e u r , de Robe r t Schumann. [Reye r 585 hopes t h a t L ' Ana theme w i l l someday be p r e s e n t e d by e i t h e r B a g i e r o r L i t o l f f . ] - - Sonate pour p i a n o e t v i o l o n ; romances sans p a r o l e s e t P a s -t o r a l e , pa r M. H e c t o r Sa l omon. - - Douze c h o e u r s , de M. C h a r l e s Gounod. — V o c a l i s e s de s t y l e , pa r M. A imes (de l ' O p e r a ) . " 2 6 F-31/10 "Revue m u s i c a l e . T h e a t r e - L y r i q u e : Le Ba l masque (Un B a l l o i n m a s c h e r a ) , p a r o l e s de M. E. Dup re z , d ' a p r e s S c r i b e , mus ique de M. V e r d i . — Mme Mei11et [who made her debut as A m e l i a i n t h i s p r o d u c -t i o n ] , - - T h e a t r e - I t a l i e n : Debuts de M i l e S e s s i : 1 a Sonnambu la , R i g o l e t t o . [Remarks on B a g i e r ' s p r e p a r a t i o n s f o r t he p e r f o r m a n c e s o f F i d e l i o and Le P a r a d i s e t l a P e r i . ] - - T h e a t r e de 1 ' O pe r a -Com ique : Debuts de M i l e E s t h e r i n a D a n i e l e : G a l a t h e e [by M a s s e ] , 1 ' E e l a i r [by H a l e v y ] . — Le t h e a t r e du C a i r e [ i s p r o s p e r i n g w i t h p e r f o r m a n c e s o f o p e r e t t a , f e a t u r i n g renowned s i n g e r s who have l e f t P a r i s ] . - - M i l e M a r g u e r i t e J o l y [one o f t h e ' f u g i t i v e s ' now s i n g i n g a t C a i r o ] . — Le c o n c o u r s de l ' O p e r a . [Announcement t h a t t h i s t h e a t r e ' s c o m p e t i t i o n f o r new o p e r a s has been won by a M. D i a z , who d e f e a t e d G u i r a u d and Mas se -n e t . ] — [ E x c e r p t s f r om] F a u s t [ sung by M a r i e Roze when she a u d i t i o n e d f o r t h e O p e r a ] . - - M i l e M a r i e Roze . [ F u r t h e r r emark s on t h i s s t u d e n t . ] — Les c o n c e r t s de l ' O p e r a . [ R e v i e w o f t h e f i r s t two c o n c e r t s o f L i t o l f f ' s e n t e r p r i s e , f o c u s i n g a t t e n t i o n on t h e ' g r a n d s u c c e s ' o f e x -c e r p t s f r om B e r l i o z ' s L a Damnat ion de F a u s t . ] — H e n r i L i t o l f f . [ N o t i c e t h a t h i s f i f t h c o n c e r t o - s y m p h o n i e f o r p i a n o and o r c h e s t r a ( ' u ne oeuv re ext remement r e m a r q u a b l e ' ) w i l l be pe r f o rmed at one o f t h e l a t e r c o n c e r t s o f h i s s o c i e t y . Remarks on t h e need t o i n c r e a s e t h e s i z e o f t he s o c i -e t y ' s c h o r u s . ] " F-23/11 "Revue m u s i c a l e . T h e a t r e - I t a l i e n : F i d e l i o [ i n I t a l i a n ; p r o b a b l y t h e t r a n s l a t i o n t h a t was pe r f o rmed i n 1 8 5 2 . ] " F t - 0 2 / 1 2 "Revue m u s i c a l e . T h e a t r e - I t a l i e n : Le P a r a d i s e t l a P e r i , de R o b e r t Schumann ( t r a d u c t i o n f r a n g a i s e de M. V i c t o r W i l d e r ) . [Tn t h e m i d s t o f t h e r e v i e w , Reyer pauses t o welcome t h e new ly f ounded S o c i e t e Schumann, q u o t i n g e x t e n s i v e l y f r om t h e c i r c u l a i r e wh i ch o u t l i n e s t he pu rpo se s o f t h i s chamber mus i c g r o u p . - - T h e a t r e des B o u f f e s - P a r i s i e n s : La P r i n c e s s e de T r e b i z o n d e , l i b r e t t o by N u i t t e r and T r e f e u , m u s i c by O f f e n b a c h . - - Remarks on t h e demise o f L i t o l f f ' s S o c i e t e des c o n c e r t s de l ' O p e r a a f t e r o n l y two p r o g r a m s . ] " F-15/12 "Revue m u s i c a l e . T h e a t r e de 1 ' O pe r a -Com ique : Reve d ' a m o u r , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. d ' E n n e r y e t Cormon, mus ique de M. Aube r . - - C a r l o t t a P a t t i e t Theodore R i t t e r en A m e r i q u e . [Reye r r e p o r t s on t h e s u c c e s s f u l t o u r o f t h e sop rano and t h e p i a n i s t - c o m p o s e r by t r a n s l a t i n g e x c e r p t s f r o m Amer i c an n e w s p a p e r s . ] " F-30/12 586 1870 J o u r n a l des Debats "Revue m u s i c a l e . T h e a t r e - L y r i q u e : La Bohemienne, o p e r a en q u a t r e a c t e s e t un p r o l o g u e , p a r o l e s de M. de S a i n t - G e o r g e s , mus ique de M. W. B a l f e . - - O p e r a : Debut de M i l e M a r i e Roze [ a s M a r g u e r i t e i n Gounod ' s F a u s t ] . " F-09/01 "Revue m u s i c a l e . La q u e s t i o n des t r o i s t h e a t r e s l y r i q u e s . [ E d i t o r i a l on t h e p r o j e c t o f p l a c i n g t he O p e r a , t h e Ope ra -Com ique , and t he T h e a t r e -L y r i q u e ' s o u s l ' a u t o r i t e d ' u n s e u l d i r e c t e u r . ' ] - - Ope ra : R e p r i s e d ' H a m l e t ; r e n t r e e de M i l e N i l s s o n [ i n t h e r o l e o f O p h e l i e ] . - - T h e a t r e -I t a l i e n : [ N o t i c e s on t h e ] R e p r i s e de Don Juan e t de M a r t a ; r e n t r e e de M i l e de Mur ska [ i n t he t i t l e r o l e o f F l o t o w ' s M a r t a ] ; [ r e c o l e c t i o n s o f t h e t e n o r F r a s c h i n i as F l o r e s t a n i n F i d e l i o ; ] debut de Mme Z i n a P a o l i [ i n II B a r b i e r e d i S i v i g l i a ] . - - T h e a t r e - L y r i q u e : R e p r i s e du Medec in m a l g r e l u i . - - E c o l e l y r i q u e de M. D u p r e z . [Comments on a seance g i v e n by t h e s t u d e n t s at a v o c a l s c h o o l f ounded i n 1850 by t h e t e n o r G i l b e r t D u p r e z . ] - - C o n c e r t de M i l e C e l e s t i n e M a u r i c e [ ( p i a n i s t ) , and a s s i s t i n g a r t i s t s ] . [ - - Announcement t h a t C a m i l l e du L o c l e has been named a s s o c i -a t e d i r e c t o r o f t h e O p e r a - C o m i q u e . ] " F-29/01 "Revue m u s i c a l e . F e s t i v a l pour 1 ' a n n i v e r s a i r e de l a mort d ' H e c t o r B e r -l i o z . [Remarks on t h e f o r t h c o m i n g c o n c e r t wh ich w i l l commemorate t h e f i r s t a n n i v e r s a r y o f B e r l i o z ' s d e a t h . ] - - T h e a t r e - I t a l i e n : Gu ido e t G i n e r v a [by H a l e v y ; f i r s t p e r f o r m a n c e i n I t a l i a n ] . — [ M a t i n e e s o f t h e ] S o c i e t e c h o r a l e B o u r g a u l t - D u c o u d r a y . - - C o n c e r t de V i eux temps e t J a c -q u a r d . [The d i s t i n g u i s h e d v i o l i n i s t and c e l l i s t were j o i n e d by s e v e r a l o t h e r i n s t r u m e n t a l i s t s f o r t h i s c o n c e r t o f chamber m u s i c ] — C o n c e r t de Mme M o n t i g n y ( C a r o l i n e Remaury) [ ( p i a n i s t ) , w i t h o r c h e s t r a ] . - - C o n c e r t de M. Horace P o u s s a r d [ v i o l i n i s t ] . - - C o n c e r t d ' H e n r y L i t o l f f : l r e a u d i t i o n de son 5 e c o n c e r t o - s y m p h o n i e [ f o r p i a no and o r c h e s t r a ] . ~ [The f i r s t two seances o f t h e ] S o c i e t e Schumann. - - Mme. F a r r e n c . [ Reye r r e g r e t s t h a t he was u n a b l e t o a t t e n d her l a s t s o i r e e , and announces t h a t she w i l l g i v e f o u r seances o f chamber m u s i c . ] " F-22/02 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : L ' O u r s e t l e P a c h a , f o i i e - v a u d e v i l l e en un a c t e , de S c r i b e e t S a i n t i n e , mus ique de M. F r a n -g o i s B a z i n . — La C ruche c a s s e e , o p e r a comique en un a c t e , p a r o l e s de MM. H i p p o l y t e Luca s e t E m i l e Abraham, mus i que de M. E m i l e P e s s a r d . — T h e a t r e de l ' A t h e n e e : Les Deux B i l l e t s , o p e r a comique d ' a p r e s F l o r i a n , mus ique de M. F e r d i n a n d P o i s e . [ - - S o c i e t e des c o n c e r t s du C o n s e r v a -t o i r e : La Mort de D i a n e , s cene d r a m a t i q u e , words by Hen r i de L a c r e -t e l l e , m u s i c by Auguste-Emmanuel V a u c o r b e i l . ] — Poeme de S o u v e n i r , s cene s de M. Armand S y l v e s t r e , m i se s en mus ique par M. J u l e s Ma s s ene t . — S i x p i e c e s c a r a c t e r i s t i q u e s pour l e v i o l o n , avec accompagnement de p i a n o , pa r M. J . A r m i n g a u d . - - 3 e s o n a t e pour p i a no e t v i o l o n , par M. Ben j am in Godard [and a few remark s on o t h e r works by t h i s young 587 c o m p o s e r ] . - - M e l o d i e s par M. Armand G o u z i e n . - - [Announcements c o n c e r n -i n g t h e f o r t h c o m i n g ] F e s t i v a l B e r l i o z . " F-27/02 "Revue m u s i c a l e . [ E d i t o r i a l on t h e q u e s t i o n o f a b o l i s h i n g t h e d r o i t des p a u v r e s ( t h e ' p o o r t a x ' imposed on each t h e a t r e t i c k e t ) . ] Ope ra : R e p r i s e de R o b e r t - ! e - D i a b l e . - - T h e a t r e - I t a l i e n : A l i n a , r e g i n a d i G o l c o n d a , drame l y r i q u e en q u a t r e a c t e s , mus ique de D o n i z e t t i . L-- News f r o m B r u s s e l s : f o r t h c o m i n g p r o d u c t i o n o f L o h e n g r i n ; s u c c e s s e s o f M i l e Wer the imber as F i d e s i n Le P r o p h e t e and Azucena i n I I T r o v a t o r e . ] ~ [News f r om E d i n b u r g h : s u c c e s s e s o f ] M i l e Rebous [ i n The M a r r i a g e o f F i g a r o , Don G i o v a n n i , and F a u s t ] . — [ M i l e H i s s o n , Mme C a r v a l h o , and] Mme Gueymard Lhave t r a d e d r o l e s as r e h e a r s a l s o f Per F r e i s ch ' u tz and D i a z ' s La Coupe du r o i de T h u l e c o n t i n u e at t h e O p e r a ] . - - [Remarks c o n -c e r n i n g r e h e a r s a l s f o r t h e ] F e s t i v a l B e r l i o z . " F-20/03 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : F e s t i v a l en l ' h o n n e u r d ' H e c t o r B e r l i o z . " F+-31/03 "Revue m u s i c a l e . P r o j e t d ' u n Opera p o p u l a i r e . [ E d i t o r i a l on t h e p r o -j e c t o f f o u n d i n g a new l y r i c t h e a t r e at P a r i s . ] - - T h e a t r e - L y r i q u e [ a d m i n i s t e r e d by t h e a r t i s t s s i n c e t h e r e s i g n a t i o n o f P a s d e l o u p ] : R e p r i s e de C h a r l e s VI [by H a l e v y ; ceded t o t he L y r i q u e by t h e d i r e c t o r o f t h e O p e r a ] . - - S o c i e t e B o u r g a u l t - D u c o u d r a y : l a F e t e d ' A l e x a n d r e [ ( F r e n c h t r a n s l a t i o n by V i c t o r W i l d e r ) , p e r f o r m e d i n i t s e n t i r e t y ] . — C o n c e r t s . [ D e l a b o r d e ( p i a n i s t ) . Anton R u b i n s t e i n ( p i a n i s t - c o m p o s e r ) . A few words on some ' t r e s i n t e r e s s a n t e s s o i r e e s . ' B r i e f comments c o n -c e r n i n g an o r c h e s t r a l c o n c e r t c o n d u c t e d by t h e young C h a r l e s Lamou-r e u x . ] " F-17/04 [ L e t t e r t o t h e e d i t o r : Reyer r e g r e t s t a h t C a r v a l h o has w i t hd r awn h i s c a n d i d a c y f o r t h e po s t o f d i r e c t o r o f t h e T h e a t r e - L y r i q u e . ] U-20/04, p. 3 [Announcement o f two m u s i c a l e v e n t s wh i ch w i l l t a k e p l a c e on t h e same day : t h e sop rano C h r i s t i n e N i l s s o n ' s f a r e w e l l appea rance o f t he season ( i n t h e F r ench p r e m i e r e o f J u l i u s B e n e d i c t ' s c a n t a t a S a i n t C e c i l i a ) ; and t h e p r e m i e r e o f J u l e s C o h e n ' s Pea a t t h e O p e r a - C o m i q u e . ] U-30/04, p. 2 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : P e t i t a c c i d e n t a p ropo s de l a r e p r e s e n t a t i o n de P e a . [Remarks on t h e f a c t t h a t , a f t e r s i x months o f r e h e a r s a l s and p o s t p o n e m e n t s , t h e a d m i n i s t r a t i o n o f t h e Comique has d e c i d e d t o r e p l a c e t h e young t e n o r who was t o debut i n t h i s w o r k . ] - - S a l l e du C o n s e r v a t o i r e : E x e c u t i o n du S t a b a t mater de Mme l a v i c o m t e s s e de G r a n d v a l . - - T h e a t r e de 1 ' A t h e n e e : V a l s e e t Menuet , o p e r a comique en un a c t e , p a r o l e s de Me ry , mus ique de M. L o u i s P e f f e s [one o f M e r y ' s l a s t w o r k s ; f i r s t p e r f o rmed at Bade Ems] . - - C o n c e r t s : 588 M. D e l o f f r e [ ( v i o l i n i s t - c o m p o s e r ) , and a s s i s t i n g a r t i s t s ] , M. T h i b a u l t [ ( v i o l i n i s t ) ] , M. A c h i l l e D i en [ ( v i o l i n i s t ) , whose program o f chamber mu s i c f e a t u r e d a t h e n - u n p u b l i s h e d p i a n o t r i o by H e n r i R e b e r ] , M. D e l e -d i c q u e [ c o n d u c t o r o f ' l a p a r t i e s ymphon ique ' o f t h e annual c o n c e r t o f h i s S o c i e t e de s y m p h o n i s t e s ] , M. Damcke [whose p i a n o t r i o was pe r f o rmed a t a b e n e f i t c o n c e r t ] , e t c . [Mme P h i l i p o n ( p i a n i s t ) , who pe r f o rmed a t T h i b a u l t ' s c o n c e r t ] , - - C a n t a t e de S a i n t e - C e c i l e , par M. J u l e s B e n e d i c t . [ Reye r s t a t e s o n l y t h a t he a t t e n d e d t h e p e r f o r m a n c e . ] " F-01/05 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : P e a , o p e r a comique en deux a c t e s , p a r o l e s de MM. Cormon e t M i c h e l C a r r e , mus ique de M. J u l e s Cohen. [ Rev i ew i s f o l l o w e d by a b r i e f e d i t o r i a l about a l a w s u i t b r ough t a g a i n s t t h e Comique by t h e composer F r a n g o i s B a z i n c o n c e r n i n g ' c o u p u r e s non a u t o r i s e e s ' i n L ' O u r s e t l a P a c h a . ] - - T h e a t r e de l ' O p e r a : l a Legende de S a i n t e - C e c i l e , c a n t a t e en deux p a r t i e s , t e x t e a n g l a i s de M. C h o r l e y , t r a d u c t i o n de M. T a g l i a f i c o , mus ique de M. J u l e s B e n e d i c t . [ Rev i ew b e g i n s w i t h remark s on t h i s E n g l i s h commposer ' s fame i n h i s homeland and i n Germany. ] - - R e n t r e e de Mme M a r i e Sass [ a s A l i c e i n Robe r t l e d i a b l e ] , - - C o n c e r t s : M. V i v i e r [ ho rn v i r t u o s o ] , - - M. Magimel [who has t r a n s c r i b e d f o r o r c h e s t r a some works by Moza r t and Beethoven f o r t h e c o m b i n a t i o n o f p i a n o and s t r i n g e d i n s t r u m e n t s ] . - - Mme M a t h i l d e M i c h e l [ p i a n o t e a c h e r whose s t u d e n t s pe r f o rmed i n a ' s e a n c e i n t i m e ' ] . - - M. V i eux t emps [ v i o l i n i s t who i n c l u d e d two o f h i s own com-p o s i t i o n s on t h e program o f a c o n c e r t g i v e n by h i m s e l f , t he p i a n i s t An ton R u b i n s t e i n , and t h e s i n g e r M a r i e B a t t u ] , - - M. C h a r l e s D a n c l a [ v i o l i n i s t who was app l auded a l s o as composer and c o n d u c t o r at a r e c e n t c o n c e r t w i t h o r c h e s t r a ] , [ - - Annua l seance o f t h e S o c i e t e c h o r a l e d ' a m a t e u r s , d i r e c t e d by A n t o n i n G u i l l o t de S a i n b r i s . - - C o n c e r t o f t h e h a r p i s t H a s s e l m a n s . ] - - P u b l i c a t i o n s n o u v e l l e s e t b r o c h u r e s . [ Reye r s i n g l e s out a c o l l e c t i o n o f m e l o d i e s by t he then-unknown H e n r i D u p a r c . ] " F - l l / 0 5 [ O b i t u a r y n o t i c e : Mme Choudens ( w i f e o f t h e mus ic p u b l i s h e r ) . ] U-14/05, p. 3 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : Le F r e y s c h u t z [ s i c ] , o p e r a r o m a n t i q u e en t r o i s a c t e s , de F r e d e r i c K i n d ( t r a d u c t i o n f r a n g a i s e de M. E m i l i e n P a c i n i , avec r e c i t a t i f s d ' H e c t o r B e r l i o z ) , mus ique de Weber. [ - -A few remark s on D e l i b e s ' s Coppe l i a , t h e new b a l l e t f o r w h i c h F r e y s c h u t z was used as c u r t a i n - r a i s e r . ] " F -31/05 "Revue m u s i c a l e . Le T h e a t r e - L y r i q u e . - - L ' A t h e n e e . [The news t h a t M a r t i n e t ( d i r e c t o r o f t h i s t h e a t r e ) w i l l become d i r e c t o r o f t h e L y r i q u e l e a d s Reyer t o r e f l e c t on t h e d i f f i c u l t i e s M a r t i n e t w i l l f a c e at h i s new t h e a t r e . ] - - L ' O p e r a - C o m i q u e . [Remarks on t h e a d m i n i s t r a t i o n ' s a c c e p -t a n c e o f F l o t o w ' s L 'Ombre , wh i ch had f i r s t been p r om i sed t o t h e L y r i -q u e . ] — R e p r i s e s de L a i 1a -Roukh , du P o s t i l i o n de Lonjumeau e t du T o r e a d o r . [ B r i e f e d i t o r i a l on t h e l y r i c t h e a t r e s ' p r a c t i c e o f r e l y i n g on r e v i v a l s i n s t e a d o f a d d i n g new works t o t h e i r r e p e r t o i r e s . Rev iew o f 589 C o m i q u e ' s r e v i v a l o f F e l i c i e n D a v i d ' s L a i 1 a -Roukh . ] — N o u v e l l e s m u s i -c a l e s e t a n t i - m u s i c a l e s . [Comments on y e t a no t he r postponement o f t h e p r e m i e r e o f S a i n t - S a e n s ' s Le T imbre d ' a r g e n t a t t h e Comique; d e s c r i p t i o n o f t h e e a r l i e r ' v i c i s s i t u d e s ' o f bo th t h e l i b r e t t o (wh i ch had passed t h r o u g h s e v e r a l hands) and S a i n t - S a e n s ' s s c o r e . Remarks on t he C o m i q u e ' s c o m m i s s i o n i n g o f two new w o r k s : an o p e r a - b a l l e t by G u i r a u d , and an o p e r a comique by O f f e n b a c h . O b s e r v a t i o n s c o n c e r n i n g t h e t e n o r Mon taub r y , who, a f t e r t r y i n g u n s u c c e s s f u l l y t o d i r e c t a s m a l l t h e a t r e , has resumed h i s s i n g i n g c a r e e r . ] " F-18/06 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : [ ' R e f l e x i o n s p r e l i m i -n a i r e s ' c o n c e r n i n g t h e ' d e s t i n e e ' o f t h i s ' t h e a t r e eminemment n a t i o -n a l . ' ] L 'Ombre , o p e r a comique en t r o i s a c t e s , p a r o l e s de M. de S a i n t -G e o r g e s , mus ique de M. de F l o t t o w [ F r i e d r i c h von F l o t o w ] . [ - - B r i e f e d i t o r i a l u r g i n g t h a t t h e P r i x de Rome c o m p e t i t i o n be j udged not by a j u r y e l e c t e d each y e a r , bu t r a t h e r by members o f t h e Academie des B e a u x - A r t s o f t h e I n s t i t u t de F r a n c e . ] " F-03/08 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Le K o b o l d , o p e r a comique en un a c t e , p a r o l e s de MM. N u i t t e r e t G a l l a i t , mus ique de M. G u i r a u d . - -La M a r s e i l l a i s e . [Comments on r e n d i t i o n s o f t h e n a t i o n a l anthem by c e l e b r a t e d a r t i s t s o f t h e F rench s t a g e . ] — Le R h i n a l l e m a n d . [ T h i s s u b t i t l e i s e r r o n e o u s , becau se Reyer does not m e n t i o n any such w o r k . ] — [ O b i t u a r y o f t h e poet and c h a n s o n n i e r ] P i e r r e Dupon t . " F-20/08 1871 J o u r n a l des Debat s "Memo i re s d ' H e c t o r B e r l i o z . [ F i r s t i n s t a l m e n t o f a s e r i a l i z e d r e v i e w o f t h e M e m o i r e s . ] " F t - 15/03 "Memo i re s d ' H e c t o r B e r l i o z . " F t - 16/03 "Memo i re s d ' H e c t o r B e r l i o z . ( T r o i s i e m e a r t i c l e . ) " F t - 04/06 "Memoi re s d ' H e c t o r B e r l i o z . (Qua t r i eme a r t i c l e . ) " F t - 05/06 " L a Mus ique de l ' a v e n i r . [ R e y e r b e g i n s by e x p l a i n i n g : ' P a r mus ique de l ' a v e n i r , j ' e n t e n d s c e l l e que l ' o n f e r a a P a r i s l ' h i v e r p r o c h a i n . ' Remarks on t h e po s twa r o p e n i n g o f t h e T h e a t r e de 1 'Ope ra -Comique w i t h r e v i v a l s o f L a Dame b l a n c h e and Le Domino n o i r . E d i t o r i a l on t h e g o v e r n m e n t ' s s y s tem o f s u b s i d i z i n g t h e l y r i c t h e a t r e s . P r o p o s a l o f a 590 s y s tem w h i c h would e n a b l e t he t h e a t r e s t o s u p p o r t t h e m s e l v e s : ' une l o t e r i e . ' S u g g e s t i o n s f o r r e f o r m s at t h e Ope ra : b u i l d ' une t r o u p e d ' e n s e m b l e ' i n s t e a d o f f e a t u r i n g ' e t o i l e s ' ; p e r f o r m e v e r y d a y ; f o r g o c u r t a i n - r a i s e r s ; e n l a r g e t h e r e p e r t o i r e by r e v i v i n g ' l e s c h e f s - d ' o e u v r e du r e p e r t o i r e c l a s s i q u e ' and a d m i t t i n g ' d e s o p e r a s de d e m i - c a r a c t e r e , [ e t ] des ope ra s r o m a n t i q u e s , ' such as Les Noces de F i g a r o and Obe ron . - -New mus i c by composer s a c t i v e at M a r s e i l l e : m e l o d i e s by Augus te More l (known as ' l e S c h u b e r t f r a n g a i s ' ) ; a p i a n o t r i o i n F - s h a r p m ino r by M o r e l ; a p i a no c o n c e r t o by Thu rne r ( a p r o f e s s o r at t h e M a r s e i l l e C o n s e r -v a t o i r e ) . - - Changes i n t h e po s twa r r e p e r t o i r e o f t h e C o n c e r t s popu -l a t e s . - - Reye r u rges t h e government t o g i v e f i n a n c i a l a s s i s t a n c e t o s i n g e r s and i n s t r u m e n t a l i s t s who have been l e f t d e s t i t u t e by t h e c l o s i n g o r d e s t r o y i n g o f many t h e a t r e s d u r i n g t h e war and t h e Commune. - - E d i -t o r i a l s u p p o r t i n g M a r t i n e t ' s r e q u e s t t h a t t h e T h e a t r e - L y r i q u e (whose b u i l d i n g had burned down) be p e r m i t t e d t o s h a r e t h e S a l l e V e n t a d o u r w i t h t h e f o u n d e r i n g T h e a t r e - I t a l i e n . - - News o f t h e r e t u r n o f C a r l o t t a P a t t i and Theodore R i t t e r a f t e r t h e i r h i g h l y s u c c e s s f u l t w o - y e a r t o u r o f No r t h and South A m e r i c a . ] " F-04/07 [ N o t i c e c o n c e r n i n g changes i n t h e l e a d e r s h i p o f ma jo r c u l t u r a l i n s t i t u -t i o n s : A m b r o i s e Thomas has been named d i r e c t o r o f t h e P a r i s C o n s e r v a -t o i r e , s u c c e e d i n g t h e l a t e A u b e r ; P e r r i n has l e f t t h e d i r e c t o r s h i p o f t h e Opera and has t a k e n ove r t h a t o f t h e T h e a t r e - F r a n g a i s . Reyer hopes t h a t t h e M i n i s t e r o f F i n e A r t s w i l l choose as P e r r i n ' s s u c c e s s o r someone who can o f f e r " de s e r i e u s e s g a r a n t i e s " not o n l y "au g ouve rnemen t , " bu t a l s o " a l ' a r t e t aux a r t i s t e s . " ] U-05/07, p. 2 [ N o t i c e c o n c e r n i n g t h e p o s t o f d i r e c t o r o f t h e Ope ra : Reyer e x p r e s s e s s u p p o r t f o r C a r v a l h o , who has j u s t announced h i s c a n d i d a c y . ] U-08/07, p. 2 " A u b e r [ o b i t u a r y ] , - - F e t i s [ o b i t u a r y ] . ~ [Remarks on o t h e r s r e c e n t l y d e c e a s e d : ] M a i l l a r t . — T h a l b e r g . - - B a r r o i l h d e t [ s i n g e r ] . — S a i n t -Leon [ c h o r e o g r a p h e r who had l o n g been b a l l e t mas te r at t h e O p e r a ] . " F t - 1 6 / 0 7 [ U n t i t l e d a r t i c l e d e s c r i b i n g t h e f u n e r a l o f Aube r : mu s i c pe r f o rmed at t h e s e r v i c e i n t h e Church o f t h e T r i n i t e ; c o r t e g e t o t h e c e m e t e r y ; mus i c and speeches a t t h e c e m e t e r y . ] A -16/07 , p. 3 "Revue m u s i c a l e . Les r e p r i s e s e t l e s debu t s a 1 'Ope ra -Comique e t a l ' O p e r a . [Remarks c o n c e r n i n g t h e c o n t i n u a l r e l i a n c e on ' d e s r e p r i s e s e t des d e b u t s , des debu t s e t des r e p r i s e s . ' Debuts at t h e Ope ra : M i l e T h i b a u l t as M a r g u e r i t e i n Les Hugueno t s ; M. Bouhy as M e p h i s t o p h e l e s i n F a u s t . ] - - Une l e t t r e i n e d i t e d ' H e c t o r B e r l i o z [ w h i c h Reyer p r i n t s i n an e d i t o r i a l demanding ' q u e l ' O p e r a f a s s e une p a r t . . . beaucoup p l u s l a r g e au r e p e r t o i r e c l a s s i q u e , e t p a r t i c u l i e r e m e n t a 1 ' o e u v r e de G l u c k ' ] . [ — R e y e r ' s r e a c t i o n t o t h e c h o o s i n g o f H a l a n z i e r , r a t h e r t han 591 C a r v a l h o , t o succeed P e r r i n as d i r e c t o r o f t h e O p e r a . ] ~ Le C o n s e r v a -t o i r e e t 1 ' I n s t i t u t . [ Reye r r e p e a t s a v i e w he had e x p r e s s e d t he p r e c e d -i n g y e a r : t h e P r i x de Rome c o m p e t i t i o n s h o u l d be j udged by t h e Academie des B e a u x - A r t s o f t h e I n s t i t u t . ] - - Les p r i x de Rome. [ E d i t o r i a l on t h e n e g l e c t o f t h e s e young composers upon t h e i r r e t u r n f rom Rome. ] " F-29/07 [ N o t i c e a p p l a u d i n g t h e c h o i c e o f H e n r i Reber as i n s p e c t o r o f t h e p r o v i n -c i a l b r anche s o f t h e C o n s e r v a t o i r e . ] U-03/08, p. 2 "Revue m u s i c a l e . Les t h e a t r e s l y r i q u e s . - - Les s u b v e n t i o n s . [ E d i t o r i a l u r g i n g t h e government t o d e c i d e q u i c k l y how much money i t would a l l o c a t e f o r s u b s i d i z i n g t h e l y r i c t h e a t r e s , and how t h i s money would be d i v i d e d amongst them. - - E d i t o r i a l a d v i s i n g t h e government t o encou rage a l s o ' l e gen re s ymphon ique , dans l e q u e l peuvent e t r e c o m p r i s l a mus ique de cham-b r e e t l e s o r a t o r i o s , l a mus ique de c o n c e r t . ' ] — M. L h e r i e a 1 ' O p e r a -Comique. [Debut o f t h i s t e n o r i n t h e t i t l e r o l e o f H e r o l d ' s Zampa.] — M. Mon jauze . [ R e y e r hopes t h a t t h i s t e n o r , who has l e f t t h e Comique, w i l l be engaged by t h e O p e r a . ] - - R e p r i s e de l a J u i v e [ a t t h e O p e r a ] . - -M i l e M a u d u i t , M. V i l l a r e t , M. Bo squ i n [ i n La J u i v e ] . - - F e s t i v a l des Champs -E l y see s au p r o f i t des o r p h e l i n s de 1 ' a rmee . [ Rev i ew o f a b e n e f i t c o n c e r t g i v e n under t h e p a t r o n a g e o f Mme T h i e r s ( w i f e o f t h e P r e s i d e n t o f F r a n c e ) and c o n d u c t e d by Theodo re R i t t e r at t h e C i r q u e des Champs-E l y s e e s . C a r l o t t a P a t t i and s e v e r a l o t h e r c e l e b r a t e d p e r f o r m e r s t ook p a r t i n t h e ' s p l e n d i d e p r o g r a m m e . ' ] " F-22/08 "Revue m u s i c a l e . T h e a t r e l y r i q u e de l ' A t h e n e e [ M a r t i n e t ' s a t t empt t o e s t a b l i s h h i s company at t h e T h e a t r e de l ' A t h e n e e ] : Ma r tha e t Ne t o u c h e z pas a l a r e i n e l [ Reye r f o c u s e s on t h e r e v i v a l o f B o i s s e l o t ' s o p e r a , and g i v e s an a c coun t o f t h e c a r e e r o f t h i s compose r , whose works had not been s t a g e d i n P a r i s s i n c e t h e e a r l y 1 8 5 0 s . ] — Les s u b v e n -t i o n s . [ E d i t o r i a l on t h e g o v e r n m e n t ' s d e c i s i o n t o r e d u c e d r a s t i c a l l y t h e s u b s i d i e s o f t h e Opera and t h e Ope ra -Com ique , w h i l e m a i n t a i n i n g t he s m a l l s u b s i d y o f t h e T h e a t r e - I t a l i e n and a b o l i s h i n g t h a t o f t h e T h e a t r e -L y r i q u e . - - A few remark s c o n c e r n i n g t h e f o r t h c o m i n g p r o d u c t i o n o f R e y e r ' s E r o s t r a t e at t h e O p e r a . ] " F-22/09 [ N o t i c e h a i l i n g Ruth by a t h e n - o b s c u r e o r g a n i s t named Ce s a r F r a n c k , who had c o n d u c t e d e x c e r p t s f r om t h i s " o e u v r e r e m a r q u a b l e " at a b e n e f i t c o n -c e r t a t t h e C i r q u e des C h a m p s - E l y s e e s . ] U-16/10, p. 3 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : E r o s t r a t e . [ R e f l e c t i o n s on t h e demi se o f t h i s p r o d u c t i o n a f t e r o n l y two p e r f o r m a n c e s . A c coun t o f R e y e r ' s a t t e m p t s t o have h i s work s t aged i n P a r i s d u r i n g t h e 1850s , and o f t h e p r e m i e r e at Baden-Baden i n 1862. Comments on M i l e H i s s o n and t h e o t h e r p r i n c i p a l s i n t h e O p e r a ' s p r o d u c t i o n . ] - - C o n c e r t des C h a m p s - E l y s e e s : R u t h , e g l o g u e b i b l i q u e , mus ique de M. Ce sa r F r a n c k . 592 [ R e c o l l e c t i o n o f t h e b e n e f i t c o n c e r t wh i ch r e v e a l e d ' un grand c o m p o s i -t e u r ' whose name, Reyer hoped , would soon appear on one o f t he programs o f t h e S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e . ] ~ [ T h e a t r e des F o l i e s -D r a m a t i q u e s : ] L a BoTte de P a n d o r e , o p e r e t t e de MM. Th. B a r r i e r e e t H e n r i L i t o l f f . - - Mme M i o l a n - C a r v a l h o . - - Le P r e aux C l e r c s e t 1 'Ombre. [Remarks on Mme C a r v a l h o ' s r e t u r n t o t h e Opera-Comique i n a r e v i v a l o f H e r o l d ' s work , w h i c h i s b e i n g a l t e r n a t e d w i t h a r e v i v a l o f F l o t o w ' s L ' O m b r e . ] — P o s t - S c r i p t u m . [A humorous r e s p o n s e t o a comment made by ' u n de mes c o n f r e r e s ' ap ropo s o f E r o s t r a t e . ] " F t - 2 4 / 1 0 "Revue m u s i c a l e . Ga l 1 i a , l a m e n t a t i o n , p a r o l e s e t mus ique de M. C h a r l e s Gounod. [An e d i t o r i a l on t he need f o r a c o n c e r t h a l l s u i t a b l e f o r l a r g e f o r c e s l e a d s i n t o t h e r e v i e w o f Gounod ' s c a n t a t a , wh i ch was p e r f o r m e d f i r s t a t t h e r e o p e n i n g o f t h e C o n s e r v a t o i r e and t hen on t h e s t a g e o f t h e Ope ra -Comique . The r e v i e w i n c l u d e s an a s ses sment o f t h e E n g l i s h sop rano G e o r g i n a We ldon , who sang t h e s o l o p a r t . - - F u r t h e r remark s on F r a n c k ' s R u t h , w h i c h Reyer s u g g e s t s be pe r f o rmed i n i t s e n t i r e t y at t h e Good F r i -day c o n c e r t o f t h e S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e . ] ~ Theodo re R i t t e r . [ Reye r d e s c r i b e s R i t t e r ' s d e l i g h t e d r e a c t i o n t o t h e s c o r e o f R u t h , wh i ch t h e young man r e a d at R e y e r ' s p i a n o . ] — M e l o d i e s de M. An tony de Choudens [ f r i e n d and s t u d e n t o f B i z e t ] . - - C o n c e r t s popu -l a t e s : Symphonie de M. M i l l a u l t . — Le T h e a t r e , par M. C h a r l e s G a m i e r . [ N o t i c e c o n c e r n i n g a book by t h e a r c h i t e c t o f t h e new O p e r a . ] " F-16/11 "Revue m u s i c a l e . Les c o n c o u r s d ' a d m i s s i o n au C o n s e r v a t o i r e . [ E d i t o r i a l u r g i n g t h a t t h e C o n s e r v a t o i r e admi t o n l y t h o s e c o m p e t i t o r s who have a l r e a d y l e a r n e d t h e r u d i m e n t s o f mu s i c ( i n c l u d i n g s o l f e g e ) , becau se ' i l f a u t que l e C o n s e r v a t o i r e c e s s e d ' e t r e une e c o l e p r i m a i r e . ' ] - - La b r o -c h u r e de M. Gu s t a ve B e r t r a n d . [ D i s c u s s i o n o f ' d ' e x c e l l e n t e s r e f l e x i o n s ' i n B e r t r a n d ' s pamph le t De l a r e f o r m e des e t u d e s du c h a n t au C o n s e r v a - t o i r e . - - Remarks on a n o t h e r new work by B e r t r a n d : a book e n t i t l e d Les N a t i o n a l i s e s m u s i c a l e s e t u d i e e s dans l e drame l y r i q u e . ] — La Messe de M. C h a r l e s Gounod e t G a l l i a , a S a i n t - E u s t a c h e . - - Mme Weldon [who sang t h e s o l o p a r t s i n bo th w o r k s ] . - - R e p r i s e du D o c t e u r C r i s p i n [ t h e F r e n c h v e r s i o n o f t h e R i c c i b r o t h e r s ' C r i s p i n o e l a Comare, r e v i v e d at t h e T h e a t r e - L y r i q u e de l ' A t h e n e e ] . - - M. M o n j a u z e . [Announcement t h a t t h e Opera i s f i n a l l y c o n s i d e r i n g engag i n g t h i s t e n o r f o r a r e v i v a l o f Le P r o p h e t e . ] " F-30/11 1872 J o u r n a l des Debat s "Revue m u s i c a l e . [ Rev i ew o f t h e w o r l d p r e m i e r e o f V e r d i ' s ATda a t C a i r o ' s T h e a t r e - I t a l i e n . Commun i ca t i on i s d a t e d : ] Le C a i r e , l e 31 decembre 1 8 7 1 . " F t - 1 6/01 593 " [ C o m m u n i c a t i o n a d d r e s s e d t o t he ' D i r e c t e u r ' o f t h e D e b a t s , and d a t e d : ] Le C a i r e , l e 3 f e v r i e r 1872 . [ R e c o l l e c t i o n s o f a t w e n t y - t w o - d a y s i g h t -s e e i n g t r i p t h r o u g h E g y p t . - - C a i r o ' s T h e a t r e - I t a l i e n : M a r i e Sass as M a r g u e r i t e i n F a u s t . G e n e r a l d e s c r i p t i o n o f t h i s t h e a t r e : t h e i n t e r i o r o f t h e b u i l d i n g ; t h e b u d g e t ; t h e s i z e o f t h e company; t h r e e o f i t s p r i n -c i p a l s (Mme P o z z o n i - A n a s t a s i , Mme G r o s s i , and M. S t e l l e r ) ; t he a u t h o r i t y a c c o r d e d t he d i r e c t o r ; t h e r e p e r t o i r e ; f o r t h c o m i n g p r o d u c t i o n s . - -C a i r o ' s T h e a t r e - F r a n g a i s : t h r e e o f t h e a c t r e s s e s at t h i s t h e a t r e ' ou l ' o n j o u e l e drame, l e v a u d e v i l l e e t l ' o p e r e t t e ' ; o t h e r remark s on t he r e p e r t o i r e . - - The c i t y o f C a i r o : t h e E s b e k i e h ( ' c e beau j a r d i n ' ) ; t h e European Q u a r t e r ; o l d C a i r o . ] " F t - 1 7 / 0 2 "Revue m u s i c a l e . Re t ou r d ' E g y p t e . [ Reye r e d i t o r i a l i z e s on some news t h a t he heard when he r e t u r n e d t o P a r i s : a young composer has a c h i e v e d sudden p o p u l a r i t y by w r i t i n g mus ic f o r a comedy ' q u i n ' a aucune p r e t e n -t i o n a l a m o r a l e ' ; t h e N a t i o n a l A s s emb l y has i n c r e a s e d t he O p e r a ' s s ub -s i d y t o t h e u sua l sum (800 ,000 f r . ) . ] — [ T h e a t r e - L y r i q u e de l ' A t h e n e e : ] S y l v a n a , o p e r a en q u a t r e a c t e s , p a r o l e s de MM. W i l d e r e t M e s t e p e s , m u s i -que de Weber. [ T h i s was a p a s t i c h e based on Webe r ' s t h r e e - a c t Romant i c o p e r a S i l v a n a , w i t h b o r r o w i n g s f r o m L e y e r und Schwerdt and P e t e r Schmol1 und s e i n e N a c h b a r n . ] — [A c u r t a i n - r a i s e r at t h e T h e a t r e de l ' O p e r a -Com ique : J Le P a s s a n t , p i e c e en un a c t e , p o e s i e de M. F r a n g o i s Coppee, mus ique de M. E m i l e P a l a d i l h e . - - M. Loge . [Reye r r e g r e t s t h a t he was i n Egypt when t h i s B e l g i a n p i a n i s t ' a v a i t f a i t s e n s a t i o n a P a r i s . ' ] ~ C o n c e r t du C o n s e r v a t o i r e : Mme C a r v a l h o , Mme A l b o n i , M. F r a n c i s PI a n t e . [ Rev i ew o f a b e n e f i t wh i ch f e a t u r e d t he two c e l e b r a t e d s op rano s and t he v i r t u o s o p i a n i s t . ] - - [ C o n c e r t g i v e n by t h e v i o l i n i s t and compose r ] M. V i e u x t e m p s . - - C o n c e r t de l a s o c i e t e G u i l l o t de S a i n b r i s . [The program o f t h i s amateur c h o r a l s o c i e t y i n c l u d e d ' E s t e l l e ' by Leonce F a r r e n c , nephew o f L o u i s e F a r r e n c ] — Les S a k i e h s du N i l . [ R e y e r w i s t f u l l y r e c a l l s l i s t e n i n g t o t h e g e n t l e d rone o f t h e s e i r r i g a t i o n mach ine s as he s a t on t h e banks o f t h e N i l e i n t h e e v e n i n g . ] " F-02/05 "Revue m u s i c a l e . [ R e f l e c t i o n s on t h e m u l t i t u d e o f c o n c e r t s g i v e n d u r i n g t h e s e a s o n , and on t h e a d v e r t i s i n g wh i ch a r ou se s p u b l i c i n t e r e s t i n t h e s e p e r f o r m a n c e s . - - S a l l e du C o n s e r v a t o i r e : b e n e f i t c o n c e r t f e a t u r -i n g Mme C a r v a l h o , t h e p i a n i s t F r a n c i s P l a n t e , and s e v e r a l o t h e r no ted a r t i s t s . - - S a l o n s ( d i n i n g room) du G r a n d - H o t e l : b e n e f i t c o n c e r t c o n -d u c t e d by Cesa r F r a n c k , who p r e s e n t e d Ru th i n i t s e n t i r e t y f o r t h e f i r s t t i m e s i n c e 1846. (Rev iew i s i n i t i a t e d by an e d i t o r i a l on t h e P a r i s i a n p u b l i c ' s ' p r e v e n t i o n s a l ' e g a r d de 1 ' o r a t o r i o . ' ) - - Debuts at t he T h e a t r e - I t a l i e n : M a r i e Sa s s (once a p r i n c i p a l at t h e O p e r a ) ; Mme S y l v i a F l o r i a n i (? p seudonym). - - S o l o c o n c e r t s : M i l e C e l e s t i n e M a u r i c e ( p i a n -i s t ) and a s s i s t i n g a r t i s t s ; V i v i e r ( ho rn v i r t u o s o and c o m p o s e r ) . - -S o c i e t e B o u r g a u l t - D u c o u d r a y : p e r f o r m a n c e o f H a n d e l ' s A c i s and G a l a t e a i n F r ench t r a n s l a t i o n . (Rev iew b e g i n s w i t h comments c o n c e r n i n g t h e p l a c e o f t h i s p a s t o r a l e i n H a n d e l ' s p r o d u c t i o n . ) ~ N o t i c e s on two works by p r o v i n c i a l m u s i c i a n s whom Reyer recommends t o t h e a t t e n t i o n o f P a r i -s i a n c o n c e r t s o c i e t i e s : Ruth e t Booz by A l e x i s R o s t a n d ; and a S t a b a t 594 mater by P o l l de S i l v a . - - S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e : M e n d e l s s o h n ' s V i o l i n C o n c e r t o , pe r f o rmed by ' un a r t i s t e peu c o n n u , ' M. W h i t e . ] " F-18/05 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : D j a m i l e h , un a c t e , d e d i e a M. C a m i l l e Du L o c l e , par MM. L o u i s G a l l e t e t Georges B i z e t . - - Une p i e c e i n e d i t e de Mery . [The denouement o f D j a m i l e h r em ind s Reyer o f a s h o r t p l a y ' q u e m ' a v a i t r a c o n t e Mery e t q u ' i l n ' a , j e c r o i s , j a m a i s f a i t e . ' Reyer t h e n t e l l s t h e e v e n t s o f M e r y ' s p l o t . ] - - R e p r i s e du Medec in m a l g r e l u i [ a t t he Comique; p r e m i e r e d at t h e T h e a t r e - L y r i q u e i n 1 8 5 8 ] . - - T h e a t r e de l ' O p e r a : Debut de M. S y l v a [ i n t he t i t l e r o l e o f R o b e r t l e D i a b l e ] . - - La M u s e t t e , de Mme de G r a n d v a l . - - Les R o u s s a l k a s L b a l l e t J , de Mme l a baronne de M a i s t r e . [ Reye r does not r e v i e w t h e works by t h e s e l a d i e s ; he s i m p l y s t a t e s t h a t he heard t h e M u s e t t e and f r a g m e n t s f r om t h e b a l l e t at a ' s o i r e e a r i s t o c r a t i q u e . ' ] " F-31/05 "Revue m u s i c a l e . T h e a t r e de 1 ' Ope r a -Com ique : La P r i n c e s s e j a u n e , un a c t e , pa r MM. L o u i s G a l l e t e t C a m i l l e S a i n t - S a e n s . [ - - A few remark s on t h e C o m i q u e ' s r e v i v a l o f P o i s e ' s B o n s o i r , v o i s i n ! ( p r e m i e r e d at t he T h e a t r e - L y r i q u e i n 1 8 5 3 ) . ] — La mus ique a bon marche . [The c o s t o f t h e s c o r e o f La P r i n c e s s e j a u n e prompts Reyer t o wonder why F r e n c h s c o r e s a r e more e x p e n s i v e t h a n ' c e r t a i n e s e d i t i o n s a l l e m a n d e s ' a v a i l a b l e i n F r a n c e . ] - - F i e s q u e , o p e r a en t r o i s a c t e s , d ' a p r e s S c h i l l e r , par MM. C h a r l e s B e a u q u i e r e t E. L a l o . [ Reye r f i r s t r e v i e w s t h e s c o r e o f t h i s unpe r f o rmed o p e r a , and then r e g r e t s t h a t P a r i s no l o n g e r has a t h e a t r e wh i ch would a c c e p t such a w o r k . ] - - Le t h e a t r e de l a Monna i e . [ R e y e r s p e c u l a t e s t h a t L a l o w i l l have t o go t o B r u s s e l s i n o r d e r t o have h i s o p e r a s t a g e d . ] - - M i l e S a r o l t a . [ N o t i c e on t he c a r e e r o f a sop rano whom Reyer a d v i s e s t o go t o B r u s s e l s because t h e d i r e c t o r o f t h e P a r i s Opera would not engage h e r . ] - - La S o c i e t e ' Schumann. [ Reye r app l aud s t h e i n c l u s i o n o f q u a r t e t s by t h r e e ' j e u n e s c o m p o s i t e u r s ' ( W h i t e , H e c t o r Sa lomon, and Taudou) on t h e programs o f s i x b e n e f i t c o n c e r t s . ] — G l u c k e t P i c c i n i , pa r M. Gu s t ave D e s n o i r e s t e r r e s . [ N o t i c e on t h i s ' l i v r e t r e s i n t e r e s s a n t e t t r e s i n s t r u c t i f . ' ] " F-19/06 "Revue m u s i c a l e . [ E d i t o r i a l on v a r i o u s m a t t e r s p e r t a i n i n g t o t he Con -s e r v a t o i r e and t h e c o m p e t i t i o n f o r t h e P r i x de Rome:] Les c o n c u r r e n s pour l e p r i x de Rome. — Les c a n t a t e s . [ Reye r s u g ge s t s ' u n sys teme p l u s s i m p l e ' f o r s e l e c t i n g t h e c a n t a t a t e x t wh i ch t h e c o m p e t i t o r s a re r e -q u i r e d t o s e t t o m u s i c . - - Remarks on t he e v e n t s wh i ch had c u l m i n a t e d i n t h e d e c i s i o n t o have t h e s e t t i n g s j udged not by a newly e l e c t e d j u r y , bu t r a t h e r by members o f t he Academie des B e a u x - A r t s o f t he I n s t i t u t de F r a n c e . ] - - Les c o n c e r t s des e l e v e s du C o n s e r v a t o i r e . [A demand f o r t h e r e e s t a b l i s h i n g o f a s t u d e n t o r c h e s t r a , wh i ch would e n a b l e s t u d e n t s o f c o m p o s i t i o n t o hea r t h e i r works and t hu s t o improve t h e i r u n d e r s t a n d i n g o f t h e a r t o f i n s t r u m e n t a t i o n . ] - - Les c h e f s d ' o r c h e s t r e . [ Reye r p o i n t s out t h a t t h e c o n c e r t s o f a s t u d e n t o r c h e s t r a ' s e r v i r a i e n t d ' e c o l e p r e -p a r a t o i r e a nos c h e f s d ' o r c h e s t r e de l ' a v e n i r . ' ] — Le T h e a t r e - L y r i q u e . 595 [Comments on t h e demise o f M a r t i n e t ' s T h e a t r e - L y r i q u e de l ' A t h e n e e . ] - -Le T h e a t r e - I t a l i e n . [ E d i t o r i a l u r g i n g t h a t t h i s t h e a t r e , wh ich i s on t h e ve r ge o f b a n k r u p t c y , be t r a n s f o r m e d i n t o ' u n v e r i t a b l e t h e a t r e l y r i q u e f r a n g a i s . . . ou p o u r r o n t se p r o d u i r e des c o m p o s i t e u r s f r a n g a i s de t o u t age que l ' o n r e p o u s s e s y s t e m a t i q u e m e n t a i l l e u r s . ' ] — L ' O p e r a . [ E d i t o r i a l on t h e need t o r e v i v e ' l e r e p e r t o i r e c l a s s i q u e ' a t F r a n c e ' s n a t i o n a l l y r i c t h e a t r e . ] " F-29/06 "Revue m u s i c a l e . [ R e f l e c t i o n s o c c a s i o n e d by t h e C o n s e r v a t o i r e ' s annua l c o m p e t i t i o n s and c l o s i n g ce remony: (1) t h e need t o t r a n s f o r m t he p r o -v i n c i a l s c h o o l s o f mus i c i n t o ' c o n s e r v a t o i r e s n a t i o n a u x ' wh i ch would r e c e i v e bo th f u n d i n g and c l o s e r s u p e r v i s i o n f r o m t h e S t a t e ; (2 ) t h e n e g l e c t o f t h e s t u d y o f c e r t a i n i n s t r u m e n t s , n o t a b l y t h e b a s s o o n , c l a r i -n e t , and h a r p ; (3) t h e d e c o r a t i n g o f M. E l w a r t , a r e t i r e d p r o f e s s o r o f harmony, at t h e c l o s i n g ce remony ; and (4) t h e speech g i v e n by t h e M i n i s -t e r o f F i n e A r t s i n memory o f t h e C o n s e r v a t o i r e ' s f o r m e r d i r e c t o r , Auber (a speech w h i c h , much t o R e y e r ' s d i s m a y , was ' peu f l a t t e u s e pour l e maTt re f r a n g a i s ' ) . - - E d i t o r i a l on t h e s t a t e o f t h e Opera under i t s new d i r e c t o r , H a l a n z i e r : t h e need t o r e j u v e n a t e t h e r e p e r t o i r e ; t he l o s s o f s e v e r a l g r e a t ' c a n t a t r i c e s . ' — O b i t u a r y o f t h e composer C a r a f a . ] " F t - 1 8 / 0 8 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : R e p r i s e de L a J u i v e . [Remarks on t h e new p r o d u c t i o n a re p receded by an e d i t o r i a l p r o t e s t i n g t h a t s e v e r a l f i n e works by H a l e v y have l o n g s i n c e d i s a p p e a r e d f rom t h e ' r e p e r t o i r e c o u r a n t ' o f t h i s t h e a t r e , and, l i k e so many o t h e r works wh i ch i t n e -g l e c t s , c anno t be s t a ged at any t h e a t r e w i t h o u t p e r m i s s i o n f rom t h e O p e r a ' s d i r e c t o r . ] — Un mot a p ropos de l a Coupe du r o i de T h u l e . [Comments on t h e rumor t h a t t h e c e l e b r a t e d b a r i t o n e Faure and t he young composer D i a z ' c o l l a b o r e n t ' i n p r e p a r a t i o n f o r t h e p r e m i e r e o f t h i s work a t t h e O p e r a . ] — La r e o u v e r t u r e de 1 'Ope ra -Comique e t son programme. [Remarks on t h e r e p e r t o i r e announced f o r t h e w i n t e r s e a s o n . ] - - Les p r o -p a g a t e u r s de 1 'Ombre. [ D u r i n g t h e summer c l o s u r e o f t h e Comique, f o u r o f i t s s i n g e r s , accompan ied by a r e g i s s e u r and a c o n d u c t o r , t o u r e d F r a n c e w i t h F l o t o w ' s ' p e t i t o p e r a sans c h o e u r s . ' ] — Le T h e a t r e - I t a l i e n e t son programme. [Remarks on a r e p e r t o i r e ' q u i e m b r a s s e r a a l a f o i s l ' o p e r a e t . . . l e drame avec c h o e u r s e t e n t r ' a c t e s . ' ] - - C o n c e r t s de M. Gounod a Spa . [ A f t e r n o t i n g t h a t Gounod i s s t i l l b e i n g app l auded on f o r e i g n s o i l , Reyer hopes t h a t T i l l u s t r e m a T t r e ' w i l l soon end h i s l o n g absence f r om P a r i s . ] — I n s t i t u t i o n des Jeunes A v e u g l e s : deux c h o e u r s de M. Edouard C h a v a g n a t . [Two works by t h i s f o r m e r s t u d e n t o f t h e I n s t i t u t i o n a re a d m i r e d : ' une g rande scene avec c h o e u r s , i n t i t u l e e l e P r i n t e m p s ' ; and a men ' s c h o r u s e n t i t l e d Les C a s s e u r s de c a i l l o u x . ] - -Les m u s i c i e n s de l a ga rde de P a r i s , r e t o u r d ' A m e r i q u e . [ R e y e r comments on a t o u r wh i ch was i n t e n d e d t o p r o p a g a t e ' l a r a r e d e c o u v e r t e d ' A d o l p h e Sax : l e s t rombones e t l e s t r o m p e t t e s a s i x p i s t o n s i n d e p e n d a n s . ' ] " F-31/08 "Revue m u s i c a l e . [ E d i t o r i a l s u g g e s t i n g v a r i o u s measures t h a t t h e g o v -ernment c o u l d t a k e t o r e e s t a b l i s h and t o i n s u r e t h e s u r v i v a l o f t h e 596 T h e a t r e - L y r i q u e . Reyer c o n c l u d e s by h o p i n g t h a t C a r v a l h o , who i s t r y i n g t o r e v i v e melodrame at t h e V a u d e v i l l e , w i l l soon be e n a b l e d t o change T e n s e i g n e de l a m a i s o n . 1 ] T h e a t r e du V a u d e v i l l e : L ' A r l e s i e n n e , p i e c e en t r o i s a c t e s e t c i n q t a b l e a u x , de M. A l p h o n s e Daudet , avec e n t r ' a c t e s , c h o e u r s e t morceaux symphon iques de M. Georges B i z e t . — R e o u v e r t u r e du T h e a t r e - I t a l i e n . [ A f t e r a t t e n d i n g r e v i v a l s o f L a T r a v i a t a and L u c r e z i a B o r g i a , Reyer hopes t h a t t h e d i r e c t o r w i l l soon c h a r t a more unusua l c o u r s e , such as was p r om i sed a t t h e b e g i n n i n g o f t h e s e a s o n . ] - - Le Con -s e r v a t o i r e de M a r s e i l l e . [ R e y e r s u g ge s t s t h a t T a u t o r i t e s u p e r i e u r e ' s h o u l d t a k e s t e p s t o s e t t l e a d i s p u t e between t h e p r e f e c t and t h e m u n i -c i p a l c o u n c i l . ] - - Debut de M i l e S a n g a l l i a l ' O p e r a . [ N o t i c e on t h i s b a l l e r i n a ' s appea rance i n D e l i b e s ' s La S o u r c e . ] " F t t - 1 0 / 1 0 "Revue m u s i c a l e . [ O b i t u a r y o f ] T h e o p h i l e G a u t i e r . - - C o n c e r t s popu -l a t e s : [ E d i t o r i a l o n : (1 ) P a s d e l o u p ' s need t o have a c h o r u s a s s o c i a t -ed w i t h h i s o r c h e s t r a , so t h a t he can p r e s e n t o r a t o r i o s and o t h e r c h o r a l works b o t h ' c l a s s i q u e s e t m o d e r n e s ' ; and (2 ) t h e c on sequen t need f o r t h e C o n s e r v a t o i r e t o g i v e i n i t s c u r r i c u l u m ' une p l u s l a r g e p a r t a l a m u s i -que c l a s s i q u e , ' so as t o p roduce s i n g e r s f a m i l i a r w i t h such m u s i c . Remarks on P a s d e l o u p ' s s u b s t i t u t i o n o f t h e Oberon o v e r t u r e f o r t h a t o f R i e n z i on t h e program o f t h e most r e c e n t c o n c e r t . ] Le Rouet d ' O m p h a l e , de M. C a m i l l e S a i n t - S a e n s ; S u i t e d ' o r c h e s t r e , de M. E r n e s t G u i r a u d ; [ - - ] un q u a t u o r i n e d i t de M. Leonce F a r r e n c [ p e r f o r m e d by de Groo t and ' l e s e n f a n s F r e m e a u x ' ] . - - T h e a t r e - I t a l i e n : Debut de M i l e A l b a n i [ i n L a S o n - nambul a ] . " F t -01/11 "Revue m u s i c a l e . Seance a n n u e l l e de 1 ' A cademie des B e a u x - A r t s . [ D e -s c r i p t i o n o f t h i s p u b l i c m e e t i n g : d i s t r i b u t i o n o f t h e P r i x de Rome t o t h e w i n n e r s i n t h e v a r i o u s c a t e g o r i e s ( m u s i c , p a i n t i n g , e t c . ) ; s peech by Ambro i s e Thomas, s e c r e t a i r e p e r p e t u e l o f t h e A c a d e m i e ; pe r f o rmance o f an o v e r t u r e by Rabuteau and t h e c a n t a t a by W i n t z w e i l e r ( t h e two l a u r e a t e s who, i n 1868, had s ha red t h e ' g r a n d p r i x ' f o r m u s i c ) . ] - - C o n c e r t s p o p u -l a t e s : f r agmens de 1 ' A r l e s i e n n e , de M. Georges B i z e t [ t h e o r c h e s t r a l s u i t e drawn by t h e composer f r o m t h e i n c i d e n t a l m u s i c ] . — Le p r o j e t de M. H i p p o l y t e L e r o y . [ E d i t o r i a l e n d o r s i n g a p r o j e c t s u b m i t t e d r e c e n t l y t o t h e M i n i s t e r o f F i n e A r t s by a f o r m e r ' m e t t e u r en s c e n e ' o f t h e Opera ( a n d , c o i n c i d e n t a l l y , o u t l i n e d a few y e a r s e a r l i e r by Reyer h i m s e l f i n S o u v e n i r s d ' A l l e m a g n e and i n t h e JD F-19/11/1867 and F - 28/01/1869 ) : e v e r y y e a r , each d i r e c t o r o f a s u b s i d i z e d p r o v i n c i a l t h e a t r e s h o u l d be r e q u i r e d t o p r e m i e r e a work i n t h r e e o r more a c t s by a young F rench com-p o s e r . ] - - Mme M a r i e Sass a M a d r i d . [News o f her s u c c e s s e s i n Anna B o l e n a and Les H u g u e n o t s . ] - - Debut de M. P r une t a l ' O p e r a [ i n t he t i t l e r o l e o f F a u s t ] . - - L e o p o l d Amat. [ O b i t u a r y o f a o n c e - p o p u l a r s i n g e r and composer o f r o m a n c e s . ] - - T r o i s n o u v e l l e s p u b l i c a t i o n s de l a ma i s on P e t e r s . [ N o t i c e c o n c e r n i n g t h e f u l l s c o r e s o f F i d e l i o , F r e i s c h u ' t z , and G l u c k ' s O r p h e e . ] " F-17/11 597 "Revue m u s i c a l e . T h e a t r e - I t a l i e n : l e s Deux R e i n e s , drame en q u a t r e a c t e s , de M. E r n e s t Legouve , mus ique de M. C h a r l e s Gounod. [Reye r b e g i n s by t e l l i n g r e a d e r s t h a t , a l t h o u g h t h e p l a y has a l r e a d y been r e v i e w e d by J u l e s J a n i n (drama c r i t i c o f t h e JJJ ) , ' j ' a i e n co re q u e l q u e cho se a vous d i r e . ' R e y e r ' s r e v i e w i n c l u d e s an e d i t o r i a l on Gounod ' s fame i n Eng land and h i s c o n t i n u i n g absence f r o m F r a n c e . ] - - T h e a t r e de l ' A t h e n e e . [A b r i e f h i s t o r y o f ' c e p e t i t t h e a t r e ' f r o m t h e t i m e o f i t s f o u n d a t i o n u n t i l t h e demi se o f M a r t i n e t ' s T h e a t r e - L y r i q u e de l ' A t h e n e e . ] - - [The ' p i e c e n o u v e l l e ' a t t h e T h e a t r e de l ' A t h e n e e , wh i ch i s now d i r e c t e d by J u l e s R u e l l e : ] M o n s i e u r e t Madame T u r l u p i n , o p e r a comique en deux a c t e s , p a r o l e s de M. Cormon, mus ique de M. E. G u i r a u d . " F-30/11 "Revue m u s i c a l e . R e f l e x i o n s p r e l i m i n a i r e s . [News t h a t , f o r t he second y e a r i n a row, t h e S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e w i l l p r e s e n t e x c e r p t s f r o m L a Damnat ion de F a u s t p rompts Reyer t o u rge t h a t t h i s o r g a n i z a t i o n r e v e a l B e r l i o z ' s works i n t h e i r e n t i r e t y . ] — T h e a t r e de 1 ' O p e r a - C o m i q u e : Don C e s a r de B a z a n , o p e r a comique en t r o i s a c t e s e t q u a t r e t a b l e a u x , p a r o l e s de MM. d ' E n n e r y e t C h a n t e p i e , mus i que de M. J u l e s Ma s s ene t . - - S o c i e t e des C o n c e r t s du C o n s e r v a t o i r e : Fragmens de l a Damnat ion de F a u s t . [ S u b t i t l e b e l o n g s w i t h ' R e f l e x i o n s p r e l i m i -n a i r e s . ' J - - S a l o n s du G r a n d - H o t e l : S y m p h o n i e - c a n t a t e de M. l e v i c o m t e d ' A r n e i r o : Mme Reboux. [ V e r y b r i e f n o t i c e o f a b e n e f i t c o n c e r t g i v e n by a P o r t u g u e s e gen t l eman and amateur compose r , at wh i ch M e l a n i e Reboux was one o f t h e s o l o i s t s . ] - - [ E d i t o r i a l on t h e t h e a t r e s u b s i d i e s v o t e d by t h e ] A s semb lee N a t i o n a l e : Le r a p p o r t de M. B e u l e en f a v e u r des s u b v e n t i o n s des t h e a t r e s ; l e d i s c o u r s de M. de B e l c a s t e l c o n t r e ces memes s u b v e n t i o n s : l ' o b o l e du paysan e t l e S o u l i e r de C o r n e i l l e [an a l l u s i o n t o two o f t h e c o l o r f u l a necdo te s and metapho r s i n de B e l -c a s t e l ' s s p e e c h ] . " F-13/12 "Revue m u s i c a l e . [ E d i t o r i a l on t h e d i s t i n c t p o s s i b i l i t y t h a t ' c e p e t i t t h e a t r e de l ' A t h e n e e ' w i l l be s u b s i d i z e d and o f f i c i a l l y r e c o g n i z e d as t h e new T h e a t r e - L y r i q u e . ] T h e a t r e - L y r i q u e de l ' A t h e n e e : Dans l a F o r e t , o p e r a comique en un a c t e , p a r o l e s de M. J u l e s R u e l l e , mus ique de M. C o n s t a n t i n . [ R e v i e w i n c l u d e s a d e s c r i p t i o n o f t h e m u s i c a l c a r e e r o f C o n s t a n t i n ( c o n d u c t o r at t h e Athenee s i n c e R u e l l e became d i r e c t o r ) . - -P o s t s c r i p t : t h e s u b s i d y o f t h e Opera -Comique w i l l be i n c r e a s e d , j u s t as Reyer had hoped i n t h e f e u i l l e t o n o f 13 D e c e m b e r . ] " F-22/12 "Revue m u s i c a l e de l ' a n n e e 1872. [ T h e a t r e de l ' O p e r a : r e f l e c t i o n s on t h e r e p e r t o i r e . - - A c o l l e c t i o n o f m e l o d i e s by F a u r e , t h e O p e r a ' s c e l e -b r a t e d b a r i t o n e . - - A c o l l e c t i o n o f m e l o d i e s by Gounod. ( Rev i ew i n -c l u d e s remark s i n p r a i s e o f Gounod ' s u n s u c c e s s f u l e a r l y o p e r a , Sapho . ) - - N o t i c e s o f o t h e r c o l l e c t i o n s : Le Mecanisme des d o i g t s , by R o s e n t h a l ; L ' A g i l i t e de l a v o i x , by S a i n t - Y v e s Bax ; an album de danse by C a m i l l e S c h u b e r t . - - The c o m p l e t i o n o f Le T r e s o r des p i a n i s t e s ; Mme F a r r e n c . - -T h e a t r e - I t a l i e n : t h e need f o r a s u b s i d y ; t h e r e c e p t i o n o f Les Deux R e i n e s ; Mme l a m a r q u i s e C a r r a c c i o l o ( f o r m e r l y M i l e S c o t t i ) i n a c o n c e r t 598 a t t h e I t a l i e n . - - T h e a t r e - L y r i q u e de 1 ' A t h e n e e : Reyer a ga i n s t a t e s t h a t i t d e s e r v e s t h e s o l i c i t u d e o f t he gove rnment . - - C o n c e r t s P a s d e -l o u p : a few words on t h e r e p e r t o i r e ; t h e r e c e p t i o n o f two e x c e r p t s f r om L a l o ' s F i e s q u e . - - S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e : t h e p e r f o r -mance o f e x c e r p t s f r o m La Damnat ion de F a u s t . — T h e a t r e de 1 ' O p e r a -Comique: Reyer a p p l a u d s t h e r e p e r t o i r e . ] " F-29/12 1873 J o u r n a l des Debat s "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : La Coupe du r o i de T h u l e , o p e r a en t r o i s a c t e s e t q u a t r e t a b l e a u x , de MM. L o u i s G a l l e t e t Edouard B l a u , mus ique de M. Eugene D i a z . [The f a c t t h a t La Coupe had won t h e O p e r a ' s c o m p e t i t i o n f o r new works i n 1869 prompts Reyer t o p r e c e d e h i s r e v i e w w i t h r e f l e c t i o n s on s e v e r a l m a t t e r s : t h e c o m p e t i t i o n s h e l d a l s o by t h e Opera -Comique and t h e T h e a t r e - L y r i q u e i n 1869; t h e r e s u l t s o f a l l t h r e e c o m p e t i t i o n s ; and t h e need f o r a ' r a j e u n i s s e m e n t du r e p e r t o i r e ' at t h e O p e r a , where D i a z ' s work was t h e f i r s t new o f f e r i n g i n f i v e y e a r s . ] " F-16/01 "Revue m u s i c a l e . T h e a t r e de 1 ' Ope ra -Com ique : Romeo e t J u l i e t t e , o p e r a en c i n q a c t e s , de MM. J u l e s B a r b i e r e t M i c h e l C a r r e , mus ique de M. C h a r l e s Gounod ( r e p r i s e ) . [ Rev i ew i n c l u d e s e d i t o r i a l i z i n g on the need t o r e e s t a b l i s h t h e T h e a t r e - L y r i q u e , where Gounod ' s work had been p r e -m i e r e d i n 1867 . ] - - T h e a t r e - L y r i q u e de 1 ' A t h e n e e : M o n s i e u r P o l i c h i - n e l l e , o p e r a comique en deux a c t e s , p a r o l e s de MM. Morand e t V a t t i e r , mus ique de M. D e l e h e l l e . " F-26/01 "Revue m u s i c a l e . T h e a t r e - L y r i q u e de 1 ' A t h e n e e : R e p r i s e de l a F a n c h o n - n e t t e [by C l a p i s s o n ; p r e m i e r e d at t h e T h e a t r e - L y r i q u e i n 1 8 5 6 J . - - M. M o n j a u z e . [Comments on t h e p e r f o r m a n c e o f t h i s t e n o r , who had been one o f t h e p r i n c i p a l s a t t h e o l d L y r i q u e , l e a d t o r e f l e c t i o n s on r e c e n t p l a n s t o r e v i v e t h i s t h e a t r e . ] - - Les C r i s de P a r i s , par Georges K a s t n e r . [A scene known as ' l e s c r i s de P a r i s ' i n C l a p i s s o n ' s work r em ind s Reyer o f K a s t n e r ' s symphonie v o c a l e e t i n s t r u m e n t a l . A f t e r q u o t i n g f r o m K a s t n e r ' s p r e f a c e t o t h i s symphony, Reyer e d i t o r i a l i z e s on ' l e s c r i s du P a r i s m o d e r n e , ' wh i ch ' s o n t devenus a c t u e l l e m e n t o d i e u x , i n s u p p o r t a b l e s . ' ] — T h e a t r e de 1 ' Ope ra -Comique : R e p r i s e du P r e m i e r J o u r de bonheu r . [A few remark s on t h e p o p u l a r i t y o f A u b e r ' s w o r k . ] — M. O f f e n b a c h e t l a S o c i e t e des a u t e u r s . [ B r i e f e d i t o r i a l c o n c e r n i n g a d i s p u t e between t h i s o r g a n i z a t i o n and O f f e n b a c h , who a s p i r e s t o become d i r e c t o r o f t h e T h e a t r e de l a G a T t e . ] — Gemmy B r a n d u s . [ O b i t u a r y o f t h e mus i c p u b l i s h e r and d i r e c t o r o f t h e Revue e t G a z e t t e m u s i c a l e de P a r i s . ] " F-23/02 599 "Revue m u s i c a l e . T h e a t r e des F o i i e s - D r a m a t i q u e s : La F i l l e de Mme A n g o t , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. C l a i r v i l l e , S i r a n d i n e t K o n i n g , mus ique de M. C h a r l e s L e c o c q . - - [New p u b l i c a t i o n s : ] Methode n o u v e l l e pour l a f o r m a t i o n des v o i x , par M. M a r i e . - - N o u v e l l e methode de l a mus ique v o c a l e , par M. H i p p o l y t e D e s s i r i e r . - - T r a i t e p r a t i q u e des m a l a d i e s du pharynx e t du l a r y n x , pa r M. l e d o c t e u r M a n d l . - - Encore un mot su r l a F a n c h o n n e t t e , a p ropos de M. A u r e l e [who appea r s i n t h e r o l e o f C a n d i d e J . " F-28/02 "Revue m u s i c a l e . T h e a t r e - L y r i q u e de l ' A t h e n e e : l a Dot mal p l a c e e , o p e r a - b o u f f e en t r o i s a c t e s , p a r o l e s de M. Georges M a n c e l , mus ique de M. Pau l Lacome. — R e f l e x i o n s e t a necdo te s a p ropos des c h a n t e u r s e t des c a n t a t r i c e s . [The p r e s e n c e o f ' un g rand a i r de p r i m a d o n n a ' i n L acome ' s o p e r a - b o u f f e p rompts Reyer t o r e f l e c t on ' d e s i n c r o y a b l e s l i c e n c e s ' t a k e n by s i n g e r s who r e g a r d t h e i r r o l e s as v e h i c l e s f o r d i s p l a y s o f v i r -t u o s i t y . ] ~ C o n c e r t s du C i r q u e [ P a s d e l o u p ' s C o n c e r t s p o p u l a i r e s at t he C i r q u e d ' h i v e r ] : l a Symphonie f a n t a s t i q u e , d ' H e c t o r B e r l i o z ; [ - - ] Con -c e r t s du C o n s e r v a t o i r e : l ' o u v e r t u r e du C a r n a v a l r o m a i n . - - [ N o t i c e c o n -c e r n i n g t h e f o u n d i n g o f a ] N o u v e l l e S o c i e t e de mus ique de c h a m b r e . " F t - 09/03 "Revue m u s i c a l e . [A s h o r t n o t i c e on Bach : h i s r e p u t a t i o n i n Germany; t h e B a c h - G e s e l l s c h a f t . ] S a l l e P l e y e l : C o n c e r t pour l ' a u d i t i o n des o e u v r e s de J e a n - S e b a s t i a n B a c h , donne au p r o f i t des pauv re s de P a r i s , sous l a d i r e c t i o n de M. C h a r l e s Lamoureux. — La Q u e r e l l e de Phoebus e t de P a n , drame l y r i q u e avec r e c i t a t i f s , s o l i e t c h o e u r : M i l e M a r c u s , M i l e A d e l e M o n n i e r , M. B a t a i l l e e t M. G r i s y , de l ' O p e r a , M. Archambaud. S o l i s t e s de l a p a r t i e i n s t r u m e n t a l e : M. D e l a b o r d e , p r o f e s s e u r au Con -s e r v a t o i r e , MM. F i s s o t e t T a f f a n e l . [ Rev i ew o f t h e P a r i s i a n p r e m i e r e o f B a c h ' s c a n t a t a ( t r a n s l a t e d by Romain B u s s i n e ) . - - Comments on t he o t h e r works p r e s e n t e d at t h e Bach c o n c e r t . - - ] T h e a t r e de l ' O p e r a : Le s Hugue- n o t s , d e b u t s de MM. Leon A c h a r d e t Menu. [Remarks on t h e s e s i n g e r s a re p r e ceded by a b r i e f e d i t o r i a l r e m o n s t r a t i n g a g a i n s t t h e l i b e r t i e s t a k e n w i t h M e y e r b e e r ' s s c o r e . ] - - D e r n i e r e r e p r e s e n t a t i o n de l a Coupe du r o i de T h u l e ; d e p a r t de M. F a u r e . [ E d i t o r i a l r e g r e t t i n g ' que nous p e r s i s -t a n s a a t t a c h e r l a f o r t u n e d ' u n ouv rage aux c a p r i c e s d ' u n c h a n t e u r . ' ] " F-25/03 "Revue m u s i c a l e . C o n c e r t s de l ' O d e o n [ f ounded and c o n d u c t e d by C o l o n -n e ] : M a r i e - M a g d e l e i n e , drame s a c r e en t r o i s a c t e s e t q u a t r e t a b l e a u x , de M. L o u i s G a l l e t , mus ique de M. J u l e s M a s s e n e t ; R e d e m p t i o n , poeme sym-phon i que de M. Edouard B l a u , mus ique de M. Ce sa r F r a n c k . " F t t - 2 3 / 0 4 "Revue m u s i c a l e . Les c o n c e r t s de l a s a i s o n . [Open ing r e m a r k s : t h e t r i b u l a t i o n s e n t r e p r e n e u r s undergo i n o r d e r t o p r e s e n t a c o n c e r t a t P a r i s . - - P i a n i s t s : A n t o i n e de K o n t s k i at one o f t h e C o n c e r t s popu -l a i r e s ; t h e s e v e r a l p i a n i s t s who, i n R e y e r ' s o p i n i o n , a r e among t he g r e a t e s t o f t h e ' e p o q u e ' ; c o n c e r t s o f A l f r e d J a e l l ; D e l a h a y e , p i a n i s t f o r t h e S o c i e t e Schumann; D e l a b o r d e and F i s s o t , p i a n i s t s f o r L a m o u r e u x ' s 600 Seances p o p u l a i r e s de mus ique de chambre . — The new l y f ounded S o c i e t e c l a s s i q u e : p e r s o n n e l ; n o t e w o r t h y p e r f o r m a n c e s ( e x c e r p t s f r o m B e r l i o z ' s L ' E n f a n c e du C h r i s t , and an a l l e g r e t t o f o r s t r i n g q u i n t e t and wind i n s t r u m e n t s by t h e l a t e A l e x i s de C a s t i l l o n ) . - - The newly f o u n d e d S o c i -e t e de mus ique de chambre: p e r s o n n e l ; r e p e r t o i r e . - - The p i a n i s t s D e l a -b o r d e , PI a n t e , and R i t t e r . - - C o n c e r t o f works by H e n r i K e t t e n . - - M u s i c by t h e l a t e Leon K r e u t z e r at a ' c o n c e r t avec c h o e u r s e t o r c h e s t r e . ' — Mus i c by J e a n - B a p t i s t e W e k e r l i n at t h r e e ' c o n c e r t s a o r c h e s t r e . ' - -C h o r a l mus i c at a c o n c e r t o f t h e S o c i e t e d ' a m a t e u r s . - - H e n r i Loge ( p i a n i s t ) . - - B r i e f r emark s on o t h e r c o n c e r t s : a q u i n t e t by Auzende ; A r ved P o o r t e n ( c e l l i s t ) ; B o u r g a u l t - D u c o u d r a y ' s c h o r a l s o c i e t y . - - ' L a mus ique mode rne ' on t h e programs o f t h e C o n c e r t s p o p u l a i r e s . ] " F-03/05 "Revue m u s i c a l e . T h e a t r e - L y r i q u e de 1 ' A t h e n e e : La G u z l a de 1 ' e m i r , o p e r a comique en un a c t e , p a r o l e s de MM. J u l e s B a r b i e r e t M i c h e l C a r r e , mus ique de M. Theodore D u b o i s . [ R e v i e w i s i n t r o d u c e d by a s h o r t n o t i c e on t h e c a r e e r o f t h i s f o r m e r w i n n e r o f t h e P r i x de Rome.] — [ A n o t h e r p r e m i e r e at t h e A t h e n e e : ] N inon e t N i n e t t e , o p e r a comique en un a c t e , p a r o l e s de M i l e Hermance L e s g u i l l o n , mus ique de M. P e n a v a i r e . [ - - ] T h e a t r e de l ' O p e r a : G r e t n a - G r e e n , b a l l e t - p a n t o m i m e en un a c t e , de MM. N u i t t e r e t M e r a n t e , mus ique de M. E. G u i r a u d . [ - - ] A p p e n d i c e aux c o n -c e r t s de l a s a i s o n [ i . e . , a supp lement t o t h e p r e c e d i n g f e u i l l e t o n ] : l a Jeanne d ' A r c de M. P f e i f f e r [ p e r f o r m e d at t h e S a l l e P l e y e l by t h e o r c h e s t r a o f J u l e s Danbe ] , l a Be r ceu se de M. Leonce F a r r e n c , un s c h e r z o de M. V a u c o r b e i l , une marche e t une romance pour c l a r i n e t t e par M. Taudou [ a l l o f w h i c h were p r e s e n t e d at Danbe ' s c o n c e r t s i n t he d i n i n g room o f t h e G r a n d - H o t e l ] . — P u b l i c a t i o n s d i v e r s e s : [ a Mass and o t h e r works by ] M i l e H. W i l d , [ f o u r m e l o d i e s by ' une femme du m e i l l e u r monde' who w r i t e s under t h e pseudonym] M. Pau l Du ra s , [ D i x t r a n s c r i p t i o n s c l a s - s i q u e s f o r f l u t e and p i a n o by ] M. T a f f a n e l . " F-17/05 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : R e p r i s e du F r e i s c h u ' t z [as a c u r t a i n - r a i s e r f o r G u i r a u d ' s b a l l e t G r e t n a - G r e e n ] . - - [ D a n b e ' s ] C o n c e r t s du G r a n d - H o t e l : l a V i e d ' u n e r o s e , de R o b e r t Schumann. [ Rev i ew o f t h e P a r i s i a n p r e m i e r e o f Pe r Rose P i l g e r f a h r t , t r a n s l a t e d by V i c t o r W i l d e r . ] - - T h e a t r e de 1 ' O p e r a - C o m i q u e : Le Ro i l ' a d i t , o p e r a comique en t r o i s a c t e s , poeme de M. G o n d i n e t , mus ique de M. O e l i b e s . [ - - N o t i c e o f t h e p u b l i c a t i o n o f a v e r s i o n ' p o u r p i a n o s e u l ' o f E m i l e P e s s a r d ' s o p e r a comique La C ruche c a s s e e . ] " F-29/05 "Revue m u s i c a l e . [ T h e a t r e - L y r i q u e de 1 ' A t h e n e e : P i e r r o t Fantome, l i b r e t t o by D u b r e u i l and S t a p l e a u x , mu s i c by L i o n e l (pseudonym of t he B e l g i a n composer V e r c k e n ) . - - B r i e f e d i t o r i a l on p l a n s f o r r e v i v i n g t h e T h e a t r e - I t a l i e n : B a g i e r ' s p r o s p e c t u s ; S t r a k o s c h ' s p r o s p e c t u s . ] " F-29/06 "Revue m u s i c a l e . [A l e t t e r f r om a r e s i d e n t o f B e n a r e s , I n d i a , c o n c e r n -i n g a pagoda c o n s e c r a t e d t o m u s i c . (Reye r uses t h i s f i c t i t i o u s l e t t e r 601 t o c r i t i c i z e c o n t e m p o r a r y p r a c t i c e s a t t h e P a r i s Ope r a . ) ~ News c o n -c e r n i n g t h e f o r t h c o m i n g m u s i c a l season a t C a i r o : p r i n c i p a l s and r e p e r -t o i r e o f t h e T h e a t r e - I t a l i e n ; r e p e r t o i r e o f t h e T h e a t r e - F r a n g a i s . — A b r i e f e d i t o r i a l p r o t e s t i n g t h e f a c t t h a t ATda has not y e t been s t a ged a t P a r i s l e a d s t o remark s we l com ing S t r a k o s c h ' s announcement t h a t t h i s work w i l l be among h i s f i r s t o f f e r i n g s when he r eopen s t h e T h e a t r e - I t a l i e n . - - Comments on t h e O p e r a ' s t r e a t m e n t o f Le P r e n e u r de r a t s , a b a l l e t s c e n a r i o w r i t t e n by T h e o p h i l e G a u t i e r s h o r t l y b e f o r e h i s d e a t h . — E d i -t o r i a l c a l l i n g upon t h e F r e n c h government t o encou rage composer s o f l a r g e - s c a l e c o n c e r t works by b u i l d i n g a c o n c e r t h a l l s u i t a b l e f o r such w o r k s , and by p r o v i d i n g a s u b s i d y f o r ' u n p e r s o n n e l d ' i n s t r u m e n t i s t e s e t de c h a n t e u r s qu i ne s o i e n t p o i n t r e c r u t e s au h a s a r d . ' — N o t i c e : b e f o r e t h e T h e a t r e - L y r i q u e de l ' A t h e n e e c l o s e s , i t w i l l p r e m i e r e a s m a l l ' p i e c e ' e n t i t l e d R o y a l - C h a m p a g n e . ] " F t - 2 9 / 0 6 " L ' A l s a c e . - - Les Vo s ge s . S o u v e n i r s r e t r o s p e c t i f s e t no te s de voyage . [ Reye r d e s c r i b e s h i s f i n a l v i s i t t o A l s a c e and t h e Vosges M o u n t a i n s , w h i c h F r a n c e had ceded t o Germany a f t e r t h e F r a n c o - P r u s s i a n W a r . ] " * F t - 2 0 / 0 9 " L ' A l s a c e . — Les Vo sge s . S o u v e n i r s r e t r o s p e c t i f s e t no te s de v o yage . ( S u i t e e t f i n . - - V o i r l e Numero d ' h i e r . ) " . * F t - 2 1 / 0 9 "Revue m u s i c a l e . [Remarks on t h e impend ing r e s u r r e c t i o n o f t h e T h e a t r e -I t a l i e n . - - E d i t o r i a l : t h e l a t e s t p l a n t o r e v i v e t h e T h e a t r e - L y r i q u e , and ' l a s i t u a t i o n a c t u e l l e ' a t t h e s u b s i d i z e d l y r i c t h e a t r e s . — T h e a t r e de l ' O p e r a : t h e r e t u r n o f Fau re i n a r e v i v a l o f D i a z ' s La Coupe du r o i de T h u l e . - - Comments on t h e O p e r a ' s t r e a t m e n t o f two young compo se r s : Mermet and D u p r a t . - - R e f l e c t i o n s on t h e f a t e s o f t h e t h r e e o p e r a s wh i ch had won t h e l y r i c t h e a t r e s ' c o m p e t i t i o n s f o r new works i n 1869: L a Coupe du r o i de T h u l e ( p r e m i e r e d at t h e Opera i n 1 873 ) ; Ph i 1 i p p o t ' s Le M a g n i f i q u e ( s t i l l a w a i t i n g p r o d u c t i o n w h i l e t h e home o f t h e T h e a t r e -L y r i q u e i s b e i n g r e b u i l t ) ; L e n e p v e u ' s Le F l o r e n t i n ( f i n a l l y i n r e h e a r s a l a t t h e O p e r a - C o m i q u e ) . - - A few comments on t h e r e b u i l d i n g o f t h e T h e a t r e - L y r i q u e and t h e r e o p e n i n g o f t h e T h e a t r e - L y r i q u e de l ' A t h e n e e . - - The Concour s C r e s s e n t ( e s t a b l i s h e d by an endowment f rom a decea sed m u s i c - l o v e r ) : t h e te rms o f t h i s t r i e n n i a l c o m p e t i t i o n f o r new o p e r a s by F r ench c o m p o s e r s ; a b r i e f e d i t o r i a l on c o m p e t i t i o n s i n g e n e r a l and t h e Concou r s C r e s s e n t i n p a r t i c u l a r . ] " F-27/09 "Revue m u s i c a l e . T h e a t r e - I t a l i e n . - - R e o u v e r t u r e : [Don P a s q u a l e , ] 11 B a r b i e r e d i S i v i g l i a , R i g o l e t t o , II T r o v a t o r e . R e n t r e e de M i l e K r a u s s , de MM. Z u c c h i n i , D e l l e - S e d i e e t B r i g n o l i . Debuts de M i l e s Anna de B e l l o c a , T a g l i a n a , Lombia [ m i s s p e l l i n g o f ' L o r m i a ' ] , [and M a r i e B e l v a l , ] de MM. P a d i l l a , B e n f r a t e l l i e t V i l l a . [ — ] T h e a t r e de l ' O p e r a . — Debuts de M i l e F e r r u c c i , dans l e s Hugueno t s , e t de M i l e V i d a l , dans Don J u a n . [Ap ropo s o f bo th w o r k s , Reyer adds a b r i e f e d i t o r i a l p r o t e s t i n g ' l e s l i c e n c e s qu i se p e r m e t t e n t c e r t a i n s c h a n t e u r s . ' — ] T h e a t r e de 602 1 1 Ope ra -Com ique . - - R e p r i s e de R i c h a r d C o e u r - d e - L i o n . [ R e v i e w i s p r e -ceded by remark s on G r e t r y ' s i n s t r u m e n t a t i o n . — J P r e m i e r C o n c e r t p o p u -l a t e de l a s a i s o n . [Comments on t h e s u c c e s s o f M a s s e n e t ' s S u i t e d ' o r c h e s t r e ( f r om h i s i n c i d e n t a l mus i c t o Les E r i n n y e s ) . ] " F-21/T0 "Revue m u s i c a l e . T h e a t r e - L y r i q u e de 1 ' A t h e n e e : R e p r i s e du B i j o u p e r d u . [D raw ing on a s e r i a l i z e d s t u d y o f A d o l p h e Adam by A r t h u r P o u g i n , Reyer t e l l s how B i j o u came t o be w r i t t e n f o r M a r i e Cabe l i n 1 853 . ] — Mme M a r i e C a b e l . - - L R e y e r ' s r e c o l l e c t i o n s o f t h i s s op rano l e a d t o ] L ' E c o l e du p e t i t c h i e n [ a w i t t y s a l l y f r om B e r l i o z ' s A t r a v e r s c h a n t s ] . - - M i l e S i n g e l e e [ i n t h e r o l e w r i t t e n f o r C a b e l ] . ~ L a Dot mal p l a c e e e t l e s a f f a i r e s d ' E s p a g n e . [Humorous r emark s on t h e A t h e n e e ' s r e v i v a l o f L a come ' s o p e r a - b o u f f e , wh i ch i s s e t i n S p a i n . — ] R e o u v e r t u r e des C o n c e r t s p o p u l a i r e s [ w i t h M a s s e n e t ' s S u i t e d ' o r c h e s t r e ( f r om Les E r i n n y e s ) , two songs by G l i n k a , Schumann ' s Symphony i n D M i n o r , and t h e s c h e r z o f r om J o a c h i m R a f f ' s symphony Im M a l d e ] , - - M. J o a c h i m R a f f . [A n o t i c e on h i s l a r g e m u s i c a l o u t p u t and h i s r e p u t a t i o n i n Germany. ] - -[ O t h e r mus i c p r e s e n t e d a t t h e C o n c e r t s p o p u l a i r e s : Marche by S a i n t -Saen s , and] La deux ieme p a r t i e de Romeo e t J u l i e t t e , d ' H e c t o r B e r l i o z . " F-28/10 "Revue m u s i c a l e . L ' O p e r a . [The home o f t h e Opera (on t h e r u e Le P e l e -t i e r ) has b u r n e d , and Reyer ponder s ways t o ' a t t e n u e r a u t a n t que p o s -s i b l e l e s con sequence s d ' u n g rand m a l h e u r . ' ] — T h e a t r e de l a G a T t e : Jeanne d ' A r c [drama by B a r b i e r , i n c i d e n t a l mus i c by Gounod; Reyer l e a v e s t h e a n a l y s i s o f B a r b i e r ' s work t o C lement C a r a g u e l , drama c r i t i c o f t h e D e b a t s ] . La p a r t i t i o n de M. Gounod. - - T h e a t r e de 1 ' Ope ra -Comique : [ ' q u e l q u e s l i g n e s * a b o u t ] l e s T r o i s S o u h a i t s , un a c t e de M. J u l e s A d e n i s , mus ique de M. F e r d i n a n d P o i s e . - - R e p r i s e de 1 ' A m b a s s a d r i c e . Mme C a r v a l h o . [ N o t i c e on her s u c c e s s i n t h e C o m i q u e ' s r e v i v a l o f ' u n des p l u s charmans ouv r a ge s d ' A u b e r . ' ] " F-14/11 "Revue m u s i c a l e . La q u e s t i o n de l ' O p e r a . [The f a t e o f t h e company r e m a i n s u n d e c i d e d . Reyer d e c l a r e s t h a t he w i l l d i s c u s s t h e q u e s t i o n a f t e r he has had more t i m e t o g a t h e r i n f o r m a t i o n and i d e a s . ] ~ T h e a t r e - I t a l i e n : Don G i o v a n n i e t l a Norma: M i l e K r a u s s , M. Pad i l i a , M. D e b a s s i n i . - - Academie des B e a u x - A r t s , seance a n n u e l l e : La c a n t a t e c o u r o n n e e , p a r o l e s de M. de L a u z i e r e s [ a f t e r B y r o n ' s " M a z e p p a " ] , mus ique de M. Pau l P u g e t . [ R e v i e w i n c l u d e s a n o t i c e on M. E h r h a r t , one o f P u g e t ' s c o m p e t i t o r s f o r t h e P r i x de Rome.] - - P u b l i c a t i o n de l ' o e u v r e de G l u c k . [ R e y e r f i r s t announces t h a t B e r t h o l d Damcke and Fanny P e l l e t a n have u n d e r t a k e n a c r i t i c a l e d i t i o n o f G l u c k ' s o p e r a s , and t h e n comments b r i e f l y on t h e f i r s t f r u i t o f t h e i r e f f o r t s : I p h i g e n i e en A u l i d e . ] ~ C o n c e r t N a t i o n a l : Scenes p i t t o r e s q u e s de M. J u l e s M a s s e n e t . - - M. C o l o n n e [ c o n d u c t o r o f t h e C o n c e r t N a t i o n a l , w h i c h has j u s t moved f r o m t h e Odeon t o t h e C h a t e l e t ] . " F-25/11 603 "Revue m u s i c a l e . T h e a t r e de 1 1 O p e r a - C o m i q u e : MaTt re Wo l f ram ( r e -p r i s e ) . [ B e f o r e a s s e s s i n g t h i s p r o d u c t i o n o f h i s e a r l y o p e r a c o m i q u e , Reyer r e c a l l s how t h e l i b r e t t o had been c r e a t e d by s e v e r a l p oe t s and w r i t e r s whom he had known.] - - C o n c e r t s p o p u l a i r e s : Im Wa lde , symphon ie de M. J o a c h i m R a f f [ p e r f o r m e d i n i t s e n t i r e t y ] . — C o n c e r t N a t i o n a l : Ruth e t Booz , o r a t o r i o de M. Ce s a r F r a n c k . — [A p r e m i e r e at t h e C o n c e r t N a t i o n a l : ] " Phaeton , poeme symphonique de M. C a m i l l e S a i n t - S a e n s . - -C o n c e r t s du C o n s e r v a t o i r e : La 3 e p a r t i e de Romeo e t J u l i e t t e , d ' H e c t o r B e r l i o z . — Le q u a t u o r de M. D e l o f f r e e t l e q u a t u o r de M. L u i g i n i . [ B o t h works were ' c o u r o n n e s par l a S o c i e t e des c o m p o s i t e u r s de m u s i q u e . ' ] - - L ' o r c h e s t r e f e m i n i n v i e n n o i s . [ S u b t i t l e i s e r r o n e o u s ; no such o r c h e s t r a i s men t i oned i n t h e t e x t . ] - - R e c u e i l de douze m e l o d i e s , p a r M. V i c t o r M a s s e . " F f - 1 3 / 1 2 1874 J o u r n a l des Debats "Revue m u s i c a l e . L ' O p e r a au T h e a t r e - I t a l i e n . [The company o f t h e Opera i s t e m p o r a r i l y i n s t a l l e d at t h e S a l l e V e n t a d o u r , and Reyer r e f l e c t s on s e v e r a l a s p e c t s o f t h e s i t u a t i o n : t h e r e a s o n s f o r c h o o s i n g t he V e n t a -d o u r ; H a l a n z i e r ' s ' d i r e c t e u r de l a s c e n e , ' C a r v a l h o ; changes i n t h e r o s t e r o f p r i n c i p a l s ; Don Juan as t h e company ' s f i r s t p r o d u c t i o n at t h e V e n t a d o u r ; t h e sum r e q u i r e d t o c o m p l e t e t h e O p e r a ' s f u t u r e home, t h e P a l a i s G a m i e r . ] - - Le M e s s i e , de H a e n d e l , au C i r q u e des Champs-E l y s e e s . [ B e f o r e r e v i e w i n g t h i s P a r i s i a n p r e m i e r e ( c o n d u c t e d by Lamou-r e u x ) , Reyer c o n t r a s t s t he p o p u l a r i t y o f o r a t o r i o i n Eng l and w i t h t h e n e g l e c t o f t h e gen re i n F r a n c e . ] - - R e c u e i l de v i n g t m e l o d i e s , pa r M. Georges B i z e t [ c o m p r i s e d m a i n l y o f ' m e l o d i e s q u i ont d e j a pa ru s e p a r e -m e n t ' and f r a g m e n t s f r o m some o f h i s o p e r a s and i n c i d e n t a l m u s i c ] . — R e c u e i l de m e l o d i e s , pa r M. An tony de Choudens [some o f wh i ch had a l -r e a d y been p u b l i s h e d ] . [ - - ] T h e a t r e - I t a l i e n : Le C e n e r e n t o l a . " F-25/01 "Revue m u s i c a l e . Le s p e c t r e de P a g a n i n i . [ Reye r wonders whethe r t h e t a l e n t o f a c e r t a i n I r i s h v i o l i n i s t w i l l j u s t i f y h i s b e i n g b i l l e d as ' l e s p e c t r e de P a g a n i n i . ' ] - - C o n c e r t o de v i o l o n de M. E. L a l o , e x e c u t e par M. S a r a s a t e . [ R e y e r a s s e s s e s bo th L a l o ' s work and t he p l a y i n g o f S a r a -s a t e , who p r e m i e r e d i t at one o f C o l o n n e ' s C o n c e r t s du C h a t e l e t . ] — [ D ' I n d y ' s Les P i c c o l o m i n i and T e n - B r i n c k ' s La S u i t e d ' o r c h e s t r e a t P a s -d e l o u p ' s ] C o n c e r t s du C i r q u e e t [ e x c e r p t s f r om A l b e r t C a h e n ' s ' d rame b i b l i q u e ' Jean l e P r e c u r s e u r a t C o l o n n e ' s ] c o n c e r t s du C h a t e l e t . [ — Reye r p r i n t s a t e l e g r a m d e s c r i b i n g t h e t r i u m p h o f Gounod ' s M i r e i l l e a t S t . P e t e r s b u r g . ] - - Le F l o r e n t i n e t l e b u s t e de M. Lenepveu " [Ap ropos o f t h e work wh i ch had won t h e O p e r a - C o m i q u e ' s c o m p e t i t i o n i n 1869, Reyer o b s e r v e s t h a t t h e r e h e a r s a l s 'ma r chen t l e n t e m e n t , ' and t h a t t h e com-p o s e r , ' i m p a t i e n t de l a renommee qu i 1 ' a t t e n d , v i e n t d ' e x p o s e r son b u s t e chez un e d i t e u r de m u s i q u e . ' ] - - T h e a t r e - I t a l i e n : Le A s t u z i e f e m m i n i l i , de C i m a r o s a . [ Rev i ew i n c l u d e s a n o t i c e on t h e ope ra s o f t h i s ' g e n i e 604 a i m a b l e , 1 whose ' d e l i c i e u s e s i m p r o v i s a t i o n s m u s i c a l e s ' were r a r e l y s t a g e d a t P a r i s . ] " F-08/02 "Revue m u s i c a l e . [ ' R e f l e x i o n s p r e l i m i n a i r e s ' c o n c e r n i n g t h e c o m p e t i -t i o n s f o r new works s pon so red i n 1869 by t h e Ope ra , Ope ra -Comique , and T h e a t r e - L y r i q u e : Reyer r e i t e r a t e s h i s c o n v i c t i o n t h a t ' l e s r e s u l t a t s ob tenu s ne s on t pas p r o p o r t i o n n e s aux e f f o r t s qu i se son t f a i t . . . pour l e s o b t e n i r . ' ] T h e a t r e de 1 ' O p e r a - C o m i q u e : l e F l o r e n t i n , o p e r a comique en t r o i s a c t e s ; p a r o l e s de M. de S a i n t - G e o r g e s , mus ique de M. L enepveu . — T h e a t r e de 1 ' Odeon : M a r i e - M a g d e l e i n e , drame s a c r e en q u a t r e p a r t i e s ; poeme de M. L o u i s G a l l e t , mus ique de M. J . M a s s e n e t . [ T h i s p e r f o r m a n c e , l i k e t h e p r e m i e r e i n 1873, was g i v e n by C o l o n n e ' s c o n c e r t s o c i e t y . Reyer n o t e s t h a t t h i s second s u c c e s s o f M a s s e n e t ' s work has prompted t h e d i r e c t o r o f t h e Opera -Comique ( C a m i l l e du L o c l e ) t o put h i s t h e a t r e and p e r s o n n e l at t h e c o m p o s e r ' s d i s p o s a l f o r t he n e x t p e r f o r m a n c e . ] " F-01/03 "Revue m u s i c a l e . S o c i e t e des C o n c e r t s du C o n s e r v a t o i r e : M i l e S t e r n b e r g [ F r e n c h s o p r a n o ; s o l o i s t at a c o n c e r t wh i ch f e a t u r e d e x c e r p t s f r om O rphee , L a V e s t a l e , and F i d e l i o ] . - - C o n c e r t s p o p u l a i r e s : Les t r o i s o u v e r t u r e s de MM. Georges B i z e t , Mas senet e t G u i r a u d . [ A l l t h r e e works ( B i z e t ' s P a t r i e , M a s s e n e t ' s o v e r t u r e i n s p i r e d by R a c i n e ' s P h e d r e , and G u i r a u d ' s O u v e r t u r e de c o n c e r t ) were commi s s i oned by P a s d e l o u p , as Reyer e x p l a i n s i n h i s r e v i e w . ] - - C o n c e r t s du C h a t e l e t . — L a Marche t r o y e n n e , d ' H e c t o r B e r l i o z [ t h e c o m p o s e r ' s o r c h e s t r a l a r rangement o f t he T r o j a n Ma r ch , p e r f o r m e d at one o f t h e C o n c e r t s du C h a t e l e t ] . — [On t he same C h a t e l e t p r o g r a m : ] M. C a m i l l e S a i n t - S a e n s . [ H i s Rouet d 'Ompha le was p e r f o r m e d , and he p l a y e d t h e s o l o p i a n o p a r t i n an o r c h e s t r a l F a n t a i s i e by L i s z t . ] - - S o c i e t e de mus ique de chambre : MM. Taudou, D e s j a r d i n s , L e f o r t , Rabaud. [ Rev i ew o f t h e most r e c e n t seance o f t h i s s o c i e t y , w h i c h was b e g i n n i n g i t s second y e a r o f e x i s t e n c e . ] — Mme M a s s a r t [ a s g ue s t p i a n i s t w i t h t h e S o c i e t e de mus ique de c h a m b r e ] . - - F o u n d a t i o n Moza r t i n t e r n a t i o n a l a S a l z b o u r g . [ D e s c r i p t i o n o f t h e pu rpo se s and c a t e g o r i e s o f members o f t h i s new l y f ounded o r g a n i z a t i o n . ] " F-15/03 "Revue m u s i c a l e . [Remarks on Mme C a r v a l h o ' s r enewa l o f her c o n t r a c t w i t h t h e Ope ra -Comique , w h i c h w i l l r e v i v e Gounod ' s M i r e i l l e f o r h e r . - - ] T h e a t r e de 1 ' O p e r a - C o m i q u e : M a r i e - M a g d e l e i n e , drame s a c r e , de M. L o u i s G a l l e t , mus ique de M. J u l e s Mas senet ( l r e a u d i t i o n ) . [ I n t h e r e v i e w o f t h i s c o n c e r t p e r f o r m a n c e by t h e a r t i s t s o f t h e Comique, Reyer r e g r e t s a g a i n ' q ue nous n ' a y o n s a P a r i s un l o c a l , une a d m i n i s t r a t i o n , un p e r s o n -n e l s p e c i a l e m e n t a f f e c t e s a 1 ' e x e c u t i o n des o r a t o r i o s , des drames s a c r e s e t des s y m p h o n i e s . ' ] - - Mme C a r v a l h o , M. Bouhy [ two o f t h e s o l o i s t s i n M a r i e - M a g d e l e i n e ] . - - C o n c e r t s p o p u l a i r e s : La M a d e l e i n e au d e s e r t , s cene pour v o i x e t o r c h e s t r e : [ t e x t by Edouard B l a u , mus i c by R e y e r , who d e v o t e s h i s r e v i e w t o B l a u ' s v e r s e s and t o t h e p e r f o r m a n c e o f t h e 605 s o l o i s t , Bouhy. — ] M. Hen r i L oge . [ Rev i ew o f a s o i r e e m u s i c a l e g i v e n by t h i s t w e n t y - y e a r - o l d p i a n i s t . ] " F-31/03 "Revue m u s i c a l e . [Open i ng r ema rk s c o n c e r n i n g t h e p r o l i f e r a t i o n o f c o n -c e r t s and t h e i n a t t e n t i v e n e s s o f many c o n c e r t - g o e r s . - - S o c i e t e des c o n -c e r t s du C o n s e r v a t o i r e : e x c e r p t s f r o m La P a s s i o n s e l o n s a i n t M a t t h i e u ( t r a n s l a t e d by C h a r l e s B a n n e l i e r ) , c o n d u c t e d by C h a r l e s Lamoureux. Rev iew i n c l u d e s e d i t o r i a l i z i n g on t h e need t o t e a c h s i n g e r s t o r e s p e c t a c o m p o s e r ' s t e x t , as i s done i n t h e c l a s s o f M. S a i n t - Y v e s Bax, a p r o f e s -s o r at t h e C o n s e r v a t o i r e . - - C o n c e r t s p i r i t u e l c o n d u c t e d by P a s d e l o u p on Good F r i d a y : P a r t I o f a S t a b a t Ma te r by B o u r g a u l t - D u c o u d r a y ; mus i c by B e e t h o v e n , G l u c k , and P a g a n i n i . Reyer app l aud s P a s d e l o u p f o r f o u n d i n g a c h o r u s o f two h u n d r e d , w h i c h w i l l be a permanent ' a u x i l i a i r e ' t o t h e C o n c e r t s p o p u l a i r e s . — C o n c e r t s at t h e C o n s e r v a t o i r e on Good F r i d a y and E a s t e r Sunday: mus i c by M o z a r t , G l u c k , M e n d e l s s o h n , H a l e v y , P e r g o l e s i , Weber, B e e t h o v e n , and B e r l i o z . — A few remark s on a c o n c e r t g i v e n by t h e p i a n i s t - c o m p o s e r Leybach ' p o u r 1 ' a u d i t i o n de ses o e u v r e s . ' - - Rev iew o f an o r c h e s t r a l c o n c e r t : Eugene S a u z a y ' s s e t t i n g o f t h e i n t e r m e d e s o f M o l i e r e ' s Georges D a n d i n ; t h e a d a g i o f r o m M i l e L o u i s e B e r t m ' s T h i r d Symphony. - - O b i t u a r y o f t h e c l a r i n e t i s t Edouard de G r o o t . ] " F-21/04 "Revue m u s i c a l e . P r o j e t de t r a n s f o r m a t i o n du t h e a t r e du C h a t e l e t en t h e a t r e l y r i q u e . [Rumors o f such a p r o j e c t prompt Reyer t o c o n s i d e r s e v e r a l i s s u e s : an a p p r o p r i a t e r e p e r t o i r e ; t h e need t o a s semb le a com-pany o f ' g r a n d s a r t i s t e s ' ; t h e q u a l i f i c a t i o n s f o r t h e p o s i t i o n o f d i r e c -t o r ; and t h e r o l e o f t h e government i n t h e e s t a b l i s h i n g and s u p e r v i s i n g o f t h e t h e a t r e . ] — T h e a t r e de l ' O p e r a : Debut de M i l e Fouquet [ i n G u i l l a u m e T e l l ] . — T h e a t r e de 1 ' O p e r a - C o m i q u e : l r e r e p r e s e n t a t i o n de G i l l e e t G i l l o t i n , o p e r a comique en un a c t e , p a r o l e s de M. Thomas S a u -v a g e , mus ique de M. A m b r o i s e Thomas. " F-30/04 "Revue m u s i c a l e . C o n s e r v a t o i r e de Mus ique e t de D e c l a m a t i o n : E x e r c i c e s des e l e v e s . [ Reye r welcomes t h e r e e s t a b l i s h i n g o f t h e s e s t u d e n t c o n -c e r t s , and hopes f o r a r e v i v a l o f t h e c o n c e r t s d ' e m u l a t i o n ( p r e s e n t e d by a s t u d e n t o r c h e s t r a and ' d e s t i n e e s . . . a f o r m e r des c h e f s d ' o r c h e s -t r e ' ) . Rev iew o f t h e f i r s t s t u d e n t c o n c e r t o f t h e y e a r : a program o f e i g h t e e n t h - and e a r l y n i n e t e e n t h - c e n t u r y s a c r e d , o r c h e s t r a l , and chamber m u s i c , as w e l l as e x c e r p t s f r o m o p e r a s . ] — Seance de mus ique de p i a n o avec accompagnement d ' o r c h e s t r e : M. F r a n c i s PI a n t e ; p a r t i e v o c a l e : Mme C a r v a l h o e t M. D i a z de S o r i a . [ R e v i e w o f a b e n e f i t c o n c e r t f e a t u r i n g v o c a l s o l o s and d u e t s , and mus i c f o r p i a n o s o l o as w e l l as p i a n o w i t h o r c h e s t r a , by composer s r a n g i n g f r o m B o c c h e r i n i and G l u ck t o Schumann and L i s z t . ] - - Le c o n s e i l m u n i c i p a l de M a r s e i l l e et l e C o n s e r v a t o i r e . [ B r i e f e d i t o r i a l on t h e c o u n c i l ' s d i s m i s s a l o f bo th Augu s te M o r e l , who had l o n g been d i r e c t o r o f t h e C o n s e r v a t o i r e , and M. T h u r n e r , ' un des m e i l l e u r s p r o f e s s e u r s . ' ] - - M. Augu s te M o r e l . [ Reye r recommends M o r e l ' s Symphony i n C t o t h e a t t e n t i o n o f P a s d e l o u p . ] - - T h e a t r e de l a N o u v e l l e -606 O r l e a n s : F a u s t , Mme F u r s c h - M a d i e r . [ T h i s s o p r a n o , who, i n R e y e r ' s o p i n i o n , was no t f u l l y a p p r e c i a t e d at t h e P a r i s Ope ra , has a c h i e v e d g r e a t s u c c e s s a b r o a d ; he quo te s e x c e r p t s f r o m newspapers p u b l i s h e d at New O r l e a n s and London . ] - - T h e a t r e de 1 ' O p e r a - C o m i q u e : Les Noces de F i g a r o , Mme C a r v a l h o [ a s t h e c o u n t e s s ] , M i l e B r e t o n [mak i ng her debut as C h e r u b i n o ] . - - [New p u b l i c a t i o n : ] L a Jonque des Amans, chanson j a p o -n a i s e , de M. Armand G o u z i e n . " F-17/05 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Le C e r i s i e r , o p e r a comique en un a c t e , p a r o l e s de M. J u l e s P r e v e l , mus ique de M. J u l e s D u p r a t o . [ Rev i ew i n c l u d e s a n o t i c e on t h e t w e n t y - y e a r c a r e e r o f t h i s f o r m e r w i n n e r o f t h e P r i x de Rome.] - - La Messe de Requ iem, de M. V e r d i . [Remarks on C a m i l l e du L o c l e ' s p l a n t o g i v e t h e P a r i s i a n p r e -m i e r e o f t h i s work on t h e s t a g e o f t h e O p e r a - C o m i q u e . ] ~ Le T h e a t r e du C h a t e l e t e t l e s j e u n e s c o m p o s i t e u r s . [ Reye r e x p l a i n s why he had s t a t e d t h a t a new l y r i c t h e a t r e s h o u l d not be ' e x c l u s i v e m e n t c o n s a c r e aux j e u n e s c o m p o s i t e u r s ' (JD F - 3 0 / 0 4 ) . ] " F-24/05 "Revue m u s i c a l e . S a l l e du C o n s e r v a t o i r e : A u d i t i o n des e n v o i s de Rome: Le Pa s sage de l a mer Rouge, o r a t o r i o , p a r o l e s de M. L u c i e n Auge , mus ique de M. R a b u t e a u . — S u i t e symphonique e t Psaume, de M. C h a r l e s L e f e b v r e . [ Rev i ew o f t h e t h r e e e n v o i s i s p r e c e d e d by an e d i t o r i a l m a i n t a i n i n g t h a t t h e s t a y at Rome i s o f g r e a t v a l u e i n t h e deve lopment o f a young com-p o s e r . - - A few more remark s c o n c e r n i n g Thu rne r and t h e M a r s e i l l e Con -s e r v a t o i r e . ] — F e s t i v a l d i r i g e par M. P a s d e l o u p , a Caen . [ ' A f i n d ' e n c o u r a g e r l e s e f f o r t s t e n t e s dans un but de d e c e n t r a l i s a t i o n a r t i s -t i q u e , ' Reye r r e c a l l s what he had r e a d about t h i s c o n c e r t i n L ' E c h o b a y e u s a i n . ] - - P u b l i c a t i o n des o e u v r e s de G l u c k , pa r M i l e P e l l e t a n e t M. Damcke: I p h i g e n i e en T a u r i d e ; l e m a n u s c r i t d ' A l c e s t e . [ A f t e r s a l u t -i n g t h e p u b l i c a t i o n o f t h e second I p h i g e n i e , Reyer a p p e a l s on b e h a l f o f M i l e P e l l e t a n f o r a s s i s t a n c e i n l o c a t i n g two f r a g m e n t s m i s s i n g f r om t h e m a n u s c r i p t o f A l c e s t e . ] " F-03/06 "Revue m u s i c a l e . La Messe de Requ iem, de M. G. V e r d i . [ R e v i e w o f t h e P a r i s i a n p r e m i e r e , w h i c h was g i v e n at t h e Opera-Comique by i t s o r c h e s t r a and c h o r u s , w i t h t h e f o u r o r i g i n a l s o l o i s t s (who were b rough t t o P a r i s e x p r e s s l y f o r t h i s p e r f o r m a n c e ) . The c o n d u c t o r was V e r d i . ] " F t - 1 4 / 0 6 "Revue m u s i c a l e . C o n s e r v a t o i r e de M u s i q u e : Le musee C l a p i s s o n . [ D e -s c r i p t i o n o f t h e C o n s e r v a t o i r e ' s c o l l e c t i o n o f m u s i c a l i n s t r u m e n t s , w h i c h Reyer c a l l s 'musee C l a p i s s o n ' because ' l a p a r t i e l a p l u s i m p o r -t a n t e de c e t t e r i c h e c o l l e c t i o n ' had o r i g i n a l l y be l onged t o t h e composer L o u i s C l a p i s s o n . Reyer acknowledges as t h e s o u r c e o f most o f h i s i n f o r -m a t i o n t h e c u r a t o r o f t h e c o l l e c t i o n , Gu s t ave C h o u q u e t . ] ~ Que lques mots s u r l e l i v r e de M. Gu s t a ve Chouque t . [ R e y e r e x p r e s s e s r e s e r v a t i o n s abou t L ' H i s t o i r e de l a mus ique d r a m a t i q u e en F r a n c e d e p u i s ses o r i g i n e s 607 j u s q u ' a nos j o u r s , wh i ch had been ' c o u r o n n e par T I n s t i t u t ' i n 1868, and had been p u b l i s h e d i n 1 8 7 3 . ] " F-02/07 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a ( s a l l e V e n t a d o u r ) : 1 ' E s c l a v e , o p e r a en q u a t r e a c t e s , c i n q t a b l e a u x ; p a r o l e s de MM. Ed . F o u s s i e r e t G o t , mus ique de M. Edmond Membree. [ R e v i e w i s i n t r o d u c e d by r e f l e c t i o n s on t h e d i f f i c u l t i e s o f r e l a t i o n s between ' c o m p o s i t e u r s de peu de renom-mee ' and any d i r e c t o r ' a l a t e t e d ' u n e v a s t e e n t r e p r i s e dont l a p r o s p e -r i t y l u i e s t c o n f i e e . ' ] " F-19/07 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Le Pardon de P l o e r m e l ( r e p r i s e ) . [ Rev i ew i s p r e c e d e d by a b r i e f h i s t o r y o f M e y e r b e e r ' s o p e r a c om ique , wh i ch had not been s t a g e d at P a r i s s i n c e I 8 6 0 . ] - - T h e a t r e de l ' O p e r a [ a t t h e S a l l e V e n t a d o u r ] : Debuts de M i l e M a r i e B e l v a l e t de M. V e r g n e t dans R o b e r t - l e - D i a b l e . - - T h e a t r e - L y r i q u e : Le M a n i f e s t e de M. B a g i e r . [ Reye r r emark s t h a t B a g i e r , f o r m e r l y d i r e c t o r o f t h e T h e a t r e -I t a l i e n , has been named d i r e c t o r o f a T h e a t r e - L y r i q u e ( t o be e s t a b l i s h e d a t t h e S a l l e V e n t a d o u r ) , and has announced h i s i n t e n t i o n t o f ound ' une academie l y r i q u e e t c h o r e g r a p h i q u e ' as an a d j u n c t t o t he new t h e a t r e . The c r i t i c g i v e s e x c e r p t s f r o m B a g i e r ' s p r o s p e c t u s . ] " F-05/09 "Revue m u s i c a l e . Les m a l h e u r s d ' E u t e r p e . [ Reye r p r i n t s a l e t t e r s u p -p o s e d l y d i c t a t e d by a d i s e m b o d i e d v o i c e l a m e n t i n g t h e P a r i s i a n p u b l i c ' s c r a z e f o r o p e r e t t a and l a c k o f i n t e r e s t i n m a s t e r p i e c e s o f t h e p a s t . T h i s i m a g i n a t i v e d e v i c e i s used as a ' p r e a m b u l e ' t o an e d i t o r i a l c a l l i n g f o r a l y r i c t h e a t r e wh i ch wou ld be a v e r i t a b l e a l t a r t o t h e muse E u t e r p e , an a l t a r c o n s e c r a t e d not t o ' l e s f l o n - f l o n s de l a c h a n s o n e t t e ' bu t r a t h e r t o ' d e s c h a n t s i n s p i r e s . ' ] - - Que lques mots a p ropo s de 1 ' O p e r a - C o m i q u e . [ F a i l u r e o f Gounod ' s Romeo e t J u l i e t t e ; f o r t h c o m i n g p r e m i e r e s o f B i z e t ' s Carmen and G u i r a u d ' s P i c c o l i n o ; S a i n t - S a e n s ' s u n -p e r f o r m e d Le T imbre d ' a r g e n t . ] — Que lques mots a p ropos de l ' O p e r a . [The d i r e c t o r ' s t r i p t o I t a l y ; p o s s i b l e engagements o f Mme S t o l z , Mme Waldmann, and M i l e K r a u s s . ] - - [ Rev i ews o f new p u b l i c a t i o n s : ] L ' A r t en p r o v i n c e , pa r M. A l e x i s R o s t a n d . — Methode de c h a n t , par M. J u l e s L e f o r t . - - R e c u e i l de c h a n t s r e l i g i e u x e t p o p u l a i r e s des I s r a e l i t e s , e t c . e t c . [ R e c u e i l de c h a n t s r e l i g i e u x e t p o p u l a i r e s des i s r a e l i t e s d e p u i s l e s temps l e s p l u s r e c u l e s j u s q u ' a nos j o u r s , p r e f a c e d by an E tude h i s t o r i q u e de l a mus ique des H e b r e u x ] , par M. S. Naumbourg. " F f - 2 7 / 0 9 "Revue m u s i c a l e . S a l l e V e n t a d o u r ( T h e a t r e - I t a l i e n ) : L u c r e z i a B o r g i a . [ F i r s t p e r f o r m a n c e o f t h e T h e a t r e - V e n t a d o u r , w h i c h , a c c o r d i n g t o B a g i e r ' s p r o s p e c t u s , w i l l p r e s e n t b o t h I t a l i a n o p e r a and F rench o p e r a . ] — Mme A n a s t a s i - P o z z o n i , M i l e E m i l i a n i ; MM. A n a s t a s i , Romani e t G i r a u -d e t . [ O b s e r v a t i o n s on t h e p e r f o r m a n c e s o f t h e s e p r i n c i p a l s i n L u c r e z i a B o r g i a a r e f o l l o w e d by remark s on t h e p r o b a b i l i t y t h a t B a g i e r w i l l s t a g e A i d a . - - E d i t o r i a l on t h e T h e a t r e - L y r i q u e f r a n g a i s d e s c r i b e d i n B a g i e r ' s p r o s p e c t u s : r e p e r t o i r e ; r o l e o f t h e gove rnment . - - Comments on t h e 608 l i k e l i h o o d t h a t t h e new Opera p o p u l a i r e ( t h e l y r i c t h e a t r e at t he C h a t e -l e t ) w i l l n eve r o p e n . ] — ( T h e a t r e de l ' O p e r a ) : Les Huguenot s . [ E d i -t o r i a l on F a u r e ' s t h r e a t t o b reak h i s c o n t r a c t as a p r o t e s t a g a i n s t t h e enormous sum t h e Opera i s p a y i n g A d e l i n a P a t t i f o r each o f her a p p e a r -ances as V a l e n t i n e i n Les H u g u e n o t s . ] — Mme A d e l i n a P a t t i . [ R e v i e w o f ' l a n o u v e l l e V a l e n t i n e . ' Announcement o f her f o r t h c o m i n g appea rance as M a r g u e r i t e i n F a u s t . ] - - C o n c e r t s p o p u l a i r e s : l e C h o r a l P a s d e l o u p . [ B e f o r e t h e r e o p e n i n g o f P a s d e l o u p ' s s e r i e s , Reyer a g a i n app l aud s t h e c o n d u c t o r f o r a s s e m b l i n g a c ho r u s o f two h u n d r e d , wh i ch w i l l p a r t i c i p a t e i n t h e l a s t c o n c e r t o f each s e r i e s . ] " F-17/10 "Revue m u s i c a l e . Seance a n n u e l l e de 1 ' A cademie des B e a u x - A r t s [ o f t h e I n s t i t u t ] : A c i s e t G a l a t e e , s cene l y r i q u e , p o e s i e de M. E. A d e n i s , mus ique de M. Leon E h r h a r t , p r e m i e r g r a n d - p r i x de c o m p o s i t i o n m u s i c a l e . [ Rev i ew i s i n t r o d u c e d by r emark s o n : t h e P r i x de Rome c a n t a t a s as ' j e u x a c a d e m i q u e s ' ; t h e s t a y at Rome; and t h e p r o s p e c t s o f t h e l a u r e a t e s upon t h e i r r e t u r n t o P a r i s . ] — O u v e r t u r e , composed pa r M. Hen r i M a r e c h a l , p e n s i o n n a i r e de V A c a d e m i e de F r a n c e a Rome. [ S u b t i t l e i s e r r o n e o u s ; no such work i s men t i oned i n t h e t e x t . - - Comments on t h e Opera p o p u l a i r e , w h i c h i s no t y e t o p e n . ] — C o n c e r t s p o p u l a i r e s . Les deux p r e m i e r s c o n -c e r t s . [ O b s e r v a t i o n s c o n c e r n i n g two i n c i d e n t s : one p ro voked by P a s d e -l o u p ' s a t t empt t o pass o f f t h e e n t r ' a c t e f r o m La T r a v i a t a as a ' P r e l u d e ' composed by V e r d i f o r t h e C o n c e r t s p o p u l a i r e s ; t h e o t h e r cau sed by a p e r f o r m a n c e o f t h e ' M a r c h e des P e l e r i n s ' f r o m H a r o l d en I t a l i e . ] M. P a s d e l o u p e t 1 ' a d m i n i s t r a t i o n du d r o i t des p a u v r e s . L B r i e f e d i t o r i a l s u p p o r t i n g P a s d e l o u p ' s o p p o s i t i o n t o t he g o v e r n m e n t ' s d e c i s i o n t o i n -c r e a s e t h e ' p o o r t a x ' imposed on each t i c k e t . ] " F-01/11 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : Debut de M i l e H e n r i e t t e L o r y [ a s Z e r l i n a ] dans Don J u a n ; debu t de M. M i e r z w i n s k i [ a s R a o u l ] dans l e s Hugueno t s . [These r e v i e w s a re f o l l o w e d by o b j e c t i o n s t h a t a r t i s t s o f t h e Opera make ' t o u t e s o r t e de c o u p u r e s ' i n t h e i r r o l e s . ] - - T h e a t r e de 1 ' O p e r a - C o m i q u e : R e p r i s e de M i r e i l l e [ t h e f i r s t P a r i s i a n p e r f o r m a n c e o f Gounod ' s work s i n c e i t had d i s a p p e a r e d f r om t h e r e p e r t o i r e o f t h e T h e a t r e - L y r i q u e i n 1 8 6 5 ] . [ - - P o s t s c r i p t c o n c e r n i n g t h e o p e n i n g o f t h e Opera p o p u l a i r e . ] " F-15/11 "Revue m u s i c a l e . Opera p o p u l a i r e du C h a t e l e t : Les P a r i a s , o p e r a en t r o i s a c t e s , p a r o l e s de MM. H i p p o l y t e Lucas e t L. L e r o y , mus ique de M. Edmond Membree. [ R e v i e w i s p r e c e d e d by r e f l e c t i o n s on t he sudden o p e n -i n g o f t h i s t h e a t r e , i t s p r o s p e c t s f o r s u r v i v a l , and t h e r o l e i t s h o u l d p l a y i n P a r i s i a n m u s i c a l l i f e . ] - - [ Rev i ew o f t h e f i r s t c o n c e r t o f t h e S o c i e t e de l ' H a r m o n i e s a c r e e , f ounded and c o n d u c t e d by C h a r l e s Lamou-r e u x , at t h e ] C i r q u e des C h a m p s - E l y s e e s : Judas Machabee, o r a t o r i o en t r o i s a c t e s , de H a e n d e l , t r a d u c t i o n de M. V i c t o r W i l d e r [ P a r i s i a n p r e -m i e r e ] . " F-24711 609 "Revue m u s i c a l e . [ E d i t o r i a l on t h e w o r s e n i n g s i t u a t i o n o f t he l y r i c t h e a t r e s i n P a r i s : s u b s i d i e s a re not p r o p o r t i o n a l ' aux r e s u l t a t s o b -t e n u s ' ; s u b s i d i z e d t h e a t r e s p r e s e n t ' d e s r e p r i s e s e t d ' i n s i g n i f i a n s d e b u t s ' and n e g l e c t m a s t e r p i e c e s ; and new t h e a t r e s ' p e r i c l i t e n t en des ma in s i n h a b i l e s . ' — ] T h e a t r e de 1 ' O p e r a - C o m i q u e : Beppo, o p e r a comique en un a c t e , p a r o l e s de M. L o u i s Ga l l e t , mus ique de M. J . C o n t e . [ Rev i ew i n l c u d e s remark s on t h e l o n g n e g l e c t o f t h i s compose r , who had won t he P r i x de Rome i n 1855 . ] - - T h e a t r e de l ' O p e r a : Debut de Mme M a d i e r -F u r s c h dans F a u s t . [A few words on t h i s s o p r a n o ' s r e t u r n as a ' p r e m i e r e c h a n t e u s e . ' ] — Que lques mots a p ropo s du nouve l O p e r a . [ A f t e r r e a d i n g i n La L i b e r t e an a r t i c l e d e a l i n g a lmos t e x c l u s i v e l y w i t h t he m a t e r i a l r e s o u r c e s o f t h e n e a r l y c o m p l e t e d P a l a i s G a m i e r , Reyer d i s c u s s e s what he r e g a r d s as a more i m p o r t a n t q u e s t i o n : ' l a q u e s t i o n d ' a r t , ' t h a t i s , t h e c o m p o s i t i o n o f t h e company and t h e n a t u r e o f t h e r e p e r t o i r e . - - The new Opera and t h e f o u n d e r i n g Ope ra popu l a i r e du C h a t e l e t : Reyer p r o -poses an a r rangement w h i c h c o u l d be m u t u a l l y b e n e f i c i a l . ] - - C o n c e r t s p o p u l a i r e s : E l i e , g r and o r a t o r i o en deux p a r t i e s , mus ique de M e n d e l s -s o h n . [Comments p r i m a r i l y on t h e p e r f o r m a n c e o f t h e C h o r a l P a s d e l o u p . ] " F-15/12 1875 J o u r n a l des Debat s "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : S o i r e e d ' i n a u g u r a t i o n [ t h e ' s o i r e e o f f i c i e l l e ' (a program o f o p e r a e x c e r p t s and a b a l l e t ) w h i c h i n a u g u r a t e d t h e P a l a i s G a m i e r on 5 J a n u a r y ] . La J u i v e ; M i l e K r a u s s . [ T h i s o p e r a , pe r f o rmed on 8 J a n u a r y , i n a u g u r a t e d t h e p u b l i c p e r f o r -mances. K r a u s s , once one o f t h e p r i n c i p a l s at t h e T h e a t r e - I t a l i e n , made he r Ope ra debut i n t h e t i t l e r o l e . ] — T h e a t r e V e n t a d o u r : [ E d i t o r i a l on B a g i e r ' s c h o i c e o f F r e i s c h l i t z , Norma, and Samuel D a v i d ' s Un C a p r i c e de N inon as t h e f i r s t works t o be o f f e r e d by h i s T h e a t r e - L y r i q u e f r a n g a i s at t h e S a l l e V e n t a d o u r . Rev iew o f t h e i n a u g u r a l p e r f o r m a n c e o f ] Le F r e i s c h l i t z . - - S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e : Fragmens de l a Damnat ion de F a u s t . - - C o n c e r t du C h a t e l e t : L ' E n f a n c e du C h r i s t [ t h e f i r s t P a r i s i a n p e r f o r m a n c e s i n c e t h e w i n t e r o f 1 854 - 55 , when, as Reyer r e c a l l s , i t was c o n d u c t e d by t h e c o m p o s e r ] . " F-15/01 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : R e p r i s e du CaTd, o p e r a comique en deux a c t e s ; p a r o l e s de M. Thomas Sauvage , mus ique de M. Ambro i s e Thomas. — T h e a t r e V e n t a d o u r : La f e r m e t u r e . [ R e y e r c o n s i d e r s t h e f a c t o r s wh i ch he h o l d s r e s p o n s i b l e f o r t h e demise o f B a g i e r ' s T h e a t r e - L y r i q u e f r a n g a i s . ] — L ' O p e r a p o p u l a i r e . [ E d i t o r i a l s u g g e s t i n g t h a t t h e O p e r a ' s o l d home on t h e r u e Le P e l e t i e r be r e b u i l t as t h e home o f a new T h e a t r e - L y r i q u e , an ' o p e r a p o p u l a i r e . ' ] - - S o c i e t e des C o n c e r t s du C o n s e r v a t o i r e : Scenes d r a m a t i q u e s d ' a p r e s S h a k e s p e a r e , par M. J u l e s Mas senet [ p r e m i e r e ] . - - C o n c e r t s du C h a t e l e t : La danse macab re , par M. C a m i l l e S a i n t - S a e n s [ p r e m i e r e ] . - - C o n c e r t s [ o f f o u r p i a n i s t s ] : Mmes M o n t i g n y - R e m a u r y , E s s i p o f f ; MM. Theodore R i t t e r ; l e c a p i t a i n e V o y e r . - -610 [ P r i v a t e c o n c e r t f e a t u r i n g a young F r e n c h p i a n i s t : ] Mme H e n r i e t t e F r i t s c h . [ - - Announcement o f t h e f o r t h c o m i n g p e r f o r m a n c e o f H a y d n ' s The Seasons a t t h e C o n c e r t s p o p u l a i r e s . ] " F-29/01 "Revue m u s i c a l e . [ Rev i ews o f new p u b l i c a t i o n s : ] H i s t o i r e g e n e r a l e de l a mus ique d e p u i s l e s temps l e s p l u s a n c i e n s j u s q u ' a nos j o u r s , par F . - J . F e t i s ( 4 e v o l u m e ) . - - T r a i t e de 1 ' e x p r e s s i o n m u s i c a l e , par M. M a t h i s L u s s y . [ R e y e r e x p r e s s e s r e s e r v a t i o n s about t h i s t r e a t i s e , wh i ch had been awarded a medal at t h e U n i v e r s a l E x p o s i t i o n a t V i e n n a and had been adopted by t h e B r u s s e l s C o n s e r v a t o i r e . ] — F r i t i o f , l e g e n d e s c a n d i -nave de EsaTas Tegner ( t r a d u i t e par M. V i c t o r W i l d e r ) , mus ique de M. Max B r u c h . - - R e c u e i l de m e l o d i e s pour chan t e t p i a n o , par M. C h . - L . He s s . - - P u b l i c a t i o n s d i v e r s e s . [Announcement o f p u b l i c a t i o n s r e c e i v e d f r om t h e f i r m o f Du rand , Schoenewerk e t C e ( n o t a b l y Schumann ' s A d v e n t ! i e d i n F r ench t r a n s l a t i o n ) . ] " F-20/02 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : l a F a v o r i t e ; G u i l l a u m e T e l ! , M. F a u r e , M i l e B l o c h , Mme N i l s s o n - R o u z e a u d , Mme C a r v a l h o , M i l e K r a u s s . [The r e p e t i t i o n g e n e r a l e o f G u i l l a u m e T e l l . The O p e r a ' s i n t e n t i o n o f r e v i v i n g La F a v o r i t e ' p o u r l a r e n t r e e de M. F a u r e ' e l i c i t s an e d i t o r i a l u r g i n g t h e d i r e c t o r t o ' c o m p l e t e r l e s r e s s o u r c e s de son p e r s o n n e l ' by h i r i n g younger s i n g e r s who w i l l c o n t r i b u t e t o ' l a f o r m a t i o n d ' u n e t r o u p e d ' e n s e m b l e . ' Reyer t hen c o n s i d e r s t h e o t h e r c e l e b r i t i e s on t h e r o s t e r : Mme C a r v a l h o ; Mme N i l s s o n ; M i l e K r a u s s , who i s s t u d y i n g t h e r o l e o f M e y e r b e e r ' s V a l e n t i n e . ] — Fau s se n o u v e l l e d ' u n changement de d i r e c t i o n a 1 ' O p e r a - C o m i q u e . [ Reye r c o n t r a d i c t s a rumor t h a t C a m i l l e du L o c l e p l a n s t o r e t i r e . ] — [Comments on a f o r t h c o m i n g p r e m i e r e at t h e Co -m i q u e : ] Carmen. - - S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e : C o n c e r t o en s o l m i n e u r , de M. C a m i l l e S a i n t - S a e n s . — Mme Mon t i gny -Remaury [who p l a y e d t h e s o l o p i a n o p a r t i n S a i n t - S a e n s ' s c o n c e r t o ] . — [ A n o t h e r p e r -f o rmance o f t h e S o c i e t e des c o n c e r t s : t h e o r c h e s t r a l s u i t e ] L ' A r l e - s i e n n e , de M. Georges B i z e t . - - C o n c e r t s du C h a t e l e t : Adag i o de l a 3 e symphonie de Mme F a r r e n c . - - G l o r i a v i c t i s ! b a l l a d e pour chan t e t o r c h e s t r e , mus ique de M. A l e x i s Ro s tand L ' un j e u n e c o m p o s i t e u r m a r s e i l -l a i s ' who had sen t t h i s new work t o R e y e r ] . — C o n c e r t s p o p u l a i r e s : [ H a y d n ' s ] Les S a i s o n s . - - M. J o seph S e r v a i s [ B e l g i a n c e l l i s t who p l a y e d an u n p u b l i s h e d c o n c e r t o by h i s f a t h e r ( A d r i e n - F r a n g o i s ) at one o f t h e C o n c e r t s p o p u l a i r e s ] . - - Symphonie e s p a g n o l e , de M. L a l o . - - M. S a r a s a t e [ S p a n i s h v i o l i n i s t who p r e m i e r e d L a l o ' s work at one o f t h e C o n c e r t s p o p u l a i r e s ] . - - C o n c e r t de M. Eugene Sauzay [ f e a t u r i n g h i s s e t t i n g s o f t h e i n t e r m e d e s o f M o l i e r e ' s p l a y s Le S i c i l i e n and Georges D a n d i n ] . " F-27/02 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : R e l a c h e par i n d i s p o s i t i o n s ( s i c ) de MM. V i l l a r e t , B o s q u i n , A c h a r d , M i e r z w i n s k i , Salomon e t V e r g n e t . [ E d i t o r i a l on t h e p o s t p o n i n g o f t h e r e v i v a l s o f La F a v o r i t e and G u i l l a u m e T e l l b e c a u s e , s u p p o s e d l y , a l l s i x o f t h e O p e r a ' s t e n o r s were s u d d e n l y s t r i c k e n w i t h ' p l u s i e u r s i n d i s p o s i t i o n s . ' ] - - T h e a t r e de 1 ' O p e r a - C o m i q u e : Carmen, o p e r a comique en q u a t r e a c t e s , t i r e d ' u n e 611 N o u v e l l e de P r o s p e r Me r imee , par MM. Hen r i M e i l h a c e t L u d o v i c H a l e v y , mus ique de M. Georges B i z e t . — [ N o t i c e s on two new p u b l i c a t i o n s : ] H i s - t o i r e e t T h e o r i e de l a mus ique dans l ' a n t i q u i t e , par M. G e v a e r t . - - T r i o pour p i a n o , v i o l o n e t v i o l o n c e l l e , pa r M i l e L o u i s e B e r t i n . - - R e p r i s e de G u i l l a u m e T e l 1. [A b r i e f p o s t s c r i p t on t h i s r e v i v a l , wh i ch was f i n a l l y s t a g e d ' l u n d i d e r n i e r . ' ] " F t t - 1 4 / 0 3 "Revue m u s i c a l e . [Open i n g r e m a r k s : c o n t e m p o r a r y F rench composers ' a u x -q u e l s l e t h e a t r e f a i t des l o i s i r s ' a re w r i t i n g o r a t o r i o s . ] E v e , m y s t e r e en t r o i s p a r t i e s , poeme de M. L o u i s G a l l e t , mus ique de M. J u l e s Massenet [ p r e m i e r e d at t h e C i r q u e du Champs - E l y s ee s by L amou reux ' s S o c i e t e de l ' H a r m o n i e s a c r e e ] . - - T h e a t r e V e n t a d o u r [ i . e . , S a l l e V e n t a d o u r ] : R e d e m p t i o n , poeme-symphonie de M. Edouard B l a u , mus ique de M. Ce sa r F r a n c k . [ R e y e r had not heard t h i s work s i n c e i t s p r e m i e r e at C o l o n n e ' s C o n c e r t s de l ' O d e o n i n 1 873 . ] - - S a l l e P l e y e l : A g a r , s cene s b i b l i q u e s , p a r o l e s de M. Pau l C o l l i n , mus ique de M. Georges P f e i f f e r . " F-27/03 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : R e p r i s e d ' H a m l e t , Mme C a r v a l h o [ i n t h e r o l e o f O p h e l i e , c r e a t e d by Mme N i l s s o n i n 1 8 6 8 ] . [Remarks on an e x t r a p e r f o r m a n c e o f La J u i v e . ] - - C o n c e r t s P a s d e l o u p : Le Requiem de Johannes Brahms. [ R e v i e w o f t h e P a r i s i a n p r e m i e r e o f e x c e r p t s f r o m E i n d e u t s c h e s Requiem i n F r ench t r a n s l a t i o n . R e y e r , who had s t u d i e d t h e s c o r e , r e m o n s t r a t e s a g a i n s t ' c e t t e f a c h e u s e h a b i t u d e de t r o n q u e r l e s o e u v r e s q u i se p r e t e n t l e mo ins a des c o u p u r e s . ' ] - - Academie des Beaux -A r t s : N o t i c e s u r l a v i e e t l e s o e u v r e s d ' A u b e r , par M. V i c t o r Masse. [ Reye r d i s c u s s e s and g i v e s e x c e r p t s f r om a speech d e l i v e r e d by Masse a t a m e e t i n g o f t h e A c a d e m i e . ] — L ' O r c h e s t r e e t l e P u b l i c , par M. Eusebe L u c a s . [ Rev i ew o f a ' b r o c h u r e ' by t h e f o u n d e r and c o n d u c t o r o f a s e r i e s o f ' c o n c e r t s de mus ique c l a s s i q u e ' a t t h e T h e a t r e de M o n t e - C a r l o . ] ~ [ N o t i c e on a] R e c u e i l de m e l o d i e s , pa r M. H e n r i P e r r y B i a g i o l i . ~ Une Noce r u s s e au s e i z i e m e s i e c l e . [ "Not ice on a ' r e p r e s e n t a t i o n ' sung i n R u s s i a n . J " F-17/04 [ N o t i c e on V e r d i as c o n d u c t o r at t h e r e p e t i t i o n g e n e r a l e o f h i s Requiem at t h e Opera -Comique (where he had c o n d u c t e d t h e P a r i s i a n p r e m i e r e i n 1 8 7 4 ) . ] U-18/04, p. 3 "Revue m u s i c a l e . [A new s c o r e by a d i s t i n g u i s h e d amateur c o m p o s e r : ] La F o r e t , poeme l y r i q u e en t r o i s p a r t i e s , pour s o l i , c h o e u r s e t o r c h e s t r e , pa r Mme de G r a n d v a l . - - C o n c e r t de Mme S z a r v a d y ( W i l h e l m i n e C l a u s s ) . [The c o n c e r t o f t h i s p i a n i s t c o m p r i s e d s o l o works by Chop in and M e n d e l s -s o h n , and c o n c e r t o s by Beethoven and Schumann ( p e r f o r m e d w i t h ' un o r c h e s t r e a s s e z n o m b r e u x ' ) . ] - - C o n c e r t de M i l e M a r i e B runo t [ a young p i a n i s t ] . C o n s e r v a t o i r e n a t i o n a l de mus ique e t de d e c l a m a t i o n : e x e r -c i c e des e l e v e s . [ R e v i e w o f t h e f i r s t s t u d e n t c o n c e r t o f t h e y e a r . ] — A l p h o n s e R o y e r . [ O b i t u a r y o f t h i s l i b r e t t i s t , w r i t e r , and f o r m e r d i r e c -t o r o f t h e O p e r a . ] - - Le c o n c o u r s C r e s s e n t . [As a member o f t he j u r y , 612 Reyer announces t h a t t h e w i n n e r w i l l soon be c h o s e n . ] — Le c o n c e r t de M. H e n r i R e b e r . [ A f t e r r e f l e c t i n g on t h e ' d e s e n c h a n t e m e n t 1 t h a t had l o n g kep t t h i s composer v i r t u a l l y s i l e n t , Reyer p r o v i d e s i n f o r m a t i o n on a f o r t h c o m i n g c o n c e r t o f h i s m u s i c . ] " F-28/04 "Revue m u s i c a l e . T h e a t r e de 1 ' Ope ra -Com ique : 1 'Amour a f r i c a i n , o p e r a comique en deux a c t e s , poeme de M. E r n e s t Legouve L a f t e r a comedy by P r o s p e r M e r i m e e ] , mus i que de M. E m i l e P a l a d i l h e ; Don Muca rade , o p e r a comique en un a c t e , p a r o l e s de MM. M i c h e l C a r r e e t J u l e s B a r b i e r , m u s i -que de M. E r n e s t B o u l a n g e r . - - S a l l e du C o n s e r v a t o i r e : C o n c e r t de M. H e n r i Rebe r . [A n o t i c e on t h e c a r e e r o f t h i s composer p r e c e d e s t h e r e v i e w o f a c o n c e r t o f e x c e r p t s f r om h i s e a r l y s u c c e s s e s and f rom the unpe r f o rmed works o f h i s l a t e r y e a r s . T h i s ' c o n c e r t a o r c h e s t r e avec des s o l i s e t des c h o e u r s ' was c o n d u c t e d by Eugene Sauzay . - - P o s t s c r i p t announc i ng t h e posthumous p u b l i c a t i o n o f a c o l l e c t i o n o f t e n m e l o d i e s by C h a r i o t , a f o r m e r w i nne r o f t h e P r i x de Rome. ] " F-14/05 "Revue m u s i c a l e . S a l l e V e n t a d o u r : L a Tour de B a b e l , drame b i b l i q u e en q u a t r e t a b l e a u x , mus ique de M. A n t o i n e R u b i n s t e i n . [ R e v i e w o f t h e P a r i -s i a n p r e m i e r e o f R u b i n s t e i n ' s o r a t o r i o ( i n t r a n s l a t i o n ) . ] " F-26/05 "Revue m u s i c a l e . [ O b i t u a r y o f ] Georges B i z e t . - - Les F e s t i v a l s de Caen . [ Rev i ew o f two c o n c e r t s c o n d u c t e d by P a s d e l o u p at t h e i n v i t a t i o n o f C a e n ' s S o c i e t e des B e a u x - A r t s , w i t h gue s t a r t i s t s M a d i e r - F u r s c h ( s o p r a n o ) , Bouhy ( b a r i t o n e ) , and S a r a s a t e ( v i o l i n ) . ] - - S a l l e du Con -s e r v a t o i r e : l e s E n v o i s de Rome. [ R e v i e w o f t h e annua l c o n c e r t o f e n v o i s f r o m w i n n e r s o f t h e P r i x de Rome: J u d i t h and L a N a t i v i t e , o r a -t o r i o s by L e f e b v r e and M a r e c h a l r e s p e c t i v e l y . ] " F t t - 1 3 / 0 6 "Revue m u s i c a l e . [Book r e v i e w : ] H i s t o i r e e t t h e o r i e de l a mus ique de 1 ' a n t i q u i t e , par M. F r . - A u g . G e v a e r t . " F-24/07 "Revue m u s i c a l e . Le T h e a t r e - L y r i q u e . [News t h a t t h e government w i l l r e e s t a b l i s h t h e L y r i q u e e l i c i t s an e d i t o r i a l on s e v e r a l p e r t i n e n t mat -t e r s : t h e r e s t r i c t i o n s imposed on t h e r e p e r t o i r e ; t h e amount o f t h e s u b s i d y ; t h e need f o r ' u ne t r o u p e d ' e n s e m b l e ' ; t h e c h o i c e o f l o c a t i o n . ] - - La q u e s t i o n du d r o i t des p auv r e s a 1 ' A s s emb lee N a t i o n a l e . [ E d i t o r i a l f a v o r i n g t h e l i m i t i n g o f t h e ' p o o r t a x ' imposed on t i c k e t s t o ' l e s c o n -c e r t s r2on_jqju^ti_di_ejTS.'] — [Announcements o f ] P u b l i c a t i o n s n o u v e l l e s : Romeo e t J u l i e t t e , d ' H e c t o r B e r l i o z [ p i a n o - v o c a l s c o r e by Theodore R i t t e r ] ; o e u v r e s d i v e r s e s de Schumann, de MM. C a m i l l e S a i n t - S a e n s , L a l o , O c t a v e Fouque, [ Johannes B rahms, ] e t c . , e t c . " F-29/07 " L e c e n t e n a i r e de M i c h e l - A n g e . [ Commun i ca t i on a d d r e s s e d t o t h e ' D i r e c -t e u r ' o f t h e D e b a t s , and d a t e d ' F l o r e n c e , l e s 11 e t 12 s e p t e m b r e . ' A t 613 t h e i n v i t a t i o n o f t h e C i t y o f F l o r e n c e , Reyer i s a t t e n d i n g t he c e l e b r a -t i o n s h e l d i n honor o f t h e f i f t h M i c h e l a n g e l o C e n t e n a r y . He d e s c r i b e s t h e f o l l o w i n g : a c o n c e r t o f o r c h e s t r a l , c h o r a l , and chamber m u s i c ; c e r e m o n i e s a t M i c h e l a n g e l o ' s h ou se , at h i s tomb, and at t h e M i c h e l a n g e l o Monument. (The speech g i v e n by t h e p a i n t e r M e i s s o n i e r , who r e p r e s e n t e d t h e I n s t i t u t de F r a n c e , i s quo ted i n i t s e n t i r e t y . ) ] " * L A [ C u r R 191, HenR 4 1 3 ] - 1 6 / 0 9 , p. 2 [ Second l e t t e r f r om F l o r e n c e , d a t e d " l e s 13 e t 14 s e p t e m b r e . " Reyer d e s c r i b e s t h e f o l l o w i n g : t h e e x h i b i t i o n o f M i c h e l a n g e l o ' s p r i n c i p a l w o r k s ; h i s hou se ; a r e c e p t i o n at t h e R i c c a r d i P a l a c e ; a c o n c e r t and b a l l a t t h e Bo rghese P a l a c e ; l o c a l r e a c t i o n t o V e r d i ' s d e c l i n i n g an i n v i t a -t i o n t o c o n d u c t h i s Requ iem; t h e d i s p l a y o f f i r e w o r k s t h a t c l o s e d t he C e n t e n a r y c e l e b r a t i o n s . ] * LA [Cu rR 191 , HenR 4 1 3 ] - 1 8 / 0 9 , p. 3 "Revue m u s i c a l e . Le T h e a t r e - L y r i q u e . [ E d i t o r i a l on t h e g o v e r n m e n t ' s d e c i s i o n t o po s tpone i n d e f i n i t e l y t h e r e e s t a b l i s h i n g o f t h e L y r i q u e . ] - -Mor t de Leon E h r h a r t [ t h e s t u d e n t who had won t he P r i x de Rome i n 1 8 7 4 ] , - - T h e a t r e de 1 ' O p e r a - C o m i q u e : r e p r i s e du V a l d ' A n d o r r e , p a r o l e s de M. de S a i n t - G e o r g e s , mus ique d ' H a l e v y . " F -19/10 "Revue m u s i c a l e . R e f l e x i o n s p r e l i m i n a i r e s . [The appea rance o f a f r a g -ment o f L o h e n g r i n on a f o r t h c o m i n g program o f t h e S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e p rompts Reyer t o encou rage a l l P a r i s i a n c o n c e r t s o c i e -t i e s t o expand t h e i r r e p e r t o i r e s w i t h e x c e r p t s f r om ope ra s i g n o r e d by ' n o t r e p r e m i e r e s cene l y r i q u e . ' ] - - C o n c e r t s P a s d e l o u p : 1 ' A r l e s i e n n e [ s u i t e by B i z e t ] ; [Nai rn, o v e r t u r e by R e b e r ; ] E n t r ' a c t e , de M. T a u b e r t ; C o n c e r t o de v i o l o n , de M. Max B r u c h . - - C o n c e r t s du C h a t e l e t : Hommage a l a memoire de Georges B i z e t : Lamento [by ' u n ami de B i z e t ' ( p r o b a b l y M a s s e n e t ) ] ; P a t r i e [ o v e r t u r e by B i z e t ] ; E l o ge en v e r s , pa r M. L o u i s G a l -l e t ; [ a p r e m i e r e at t h e same c o n c e r t : ] 4 e C o n c e r t o de M. C a m i l l e S a i n t -Saens . - - Academie des B e a u x - A r t s ( s eance a n n u e l l e ) : C l y t e m n e s t r e , c a n t a t e de M. Andre Wormser, p r e m i e r p r i x de c o m p o s i t i o n m u s i c a l e , p a r o l e s de M. Roger B a l l u . — [A new c o l l e c t i o n : ] A i r s a d a n s e r ( d i x -s e p t i e m e e t d i x - h u i t i e m e s i e c l e s ) , t r a n s c r i t s par M. Theodore de L a -j a r t e . " F-09/11 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : R e p r i s e de Carmen, o p e r a comique en q u a t r e a c t e s , de MM. M e i l h a c e t L u d o v i c H a l e v y , mus ique de Georges B i z e t . - - T h e a t r e de l a R e n a i s s a n c e [an o p e r e t t a house wh i ch had opened i n 1 8 7 3 ] : l a F i l l e u i e du R o i , p a r o l e s de MM. Cormon e t Raymond D e s l a n d e s , mus i que de M. Ado l phe V o g e l . [ R e v i e w i n c l u d e s remarks on the c a r e e r o f t h i s B e l g i a n c o m p o s e r . ] - - C o n c e r t s p o p u l a i r e s : M. S a r a s a t e [who p l a y e d t h e s o l o p a r t i n L a l o ' s Symphonie e s p a g n o l e ] . - - C o n c e r t s du C h a t e l e t : l e S a c r i f i c e , c h a n t b i b l i q u e , par M. Theodore R i t t e r [words by G. B o y e r j . — Romeo~et J u l i e t t e , d ' H e c t o r B e r l i o z . [Comments on t h e news t h a t C o l o n n e , c o n d u c t o r o f t h e C h a t e l e t c o n c e r t s , i n t e n d s t o p r e -s e n t t h i s work i n i t s e n t i r e t y . ] - - [A new c o l l e c t i o n : ] S i x morceaux 614 de s a l o n , pour p i a no e t v i o l o n c e l l e , par M. Leon Oacqua rd . [ - - Announce -ment : a t a f o r t h c o m i n g C h a t e l e t c o n c e r t , J a c q u a r d w i l l appear as s o l o -i s t i n t h e P a r i s i a n p r e m i e r e o f Schumann ' s C e l l o C o n c e r t o i n A M i n o r . ] " F-21/11 "Revue m u s i c a l e . C o n c e r t s du C h a t e l e t : Romeo e t J u l i e t t e , symphon ie d r a m a t i q u e composee d ' a p r e s l a t r a g e d i e de S hake spea re par H e c t o r B e r -l i o z , p a r o l e s de M. E m i l e Deschamps. [ Rev i ew i n c l u d e s i n f o r m a t i o n on t h e g e n e s i s and t h e h i s t o r y o f t h i s work , wh i ch had not been pe r f o rmed i n i t s e n t i r e t y a t P a r i s s i n c e 1839 . ] - - Les s o l i c h a n t e s par M i l e V e r g i n , M. Bouhy e t M. F u r s t . [ — The Note de 1 ' a u t e u r added by B e r l i o z t o a l a t e e d i t i o n o f t h e s c o r e . ] - - Le T h e a t r e - L y r i q u e . - - M. A l b e r t V i z e n t i n i . [ R e f l e c t i o n s on t h e news t h a t V i z e n t i n i w i l l t r a n s f o r m h i s T h e a t r e de l a GaTte i n t o a l y r i c t h e a t r e . ] - - C o n c e r t s p o p u l a i r e s : Mme Mon t i g n y -Remau r y . [ R e v i e w o f p e r f o r m a n c e s by ' d eux v i r t u o s e s de grand t a l e n t ' : Mon t i gny -Remaury i n B e e t h o v e n ' s P i a n o C o n c e r t o i n C M a j o r , and t h e young M a r s i c k i n V i e u x t e m p s ' s V i o l i n C o n c e r t o i n E M a j o r . ] ~ C o n -c o u r s C r e s s e n t . [Remarks on t h e j u r y ' s c h o i c e o f B a t h y l e , l i b r e t t o by Edouard B l a u , m u s i c by W i l l i a m C h a u m e t . ] " F-12/12 "Revue m u s i c a l e de l ' a n n e e 1875. [ T h e a t r e de l ' O p e r a : r e p e r t o i r e ; p r i n c i p a l s i n g e r s , n o t a b l y a new bass named Boudou re sque ; r e h e a r s a l s o f M e r m e t ' s Jeanne d ' A r c ; t h e p u b l i c ' b a l s m a s q u e s . ' — T h e a t r e de 1 ' O p e r a -Comique: Carmen and t h e o t h e r new works (Don Mucarade and L 'Amour a f r i - c a i n ) ; f o r t h c o m i n g p r e m i e r e o f G u i r a u d ' s P i c c o l i n o . — U n s u c c e s s f u l a t t e m p t s t o r e e s t a b l i s h t h e T h e a t r e - L y r i q u e : t h e Opera p o p u l a i r e du C h a t e l e t ; B a g i e r ' s T h e a t r e - L y r i q u e f r a n g a i s at t h e V e n t a d o u r . ~ V i z e n -t i n i ' s p l a n t o r e e s t a b l i s h t h e L y r i q u e . - - S o c i e t e de l ' H a r m o n i e s a c r e e : L amou reux ' s p e t i t i o n f o r a new home f o r t h i s d i s p l a c e d s o c i e t y . — S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e : P a r i s i a n p r e m i e r e o f Schumann ' s M a n f r e d . - - E d i t o r i a l u r g i n g t h a t t h e government a l l o c a t e a n n u a l l y a ' p r i m e d ' e n c o u r a g e m e n t ' f o r w h i c h e v e r c o n c e r t s o c i e t y had r e n d e r e d t h e g r e a t e s t s e r v i c e s t o m u s i c a l l i f e i n t h e c a p i t a l . - - E numera t i on o f ' l e s o e u v r e s i m p o r t a n t e s qu i se s on t p r o d u i t e s c e t t e annee en deho r s du t h e -a t r e . ' - - A q u a r t e t by Augu s te More l at a c o n c e r t g i v e n by t h e C e r c l e l i t t e r a i r e e t a r t i s t i q u e de l a r u e de l a C h a u s s e e - d ' A n t i n . - - Deaths o f B i z e t , Mme F a r r e n c , and Leon E h r h a r t . ] " F-26/12 1876 J o u r n a l des Debat s "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : R e p r i s e du Voyage en C h i n e [by F r a n g o i s B a z i n ; one o f t h e C o m i q u e ' s g r e a t e s t s u c c e s s e s o f t h e sea son 1 8 6 5 - 6 6 ] . [Remarks on t h e t e r m i n a t i o n o f r e h e a r s a l s o f G u i r a u d ' s P i c c o l i n o a t t h e Com ique . ] - - Le c e n t e n a i r e de B o ' i e l d i e u e t l e l i v r e de M. A r t h u r P o u g i n . [Comments on t h e c e n t e n a r y c e l e b r a t i o n s a t Rouen and P a r i s a re f o l l o w e d by a r e v i e w o f P o u g i n ' s B o T e l d i e u , s a v i e , ses 615 o e u v r e s , son c a r a c t e r e , sa c o r r e s p o n d a n c e . ] — [ A n o t h e r book r e v i e w : ] H i s t o i r e de l a mus ique moderne e t des m u s i c i e n s c e l e b r e s , e t c . , pa r M. M a r c i l l a c . — C o n c e r t s p o p u l a i r e s : H a r o l d en I t a l i e , symphonie d ' H e c t o r B e r l i o z . [ Rev i ew i n c l u d e s i n f o r m a t i o n on t h e g e n e s i s and h i s t o r y o f t h i s work , wh i ch had not been pe r f o rmed i n i t s e n t i r e t y at P a r i s s i n c e 1 840 . ] - - S o c i e t e des C o n c e r t s du C o n s e r v a t o i r e : Symphonie de M. D e l -devez [ c o n d u c t o r o f t h i s s o c i e t y ] . " F-21/01 "Revue m u s i c a l e . Les e n v o i s des p r i x de Rome. - - Rappo r t de M. l e s e c r e t a i r e p e r p e t u e l de 1 ' A cadem ie des B e a u x - A r t s . [ E d i t o r i a l a d d r e s s -i n g an a c t i o n n e v e r b e f o r e t a k e n by t h e Academ ie : t h e p u b l i s h i n g of t h e s e c r e t a r y ' s r e p o r t on t h e A c a d e m i c i e n s ' j udgment s o f t h e e n v o i s by f o r m e r w i n n e r s o f t h e P r i x de Rome ( i n t h i s c a s e , S a l v a y r e , S e r p e t t e , and M a r e c h a l ) . ] ~ C o n c e r t de M. Henry K e t t e n . [A n o t i c e on t he c a r e e r o f t h i s c o m p o s e r - p i a n i s t i n t r o d u c e s a r e v i e w o f a c o n c e r t wh i ch f e a t u r e d h i s p i a n o s o l o s and o r c h e s t r a l c o m p o s i t i o n s . (The o r c h e s t r a was c o n -d u c t e d by C o l o n n e . ) ] - - C o n c e r t de M. e t Mme V i g u i e r . [ Rev i ew o f t h i s c o n c e r t g i v e n by a v i o l i s t and p i a n i s t i n c l u d e s remarks on t h e n e g l e c t o f t h e t e a c h i n g o f v i o l a i n F r a n c e . ] - - S o c i e t e des C o n c e r t s du C o n s e r -v a t o i r e : f r a gmen t du 2 e a c t e de S i g u r d [ i . e . , t h e scene o f B r u n e h i l d ' s a w a k e n i n g ] , c h a n t e pa r M i l e K r a u s s e t M. V e r g n e t . [ — P o s t s c r i p t a p -p l a u d i n g P a s d e l o u p f o r e n g a g i n g t h e b a r i t o n e Maure l as gue s t a r t i s t f o r t h r e e C o n c e r t s p o p u l a i r e s . ] " F-29/01 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : [ ' P r e a m b u l e ' o b j e c t i n g t o t h e O p e r a ' s custom o f s h o r t e n i n g such works as Gui11aume T e l l , R o b e r t l e D i a b l e , Les Hugueno t s , La J u i v e , and Le F r e i s c h l i t z . ] Debut de M i l e M a r g u e r i t e Baux e t de M i l e V e r g i n dans l a J u i v e . - - H a l e v y e t Meye r -b e e r . [ A f t e r r e c a l l i n g M e y e r b e e r ' s w ra th ove r a s i n g e r ' s t a m p e r i n g w i t h t h e r o l e o f V a l e n t i n e , Reyer wonders why t h i s composer o f t e n a c q u i e s c e d t o t h e w i s he s o f h i s i n t e r p r e t e r s . The c r i t i c e x p r e s s e s doubt t h a t H a l e v y made such c o n c e s s i o n s . ] - - Les p a r t i t i o n s e t l e s t r a d i t i o n s . [ R e y e r m a i n t a i n s t h a t t h e s u p p o s e d l y t r a d i t i o n a l changes i n t h e p r i n c i -p a l r o l e s o f La J u i v e d i d not o r i g i n a t e w i t h H a l e v y . ] - - C o n c e r t s du C h a t e l e t : l e s He roTque s . [ R e v i e w o f f r a g m e n t s o f a ' d rame l y r i q u e , ' l i b r e t t o and mus i c by a young s i s t e r and b r o t h e r named A n t o n i n e and H e n r i P e r r y - B i a g i o ! i . ] - - Les A n n a l e s du t h e a t r e e t de l a mus ique pendant 1 ' annee 1845, pa r MM. Noel e t S t o u l l i g . [ N o t i c e on ' l e p r e m i e r vo lume d ' u n e p u b l i c a t i o n a n n u e l l e . ' ] " F-15/02 "Revue m u s i c a l e . S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e : l e s deux p r e m i e r e s p a r t i e s de l a Damnat ion de F a u s t , d ' H e c t o r B e r l i o z . [ R e v i e w i n c l u d e s r emark s on t h e r e c e p t i o n o f B e r l i o z ' s mus i c i n g e n e r a l and t h i s work i n p a r t i c u l a r d u r i n g t h e c o m p o s e r ' s l i f e t i m e . ] - - MM. B o s q u i n , Bouhy e t Auguez [ s o l o i s t s i n t h e p e r f o r m a n c e c o n d u c t e d by De l devez a t t h e C o n s e r v a t o i r e c o n c e r t ] . - - L e t t r e d ' H e c t o r B e r l i o z a M. D e l d e v e z . [ Reye r p u b l i s h e s a l e t t e r i n wh i ch B e r l i o z t hanked t h e young D e l d e v e z f o r c o r r e c t i n g t h e f i r s t p r o o f s o f t h e D a m n a t i o n . ] - - C o n c e r t s 616 p o p u l a i r e s : M. Maure l [ g u e s t a r t i s t at two c o n c e r t s ] ; M. P a s d e l o u p e t M. W i l h e l m j . [Comments on t h e b r e a k i n g o f a t e n t a t i v e agreement t o have t h e German v i o l i n i s t appear as gue s t a r t i s t at one o f t h e C o n c e r t s popu -l a i r e s . ] - - Le T h e a t r e - L y r i q u e . [ B r i e f e d i t o r i a l on t h e d i s p u t e between t h e government and t h e P r e f e c t o f t h e S e i n e c o n c e r n i n g whethe r o r not V i z e n t i n i , whose T h e a t r e de l a GaTte i s ' t r a n s f o r m e en T h e a t r e - L y r i q u e avec 1 1 a u t o r i s a t i o n du m i n i s t r e des b e a u x - a r t s , 1 i s l e g a l l y e n t i t l e d t o t h e r e p e r t o i r e o f t h e o l d T h e a t r e - L y r i q u e . ] " F-01/03 "Revue m u s i c a l e . Le t h e a t r e de 1 ' O p e r a - C o m i q u e . [ E d i t o r i a l : Reyer f i r s t a pp l uad s t h e p r o v i s i o n a l t r a n s f e r r a l o f t h e d i r e c t o r s h i p f rom du L o c l e t o E m i l e P e r r i n ( d i r e c t o r o f t h e C o m e d i e - F r a n g a i s e ) , and then c o n -s i d e r s du L o d e ' s t e n u r e . ] - - C o n c e r t s du C h a t e l e t : l e D e l u g e , poeme b i b l i q u e en t r o i s p a r t i e s , par M. L o u i s G a l l e t , mus ique de M. C a m i l l e S a i n t - S a e n s [ p r e m i e r e ] . — Les C o n c e r t s c l a s s i q u e s en F r a n c e , par M. Eusebe L u c a s . [ N o t i c e on a new book by t h e c o n d u c t o r o f t h e C o n c e r t s de M o n t e - C a r l o . ] " F-19/03 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : Jeanne d ' A r c , o p e r a en q u a t r e a c t e s e t s i x t a b l e a u x , p a r o l e s e t mus ique de M. Mermet. [ Rev i ew i s i n t r o d u c e d by remark s on t h e c a r e e r o f t h i s compose r , whose most r e c e n t work f o r t h e Opera had been R o l a n d a Ronceveaux ( 1 8 6 4 ) . ] " F-09/04 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : P i c c o l i n o , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. V i c t o r i e n Sardou e t N u i t t e r , mus ique de M. E r n e s t G u i r a u d . " F-16/04 "Revue m u s i c a l e . T h e a t r e - I t a l i e n : ATda, o p e r a en q u a t r e a c t e s , p a r o l e s de M. A. G h i s l a n z o n i , mus i que de M. G i u s eppe V e r d i . [ R e v i e w o f t h i s P a r i s i a n p r e m i e r e i s i n t r o d u c e d by a b r i e f r e c a p i t u l a t i o n o f t h e g e n e r a l i m p r e s s i o n Reyer r e c e i v e d when he hea rd t he work at C a i r o i n 1 8 7 1 . ] " F-26/04 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : l e s Amoureux de C a t h e r i n e , o p e r a comique en un a c t e t i r e de l a N o u v e l l e d ' E r c k m a n n -C h a t r i a n , pa r M. J u l e s B a r b i e r , mus ique de M. Hen r i M a r e c h a l . [ Rev i ew opens w i t h remark s on t h e i m p r o v i n g f o r t u n e s o f t h e Comique under P e r -r i n . ] — Les He roTque s , drame l y r i q u e en t r o i s p a r t i e s , pa r M i l e A n t o n i n e P e r r y - B i a g i o l i , mus ique de M. Hen r i P e r r y - B i a g i o l i . [The p e r f o r m a n c e o f t h i s o p e r a i n c o n c e r t at t h e Comique prompts Reyer t o r e f l e c t on a s i m i l a r ' a v e n t u r e ' u n d e r t a k e n i n 1844 by t h e then-unknown F e l i c i e n D a v i d , whose ode - s ymphon i e Le D e s e r t was pe r f o rmed at t h e Con -s e r v a t o i r e and b r ough t t h e composer o v e r n i g h t a c c l a i m . ] ~ T h e a t r e -L y r i q u e , r e o u v e r t u r e : D i m i t r i , o p e r a en c i n q a c t e s , p a r o l e s de MM. H e n r i de B o r n i e r e t Armand S i l v e s t r e , mus ique de M. J o n c i e r e s . [ R e y e r ' s r ema rk s on t h e ' r e o u v e r t u r e ' c o n s t i t u t e an e d i t o r i a l o b j e c t i n g t h a t t h e P r e f e c t o f t h e S e i n e s t i l l d e n i e s V i z e n t i n i use o f t h e name and t he 617 r e p e r t o i r e o f t h e o l d T h e a t r e - L y r i q u e ; V i z e n t i n i ' s e n t e r p r i s e i s t h e r e -f o r e known as t h e O p e r a - N a t i o n a l - L y r i q u e . ] " F-14/05 "Revue m u s i c a l e . T h e a t r e de 1 1 O p e r a - C o m i q u e : P h i l e m o n e t B a u c i s , o p e r a comique en deux a c t e s , p a r o l e s de MM. J u l e s B a r b i e r e t M i c h e l C a r r e , mus ique de M. C h a r l e s Gounod. [ B e f o r e r e v i e w i n g t h i s p r o d u c t i o n o f y e t a n o t h e r work a p p r o p r i a t e d f r om t h e r e p e r t o i r e o f t h e d e f u n c t T h e a t r e -L y r i q u e , Reyer e d i t o r i a l i z e s on t h e ' s i t u a t i o n e q u i v o q u e ' o f V i z e n t i n i , and u r ge s t h a t t h i s d i r e c t o r o f t h e r e s u s c i t a t e d L y r i q u e be g i v e n r i g h t s t o what r ema in s o f t h e r e p e r t o i r e o f t h e o l d L y r i q u e . ] — [ V i z e n t i n i ' s ] T h e a t r e N a t i o n a l L y r i q u e : Les E r i n n y e s , t r a g e d i e a n t i q u e de M. L e c o n t e de L i s l e , mus ique de M. J . M a s s e n e t . ["Massenet had expanded h i s i n c i -d e n t a l mus i c (1873) t o f o r m ' une oeuv re c o m p l e t e , ' as Reyer e x p l a i n s i n h i s r e v i e w . ] " F-28/05 "Revue m u s i c a l e . [ V i z e n t i n i ' s ] T h e a t r e - L y r i q u e : Que lques mots s u r l e s c o n c o u r s , a p ropo s du M a g n i f i q u e . [ R e y e r makes a few comments on t h e p r e m i e r e o f t h i s o n e - a c t o p e r a comique ( l i b r e t t o by J u l e s B a r b i e r , mu s i c by J u l e s P h i l i p p o t ) , w h i c h had won t he o l d L y r i q u e ' s c o m p e t i t i o n f o r new o p e r a s i n 1869. He t h e n l a u n c h e s i n t o an e d i t o r i a l on t h e r e s u l t s o f such c o m p e t i t i o n s . ] — Les s u b v e n t i o n s . — L 'amendement de M. L u c i e n Daut re sme. [The impend ing v o t e on t h e s u b s i d i e s o f t h e t h e a t r e s c au se s Reyer t o c o n s i d e r a d e p u t y ' s p r o p o s a l t h a t t h e sy s tem o f s u b s i d i z a t i o n be changed , and t h a t t h e Ope ra , Ope ra -Comique , and T h e a t r e - L y r i q u e a l l be p l a c e d under t h e d i r e c t c o n t r o l o f t h e g o v e r n m e n t . ] — R e p r i s e d ' O b e r o n [ a t t h e T h e a t r e - L y r i q u e ] . — Un q u a t u o r de V e r d i . [Remarks on an u n p u b l i s h e d s t r i n g q u a r t e t ( p r o b a b l y t h e Q u a r t e t i n E M i n o r ) w h i c h was p r e m i e r e d a t N a p l e s ' i l y a e n v i r o n deux a n s ' and w i l l be p e r f o r m e d a t P a r i s ' c e t h i v e r . ' ] - - Mme M a r i e S a s s . [Announcement t h a t t h i s s op rano w i l l r e t u r n t o P a r i s i n September t o s i n g f i r s t at t h e Opera and t h e n at t h e T h e a t r e - L y r i q u e . ] " F-18/06 [Rev i ew o f t h e O p e r a ' s new p r o d u c t i o n o f P a c i n i ' s t r a n s l a t i o n o f Pe r F r e i s c h l i t z , w h i c h w i l l be used as a c u r t a i n - r a i s e r f o r P e l i b e s ' s b a l l e t S y l v i a . ] A - 06/07 , p. 3 "Revue m u s i c a l e . Les C o n c e r t s de l a s a i s o n . [ A t t h e C o n s e r v a t o i r e : t h e s t u d e n t s ' annua l c o n c e r t ; c o n c e r t o f e n v o i s by f o r m e r w i n n e r s o f t h e P r i x de Rome ( M a r e c h a l , S a l v a y r e , and E h r h a r t ) . - - Chamber m u s i c : com-ments on i t s p o p u l a r i z a t i o n by chamber mus i c o r g a n i z a t i o n s ; t h e r e p e r -t o i r e s o f t h e S o c i e t e T a u d o u - P e s j a r d i n s , t h e S o c i e t e R e m y - M a r s i c k , and t h e S o c i e t e des d e r n i e r s g r ands q u a t u o r s de B e e t h o v e n . - - B r i e f r e v i e w s o f new work s by P a r i s i a n i n s t r u m e n t a l i s t s : a c e l l o c o n c e r t o by V i e u x -t e m p s ; works by t h e c e l l i s t Leon J a c q u a r d and t h e v i o l i n i s t J u l e s A rmingaud a t a c o n c e r t g i v e n by t h e s e two a r t i s t s ( w i t h t h e a s s i s t a n c e o f f o u r o t h e r s ) . — P i a n i s t s : c o n c e r t c l a s s i q u e o f M i l e M a r i e de P i e r p o n t ; c o n c e r t o f M i l e M . - L . R o u f f ; P a r i s i a n p r e m i e r e o f B r ahms ' s 618 P i a n o C o n c e r t o i n D M i no r at a c o n c e r t o f Mme S z a r v a d y ( W i l h e l m i n e C l a u s s ) ; c o n c e r t o f Mme M o n t i g n y - R e m a u r y ; e n u m e r a t i o n o f o u t s t a n d i n g ma le p i a n i s t s . - - V i o l i n i s t s : c o n c e r t o f J u l i e n S a u z a y ; t h e v i o l i n i s t C h a r l e s D a n c l a as compose r ; V i e u x t e m p s ' s V i o l i n C o n c e r t o i n A M i n o r , p e r f o r m e d by W i e n i a w s k i . - - The f i r s t c o n c e r t s p i r i t u e l o f H o l y Week: works by Mme de G r a n d v a l , C h a r l e s Hes s , and Georges M a r t i n . — The due t f r o m A c t I o f B e r l i o z ' s B e a t r i c e e t B e n e d i c t a t a m a t i n e e m u s i c a l e g i v e n by C o l o n n e . ] " F-15/07 "Revue m u s i c a l e . L ' I n s t i t u t i o n des dames p e n s i o n n a i r e s de S. M. l e r o i des Pay s -Ba s pour l ' a r t l y r i q u e e t d r a m a t i q u e . [Reye r was among an i n -t e r n a t i o n a l g roup o f m u s i c i a n s i n v i t e d by t h e K i n g o f t h e Low C o u n t r i e s t o t h e Chateau Loo a t A p e l d o o r n , t o j u d g e t h e e x e r c i c e s o f t h e g i r l s who s t u d y p i a no and v o i c e at t h e I n s t i t u t i o n e s t a b l i s h e d at B r u s s e l s . Reyer comments on both t h e I n s t i t u t i o n and t h e B r u s s e l s C o n s e r v a t o i r e . ] - - Le c h a t e a u du Loo . [ D e s c r i p t i o n o f t h e c h a t e a u and i t s t h e a t r e , where t h e e x e r c i c e s were h e l d . Remarks on t h e e x e r c i c e s : s e v e r a l o u t s t a n d i n g s t u d e n t s ; t h e s t u d e n t o r c h e s t r a f r om t h e B r u s s e l s C o n s e r v a t o i r e . - - A v i s i t t o Amsterdam: p a i n t i n g s i n t h e Roya l Museum; t h e P a l a i s de 1 ' I n d u s t r i e , s i t e o f a f o r t h c o m i n g f e s t i v a l o f c h o r a l s o c i e t i e s f r om B e l g i u m , F r a n c e , and Germany. - - The Hague, R o t t e r d a m , and t h e town o f D o r d r e c h t , t h e ' d e r n i e r e e t a p e ' i n R e y e r ' s t r i p t h r o u g h H o l l a n d . ] " F-17/08 " [ C o m m u n i c a t i o n a d d r e s s e d t o t h e ' D i r e c t e u r ' o f t h e D e b a t s , and d a t e d : ] Bl anche -Couronne ( L o i r e - I n f e r i e u r e ) , l e l e r s ep tembre 1876. [ R e y e r , who has j u s t r e c e i v e d word o f t h e d e a t h o f F e l i c i e n D a v i d , mourns t h e l o s s o f ' n on seu lement l e m u s i c i e n p o e t i q u e e t c h a r m a n t , ma i s a u s s i 1'homme l o y a l e t b o n , 1 'ami s i n c e r e e t d e v o u e . ' ] " LA - 03/09 , p. 3 "Revue m u s i c a l e . [ O b i t u a r y o f ] F e l i c i e n D a v i d . " F t t - 1 8 / 0 9 "Revue m u s i c a l e . R e o u v e r t u r e du T h e a t r e - L y r i q u e . [ E d i t o r i a l i n w h i c h Reyer d e c r i e s t h e m u n i c i p a l a d m i n i s t r a t i o n ' s c o n s t a n t o p p o s i t i o n t o t he e x i s t e n c e o f t h i s t h e a t r e ; d e f e n d s t h e d i r e c t o r , h i s s i n g e r s , and h i s i n t e n t i o n s as r e g a r d s r e p e r t o i r e ; and u rges t h a t t h e e n t e r p r i s e ' s o i t s ou tenu pa r t o u s l e s moyens p o s s i b l e s . ' T h i s e d i t o r i a l i s f o l l o w e d by r emark s on two o f t h e L y r i q u e ' s t e n o r s : Watson i n D i m i t r i , and M i c h o t i n O b e r o n . ] - - R e o u v e r t u r e de 1 ' O pe r a -Com ique . [Reye r u r ge s C a r v a l h o , t h e new d i r e c t o r , t o r e j u v e n a t e t h e r e p e r t o i r e and t o ' c ompose r une t r o u p e d i g n e de son t h e a t r e . ' ] - - E x p o s i t i o n m u s i c a l e d ' o e u v r e s de com-p o s i t e u r s v i v a n s . - - P r o j e t de M. E r n e s t L ' E p i n e . [ E d i t o r i a l a g a i n s t L ' E p i n e ' s p r o p o s a l t h a t t h e r e s h o u l d be an annua l E x p o s i t i o n m u s i c a l e at w h i c h t h e e n t r i e s would be pe r f o rmed i n p u b l i c and j udged by a j u r y . ] " F-08/10 [ E d i t o r i a l o b j e c t i n g t o t h e h i s s i n g o f an e x c e r p t f r o m Wagne r ' s D i e Gbt terdammerung a t P a s d e l o u p ' s most r e c e n t C o n c e r t p o p u l a i r e . Reyer 619 s u p p o r t s h i s p o s i t i o n by r e p r i n t i n g a l e t t e r wh i ch P a s d e l o u p , i n an a t t e m p t t o e x p l a i n t o t h e p u b l i c h i s own a t t i t u d e t owa rd Wagner ' s m u s i c , had s en t t o t h e e d i t o r o f t h e newspaper Le F i g a r o . ] A -02 and 03/11 , p. 3 "Revue m u s i c a l e . T h e a t r e - I t a l i e n : l a F o r z a d e l D e s t i n o , o p e r a en q u a t r e a c t e s , p a r o l e s de F. P i a v e , mus ique de M. G. V e r d i [ P a r i s i a n p r e -m i e r e ] . - - T h e a t r e - L y r i q u e : R e p r i s e de G i r a l d a , o p e r a comique en t r o i s a c t e s , p a r o l e s d ' Eugene S c r i b e , mus i que d ' A d o l p h e Adam. - - Seance annu-e l l e de 1 ' A cademie des B e a u x - A r t s : E x e c u t i o n de l a c a n t a t e c o u r o n n e e . - - M. Veronge de l a Nux, M. H i l l e m a c h e r . [ E x p l a n a t i o n o f why t he A c a d e -mie has awarded t h e P r i x de Rome t o two c a n t a t a s i n s t e a d o f one . Rev iew o f t h e w i n n i n g c a n t a t a s : s e t t i n g s o f Pau l A l e x a n d r e ' s poem J u d i t h by Pau l H i l l e m a c h e r and Veronge de l a N u x . ] " F-12/11 "Revue m u s i c a l e . [ D e s c r i p t i o n o f a m u s i c a l f r a g m e n t and o t h e r a n n o t a -t i o n s made by B e r l i o z i n h i s copy o f B e r n a r d i n de S a i n t - P i e r r e ' s t a l e Pau l e t V i r g i n i e , wh i ch t h e d y i n g composer had g i v e n t o R e y e r . - - ] O p e r a - N a t i o n a l - L y r i q u e [ o f f i c i a l name o f V i z e n t i n i ' s T h e a t r e - L y r i q u e ] : Pau l e t V i r g i n i e , o p e r a en t r o i s a c t e s , p a r o l e s de M i c h e l C a r r e e t M. J u l e s B a r b i e r L a f t e r B e r n a r d i n de S a i n t - P i e r r e ] , mus ique de M. V i c t o r Mas se . - - [ P o s t s c r i p t : ] T h e a t r e - I t a l i e n : R e p r i s e d ' A i d a . [ R e y e r a p o l -o g i z e s t h a t l a c k o f space p r e v e n t s him f r om d i s c u s s i n g t h i s r e v i v a l and t h e C o m i q u e ' s r e v i v a l o f F e l i c i e n D a v i d ' s L a i 1 a - R o u k h . ] " F t t - 2 5 7 T I "Revue m u s i c a l e . [Open ing r emark s on t h e ' t r e s g rand nombre de r e -p r i s e s ' s t a g e d by P a r i s i a n l y r i c t h e a t r e s w i t h i n t h e p a s t two or t h r e e weeks . - - ] T h e a t r e - I t a l i e n : R e p r i s e s d ' A T d a e t de [ D o n i z e t t i ' s ] P o l i u t o . - - T h e a t r e de 1 "Ope ra -Comique : r e p r i s e s de L a l l a - R o u k h e t de l a F i l l e du Reg imen t . [ R e y e r ' s comments on t h e l a t t e r p e r t a i n o n l y t o t h e debut o f R a f f a e l l a F r a n c h i n o . ] — T h e a t r e - L y r i q u e : r e p r i s e s du B a r b i e r de S e v i l l e e t des T r o q u e u r s , d ' H e r o l d . [ N o t i c e on Z i n a D a l t i and P i e r r e - E m i l e Enge l i n Le B a r b i e r . A few o b s e r v a t i o n s on t h e h i s t o r y o f t h e o n e - a c t Les T r o c j ueu r s , wh i ch i s b e i n g used as a c u r t a i n - r a i s e r f o r Le B a r b i e r . ] — T h e a t r e de l ' O p e r a : r e p r i s e de R o b e r t l e D i a b l e ( M i l e G a b r i e l l e K r a u s s ) . [ Reye r r emark s on a l l o f t h e p r i n c i p a l s bu t f o c u s e s h i s a t t e n t i o n on K r a u s s , ' l a p r e m i e r e t r a g e d i e n n e l y r i q u e de ce t e m p s - c i . ' ] " F-10/12 1877 J o u r n a l des Debat s "Revue m u s i c a l e de T a n n e e 1876. [ L y r i c t h e a t r e s : r e c o l l e c t i o n s o f t h e few ' o u v r a g e s nouveaux ' and t h e many ' r e p r i s e s . ' Mme A l b a n i , t h e new p r i m a donna o f t h e T h e a t r e - I t a l i e n . F o r t h c o m i n g p r e m i e r e o f S a i n t -S a e n s ' s Le T imb re d ' a r g e n t a t V i z e n t i n i ' s T h e a t r e - L y r i q u e . - - C o n c e r t 620 s o c i e t i e s : B e r l i o z ' s Symphonie f a n t a s t i q u e a t one o f P a s d e l o u p ' s Con -c e r t s p o p u l a i r e s . (Rev iew i n c l u d e s i n f o r m a t i o n on e a r l i e r p e r f o r m a n c e s o f t h i s work , wh i ch had not been p r e s e n t e d i n i t s e n t i r e t y at P a r i s s i n c e 1832. ) The p u b l i c ' s r e a c t i o n s t o mus i c by B e r l i o z at t h e S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e and at C o l o n n e ' s C o n c e r t s du C h a t e l e t . B r i e f e d i t o r i a l u r g i n g t h e government t o s u b s i d i z e t he c o n c e r t s o c i e t i e s o f P a s d e l o u p and C o l o n n e . N o t i c e s on t h e p r e m i e r e s o f two o v e r t u r e s : L a l o ' s Le Ro i d ' Y s and T c h a i k o v s k y ' s Romeo and J u l i e t t e . Enumera t i on o f o t h e r works t h a t appeared on t h e programs o f t h e c o n c e r t s o c i e t i e s . The l a t e F e l i c i e n D a v i d ' s Le D e s e r t at c o n c e r t s o f bo th P a s d e l o u p and C o l o n n e . Debut o f P a u l V i a r d o t ( v i o l i n i s t ) a t one o f P a s d e l o u p ' s c o n -c e r t s . - - Gounod ' s Messe du S a c r e - C o e u r de Je su s at t h e Church o f S a i n t -E u s t a c h e . - - O b i t u a r y o f t h e composer A l f r e d H o l m e s . ] " F-16/01 "Revue m u s i c a l e . T h e a t r e - L y r i q u e : R e p r i s e de M a r t h a . [ Rev i ew i n c l u d e s a b r i e f h i s t o r y o f F l o t o w ' s work , wh i ch had been a g r e a t s u c c e s s at t h e o l d L y r i q u e . - - E d i t o r i a l demanding t h a t t h e government remedy t h e f i n a n c i a l d i s t r e s s o f t he T h e a t r e - L y r i q u e by f i r s t l i q u i d a t i n g i t and then r e e s t a b l i s h i n g i t on a s o l i d f i n a n c i a l f o u n d a t i o n . ] - - T h e a t r e de 1 ' O p e r a - C o m i q u e : r e p r i s e s de l a F e t e du v i l l a g e v o i s i n e t de C e n d r i l - I o n . [Rev i ews i n c o r p o r a t e comments by Poug i n and F e t i s c o n c e r n i n g t h e p r e m i e r e s o f t h e s e works i n 1816 and 1810 r e s p e c t i v e l y . ] - - [Announce -ment o f new p u b l i c a t i o n s : ] Deux R e c u e i l s de m e l o d i e s pour c h a n t e t p i a n o , pa r M. A l p h o n s e Duvernoy e t M. J u l e s C r e s s o n n o i s . " F-30/01 "Revue m u s i c a l e . Le Requiem de M. D e l d e v e z . - - Habeneck. - - L a S o c i e t e des C o n c e r t s . - - La 9^ symphon ie de B e e t h o v e n . - - M i l e G a b r i e l l e K r a u s s . [ A l l o f t h e s e s u b t i t l e s p e r t a i n t o R e y e r ' s r e v i e w o f two e v e n t s commemorat ing t h e a n n i v e r s a r y o f t h e dea th o f Habeneck ( f o u n d e r o f t h e S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e ) . The f i r s t e v e n t , a c o n c e r t at t h e C o n s e r v a t o i r e , f e a t u r e d B e e t h o v e n ' s N i n t h Symphony, w i t h K r a u s s as one o f t h e s o l o i s t s i n t h e c h o r a l f i n a l e . The second e v e n t , at t h e Chu rch o f t h e T r i n i t e , was a p e r f o r m a n c e o f a Requiem wh i ch D e l d e v e z ( t h e c u r r e n t c o n d u c t o r o f t h e S o c i e t e ) had composed and d e d i c a t e d t o t h e memory o f Habeneck . ] - - S a l l e P l e y e l : Mme S z a r v a d y . - - Mme M o n t i g n y -Re'maury. [Rev i ews o f t h e c o n c e r t s p r e s e n t e d by t h e s e r i v a l p i a n i s t s . ] - - S o c i e t e f ondee pour l ' e x e c u t i o n des d e r n i e r s q u a t u o r s de B e e t h o v e n . [ R e y e r app l aud s t h e ensemble f o r r e s e r v i n g on i t s programs a p l a c e f o r c o n t e m p o r a r y composers such as B rahms. ] - - C o n c e r t s p o p u l a i r e s : 1 a Damnat ion de F a u s t . [Remarks on t h e r e c e n t p e r f o r m a n c e o f P a r t s I and I I , and on t h e i n t e n t i o n o f bo th P a s d e l o u p and Co l onne t o p r e s e n t t he e n t i r e work on t h e same d a y . ] - - T h e a t r e - I t a l i e n : L i n d a d i Chamounix ( M i l e A l b a n i , M. P a n d o l f i n i ) . [ R e y e r , ' e m e r v e i l l e de l ' e x e c u t i o n , ' c o n g r a t u l a t e s t h e d i r e c t o r f o r h a v i n g g a t h e r e d t o g e t h e r ' un g roupe d ' e x c e l l e n s a r t i s t e s . ' ] - - T h e a t r e - L y r i q u e : Les v i c i s s i t u d e s du T imbre d ' a r g e n t . [A d e s c r i p t i o n o f t h e h i s t o r y o f t h i s work l e a d s t o an e d i t o r i a l r e i t e r a t i n g a p o s i t i o n t a k e n by Reyer i n t h e JD F -30/01 : V i z e n t i n i ' s T h e a t r e - L y r i q u e s h o u l d be l i q u i d a t e d and then r e e s t a b l i s h e d 621 w i t h a s u b s t a n t i a l s u b s i d y . Reyer now s u p p o r t s h i s p o s i t i o n by p u b l i s h -i n g a l e t t e r he had r e c e i v e d f r o m V i z e n t i n i . ] " F-18/02 "Revue m u s i c a l e . T h e a t r e - N a t i o n a l - L y r i q u e [ T h e a t r e - L y r i q u e ] : Le T imbre d ' a r g e n t , drame l y r i q u e ou o p e r a f a n t a s t i q u e en q u a t r e a c t e s e t hunt t a b l e a u x , de MM. J u l e s B a r b i e r e t M i c h e l C a r r e , mus ique de M. C a m i l l e S a i n t - S a e n s . — T h e a t r e de 1 1 O p e r a - C o m i q u e : R e p r i s e de P h i l e m o n e t B a u c i s . [Remarks on two o f t h e p r i n c i p a l s i n t h i s r e v i v a l o f Gounod ' s w o r k . ] " F-27/02 "Revue m u s i c a l e . La Damnat ion de F a u s t , d ' H e c t o r B e r l i o z . [ R e v i e w of a p e r f o r m a n c e a t C o l o n n e ' s C o n c e r t s du C h a t e l e t , w i t h comments on P a s d e -l o u p ' s u n s u c c e s s f u l e f f o r t , and i n f o r m a t i o n on t he g e n e s i s as w e l l as t h e h i s t o r y o f B e r l i o z ' s work (wh i ch had not been pe r f o rmed i n i t s e n -t i r e t y at P a r i s s i n c e 1 8 4 6 ) . ] " F t t - 1 3 / 0 3 "Revue m u s i c a l e . C o n c e r t s du C h a t e l e t : S i x i e m e e x e c u t i o n de l a Dam- n a t i o n de Fau s t [ a t t h e l a s t c o n c e r t i n t h e C h a t e l e t s e r i e s ] ; Mme D u v i v i e r , M. T a l a z a c , M. L auwe r s , M. C a r r o u l [ s o l o i s t s ] ; 1 ' o r c h e s t r e e t l e s c h o e u r s . — C o n c e r t s p o p u l a i r e s : F e s t i v a l en l ' h o n n e u r de B e e t h o v e n . [ Reye r r e p o r t s what he was t o l d c o n c e r n i n g a c o n c e r t o f B e e t h o v e n ' s m u s i c , p r e s e n t e d i n commemorat ion o f t he f i f t i e t h a n n i v e r -s a r y o f t h e c o m p o s e r ' s d e a t h . (Reye r adm i t s t h a t he d i d not a t t e n d t h i s c o n c e r t because i t o c c u r r e d at t h e same t i m e as t h e l a s t p e r f o r m a n c e o f t h e Damnat ion at t h e C h a t e l e t . ) - - Announcement: e x c e r p t s f r o m L ' E n - f a n c e du C h r i s t w i l l be pe r f o rmed at t h e C o n c e r t s p o p u l a i r e s on Good F r i d a y . ] - - C o n c e r t de M i l e M a r i e P o i t e v i n [ p i a n i s t ; a s s i s t e d by her t e a c h e r , E l i e D e l a b o r d e ] . [ — N o t i c e on a new p u b l i c a t i o n : a ' b r o c h u r e ' c o n s i s t i n g o f a s e r i e s o f a r t i c l e s r e c e n t l y p u b l i s h e d by A d o l p h e J u l -l i e n , c o n c e r n i n g W e b e r ' s f i v e - d a y s t a y at P a r i s i n 1 8 2 6 . ] " F-30/03 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : C i n q - M a r s , drame l y r i q u e en q u a t r e a c t e s e t c i n q t a b l e a u x , par MM. Pau l P o i r s o n e t L o u i s G a l l e t [ a f t e r A l f r e d de V i g n y ] , mus ique de M. C h a r l e s Gounod. [ Rev i ew i n c l u d e s r e f l e c t i o n s on t h e p r e s e n c e o f ' q u e l q u e s ph r a s e s d i a l o g u e e s ' as a c o n -c e s s i o n t o t h e o p e r a - c o m i q u e t r a d i t i o n . ] " F-15/04 "Revue m u s i c a l e . T h e a t r e - L y r i q u e : l e B r a v o , o p e r a en t r o i s a c t e s e t q u a t r e t a b l e a u x , p a r M. E m i l e B l a v e t L a f t e r Fen imore C o o p e r ] , mus ique de M. S a l v a y r e . [ B e f o r e c o n c l u d i n g t h e r e v i e w o f t h i s work by a f o r m e r w i n n e r o f t h e P r i x de Rome, Reyer e d i t o r i a l i z e s on t h e c u r r e n t s i t u a t i o n o f t h e s e l a u r e a t e s and o t h e r young F r e n c h c o m p o s e r s . ] — T h e a t r e -I t a l i e n : Mme Z a g u r y - H a r r i s . [ N o t i c e on he r r e t u r n i n L u c i a . ] - - C o n c e r t annue l de l a S o c i e t e des S y m p h o n i s t e s . [Two movements f r om a symphony by Leonce F a r r e n c were among t h e i t ems pe r f o rmed by t h i s o r g a n i z a t i o n o f 622 amateur s ( c o n d u c t e d by L e o p o l d D e l e d i c q u e ) . - - P o s t s c r i p t : a few r ema rk s on t h e p r e m i e r e o f M a s s e n e t ' s Le Ro i de Laho re at t h e O p e r a . ] " F-29/04 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : l e Ro i de L a h o r e , o p e r a en c i n q a c t e s , de M. L o u i s G a l l e t , mus ique de M. J . M a s s e n e t . [ Rev i ew b e g i n s w i t h a d e s c r i p t i o n o f t h e c i r c u m s t a n c e s wh i ch prompted t h e d i r e c t o r t o p r e m i e r e t h e f i r s t f i v e - a c t o p e r a by t h e young Ma s s ene t , who had neve r b e f o r e had a work pe r f o rmed at t h i s t h e a t r e . ] " F-10/05 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : B a t h y l e , o p e r a comique en un a c t e , par M. Edouard B l a u , mus i que de M. W i l l i a m Chaumet. [ R e v i e w i n c l u d e s o b j e c t i o n s t h a t ' l a v e r s i o n o r i g i n a l e , ' wh i ch had won t h e C o n -c o u r s C r e s s e n t i n 1875, had been a l t e r e d . ] — E x e r c i c e p u b l i c des e l e v e s du C o n s e r v a t o i r e . [ Reye r f i r s t l i s t s t h e i t e m s on t h e program o f t h i s c o n c e r t , and then comments on each o f t h e s o l o i s t s as w e l l as t he c ho r u s and t h e o r c h e s t r a . ] - - C o n c e r t de M. C o l o n n e . [ Rev i ew o f an a l l - B e r l i o z program g i v e n at t h e new S a l l e E r a r d t o b e n e f i t C o l o n n e ' s c o n c e r t s o c i -e t y . A f t e r r e m a r k i n g on t h e i n a d e q u a c i e s o f ' l a s a l l e n o u v e l l e m e n t c o n -s t r u i t e , ' Reye r l ament s t h a t P a r i s s t i l l does not have ' u n e v e r i t a b l e s a l l e de c o n c e r t . ' ] - - H e c t o r B e r l i o z . [The p e r f o r m a n c e o f t h e T r o j a n March at C o l o n n e ' s b e n e f i t c o n c e r t c a l l s t o R e y e r ' s mind the p r o d u c t i o n o f Les T r o yen s a C a r t h a g e at t h e o l d T h e a t r e - L y r i q u e . He n o t e s t h a t Meye rbee r had a t t e n d e d e v e r y p e r f o r m a n c e . ] " F-23/05 "Revue m u s i c a l e . Le T h e a t r e - L y r i q u e : c l o t u r e de l a s a i s o n . [ B r i e f e d i t o r i a l on t h e p r e s e n t i n g o f ' t r o i s p i e c e s n o u v e l l e s ' on t he l a s t e v e n i n g . ] - - Son programme pour l a s a i s o n p r o c h a i n e . [ A f t e r l i s t i n g t h e ' n o u v e a u t e s ' and t h e ' r e p r i s e s ' announced by V i z e n t i n i , Reyer c o n s i d e r s t h e s e ' b e l l e s p r o m e s s e s ' v i s - a - v i s t h e p r e c a r i o u s f i n a n c i a l s i t u a t i o n o f t h e L y r i q u e . ] ~ L ' O p e r a - C o m i q u e . [ O b j e c t i o n s t o t h e a d m i n i s t r a t i o n ' s d e c i s i o n not t o renew t h e c o n t r a c t s o f M. N i c o t and M i l e Duca s s e . ] - - Le T h e a t r e - I t a l i e n e t Mme A d e l i n a P a t t i . [Comments on t h e q u e s t i o n o f whe the r she w i l l appear at t h i s t h e a t r e nex t w i n t e r . ] « J u d i t h , drame l y r i q u e en t r o i s a c t e s , de M. C h a r l e s L e f e b v r e . [ C a l l i n g a t t e n t i o n t o t h e new l y p u b l i s h e d s c o r e o f t h i s o r a t o r i o by a f o r m e r w i n n e r o f t h e P r i x de Rome, Reyer hopes t h a t ' 1 ' o c c a s i o n me s e r a donnee de 1 ' e n t e n d r e avec 1 ' o r c h e s t r e . 1 ] . - - C o n c e r t au p r o f i t des A l s a c i e n s - L o r r a i n s : M i l e A d a T e w s k i . [Remarks on a b e n e f i t c o n c e r t at wh i ch most o f t h e mus i c was by t h i s R u s s i a n compose r . N o t i c e on her w o r k s , o f wh i ch Reyer has r e a d ' p l u s i e u r s e c h a n t i l l o n s . ' ] - - T r a i t e c o m p l e t de c h a n t e t de d e c l a m a t i o n l y r i q u e , pa r M. D e l l e - S e d i e . [ Rev i ew o f a manual by t h e I t a l i a n s i n g i n g t e a c h e r who was t h e n ' b i e n c o n n u ' as a p r o f e s s o r at t h e P a r i s C o n s e r v a -t o i r e . ] " F-27/06 "Revue m u s i c a l e . Les c o n c e r t s . [ R e f l e c t i o n s on c o n t e m p o r a r y P a r i s i a n c o n c e r t l i f e : many v i r t u o s o s who used t o g i v e o n l y one annual c o n c e r t now g i v e at l e a s t t w o ; s i n g e r s u s u a l l y f o r g o m e l o d i e s and romances i n 623 f a v o r o f ' d e s a i r s d ' o p e r a ' ; and t h e p o p u l a r i t y o f t h e p i a no makes i t ' l e r o i des i n s t r u m e n s , ' f o l l o w e d by ' l e v i o l o n , p u i s l e v i o l o n c e l l e , e t c ' e s t t o u t . ' — V i v i e r , t h e horn v i r t u o s o whose annual c o n c e r t c o n t i n u e s t o a t t r a c t ' s e s f i d e l e s . ' - - Eduard Remeny i : as v i o l i n i s t ; h i s a r r a n g e -ment o f S c h u b e r t ' s D i v e r t i s s e m e n t a l ' h o n g r o i s e , Op. 54. - - A s i x - y e a r -o l d p r o d i g y f r o m B r a z i l : E u g e n e - M a u r i c e Dengremont ( v i o l i n i s t ) . - -Th ree young B e l g i a n s s t u d y i n g at P a r i s : M i l e Anna V e r h u l s t ( p i a n i s t ) , M i l e Jeanne Kuhn ( p i a n i s t ) , and Jo seph Ho l lmann ( c e l l i s t ) . - - Two o r c h e s t r a l works by t h e p i a n i s t - c o m p o s e r A l p h o n s e Duve rnoy . - - The f i r s t c o n c e r t o f ' une t o u t e j e u n e p i a n i s t e , ' M i l e Jane D e b i l l e m o n t ( w i t h a s s i s t i n g a r t i s t s ) . — Ap ropo s o f chamber m u s i c : works by C h a r l e s Dane ! a ; t h e c o n t i n u i n g s u c c e s s o f t h e S o c i e t e R e m y - M a r s i c k . - - A r a b e l l a Goddard ( p i a n i s t ) . - - The r e c e n t l y c o m p l e t e d p r o v i n c i a l t o u r o f P a s d e -l o u p ' s o r c h e s t r a , w i t h gue s t a r t i s t s Theodore and C e c i l e R i t t e r ( p i a n i s t and soprano r e s p e c t i v e l y ) . ] " F-08/07 "Revue m u s i c a l e . Les c o n c o u r s du C o n s e r v a t o i r e . [Open ing r e m a r k s : a l t h o u g h t h i s i n s t i t u t i o n d i d not p roduce a w i nne r o f t h e P r i x de Rome t h i s y e a r , i t y i e l d e d ' d ' a s s e z bons f r u i t s . ' - - The v o c a l c o m p e t i t i o n s : Reyer c o n s i d e r s each w i nne r i n t u r n , g i v i n g most o f h i s a t t e n t i o n t o t h e t e n o r s S e l l i e r and T a l a z a c , and t h e m e z z o - s o p r a n o M i l e R i c h a r d . He c o n -c l u d e s w i t h a b r i e f e d i t o r i a l u r g i n g t he l a u r e a t e s t o c o n t i n u e t h e i r t r a i n i n g , because an award f r om t h e C o n s e r v a t o i r e does not n e c e s s a r i l y mean t h a t a s i n g e r i s ' u n a r t i s t e . ' - - The p i a n o c o m p e t i t i o n : r emark s on t h e number o f c o m p e t i t o r s ; names o f t h e w i n n e r s . - - The harp c o m p e t i -t i o n : t h e p a r t i c i p a t i o n o f o n l y f o u r s t u d e n t s , none o f whom won a ' p r e -m i e r p r i x , ' e l i c i t s o b s e r v a t i o n s on t h e need t o encou rage t h e s t u d y o f t h i s i n s t r u m e n t . - - The o rgan c o m p e t i t i o n : Reyer r e p o r t s what he was t o l d c o n c e r n i n g t h i s c o m p e t i t i o n , w h i c h , l i k e t h e ' c o n c o u r s de h a r p e , ' t o o k p l a c e ' a h u i s c l o s . ' - - The v i o l i n and c e l l o c o m p e t i t i o n s : o b j e c -t i o n s t o t h e c o n c e r t o s s e l e c t e d ; names o f t h e w i n n i n g s t u d e n t s . - - Reyer c a l l s f o r t h e t e a c h i n g o f v i o l a at t h e C o n s e r v a t o i r e . - - Names o f t h e w i n n e r s o f t h e c o m p e t i t i o n s f o r d o u b l e bass and f o r v a r i o u s c a t e g o r i e s o f woodwinds and b r a s s . - - Comments ap ropos o f t h e P r i x de Rome: t h e d e c i s i o n not t o p r e s e n t t h e annua l p u b l i c c o n c e r t o f e n v o i s f r om f o r m e r w i n n e r s ; t h e d e c i s i o n not t o award t he p r i z e t h i s y e a r . — Summary o f t h e speech p r e s e n t e d by t h e M i n i s t e r o f P u b l i c I n s t r u c t i o n and F i n e A r t s . ] " F-19/08 "Revue m u s i c a l e . T h e a t r e n a t i o n a l de l ' O p e r a : La R e i n e de C h y p r e , g rand o p e r a en c i n q a c t e s , p a r o l e s de H e n r i de S a i n t - G e o r g e s , mus ique de F. H a l e v y . [ Rev i ew o f t h i s f o u r t h r e v i v a l o f H a l e v y ' s work i n c l u d e s r ema rk s on i t s h i s t o r y . ] ~ M i l e R o s i n e B l o c h [ a s C a t h e r i n e C o r n a r o ] ; MM. V i l l a r e t , L a s s a l l e , C a r o n , Menu, e t c . , e t c . [ - - P o s t s c r i p t : news c o n c e r n i n g f o r t h c o m i n g p r o d u c t i o n s at t h e O p e r a . ] " F-28/08 " L e s c o u r s e s de t a u r e a u x de S a i n t - S e b a s t i e n . - - F r a s c u e l o . - - Le Voyage en Espagne de M. Eugene P o i t o u . [ W h i l e v a c a t i o n i n g at B i a r r i t z , Reyer 624 d e c i d e s t o t r a v e l a c r o s s t h e b o r d e r t o San S e b a s t i a n , so t h a t he can see s ometh i ng he has neve r b e f o r e w i t n e s s e d : t h e b u l l f i g h t s , wh ich w i l l f e a t u r e t h e famous matador F r a s c u e l o . A f t e r o b s e r v i n g one o f t h e s e com-b a t s , Reyer e d i t o r i a l i z e s on t h e c r u e l t y o f such a ' s p e c t a c l e h o r r i b l e . ' The e d i t o r i a l i n c l u d e s Eugene P o i t o u ' s d e s c r i p t i o n o f a b u l l f i g h t , e x -c e r p t e d f r o m h i s book Voyage en E spagne . - - Reyer comments on t h e s i g h t s o f San S e b a s t i a n : t h e c i t a d e l ; Campo-Santo ; t h e A lameda promenade; s t r e e t m u s i c i a n s . ] — [ H i g h l i g h t s o f t he t r i p back t o B i a r r i t z : ] P a s a g e s . - - Cambo. - - Le Pas de R o l a n d . - - Les r a p i d e s de l a N i v e . - -B i a r r i t z . - - Bayonne. [ - - Reyer r e c a l l s t h e b u l l f i g h t s and vows t h a t , upon h i s r e t u r n t o P a r i s , he w i l l j o i n t h e S o c i e t e p r o t e c t r i c e des a n i -m a u x . ] " * F [ C u r R 190, HenT 415 ] -03/09 "Revue m u s i c a l e . [The r e o p e n i n g o f V i z e n t i n i ' s T h e a t r e - L y r i q u e a f f o r d s Reyer an o c c a s i o n t o e d i t o r i a l i z e on t h e need f o r a more c o m f o r t a b l e b u i l d i n g i n a b e t t e r l o c a t i o n . - - Rev i ews o f t h r e e p r e m i e r e s at t h e ] T h e a t r e - L y r i q u e : l a C l e f d ' O r , comed ie l y r i q u e en t r o i s a c t e s , pa r MM. O c t a v e F e u i l l e t e t L o u i s G a l l e t , mus i que de M. Eugene G a u t i e r ; G r a z i - e l 1 a , drame l y r i q u e en deux a c t e s , d ' a p r e s L a m a r t i n e , pa r M. J u l e s B a r b i e r , mus ique de M. An tony Choudens ; l ' A u m o n i e r du R e g i m e n t , o p e r a comique en un a c t e , p a r MM. de S a i n t - G e o r g e s e t L e u v e n , mus ique de M. H e c t o r Sa lomon. — Le t e n o r Monjauze [ o b i t u a r y ] . " F-19/09 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : [ E d i t o r i a l r e g r e t t i n g t h a t , a f t e r P e r r i n had opened t h e d o o r s o f t h i s t h e a t r e t o c o n t e m p o r a r y composer s ( n o t a b l y Ma s s ene t , B i z e t , S a i n t - S a e n s , and G u i r a u d ) , C a r v a l h o i s r e t u r n i n g t o t h e C o m i q u e ' s o l d r e p e r t o i r e . - - ] R e p r i s e de l ' E c l a i r , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. de S a i n t - G e o r g e s e t P l a n a r d , mus ique de F. H a l e v y . - - R e p r i s e de M i gnon , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. M i c h e l C a r r e e t J u l e s B a r b i e r , mus ique de M. Ambro i s e Thomas. [ - - News c o n c e r n i n g f o r t h c o m i n g r e v i v a l s at t h e Com ique . ] - - T h e a t r e - L y r i q u e : r e p r i s e du B r a v o , o p e r a en q u a t r e a c t e s , de M. B l a v e t , mus ique de M. G. S a l v a y r e . - - A d o l p h e Adam, sa v i e , sa c a r r i e r e , ses Memoires a r t i s t i q u e s , e t c . , pa r M. A r t h u r P o u g i n . [ R e v i e w o f P o u g i n ' s book Ado lphe Adam. ] " F -07/10 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : Debut de M i l e R i c h a r d [ a s Leono re i n La F a v o r i t e ] , - - M. D e l d e v e z e t M. Lamoureux. [Remarks on D e l d e v e z ' s d e c i s i o n t o r e t i r e f r om t h e c o n d u c t o r s h i p o f t h e Opera o r c h e s t r a , where he w i l l be succeeded by Lamou reux . ] - - La S o c i e t e des C o n c e r t s e t l ' O p e r a . [ Reye r wonders whe the r L amou reux ' s r e s i g n a t i o n f rom t h e o r -c h e s t r a o f t h e S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e i s t h e b e g i n n i n g o f ' un s c i s s i o n ' between t h e S o c i e t e and t h e Ope ra , two i n s t i t u t i o n s w h i c h have e n j o y e d a l o n g a s s o c i a t i o n . ] ~ T h e a t r e de 1 ' O p e r a - C o m i q u e : l e s Diamans de l a Cou ronne . - - Mme Lacombe -Dup rez . [ N o t i c e on her debut i n t h e r e v i v a l o f A u b e r ' s w o r k . ] - - L a i 1 a -Roukh . - - M i l e P l o u x . - - Mme E i g e n s c h e n k . [ N o t i c e s on t h e debut o f P l o u x and t h e pe r f o rmance o f E i g e n s c h e n k i n t h e r e v i v a l o f D a v i d ' s w o r k . ] - - T h e a t r e - L y r i q u e : 625 R e p r i s e de Pau l e t V i r g i n i e . — M. C a p o u l . [Remarks c o n c e r n i n g t he r e t u r n o f t h i s ' c e l e b r e t e n o r ' i n t h e r o l e c r e a t e d by E n g e l . ] - - M i l e H e i l b r o n n e t M i l e C e c i l e R i t t e r . [ Compa r i s on o f t h e i n t e r p r e t a t i o n o f R i t t e r (who had c r e a t e d t h e r o l e o f V i r g i n i e ) w i t h t h a t o f H e i l b r o n n . ] - - S i j ' e t a i s r o i ou l e Dormeur e v e i l l e . [ A f t e r announc ing t h a t t h e L y r i q u e w i l l r e v i v e t h i s com ic o p e r a , Reyer d e s c r i b e s an i d e a l l y r i c t h e a t r e , t h e k i n d he would have i f he were ' r o i . ' ] — Seance a n n u e l l e de 1 ' A cademie des B e a u x - A r t s . [ Rev i ew o f ' l a p a r t i e m u s i c a l e , ' wh i ch c o n -s i s t e d o f S a l v a y r e ' s o v e r t u r e La B a c c h a n t e ( h i s l a s t e n v o i f r o m Rome) and a c a n t a t a by C l a u d e B l a n c , w i n n e r o f t h e ' s e c o n d grand p r i x ' f o r 1 877 . ] — R e o u v e r t u r e des C o n c e r t s P a s d e l o u p . [ N o t i c e on t he f i r s t c o n -c e r t o f t h e s e a s o n . ] " F-28/10 "Revue m u s i c a l e . T h e a t r e de 1 ' Ope ra -Com ique : l a S u r p r i s e de 1 ' amour, o p e r a comique en deux a c t e s , p a r o l e s de M. Ch. M o n s e l e t , d ' a p r e s M a r i -v a u x , mus ique de M. F e r d i n a n d P o i s e . [ - - N o t i c e s on two r e v i v a l s at t he Comique: G r i s a r ' s Les T r a v e s t i s s e m e n s (1839) and M o n s i g n y ' s Le D e s e r - t e u r ( 1 7 6 9 ) . ] ~ Le T h e a t r e - I t a l i e n ( r e o u v e r t u r e ) : [Remarks on t h e r e v i v a l o f t h i s t h e a t r e under Leon E s c u d i e r ( d i r e c t o r s i n c e 1 8 7 6 ) . ] P o l i u t o , mus ique de D o n i z e t t i . [ R e y e r f o c u s e s on t he r e a p p e a r a n c e o f T a m b e r l i k i n a r o l e he had f i r s t p e r f o rmed at t h e I t a l i e n i n 1859 . ] - -T h e a t r e - L y r i q u e : r e p r i s e de S i j ' e t a i s r o i ! o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. Dennery e t B r e s i l , mus ique d ' A d o l p h e Adam. [ V e r y b r i e f comments on t h i s r e v i v a l . ] " F-18/11 "Revue m u s i c a l e . T h e a t r e de 1 ' O pe r a -Com ique : r e p r i s e de C i n q - M a r s , drame l y r i q u e en q u a t r e a c t e s e t c i n q t a b l e a u x , par MM. Pau l P o i r s o n e t L o u i s G a l l e t , mus ique de M. C h a r l e s Gounod. [ Rev i ew i n c l u d e s comments on t h e changes made by Gounod s i n c e t h e p r e m i e r e i n A p r i l . ] — T h e a t r e -I t a l i e n : O t e l l o : M. T a m b e r l i k , M i l e S o n i e r i [ p r i n c i p a l s i n t h i s r e -v i v a l o f R o s s i n i ' s w o r k ] . - - Les s u b v e n t i o n s e t l e s t h e a t r e s l y r i q u e s . [ V i z e n t i n i ' s d e c i s i o n t o t r y t o save t h e T h e a t r e - L y r i q u e f rom b a n k r u p t c y by s t a g i n g O f f e n b a c h ' s v e r y p o p u l a r o p e r e t t a Orphee aux E n f e r s c a u s e s Reyer t o a f f i r m h i s c o n v i c t i o n t h a t t h e gove rnment , when i t s u b s i d i z e s a l y r i c t h e a t r e , s h o u l d do so ' l a r g e m e n t , c ' e s t - a - d i r e dans une mesure s u f f i s a n t e . ' - - Remarks on t h e f o r t h o m i n g r e a p p e a r a n c e o f L a Damnat ion de F a u s t on t h e programs o f bo th t h e C o n c e r t s p o p u l a i r e s and t he Con -c e r t s du C h a t e l e t . ] - - La c o l l e c t i o n d ' i n s t r u m e n s de mus ique d ' A d o l p h e Sax . [ B r i e f d e s c r i p t i o n o f t h i s c o l l e c t i o n , wh i ch i s t o be s o l d by a u c -t i o n i n December . ] - - [Book r e v i e w : ] A i r s v a r i e s ( H i s t o i r e , c r i t i q u e , b i o g r a p h i e s m u s i c a l e s e t d r a m a t i q u e s ) , par M. Ado lphe J u l l i e n . " F-27/11 "Revue m u s i c a l e . T h e a t r e - I t a l i e n : Z i l i a , drame l y r i q u e en q u a t r e a c t e s , de M. T e m i s t o c l e S o l e r a , mus i que de M. Gaspar V i l l a t e . [ R e v i e w i n c l u d e s some b i o g r a p h i c a l i n f o r m a t i o n on t h e t w e n t y - s i x - y e a r - o l d com-p o s e r , who was t hen ' a b s o l u m e n t i n c o n n u . ' ] — [ A l s o at t h e I t a l i e n : ] Debut de M i l e No rd i dans R i g o l e t t o . - - C o n c e r t s du C h a t e l e t : [Remarks on t h e f i r s t i n a s e r i e s o f c o n c e r t s d e v o t e d t o ] l a Damnat ion de F a u s t . 626 M i l e V e r g i n , M. T a l a z a c , M. Lauwers [ s o l o i s t s ] . — C o n c e r t s p o p u l a i r e s : C o n c e r t o de v i o l o n c e l l e , par M. Edouard L a l o [ p r e m i e r e , w i t h F i s c h e r as s o l o i s t ] . - - R e p r e s e n t a t i o n de Samson e t D a l i l a , o p e r a b i b l i q u e de M. C a m i l l e S a i n t - S a e n s , s u r l e t h e a t r e g r a n d - d u c a l de Weimar. [ E d i t o r i a l on a c o n t e m p o r a r y s i t u a t i o n i n wh i ch 1 u n maTt re f r a n g a i s ' had been o b l i g e d t o t a k e h i s work t o a f o r e i g n t h e a t r e becau se ' i l n ' a pu l e f a i r e e x e c u t e r a P a r i s . ' ] " F-19/12 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : R e p r i s e de 1 ' A f r i c a i n e . [ R e v i e w i s p r e ceded by comments on F e t i s ' s c o m p l e t i o n o f M e y e r b e e r ' s s c o r e a f t e r t h e c o m p o s e r ' s d e a t h i n 1 864 . ] M i l e K r a u s s ; M. L a s s a l l e ; M. Salomon [ p r i n c i p a l s i n t h i s r e v i v a l ] . - - T h e a t r e - L y r i q u e : G i 1 1e s de B r e t a g n e , o p e r a en q u a t r e a c t e s e t c i n q t a b l e a u x ; p a r o l e s de Mme A m e l i e P e r r o n n e t , mus ique de M. K o w a l s k i [ a p i a n i s t - c o m p o s e r , t hen (as now) unknown i n t he t h e a t r e ] . - - Seance a n n u e l l e des e n v o i s de Rome: [ a symphony by ] M. Wormser, [an ' a i r v a r i e pour i n s t r u m e n t a c o r d e s ' and a s e t t i n g o f P s a lm CXI 11 by ] M. S a l v a y r e . — L a N a t i v i t e , poeme s a c r e en deux p a r t i e s ; p a r o l e s de M. C i c i l l e , mus ique de M. Hen r i M a r e c h a l . [ R e y e r r e v i e w s t h i s n ew l y p u b l i s h e d o r a t o r i o , and wonders i f i t w i l l e v e r be pe r f o rmed i n i t s e n t i r e t y . ] - - [ O b i t u a r y o f t h e s op r ano ] B l a n c h e B a r e t t i . [ - -P o s t s c r i p t u r g i n g t h a t t h e s u b s i d i e s o f bo th t h e T h e a t r e - L y r i q u e and t h e Opera -Comique be i n c r e a s e d . ] " F -29/12 1878 J o u r n a l des Debats "Revue m u s i c a l e de 1 ' annee 1877. Les t h e a t r e s l y r i q u e s . [A f a r e w e l l t o V i z e n t i n i ' s d e f u n c t T h e a t r e - L y r i q u e . - - News t h a t t h e r e w i l l be an a t t e m p t t o r e s u r r e c t t h e L y r i q u e l e a d s t o an e d i t o r i a l i n s i s t i n g t h a t t h e ' r e p e r t o i r e c l a s s i q u e ' s h o u l d be ' l e p o i n t d ' a p p u i d ' u n t h e a t r e l y r i q u e s e r i e u x , ' and t h a t t h i s r e p e r t o i r e s h o u l d r e c e i v e ' l a p l a c e qu i l u i a p p a r t i e n t dans 1 ' e n se i gnement e t s u r l e s a f f i c h e s de nos t h e a t r e s s u b v e n t i o n n e s . ' — The O p e r a : r emark s u r g i n g t h e l o n g - c o n t e m p l a t e d r e v i v a l o f G l u c k ' s A r m i d e ; r e t r o s p e c t i v e s u r v e y o f t h e r e p e r t o i r e . — The Ope ra -Comique : r e t r o s p e c t i v e s u r v e y o f t h e r e p e r t o i r e ; n o t i c e on t h e r e v i v a l o f H a l e v y ' s Les M o u s q u e t a i r e s de l a r e i n e ; comments on t h e g o v e r n m e n t ' s t e n t a t i v e d e c i s i o n t o augment t h e s u b s i d y o f t h e Comique. - - The T h e a t r e - I t a l i e n : r e t r o s p e c t i v e s u r v e y o f t h e r e p e r t o i r e ; t h e ' l o u a b l e s e f f o r t s ' o f Leon E s c u d i e r ( t h e d i r e c t o r ) . — The d e f u n c t T h e a t r e - L y r i q u e : r e t r o s p e c t i v e s u r v e y o f t h e r e p e r t o i r e , w i t h s p e c i a l p r a i s e f o r S a l v a y r e ' s Le B ravo and A n t o n y C h o u d e n s ' s G r a z i e l 1 a ; l i s t o f works t h a t V i z e n t i n i had announced he would p r e s e n t . ] 1 5 F-17/01 "Revue m u s i c a l e . T h e a t r e de 1 ' Ope ra -Comique : l e C h a r , o p e r a comique en un a c t e e t en v e r s , p a r o l e s de MM. P a u l A rene e t A l p h o n s e Daudet , mus i que de M. E m i l e P e s s a r d . - - Un nouveau c a n d i d a t a l a d i r e c t i o n du 627 T h e a t r e - L y r i q u e . [ R e y e r remark s on one M. D i g n a t , and wonders where t h i s c a n d i d a t e would e s t a b l i s h h i s t h e a t r e . ] — Les Amans de V e r o n e , du m a r q u i s d ' l v r y . [ R e c o l l e c t i o n s o f t h e s c o r e o f a work wh i ch V i z e n t i n i had i n t e n d e d t o p r e m i e r e . ] - - T h e a t r e - I t a l i e n : r e n t r e e de M i l e A l b a n i . [Comments on her r e t u r n f r o m London, where t h e r e p e r t o i r e i s ' b eaucoup p l u s v a r i e q u ' a P a r i s . ' ] - - C o n c e r t s du C h a t e l e t : C h r i s t o p h e Co lomb, ode - s ymphon ie en q u a t r e p a r t i e s , poeme de MM. Mery , Chaubet e t S y l v a i n S a i n t - E t i e n n e , mus ique de F e l i c i e n D a v i d . [ B r i e f r e v i e w i n c l u d e s a com-p a r i s o n o f t h i s n e g l e c t e d work w i t h Le D e s e r t , wh i ch both Co lonne and P a s d e l o u p had r e v i v e d i n 1 876 . ] - - C o n c e r t s p o p u l a i r e s : l e 2 e c o n c e r t o de M. C a m i l l e S a i n t - S a e n s , e x e c u t e pa r M. de Munck. [ S h o r t r e v i e w o f t h e c e l l o c o n c e r t o now known as no . 1.] — Les C o n c e r t s C r e s s o n n o i s a l a P o r t e - S a i n t - M a r t i n . [ R e y e r app l aud s t h e r e p e r t o i r e o f t h i s r e c e n t l y f ounded o r g a n i z a t i o n , wh i ch c o n s i s t s o f ' un o r c h e s t r e d ' u n e q u a r a n t a i n e de m u s i c i e n s e t un nombre e g a l de c h o r i s t e s . ' ] " F-28/01 "Revue m u s i c a l e . L ' O p e r a - C o m i q u e , l e T h e a t r e - L y r i q u e , l e s C o n c e r t s p o p u l a i r e s e t l a commi s s i on du b u d g e t . [ A f t e r r e a d i n g t h e recommenda-t i o n s o f t h e c ommi t t ee apropos o f t h e s e i n s t i t u t i o n s , Reyer o f f e r s some recommendat i on s o f h i s own. The Ope ra -Com ique : t h e 150,000 f r . ' c r e d i t s u p p l e m e n t a i r e ' s h o u l d be used t o e n l a r g e t h e s t a g e and t o e n r i c h t h e r e p e r t o i r e w i t h works w h i c h , a l t h o u g h t h e y c o n t a i n l i t t l e spoken d i a -l o g u e , b e l o n g s t y l i s t i c a l l y t o t h e o p e r a - c o m i q u e t r a d i t i o n . - - The T h e a t r e - L y r i q u e , ' d o n t on n ' e n t e n d p l u s p a r l e r ' : e d i t o r i a l on how t h e M i n i s t e r o f F i n e A r t s m igh t use t h e 200 ,000 f r . p l a c e d at h i s d i s p o s a l . - - The ' c o n c e r t s p o p u l a i r e s ' : t h e a l l o t t i n g o f o n l y 20 ,000 f r . t o t he o r g a n i z a t i o n s o f P a s d e l o u p and Co lonne e l i c i t s an e d i t o r i a l on t h e c o n -t r i b u t i o n s t h e s e c o n d u c t o r s have made t o F r e n c h m u s i c a l l i f e , and on t he need t o g i v e P a s d e l o u p ' s d e c l i n i n g o r g a n i z a t i o n an annual s u b s i d y i n -s t e a d o f ' u n encouragement m o m e n t a n e . ' ] " F-13/02 "Revue m u s i c a l e . Un d e r n i e r mot s u r l e T h e a t r e - L y r i q u e . [Reye r a g a i n r e f l e c t s on V i z e n t i n i ' s d e f u n c t T h e a t r e - L y r i q u e , 'mo in s pour c o n s t a t e r l e s f a u t e s commises que pour i n d i q u e r e n c o r e . . . comment i l s e r a i t p o s s i b l e de l e s e v i t e r . ' The c r i t i c t hen o u t l i n e s t h e M i n i s t e r ' s p r o -j e c t f o r u s i n g t h e 200 ,000 f r . : u n p u b l i s h e d ope ra s w i l l be pe r f o rmed i n c o n c e r t at t h e C o n s e r v a t o i r e , and f r om t h i s ' s o u r c e ' t h e d i r e c t o r s o f t h e Opera and t h e Opera -Comique can choose works t o add t o t h e i r r e p e r -t o i r e s . ] — T h e a t r e de 1 ' O p e r a - C o m i q u e : r e p r i s e des P iamans de l a c o u r o n n e ; M i l e B i l b a u l t - V a u c h e l e t [ a s C a t a r i n a ] . - - T h e a t r e - I t a l i e n : r e p r i s e d ' E r n a n i ; Mme M a r i a Du rand , M. P a n d o l f i n i , M. C a p p e l l e t t i . - -Concou r s m u s i c a l i n s t i t u e par l a v i l l e de P a r i s : M. Theodore D u b o i s , M. Ben jamin G o d a r d . [Remarks on t h e j u r y ' s d e c i s i o n t o d i v i d e t he p r i z e e q u a l l y between t h e composer s o f t h e c a n t a t a s Le P a r a d i s perdu and Le T a s s e . ] ~ Seance a n n u e l l e de l a S o c i e t e c h o r a l e d ' a m a t e u r s d i r i g e e par M. G u i l l o t de S a i n b r i s : N a r c i s s e , i d y l l e a n t i q u e , poeme de M. Pau l C o l l i n , mus ique de M. J . M a s s e n e t . [Comments bo th on t he S o c i e t e and on M a s s e n e t ' s ' o e u v r e n o u v e l l e . ' ] - - S o c i e t e des c o n c e r t s : M. Leon M a s s a r t . [ N o t i c e on h i s p e r f o r m a n c e o f a c e l l o c o n c e r t o by G o l t e r m a n n ; 628 o b s e r v a t i o n s on t h e r e s t o f t h e p r o g r a m . ] — M. Lemmens e t sa n o u v e l l e methode pour accompagner e t r h y t h m e r l e p l a i n - c h a n t . [ R e y e r , one o f t h e ' t r e s p e t i t c e r c l e d ' a u d i t e u r s i n v i t e s ' who heard t he c e l e b r a t e d B e l g i a n o r g a n i s t d e m o n s t r a t e h i s ' m e t h o d e , ' b r i e f l y d e s c r i b e s how i t d i f f e r s f r o m T a n c i e n s y s t e m e . ' (Lemmens ' s ' m e t h o d e ' was e v e n t u a l l y p u b l i s h e d as Du c h a n t g r e g o r i e n n e , s a m e l o d i e , son r y t h m e , son h a r m o n i s a t i o n . ) ] " F-28/02 "Revue m u s i c a l e . C o n c e r t s du C h a t e l e t : l a F i l l e du r o i des A u l n e s , b a l l a d e d ' a p r e s une l e gende d a n o i s e , pour s o l i , c h o e u r s e t o r c h e s t r e , mus ique de M. N i e l s Gade. Mme B r u n e t - L a f l e u r , M. L a s s a l l e . [ R e v i e w o f t h e P a r i s i a n p r e m i e r e o f G a d e ' s E l v e r s k u d . - - C o n c e r t s p o p u l a i r e s : B e e t h o v e n ' s N i n t h Symphony, w i t h D u f r i c h e as bass s o l o i s t . ] - - L ' E t o i l e du N o r d . [Remarks on t h e O p e r a - C o m i q u e ' s pos tponement o f a r e v i v a l o f t h i s w o r k . ] - - T h e a t r e de l ' O p e r a : debut de M. S e l l i e r [ a s A r n o l d i n G u i l l a u m e T e l l ] , - - La p e t i t i o n des j e u n e s c o m p o s i t e u r s . [ E d i t o r i a l s u p p o r t i n g t h e i r demand t h a t t h e M i n i s t e r r e e s t a b l i s h t h e T h e a t r e -L y r i q u e i n s t e a d o f f i n a n c i n g c o n c e r t p e r f o r m a n c e s o f u n p u b l i s h e d o p e r a s ( s ee JD_ F - 2 8 / 0 2 ) . ] - - L a r e p r i s e d ' A r m i d e . [ O b s e r v a t i o n s c o n c e r n i n g t he O p e r a ' s d e c i s i o n t o r enounce such a r e v i v a l . ] " F-20/03 "Revue m u s i c a l e . [ C o n c e r t s du C h a t e l e t : ] Le Requiem de B e r l i o z . [ Rev i ew i n c l u d e s a summary o f t h e h i s t o r y o f t h i s work , wh ich had not been pe r f o rmed i n i t s e n t i r e t y a t P a r i s s i n c e 1852 . ] — T h e a t r e de 1 ' O p e r a - C o m i q u e : r e p r i s e de 1 ' E t o i l e du N o r d . [ Rev i ew o f t h e f i r s t new p r o d u c t i o n s i n c e 1867 . ] - - Le T h e a t r e - L y r i q u e . [ R e y e r announces t h a t t h e n o m i n a t i o n o f Leon E s c u d i e r as d i r e c t o r o f t h e f u t u r e T h e a t r e -L y r i q u e i s ' p r e s q u e c e r t a i n e , ' and hopes t h a t t he M i n i s t e r w i l l u n e q u i v -o c a l l y r enounce t h e i d e a o f p r e s e n t i n g c o n c e r t p e r f o r m a n c e s o f unpub-l i s h e d o p e r a s . ] " F-30/03 "Revue m u s i c a l e . T h e a t r e - I t a l i e n : A lma 1 ' i n c a n t a t r i c e , o p e r a en q u a t r e a c t e s , poeme de H. de S a i n t - G e o r g e s , adap te a l a scene i t a l i e n n e par M. de L a u z i e r e s , mus ique de M. F. de F l o t o w . [Rev iew b e g i n s w i t h a b r i e f h i s t o r y o f t h i s work , wh i ch had undergone s e v e r a l t r a n s f o r m a t i o n s s i n c e i t s p r e m i e r e as a o n e - a c t o p e r a comique e n t i t l e d L ' E s c l a v e de Camoens ( 1 8 4 3 ) . ] - - T h e a t r e - L y r i q u e [ a t t h e S a l l e V e n t a d o u r ] : l e T r i omphe de l a P a i x , ode - s ymphon ie en t r o i s p a r t i e s , poeme de M. A l e x a n d r e P a r o d i , mus ique de M. Samuel D a v i d . [ I n a u g u r a t i o n o f t h e s e r i e s o f c o n c e r t p e r -f o rmance s e n v i s i o n e d by t h e M i n i s t e r . ] " F-21/04 "Revue m u s i c a l e . R e p r i s e de l a S t a t u e a l ' O p e r a Comique. [ R e y e r ' s work , wh i ch had been p r e m i e r e d as an o p e r a comique at t h e T h e a t r e -L y r i q u e i n 1861, i s now t r a n s f o r m e d i n t o an o p e r a by t h e s u b s t i t u t i o n o f t h e c o m p o s e r ' s r e c i t a t i v e s f o r t h e o r i g i n a l spoken d i a l o g u e , and by t h e a d d i t i o n o f a b a l l e t drawn f r o m h i s S a c o u n t a l a . Reyer does not d i s c u s s t h e l i b r e t t o and s c o r e o f La S t a t u e ; i n s t e a d , he r e c a l l s t h e p e r f o r -mances o f t h e p r i n c i p a l s i n t h e o r i g i n a l p r o d u c t i o n at t h e L y r i q u e , and 629 a s s e s s e s i n some d e t a i l t h e i r s u c c e s s o r s a t t he C o m i q u e . ] " F t t - 0 5 / 0 5 "Revue m u s i c a l e . Les c o n c e r t s de l a s a i s o n . ( P r e m i e r a r t i c l e . ) [ R e -f l e c t i o n s on t h e p r o l i f e r a t i o n o f p i a n o s i n P a r i s i a n h o u s e h o l d s . — Remarks on t h e e v e r - i n c r e a s i n g p o p u l a r i t y o f chamber mus ic and on t h e s u c c e s s o f f o u r o r g a n i z a t i o n s wh i ch promote i t ( t h e Mau r i n Q u a r t e t ; S i v o r i [ v i o l i n i s t ] and Loy s [ ? ] ; t h e Remy-Mar s i c k Q u a r t e t ; t h e Taudou -D e s j a r d i n s Q u a r t e t ) . Works by Mme H e r i t t e - V i a r d o t , Ben jamin G o d a r d , and Augu s te More l a t seances o f L ' A r t moderne, a s o c i e t y founded f o r t h e p e r f o r m a n c e o f chamber mus i c and songs by c o n t e m p o r a r y c ompo se r s . O the r s eance s o f chamber m u s i c . - - C o n c e r t o f t h e Dutch composer J u l e s Ten B r i n k : a symphony and a v i o l i n c o n c e r t o . - - New works by t h e p i a n i s t -composer s Hen r i K e t t e n and L o u i s D i emer . - - A woodwind q u i n t e t by t h e f l u t i s t T a f f a n e l . - - C o n c e r t o f a young composer named E m i l e B o u r g e o i s . - - Annual c o n c e r t o f t h e C o n s e r v a t o i r e s t u d e n t s . ] " F-19/05 "Revue m u s i c a l e . T h e a t r e de 1 1 O p e r a - C o m i q u e : R e p r i s e de P s y c h e , o p e r a en q u a t r e a c t e s , p a r o l e s de MM. J u l e s B a r b i e r e t M i c h e l C a r r e , mus ique de M. Ambro i s e Thomas. [ T h i s work , wh i ch had been p r e m i e r e d as an o p e r a comique i n 1857, i s now changed i n t o ' un v e r i t a b l e g rand o p e r a ' by t h e s u b s t i t u t i o n o f t h e c o m p o s e r ' s r e c i t a t i v e s f o r t h e o r i g i n a l spoken d i a -l o g u e , and by s e v e r a l o t h e r changes w h i c h Reyer d i s c u s s e s i n h i s r e -v i e w . ] " F-02/06 "Revue m u s i c a l e . Les c o n c e r t s de l a s a i s o n . (Deuxieme a r t i c l e . ) [ P i a n o s and p i a n i s t s : t h e p i a n o a d o u b l e s c l a v i e r s r e n v e r s e s , i n v e n t e d by Osca r Comet tan t and t h e Mangeot b r o t h e r s . Gene r a l remark s on t h e more t han f i f t y c o n c e r t s g i v e n by p i a n i s t s d u r i n g t h e season o f p r i v a t e c o n c e r t s (December t h r o u g h A p r i l ) . - - A p i a n o c o n c e r t o and a c e l l o c o n -c e r t o by t h e o r g a n i s t W ido r . — Two c h i l d p r o d i g i e s : Dengremont ( v i o -l i n i s t ) ; Gemma L u z i a n i ( p i a n i s t ) . - - A few comments on t h e c o m p o s i t i o n s o f t h e H u n g a r i a n p i a n i s t A. de B e r t h a . - - M i l e R o u f f ( p i a n i s t ) . - - Cham-be r mus i c and o t h e r works by t h e v i o l i n i s t C h a r l e s D a n c l a . - - Eduard Remeny i : as v i o l i n i s t ; h i s a r rangement o f S c h u b e r t ' s D i v e r t i s s e m e n t a 1 ' h o n g r o i s e ; h i s t r a n s c r i p t i o n s o f p i a n o s o l o s . — Other v i o l i n i s t s : Mme Norman-Neruda ; M i l e M a r g u e r i t e Pommereu l . - - A d o l p h e F i s c h e r ( c e l -l i s t ) . - - Hasse lmans ( h a r p i s t ) . - - At t h e T r o c a d e r o : t h e f i r s t o f f i c i a l c o n c e r t s o f t h e U n i v e r s a l E x p o s i t i o n o f 1878 ( i n t he ' g r a n d e s a l l e , ' a c o n c e r t o f e x c e r p t s f r o m F rench o r c h e s t r a l m u s i c , c h o r a l m u s i c , and o p e r a ; i n t h e ' p e t i t e s a l l e ' o r S a l l e des C o n f e r e n c e s , a seance o f F r ench chamber m u s i c ) . ] " F-16/06 "Revue m u s i c a l e . [Open i ng remark s c o n c e r n i n g t h e E x p o s i t i o n , at wh i ch t h e c u r r e n t m u s i c a l a t t r a c t i o n s a r e t h e o u t d o o r c o n c e r t s f e a t u r i n g ' l e s T z i g a n e s . ' ] Les Bohemiens de Moscou [ a company o f f o r t y R u s s i a n m u s i -c i a n s and d a n c e r s , a l s o known as ' l e s R o s s i g n o l s de K o u r s k ' ] . - - Les C o n c e r t s du T r o c a d e r o . [ R e y e r f i r s t e x p l a i n s why he had not s u b m i t t e d 630 h i s o v e r t u r e f o r S i g u r d t o t h e j u r y c ha r ged w i t h s e l e c t i n g t he works f o r t h e c o n c e r t s o f F r ench m u s i c . He then r e v i e w s t h e second and t h i r d c o n c e r t s , wh i ch c o n s i s t e d o f mus i c by L a l o , B i z e t , Gounod, Ma s sene t , F r a n c k , and o t h e r c o m p o s e r s . ] - - [ N o t i c e on c o n c e r t s g i v e n at t h e T r o c a -d e r o by an o r c h e s t r a f r o m Amsterdam. Rev iew o f c o n c e r t s by ano the r f o r e i g n o r c h e s t r a : ] L ' O r c h e s t r e de l a S c a l a . - - Academie des B e a u x - A r t s : E x e c u t i o n e t jugement des c a n t a t e s pour l e p r i x de Rome. [A s se s sment o f t h e c a n t a t a s by C lement B r o u t i n and Samuel Rou s seau , w i n n e r s o f ' l e p r e m i e r g rand p r i x ' and ' u n second g rand p r i x ' r e s p e c t i v e l y . ] " F-05/07 "Revue m u s i c a l e . [Open ing remark s on t h e new T h e a t r e - L y r i q u e , f ounded by Leon E s c u d i e r at t h e home o f h i s n o w - d e f u n c t T h e a t r e - I t a l i e n . ] T h e a t r e - L y r i q u e ( s a l l e V e n t a d o u r ) : l e C a p i t a i n e F r a c a s s e , o p e r a comique en t r o i s a c t e s e t s i x t a b l e a u x , t i r e du roman de T h e o p h i l e G a u t i e r par M. C a t u l l e Mendes, mus ique de M. E m i l e P e s s a r t . [ Rev i ew c o n c l u d e s w i t h f u r t h e r comments about t he new t h e a t r e : i t must b u i l d a good o r c h e s t r a and ' une bonne t r o u p e d ' e n s e m b l e , ' and must p r e s e n t ' une bonne p a r t i -t i o n , ' i n o r d e r t o m e r i t s u p p o r t f r om t h e p u b l i c and a s u b s i d y f r om t h e g o v e r n m e n t . ] " F-14/07 "Revue m u s i c a l e . T h e a t r e de 1 ' Ope r a -Com ique : P e p i t a , o p e r a comique en deux a c t e s , p a r o l e s de MM. N u i t t e r e t J u l e s D e l a h a y e , mus ique de M. Leon De l ahaye f i l s . [ R e y e r b e g i n s t h e r e v i e w by p o i n t i n g out t h a t t h i s work was o r i g i n a l l y i n t e n d e d f o r t h e T h e a t r e de l a R e n a i s s a n c e (an o p e r e t t a t h e a t r e ) . ] - - R e f l e x i o n s s ugge ree s a 1 ' a u t e u r de c e t a r t i c l e par l a r e p r e s e n t a t i o n de P e p i t a . [The c r i t i c hopes t o see ' l e j o u r ou l a s p e c u l a t i o n heu reu se c e d e r a l a p l a c e a l ' a r t f l o r i s s a n t ' : i n s t e a d o f c a t e r i n g t o t h e p u b l i c ' s t a s t e f o r o p e r e t t a , t h e d i r e c t o r o f t h e Comique w i l l o f f e r works wh i ch w i l l be ' d e s f o r t i f i a n s ' i n t he P a r i s i a n m u s i c a l d i e t ; t h e d i r e c t o r o f t h e Opera w i l l s t r i v e f o r more v a r i e t y ' dans l e c h o i x des o e u v r e s c o n t e m p o r a i n e s , ' and w i l l r e v i v e t h e l o n g - n e g l e c t e d ' o e u v r e s c l a s s i q u e s . ' ] " F-28/07 "Revue m u s i c a l e . Les c o n c o u r s du C o n s e r v a t o i r e . [ Reye r f i r s t c o n s i d e r s t h e q u e s t i o n o f whe the r t h e annua l c o m p e t i t i o n s s h o u l d be a b o l i s h e d , and t h e n s u g ge s t s a d d i t i o n s t o t h e c u r r i c u l u m : s t u d e n t s o f s i n g i n g s h o u l d be f a m i l i a r i z e d w i t h t h e ' r e p e r t o i r e c l a s s i q u e ' ; and advanced s t u d e n t s o f c o m p o s i t i o n s h o u l d be g u i d e d t h r o u g h an a n a l y s i s c l a s s wh i ch would embrace ' l e s c h e f s - d ' o e u v r e c l a s s i q u e s de t o u t e s l e s e c o l e s ' as w e l l as ' d e s oeuv re s modernes , t o u j o u r s sans d i s t i n c t i o n d ' e c o l e , p r o d u i t e s par . . . l e s maTt re s l e s p l u s d i s c u t e s , ' i n c l u d i n g B e r l i o z and Wagner. - -Rev iew o f t h e C o n s e r v a t o i r e ' s v o c a l c o m p e t i t i o n s . Names o f t he w i n n e r s i n s e v e r a l c a t e g o r i e s o f t he i n s t r u m e n t a l c o m p e t i t i o n s : p a i n o ; v i o l i n ; c e l l o ; d o u b l e - b a s s ; woodwinds ; b r a s s . The ha rp c o m p e t i t i o n : names o f t h e w i n n e r s ; o b s e r v a t i o n s on t h e need t o encourage t he s t u d y o f t h i s i n s t r u m e n t . The o rgan c o m p e t i t i o n : comments on t he p a r t i c i p a t i o n o f o n l y two s t u d e n t s . ] - - La d i s t r i b u t i o n des p r i x . [Remarks on t h e M i n i s -t e r ' s s p e e c h . Names o f t h e m u s i c i a n s who r e c e i v e d hono r s f r om t h e 631 government a f t e r t h e d i s t r i b u t i o n o f t h e C o n s e r v a t o i r e p r i z e s . ] " F-19/08 "Revue m u s i c a l e . La mus ique au T r o c a d e r o . [ E d i t o r i a l a g r e e i n g w i t h a n o t h e r j o u r n a l i s t ' s c o m p l a i n t s about t h e q u a n t i t y and q u a l i t y o f t h e t w e l v e c o n c e r t s o f F r ench mus ic p r e s e n t e d at t h e E x p o s i t i o n . ] — P r o j e t d ' a u d i t i o n s m u s i c a l e s d ' o e u v r e s symphon iques e t c h o r a l e s de c o m p o s i t e u r s v i v a n s , p r e s e n t e pa r l e m i n i s t r e de 1 ' I n s t r u c t i o n p u b l i q u e e t des beaux -a r t s . [ E d i t o r i a l a g a i n s t t h i s p ropo sed annual c o m p e t i t i o n , wh i ch t h e M i n i s t e r had mode led on t h e E x p o s i t i o n s a n n u e l l e s du S a l o n . ] - - C o n c e r t s f r a n g a i s . [ R e v i e w o f one o f t h e T r o c a d e r o c o n c e r t s : Gounod ' s Ga l 1 i a , c o n d u c t e d by t h e compose r ; mus i c by W e k e r l i n , S a l v a y r e , and Del i b e s . J - -F e s t i v a l s e t c o n c o u r s o r p h e o n i q u e s . [Remarks on t h e c o n c e r t s and com-p e t i t i o n s o f F rench and f o r e i g n c h o r a l s o c i e t i e s at t h e E x p o s i t i o n . ] — C o n c e r t s a n g l a i s : l a S o c i e t e c h o r a l e de M. L e s l i e ( L e s l i e ' s C h o i r ) . [ R e v i e w o f t h e t h r e e c o n c e r t s s pon so red by t h e p u b l i c a t i o n B r i t i s h M u s i c a l A r t , f e a t u r i n g L e s l i e ' s C h o i r e i t h e r a l o n e o r w i t h an o r c h e s -t r a . ] — Les e t u d i a n s n o r v e g i e n s e t s u e d o i s . [ Rev i ew o f a c o n c e r t g i v e n j o i n t l y by c h o r a l s o c i e t i e s f r o m O s l o and U p s a l a . ] F -26/08 "Revue m u s i c a l e . Le T h e a t r e - L y r i q u e . — La d e m i s s i o n du d i r e c t e u r . - -Les t r o i s t h e a t r e s de mus ique s u b v e n t i o n n e s . [ Leon E s c u d i e r ' s r e s i g n a -t i o n f r om t h e d i r e c t o r s h i p o f t h e f o u n d e r i n g L y r i q u e o c c a s i o n s an e d i -t o r i a l recommending f o r a l l t h r e e l y r i c t h e a t r e s t h e ' s y s t e m e de r e g i e ' once used f o r t h e Opera : t h e t h e a t r e s would be under t h e d i r e c t c o n -t r o l o f t h e S t a t e , i n s t e a d o f b e i n g i n t h e hands o f d i r e c t o r s who o p e r a t e d them as s e m i - p r i v a t e e n t e r p r i s e s p a r t l y s u b s i d i z e d by t h e S t a t e . ] — Les C o n c e r t s r u s s e s du T r o c a d e r o . [ R e v i e w o f t h e f i r s t c o n c e r t , wh i ch c o n s i s t e d a lmos t e n t i r e l y o f mus i c by R u s s i a n composer s bu t was pe r f o rmed by t h e T r o c a d e r o o r c h e s t r a and a cho ru s o f F r ench s i n g e r s . Guest a r t i s t s were t h e R u s s i a n p i a n i s t N i c h o l a s R u b i n s t e i n (who a l s o c o n d u c t e d t h e c o n c e r t ) and t h e P o l i s h v i o l i n i s t A p o l l i n a i r e de K o n t s k i . ] - - Les s eance s d ' o r g u e : M. e t Mme Lemmens. [ S h o r t r e v i e w o f t h e most r e c e n t c o n c e r t g i v e n at t h e T r o c a d e r o on ' l e m a g n i f i q u e i n s t r u -ment c o n s t r u i t p a r M. C a v a i l l e - C o l l . ' The B e l g i a n o r g a n i s t Lemmens was a s s i s t e d by h i s w i f e , t h e sop rano He l en S h e r r i n g t o n Lemmens. - - P o s t -s c r i p t about a l e t t e r p u b l i s h e d by Leon E s c u d i e r i n L ' A r t m u s i c a l . ] " F-24/09 "Revue m u s i c a l e . La Cour e t l ' O p e r a sous L o u i s XV I : M a r i e - A n t o i n e t t e e t S a c c h i n i . - - S a l i e r i . - - F a v a r t e t G l u c k , d ' a p r e s des documens i n -e d i t s c o n s e r v e s aux a r c h i v e s de V E t a t e t a l ' O p e r a , par M. Ado lphe J u l l i e n . [ Rev i ew o f M a r i e - A n t o i n e t t e e t S a c c h i n i , t h e f i r s t p a r t o f J u l l i e n ' s b o o k . ] " F -06/10 "Revue m u s i c a l e . L a Cour e t l ' O p e r a sous L o u i s XV I : M a r i e - A n t o i n e t t e e t S a c c h i n i . - - S a l i e r i . — F a v a r t e t G l u c k , d ' a p r e s des documens i n -e d i t s c o n s e r v e s aux a r c h i v e s de l ' E t a t e t a l ' O p e r a , pa r M. Ado lphe J u l l i e n . [ R e v i e w o f Sa l i e r i , t h e second p a r t o f J u l l i e n ' s book. A few 632 comments on F a v a r t e t G l u c k . ] " F -10/10 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : P o l y e u c t e , o p e r a en c i n q a c t e s , de MM. J u l e s B a r b i e r e t M i c h e l C a r r e , d ' a p r e s l a t r a g e d i e de C o r n e i l l e , mus ique de M. C h a r l e s Gounod. [ Rev i ew o f t h e l o n g - a w a i t e d p r e m i e r e o f Gounod ' s f i r s t o p e r a s i n c e Romeo e t J u l i e t t e ( 1 8 6 7 ) . ] " F-15/10 "Revue m u s i c a l e . S a l l e V e n t a d o u r [ f o r m e r l y t h e T h e a t r e - L y r i q u e , now under t h e p r o v i s i o n a l d i r e c t o r s h i p o f Capou l ( t h e company ' s p r i n c i p a l t e n o r ) ] : l e s Amans de V e r o n e , drame l y r i q u e en c i n q a c t e s e t s i x t a -b l e a u x , i m i t e de S h a k e s p e a r e , p a r o l e s e t mus ique du m a r q u i s d ' l v r y . [ Rev i ew b e g i n s w i t h a b r i e f h i s t o r y o f t h i s work , wh i ch t h e composer had t a k e n f r om one t h e a t r e t o a n o t h e r f o r f i f t e e n y e a r s . ] ~ Academie des B e a u x - A r t s : Seance p u b l i q u e a n n u e l l e ; e x e c u t i o n de l a c a n t a t e l a F i l l e de J e p h t e , p a r o l e s de M. Edouard G u i n a u d , m i s e en mus ique par l e s deux l a u r e a t s du g rand p r i x de c o m p o s i t i o n m u s i c a l e , MM. C lement B r o u t i n e t A l e x a n d r e Rou s s eau . [ R e v i e w o f t h e p u b l i c p e r f o r m a n c e o f t h e c a n t a t a s wh i ch had won a f i r s t and a second P r i x de Rome ( s ee JD F - 0 5 / 0 7 ) . ] " F-23/10 "Revue m u s i c a l e . [ Rev i ews and n o t i c e s o f t h e f o l l o w i n g p u b l i c a t i o n s : ] V a r i e t e s l i t t e r a i r e s e t m u s i c a l e s , p a r Amedee Mereaux [ a posthumous c o l l e c t i o n o f a r t i c l e s by t h e f o r m e r mus i c c r i t i c o f t h e J o u r n a l de R o u e n ] . — Les p i a n i s t e s c e l e b r e s , p a r A. M a r m o n t e l , p r o f e s s e u r au C o n s e r v a t o i r e . - - N o u v e l l e methode de p i a n o , par E r n e s t B i s c h o f f . - -L ' A r t du c h a n t , par J u l e s A u d u b e r t . — L a Symphonie f a n t a s t i q u e e t H a r o l d en I t a l i e , d ' H e c t o r B e r l i o z , pour p i a no a q u a t r e mains Lby C h a r l e s B a n n e l i e r and M i l y B a l a k i r e v r e s p e c t i v e l y ] . — Messe de Requ iem, de M. C a m i l l e S a i n t - S a e n s . — P i e c e s composees par l e s p l u s c e l e b r e s c l a v e c i n i s t e s f l a m a n d s , r e t r o u v e e s e t c o l l e c t i o n n e e s par l e c h e v a l i e r Van E l e w y c k . [ T h i s two - vo l ume c o l l e c t i o n o f works by c e l e b r a t e d F l e m i s h c l a v e c i n i s t s o f t h e e i g h t e e n t h c e n t u r y was p u b l i s h e d at B r u s s e l s . ] " F-12/11 "Revue m u s i c a l e . T h e a t r e n a t i o n a l de 1 ' O p e r a - C o m i q u e : l e s Noces de F e r n a n d e , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. V i c t o r i e n Sardou e t E m i l e de N a j a c , mus i que de M. L o u i s D e f f e s . [ R e v i e w i s i n t r o d u c e d by a b r i e f h i s t o r y o f t h i s work , and i n c l u d e s a n o t i c e on t h e c a r e e r o f D e f f e s (who had won t h e P r i x de Rome i n 1 8 4 7 ) . ] — S a l l e du C h a t e l e t : l e P a r a d i s p e r d u , d r a m e - o r a t o r i o en q u a t r e p a r t i e s , d ' a p r e s l e poeme de M i l t o n , pa r M. Edouard B l a u , mus ique de M. Theodore D u b o i s . [ P r e m i e r e o f one o f t h e two works wh i ch s ha red t h e P r i x de l a v i l l e de P a r i s f o r 1878. (The o t h e r work , Ben jamin G o d a r d ' s Le T a s s e , was p r e m i e r e d at a l a t e r c o n c e r t ; see JD F - 0 1 / 0 1 / 1 8 7 9 ) . ] " ~ F-30/11 "Revue m u s i c a l e . Que lques mots a p ropos de l a q u e s t i o n de l ' O p e r a . [ E d i t o r i a l f a v o r i n g a c o m m i t t e e ' s r ecommendat ion t h a t t h e Opera be p l a c e d under ' r e g i e t e m p e r e d , ' and s u g g e s t i n g s e v e r a l q u e s t i o n s wh i ch 633 s h o u l d be add re s s ed by t h i s p r o v i s i o n a l s y s tem ' p o u r r e g e n e r e r l ' O p e r a . ' - - E d i t o r i a l u r g i n g t h e r e c o n s t i t u t i n g o f t h e T h e a t r e - L y r i q u e , and c i t i n g ways i n wh i ch t h e e x i s t e n c e o f such a t h e a t r e c o u l d b e n e f i t t he O p e r a . ] - - C o r r e s p o n d a n c e i n e d i t e de H e c t o r B e r l i o z , 1819 -1868 , avec une N o t i c e b i o g r a p h i q u e , par D a n i e l B e r n a r d . [Remarks on both t h e N o t i c e and t h e c o l l e c t i o n o f 156 l e t t e r s (wh i ch i n c l u d e d one t h a t Reyer had e x c e r p t e d i n JD F - 0 3 / 0 1 / 1 8 6 7 ) . ] " F-15/12 1879 J o u r n a l des Debats "Revue m u s i c a l e . C o n c e r t s du C h a t e l e t : Le T a s s e , symphonie d r a m a t i q u e , poeme de M. C h a r l e s G randmoug i n , mus ique de M. Ben jam in G o d a r d . [ P r e -m i e r e o f one o f t h e two works wh i ch had s ha red t he P r i x de l a v i l l e de P a r i s f o r 1878. (The o t h e r work , Theodore D u b o i s ' s Le P a r a d i s p e r d u , had been p r e m i e r e d at an e a r l i e r c o n c e r t ; see JTJ F -30/11/1878. ) J - - Les c o n c o u r s . [ E d i t o r i a l i n w h i c h Reyer r e a f f i r m s h i s v i e w s ' s u r l e s r e -s u l t a t s a a t t e n d r e des c o n c o u r s e t s u r l e u r u t i l i t e , ' and s u g g e s t s measures t h a t m igh t be more e x p e d i e n t f o r p r o m o t i n g new symphonic works and o p e r a s . ] " F-01/01 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Suzanne , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. L o c k r o y e t Cormon, mus ique de M. P a l a d i l h e . [ - - C o n c e r t s du C h a t e l e t : comments on t h e f i n a n c i a l s i t u a t i o n wh ich had o b l i g e d C o l o n n e t o r enounce G o d a r d ' s Le Tas se a f t e r t h e t h i r d p e r f o r -mance . ] - - C o n c e r t s p o p u l a i r e s : J u d i t h , drame l y r i q u e en t r o i s p a r t i e s , poeme de M. Pau l C o l l i n , mus ique de M. C h a r l e s L e f e b v r e . [ P r e m i e r e o f a work w h i c h Reyer had f i r s t admi red i n 1877, when t h e s c o r e was p u b l i s h e d ( see JD_ F - 27/06/1877 ) . ] - - F e s t i v a l s de V H i p p o d r o m e . [Remarks on V i z e n t i n i ' s p l a n t o p r e s e n t a s e r i e s o f c o n c e r t s f e a t u r i n g c o n t e m p o r a r y F r e n c h mus i c c o n d u c t e d by t h e compo se r s . Rev iew o f t h e f i r s t c o n c e r t . ] " F-14/01 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Romeo e t J u l i e t t e , o p e r a en c i n q a c t e s , de MM. M i c h e l C a r r e e t J u l e s B a r b i e r , mus ique de M. Gounod ( r e p r i s e ) . [ Rev i ew o f C a r v a l h o ' s r e v i v a l o f a work wh i ch had been p r e m i e r e d by t h i s d i r e c t o r at t h e o l d T h e a t r e - L y r i q u e . ] - - La s u p -p r e s s i o n du T h e a t r e - L y r i q u e : r a p p o r t f a i t a l a commi s s i on s u p e r i e u r e des t h e a t r e s par M. l e s e n a t e u r H e r o l d . [ E d i t o r i a l p r o t e s t i n g t h e s e n a -t o r ' s c o n c l u s i o n t h a t t h e T h e a t r e - L y r i q u e s h o u l d not be r e e s t a b l i s h e d , and t h a t t h e absence o f such a t h e a t r e c o u l d be compensated p a r t l y by t h e Comique and p a r t l y by t h e c r e a t i o n o f a T h e a t r e - E c o l e . ] — P e t i t i o n a d r e s s e e au m i n i s t r e par l a S o c i e t e des c o m p o s i t e u r s . [ E x c e r p t s f r o m t h i s p e t i t i o n o f p r o t e s t a re i n c o r p o r a t e d by Reyer i n h i s e d i t o r i a l on t h e s e n a t o r ' s r e p o r t . ] " F -01/02 634 "Revue m u s i c a l e . La symphonie d r a m a t i q u e de Romeo e t J u l i e t t e , d ' H e c t o r B e r l i o z , a l a S o c i e t e des C o n c e r t s e t au C h a t e l e t . [ E d i t o r i a l o b j e c t i n g t h a t t h e S o c i e t y ' s s e l e c t i o n o f e x c e r p t s f r om t h i s work had appeared on t h e p rogram ' non pas comme des f ragmens d e t a c h e s de l ' o e u v r e , ma i s comme l e s d i f f e r e n t e s p a r t i e s de l ' o e u v r e c o m p l e t e . ' Rev iew o f a pe r f o rmance o f t h e work i n i t s e n t i r e t y a t C o l o n n e ' s C o n c e r t s du C h a t e l e t . ] - -C o n c e r t s p o p u l a i r e s . [ S h o r t r e v i e w s o f two c o m p o s i t i o n s p r e m i e r e d by P a s d e l o u p : J u l e s T e n - B r i n k ' s o v e r t u r e t o Le C i d , and J . S v e n d s e n ' s R h a p s o d i e n o r v e g i e n n e . N o t i c e s on p e r f o r m a n c e s o f two gue s t a r t i s t s : S i v o r i ( v i o l i n i s t ) , and Diemer ( p i a n i s t ) . ] - - Les deux d e r n i e r s f e s t i -v a l s de 1 ' H i p p o d r o m e . [ Rev i ews o f c o n c e r t s wh i ch f e a t u r e d mus ic by S a l v a y r e , G o d a r d , G u i r a u d , F a u r e , W e c k e r l i n , and S a i n t - S a e n s . ] - - Enco re un mot su r l a q u e s t i o n du T h e a t r e - L y r i q u e . [ I n c o m p l i a n c e w i t h a l e t t e r w h i c h S e n a t o r H e r o l d had sen t t o Reyer a f t e r r e a d i n g t h e f e u i l l e t o n o f 1 F e b r u a r y , t h e c r i t i c examines and r e s p o n d s t o s p e c i f i c pages o f t h e s e n a t o r ' s r e p o r t t o t h e Commiss ion s u p e r i e u r e des t h e a t r e s . ] " F-16/02 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : [ E d i t o r i a l r e i t e r a t i n g R e y e r ' s p o s i t i o n t h a t t h i s t h e a t r e c anno t compensate f o r t h e absence o f t h e T h e a t r e - L y r i q u e . Rev iew o f ' l a p r i m e u r de deux p e t i t e s p i e c e s n o u -v e l l e s ' : ] l e P a i n b i s , o p e r a comique en un a c t e , p a r o l e s de MM. A. B r u n s w i c k e t de B e a u p l a n , mus ique de M. Theodore D u b o i s ; l a Z i n g a r e l l a , o p e r a comique en un a c t e , p a r o l e s de M. J u l e s M o n t i n i , mus ique de M. Jo seph 0 ' K e l l y ; [ b r i e f r e v i e w o f t h e new l y p u b l i s h e d s c o r e o f a work composed f o r an amateur c h o r a l s o c i e t y : ] 1 ' E n l e v e m e n t de P r o s e r p i n e , s cene l y r i q u e pour choeu r e t s o l i , par M. C h a r l e s C o l l i n , mus i que de M. Theodore D u b o i s . - - C o n c e r t s p o p u l a i r e s : [ debu t o f t h e s o p r a n o ] M i l e M a r i a n n e V i a r d o t [ d a u g h t e r o f P a u l i n e V i a r d o t - G a r c i a ] . " F - l l / 0 3 "Revue m u s i c a l e . Le F e s t i v a l - B e r l i o z a 1 ' H i p p o d r o m e . [Rev iew o f t h e c o n c e r t o r g a n i z e d by Reyer ( w i t h t h e h e l p o f V i z e n t i n i ) t o commemorate t h e t e n t h a n n i v e r s a r y o f B e r l i o z ' s d e a t h . ] - - T h e a t r e de 1 ' O p e r a -Comique: l a C o u r t e E c h e l l e , o p e r a comique en t r o i s a c t e s , p a r o l e s de M. Ch. de La Rouna t , mus ique de M. Membree. " F f - 2 2 / 0 3 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : La F l u t e e n c h a n t e e ( l r e r e p r e s e n t a t i o n a ce t h e a t r e . ) [ B e f o r e r e v i e w i n g t h i s p r o d u c t i o n ( t h e f i r s t s i n c e 1865, when M o z a r t ' s work was s t a g e d at t he o l d T h e a t r e -L y r i q u e ) , Reyer r e f l e c t s on t h e L y r i q u e ' s c o n t r i b u t i o n s t o P a r i s i a n m u s i c a l l i f e . ] - - T h e a t r e de l ' O p e r a : R e p r i s e du Ro i de Laho re [ a f t e r many s u c c e s s e s a b r o a d , as Reyer p o i n t s out i n h i s r e v i e w ] . - - La chanson des l a v a n d i e r e s dans R u y - B l a s . [Remarks on D e l i b e s ' s s e t t i n g o f t h e chanson i n V i c t o r Hugo ' s p l a y , a s e t t i n g composed at t h e r e q u e s t o f E m i l e P e r r i n f o r h i s p r o d u c t i o n at t h e C o m e d i e - F r a n g a i s e . ] " F-13/04 "Revue m u s i c a l e . S a l l e du T r o c a d e r o : [ E d i t o r i a l on t h e i n a d e q u a c i e s o f t h i s ' s a l l e de c o n c e r t s , ' w h i c h i s now t h e home o f t h e c o n c e r t s e r i e s 635 begun at t h e H ippodrome i n J a n u a r y . ] F e s t i v a l - G o u n o d : Messe de S a i n t e - C e c i l e , G a l l i a , Super f l u m i n a B a b y l o n i s , e t c . , e t c . [ S h o r t r e v i e w o f a p rogram 'compose t o u t e n t i e r de morceaux c o n n u s , ' c o n d u c t e d by Gounod at t h e T r o c a d e r o . ] - - C o n c e r t s p o p u l a i r e s : l e l e r a c t e de L o h e n g r i n ; 1 a R e s u r r e c t i o n de L a z a r e , scene r e l i g i e u s e , de MM. E. F a v i n e t Ch. G r a n d -m o u g i n , mus ique de M. Raoul Pugno. [ Rev i ew o f P a s d e l o u p ' s s l i g h t l y a b b r e v i a t e d v e r s i o n o f A c t I o f L o h e n g r i n i n c l u d e s e d i t o r i a l i z i n g on ' l e s s i f f l e u r s . ' B e f o r e r e v i e w i n g L a R e s u r r e c t i o n de L a z a r e , Reyer a p p l a u d s P a s d e l o u p f o r mak ing i n h i s r e p e r t o i r e as l a r g e a p l a c e f o r c o n t e m p o r a r y F rench composer s as f o r W a g n e r . ] " F-27/04 "Revue m u s i c a l e . [ R e f l e c t i o n s on ' l a q u e s t i o n de l ' O p e r a ' : t h e r e i s s t i l l no d e c i s i o n as t o whethe r t h i s t h e a t r e w i l l be p l a c e d under a s y s t em o f ' r e g i e ' ( see ^JD F -15/12/1878 ) ; t h e d i r e c t o r , H a l a n z i e r , has r e s i g n e d . ] - - T h e a t r e de l ' O p e r a : r e p r i s e de Don J u a n , debut de M. Bouhy. [ R e v i e w o f t h e p e r f o r m a n c e s o f bo th Bouhy i n t h e t i t l e r o l e and G a b r i e l l e K r a u s s as Donna Anna. The O p e r a ' s b i l l i n g o f Bouhy prompts Reyer t o o b j e c t t o t h e p r a c t i c e o f a d v e r t i s i n g t h a t an a r t i s t makes a ' d e b u t ' whenever he o r she s i n g s a r o l e f o r t h e f i r s t t i m e . ] - - T h e a t r e de 1 ' O p e r a - C o m i q u e : r e p r i s e du CaTd, d e b u t s de M i l e I s a a c e t de M. T a s k i n . - - S a l l e du C o n s e r v a t o i r e : E x e r c i c e s des e l e v e s . [ Rev i ew o f a p rogram w h i c h , f o r t h e f i r s t t i m e i n t h e h i s t o r y o f t h e s e p u b l i c c o n -c e r t s , o f f e r e d some mus i c by Schumann: two movements f r o m t h e P i a n o Q u a r t e t i n E - f l a t . ] " F-09/05 "Revue m u s i c a l e . C o n c e r t s p o p u l a i r e s : T r o i s i e m e e t d e r n i e r e a u d i t i o n des f ragmens du p r e m i e r a c t e de L o h e n g r i n . Les s i f f l e t s e t l e s s i f -f l e u r s . [ E d i t o r i a l on ' l e s p r o t e s t a t i o n s b r u t a l e s e t p r e m e d i t e e s ' w h i c h d i s r u p t e d t h i s p e r f o r m a n c e . ] — C o n c e r t de Mme M a r i e J a e l l : O s s i a n e [ f o r s o l o i s t s , c h o r u s , and o r c h e s t r a , ] ( p r e l u d e e t 2 e p a r t i e ) " ! [The c o n c e r t a l s o i n c l u d e d Mme J a e l l ' s P i a n o C o n c e r t o i n D M a j o r , pe r f o rmed by t h e c o m p o s e r . ] — S o c i e t e des A u d i t i o n s l y r i q u e s . [Comments on t h i s o r g a n i z a t i o n f ounded by t h e c o n d u c t o r J u l e s Danbe f o r t h e pe r f o rmance o f o p e r a s by young F r ench compo se r s . Rev iew o f t h e f i r s t p r og r am, at wh i ch ' l e p r i n c i p a l a t t r a i t ' was A l b e r t C a h e n ' s Le B o i s . ] ~ [Announcement o f ] P u b l i c a t i o n s d i v e r s e s [ n o t a b l y Schumann ' s Requiem f u r Mignon i n F r e n c h t r a n s l a t i o n by V i c t o r W i l d e r ] . - - L a mus ique e t l e s m u s i c i e n s a P a r i s , p a r M. l e d o c t e u r H a n s l i c k (de P r a g u e ) . [ N o t i c e on a d i s p a r a g i n g a r -t i c l e w r i t t e n by H a n s l i c k a f t e r t h e P a r i s E x p o s i t i o n o f 1878, at wh i ch he had s e r v e d as one o f t h e j u r o r s i n t h e depa r tmen t o f m u s i c . N o t i c e i s p r e ceded by R e y e r ' s r e c o l l e c t i o n o f a chance m e e t i n g w i t h t h i s c r i t -i c . ] " F-26/05 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : Grande f e t e au p r o f i t des i n -cende s de S z e g e d i n . [ R e v i e w o f a b e n e f i t c o n c e r t wh i ch f e a t u r e d t h e f o l l o w i n g : e x c e r p t s f r o m o p e r a s by V e r d i , Gounod, and D o n i z e t t i ; o r c h e s t r a l mus i c by B e r l i o z , G u i r a u d , S a i n t - S a e n s , Gounod, and R e y e r ; 636 and a i r s de b a l l e t f r o m D e l i b e s ' s S y l v i a and C o p p e l i a . Among t he a t t r a c t i o n s o f t h e c o n c e r t were f o u r c e l e b r a t e d s i n g e r s ( G a b r i e l l e K r a u s s , R o s i n e B l o c h , F a u r e , and V e r g n e t , a l l o f t h e O p e r a ) , and two t h e n - u n p u b l i s h e d w o r k s : S a i n t - S a e n s ' s R e v e r i e o r i e n t a l e , and M a s s e n e t ' s Marche he ro ' i que de S z a b a d y . ] -.- T h e a t r e de 1 ' Ope r a -Com ique : Embra s son s - nou s , F o l l e v i l l e ! o p e r a comique en un a c t e , p a r o l e s de MM. L a b i c h e e t L e i r a n c , mus ique de M. A v e l i n o V a l e n t i . [ R e v i e w o f V a l e n t i ' s mus i c f o r an o l d v a u d e v i l i e i n c l u d e s remark s on t h e c a r e e r o f t h i s S pan i s h com-p o s e r . ] " F-16/06 "Revue m u s i c a l e . Les c o n c e r t s de l a s a i s o n . [ R e f l e c t i o n s on changes t h a t have t a k e n p l a c e i n P a r i s i a n c o n c e r t l i f e d u r i n g t h e pa s t few d e c a d e s : r e c i t a l s o f romances have d i s a p p e a r e d ; i n t e r e s t i n s o l o c o n -c e r t s has waned, and t he p u b l i c i s now drawn by ' l e s c o n c e r t s avec o r c h e s t r e ' ; t h e r e a r e more o r g a n i z a t i o n s c o n s e c r a t e d t o chamber m u s i c , bu t t h e y do not have l a r g e a u d i e n c e s . - - P i a n i s t s : M a u r i c e R o s e n t h a l ( P o l i s h p r o d i g y ) . F r e d e r i c B o s c o w i t z . F r e d e r i c L o t t i n ' s c o n c e r t o f m u s i c by L i s z t . E l i e D e l a b o r d e . N o t i c e s on M i l e Gemma L u z i a n i , M i l e Anna Bock , and M. Agghazy . Names o f ' p l u s i e u r s p i a n i s t e s dont l e s s u c -c e s se c o n f o n d e n t un peu dans nos s o u v e n i r s . ' - - H a r p i s t s : M i l e A n g e l e B l o t . M. Ha s se lmans . - - Comments on women as v i o l i n i s t s . M i l e T a y a u , ' b r i l l a n t e v i o l i n i s t e ' and f o u n d e r o f two m u s i c a l o r g a n i z a t i o n s ( t h e Quatuo r S a i n t e - C e c i l e and L ' A r t moderne ; see JD F - 19/05/1878 ) . O the r v i o l i n i s t s and c e l l i s t s . The young v i o l i n i s t Ov i de M u s i n . - - Remarks on t h e number o f p e r f o r m a n c e s g i v e n i n London l y r i c t h e a t r e s and c o n c e r t h a l l s d u r i n g t h e y e a r 1878 (based on s t a t i s t i c s p u b l i s h e d i n t h e M u s i c a l D i r e c t o r y and r e p r o d u c e d i n t h e Revue e t G a z e t t e m u s i c a l e de P a r i s ) . ] " F-01/07 "Revue m u s i c a l e . Le g r a n d - p r i x de c o m p o s i t i o n m u s i c a l e . [ E d i t o r i a l r e p e a t i n g R e y e r ' s p o s i t i o n t h a t t h e government s h o u l d t a k e c e r t a i n s t e p s t o ' r a s s u r e r l ' a v e n i r ' o f w i n n e r s o f t h e P r i x de Rome upon t h e i r r e t u r n f r om t h e V i l l a M e d i c i . - - Academie des B e a u x - A r t s : p e r f o r m a n c e o f t h e w i n n i n g c a n t a t a s o f 1879 ( s e t t i n g s o f G r i m a u l t ' s Medee by Hue, H i l l e -mache r , and M a r t y , w i n n e r s o f t h e ' g r a n d p r i x , ' ' s e c o n d p r i x , ' and 'men -t i o n h o n o r a b l e ' r e s p e c t i v e l y ) . ] " F-08/07 "Revue m u s i c a l e . [ Rev i ew and n o t i c e s o f t h e f o l l o w i n g new s c o r e s and a r r a n g e m e n t s : ] B a l t h a s a r , scene l y r i q u e de M. Edouard G u i n a u d , mus ique de M. A. G u i l m a n t . — M i gnon , e p i s o d e s l y r i q u e s t i r e s du roman W i l h e l m M e i s t e r de G o e t h e , s u i v i s d ' u n Requ iem, p a r o l e s f r a n g a i s e s de V i c t o r W i l d e r , mus ique de R o b e r t Schumann. — Messe de Requ iem, pour s o l i , c h o e u r s e t o r c h e s t r e , par M. C a m i l l e S a i n t - S a e n s . [ - - N o t i c e on S a i n t -S a e n s ' s T a r e n t e l l e , a r r a n g e d by t h e composer f o r two p i a n o s . ] — T r a n -s c r i p t i o n s pour p i a n o du Menuet des F o i l e t s e t de l a Se renade de l a Damnat ion de F a u s t , par M. Georges P f e i f f e r . — B a g a t e l l e s , t r e n t e p i e c e s pour p i a n o ; M a n d o l i n e , B e r c e u s e , R e v e r i e , pour p i a n o , f l u t e e t v i o l o n , pa r M. H e n r i R e b e r . - - Sous l e s p i n s , romance sans p a r o l e s , de 637 M. Theodore T h u r n e r . - - P u b l i c a t i o n s d i v e r s e s de MM. Hen r i B o u b i e r , Ga s ton S e r p e t t e , Hen r i M a r e c h a l , e t c . [ Reye r f o c u s e s on t h r e e m e l o d i e s by M a r e c h a l . ] - - L ' I n v i t a t i o n a l a v a l s e ( p a r t i t i o n d ' o r c h e s t r e ) [ i . e . , B e r l i o z ' s t r a n s c r i p t i o n o f W e b e r ' s A u f f o r d e r u n g zum T a n z e , wh ich had been i n s e r t e d as a b a l l e t i n t h e O p e r a ' s 1841 p r o d u c t i o n o f Per F r e i - s c h ' u t z ] . - - S i x i e m e t r i o pour p i a n o , v i o l o n ou v i o l o n c e l l e [ s i c ] , par M. Georges M a t h i a s . - - S i x Pensees m u s i c a l e s e t t r o i s M e l o d i e s , p i a n o e t c h a n t , pa r M. G u s t a v e L o u c h e t . - - Le Poeme de m a i , de M. Armand S i l v e s t r e , mus ique de M. Coedes [ s o n g c y c l e ] . - - Poemes de P r o v e n c e , de M. Jean A l c a r d , mus ique de M. Auzende [ song c y c l e ] . [ - - Two m e l o d i e s by A u z e n d e . ] - - R e c u e i l de m e l o d i e s , par M. Oc t a ve Fouque. - - V i n g t m e l o d i e s , p a r M. A l e x i s R o s t a n d . - - V i n g t - c i n q m e l o d i e s , pa r M. J . - B . W e c k e r l i n . " F - l l / 0 8 "Revue m u s i c a l e . Les Concour s du C o n s e r v a t o i r e . [Open ing remark s on t h e deve lopment o f t h e c a r e e r o f a r e c e n t g r a d u a t e : t h e t e n o r T a l a z a c . - - The v o c a l c o m p e t i t i o n s : Reyer c o n s i d e r s t he men ' s and women's compe-t i t i o n s s e p a r a t e l y , g i v i n g most o f h i s a t t e n t i o n t o t h e bass O u b u l l e , t h e t e n o r Lamarche, and t h e s op rano M i l e C o y o n - H e r v i x . - - The harp com-p e t i t i o n : as i n e a r l i e r y e a r s , t h e p a r t i c i p a t i o n o f o n l y a few c o m p e t i -t o r s e l i c i t s o b s e r v a t i o n s on t h e need t o encou rage t h e s t u d y o f t h i s i n s t r u m e n t . — The p i a n o c o m p e t i t i o n : a f t e r r e f l e c t i n g on t h e l a r g e number o f c o m p e t i t o r s , Reyer comments b r i e f l y on t h e w i n n e r s i n t h e c l a s s e s o f each o f t h e f i v e p r o f e s s o r s o f p i a n o . - - The v i o l i n c o m p e t i -t i o n : M i l e T e r e s a Tua ; M i l e G o d a r d ; names o f o t h e r w i n n e r s . — The c e l l o and d o u b l e - b a s s c o m p e t i t i o n s : names o f t h e w i n n e r s . - - As i n e a r l i e r y e a r s , Reyer o b j e c t s t h a t v i o l a i s not t a u g h t at t h e C o n s e r v a -t o i r e . - - Names o f t h e w i n n e r s i n t h e s e v e r a l c a t e g o r i e s o f woodwind and b r a s s c o m p e t i t i o n s . Remarks on t h e i n c r e a s i n g n e g l e c t o f t h e t r u m p e t . - - S h o r t d e s c r i p t i o n o f t h e awards ce remony. Names o f t h e p r o f e s s o r s who r e c e i v e d hono r s f r om t h e government a f t e r t h e d i s t r i b u t i o n o f t h e C o n s e r v a t o i r e p r i z e s . ] " F-25/08 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : R e p r i s e de l a M u e t t e de P o r t i c i . [The f i r s t r e v i v a l o f A u b e r ' s work s i n c e 1870 o c c a s i o n s an e d i t o r i a l on t h e ' m i s s i o n ' o f t h e O p e r a : t o improve ' l e gou t [ m u s i c a l ] de n o t r e g e n e r a t i o n a c t u e l l e ' by f a m i l i a r i z i n g i t w i t h t h i s and o t h e r n e g l e c t e d ' c h e f s - d ' o e u v r e d i g n e s de son a d m i r a t i o n . ' The r e v i e w i n c l u d e s an a p p r e c i a t i o n o f La Mue t t e as ' u n e d a t e dans 1 ' h i s t o i r e de l ' a r t m u s i -c a l . ' ] " F-22/09 " L e s Orpheons e t l e s O r p h e o n i s t e s , a p ropos du c o n c o u r s de C h e r b o u r g . [ A f t e r a t t e n d i n g at Che rbou rg a c o m p e t i t i o n o f amateur c h o r a l s o c i e t i e s ( o r p h e o n s ) and i n s t r u m e n t a l g roups ( s o c i e t e s d ' h a r m o n i e and s o c i e t e s de f a n f a r e ) , Reyer c o n s i d e r s s e v e r a l m a t t e r s : r i v a l s o c i e t i e s ' p r a c t i c e o f a b s t a i n i n g f r om each o t h e r ' s c o m p e t i t i o n s ; t h e need f o r t h e o rpheons t o e m u l a t e ' 1 ' e s p r i t de d i s c i p l i n e e t l a bonne t e n u e ' wh i ch d i s t i n g u i s h t h e i n s t r u m e n t a l g r o u p s ; t h e i m p o r t a n c e o f h a v i n g a ' b o n m u s i c i e n ' as 638 c o n d u c t o r ; ' 1 1 i n d i f f e r e n c e du gouve rnement ' and ' l a p a r c i m o n i e des encouragemens a c c o r d e s pa r l e s m u n i c i p a l i t e s aux S o c i e t e s o r p h e o n i q u e s ' ; t h e l a c k o f r u d i m e n t a r y m u s i c a l e d u c a t i o n amongst t h e members o f most o r p h e o n s ; and t h e r e p e r t o i r e , w h i c h Reyer f i n d s 'mal a p p r o v i s i o n n e ' i n c o m p a r i s o n w i t h t h a t o f German and B e l g i a n c h o r a l s o c i e t i e s . ] " F-01/10 "Revue m u s i c a l e . ATda a l ' O p e r a . - - Le voyage de M. V a u c o r b e i l a B u s -s e t o . [News t h a t V a u c o r b e i l has o b t a i n e d V e r d i ' s p e r m i s s i o n t o s t a g e ATda a t t h e Opera p rompts Reyer t o comment bo th on V a u c o r b e i l ' s r e a s o n s f o r w a n t i n g t h i s work , and on V e r d i ' s r e a s o n s f o r g r a n t i n g t h i s d i r e c t o r t h e a u t h o r i z a t i o n t h a t had been d e n i e d h i s p r e d e c e s s o r . - - Remarks on a new l y r i c t h e a t r e , an ' O p e r a p o p u l a i r e ' f ounded by M a r t i n e t and Husson a t t h e S a l l e de l a GaTte (wh i ch had once been t h e home o f V i z e n t i n i ' s T h e a t r e - L y r i q u e ) . ] - - T h e a t r e de 1 ' O p e r a - C o m i q u e : R e o u v e r t u r e , l e P r e aux C l e r c s . [ Reye r app l aud s bo th t h e r e f u r b i s h i n g o f t h e t h e a t r e , e s p e c i a l l y ' 1 ' a m e l i o r a t i o n a p p o r t e e a 1 'amenagement de V o r c h e s t r e , ' and t h e augment ing o f t h e o r c h e s t r a i t s e l f . The r e v i v a l o f H e r o l d ' s work a f f o r d s an o p p o r t u n i t y t o c a l l f o r ' 1 ' a m e l i o r a t i o n du p e r s o n n e l c h a n -t a n t . ' ] - - C o n c e r t s p o p u l a i r e s e t C o n c e r t s du C h a t e l e t : P r o c h a i n e e x e c u t i o n de l a P r i s e de T r o i e . [ O b s e r v a t i o n s c o n c e r n i n g t h e i n t e n t i o n o f bo th P a s d e l o u p and Co lonne t o p r e s e n t i n c o n c e r t an o p e r a o f wh i ch t h e F r e n c h p u b l i c knew o n l y a few f r a g m e n t s . ] - - Un d e r n i e r mot au d o c t e u r H a n s l i c k . [Response t o H a n s l i c k ' s anger o ve r a n o t i c e w h i c h Reyer had p u b l i s h e d c o n c e r n i n g an a r t i c l e by t he V i e n n e s e c r i t i c . ( R e y e r ' s n o t i c e had appeared i n JD F - 2 6 / 0 5 . ) ] " F-17/10 "Revue m u s i c a l e . I n s t i t u t de F r a n c e : [ G e n e r a l remarks on t h e ] Seance a n n u e l l e de 1 ' A cademie des B e a u x - A r t s . — [Rev i ews o f t h e two works p e r -fo rmed at t h i s m e e t i n g : ] O u v e r t u r e composed par M. Veronge de l a Nux [ a f o r m e r w i n n e r o f t h e P r i x de Rome]. - - Medee, scene l y r i q u e , p a r o l e s de M. G r i m a u l t , mus ique de M. Georges Hue, g rand p r i x de c o m p o s i t i o n m u s i -c a l e . - - Le c o n c o u r s R o s s i n i . [ D e s c r i p t i o n o f t h e te rms o f t h i s new l y f ounded c o m p e t i t i o n , w h i c h i s t o be j udged by t h e Academie des Beaux-A r t s . ] - - M e l o d i e s p o l o n a i s e s de F. C h o p i n . [ Rev i ew o f a c o l l e c t i o n o f s e v e n t e e n h i t h e r t o - u n p u b l i s h e d songs wh i ch V i c t o r W i l d e r has f e r r e t e d ou t and t r a n s l a t e d . ] - - C i n q m e l o d i e s pour mezzo - s op r ano ou b a r y t o n , pa r M. Edouard L a s s e n . [ R e v i e w o f songs w h i c h Reyer had f i r s t hea rd at W e i -mar i n 1863-64 and now a re p u b l i s h e d i n F rench t r a n s l a t i o n by W i l d e r . ] — [Announcements o f new p u b l i c a t i o n s : ] C i n q L i e d e r , par M. Edouard L a l o . - - Methode de p i a n o , p a r M. Magnus. - - A r i a e t G a v o t t e pour v i o -l o n , pa r M. J u l e s B o r d i e r . - - Ope ra p o p u l a i r e : [ N o t i c e on t h e s u c c e s s o f t h e i n a u g u r a l p r o d u c t i o n , H a l e v y ' s ] Gu ido e t G i n e r v a . " F-3T7T0 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : R e p r i s e de L a l l a - R o u k h ; d e b u t s de M. M o u l i e r a t e t de M. Belhomme [ two w i n n e r s o f t h e C o n s e r v a -t o i r e c o m p e t i t i o n s h e l d i n A u g u s t ] . [ - - Remarks on new l y r i c t h e a t r e s ( f ounded o r s o o n - t o - b e f ounded by L e r o y , G r o s , and V a s s e u r ) . ] - - O p e r a -P o p u l a i r e : Gu ido e t G i n e r v a ; L u c i e de Lammermoor. [ R e v i e w o f t h e 639 l a t t e r i s f o l l o w e d by an e n u m e r a t i o n o f t he r e p e r t o i r e f o r ' c e t h i v e r , ' and a b r i e f e d i t o r i a l u r g i n g t h a t t h i s t h e a t r e be s u b s i d i z e d . ] — Nouveau L y r i q u e [ f o u n d e d by V a s s e u r f o r ' l a r e p r e s e n t a t i o n de p e t i t e s p i e c e s en un ou deux a c t e s s e u l e m e n t , ' at t h e S a l l e de l a r u e T a i t b o u t ] : l a Co lombe, p a r o l e s de MM. M i c h e l C a r r e e t J u l e s B a r b i e r , mus ique de M. Gounod [ f i r s t P a r i s i a n p r o d u c t i o n s i n c e 1 8 6 6 ] ; 1 ' E c o s s a i s de C h a t o u , o p e r a comique de MM. P h i l i p p e G i l l e e t Leo D e l i b e s [ p r e m i e r e d at P a r i s i n 1 8 6 9 ] ; p r o l o g u e ; i n t e r m e d e s ymphon ique . [The p r o l o g u e was r e c i t e d at t h e b e g i n n i n g o f t h e p rog ram; t h e i n t e r m e d e (wh i ch c o n s i s t e d o f mus i c by S e r p e t t e , S a i n t - S a e n s , and J o n c i e r e s ) was pe r f o rmed between t h e works by Gounod and D e l i b e s . ] " F-16/11 "Revue m u s i c a l e . [Remarks on f o r t h c o m i n g p r e m i e r e s and r e v i v a l s at t h e O p e r a , t h e Ope ra -Com ique , and t he O p e r a - P o p u l a i r e . - - ] T h e a t r e de l ' O p e r a : Debuts de M i l e H e i l b r o n n dans F a u s t , de M i l e J a n v i e r e t de M. M e l c h i s s e d e c dans l e s Hugueno t s . - - T h e a t r e de 1 ' Ope ra -Com ique : R e n t r e e de Mme C a r v a l h o dans l a F l u t e enchan tee e t de M. N i c o t dans 1 a Dame b l a n c h e . - - O p e r a - P o p u l a i r e : R i t a ou Te M a r i b a t t u , o p e r a comique en un a c t e , de D o n i z e t t i ; S i n t i l l i a l a Bohemienne, b a l l e t en deux t a b l e a u x , de M. M a z i l l i e r , mus ique de M. P i n t o . [ Rev i ews o f t h e s e two works i n c l u d e o b j e c t i o n s t h a t t h e O p e r a - P o p u l a i r e i s amus ing ' l a g a l e r i e ' w i t h ' p e t i t s evenemens sans i m p o r t a n c e . ' ] - - C o n c e r t s du C h a t e l e t : Fragmens d ' E t i e n n e M a r c e l [ i . e . , t h e I n t r o d u c t i o n , t h e b a l l e t , and t he f i n a l e o f A c t I o f S a i n t - S a e n s ' s o p e r a ] ; M. Fau re e t M. Lauwers [ s o l o i s t s i n t h e f i n a l e ] . - - C o n c e r t s p o p u l a i r e s : l e p r e m i e r a c t e de l a P r i s e de T r o i e . [ R e y e r e x p l a i n s t h a t B e r l i o z h i m s e l f had d i v i d e d t h i s p a r t o f Les T r o yen s i n t o t h r e e a c t s . The c r i t i c does not r e v i e w P a s d e l o u p ' s p r e -m i e r e o f A c t I, p r e f e r r i n g t o w a i t f o r t h e p r e m i e r e o f t h e work i n i t s e n t i r e t y . ] " F-30/11 "Revue m u s i c a l e . [ C o n c e r t s p o p u l a i r e s : ] La P r i s e de T r o i e , d ' H e c t o r B e r l i o z . [ Rev i ew o f t h i s p r e m i e r e ( c o n c e r t p e r f o r m a n c e ) i s p r e ceded by a h i s t o r y o f Les T r o y e n s , o f wh i ch P a r i s i a n s had heard o n l y f r a g m e n t s s i n c e t h e s h o r t - l i v e d p r o d u c t i o n o f t h e second p a r t , Le s T r o y e n s a C a r t h a g e , at t he T h e a t r e - L y r i q u e i n 1 863 . ] — T h e a t r e de 1 ' Ope ra : r e -p r i s e d ' H a m l e t . Debut de M. Mau re l [who had l e f t t h e Opera i n 1869 and had sung abroad f o r t e n y e a r s ] . " F t t - 1 2 / 1 2 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : Debu t s : M. D e r e i m s , M. M i e r z w i n -s k i , M i l e V a c h o t . [ R e y e r f i r s t a s s e s s e s t h e i r p e r f o r m a n c e s i n F a u s t , L ' A f r i c a i n e , and Les Huguenots r e s p e c t i v e l y , and t hen comments f u r t h e r on ' l e debut l e p l u s i m p o r t a n t , ' t h a t o f Maure l i n H a m l e t . ] - - T h e a t r e de 1 ' Ope ra -Comique : D i a n o r a , o p e r a comique en un a c t e , p a r o l e s de M. J u l e s C h a n t e p i e , mus i que de M. Samuel R o u s s e a u . [ B e f o r e r e v i e w i n g the p r e m i e r e o f t h i s work , wh i ch had won t h e Concour s C r e s s e n t , Reyer r e -a f f i r m s h i s p o s i t i o n t h a t such c o m p e t i t i o n s ' n e peuvent donner e t n ' o n t j a m a i s donne d ' a i l l e u r s que des r e s u l t a t s s t e r i l e s . ' ] - - C o n c e r t s du C h a t e l e t : E x e c u t i o n de l a P r i s e de T r o i e . [ P a s d e l o u p and Co l onne had 640 each p r e m i e r e d t h i s work on t he same day . R e y e r , who had a t t e n d e d P a s d e l o u p ' s p r e m i e r e ( s ee JD_ F f t - 1 2 / 1 2 ) , now r e v i e w s a l a t e r p e r f o r m a n c e c o n d u c t e d by C o l o n n e . The r e v i e w i s p r e ceded by r e f l e c t i o n s on t h e com-p e t i t i v e n e s s w i t h w h i c h P a s d e l o u p and Co lonne have p romoted B e r l i o z ' s 'renommee p o s t h u m e . ' ] " F-26/12 1880 J o u r n a l des Debats "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : r e p r i s e de Don J u a n . [ Reye r b e -g i n s t h e r e v i e w by p r a i s i n g t h e d i r e c t o r ( V a u c o r b e i l ) f o r h a v i n g e x e r -c i s e d h i s a u t h o r i t y t o o b t a i n f r om t h e p e r f o r m e r s and t he c o n d u c t o r ' l e r e s p e c t du t e x t e e t 1 ' e x a c t i t u d e des mouvemens. . . . On peut d i r e que de memoire d ' abonne c e l a ne s ' e t a i t j a m a i s v u . ' ] — O p e r a - P o p u l a i r e : r e p r i s e de Pau l e t V i r g i n i e . [ Rev i ew o f t h e f i r s t p r o d u c t i o n o f M a s s e ' s work s i n c e t h e p r e m i e r e at V i z e n t i n i ' s T h e a t r e - L y r i q u e i n 1876 . ] - -Revue de l ' a n n e e 1879. [Remarks on t h e p r e m i e r e o f La P r i s e de T r o i e i n c o n c e r t . The Opera and t h e Ope ra -Com ique : a r e t r o s p e c t i v e r e v i e w o f t h e r e p e r t o i r e o f each l e a d s t o t h e hope t h a t ' l ' a n n e e p r o c h a i n e s e r a mieux r e m p l i e que c e l l e - c i . ' The O p e r a - P o p u l a i r e : r e f l e c t i o n s on both t h e l o c a t i o n and t h e r e p e r t o i r e . C o n c e r t s at t h e Hippodrome and at t h e T r o c a d e r o . The program o f t he annua l p u b l i c c o n c e r t o f t he C o n s e r v a -t o i r e s t u d e n t s . The P r i x de Rome. Ma jo r works t h a t were e i t h e r r e v i v e d o r p r e m i e r e d at t h e C o n c e r t s p o p u l a i r e s and t he C o n c e r t s du C h a t e l e t . ' P u b l i c a t i o n s n o u v e l l e s . . . dont j e n ' a i p o i n t e n c o r e p a r l e ' : two m e l o d i e s by P h i l i p p e M a q u e t . ] " F-10/01 "Revue m u s i c a l e . C o n c e r t s p o p u l a i r e s : La L y r e e t l a Ha rpe , ode de V i c t o r Hugo, m i s e en mus ique ( s o l i , c h o e u r s e t o r c h e s t r e ) p a r M. C a m i l l e S a i n t - S a e n s . [ Rev i ew o f t h e f i r s t P a r i s i a n p e r f o r m a n c e o f a work com-m i s s i o n e d f o r and p r e m i e r e d at t h e B i rmingham F e s t i v a l o f 1 879 . ] — [ N o t i c e on a new p u b l i c a t i o n : ] R e c u e i l de t r e n t e m e l o d i e s , par M. Ch . -M . W ido r . - - Academie des B e a u x - A r t s : l e p r i x R o s s i n i . [ Announce -ment t h a t t h e f i r s t Concou r s R o s s i n i has been won by Mme de G r a n d v a l ' s o r a t o r i o La F i l l e de J a T r e . E x p l a n a t i o n o f t h e A c a d e m i e ' s d e c i s i o n t h a t t h i s c o m p e t i t i o n w i l l be b i e n n i a l i n s t e a d o f a n n u a l . ] " F-27/01 [ ( C o m m u n i c a t i o n p u b l i s h e d under t h e words "On nous e c r i t de Monaco : " ) Annua l r e l i g i o u s p r o c e s s i o n i n honor o f t h e p a t r o n s a i n t o f Monaco. - -T h e a t r e de M o n t e - C a r l o : MM. B e r a r d i and Duchesne i n Gounod ' s F a u s t ; M i l e R e i c h e r i n D o n i z e t t i ' s La F a v o r i t e . — P e r f o r m a n c e s o f t he h a r p i s t Hasse lmans i n t h e s a l o n s o f t h e w e a l t h y at Cannes , and at t he " r e p r e -s e n t a t i o n - c o n c e r t " g i v e n f o r h a b i t u e s o f t h e c a s i n o at M o n t e - C a r l o . Comments on t h e r e p e r t o i r e f o r h a r p . - - The " s a l l e s de j e u " o f t he c a s i n o . ] * LA [Cu rR 1 9 1 ] - 0 7 / 0 2 , p. 3 641 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - P o p u l a i r e ( G a T t e ) : P e t r a r q u e , o p e r a en c i n q a c t e s e t s i x t a b l e a u x , p a r o l e s de MM. H i p p o l y t e Duprat e t J . Dharmenon, mus ique de M. H i p p o l y t e D u p r a t . [ R e v i e w i s p r eceded by an a c c o u n t o f t h e ' o d y s s e ' o f t h i s work , wh i ch had been p r e m i e r e d at Mar -s e i l l e i n 1 873 . ] - - T h e a t r e - I t a l i e n ( G a T t e ) : l a T r a v i a t a , Mme P a t t i . [ B r i e f e d i t o r i a l o b j e c t i n g t h a t P a t t i r e i g n s ' e n s o u v e r a i n e a b s o l u e ' a t t h e r e v i v e d T h e a t r e - I t a l i e n , wh i ch i s p r o v i s i o n a l l y i n s t a l l e d at t he G a T t e . In t h e r e v i e w o f P a t t i ' s p e r f o r m a n c e , Reyer c o n s i d e r s how he r v o i c e and her a c t i n g have changed s i n c e she l a s t appeared on a P a r i s i a n s t a g e ( s e e JD F - 1 7 / 1 0 / 1 8 7 4 ) . ] " F-22/02 "Revue m u s i c a l e . C o n c e r t s P o p u l a i r e s : Le F a u s t de Schumann ( l r e a u d i -t i o n ) . [ B e f o r e r e v i e w i n g t h i s P a r i s i a n p r e m i e r e , Reyer c a l l s a t t e n t i o n t o o t h e r works w h i c h , l i k e t h a t o f Schumann, were i n s p i r e d by G o e t h e ' s poem and were v i r t u a l l y unknown t o t h e F rench p u b l i c : L o u i s e B e r t i n ' s F a u s t , Eduard L a s s e n ' s F a u s t , Henry L i t o l f f ' s F a u s t , and B o i t o ' s o p e r a M e f i s t o f e l e . ] - - T h e a t r e - I t a l i e n ( G a T t e ) : r e p r e s e n t a t i o n s de Mme P a t t i ( I I B a r b i e r e d i S i v i g l i a , II T r o v a t o r e ) . [ R e y e r remark s on each o f t h e p r i n c i p a l s i n g e r s , but c o n c e n t r a t e s on P a t t i . Her p e r f o r m a n c e as R o s i n a p rompts t h e c r i t i c t o e d i t o r i a l i z e on ' c e p a r t i - p r i s de d e f i g u r e r une o e u v r e sous p r e t e x t e de l ' e m b e l l i r ou de l a r a j e u n i r . ' - - A few words on t h e g o v e r n m e n t ' s t e n t a t i v e p l a n t o g i v e t h e O p e r a - P o p u l a i r e t h e name o f T h e a t r e - L y r i q u e and a s u b s i d y o f 200 ,000 f r . ] " F-07/03 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Jean de N i v e l l e , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. Edmond G o n d i n e t e t P h i l i p p e G i l l e , mus i que de M. Leo D e l i b e s . [ T h i s work , l i k e Gounod ' s C i n q - M a r s ( s e e JID F-15/04/1877) and a few o t h e r s t h a t had been p r e s e n t e d at t h e Comique d u r i n g t h e 1870s , c a u s e s Reyer t o r e f l e c t t h a t t he d i s t i n c t i o n between o p e r a comique and o p e r a s e r i e u x does not r e s t on t h e t e c h n i c a l p o i n t o f spoken d i a l o g u e i n t h e one as a g a i n s t sung r e c i t a t i v e i n t he o t h e r . The r e v i e w o f D e l i b e s ' s new s c o r e i n c l u d e s a n o t i c e on h i s e a r l i e r works f o r l y r i c t h e a t r e . ] " F-13/03 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : ATda , o p e r a en q u a t r e a c t e s , p a r o l e s f r a n c h i s e s de MM. Du L o c l e e t N u i t t e r , mus ique de M. V e r d i . [ R e y e r d e c l a r e s t h a t he w i l l not r e t e l l t h e s t o r y and d i s c u s s t h e s c o r e ' p o u r l a t r o i s i e m e f o i s , ' h a v i n g a l r e a d y r e v i e w e d both t h e w o r l d p r e -m i e r e and t h e P a r i s i a n p r e m i e r e ( s e e JD F-16/01/1872 and F - 26/04/1876 ) . He a s s e s s e s i n s t e a d t h e e l e m e n t s w h i c h , f o r t h e p u b l i c , c o n s t i t u t e ' u n a t t r a i t t o u t n o u v e a u ' : t h e s t a g i n g and t h e i n t e r p r e t a t i o n . Reyer c o n c l u d e s t h e r e v i e w by n o t i n g t h a t t h e p e r f o r m a n c e was c o n d u c t e d by t h e composer at t h e i n v i t a t i o n o f t h e O p e r a ; t h e c r i t i c t hen e d i t o r i a l i z e s b r i e f l y on t h e dange r s o f i n v o k i n g such a p r e c e d e n t ' c h a q u e f o i s q u ' o n d o n n e r a a P a r i s , a l ' O p e r a ou a i l l e u r s , un ouv rage f r a n g a i s n o u v e a u . ' ] - - C o n c e r t s du C h a t e l e t . [ R e v i e w o f C o l o n n e ' s t w e n t y - f i f t h p r e s e n t a t i o n o f L a Damnat ion de F a u s t . Rev iew o f t h e f o u r t h p e r f o r m a n c e o f G o d a r d ' s Le Ta s s e l e a d s t o an e d i t o r i a l r e i t e r a t i n g t h e p o s i t i o n t h a t t he 642 government s h o u l d g r a n t t o t h e o r g a n i z a t i o n s o f Co l onne and P a s d e l o u p ' une s u b v e n t i o n r e g u l i e r e , a l a c o n d i t i o n d ' e x e c u t e r chaque annee t r o i s , q u a t r e ou c i n q symphonies ou o r a t o r i o s i n e d i t s , e t c e l a v aud r a i n f i n i -ment mieux que t o u s l e s c o n c o u r s . ' ( Reye r had f i r s t e x p r e s s e d t h i s c o n -v i c t i o n i n h i s r e v i e w o f t h e p r e m i e r e o f Le T a s s e ; see F -01/01/ 1 8 7 9 . ) ] - - Opera p o p u l a i r e . [ A f t e r announc ing t h e demise o f t h e O p e r a -P o p u l a i r e at t h e G a T t e , Reyer wonders about t he news t h a t ' u n m u s i c i e n ayant une g rande f o r t u n e p e r s o n n e l l e ' i n t e n d s t o r e e s t a b l i s h a t h i r d l y r i c t h e a t r e . ] " F-26/03 "Revue m u s i c a l e . C o n c e r t s p o p u l a i r e s : D i a n e , poeme a n t i q u e , p a r o l e s de M. E. G u i n a u d , mus ique de M. Ben jamin Godard [ p r e m i e r e , c o n d u c t e d by t he c o m p o s e r ] . - - Les c o m p o s i t e u r s c h e f s d ' o r c h e s t r e . [The f a c t t h a t Godard and o t h e r F r e n c h composers have been c o n d u c t i n g t h e i r works at t he Con -c e r t s p o p u l a i r e s o c c a s i o n s an e d i t o r i a l e l a b o r a t i n g on a p o i n t Reyer made when V e r d i c o n d u c t e d ATda a t t h e O p e r a : a composer does not have t h e r i g h t t o c o n d u c t h i s mus i c u n l e s s he has had t r a i n i n g and/or p r a c t i c a l e x p e r i e n c e as a c o n d u c t o r . ] - - C o n c e r t donne par Mme H e r i t t e -V i a r d o t a S t o c k h o l m . [ ' A p ropo s de c o m p o s i t e u r s e t de c h e f s d ' o r c h e s -t r e , ' Reyer r e p o r t s t h a t t h e S t o c k h o l m newspapers u n a n i m o u s l y p r a i s e d a c o n c e r t at wh i ch Mme H e r i t t e - V i a r d o t c o n d u c t e d many o f her w o r k s . ] " F-18/04 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Debut de M i l e M a r g u e r i t e U g a l d e [ d a u g h t e r o f D e l p h i n e U g a l d e ] dans l a F i l l e du Reg imen t . - -Academie des B e a u x - A r t s : l e p r i x Monb i ne ; l e p r i x C h a r t i e r . [ R e y e r f i r s t announces t h a t t h e P r i x Monbine has been awarded t o P a l a d i l h e f o r t h e o p e r a comique Suzanne ( r e v i e w e d i n JD F -14/01/1879 ) , and then r e c a l l s t h e c i r c u m s t a n c e s t h a t l e d t o t h e f o u n d i n g o f t h i s b i e n n i a l p r i z e . The announcement t h a t t h e P r i x C h a r t i e r has been awarded t o Edouard B r o u s t e t i s f o l l o w e d by a n o t i c e on t h e c a r e e r o f t h i s f o r m e r s t u d e n t o f Henry L i t o l f f . ] - - [Book r e v i e w : ] S o u v e n i r s d ' u n c h a n t e u r , p a r M. G. Dup rez . - - [ Rev i ew o f a new c o l l e c t i o n o f s o n g s : ] S i x a i n de m e l o d i e s par M. P a l a d i l h e . - - S a l l e du C o n s e r v a t o i r e : E x e r c i c e s des S i e v e s . [ Rev i ew o f t h e annua l p u b l i c c o n c e r t p r e s e n t e d by t he s t u -d e n t s . ] - - Mme P a t t i . [Remarks on her d e p a r t u r e and on t he imminent c l o s i n g o f t h e T h e a t r e - I t a l i e n (wh i ch t h e i m p r e s a r i o M e r e l l i had r e v i v e d a t t h e GaTte e x p r e s s l y f o r t h e d i v a ) . ] " F-28/04 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : Debut de Mme M o n t a l b a dans l e s Huguenot s . [ N o t i c e on t h e P a r i s i a n debut o f t h i s mezzo - s op r ano i n c l u d e s i n f o r m a t i o n on t h e e a r l i e r y e a r s o f her c a r e e r . - - Comments on t h e f o r t h c o m i n g p r e m i e r e o f M a s s e n e t ' s o r a t o r i o La V i e r g e a t t h e f i r s t Con -c e r t de l ' o p e r a . ] - - Memoire r e l a t i f a l a r e c o n s t i t u t i o n du T h e a t r e - L y r i q u e , p r e s e n t e a M. l e s o u s - s e c r e t a i r e d ' E t a t au depa r t emen t des b e a u x - a r t s pa r M. C h a r l e s Lamoureux, e x - c h e f d ' o r c h e s t r e de 1 ' A cademie n a t i o n a l e de m u s i q u e , l e 10 mai 1880. L Lamou reux ' s Memo i re , i n wh i ch he a rgued i n f a v o r o f t h e r e e s t a b l i s h i n g o f a t h i r d l y r i c t h e a t r e and r e -q u e s t e d a s u b s i d y t h a t wou ld e n a b l e him t o u n d e r t a k e such a p r o j e c t , i s 643 d i s c u s s e d at l e n g t h and endo r s ed by R e y e r . ] " F-15/05 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : C o n c e r t h i s t o r i q u e [ c o n s i s t i n g o f m u s i c r a n g i n g i n d a t e f r om 1674 t o 1880, p e r f o r m e d by t h e o r c h e s t r a , c h o r u s , and s o l o i s t s o f t h e O p e r a ] , l r e p a r t i e : Fragmens d ' A l c e s t e ( L u l l i - 1 674 ) ; des F e t e s d ' H e b e (Rameau - 1 7 3 9 ) ; d ' I p h i g e n i e en T a u r i d e ( G l u c k - 1 7 7 9 ) ; d ' A n a c r e o n ( G r e t r y - 1 7 9 7 ) ; de MoTse ( R o s s i n i - 1 8 2 7 ) . [ R e v i e w i s i n t r o d u c e d by a b r i e f e d i t o r i a l r e g r e t t i n g ' une f o i s de p l u s ' t h a t P a r i s does not have ' un l o c a l s p e c i a l e m e n t a f f e c t e a l ' e x e c u t i o n des o e u v r e s symphoniques e t des o r a t o r i o s . ' ] — 2 e p a r t i e : l a V i e r g e , l e g e n d e s a c r e e de M. Ch. G randmoug in , mus ique de M. Massenet"! [ B e f o r e d i s c u s s i n g M a s s e n e t ' s o r a t o r i o , Reyer remembers t h e h i g h l y s u c c e s s f u l p r e m i e r e o f B e r l i o z ' s L ' E n f a n c e du C h r i s t at t h e S a l l e Herz i n 1854 ( see A thF A-3[30/12]:1228-3TT! The c r i t i c wonders i f ' l e s cha rmante s q u a l i t e s du nouve l ouv rage de M. M a s s e n e t ' wou ld have been b e t t e r a p p r e c i a t e d i n a s i m i l a r m i l i e u , ' p a r t o u t a i l l e u r s que dans 1 ' immense s a l l e de 1 ' O p e r a . ' ] " F-30/05 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : La F e e , comed ie en un a c t e , de M. Oc tave F e u i l l e t , t r a n s f o r m e d en o p e r a comique pa r M. L o u i s G a l l e t , avec mus ique de M. Hemery. [ R e v i e w i s begun by remark s on t he c a r e e r o f t h i s ' j e u n e m u s i c i e n de p r o v i n c e . ' ] - - S a l l e du C o n s e r v a t o i r e : C o n c e r t donne par l a S o c i e t e c h o r a l e C o n c o r d i a au b e n e f i c e des s a l l e s de L a f o r c e ( D o r d o g n e ) . [ N o t i c e on t he h u n d r e d - v o i c e C o n c o r d i a ( d i r e c t e d by C h a r l e s - M a r i e Widor ) p r e c e d e s t h e r e v i e w o f t h e b e n e f i t c o n c e r t , wh i ch c o n s i s t e d o f r e l i g i o u s and s e c u l a r mus i c pe r f o rmed by t h e s o c i e t y w i t h t h e a s s i s t a n c e o f S a i n t - S a e n s at t h e o r g a n , ' un e x c e l l e n t o r c h e s t r e , ' t h e p i a n i s t D i emer , and t h e h a r p i s t H a s s e l m a n s . ] - - Mme l a baronne de C a t e r s - L a b l a c h e a L o n d r e s . [ R e y e r r e p o r t s t h a t E n g l i s h newspapers have p r a i s e d s e v e r a l c o n c e r t s g i v e n by t h i s s o p r a n o , d a u g h t e r o f t he g r e a t I t a l i a n t e n o r L u i g i L a b l a c h e . ] - - M. B a g i e r . [ O b i t u a r y o f t he f o r m e r d i r e c t o r o f t h e T h e a t r e - I t a l i e n and t h e s h o r t - l i v e d T h e a t r e - L y r i q u e f r a n g a i s . ] " F-19/06 "Revue m u s i c a l e . L o n d r e s , Her M a j e s t y ' s T h e a t r e : P r e m i e r e r e p r e s e n t a -t i o n de M e f i s t o f e l e , o p e r a en q u a t r e a c t e s avec un p r o l o g u e e t un e p i -l o g u e , p a r o l e s e t mus ique de M. A r r i g o B o i t o . [ R e y e r , a t London f o r t h e Handel F e s t i v a l , d e v o t e s an e n t i r e f e u i l l e t o n t o an o p e r a wh i ch he r e -g a rd s as ' une des p l u s i n t e r e s s a n t e s . . . que l a j e u n e e c o l e i t a l i e n n e nous a i t d o n n e e s . ' ] - - MM. Campan in i e t N a n n e t t i ; Mmes C h r i s t i n e N i l s s o n e t T r e b e l l i [ p r i n c i p a l s i n t h e London p r e m i e r e o f B o i t o ' s w o r k ] . " F-18/07 "Revue m u s i c a l e . L o n d r e s : C r y s t a l P a l a c e , s e p t i e m e f e s t i v a l t r i e n n a l en V h o n n e u r de H a e n d e l . [ Rev i ew o f t h e t h r e e - d a y f e s t i v a l o f mus i c by H a n d e l : M e s s i a h , I s r a e l i n E g y p t , and a s e l e c t i o n o f e x c e r p t s f r om the o t h e r o r a t o r i o s and c a n t a t a s . The f e s t i v a l was c o n d u c t e d by S i r M i c h a e l C o s t a , and f e a t u r e d such renowned s o l o i s t s as t h e soprano H e l e n Lemmens-644 S h e r r i n g t o n . ( Rev i ew i s i n t e r s p e r s e d w i t h r e f l e c t i o n s on t he p o p u l a r i t y o f H a n d e l ' s mus i c i n E n g l a n d , and comments on t h e h i s t o r y o f t h e f e s t i -v a l s i n c e i t s i n a u g u r a t i o n at t he C r y s t a l P a l a c e i n 1 8 5 7 . ) ] - - La m u s i -q u e . - - Les c o n c e r t s . ( P r e m i e r a r t i c l e . ) [The s u b t i t l e s ' L a m u s i q u e ' and ' L e s c o n c e r t s ' r e f e r t o t h e second a r t i c l e . ] " F-27/07 "Revue m u s i c a l e . L o n d r e s : C r y s t a l P a l a c e , s e p t i e m e f e s t i v a l t r j e n n a l en l ' h o n n e u r de H a e n d e l . - - L a mu s i que . [Comments on L o n d o n ' s f l o u r i s h -i n g m u s i c a l l i f e , w i t h s p e c i a l a t t e n t i o n t o t h e l y r i c t h e a t r e s . ] - - Les c o n c e r t s . [The M u s i c a l U n i o n , d i r e c t e d by P r o f e s s o r E l l a at S t . James H a l l : p r o g r a m s ; p a t r o n s ; gue s t a r t i s t s a t a r e c e n t c o n c e r t . Mr. G a n z ' s O r c h e s t r a l C o n c e r t s : t h e l a s t c o n c e r t o f t h e s e a s o n ; t h e p o p u l a r i t y o f B e r l i o z ' s La Damnat ion de F a u s t i n G a n z ' s r e p e r t o i r e ; p a t r o n s o f h i s s e r i e s . Remarks on L a m o u r e u x ' s p l a n t o c o n d u c t f o u r ' g r a n d s c o n c e r t s ' a t S t . James H a l l i n 1881 . Program o f a s o i r e e m u s i c a l e (wh i ch Reyer was u n a b l e t o a t t e n d ) a t Buck ingham P a l a c e . The A l b e r t H a l l c o n c e r t s : p a t r o n s ; gue s t a r t i s t s ; b r i e f d e s c r i p t i o n o f t h i s ' s a l l e s u p e r b e . ' A few words on t he number o f d i s t i n g u i s h e d F r e n c h i n s t r u m e n t a l i s t s p e r f o r m i n g i n London. G r o s v e n o r H a l l ' s ' o r c h e s t r e de l a Reun ion a r t i s t i q u e ' : a r i s t o c r a t i c f o u n d e r s and p a t r o n s ; r e p e r t o i r e ; c o -d i r e c t o r s ( t h e F rench c e l l i s t L a s s e r r e and L o r d Dunmore). - - N o t i c e on t h e o p e r a s most f a v o r e d by t h e E n g l i s h p u b l i c d u r i n g t he c u r r e n t s e a s o n : M e f i s t o f e l e , L o h e n g r i n , and Carmen. — F i n a l o b s e r v a t i o n s on London and L o n d o n e r s . ] (Deuxieme a r t i c l e . - - V o i r l e J o u r n a l des Debats d ' h i e r . ) " F-28/07 "Revue m u s i c a l e . Les Concou r s du C o n s e r v a t o i r e . [Open ing r e m a r k s . - -The v i o l i n c o m p e t i t i o n : n o t i c e on M i l e T u a , t h e t h i r t e e n - y e a r - o l d w i n -ne r o f t h e ' p r e m i e r p r i x ' ; M. N i c o s i a ; names o f t h e o t h e r w i n n e r s . - -The c e l l o c o m p e t i t i o n : comments on two o f t h e w i n n e r s o f t h i s ' a s s e z f a i b l e ' c o n t e s t . - - The p i a n o c o m p e t i t i o n s : Reyer c o n s i d e r s t he men ' s and women's c o m p e t i t i o n s s e p a r a t e l y , and e x p r e s s e s r e s e r v a t i o n s about t h e j u r y ' s c h o i c e o f M. Rene as w i n n e r o f f i r s t p r i z e i n t h e men ' s com-p e t i t i o n . - - The ha rp c o m p e t i t i o n : a f t e r naming t he w i n n e r s , Reyer r e i t e r a t e s h i s p o s i t i o n t h a t t h e s t u d y o f t h i s i n s t r u m e n t must be e n -cou r a ged because F r e n c h o r c h e s t r a s a re i n g r e a t need o f h a r p i s t s . — The w ind i n s t r u m e n t c o m p e t i t i o n s : o b s e r v a t i o n s on t h e h i g h c a l i b r e o f t h e c o m p e t i t o r s ; names o f t h e w i n n e r s i n c o m p e t i t i o n s f o r s e v e r a l c a t e g o r i e s o f woodwinds and b r a s s . - - R e f l e c t i o n s on t h e q u e s t i o n o f whethe r t h e C o n s e r v a t o i r e s h o u l d t e a c h more b r a s s i n s t r u m e n t s ( s u c h as v a l v e h o r n , v a l v e t r ombone , s axophone , and t u b a i n B - f l a t ) . - - As i n p r e v i o u s y e a r s , Reyer r e g r e t s t he n e g l e c t o f d o u b l e - b a s s and v i o l a , t h e l a t t e r not y e t t a u g h t at t h e C o n s e r v a t o i r e . - - The v o c a l c o m p e t i t i o n s : g e n e r a l r emark s on t h i s ' m a i g r e m o i s s o n ' ; n o t i c e s on M i l e s F r a n d i n and G r i s w o l d ; names o f t h e o t h e r w i n n e r s i n t h e women's and men ' s c o m p e t i t i o n s . - - B r i e f d e s c r i p t i o n o f t h e ceremony at wh i ch t h e C o n s e r v a t o i r e p r i z e s were awarded and f o u r p r o f e s s i o n a l m u s i c i a n s were made O f f i c e r s o f t h e A c a d e -mie des B e a u x - A r t s . ] " F-18/08 645 [ ( C o m m u n i c a t i o n p u b l i s h e d under t h e words "On nous e c r i t de Luchon l e 17 a o u t : " ) I n a u g u r a t i o n o f t h e C a s i n o de Luchon w i t h a d i s p l a y o f f i r e -w o r k s . D e s c r i p t i o n o f t h e c a s i n o . - - R e v i e w o f t h e i n a u g u r a l c o n c e r t i n t h e c a s i n o ' s t h e a t r e : p r o g r am; gues t s i n g e r s ; t h e o r c h e s t r a and i t s c o n d u c t o r , Edouard B r o u s t e t . - - Remarks on a c h o r u s t h a t i s v e r y p o p u l a r i n t h e r e g i o n : t h e " T o u l o u s a i n e " by D e f f e s , pe r f o rmed a t Luchon by t h e S o c i e t e de l ' E c o l e p h i l h a r m o n i q u e . - - F o r t h c o m i n g e v e n t s o f t h e e i g h t -day " f e t e " a t L u c h o n . ] (To t h i s c o m m u n i c a t i o n i s appended a Note de l a R e d a c t e u r i n f o r m i n g r e a d e r s t h a t " I ' a u t e u r de l a l e t t r e . . . a o u b l i e , pa r m o d e s t i e sans d o u t e , de d i r e que l e programme du c o n c e r t d ' i n a u g u r a -t i o n c o m p r e n a i t deux morceaux d ' o r c h e s t r e de n o t r e c o l l a b o r a t e u r M. E r n e s t R e y e r , un Pas g u e r r i e r e t une Marche t z i g a n e . " ) * L A [ C u r R 1 91 ] - 2 1/08 , p. 3 "Revue m u s i c a l e . De Luchon a P a r i s . [The moun ta i n g u i d e s o f L u c h o n . - -The m u s i c a l c e n t r e s o f t h i s s p a : t h e k i o s k ; t h e c a s i n o ' s t h e a t r e . F u r -t h e r r emark s on t h e t h e a t r e : o r c h e s t r a ; r e p e r t o i r e ; p r i n c i p a l s i n g e r s ; a p e r f o r m a n c e o f B a z i n ' s Le Voyage en C h i n e . R e y e r ' s a d m i r a t i o n f o r t h e f a i t h f u l n e s s w i t h wh i ch t h e s i n g e r s p e r f o r m t h e i r r o l e s l e a d s t o e d i t o r -i a l i z i n g a g a i n s t t h e P a r i s i a n p r a c t i c e o f m o d i f y i n g , t r u n c a t i n g , and even m u t i l a t i n g a work . - - C o n c e r t g i v e n at Luchon by t h e eminent c e l -l i s t L a s s e r r e , a young s i n g e r named M i l e R e g g i a n i , and t h e composer S a l v a y r e (who a c t e d as a c c o m p a n i s t on t h i s o c c a s i o n ) . — The L u c h o n - G a z e t t e and i t s i l l u s t r a t o r , H e n r i o t . ] — T h e a t r e de l ' O p e r a : R e n t r e e de M i l e K r a u s s ; debu t s de M i l e de Ve re e t de M. G i r a u d e t dans l e s Hugue- n o t s . - - T h e a t r e de 1 ' O p e r a - C o m i q u e : Debut de M. B e r t i n dans l e P o s t i l - i o n de Long jumeau. [Of t h e t h r e e ' d e b u t a n t s ' p r e s e n t e d by t he Opera and t h e Ope ra -Comique , M i l e de Vere was t h e o n l y one who had neve r b e f o r e sung at a P a r i s i a n l y r i c t h e a t r e , as Reyer i n d i c a t e s i n h i s n o t i c e s on t h e s e s i n g e r s . ] " F-24/09 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Deux p r e m i e r e s r e p r e s e n -t a t i o n s : l e B o i s , poeme en un a c t e , d ' A l b e r t G l a t i g n y , mus ique de M. A l b e r t Cahen [ f i r s t pe r f o rmed i n c o n c e r t by t h e s h o r t - l i v e d S o c i e t e des A u d i t i o n s l y r i q u e s ( s e e F - 2 6 / 0 5 / 1 8 7 9 ) ] ; M. de F l o r i d o r , o p e r a comique en un a c t e , de MM. N u i t t e r e t T r e f e u , mus ique de M. Theodore de L a j a r t e . - - S a l l e du T r o c a d e r o : F e s t i v a l n a t i o n a l donne par 1 ' A s s o c i a t i o n a r t i s -t i q u e des C o n c e r t s du C h a t e l e t . [ R e v i e w o f a ' g r a n d c o n c e r t * g i v e n by Co lonne and h i s o r c h e s t r a at t h e T r o c a d e r o t o p r e c e d e t h e r e g u l a r s e r i e s o f c o n c e r t s a t t h e C h a t e l e t . The program c o n s i s t e d o f mus i c by s i x t e e n F r ench composer s r a n g i n g f r o m H e r o l d t o c o n t e m p o r a r y f i g u r e s such as L a l o , S a i n t - S a e n s , and M a s s e n e t ; gue s t a r t i s t s were M i l e Tua ( v i o l i n ) and Theodore R i t t e r ( p i a n o ) . The r e v i e w i s i n t r o d u c e d by an e d i t o r i a l t o t h e e f f e c t t h a t , a l t h o u g h s t e p s c o u l d be t a k e n t o improve t h e a c o u s -t i c s o f t h e T r o c a d e r o , t h i s v a s t b u i l d i n g w i l l neve r be ' l a s a l l e de c o n c e r t que nous a v i o n s r e v e e . ' ] " F -15/10 "Revue m u s i c a l e . Les C o n c e r t s p o p u l a i r e s . [ Rev i ew o f t h e f i r s t two c o n c e r t s , at wh i ch P a s d e l o u p o f f e r e d mus i c by B i z e t , B e r l i o z , R i t t e r , 646 and B e e t h o v e n , as w e l l as t he p r e m i e r e o f G o d a r d ' s B r e s i l i e n n e . Reyer g i v e s most o f h i s a t t e n t i o n t o B i z e t ' s Roma, wh i ch had neve r b e f o r e been p e r f o r m e d i n i t s e n t i r e t y . ] - - Les C o n c e r t s du C h a t e l e t . [The p u b l i c ' s e n t h u s i a s t i c r e c e p t i o n o f t h e Benvenuto C e l l i n i o v e r t u r e at C o l o n n e ' s f i r s t two c o n c e r t s o c c a s i o n s a s e r i e s o f o b s e r v a t i o n s on t h i s o v e r t u r e , t h e n e g l e c t e d o p e r a , t h e C a r n a v a l r oma in o v e r t u r e , and c e r t a i n a s p e c t s o f B e r l i o z ' s ' g e n i e . ' Of t h e o t h e r works p r e s e n t e d at C o l o n n e ' s c o n -c e r t s , o n l y two a re r e v i e w e d by R e y e r : L a l o ' s C o n c e r t o r u s s e ( p r e m i e r e d by t h e v i o l i n i s t M a r s i c k ) , and t h e Danse bohemienne f r o m A c t I I o f B i z e t ' s L a J o l i e F i l l e de P e r t h . - - B r i e f e d i t o r i a l e x h o r t i n g t h e government t o r e c o g n i z e t h e o r g a n i z a t i o n s o f P a s d e l o u p and Co l onne as ' i n s t i t u t i o n s n a t i o n a l e s ' and t o s u b s i d i z e them g e n e r o u s l y . ] - -L ' A l c e s t e , de G l u c k : e d i t i o n F. P e l l e t a n e t B. Damcke. - Le m a n u s c r i t . [ Reye r f i r s t announces t h e r e c e n t p u b l i c a t i o n o f t he t h i r d vo lume i n t h e G l u c k c r i t i c a l e d i t i o n , and t hen p r o m i s e s t h a t h i s n e x t f e u i l l e t o n w i l l p r o v i d e ' q u e l q u e s d e t a i l s c u r i e u x ' c o n c e r n i n g how G l u c k ' s m a n u s c r i p t was a c q u i r e d by M i l e P e l l e t a n b e f o r e her d e a t h . ] - - [ N o t i c e on the s u c c e s s o f an Amer i c an sop rano at t h e O p e r a - C o m i q u e : ] R e n t r e e de M i l e Vanzandt dans M i g n o n . " F -30/10 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : R e p r i s e du Comte O r y . [Rev iew o f R o s s i n i ' s work ( w h i c h was r e v i v e d as a c u r t a i n - r a i s e r f o r b a l l e t s ) i n -c l u d e s a d e s c r i p t i o n o f i t s o r i g i n s and remark s on i t s c a r e e r at t h e O p e r a , where i t had l a s t been pe r f o rmed i n 1866 . ] - - Academie des Beaux-A r t s : Seance a n n u e l l e : e x e c u t i o n de l a c a n t a t e de M. L u c i e n H i l l e -macher e t d ' u n e o u v e r t u r e de M. Wormser. [ R e v i e w o f both t h e c a n t a t a t e x t t h a t had been s e l e c t e d f o r t h e P r i x de Rome c o m p e t i t i o n , and H i l l e -macher ' s w i n n i n g s e t t i n g o f t h a t t e x t . A few words on t he o v e r t u r e by Wormser (who had won t h e P r i x de Rome i n 1 8 7 5 ) . ] - - Le m a n u s c r i t d ' A l c e s t e . [ R e y e r r e c o u n t s how and why t h e m a n u s c r i p t had been p u r -cha sed by M i l e P e l l e t a n . ] " F-08/11 "Revue m u s i c a l e . C o n c e r t s du C h a t e l e t : La Tempete, poeme symphonique en t r o i s p a r t i e s , d ' a p r e s S h a k e s p e a r e , p a r o l e s de MM. Armand S i l v e s t r e e t P i e r r e B e r t o n , mus ique de M. A l p h o n s e Duve rnoy , ouv rage cou ronne au c o n c o u r s de l a v i l l e de P a r i s . [ Rev i ew i s p r e ceded by o b s e r v a t i o n s on c o m p e t i t i o n s i n g e n e r a l and, i n p a r t i c u l a r , t h e c o m p e t i t i o n s f o r t h e P r i x de l a v i l l e de P a r i s i n 1878 (when t h e p r i z e was d i v i d e d between Godard and Dubo i s ) and i n t h e c u r r e n t y e a r (when t h e j u r y i s recommend-i n g t h a t A u g u s t a H o l m e s ' s Les A r g o n a u t e s , a l t h o u g h g i v e n o n l y second p l a c e , be pe r f o rmed i n p u b l i c ) . These o b s e r v a t i o n s c u l m i n a t e i n an e d i t o r i a l r e p e a t i n g R e y e r ' s l o n g - h e l d v i e w t h a t c o m p e t i t i o n s i n t e n d e d t o promote new c o n c e r t works would be u n n e c e s s a r y i f t h e government would g r a n t P a s d e l o u p and Co lonne an annua l s u b s i d y , ' a l a c o n d i t i o n d ' e x e c u -t e r chaque annee un c e r t a i n nombre de symphon ies d r a m a t i q u e s , de poemes l y r i q u e s ou o r a t o r i o s i n e d i t s . ' ] " F-30/11 647 " [ O b i t u a r y o f t h e compose r , t h e o r i s t , and t e a c h e r ] H e n r i R e b e r . " A - l l / 1 2 , p. 2 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : L a K o r r i g a n e , b a l l e t f a n t a s t i q u e en deux a c t e s ; l i v r e t de MM. F r a n g o i s Coppee e t L o u i s M e r a n t e , mus ique de M. [ C h a r l e s - M a r i e ] W i d o r . [ Rev i ew i n c l u d e s a n o t i c e on t h e c a r e e r o f t h i s young o r g a n i s t and compose r , who had neve r b e f o r e w r i t t e n a work f o r t h e s t a g e . ] " F-12/12 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : L 'Amour m e d e c i n , o p e r a comique en t r o i s a c t e s , d ' a p r e s M o l i e r e , pa r M. C h a r l e s M o n s e l e t , m u s i -que de M. F e r d i n a n d PoTse . - - [A few remark s on t he O p e r a - C o m i q u e ' s ] R e p r i s e de R i c h a r d C o e u r - d e - L i o n . - - S a l l e du C o n s e r v a t o i r e : A u d i t i o n des e n v o i s de Rome. LRev iew o f f r a g m e n t s o f R o u s s e a u ' s symphon ic poem S a b i n u s , and f r a g m e n t s f r o m Wormse r ' s ode symphon ique P o e s i e s a c r e e . The s i t u a t i o n o f t h e s e and o t h e r l a u r e a t e s who were t r y i n g t o e s t a b l i s h c a r e e r s i n P a r i s p rompts Reyer t o e d i t o r i a l i z e b r i e f l y on t he g o v e r n -m e n t ' s d e c i s i o n not t o r e e s t a b l i s h a T h e a t r e - L y r i q u e . ] " F-26/12 1881 J o u r n a l des Debats "Revue m u s i c a l e . [ Rev i ews o f t h r e e new p u b l i c a t i o n s : ] M o z a r t , 1 'homme e t 1 ' a r t i s t e , h i s t o i r e de s a v i e d ' a p r e s l e s documens a u t h e n t i q u e s e t l e s t r a v a u x l e s p l u s r e c e n s , par V i c t o r W i l d e r . - - L ' O p e r a s e c r e t au d i x - h u i t i e m e s i e c l e , pa r Ado l phe J u l l i e n . — F r e d e r i c C h o p i n : de 1 ' i n t e r p r e t a t i o n de ses o e u v r e s , par Jean K l e c z y n s k i La b r o c h u r e com-p r i s i n g t h r e e l e c t u r e s g i v e n at Warsaw by t h i s P o l i s h p i a n i s t ] . - -Ke rmes se , pa r M. Ben jamin G o d a r d . [ N o t i c e on t he c o m p o s e r ' s p i a no r e -d u c t i o n o f an o r c h e s t r a l work p r e m i e r e d at t h e C o n c e r t s p o p u l a i r e s i n 1 8 8 0 . ] " F-09/01 "Revue m u s i c a l e de l ' a n n e e 1880. [The Ope ra : E d i t o r i a l on the f a i l u r e o f t h e ' c o n c e r t s h i s t o r i q u e s ' c o n c e i v e d by V a u c o r b e i l ( t h e d i r e c t o r o f t h i s i n s t i t u t i o n ) . R e t r o s p e c t i v e s u r v e y o f t he r e p e r t o i r e , w i t h s p e c i a l a t t e n t i o n t o t he p r o d u c t i o n o f ATda and t he r e v i v a l o f Don J u a n . Re -marks on s i n g e r s engaged by V a u c o r b e i l . Demand f o r a l a r g e r s u b s i d y ' p o u r que l e d i r e c t e u r . . . p u i s s e donner l i b r e c a r r i e r e a ses p r o -j e t s . ' - - The Ope ra -Comique : R e t r o s p e c t i v e s u r v e y o f t h e r e p e r t o i r e , w i t h o b s e r v a t i o n s on t h e d i v e r s e f a t e s o f t h e f i v e works p r e m i e r e d . — A few words on t h e demi se o f t h e O p e r a - P o p u l a i r e and t h e u n l i k e l i h o o d o f a n o t h e r a t t e m p t t o r e e s t a b l i s h a t h i r d l y r i c t h e a t r e . — Comments on Mme P a t t i ' s p e r f o r m a n c e s w i t h t h e t e m p o r a r i l y r e v i v e d T h e a t r e - I t a l i e n at t h e G a T t e . — The C o n c e r t s p o p u l a i r e s and t h e C o n c e r t s du C h a t e l e t : R e t r o -s p e c t i v e s u r v e y o f c o n t e m p o r a r y F r ench and f o r e i g n works neve r b e f o r e p r e s e n t e d t o t h e P a r i s i a n p u b l i c . P l e a t h a t bo th o r g a n i z a t i o n s be 648 s u b s i d i z e d so t h a t each can a f f o r d t o m a i n t a i n p e r m a n e n t l y ' u n p e r s o n n e l de c h o r i s t e s e t de c h a n t e u r s . ' - - Names o f w i n n e r s o f p r i z e s awarded by t h e Academie des B e a u x - A r t s . - - C l o s i n g r e m a r k s : Reyer p o i n t s out t h a t ' l e r e p e r t o i r e c l a s s i q u e ' has as i m p o r t a n t a p l a c e as ' l a mus ique c o n t e m p o r a i n e ' on t h e programs o f t h e C o n c e r t s p o p u l a i r e s and t he C o n c e r t s du C h a t e l e t . He t h e r e f o r e c o n c l u d e s t h a t ' l e c o n c e r t e s t done a u j o u r d ' h u i , p l u s que l e t h e a t r e , une e c o l e d ' e n s e i g n e m e n t . ' ] " F-15/01 "Revue m u s i c a l e . [ C o n c e r t s du C h a t e l e t : ] L ' E n f a n c e du C h r i s t . [ R e y e r d e c l a r e s t h a t he w i l l not ' r ecommencer 1 ' a n a l y s e , ' h a v i n g r e v i e w e d both t h e p r e m i e r e i n 1854 and t h e r e v i v a l i n 1875 ( s ee AthF A - 3 [ 3 0 / 1 2 ] : 1 2 2 8 -31 and J^_D F-15/01/1875 r e s p e c t i v e l y ) . I n s t e a d , t h e c r i t i c compares ' l ' e x e c u t i o n d ' a u j o u r d ' h u i ' w i t h t h a t o f 1875 , g i v i n g much a t t e n t i o n t o t h r e e o f t h e new s o l o i s t s : M. L a u w e r s , M i l e V e r g i n , and M. B o l l y . Reyer a l s o t r i e s t o d i s p e l what he r e g a r d s as a p o p u l a r m i s c o n c e p t i o n , n a m e l y , t h a t B e r l i o z ' s m o t i v a t i o n f o r compos ing t h i s work was ( i n t he words o f Georges de Massougnes) ' l a f o i c h r e t i e n n e . ' ] - - La s t a t u e de B e r l i o z . [ R e y e r announces t h a t some o f B e r l i o z ' s a d m i r e r s have o r g a -n i z e d t h e m s e l v e s i n t o two commi t t ee s whose pu rpo se i s t o r a i s e money f o r e r e c t i n g a s t a t u e o f t h e composer a t La Co te S a i n t - A n d r e . He then d e s c r i b e s t h e c o m m i t t e e s ' p r e l i m i n a r y e f f o r t s , and names t h e members ( i n c l u d i n g h i m s e l f ) . ] " F-30/01 "Revue m u s i c a l e . [ T h e a t r e de 1 ' O p e r a - C o m i q u e : p r e m i e r e o f ] Le s Con te s d ' H o f f m a n n , o p e r a f a n t a s t i q u e en q u a t r e a c t e s , p a r o l e s de MM. J u l e s B a r b i e r e t M i c h e l C a r r e , mus ique de J a c q u e s O f f e n b a c h . [The Comique p r e s e n t e d t h e P r o l o g u e and E p i l o g u e as A c t s I and IV, and d e l e t e d what i s now known as A c t I I ( t h e G i u l i e t t a a c t ) . R e y e r ' s r e v i e w i n c l u d e s comments on t h i s d e l e t i o n , and an a s se s sment o f E r n e s t G u i r a u d ' s o r c h e s -t r a t i o n o f O f f e n b a c h ' s ' p a r t i t i o n au p i a n o . ' ] " F-19/02 "Revue m u s i c a l e . Le p r i x R o s s i n i . [ R e c o l l e c t i o n o f t h e terms and t he pu rpo se o f t h i s b i e n n i a l p r i z e l e a d s t o remark s on t he most r e c e n t com-p e t i t i o n , won by Mme de G r a n d v a l f o r her o r a t o r i o L a F i l l e de J a ' i r e ( see JD_ F -27/01/1880 ) . Reyer t h e n e d i t o r i a l i z e s on t h i s c o m p e t i t i o n and o t h e r s wh i ch ' i m p o s e n t l e meme s u j e t , l e meme poeme a 1 ' i n s p i r a t i o n des m u s i c i e n s , ' and on t h e c o m p e t i t i o n f o r t h e P r i x de l a v i l l e de P a r i s , w h i c h i n s t e a d p e r m i t s each composer ' d e c h o i s i r son p o e m e . ' ] ~ S a l l e du C o n s e r v a t o i r e : l a F i l l e de J a T r e , s cene l y r i q u e de M. E. Gu inaud [name i s e r r o n e o u s ; see JD U-27/02, p. 2 ] , mus ique de Mme de G r a n d v a l . [ R e -v i e w i s p r e c e d e d by mus ings on t h e f a t e o f t h e s e t t i n g s by Hen r i M a r e c h a l and Georges P f e i f f e r , r e c i p i e n t s o f ' u ne p r e m i e r e e t une seconde men-t i o n . ' ] - - S o c i e t e de mus ique de chambre pour i n s t r u m e n s a v e n t . [ Rev i ew o f t h e f i r s t seance o f t h i s s o c i e t y , f ounded t h r e e y e a r s p r e v i o u s l y by t h e f l u t i s t T a f f a n e l and o t h e r i n s t r u m e n t a l i s t s . ] - - C o n c e r t de Mme V i g u i e r . [ N o t i c e on t h i s c o n c e r t w i t h o r c h e s t r a , a t wh i ch Mme V i g u i e r p e r f o r m e d two c o n c e r t o s and t h e s op rano G a b r i e l l e K r au s s was gue s t a r t i s t . ] - - C o n c e r t s du C o n s e r v a t o i r e . [ N o t i c e on t h e f i r s t p e r f o r m a n c e 649 o f ' u n f r a g m e n t ' f r o m R e y e r ' s o p e r a S i g u r d . The c o m p o s e r - c r i t i c choses ' d e ne r i e n d i r e de l ' o e u v r e e t de p a r l e r s eu l ement de 1 ' e x e c u t i o n , ' w h i c h f e a t u r e d K r a u s s and o t h e r p r i n c i p a l s o f t h e O p e r a . ] " F-26/02 [ L e t t e r t o t h e e d i t o r : Reyer c o r r e c t s an e r r o r t h a t appeared t w i c e i n JD F -26/02. ( I n t h e sommaire and i n t h e second column o f t he t e x t , ' j ' a i c on fondu . . . l e p o e t e de l a F i l l e de J a i r e avec l e p o e t e de 1 a F i l l e de J e p h t e , M. Pau l C o l l i n avec M. Edouard G u i n a u d . Que lques l i g n e s p l u s l o i n . . . j ' a i r endu l a p a t e r n i t e de l a F i l l e de J a T r e a M. Pau l C o l l i n , son v e r i t a b l e a u t e u r . ' ) ] U-27/02, p. 2 "Revue m u s i c a l e . Au t o g r aphe s de Meyerbeer a c q u i s par l a B i b l i o t h e q u e de l ' O p e r a . ( P r e m i e r a r t i c l e . ) [ Reye r r e c o u n t s how, as head o f t he B i b l i -o t h e q u e , he a c q u i r e d f r o m t h e B e r l i n b o o k s e l l e r L iepmannssohn a c o l l e c -t i o n o f au tog r aph s c o r e s by M e y e r b e e r . - - D e s c r i p t i o n s o f t he s c o r e s l i s t e d by t h e b o o k s e l l e r as n o s . 1-8. - - D e t a i l e d d e s c r i p t i o n o f l o t no . 9 : A c t I and t he b e g i n n i n g o f A c t I I o f t h e o p e r a C i n q - M a r s ( l i b -r e t t o by P l a n a r d and S a i n t - G e o r g e s ) , a work wh i ch Meyerbeer a b a n d o n e d . ] " F-27/03 "Revue m u s i c a l e . Au t o g r aphe s de Meye rbeer a c q u i s par l a B i b l i o t h e q u e de l ' O p e r a . Second a r t i c l e . [ C o n t i n u a t i o n o f R e y e r ' s r e p o r t on t h e MSS p u r c h a s e d f r om L i epmanns sohn . — L o t no . 10 : ' e s q u i s s e s ' o f a t h e n -u n p u b l i s h e d o v e r t u r e f o r Les Huguenot s . Reyer s p e c u l a t e s t h a t one f u l l y o r c h e s t r a t e d ' e s q u i s s e ' was t h e a l l e g r o o f t he o v e r t u r e as i t e x i s t e d when t h e o p e r a was put i n t o r e h e a r s a l . (He i n t e r r u p t s t h e d e s c r i p t i o n o f t h i s MS t o comment b r i e f l y on t h e whe reabou t s o f M e y e r b e e r ' s o v e r -t u r e s t o o t h e r works and h i s mus i c f o r B l a z e de B u r y ' s drama La J e u n e s s e de G o e t h e . ) - - L o t no . 1 1 : many f r a g m e n t s o f Robe r t l e D i a b l e w h i c h were e i t h e r ' c oupe s ou r e f a i t s , e t dont q u e l q u e s uns s on t a l ' e t a t d ' e b a u c h e s . ' Reyer f i r s t d e s c r i b e s each f r a g m e n t , and then t u r n s t o a document wh i ch he had bor rowed f r o m M e y e r b e e r ' s p u b l i s h e r : t h e t h e n -u n p u b l i s h e d l i b r e t t o o f S c r i b e ' s o r i g i n a l v e r s i o n o f Robe r t l e D i a b l e , a t h r e e - a c t o p e r a c o m i q u e . An e x a m i n a t i o n o f t h i s l i b r e t t o c o n v i n c e s Reyer t h a t two numbers and one s cene i n l o t no . 11 were composed f o r t he o p e r a comique l i b r e t t o , whereas a n o t h e r scene i n t h e same l o t was i n -t e n d e d f o r t h e grand o p e r a l i b r e t t o . He h y p o t h e s i z e s t h a t Meyerbeer d i d no t f i n i s h compos ing t h e o p e r a comique b e f o r e a s k i n g S c r i b e t o t r a n s f o r m t h e work i n t o a g rand o p e r a . — A few remark s on t h e B i b l i o t h e q u e ' s c o l l e c t i o n o f Meye rbeer MSS b e f o r e t h e p u r c h a s e f r o m L i epmann s sohn . — P o s t s c r i p t c o n c e r n i n g a n o t h e r Meye rbee r MS: a 273-page s ke t chbook o f ' f r a gmen s e t pensees m e l o d i q u e s . ' ] " F-29/03 "Revue m u s i c a l e . T h e a t r e N a t i o n a l de l ' O p e r a : l e T r i b u t de Zamora, o p e r a en q u a t r e a c t e s , p a r o l e s de MM. d ' E n n e r y e t B r e s i l , mus ique de M. C h a r l e s Gounod. [ R e v i e w o f t h e l o n g - a w a i t e d p r e m i e r e o f Gounod ' s f i r s t o p e r a s i n c e P o l y e u c t e ( 1 8 7 8 ) . ] " F-07/04 650 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : La 7 0 0 e r e p r e s e n t a t i o n des Hugue- n o t s . — Une l e t t r e a u t o g r a p h e de M e y e r b e e r . [ B e f o r e r e v i e w i n g t h e seven hund red th p e r f o r m a n c e o f M e y e r b e e r ' s ' c h e f - d ' o e u v r e , ' Reyer com-ments on i t s i n a u s p i c i o u s e a r l y h i s t o r y : t h e p u b l i c ' s c o l d r e a c t i o n t o t h e p r e m i e r e ( 1 8 3 6 ) ; and t he l e s s t han c o r d i a l r e l a t i o n s t h a t had p r e -v a i l e d between t h e composer and V e r o n , d i r e c t o r o f t h e Opera when t h e work had gone i n t o r e h e a r s a l . As an i l l u s t r a t i o n o f t h e s e r e l a t i o n s , Reyer p u b l i s h e s a l e t t e r s e n t by Meyerbeer t o Veron ( a l e t t e r w h i c h V a u -c o r b e i l , t h e c u r r e n t d i r e c t o r o f t h e O p e r a , a u t h o r i z e d Reye r t o p r i n t ) . ] - - C o n c e r t s p o p u l a i r e s : l e s A r g o n a u t e s , symphonie d r a m a t i q u e en q u a t r e p a r t i e s ; poeme e t mus ique par M i l e A u g u s t a Ho lmes . [ R e v i e w o f t h e p r e -m i e r e o f t h e work wh i ch had p l a c e d second i n t h e r e c e n t c o m p e t i t i o n f o r t h e P r i x de l a v i i l e de P a r i s ( s ee JD F - 3 0 / 1 1 / 1 8 8 0 ) . ] " F-29/04 "Revue m u s i c a l e . Academie n a t i o n a l e de mus ique e t de d a n s e : R e p r i s e d ' H a m l e t . — R e n t r e e de M. M a u r e l . — Debut de M i l e S u b r a . [ R e y e r c o n -s i d e r s each o f t h e p r i n c i p a l s i n t h e r e v i v a l o f Thomas ' s wo r k , g i v i n g most o f h i s a t t e n t i o n t o V i c t o r M a u r e l ' s p e r f o r m a n c e and t he debut o f t h e F r ench b a l l e r i n a M i l e S u b r a . - - Remarks on t h e O p e r a ' s f o r t h c o m i n g p r e m i e r e o f Thomas ' s F r a n g o i s e de R i m i n i l e a d t o a demand f o r t he r e -e s t a b l i s h i n g o f a t h i r d l y r i c t h e a t r e , wh i ch wou ld open i t s doo r s t o composer s who were u n a b l e t o g a i n a h e a r i n g at t he O p e r a . ] - - Opera au C h a t e a u - d ' E a u : [ O b s e r v a t i o n s c o n c e r n i n g an u n s u b s i d i z e d t h e a t r e wh i ch M i l l e t ( a f o r m e r t e n o r ) has j u s t f ounded at t h e v a c a n t S a l l e du C h a t e a u -d ' E a u . ] Le T r o u v e r e . [ R e v i e w i s p r e c e d e d by an e d i t o r i a l on M i l l e t ' s c h o i c e o f t h i s w e l l - k n o w n work t o i n a u g u r a t e h i s t h e a t r e . ] - - S a l l e du C o n s e r v a t o i r e : E x e r c i c e s des e l e v e s . [ Rev i ew o f t h e annual p u b l i c c o n -c e r t . ] - - M. P a s d e l o u p e t l e s A r g o n a u t e s . [ R e y e r n o t e s t h a t P a s d e l o u p , whose p r e m i e r e o f A u g u s t a H o l m e s ' s work ( s e e ]^D F -29/04) had c o s t 8 ,000 f r . , i s a p p e a l i n g t o v a r i o u s government o f f i c i a l s f o r f und s t o h e l p f i n a n c e a second p e r f o r m a n c e . ] " F-14/05 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : R e p r i s e s du Pa rdon de P l o e r m e l e t de l a F l u t e e n c h a n t e e . [ B e f o r e r e v i e w i n g t h e r e v i v a l o f M e y e r b e e r ' s t h r e e - a c t o p e r a comique Reyer t r a c e s i t s h i s t o r y , f r om i t s o r i g i n as a o n e - a c t work t o t h e most r e c e n t r e v i v a l ( 1 8 7 4 ) . The r e v i e w i t s e l f i s i n t e r s p e r s e d w i t h r e c o l l e c t i o n s o f M e y e r b e e r ' s c o n s t a n t p r e -o c c u p a t i o n w i t h ' l a m i se en s cene de ses o p e r a s e t l e u r e x e c u t i o n . ' R e y e r ' s much s h o r t e r r e v i e w o f t h e r e v i v a l o f La F l u t e e n c h a n t e e c o n -s i s t s o f a few remark s on each o f t h e p r i n c i p a l s . ] - - Moza r t e t R i c h a r d Wagner a 1 ' e g a r d des F r a n g a i s , par A d o l p h e J u l l i e n . [ R e y e r remembers a b r o c h u r e i n w h i c h J u l l i e n d e m o n s t r a t e d t h a t Moza r t was as d i s d a i n f u l o f t h e F r e n c h as i s Wagner. The c r i t i c ag ree s w i t h J u l l i e n t h a t t he F r e n c h w i l l pa rdon Wagner when t h e y r e c o g n i z e h i s g e n i u s , j u s t as t h e y once pa rdoned M o z a r t . ] - - Les F o l i e s - B e r g e r e . [Comments on t he d i r e c t o r ' s u n s u c c e s s f u l a t t e m p t t o t u r n h i s e s t a b l i s h m e n t i n t o a ' s a l l e de c o n c e r t . ' ] " F-29/05 651 "Revue m u s i c a l e . Academie n a t i o n a l e de mus ique e t de d a n s e : Debuts de M i l e G r i s w o l d dans Hamlet e t de Mme Lacombe-Duprez dans l e s Hugueno t s . [ R e v i e w o f Hamlet i s d e vo ted t o t h e debut o f t h e young A m e r i c a n soprano who had been t r a i n e d at t h e P a r i s C o n s e r v a t o i r e . Rev iew o f Huguenots c o n s i d e r s bo th t h e debut o f Mme Lacombe-Duprez and t he p e r f o r m a n c e o f V i c t o r M a u r e l , and i n c l u d e s e d i t o r i a l i z i n g a g a i n s t t h e t a k i n g o f t r a d i -t i o n a l ' l i c e n c e s ' i n t he i n t e r p r e t a t i o n o f M e y e r b e e r ' s m u s i c ] — Ope ra du C h a t e a u - d ' E a u : debut de M i l e C l a i r e C o r d i e r dans 1 a T r a v i a t a . [ B e f o r e r e v i e w i n g t he d e b u t , Reyer s p e c u l a t e s t h a t a few r e n o v a t i o n s would t r a n s f o r m t h i s v a s t ' s a l l e ' i n t o a good home f o r l y r i c t h e a t r e . ] - - T h e a t r e - l y r i q u e ou Opera p o p u l a i r e . [News t h a t e i t h e r t h e C i t y o r t h e S t a t e w i l l r e e s t a b l i s h a t h i r d l y r i c t h e a t r e ( pe rhap s at t h e C h a t e a u - d ' E a u ) e l i c i t s an e d i t o r i a l on s e v e r a l m a t t e r s : t h e need f o r a generous s u b s i d y ; t h e t h e a t r e ' s ' m i s s i o n ' ; and t h e r i g h t s i t s h o u l d be g r a n t e d as r e g a r d s t h e f o r m i n g o f a r e p e r t o i r e . ] - - [ O b i t u a r y o f t h e v i o l i n i s t and compose r ] H e n r i V i e u x t e m p s . " F-18/06 "Revue m u s i c a l e . [Open i ng remark s on t he t w e n t y - e i g h t - d a y c o n f i n e m e n t o f s t u d e n t s when t h e y compete f o r t h e P r i x de Rome.] Academie des B e a u x - A r t s : Jugement du c o n c o u r s pour l e g rand p r i x de c o m p o s i t i o n m u s i c a l e . [ G e n e r a l o b s e r v a t i o n s c o n c e r n i n g t h e c a n t a t a s ( s e t t i n g s o f G u i n a u d ' s G e n e v i e v e ) s u b m i t t e d by t h e f i v e c o m p e t i t o r s . Comments on the A c a d e m i e ' s judgement o f t h e s e s c o r e s , none o f wh i ch was awarded t h e ' g r a n d p r i x ' ( i . e . , t h e P r i x de Rome). ] - - G e n e v i e v e , scene l y r i q u e de M. E. G u i n a u d . [ A f t e r a s s e s s i n g t h e c a n t a t a t e x t by G u i n a u d , Reyer e d i t o r i a l i z e s on t h e A c a d e m i e ' s annua l c o n t e s t f o r such a t e x t , a r g u i n g t h a t t h e c o n t e s t s h o u l d be a b o l i s h e d and s u g g e s t i n g two a l t e r n a t i v e s . ] " F-29/06 "Revue m u s i c a l e . L ' O p e r a P o p u l a i r e m u n i c i p a l . [Upon r e a d i n g i n Le M e n e s t r e l t h e t e x t o f a m u n i c i p a l c o m m i t t e e ' s p r o j e c t f o r r e e s t a b l i s h i n g a t h i r d l y r i c t h e a t r e , Reyer c o n s i d e r s each o f t h e e l e v e n c l a u s e s and t h e two r e c o m m e n d a t i o n s . The pu rpo se o f h i s e d i t o r i a l i s t o d e m o n s t r a t e t o t h e commi t t ee t h a t a t h e a t r e such as t h e y p ropo se t o found would not be ' v i a b l e . ' ] " F-24/07 "Revue m u s i c a l e . Concou r s du C o n s e r v a t o i r e . N e c e s s i t e de r e t a b l i r l e p e n s i o n n a t . [The P a r i s C o n s e r v a t o i r e ' s i n a b i l i t y t o f u r n i s h a s u f f i -c i e n t number o f good s i n g e r s f o r F r e n c h l y r i c t h e a t r e s e l i c i t s an e d i -t o r i a l on t h e need t o r e c r u i t o u t s t a n d i n g s t u d e n t s f r om t h e p r o v i n c i a l c o n s e r v a t o r i e s by r e e s t a b l i s h i n g t h e b u r s a r y s y s tem known as t h e p e n - s i o n n a t . ] — Les C o n s e r v a t o i r e s de p r o v i n c e . [Remarks on t h e u n d e r f u n d -i n g o f , and t he c o n s e q u e n t l y poor c o n d i t i o n s a t , p r o v i n c i a l c o n s e r v a -t o r i e s . ] - - S i t u a t i o n a f a i r e aux p e n s i o n n a i r e s qu i r e v i e n n e n t de Rome. - - Le s l a u r e a t s du C o n s e r v a t o i r e e t l e s t r o u p e s de p r o v i n c e . [ E d i t o r i a l p r o p o s i n g a s y s tem o f ' d e c e n t r a l i s a t i o n a r t i s t i q u e ' wh i ch would c o n -t r i b u t e t o a ' r e g e n e r a t i o n de l ' a r t m u s i c a l en p r o v i n c e ' : each w inne r o f t h e P r i x de Rome w o u l d , upon h i s r e t u r n t o F r a n c e , be a p p o i n t e d c o n -d u c t o r o f a p r o v i n c i a l t h e a t r e f o r two y e a r s ; and s i n g e r s , upon g r a d u a -652 t i o n f rom the P a r i s C o n s e r v a t o i r e , would be sen t t o t h e s e t h e a t r e s t o ' p r e n d r e 1 ' h a b i t u d e de l a s c e n e . ' ] - - Le r e p e r t o i r e c l a s s i q u e au t h e a t r e e t dans 1 ' e n s e i g n e m e n t . [ E d i t o r i a l r e p e a t i n g demands wh i ch Reyer has been making f o r many y e a r s : t h a t ' l e gout m u s i c a l ' be r e g e n e r a t e d by a r e v i v a l o f ' c h e f s - d ' o e u v r e c l a s s i q u e s ' a t P a r i s i a n and p r o v i n c i a l l y r i c t h e a t r e s a l i k e ; and t h a t ' 1 ' e t u d e de ces memes oeuv re s s o i t beaucoup p l u s repandue q u ' e l l e ne l ' e s t dans 1 ' e n s e i g n e m e n t . ' ] - - Les c o n c o u r s . — Les l a u r e a t s . [These l a s t two s u b t i t l e s r e f e r t o JD F - 1 9 / 0 8 . ] " F-18/08 "Revue m u s i c a l e . Concou r s du C o n s e r v a t o i r e . [The v o c a l c o m p e t i t i o n s : L i s t o f t h e w i n n e r s o f f i r s t and second p r i z e s i n v a r i o u s c a t e g o r i e s . O b s e r v a t i o n s on t h e f a c t t h a t t h e C o n s e r v a t o i r e chose not t o award a f i r s t p r i z e i n two i m p o r t a n t c a t e g o r i e s . Remarks on each p r i z e - w i n n e r and each s t u d e n t a c c o r d e d e i t h e r a f i r s t o r a second ' a c c e s s i t . ' — R e f l e c t i o n s on t h e p r o l i f e r a t i o n o f p i a n o s i n P a r i s i a n h o u s e h o l d s , and on t h e l a r g e number o f s t u d e n t s who a p p l y t h e m s e l v e s t o t h i s i n s t r u m e n t a t t h e C o n s e r v a t o i r e . - - The ha rp c o m p e t i t i o n : As i n e a r l i e r y e a r s , t h e f a c t t h a t o n l y a h a n d f u l o f s t u d e n t s p a r t i c i p a t e d prompts Reyer t o demand t h a t t h e C o n s e r v a t o i r e o f f e r ' p r i m e s d ' e n c o u r a g e m e n s ' t o s t u d e n t s o f t h i s i n s t r u m e n t . He then comments on t he s c a r c i t y o f h a r p i s t s i n P a r i s i a n and e s p e c i a l l y p r o v i n c i a l o r c h e s t r a s . - - The p i a n o c o m p e t i -t i o n s : N o t i c e on M i l e T a l f u m i e r e , w i n n e r o f f i r s t p r i z e i n t he women's c o m p e t i t i o n . A few words on each o f t h e p r i z e - w i n n e r s i n t h e men ' s com-p e t i t i o n . - - The v i o l i n c o m p e t i t i o n : N o t i c e on M. W o l f f , w i n n e r o f one o f t h r e e ' p r e m i e r p r i x ' awarded i n t h i s ' e x c e p t i o n e l l e m e n t b r i l l a n t ' c o m p e t i t i o n . — Ap ropo s o f t h e c e l l o c o m p e t i t i o n , Reyer w i s he s t h a t t h e j u r y had awarded two ' p r e m i e r p r i x . ' - - The d o u b l e - b a s s c o m p e t i t i o n . ~ The wind i n s t r u m e n t s c o m p e t i t i o n s : A f t e r naming t he few w i n n e r s and n o t i n g t h a t a ' p r e m i e r p r i x ' was not awarded f o r e i t h e r t r umpet o r t r o m -bone , Reyer u rges t h a t t h e C o n s e r v a t o i r e g i v e ' u n e v i g o u r e u s e i m p u l s i o n . . . a 1 ' e t ude des i n s t r u m e n s a v e n t . ' ] " F-19/08 "Revue m u s i c a l e . T h e a t r e de V O p e r a - C o m i q u e : R e o u v e r t u r e [ f o l l o w i n g a two-month c l o s u r e w h i c h Reyer r e g a r d s as ' l a p l u s g rande f a v e u r ' a c c o r d e d t h i s t h e a t r e by t h e g o v e r n m e n t ] . - - Les Con te s d ' H o f f m a n n . [ B r i e f r e v i e w o f t h e work wh i ch c o n t i n u e s t o be t h e C o m i q u e ' s ' p l u s g rand s u c c e s ' o f 1 881 . ] — L ' H e r o d i a d e de M. M a s s e n e t , a B r u x e l l e s . [ E d i t o r i a l d e f e n d i n g Massenet f o r t a k i n g h i s new o p e r a t o t h e T h e a t r e de l a Monna ie a f t e r t h e P a r i s Opera r e j e c t e d t he work . Reyer c o n c l u d e s by o b s e r v i n g t h a t t h e Monnaie i s , i n e f f e c t , s e r v i n g as t h e T h e a t r e - L y r i q u e w h i c h P a r i s l a c k s . ] — Le T h e a t r e - L y r i q u e c h i n o i s de P e k i n . [ R e y e r c r i t i c i z e s t h e p r o f e s s i o n a l c o n d u c t o f s i n g e r s a t P a r i s i a n l y r i c t h e -a t r e s by w r i t i n g t o n g u e - i n - c h e e k about t h e 'moeur s m u s i c a l e s de l a C h i n e . ' ] - - Le nouveau b a l l e t de M. L a l o e t l e s e x i g e n c e s de l a c h o r e -g r a p h i e . [Upon r e a d i n g ' d an s l e s p e t i t e s n o u v e l l e s ' t h a t t h e b a l l e t ma s t e r o f t h e Opera f i n d s L a l o ' s Namouna t oo symphonic f o r d a n c e , Reyer w i t t i l y r e m i n i s c e s about t h e d i f f i c u l t i e s he had e n c o u n t e r e d when p r e -p a r i n g h i s b a l l e t S a c o u n t a l a f o r t h e O p e r a . ] - - Une r e c l a m a t i o n de M. V i z e n t i n i . [ R e y e r r e s p o n d s t o a l e t t e r he had r e c e i v e d f r om V i z e n t i n i 653 r e q u e s t i n g c o r r e c t i o n o f what t he l a t t e r r e g a r d e d as ' u n e d o u b l e e r r e u r ' i n R e y e r ' s comments about V i z e n t i n i ' s d e f u n c t T h e a t r e - L y r i q u e de l a GaT te . (The comments i n q u e s t i o n had appeared i n R e y e r ' s e d i t o r i a l on t h e p ropo sed Opera P o p u l a i r e m u n i c i p a l ; s ee JD F - 2 4 / 0 7 . ) ] " F-10/09 "Revue m u s i c a l e . A p ropo s des o p e r a s qu i e m i g r e n t a l ' e t r a n g e r . [ E d i -t o r i a l o b j e c t i n g t h a t ' l a p r e s s e p a r i s i e n n e ' i s mak ing s t r o n g p e r s o n a l a t t a c k s on V a u c o r b e i l ( d i r e c t o r o f t he Opera ) f o r h a v i n g r e j e c t e d H e r o - d i a d e and s e v e r a l o t h e r c o n t e m p o r a r y F r ench o p e r a s , some of wh i ch a r e b e i n g t a k e n t o f o r e i g n t h e a t r e s . ] - - Les q u a t r e S o c i e t e s de C o n c e r t s a n c i e n n e s e t n o u v e l l e s , au C i r q u e d ' h i v e r , au C h a t e l e t , au t h e a t r e du C h a t e a u - d ' E a u e t au C i r q u e d ' e t e . [ R e y e r announces t h a t t h e symphonic s o c i e t i e s o f P a s d e l o u p and Co l onne (housed at t h e C i r q u e d ' h i v e r and t h e C h a t e l e t r e s p e c t i v e l y ) w i l l have c o m p e t i t i o n f rom two new o r g a n i z a t i o n s : one f ounded by Lamoureux at t h e C h a t e a u - d ' E a u , t h e o t h e r by Edouard B r o u s t e t a t t he C i r q u e d ' e t e . A f t e r e x p l a i n i n g t h a t Lamoureux has not y e t o f f e r e d any i n f o r m a t i o n on h i s p r o j e c t e d p r o g r ams , Reyer m e n t i o n s some o f t h e ' a t t r a c t i o n s ' o f t h e f i r s t c o n c e r t p l a n n e d by B r o u s t e t . ] — [ T h e a t r e de l ' O p e r a : ] R e n t r e e de M i l e G a b r i e l l e K r au s s dans l e T r i b u t de Zamora. [The n o t i c e on her p e r f o r m a n c e i s f o l l o w e d by comments on f o r t h c o m i n g p r e m i e r e s at t h i s t h e a t r e : A m b r o i s e Thomas ' s F r a n g o i s e de R i m i n i , and Henry V I I I by S a i n t - S a e n s , who i s compos ing t he r o l e o f Anne B o l e y n f o r M i l e K r a u s s . ] " F-08/10 "Revue m u s i c a l e . Academie des B e a u x - A r t s . [ R e c o l l e c t i o n o f t h e A c a d e -m i c ' s judgment o f t h e c a n t a t a s s u b m i t t e d by t h e c o m p e t i t o r s f o r t h e P r i x de Rome ( see JTJ F-29/06) l e a d s t o an e d i t o r i a l demanding t h e r e e s t a b -l i s h i n g o f a T h e a t r e - L y r i q u e , where young composers c o u l d ab so rb ' l e r e -p e r t o i r e c l a s s i q u e . . . 1 ' i n a p p r e c i a b l e en se i gnement qu i en r e s u l t e . ' ] - - Seance a n n u e l l e [ o f t h e A c a d e m i e ] : E x e c u t i o n de l a c a n t a t e de M. B runeau ( G e n e v i e v e , scene l y r i q u e , par M. E. G u i n a u d ) , e t d ' u n e o u v e r -t u r e composee pa r M. L u c i e n H i l l e m a c h e r , p e n s i o n n a i r e de 1 ' E c o l e de Rome ( e n v o i de q u a t r i e m e a n n e e ) . [ R e v i e w o f B r u n e a u ' s c a n t a t a , wh ich had been awarded ' un p r e m i e r second g rand p r i x ' i n s t e a d o f ' l e g rand p r i x ' ( i . e . , t h e P r i x de Rome). N o t i c e on H i l l e m a c h e r ' s o v e r t u r e . ] ~ [ T h e a t r e de 1 ' O p e r a - C o m i q u e : n o t i c e on t he p e r f o r m a n c e o f ] M i l e Van Zandt dans l e r o l e de D i n o r a h [ i n M e y e r b e e r ' s Le Pa rdon de P l o ' e r m e l , r e v i v e d at t h i s t h e a t r e i n May ( s e e JD^ F - 2 9 / 0 5 ) ] . — [Rev i ews o f p e r f o r -mances by P a r i s i a n c o n c e r t s o c i e t i e s : p a r t o f L a m o u r e u x ' s i n a u g u r a l c o n c e r t ; t h e Venusberg scene f r om Tannh 'auser , and B e r l i o z ' s Marche f u n e b r e pour l a d e r n i e r e s cene d ' H a m l e t , at C o l o n n e ' s f i r s t c o n c e r t o f t h e s e a s o n . ] Deuxieme c o n c e r t du C h a t e l e t . [Announcement o f C o l o n n e ' s f o r t h c o m i n g p e r f o r m a n c e o f F e l i c i e n D a v i d ' s Le D e s e r t i s f o l l o w e d by the o b s e r v a t i o n t h a t t h e r e a r e not enough ' c h o r i s t e s hommes d i s p o n i b l e s l e d imanche a P a r i s ' t o meet t h e needs o f a l l f o u r c o n c e r t s o c i e t i e s . ] " F-29/10 "Revue m u s i c a l e . L a S t a t u e au t h e a t r e r o y a l de l a Monnaie de B r u x e l l e s . [ R e y e r ' s work , w h i c h f a i l e d at t h e Monna ie i n 1865 (when 654 i t was pe r f o rmed w i t h t he c o m p o s e r ' s r e c i t a t i v e s ) , and was a b r u p t l y d ropped by t h e P a r i s Opera -Comique i n 1878 (when i t was pe r f o rmed w i t h t h e same r e c i t a t i v e s and a b a l l e t added by t h e compose r ; see JJD F -05/05/ 1878) i s now r e v i v e d s u c c e s s f u l l y , w i t h bo th t h e b a l l e t and t h e r e c i t a -t i v e s . Reyer e x p l a i n s why he r e t a i n e d t he r e c i t a t i v e s , wh i ch were o f t e n h e l d r e s p o n s i b l e f o r t he f a i l u r e o f 1865 , but he says n o t h i n g e l s e about t h e s c o r e and does not d i s c u s s t he l i b r e t t o . I n s t e a d , he f o c u s e s on t he r e h e a r s a l s and t h e c u r r e n t p e r f o r m a n c e at t h e Monna ie , e x p l a i n i n g t h a t ' c e t a r t i c l e n ' a pas d ' a u t r e but que- de m o n t r e r . . . un a u t e u r s a t i s -f a i t e t r e c o n n a i s s a n t . ' ] " F-30/11 "Revue m u s i c a l e . [ P r e l i m i n a r y r e f l e c t i o n s on B e r l i o z ' s posthumous fame: t h e p o p u l a r i t y o f h i s c o n c e r t w o r k s ; t h e need t o a c q u a i n t t he p u b l i c w i t h h i s o p e r a s ; t h e p u b l i s h i n g o f c o l l e c t i o n s o f h i s l e t t e r s . - - ] C o n -c e r t s du C h a t e l e t : L e l i o , ou l e R e t o u r a l a v i e , drame l y r i q u e avec o r c h e s t r e , c h o e u r s e t s o l i i n v i s i b l e s , p a r o l e s e t mus ique de H e c t o r B e r l i o z . [ Rev i ew b e g i n s w i t h o b j e c t i o n s t o t h e s u p p r e s s i o n o f t he mono-l o g u e s and t h e absence o f t h e m i se en s c e n e . Reyer then comments on each o f t h e s i x m u s i c a l numbers and t h e r e a p p e a r a n c e s o f t h e i d e e f i x e . ] - - L e t t r e s i n t i m e s de H e c t o r B e r l i o z , avec une p r e f a c e par C h a r l e s Gounod. [ Reye r r ema rk s on bo th t h e p r e f a c e and t h e c o l l e c t i o n o f l e t t e r s t o Humbert F e r r a n d . ] - - [ N o t i c e on ano the r new p u b l i c a t i o n : ] H e c t o r B e r l i o z ( l a V i e e t l e Combat, l e s O e u v r e s ) , pa r A d o l p h e J u l l i e n . [ - - P o s t s c r i p t : B r i e f r e v i e w o f C o l o n n e ' s a l l - B e r l i o z c o n c e r t o f Sunday 11 December, t h e a n n i v e r s a r y o f B e r l i o z ' s b i r t h . (The n e x t Sunday C o l o n n e r e p e a t e d t h e c o n c e r t , w i t h a few m o d i f i c a t i o n s i n t he p rog ram; see t h e r e v i e w i n JD F - 2 9 / 0 1 / 1 8 8 2 . ) ] " F-13/12 "Revue m u s i c a l e . T h e a t r e r o y a l de l a Monna ie a B r u x e l l e s : P r e m i e r e r e -p r e s e n t a t i o n d ' H e r o d i a d e , o p e r a en t r o i s a c t e s e t c i n q t a b l e a u x , p a r o l e s de MM. P. M i l l i e t e t H. Gremont , mus i que de M. J u l e s M a s s e n e t . " F t t - 2 5 / 1 2 1882 J o u r n a l des Debats "Revue m u s i c a l e . [ R e y e r a p p l a u d s t h e d e c i s i o n t h a t w i n n e r s o f t he P r i x de Rome w i l l h e n c e f o r t h be r e q u i r e d t o spend t he f o u r t h y e a r o f t h e i r p e n s i o n i n e i t h e r A u s t r i a - H u n g a r y o r Germany. A f t e r s p e c u l a t i n g t h a t t h e y w i l l s e i z e t h e o p p o r t u n i t y t o hear Wagner ' s w o r k s , t h e c r i t i c w r i t e s an e d i t o r i a l w a r n i n g a l l young F r e n c h composers t h a t t h e y must gua rd a g a i n s t becoming mere i m i t a t o r s o f t h i s ' g r a n d r e f o r m a t e u r . ' - - ] S a l l e du C o n s e r v a t o i r e : A u d i t i o n des e n v o i s de Rome. Le S i n a T , drame b i b l i q u e , p a r o l e s de E. G u i n a u d , mus ique de M. C lement B r o u t i n . — K a d d i r , l e g e n d e h i n d o u e , p a r o l e s de M. de P o n t - S e v r e z , mus ique de M. Samuel Rou s seau . [Remarks on t h e f r a g m e n t s o f Le S i n a T and K a d d i r t h a t were pe r f o rmed a t t h e C o n s e r v a t o i r e . ] — T h e a t r e de T O p e r a - C o m i q u e : 655 l e s P a n t i n s , o p e r a comique en deux a c t e s , p a r o l e s de M. Montagne, m u s i -que de M. Georges Hue. [ B r i e f r e v i e w o f t h e p r e m i e r e o f t h e work w h i c h had won t h e P r i x C r e s s e n t i n 1881 . ] — [ A n o t h e r p r e m i e r e at t he C o m i -q u e : ] La Tave rne des T r a b a n s , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. E r c k m a n n - C h a t r i a n e t J u l e s B a r b i e r , mus ique de M. Hen r i M a r e c h a l . [ R e v i e w b e g i n s w i t h a resume o f t he c a r e e r o f t h i s young compose r , who, l i k e Georges Hue, was a f o r m e r w i n n e r o f t he P r i x de Rome. ] " F t t - 1 0 / 0 1 "Revue m u s i c a l e de l ' a n n e e 1881. Les t h e a t r e s l y r i q u e s . [The r e v i e w o f 1881 i s p r e ceded by r e f l e c t i o n s on J a n u a r y 1882 : Rev iew o f G a b r i e l l e K r a u s s ' s f i r s t appea rance as M a r g u e r i t e i n Gounod ' s F a u s t at t h e O p e r a . News o f t h e b r e a k i n g o f a c o n t r a c t between t he d i r e c t o r o f t h e T h e a t r e des N a t i o n s and Ange l o Neumann, an ' i m p r e s a r i o a l l e m a n d ' who had i n -t ended t o s t a g e L o h e n g r i n . E d i t o r i a l on t h e ' r e c l a m e s m a l a d r o i t e s ' wh i ch M a s s e n e t ' s ' m a l a d r o i t s a m i s ' have been mak ing i n an a t t empt t o b r i n g H e r o d i a d e t o t he O p e r a . E d i t o r i a l u r g i n g t h a t a T h e a t r e - L y r i q u e be r e e s t a b l i s h e d , and t h a t i t s doo r s be open ' aux c o m p o s i t e u r s de t o u t age e t aux o e u v r e s de t o u t p a y s , a l ' a r t moderne e t a l ' a r t c l a s s i q u e . ' - - Rev iew o f 1881 : The Opera ( r e p e r t o i r e ; d e b u t s ) . The Opera -Comique ( r e p e r t o i r e ; debut o f M i l e M e r g u i l l i e r i n a r e v i v a l o f Ado lphe Adam's Le T o r e a d o r ) . Comments on t h e demi se o f t h e Opera du C h a t e a u - d ' E a u a f t e r two p r o d u c t i o n s ( I I T r o v a t o r e and La T r a v i a t a i n F r e n c h t r a n s l a t i o n ) . ] " F-25/01 "Revue m u s i c a l e de l ' a n n e e 1881 . Les c o n c e r t s . [ D e s c r i p t i o n o f t h e o r g a n i z a t i o n o f t h e S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e , w h i c h , u n l i k e t h e o t h e r f o u r symphonic s o c i e t i e s , has ' d e s c h o e u r s que pe r sonne ne peu t l u i p r e n d r e . ' - - Remarks on t h e S o c i e t y ' s l a c k o f permanent ' s o l o -i s t e s - c h a n t e u r s ' l e a d t o an e d i t o r i a l u r g i n g t h a t e i t h e r t h i s s o c i e t y o r one o f t h e o t h e r s be s u b s i d i z e d , so t h a t P a r i s w i l l have an o r c h e s t r a w i t h ' d e s s o l i s t e s e t des c h o e u r s a t t i t r e s . ' - - A few words on t he need f o r ' u n e s a l l e de c o n c e r t s . ' — C o n c e r t s du C h a t e a u - d ' E a u : Lamoureux and h i s o r c h e s t r a . Rev iew o f a p e r f o r m a n c e o f B e e t h o v e n ' s N i n t h Symphony ( w i t h o b s e r v a t i o n s on V i c t o r W i l d e r ' s new t r a n s l a t i o n o f S c h i l l e r ' s t e x t ) . Guest a r t i s t s who appeared i n t he c o u r s e o f t h e y e a r . - - C o n c e r t s du C i r q u e d ' e t e : B r o u s t e t ' s m o d i f i c a t i o n o f h i s p r o -grams becau se o f t h e d i f f i c u l t y o f o b t a i n i n g c h o r i s t e r s . Rev iew o f two p e r f o r m a n c e s o f e x c e r p t s f r om V e r d i ' s Requiem ( t h e second pe r f o rmance w i t h o u t c h o r u s ) . S u r vey o f t h e r e p e r t o i r e , wh i ch c o n s i s t e d m o s t l y o f works by young F r e n c h compo se r s . Theodore R i t t e r as gue s t a r t i s t . — C o n c e r t s du C h a t e l e t : Rev iew o f t h e second c o n c e r t commemorat ing B e r l i o z ' s b i r t h . - - C o n c e r t s du C i r q u e d ' h i v e r : S u r v e y o f new works i n t h e r e p e r t o i r e , w i t h s p e c i a l a t t e n t i o n t o G o d a r d ' s S y m p h o n i e - b a l l e t . — S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e : Comments on e x c e r p t s f r om works by F r a n c k , F e l i c i e n D a v i d , and Gounod, c o n c l u d i n g w i t h a p l e a f o r a r e -v i v a l o f Gounod ' s Sapho a t t h e O p e r a . ] " F-29/01 [ ( C o m m u n i c a t i o n p u b l i s h e d under t he words "On nous e c r i t de Monaco : " ) O b s e r v a t i o n s on t h e f l o u r i s h i n g t o u r i s t i n d u s t r y at B o r d i g h e r a and at 656 o t h e r r e s o r t s a l o n g t he R i v i e r a . - - Lunch w i t h C h a r l e s G a m i e r ( a r c h i -t e c t ) , Leon Gambetta ( e x - p r e s i d e n t o f I t a l y ) , and a few o t h e r s , at G a m i e r 1 s v i l l a i n B o r d i g h e r a . - - R e t u r n t o Monaco w i t h "mon ami G a m i e r . " - - D e s c r i p t i o n o f t h e new " s a l l e de j e u " b u i l t by G a m i e r at M o n t e - C a r l o i n 1881 . — T h e a t r e de M o n t e - C a r l o : M i l e Van Zandt and V i c t o r Maure l i n D i n o r a h . (Rev iew i n c l u d e s e d i t o r i a l i z i n g bo th on " d e s c o u p u r e s " made i n M e y e r b e e r ' s work , and*on t h e s h o r t d u r a t i o n o f M a u r e l ' s c o n t r a c t w i t h t h e P a r i s O p e r a . ) ] * LA [Cu rR 191 ] - 13/02 , p. 2 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : l r e r e p r e s e n t a t i o n de Namouna, b a l l e t en deux a c t e s e t t r o i s t a b l e a u x , par MM. N u i t t e r e t [ L u c i e n J P e t i p a , mus i que de M. Edouard L a l o . [ I n t h e c o u r s e o f t h e r e v i e w , Reyer p r o c l a i m s t h e m u s i c a l v a l u e o f L a l o ' s s c o r e and d i s p u t e s t h e rumor t h a t i t i s u n s u i t a b l e f o r d a n c e . ] " F -12/03 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Ga l a n t e a v e n t u r e , o p e r a comique en t r o i s a c t e s , de MM. L o u i s Davy l e t Armand S i l v e s t r e , mus ique de M. E r n e s t G u i r a u d . [ Rev i ew i n c l u d e s a resume o f G u i r a u d ' s c a r e e r and r emark s on h i s r e c e n t appo i n tmen t as ' p r o f e s s e u r de hau te c o m p o s i t i o n ' a t t h e C o n s e r v a t o i r e . ] " F-31/03 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : F r a n g o i s e de R i m i n i , o p e r a en q u a t r e a c t e s , avec p r o l o g u e e t e p i l o g u e , poeme de MM. M i c h e l C a r r e e t J u l e s B a r b i e r , mus ique de M. Ambro i s e Thomas. " F-21/04 "Revue m u s i c a l e . Les mus iques m i l i t a i r e s . [ E d i t o r i a l s u p p o r t i n g A l b e r t P e r r i n , ' l e p l u s z e l e d e f e n s e u r des o r c h e s t r e s de r e g i m e n t , ' who i s l e a d i n g a campaign t o save t h e s e m i l i t a r y bands f r om b e i n g a b o l i s h e d . ] — L a b r o c h u r e de M. A l b e r t P e r r i n : Tambours e t mus iques m i l i t a i r e s . [ R e y e r ' s e d i t o r i a l i n c l u d e s e x c e r p t s f r om t h i s and o t h e r w r i t i n g s i n w h i c h P e r r i n a d v o c a t e s t h a t t h e bands be r e o r g a n i z e d and t h a t t h e s i t u a -t i o n o f t h e m u s i c i a n s be i m p r o v e d . ] — Le d e r n i e r c o n c e r t du C h a t e a u -d ' E a u : [ Rev i ew o f L a m o u r e u x ' s second p e r f o r m a n c e o f e x c e r p t s f r om A c t I I I o f L o h e n g r i n . Rev iew o f a work p r e m i e r e d at t h e same c o n c e r t : ] 1 a V a l l e e de J o s a p h a t , symphonie b i b l i q u e de M. S a l v a y r e . - - M. L a l o . - -M. M a r s i c k . [ N o t i c e on t h e p e r f o r m a n c e o f L a l o ' s Symphonie e s p a g n o l e , w i t h t h e v i o l i n i s t M a r s i c k as s o l o i s t . L a l o ' s work c o m p l e t e d the program o f t h e l a s t c o n c e r t i n L amou reux ' s s e r i e s at t h e C h a t e a u -d ' E a u . ] " F-30/04 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e . - - R e p r i s e des Noces de F i g a r o . [ T h i s ' c h e f - d ' o e u v r e , ' one o f t h e g r e a t s u c c e s s e s o f t he o l d T h e a t r e - L y r i q u e , had been a p p r o p r i a t e d by t h e Comique i n 1872 but had d i s a p p e a r e d f r om the a c t i v e r e p e r t o i r e i n 1874. T h e ^ r e v i v a l o c c a s i o n s an e d i t o r i a l c a l l i n g f o r t h e r e e s t a b l i s h i n g o f a T h e a t r e - L y r i q u e . The e d i t o r i a l i s f o l l o w e d by a r e v i e w o f t h e ' n o u v e l l e i n t e r p r e t a t i o n ' a t 657 t h e Com ique . ] — Academie des B e a u x - A r t s : l e p r i x Monb ine . [ Announce -ment o f t h e d i v i d i n g o f t h e p r i z e between two o p e r a s c om ique s : P o i s e ' s L 'Amour medec in and M a r e c h a l ' s La Tave rne des T raban s ( see JD F-26/12/ 1880 and F-10/01/1882 r e s p e c t i v e l y ) . Remarks on t h e A cadem ie " s r e j e c -t i o n o f ' u n b a l l e t ' ( i . e . , L a l o ' s Namouna). B r i e f e d i t o r i a l on t he f a t e o f M a r e c h a l ' s p r i z e - w i n n i n g work at t h e O p e r a - C o m i q u e . ] - - Le p r i x de l a v i l l e de P a r i s . [Announcement o f t h e awa rd i n g o f t h e p r i z e t o L o r e l e y , by t h e b r o t h e r s Pau l and L u c i e n H i l l e m a c h e r . ] — L ' U n i o n des j e u n e s com- p o s i t e u r s . [ R e y e r welcomes a new m u s i c a l s o c i e t y founded by Oc tave Fouque, A l f r e d B runeau , A u g u s t a Ho lmes, and o t h e r s , ' dan s l e but de f a i r e c o n n a T t r e , en l e s e x e c u t a n t p u b l i q u e m e n t , l e s oeuv re s des membres q u i en f e r o n t p a r t i e . ' ] " F-20/05 "Revue m u s i c a l e . Une l e t t r e de R i c h a r d Wagner. [The l e t t e r , s en t f r om B a y r e u t h t o t h e e d i t o r - i n - c h i e f o f L a R e n a i s s a n c e m u s i c a l e and p u b l i s h e d i n t h a t pro-Wagner j o u r n a l , i s r e p r i n t e d and d i s c u s s e d by R e y e r . In t h e l e t t e r , w h i c h ' a f a i t g r a n d ' b r u i t dans l e monde de l a m u s i q u e , ' Wagner e x p r e s s e d h i s vehement o p p o s i t i o n t o t h e i d e a o f s t a g i n g L o h e n g r i n i n t r a n s l a t i o n a t P a r i s , and added t h a t , a l t h o u g h he had once a u t h o r i z e d t h e i m p r e s a r i o A n g e l o Neumann t o s t a g e h i s works t h e r e , he had r e c e n t l y a sked Neumann t o r enounce t h e F r ench c a p i t a l . Reyer m a r s h a l l s v a r i o u s arguments i n f a v o r o f a p r o d u c t i o n o f L o h e n g r i n i n F r e n c h , and c o n c l u d e s by e x p r e s s i n g t h e hope t h a t Wagner w i l l r e c o n s i d e r t h e i n s t r u c t i o n t o Neumann.] " F-01/06 [ ( C o m m u n i c a t i o n p u b l i s h e d under t h e words "On nous e c r i t de L o n d r e s : " ) Covent G a r d e n : Open ing remark s on t h e t h r e e - m o n t h s e a s o n . Comments on t h e f o r t h c o m i n g p r e m i e r e o f t h e t h e n - u n p u b l i s h e d V e l l e d a by Lenepveu ( a f o r m e r w i n n e r o f t h e P r i x de Rome), who has t a i l o r e d t he p r i n c i p a l r o l e s f o r A d e l i n a P a t t i and N i c o l i n i . A s se s sment o f t h e company, w i t h s p e c i a l a t t e n t i o n t o MM. G a i l h a r d ( f o r m e r l y o f t h e P a r i s Opera) and S y l v a , and Mmes Sembr i ch and A l b a n i ( t h e l a t t e r i n L o h e n g r i n ) , as w e l l as t h e c o -c o n d u c t o r s B e v i g n o t and Jo seph Dupont . — B r i e f e d i t o r i a l a g a i n s t t he E n g l i s h p r a c t i c e o f d r a s t i c a l l y s h o r t e n i n g any work t o keep i t w i t h i n " l e s l i m i t e s v o u l u e s . " - - O b s e r v a t i o n s on t h e c o n t i n u i n g p o p u l a r i t y o f Carmen ( s e e JD F - 28/07/1880 ) . - - N o t i c e on a r e c e n t " O p e r a t i c C o n c e r t " a t A l b e r t H a l l . - - The German company o f P o l 1 i n i - F r a n c k - R i c h t e r ( c o n -d u c t e d by Hans R i c h t e r ) a t D r u r y Lane : S u r vey o f t h e r e p e r t o i r e , w i t h a few v/ords on a p e r f o r m a n c e o f L o h e n g r i n . Rev iew o f D i e M e i s t e r s i n g e r von N t i r n b e r g . - - R e g r e t s t h a t A n g e l o Neumann's t o u r i n g company had a l r e a d y d e p a r t e d , a f t e r an u n s u c c e s s f u l a t t empt t o win p o p u l a r i t y f o r t h e R i n g c y c l e ( p r e m i e r e d a t Her M a j e s t y ' s T h e a t r e i n May ) . ] * L A [ J D F - 2 1 / l l / 1 8 9 7 ] - 1 8 / 0 6 , p. 2 "Revue m u s i c a l e . Academie n a t i o n a l e de mus ique e t de dan se : R e p r i s e du Fandango , b a l l e t en un a c t e , de MM. Hen r i M e i l h a c , L u d o v i c H a l e v y e t M e r a n t e , mus ique de G. S a l v a y r e . [ I n t h i s r e v i e w o f a r e v i s e d v e r s i o n o f S a l v a y r e ' s b a l l e t Reyer e x p l a i n s t h a t , b e f o r e t he p r e m i e r e o f L a l o ' s Namouna i n M a r c h , he had r e q u e s t e d and had been g r a n t e d p e r m i s s i o n t o 658 r e v i e w f o r t h e JD_ ' d e s evenemen's c h o r e g r a p h i q u e s , ' w h i c h had t r a d i t i o n -a l l y been t h e p r e s e r v e o f t h e drama c r i t i c ] - - Les A n n a l e s du t h e a t r e e t de l a m u s i q u e , par MM. Edouard Noel e t Edmond S t o u l 1 i g . |_Review o f ' l e vo lume de 1 8 8 1 ' i n t h e ongo i ng s e r i e s . ] — La r e p r i s e de Jo seph a 1 ' O p e r a - C o m i q u e . [ R e y e r p ronounces t h i s r e v i v a l ' l a p l u s f i d e l e e t l a m e i l l e u r e ' o f t h e s e v e r a l he had w i t n e s s e d ' d e p u i s une t r e n t a i n e d ' a n n e e s . ' - - F u r t h e r comments on t h e 1881 vo lume i n t h e s e r i e s by Noel and S t o u l l i g . - - R e f l e c t i o n s on t h e ' h e u r e u s e n o u v e l l e ' t h a t t h e d i r e c -t o r o f t h e Opera w i l l a u d i t i o n one o f t h e s e v e r a l u n p u b l i s h e d works a w a i t i n g h i s a t t e n t i o n : F r e g o r by Membree . ] " F-02/07 "Revue m u s i c a l e . C o n s e r v a t o i r e n a t i o n a l de mus ique e t Academie des B e a u x - A r t s . - - Jugement du c o n c o u r s pour l e g rand p r i x de c o m p o s i t i o n m u s i c a l e . [Open ing remark s on t h e ' c o n c o u r s p r e p a r a t o i r e ' and t he com-p e t i t i o n f o r t h e ' g r a n d p r i x ' ( P r i x de Rome), o f wh i ch two were awarded t h a t y e a r . ] ~ E d i t h , s cene l y r i q u e de M. E. G u i n a u d , m i s e en mus ique pa r MM. M a r t y , P i e r n e , L e r o u x , V i d a l e t T a i l h a d e . [ R e y e r ' s a s se s sment o f t h e c a n t a t a t e x t by Gu inaud ( a u t h o r o f t he t e x t o f t h e symphonic ode D iane by Godard) l e a d s t o an e d i t o r i a l on t h e F rench p u b l i c ' s l a c k o f a p p r e c i a t i o n f o r ' l a symphonie . . . q u ' e l l e s o i t purement i n s t r u m e n t a l ou d r a m a t i q u e . ' - - Rev iew o f t h e s e t t i n g o f E d i t h by M a r t y , w i n n e r o f t h e ' p r e m i e r g rand p r i x . ' N o t i c e on M. C o b a l e t , one o f t h e s i n g e r s who p a r t i c i p a t e d i n t h e p e r f o r m a n c e o f M a r t y ' s work . - - Comments on t h e r e g u l a t i o n r e q u i r i n g t h a t each w i nne r spend one y e a r i n e i t h e r Germany o r A u s t r i a - H u n g a r y ( s e e JD_ F -10/01) i n t r o d u c e t h e r e v i e w o f t he s e t t i n g by P i e r n e , w i n n e r o f a ' s e c o n d p r e m i e r g rand p r i x . ' The r e v i e w ends w i t h a n o t i c e on one o f t h e s i n g e r s , t h e O p e r a ' s Mme M o n t a l b a . - - A few words on t h e s e t t i n g by L e r o u x , t o whom t h e Academie a c c o r d e d ' une men-t i o n h o n o r a b l e . ' ] " F-14/07 [ ( C o m m u n i c a t i o n p u b l i s h e d under t h e words "On nous e c r i t de L u c h o n : " ) R e f l e c t i o n s c o n c e r n i n g how t h e r e s o r t town has been a f f e c t e d by t h e c a s i n o , wh i ch was i n a u g u r a t e d two y e a r s ago ( s ee JD * LA [Cu rR 191 ] - 21/08/ 1880 , p. 3 ) . - - The Sunday b u l l f i g h t s : The famous s a u t e u r D a v e r a t . Compar i s on o f t h e s e b u l l f i g h t s w i t h S p a i n ' s " s p e c t a c l e s . . . s a n g u i -n a i r e s . " - - The c a s i n o ' s t h e a t r e : Remarks on t h e r e p e r t o i r e . Names o f t h e p r i n c i p a l s i n g e r s . - - N o t i c e on t h e " c o n c e r t s c l a s s i q u e s " g i v e n at t h e t h e a t r e by Edouard B r o u s t e t , c o n d u c t o r o f t h e o r c h e s t r a . - - The c a s i n o ' s r e j e c t i o n o f a r e q u e s t f o r a c o n c e r t wh i ch would f e a t u r e f o u r " eminens c h a n t e u r s " who a r e v a c a t i o n i n g a t L u c h o n . ] * L A [ C u r R 1 91 ] - 0 5/08 , p. 2 [ ( C o m m u n i c a t i o n p u b l i s h e d under t h e words "On nous e c r i t de Geneve , l e 15 a o u t : " ) D e s c r i p t i o n o f a " c o n c o u r s m u s i c a l " i n v o l v i n g 208 amateur c h o r a l and i n s t r u m e n t a l s o c i e t i e s ( a t o t a l o f t e n thou sand m u s i c i a n s ) f r o m S w i t z e r l a n d , B e l g i u m , P i e d m o n t , and F r a n c e : O f f i c i a l r e c e p t i o n o f each s o c i e t y a t t h e P a l a i s e l e c t o r a l . The day o f t h e c o m p e t i t i o n s . The p r o c e s s i o n t h r o u g h t h e c i t y a f t e r t h e c o m p e t i t i o n s . Announcement o f t h e 659 g roup s wh i ch had won " l e s p r e m i e r s p r i x d ' h o n n e u r . " ] * L A [ C u r R 1 9 1 ] - 2 1 / 0 8 , pp . 1-2 "Revue m u s i c a l e . C o n s e r v a t o i r e de mus i que : N e c e s s i t e de r e t a b l i r l e p e n s i o n n a t . - - Les C o n s e r v a t o i r e s de p r o v i n c e ( s u c c u r s a l e s du C o n s e r v a -t o i r e de P a r i s ) . - - Le C o n s e r v a t o i r e de T o u l o u s e : MM. G e s t a , Soum e t M u r a t e t . [ A l l t h r e e s u b t i t l e s p e r t a i n t o an e d i t o r i a l a f f i r m i n g a p o s i -t i o n wh i ch R e y e r , as he p o i n t s o u t , had been among t h e f i r s t t o e n u n c i -a t e : t h e P a r i s C o n s e r v a t o i r e must r e c r u i t o u t s t a n d i n g s t u d e n t s f r o m the p r o v i n c i a l c o n s e r v a t o r i e s by r e e s t a b l i s h i n g t h e p e n s i o n n a t ( s e e JD F - 18/08/1881 ) . To p r ove t h a t such s t u d e n t s a re t o be found i n t he p r o v i n c e s , Reyer d e s c r i b e s t h r e e young s i n g e r s whom he had heard t h a t v e r y y e a r at t h e C o n s e r v a t o i r e de T o u l o u s e : t h e t e n o r s G e s t a and M u r a t e t , and t h e b a r i t o n e Soum.] - - R e f l e x i o n s a p ropos des d e r n i e r s c o n c o u r s de P a r i s e t de T o u l o u s e . [ G e n e r a l r emark s on t h e ' c o n t i n g e n t a s s e z r e s p e c t a b l e ' t h a t g r a d u a t e d f rom t h e P a r i s C o n s e r v a t o i r e ' s c l a s s e s i n v o i c e . O b j e c t i o n s t o t h e d i s o r d e r l y s cenes t h a t , at t he c o m p e t i t i o n s o f b o t h P a r i s and T o u l o u s e , e r u p t e d i n t h e a u d i e n c e whenever i t was d i s -s a t i s f i e d w i t h a j udgmen t . Recommendat ion t h a t s t u d e n t s and p r o f e s s o r s no t be a l l o w e d t o c hoo se ' l e s morceaux de c o n c o u r s ' f r o m works by com-p o s e r s who a re on t h e j u r y . ] " F-21/08 "Revue m u s i c a l e . Academie des B e a u x - A r t s : Seance p u b l i q u e a n n u e l l e . E x e c u t i o n des deux c a n t a t e s composees par MM. P i e r n e e t M a r t y su r l a scene l y r i q u e E d i t h , de M. E. G u i n a u d . [The f a c t t h a t bo th P i e r n e and M a r t y a re i n M a s s e n e t ' s c l a s s at t h e C o n s e r v a t o i r e prompts Reyer t o e d i -t o r i a l i z e b r i e f l y a g a i n s t e n c o u r a g i n g ' c e t t e p r e f e r e n c e que s emb len t m o n t r e r l e s j e u n e s m u s i c i e n s pour l a c l a s s e du s u c c e s s e u r de F r a n g o i s B a z i n , ' when t h e c l a s s e s o f G u i r a u d and Masse r ema i n v i r t u a l l y empty . Reyer had a l r e a d y d e s c r i b e d G u i n a u d ' s c a n t a t a poem at l e n g t h , and had a s s e s s e d t h e two w i n n i n g s e t t i n g s i n d i v i d u a l l y ( s ee JD F - 14/07 ) . He t h e r e f o r e g i v e s o n l y a s y n o p s i s o f t h e poem, and d i s c u s s e s c e r t a i n c h a r a c t e r i s t i c s common t o bo th s e t t i n g s . In c o n c l u s i o n , he r e i t e r a t e s a c o n v i c t i o n wh i ch he had been e x p r e s s i n g ' d e p u i s douze ou q u i n z e a n s ' : w i n n e r s o f t h e P r i x de Rome s h o u l d , upon t h e i r r e t u r n t o F r a n c e , be a p p o i n t e d c o n d u c t o r s f o r two y e a r s at p r o v i n c i a l l y r i c t h e a t r e s , where t h e y wou ld ' f a i r e l e u r a p p r e n t i s s a g e de c h e f d ' o r c h e s t r e ' and would be o b l i g e d t o p roduce ' u n g rand o u v r a g e ' o f t h e i r own.] — T h e a t r e de l ' O p e r a : Debuts de Mme E n g a l l y dans A i d a . [ N o t i c e i n c l u d e s a few r e -c o l l e c t i o n s o f E n g a l l y ' s c a r e e r at o t h e r P a r i s i a n l y r i c t h e a t r e s . ] — Les examens d ' a d m i s s i o n au C o n s e r v a t o i r e . [Remarks on t h i s y e a r ' s a u d i -t i o n s , w i t h s p e c i a l a t t e n t i o n t o MM. M u r a t e t and Ganduber t ( c a n d i d a t e s f r o m t h e c o n s e r v a t o r y o f T o u l o u s e ) . R e i t e r a t i o n o f a no t he r c o n v i c t i o n : upon g r a d u a t i o n f r om t h e P a r i s C o n s e r v a t o i r e , young s i n g e r s s h o u l d spend a t l e a s t two y e a r s a c q u i r i n g e x p e r i e n c e at p r o v i n c i a l l y r i c t h e a t r e s ( s ee JD F - 1 8 / 0 8 ) . ] " F-29/10 "Revue m u s i c a l e . C o n c e r t Lamoureux. - - C o n c e r t du C h a t e l e t . - - C o n c e r t du C i r q u e d ' h i v e r : l e p r e l u d e de P a r s i f a l . [The u p r o a r caused by t h i s 660 p r e l u d e , wh i ch was p r e s e n t e d by each o f P a r i s ' s c o n c e r t s o c i e t i e s t o open t h e new s e a s o n , s p a r k s an e d i t o r i a l u r g i n g t h e p u b l i c and p r e s s not t o condemn Wagne r ' s mus i c because o f t h e i r h o s t i l i t y t oward h i s c h a r a c -t e r and h i s p o l i t i c s . The e d i t o r i a l c o n c l u d e s w i t h a demand f o r t h e r e -e s t a b l i s h i n g o f a T h e a t r e - L y r i q u e , t h e d i r e c t o r o f wh i ch would have t he f r eedom t o p r e s e n t Wagne r ' s o p e r a s and mus i c dramas i n t h e i r e n t i r e t y so t h a t P a r i s i a n s c o u l d j u d g e t h e s e works ' m i e u x que s u r de s i m p l e s e c h a n -t i l l o n s . ' ] — [ N o t i c e s on p e r f o r m a n c e s by gue s t a r t i s t s at r e c e n t c o n -c e r t s o f Lamoureux, C o l o n n e , and P a s d e l o u p : M i l e S i l b e r b e r g ( p i a n i s t ) ; M a r s i c k ( v i o l i n i s t ) ; F r an z Rummel ( p i a n i s t ) ; and S a r a s a t e ( v i o l i n i s t ) . - - A f t e r comment ing t h a t S a r a s a t e had pe r f o rmed ' une S u i t e composed su r des m o t i f s de C a r m e n , ' Reyer c a l l s f o r a r e v i v a l o f B i z e t ' s work at t h e Ope ra -Comique . - - ] T h e a t r e de l ' O p e r a : R e n t r e e de M. Salomon dans l e P r o p h e t e . [ O b s e r v a t i o n s on S a l o m o n ' s r e t u r n t o t h e Opera a f t e r h a v i n g sung f o r f o u r y e a r s i n t h e p r o v i n c e s . ] — Consonances e t d i s s o n a n c e s , p a r M. J . A rm ingaud . [ N o t i c e on a c o l l e c t i o n o f ' p e n s e e s h u m o r i s t i q u e s e t p h i l o s o p h i q u e s ' by one o f F r a n c e ' s most d i s t i n g u i s h e d v i o l i n i s t s . ] " F+t-12/11 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : [ E d i t o r i a l on t he s u p -posed s a f e g u a r d i n g o f ' l e s i n t e r e t s des j e u n e s c o m p o s i t e u r s ' by means o f a c l a u s e i n t h i s t h e a t r e ' s c a h i e r des c h a r g e s , a c l a u s e r e q u i r i n g t h a t t h e d i r e c t o r p r e m i e r e each y e a r two new o n e - a c t w o r k s . The e d i t o r i a l i s f o l l o w e d by r e v i e w s o f t h i s y e a r ' s c h o i c e s : ] l a N u i t de S a i n t - J e a n , o p e r a comique en un a c t e , p a r o l e s de MM. D e l a c o u r e t Luce de L u s i g n a n , mus ique de M. Pau l Lacome [who had a l r e a d y a c h i e v e d s u c c e s s ' s u r d i f f e r e n t e s s cenes de g e n r e ' ; see JJD F - 09/03/1873 ] . - - B a t t e z P h i l i d o r , o p e r a comique en un a c t e , p a r o l e s de M. Abraham D r e y f u s , mus ique de M. Amedee Du tacq [who was t h e n (as now) unknown i n t h e t h e a t r e ] . — Le T h e a t r e - L y r i q u e . [ P o s t s c r i p t on t h e q u e s t i o n o f r e e s t a b l i s h i n g a t h i r d l y r i c t h e a t r e , wh i ch would be c a l l e d e i t h e r ' T h e a t r e - L y r i q u e ' o r ' O p e r a -P o p u l a i r e . ' Reyer wonders what i s i m p l i e d by t h e l a t t e r name, and warns t h a t , i f a new t h e a t r e i s t o r e n d e r ' d e v e r i t a b l e s s e r v i c e s a l ' a r t e t aux c o m p o s i t e u r s , ' i t s h o u l d be e n t r u s t e d t o ' un homme d ' u n e i n t e l l i -gence s u p e r i e u r e e t d ' u n t a l e n t e p r o u v e ' r a t h e r t han ' u n e n t r e p r e n -e u r . ' ] " F-19/11 "Revue m u s i c a l e . C o n c e r t s du C h a t e l e t : M i l e C l a r a G u r t i e r - K r a u s s , M i l e Jenny G o d i n , M. Bouhy; l ' o u v e r t u r e des F r a n c s - J u g e s , de B e r l i o z . [ M i l e s G u r t i e r - K r a u s s and God in pe r f o rmed M o z a r t ' s d o u b l e c o n c e r t o f o r two p i a n o s . Bouhy, a c e l e b r a t e d b a r i t o n e who had been away f r o m P a r i s f o r a few y e a r s and had r enounced t h e s t a g e , sang an a r i a f r om M e n d e l s s o h n ' s E l i j a h and t h e s cene L a M a d e l e i n e au d e s e r t (wh i ch Reyer had composed e x p r e s s l y f o r h i m ; see JD F - 31/03/1874 ) . Tn t h e r e v i e w o f the F r a n c s - Juges o v e r t u r e , Reyer f o c u s e s not on t h e p e r f o r m a n c e but r a t h e r on t h e work i t s e l f ( p a r t i c u l a r l y t h e i n s t r u m e n t a t i o n ) . ] - - C o n c e r t s du C h a t e a u -d ' E a u : l e duo de B e a t r i c e e t B e n e d i c t , Mme B r u n e t - L a f l e u r e t M i l e Rocher [who sang t he sop rano and c o n t r a l t o p a r t s r e s p e c t i v e l y ] ; l ' o u v e r -t u r e de R i e n z i , de R i c h a r d W a g n e r . - - La mus ique du R o i s ' a m u s e . [ R e -marks on D e l i b e s ' s i n c i d e n t a l mus i c f o r a r e v i v a l o f V i c t o r Hugo ' s p l a y 661 a t t h e T h e a t r e - F r a n g a i s . ] - - C l ement C a r a g u e l . [ O b i t u a r y o f t he j o u r -n a l i s t who had s ucceeded J u l e s J a n i n as drama c r i t i c o f t h e J D . ] " F-26/11 "Revue m u s i c a l e . S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e : l a L y r e e t l a H a r p e , de M. C a m i l l e S a i n t - S a e n s . [ Rev i ew o f t h e second P a r i s i a n p e r -f o rmance o f a work t h a t had been p r e m i e r e d at t he B i rmingham F e s t i v a l o f 1879. Reyer does no t d e s c r i b e ' en d e t a i l ' S a i n t - S a e n s ' s s e t t i n g o f Hugo ' s o d e , h a v i n g a l r e a d y r e v i e w e d t h e P a r i s i a n p r e m i e r e ( a t t he Con -c e r t s p o p u l a i r e s ; s ee 3^D F - 27/01/1880 ) . I n s t e a d , t h e c r i t i c c o n c e r n s h i m s e l f m a i n l y w i t h t h e new i n t e r p r e t a t i o n , wh i ch he f r e q u e n t l y compares w i t h t h a t o f 1 880 . ] - - L a R e d e m p t i o n , t r i l o g i e s a c r e e , p a r o l e s e t m u s i -que de M. C h a r l e s Gounod"! [ R e v i e w o f t he s c o r e o f t h e o r a t o r i o composed f o r and p r e m i e r e d at t h e B i rm ingham F e s t i v a l o f ' c e t t e annee ' ( 1 8 8 2 ) . A t t h e c o n c l u s i o n o f t h e r e v i e w , Reyer announces t h e f o r t h c o m i n g p e r f o r -mance o f Gounod ' s work at B r u s s e l s , and wonders when i t w i l l be p r e -s e n t e d at P a r i s . ] — [ C o n c e r t s du C h a t e l e t : ] S a r d a n a p a l e , symphonie l y r i q u e , p a r o l e s de M. P i e r r e B e r t o n , mus ique de M. A l p h o n s e Duve rnoy . [ Rev i ew o f a new work by t h e young p i a n i s t - c o m p o s e r whose symphonic poem L a Tempete had won t h e P r i x de l a v i l l e de P a r i s i n 1880. S a r d a n a p a l e was a c o n c e r t work f o r o r c h e s t r a and s o l o v o i c e s , bu t Reyer avowed t h a t , w i t h ' q u e l q u e s pe r sonnages de p l u s c o n c o u r a n t a 1 ' a c t i o n , ' i t wou ld be ' b e l e t b i e n un o p e r a . ' ( I n d e e d , i t was e v e n t u a l l y s t a g e d at L i e g e ; see JD F - 17/04/1892 . ) ] — T h e a t r e de l ' O p e r a : debut de M i l e L u r e a u . [A few words on t h e ' d e b u t f o r t i n t e r e s s a n t ' o f t h i s r e c e n t g r a d u a t e o f t he C o n s e r v a t o i r e , i n t h e r o l e o f M a r g u e r i t e i n Les H u g u e n o t s . ] - - T h e a t r e de 1 ' O p e r a - C o m i q u e : r e p r i s e des Noces de F i g a r o . L N o t i c e on t he p e r f o r m a n c e s o f M i l e Van Z a n d t , M i l e I s a a c , and Mme C a r v a l h o . - - P o s t -s c r i p t on t h e renewed s u c c e s s o f t h e C o m i q u e ' s r e v i v a l o f J o seph ( see JD F - 0 2 / 0 7 ) . ] " F-10/12 "Revue m u s i c a l e . S a l l e du C h a t e l e t : L o r e l e y , l e g e n d e symphonique en t r o i s p a r t i e s , poeme de M. Eugene A d e n i s , mus ique de MM. Pau l e t L u c i e n H i l l e m a c h e r . [ R e v i e w o f t h e work w h i c h , e a r l i e r t h a t y e a r , o b t a i n e d t he P r i x de l a v i l l e de P a r i s . ] - - T h e a t r e de l ' O p e r a : R e p r i s e de C o p p e l i a [ w i t h M i l e S u b r a d a n c i n g t h e p r i n c i p a l r o l e ] . - - T h e a t r e - L y r i q u e ou O p e r a - P o p u l a i r e : M. R i t t e t M. M a s s e n e t . [ B r i e f e d i t o r i a l we l c om ing t h e d e c i s i o n t o r e e s t a b l i s h a t h i r d l y r i c t h e a t r e , wh i ch w i l l be d i r e c t e d by Eugene R i t t . Comments o n : R i t t ' s p l a n t o i n a u g u r a t e t h e t h e a t r e by s t a g i n g t he P a r i s i a n p r e m i e r e o f M a s s e n e t ' s H e r o d i a d e ; M a s s e n e t ' s p r o m i s e o f a n o t h e r o p e r a ( i . e . , a r e w o r k i n g o f h i s e a r l y E s m e r a l d a , t o be e n t i t l e d N o t r e - D a m e - d e - P a r i s ) . ] ~ Les Sept I v r e s s e s , p a r o l e s e t mus ique de M i l e A u g u s t a Ho lmes. [ Rev i ew o f a new l y p u b l i s h e d c o l l e c t i o n o f seven s o n g s . ] - - L a v e r i t e su r 1 ' e n t r e v u e de M. L a s s a l l e e t de M. V a u c o r b e i l . [A s a t i r e on a s a l a r y d i s p u t e between t he b a r i t o n e and t he d i r e c t o r o f t h e O p e r a . ] — A u d i t i o n des e n v o i s de Rome [ i n t he S a l l e du C o n s e r v a t o i r e ] : M. Geo rge s Hue e t M. Samuel Rou s s eau . [ S h o r t r e v i e w s o f a symphony by Hue, two o f R o u s s e a u ' s ' t r o i s p i e c e s sympho-n i q u e s , ' and R o u s s e a u ' s ' f a b l i a u l y r i q u e ' La F l o r e n t i n e . ] " F-26/T2 662 1883 J o u r n a l des Debats "Revue m u s i c a l e de 1 ' annee 1882. [The O p e r a : Open ing remark s on t he f a c t t h a t ' n o t r e p r e m i e r e s cene l y r i q u e ' had p r e s e n t e d o n l y two new works ( t h e o p e r a F r a n g o i s e de R i m i n i and t h e b a l l e t Namouna). E d i t o r i a l on t h e ' t r i s t e s o r t ' o f Namouna. E d i t o r i a l on t h e d e p a r t u r e o f M i l e S a l l a , who had c r e a t e d t he t i t l e r o l e i n F r a n g o i s e de R i m i n i . - - The Ope ra -Comique : A s se s sment s o f each o f t h e f i v e ' n o u v e a u t e s , ' none o f w h i c h had found f a v o r w i t h t he p u b l i c , c o n c l u d e w i t h t he o b s e r v a t i o n t h a t t h i s t h e a t r e g e n e r a l l y makes i t s p r o f i t s not f r om new w o r k s , bu t r a t h e r f r om r e v i v a l s o f o l d f a v o r i t e s . P r e p a r a t i o n s f o r t h e f o r t h c o m i n g p r e m i e r e o f D e l i b e s ' s Lakme. Changes i n t h e company ( i m p e n d i n g d e p a r -t u r e o f M i l e I s a a c ; d e p a r t u r e o f M l l e D u c a s s e ) . - - E d i t o r i a l on a speech wh i ch had been g i v e n by a member o f P a r i s ' s m u n i c i p a l c o u n c i l , and had cau sed R i t t t o po s tpone i n d e f i n i t e l y t h e r e e s t a b l i s h i n g o f a t h i r d l y r i c t h e a t r e . - - The c o n c e r t s o c i e t i e s o f P a s d e l o u p , C o l o n n e , and Lamoureux: The P a r i s i a n p r e m i e r e o f t h e p r e l u d e t o P a r s i f a l . L a m o u r e u x ' s f o r t h -coming p r e m i e r e o f a ' R a p s o d i e s u r Namouna. ' The b r i e f e x i s t e n c e o f two works p r e m i e r e d by Lamoureux ( L o r e l e y and S a r d a n a p a l e ) . - - R e f l e c t i o n s on t h e demi se o f t h e c o n c e r t s o c i e t y f ounded by Edouard B r o u s t e t ( s e e JD F - 0 8 / 1 0 / 1 8 8 1 ) . ] " F-15/01 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : R e p r i s e de G i r a l d a . [ Rev i ew i s p r eceded by a b r i e f h i s t o r y o f Ado lphe Adam's work ( w h i c h had no t been r e v i v e d s i n c e 1862) and an a p p r e c i a t i o n o f Adam as c r i t i c ] — T h e a t r e de l ' O p e r a : l a J u i v e , Mme M o n t a l b a [who had neve r b e f o r e sung t h e t i t l e r o l e ] ; [ - - Announcements o f two new p u b l i c a t i o n s : ] l a p a r t i -t i o n du SaTs , p a r o l e s e t mus ique de Mme M a r g u e r i t e O l a g n i e r [ a ' c o n t e a rabe en q u a t r e a c t e s e t c i n q t a b l e a u x , ' p r e m i e r e d at t h e T h e a t r e de l a R e n a i s s a n c e i n 1 8 8 1 ] ; l a p a r t i t i o n de l a Messe des m o r t s , d ' H e c t o r B e r l i o z [ p i a n o r e d u c t i o n ] . " F-29/01 [ ( C o m m u n i c a t i o n p u b l i s h e d under t he words "On nous e c r i t de Monaco : " ) Monte C a r l o : Comments on t h e wea the r and t h e t o u r i s t s . R o u l e t t e i n t h e crowded " s a l l e s de j e u . " - - T h e a t r e de Monte C a r l o : Names o f t he p r i n -c i p a l s i n t h i s y e a r ' s " t r o u p e i n c o m p a r a b l e . " S u r vey o f t h e r e p e r t o i r e . A few words on M i l e Van Zandt i n Le Pardon de P l o e r m e l . Rev iew o f Fau s t ( T a l a z a c ; M i l e Van Z a n d t ; Maure l as bo th s i n g e r and a c t o r ; Mme E n g a l l y ; P l a n g o n ; D u f r i c h e ) . ] * L A [ C u r R 1 9 1 ] - 1 7 / 0 2 , p p . 2-3 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : H e n r i V I I I , o p e r a en q u a t r e a c t e s , p a r o l e s de MM. Leonce D e t r o y a t e t Armand S i l v e s t r e , mus ique de M. C a m i l l e S a i n t - S a e n s . [ B e f o r e r e v i e w i n g t h i s work , t h e f i r s t by S a i n t - S a e n s t o be s t a g e d at t h e O p e r a , Reyer c o n s i d e r s ' u n e l e t t r e d e s t i n e e a l a p u b l i c i t e e t qu i en e f f e t f u t rendue p u b l i q u e , ' i n wh i ch 663 S a i n t - S a e n s r e p u d i a t e d t h e d o c t r i n e s o f W a g n e r . ] " F - l l / 0 3 "Revue m u s i c a l e . Les c o n c e r t s s p i r i t u e l s du v e n d r e d i s a i n t : Mme M a r i e S a s s e ; M. Theodore R i t t e r . [ G e n e r a l remark s on t he Good F r i d a y c o n c e r t s g i v e n by t h e s o c i e t i e s o f P a s d e l o u p , C o l o n n e , and Lamoureux, as w e l l as t h e S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e . O b s e r v a t i o n s c o n c e r n i n g a p r o t e s t i n t h e a u d i e n c e a t C o l o n n e ' s c o n c e r t . Rev iew o f P a s d e l o u p ' s c o n c e r t , wh i ch f e a t u r e d t h e sop rano Sa s se and t he p i a n i s t R i t t e r as g ue s t a r t i s t s . ] - - [ P a s d e l o u p ' s c o n c e r t o f t he p r e c e d i n g Sunday at t h e ] C i r q u e d ' H i v e r : Endymion , poeme m y t h o l o g i q u e de M. L o u i s Ga l l e t , mus ique de M. A l b e r t Cahen. [ Rev i ew i n c l u d e s a n o t i c e on t h e c a r e e r o f t h i s d i s t i n g u i s h e d amateu r , t hen known t o P a r i s i a n s as t h e composer o f Le B o i s ( s ee JD F - 15/10/1880 ) . ] - - Le d i r e c t e u r de l ' O p e r a e t M. V e r d i . [ B r i e f e d i t o r i a l i n s u p p o r t o f V a u c o r b e i l , who has asked V e r d i t o com-pose a work e x p r e s s l y f o r t h e O p e r a . ] - - Les nouveaux o u v r a g e s de M. M a s s e n e t . [ A f t e r s t a t i n g t h a t V e r d i ' s work ' s u c c e d e r a i t a l ' u n de ceux q u ' e s t en t r a i n d ' e c r i r e M. J u l e s M a s s e n e t , ' Reyer e x p l a i n s t h a t o n l y one o f M a s s e n e t ' s works i s d e s t i n e d f o r t h e O p e r a ; t h e o t h e r s a re f o r t h e Opera -Comique and ' l e f u t u r T h e a t r e - P o p u l a i r e . ' ] — Les r e p r i s e s . [Comments on t h e rumor t h a t t h e c o n t r a c t between Massenet and V a u c o r b e i l has a c l a u s e wh i ch s t i p u l a t e s t h a t i f Massenet does not c o m p l e t e t h e new work by a c e r t a i n d a t e , V a u c o r b e i l w i l l not p r e m i e r e an o p e r a by ano the r F r e n c h compose r , bu t w i l l i n s t e a d r e v i v e an ' o p e r a a n c i e n c h o i s i dans l e r e p e r t o i r e ou ho r s du r e p e r t o i r e . ' - - P o s t s c r i p t announc ing t h a t t he Opera has po s tponed t h e p r e m i e r e o f M a s s e n e t ' s work ' a une d a t e e n c o r e i n d e t e r m i n e e . ' ] " F-08/04 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Lakme, o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. G o n d i n e t e t P h i l i p p e G i l l e , mus i que de M. Leo D e l i b e s . [ I n t h i s r e v i e w o f a work wh i ch was b i l l e d as an o p e r a comique but bo re t he d e s i g n a t i o n o p e r a i n t h e s c o r e , Reyer a rgues t h a t 'Lakme e s t b e l e t b i e n un o p e r a c o m i q u e , ' and r e a f f i r m s a c o n v i c t i o n he has h e l d f o r many y e a r s : t h e d i s t i n c t i o n between o p e r a comique and o p e r a r e s t s s o l e l y on s t y l e , not on t h e t e c h n i c a l p o i n t o f spoken d i a -l o g u e i n t h e one as a g a i n s t r e c i t a t i v e i n t h e o t h e r ( s e e , e . g . , h i s r e v i e w o f G o u n o d ' s C i n q - M a r s i n JD F - 1 5 / 0 4 / 1 8 7 7 ) . ] " F-22/04 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : R e p r i s e de Carmen, o p e r a comique en q u a t r e a c t e s t i r e de l a N o u v e l l e de P r o s p e r Mer imee, poeme de MM. Hen r i M e i l h a c e t L u d o v i c H a l e v y , mus ique de Georges B i z e t . [ R e v i e w i n c l u d e s r e c o l l e c t i o n s o f R e y e r ' s i m p r e s s i o n o f t h i s work when i t was p r e m i e r e d i n 1875 . ] - - C o n s e r v a t o i r e n a t i o n a l de Mu s i que : E x e r c i c e s des e l e v e s . [ Rev i ew o f t h i s p u b l i c c o n c e r t f o c u s e s i n t u r n on t h e s t u d e n t o r c h e s t r a , c h o r u s , f o u r s o l o s i n g e r s , a s t r i n g q u a r t e t , and two p i a n -i s t s . ] — [ O b i t u a r y o f t h e t h i r t y - f i v e - y e a r - o l d p i a n i s t and compose r ] Henry K e t t e n . [ - - Response t o rumors c o n c e r n i n g t he n a t u r e o f a l i b r e t t o w h i c h t h e A c a d e m i c i e n E r n e s t Legouve ' a b i e n v o u l u se c h a r g e r de l i r e 664 . . . au d i r e c t e u r de V O p e r a . ' (The l i b r e t t o , wh i ch Reyer does not name, i s t h a t o f h i s S i g u r d . ) ] " F-29/04 "Revue m u s i c a l e . [ E d i t o r i a l o b j e c t i n g t h a t , s e v e r a l months a f t e r t he v o t i n g o f a s u b s i d y and t h e c h o o s i n g o f R i t t as D i r e c t o r ( s e e JD F-26/ 1 2/1882 ) , t h e T h e a t r e - L y r i q u e or O p e r a - P o p u l a i r e ' n ' e x i s t e guere e n c o r e q u ' a 1 ' e t a t de p r o j e t . ' - - Remarks on a l y r i c t h e a t r e w h i c h ' v i e n t de s u r g i r ' a t t h e S a l l e du C h a t e a u - d ' E a u and i s f u n c t i o n i n g w i t h o u t any o f f i c i a l s u p p o r t . ] T h e a t r e du C h a t e a u - d ' E a u : R e p r e s e n t a t i o n s p o p u -l a i r e s d ' o p e r a e t d ' o p e r a com ique : La Norma, de B e l l i n i [ r e v i e w o f t he p r o d u c t i o n wh i ch i n a u g u r a t e d t h i s t h e a t r e ] ; l e Voyage en C h i n e [ o b s e r v a -t i o n s on a r e h e a r s a l f o r t h e f o r t h c o m i n g p r o d u c t i o n o f B a z i n ' s o p e r a c o m i q u e ] . — Le T r o u v e r e aux B o u f f e s du No rd . [Comments on t h e h a n d b i l l o f t h i s t h e a t r e , ' s ' i n t i t u l a n t pompeusement e t p e u t - e t r e meme i l l i c i t e -ment " O p e r a - P o p u l a i r e . " ' ] - - Le L u c i f e r de M. P e t e r BenoTt au T r o c a -d e r o . [ R e y e r r e c a l l s h e a r i n g t h i s o r a t o r i o , p l a y e d a t t h e p i a no and sung by t h e compose r , a t a ' r e u n i o n i n t i m e ' a t B r u s s e l s ' i l y a q u e l q u e v i n g t a n s . ' The c r i t i c e x p l a i n s t h a t he was u n a b l e t o a t t e n d t he p e r -f o rmance at t h e T r o c a d e r o becau se he was a t L i l l e . ] - - Le f e s t i v a l de L i l l e de l a S o c i e t e des C o n c e r t s p o p u l a i r e s . [ R e f l e c t i o n s on a c o n c e r t w h i c h was o r g a n i z e d by t h e d i r e c t o r o f t h e s o c i e t y , P a u l M a r t i n , and c o n s i s t e d e n t i r e l y o f mus i c by R e y e r . The c o m p o s e r - c r i t i c does not r e v i e w t h e program (wh i ch he c o n d u c t e d at M a r t i n ' s i n v i t a t i o n ) , bu t d i s -c u s s e s t h e s o c i e t y , t h e C o n s e r v a t o i r e c h o r u s , and t he gues t a r t i s t s ( t h e s op rano Rose Caron and t h e bass A u g u e z ) . In a d d i t i o n , he e d i t o r i a l i z e s on t h e s u b s i d y g r a n t e d t h e s o c i e t y by t h e g o v e r n m e n t . ] — Un mot su r Carmen. [ A f t e r a t t e n d i n g a n o t h e r p e r f o r m a n c e o f C a r v a l h o ' s r e v i v a l , Reyer comments f u r t h e r on ' c e t t e mus ique de m a T t r e ' and on M i l e I s a a c ' s i n t e r p r e t a t i o n o f t h e t i t l e r o l e . ] " F-16/05 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : La P e r l e du B r e s i 1 , o p e r a en t r o i s a c t e s , poeme de J . G a b r i e l e t S y l v a i n S a i n t - E t i e n n e , mus ique de F e l i c i e n Dav i d ( R e p r i s e ) . [The p u b l i c ' s c o l d r e c e p t i o n o f t h i s work , one o f t h e s u c c e s s e s at t h e o l d T h e a t r e - L y r i q u e , p rompts Reyer t o e d i t o r i a l i z e on t h e d i s p o s s e s s i o n o f t h e L y r i q u e ' s r e p e r t o i r e by t h e Comique, w h i c h ' n e r e a l i s e r a j a m a i s ce r e v e . . . d ' e t r e a l a f o i s 1 ' Ope ra -Com ique e t l e T h e a t r e - L y r i q u e . ' The r e v i e w o f D a v i d ' s work i s l a r g e l y c o n c e r n e d w i t h t h e Amer i c an s op r ano Emma Nevada, who made her P a r i s i a n debut i n t h e r o l e o f Z o r a . ] — [ A l s o at t he Com ique : ] S au t e M a r q u i s , o p e r a comique en un a c t e , poeme de M. T r u f f i e r , mus ique de M. J . C r e s s o n n o i s . [A few words on t h e m u s i c a l c a r e e r o f t h i s f o r m e r Chef des Gu ide s p r e c e d e t h e n o t i c e on t h e posthumous p r e m i e r e o f h i s w o r k . ] - - E n c o r e l e s B o u f f e s du N o r d . [ B r i e f e d i t o r i a l on ano the r m a n i f e s t a -t i o n o f t h i s t h e a t r e ' s a m b i t i o n t o become t h e O p e r a - P o p u l a i r e ( s ee JD F - 1 6 / 0 5 ) . ] - - Les c o n c e r t s d ' o r g u e de M. G u i l m a n t au T r o c a d e r o . [ R e v i e w o f a s e r i e s o f f o u r c o n c e r t s wh i ch t he o r g a n i s t - c o m p o s e r gave w i t h t h e a s s i s t a n c e o f gue s t a r t i s t s and C o l o n n e ' s o r c h e s t r a . ] - - L e c t u r e d ' u n poeme d ' o p e r a , pa r M. Legouve . [Remarks on t h e outcome of t he r e a d i n g o f t h e l i b r e t t o ( w h i c h Reyer does not name; see JD F - 2 9 / 0 4 ) . ] — Po s t 665 S c r i p t u m . [Announcement t h a t ' l ' o p e r a de S i g u r d ' has been a c c e p t e d by t h e c o - d i r e c t o r s o f t h e T h e a t r e de l a Monnaie at B r u s s e l s , and w i l l p r o b a b l y be p r e m i e r e d ' l ' h i v e r p r o c h a i n . ' ] " F-27/05 "Revue m u s i c a l e . Les examens s e m e s t r i e l s du C o n s e r v a t o i r e e t l e c o n -c o u r s pour l e g rand p r i x de c o m p o s i t i o n m u s i c a l e . [ Compa r i s on o f t h e e x a m i n a t i o n p r o c e s s e s f o r ' l e s e l e v e s c h a n t e u r s e t i n s t r u m e n t i s t e s ' and f o r t h e P r i x de Rome c o m p e t i t o r s . Comments on t h e c a n t a t a poem Le G l a d i a t e u r , by E m i l e Mo reau . ] - - Les p r i x de Rome. [ E d i t o r i a l i n wh i ch Reyer r e i t e r a t e s h i s l o n g - h e l d c o n v i c t i o n t h a t w i n n e r s o f t h i s p r i z e s h o u l d , upon t h e i r r e t u r n t o F r a n c e , be sen t t o p r o v i n c i a l t h e a t r e s , where t h e y would s e r v e as c o n d u c t o r s i n exchange f o r t h e r i g h t t o s t a g e an o p e r a o f t h e i r own.] - - Le nouveau d i r e c t e u r de 1 ' E c o l e de mus ique de T o u l o u s e , s u c c u r s a l e du C o n s e r v a t o i r e de P a r i s . [ N o t i c e on t he c a r e e r o f t h e composer L o u i s D e f f e s , new l y a p p o i n t e d d i r e c t o r o f t h e T o u l o u s e c o n s e r v a t o r y . ] - - Le nouveau t h e a t r e i t a l i e n . [ I n f o r m a t i o n on t he imminent r e e s t a b l i s h i n g o f such a t h e a t r e : l o c a t i o n ; p r i n c i p a l s i n g e r s ; c o n d u c t o r ; r e p e r t o i r e ; t h e b a r i t o n e M a u r e l , who w i l l be both a p r i n c i p a l s i n g e r and t h e a r t i s t i c d i r e c t o r . ] - - Les I l l u s i o n s m u s i c a l e s , p a r Johannes Weber. [ Rev i ew o f a book by t he mus i c c r i t i c o f Le Temps, ap ropos o f what Weber r e g a r d s as ' d e s i l l u s i o n s ' o f composer and p u b l i c c o n c e r n i n g ' l a mus ique i m i t a t i v e , ' ' l a mus ique d e s c r i p t i v e , ' and ' l a c o u l e u r l o c a l e . ' ] " F-17/06 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : M a t h i a s C o r v i n , o p e r a comique en un a c t e , p a r o l e s de M. P a u l M i l l i e t e t J u l e s L e v a l l o i s , m u s i -que de M. de B e r t h a ; l e P o r t r a i t , o p e r a comique en deux a c t e s , p a r o l e s de MM. L a u r e n c i n e t J u l e s A d e n i s , mus ique de M. Theodore de L a j a r t e . [ Rev i ew o f t h e works wh i ch were p r e m i e r e d t o meet t he r e q u i r e m e n t ( s t i p u l a t e d i n t h e c a h i e r des c h a r g e s o f t h e Comique) t h a t t h r e e new a c t s be s t a g e d b e f o r e t h e end o f t h e s e a s o n . The work by t he H u n g a r i a n p i a n i s t - c o m p o s e r B e r t h a was p e r f o r m e d on t h e same e v e n i n g as t h a t o f L a j a r t e . ] - - [ T h e a t r e de l ' O p e r a : ] Debuts de Mme D u v i v i e r dans l e s Hugueno t s , e t de M. P l a ngon dans F a u s t . [ B r i e f e d i t o r i a l on t h e s u p -posed f a i l u r e o f Mme D u v i v i e r ( f o r m e r l y o f t h e T h e a t r e de l a Monnaie i n B r u s s e l s ) . N o t i c e on t h e p e r f o r m a n c e o f P l angon as M e p h i s t o p h e l e s . ] - -Academie des B e a u x - A r t s : c o n c o u r s pour l e g rand p r i x de c o m p o s i t i o n m u s i c a l e . [Announcement o f t h e r e s u l t s o f t h e c o m p e t i t i o n . ] — [Book r e v i e w : ] La Comedie a l a c o u r : l e s T h e a t r e s de s o c i e t e r o y a l e pendant l e s i e c l e d e r n i e r , pa r M. A d o l p h e J u l l i e n . " F-01/07 "Revue m u s i c a l e . C o n s e r v a t o i r e n a t i o n a l de mus ique e t de d e c l a m a t i o n . [ E d i t o r i a l on t h e h i s s i n g o f t h e j u r y at t h e annual c o m p e t i t i o n s . ( Reye r s u g ge s t s t h a t e i t h e r t h e c o m p e t i t i o n s t a k e p l a c e a h u i s c l o s and t h e p u b l i c be a d m i t t e d o n l y f o r t h e awards ce remony , o r t h a t t he j u d g -ments o f t h e j u r y not be announced u n t i l t h e c e r e m o n y . ) ] - - Concou r s de c h a n t , d ' o p e r a e t d ' o p e r a c o m i q u e . [The men ' s c o m p e t i t i o n s : M u r a t e t and E s c a l a T s , each o f whom won a ' p r e m i e r p r i x de c h a n t . ' ( R e y e r ' s 666 a s se s sment o f E s c a l a ' f s i n c l u d e s an e d i t o r i a l e x h o r t i n g s t u d e n t s and t e a c h e r s t o show r e s p e c t f o r a c o m p o s e r ' s t e x t . ) Winner s o f ' a c c e s -s i t s . ' - - The a d o p t i o n o f C h a r l e s G a r n i e r ' s p l a n f o r e n l a r g i n g t h e Con -s e r v a t o i r e b u i l d i n g l e a d s Reyer t o c a l l a g a i n f o r t h e r e e s t a b l i s h i n g o f t h e p e n s i o n n a t ( see JID F - 18/08/1881 ) . - - The women's c o m p e t i t i o n s : M i l e B e r e n g i e r and t h e j u r y ' s judgment (wh i ch was h i s s e d ) . M i l e s Simmonet and C a s t a g n e , who s ha red t h e ' s e c o n d p r i x de c h a n t . ' W inne r s o f o t h e r p r i z e s and ' a c c e s s i t s ' i n t h e t h r e e c a t e g o r i e s . - - E d i t o r i a l r e i t e r a t i n g t h e demand ' q u e , dans 1 ' e n se i gnement du chan t au C o n s e r v a t o i r e , on f i t une p l u s l a r g e p a r t a l a mus ique c l a s s i q u e . ' - - Response t o an unnamed j o u r n a l i s t ' s o b j e c t i o n t h a t t h e d i r e c t o r o f t h e O p e r a , who has t h e r i g h t t o engage f o r one y e a r any w i n n e r o f a ' p r e m i e r p r i x d ' o p e r a , ' s h o u l d no t p e r m i t t h e p r i z e - w i n n e r t o s i n g at a f o r e i g n t h e a t r e d u r i n g t h a t y e a r . ] " F-08/08 "Revue m u s i c a l e . La s a i s o n m u s i c a l e . [Remarks on f o r t h c o m i n g p r e m i e r e s a t t h e Ope ra : a r e v i s e d v e r s i o n o f Gounod ' s Sapho ( 1 8 5 1 ) , and Theodore D u b o i s ' s b a l l e t L a F a r a n d o l e . O b s e r v a t i o n s c o n c e r n i n g t h e O p e r a -C o m i q u e ' s r e h e a r s a l s o f a new work by M a s s e n e t , Manon L e s c a u t . ] - -T h e a t r e de l ' O p e r a : Debuts de M i l e I s a a c dans Hamlet e t de M. E s c a l a ' f s dans Gui11aume T e l 1. [ A f t e r w r i t i n g a n o t i c e on M i l e I s aac ( f o r m e r l y o f t h e O p e r a - C o m i q u e ) , Reyer r e v i e w s at l e n g t h t h e debut o f E s c a l a T s , one o f t h e w i n n e r s o f t h e C o n s e r v a t o i r e ' s r e c e n t c o m p e t i t i o n s . - - Comments on t h e c o n t i n u i n g p o p u l a r i t y o f A u d r a n ' s o p e r e t t a La M a s c o t t e ( p r e m i e r e d a t t h e B o u f f e s du Sud i n 1 8 8 0 ) . ] - - T h e a t r e du C h a t e a u - d ' E a u : [ E d i -t o r i a l on t h e u n d i s t i n g u i s h e d r e p e r t o i r e t h a t has been o f f e r e d by t h e d i r e c t o r , Georges de L a g r e n e , who a s p i r e s t o o b t a i n t he s u b s i d y once a l l o c a t e d f o r an O p e r a - P o p u l a i r e ( s ee JD F - 26/12/1882 ) . ] Ro land a Roncevaux , poeme e t mus ique de M. Augu s te Mermet. [ Rev i ew o f de L a g r e n e 1 s p r o d u c t i o n o f a work wh i ch had not been s t a ged at P a r i s s i n c e 1 8 6 7 . ] " F-19/10 "Revue m u s i c a l e . Academie des B e a u x - A r t s . [ D e s c r i p t i o n o f t h e p r o c e e d -i n g s o f t h e annua l p u b l i c s e a n c e , at wh i ch t h e Academie awards t h e P r i x de Rome i n p a i n t i n g , a r c h i t e c t u r e , s c u l p t u r e , and m u s i c , and the w i n n i n g c a n t a t a i s p e r f o r m e d w i t h o r c h e s t r a . - - Rev iew o f an o v e r t u r e by Samuel Rousseau ( a f o r m e r w i n n e r o f t h e P r i x de Rome), pe r f o rmed at t he b e g i n -n i n g o f t h i s y e a r ' s s e a n c e . ] - - E x e c u t i o n de l a scene l y r i q u e l e G l a d i a - t e u r , p a r o l e s de M. E m i l e Mo reau , mus ique de M. Pau l V i d a l , p r e m i e r g rand p r i x de c o m p o s i t i o n m u s i c a l e . [ Rev i ew o f bo th t h e p r e s c r i b e d t e x t and t h e w i n n i n g s e t t i n g . ] - - M. Debus sy , M. Rene. [Remarks on t h e two s t u d e n t s r e c o g n i z e d a f t e r V i d a l . - - B r i e f e d i t o r i a l c o u n s e l l i n g young composer s t o shun t h e v o c a l a r t i f i c e s ' d o n t 1 ' u n i q u e o b j e t e s t . . . d ' a t t i r e r du meme coup l e s a p p l a u d i s s e m e n s du p u b l i c su r 1 ' i n t e r p r e t e e t s u r l e c o m p o s i t e u r . ' ] - - La Damnat ion de F a u s t e t l e monument de B e r -l i o z . [Announcement t h a t t h e p r o c e e d s f r om t h i s p e r f o r m a n c e , wh i ch began t h e new season o f t h e C o n c e r t s du C h a t e l e t , w i l l go toward t he e r e c t i o n o f a monument t o B e r l i o z ( s e e JD F - 16/05/1884 ) . ] - - C o n c e r t s p o p u l a i r e s : Le c o n c e r t o en s i bemol de M o z a r t , e x e c u t e par M. Theodore 667 R i t t e r . [ Rev i ew o f R i t t e r ' s p e r f o r m a n c e at P a s d e l o u p ' s f i r s t c o n c e r t o f t h e s e a s o n . Comments on t h e i n t e n t i o n o f t h e c o n d u c t o r and t he p i a n i s t t o p r e s e n t a s e r i e s o f M o z a r t ' s c o n c e r t o s . ] — T e a t r o comuna le d i B o l o g n a : M i l e C e c i l e R i t t e r . [ Reye r r e p o r t s t h a t ' l e s j o u r n a u x b o l o n a i s ' have h i g h l y p r a i s e d t h i s F r e n c h soprano ( s i s t e r o f Theodore R i t t e r ) , who r e c e n t l y appeared i n t h e B o l o g n a t h e a t r e ' s p r o d u c t i o n o f Thomas ' s H a m l e t . ] " F -28/10 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : [ O b j e c t i o n s t o t h e n e g l e c t o f t h e s op rano Mme D u v i v i e r . ] R e p r i s e de H e n r i V I I I . [ I n t h e m i d s t o f t he r e v i e w , Reyer a g a i n r e c a l l s t h e l e t t e r i n w h i c h S a i n t - S a e n s r e p u d i a t e d Wagne r ' s d o c t r i n e s ( s ee JD F - l l / 0 3 ) . ] - - T h e a t r e de 1 ' Ope ra -Comique : R e p r i s e de Carmen; Mme G a l l i - M a r i e [who had c r e a t e d t h e t i t l e r o l e i n 1875 , and now appear s i n C a r v a l h o ' s new p r o d u c t i o n ] . - - M. Mauras [ a s Don J o s e ] . - - M i l e B i l b a u t - V a u c h e l e t [as M i c a e l a ] . — Que lques mots a p ropo s de 1 ' O p e r a - P o p u l a i r e e t du T h e a t r e - I t a l i e n . [ E d i t o r i a l on t he d e c i s i o n o f t h e Commiss ion de 1 ' O p e r a - P o p u l a i r e t o r e c o g n i z e and s u b s i -d i z e Georges de L a g r e n e ' s T h e a t r e du C h a t e a u - d ' E a u on one c o n d i t i o n : t h a t t h i s d i r e c t o r f i n d ' " s i x p r e m i e r s s u j e t s ' " who would be a c c e p t a b l e t o ' " u n e s o u s - c o m m i s s i o n d e l e g u e e . . . par l e C o n s e i l m u n i c i p a l . " ' Response t o t h e rumor t h a t t h e r e c e n t l y o r g a n i z e d T h e a t r e - I t a l i e n ( s ee JD F-17/06) w i l l not open . ] - - C o n c e r t s du C h a t e l e t : l e s E r i n n y e s . TjReview o f t h e p e r f o r m a n c e o f ' d ' i m p o r t a n s f r a g m e n s ' f r o m M a s s e n e t ' s i n c i d e n t a l mus i c f o r L e c o n t e de L i s l e ' s p l a y ( 1 8 7 3 ) . ] — P u b l i c a t i o n s n o u v e l l e s . [Announcements o f new s c o r e s and t h e f o r t h c o m i n g p u b l i c a t i o n o f ' une b e l l e marche f u n e b r e ' w h i c h Theodore R i t t e r has composed and d e d i c a t e d t o t h e memory o f B e r l i o z . ] " F-10/11 "Revue m u s i c a l e . Academie n a t i o n a l e de mus ique e t de danse ( O p e r a ) : 1 a F a r a n d o l e , b a l l e t en t r o i s a c t e s de MM. P h i l i p p e G i l l e , A r n o l d M o r t i e r e t M e r a n t e ; mus ique de M. Theodore D u b o i s . [ Rev i ew i s p r eceded by a d e s c r i p t i o n o f t h e ' c i r c o n s t a n c e s t o u t a f a i t i m p r e v u e s ' wh i ch had l e d t o t h e c o m m i s s i o n i n g o f t h i s b a l l e t f r o m Dubo i s ( t h e n p r o f e s s o r o f h a r -mony at t h e C o n s e r v a t o i r e and o r g a n i s t at t h e M a d e l e i n e ) . At t h e end o f t h e r e v i e w , Reyer d e c l a r e s : ' J e s u i s venu a P a r i s t o u t e x p r e s pour a s s i s t e r a l a p r e m i e r e r e p r e s e n t a t i o n de 1 a F a r a n d o l e ; l e l e n d e m a i n , j e r e t o u r n a i s a B r u x e l l e s , ou j ' a i q u e l q u e i n t e r e t a r e s i d e r a c t u e l l e m e n t . ' ( See JD F - 2 6 / 0 1 / 1 8 8 4 . ) ] " F-23/12 1884 J o u r n a l des Debat s "Revue m u s i c a l e . A p p e n d i c e a un f e u i l l e t o n du 26 [ i . e . , 27] m a i . [The r e a d i n g o f t h e l i b r e t t o o f S i g u r d t o t h e d i r e c t o r o f t h e Opera ( see JD F-27/05/1883) i s r e c a l l e d by R e y e r , who e x p l a i n s t h a t he had s u b s e -q u e n t l y t a k e n h i s s c o r e t o B r u s s e l s , where i t had been a c c e p t e d by t he 668 T h e a t r e de l a M o n n a i e . ] - - Voyage a B r u x e l l e s . [ A f t e r s p e n d i n g most o f November and December s u p e r v i s i n g r e h e a r s a l s o f S i g u r d , Reyer a p p l a u d s t h e key p e r s o n n e l at t h e Monna i e , e s p e c i a l l y t h e c o - d i r e c t o r s (Stoumon and C a l a b r e s i ) , t h e r e g i s s e u r g e n e r a l ( L a p i s s i d a ) , and t he c o n d u c t o r ( J o s eph D u p o n t ) . Reyer does not however r e v i e w t h e p r e m i e r e , b e l i e v i n g t h a t 'ma t a c h e i c i d o i t se b o r n e r a vous d i r e que j ' a i t r o u v e . . . des i n t e r p r e t e s q u i m ' on t p r e t e l e c o n c o u r s l e p l u s d e v o u e . ' He then d i s -c u s s e s t h e s i n g e r s who c r e a t e d t h e p r i n c i p a l r o l e s i n h i s w o r k . ] - -[ C o n c e r t s du C o n s e r v a t o i r e ( c o n d u c t e d by F r a n g o i s G e v a e r t , d i r e c t o r o f t h e B r u s s e l s C o n s e r v a t o i r e ) : ] L ' o r a t o r i o de Noel de S e b a s t i a n Bach . [ Rev i ew o f a p e r f o r m a n c e o f t h e f i r s t two p a r t s . I n c l u d e d i n t he r e v i e w a re a n o t i c e on t h e s i x c a n t a t a s wh i ch c o m p r i s e t h i s ' o r a t o r i o , ' and comments on B a c h ' s use o f t h e oboe d ' a m o r e . ] — T h e a t r e de T O p e r a -Comique: Manon, o p e r a comique en c i n q a c t e s e t s i x t a b l e a u x , de MM. H e n r i M e i l h a c e t P h i l i p p e G i l l e ; mus ique de M. Ma s s ene t . [ R e y e r b e g i n s t h e r e v i e w by s t a t i n g t h a t he r e t u r n e d f r o m B r u s s e l s e x p r e s s l y f o r t h e p r e m i e r e o f t h i s work by 'mon ami M a s s e n e t . ' ] " F t t - 2 6/01 " H e r o d i a d e au T h e a t r e - I t a l i e n . [ Rev i ew o f t h e P a r i s i a n p r e m i e r e o f M a s s e n e t ' s o p e r a , p e r f o r m e d i n I t a l i a n at t h e T h e a t r e - I t a l i e n de l a p l a c e du C h a t e l e t ( d i r e c t e d by V i c t o r M a u r e l ) . Reyer does not r e t e l l t h e s t o r y and c o n s i d e r t h e m u s i c , h a v i n g done so when he r e v i e w e d t he p r e m i e r e at B r u s s e l s ( s ee JD_ F t f - 2 5 / 1 2 / 1 8 8 1 ) . I n s t e a d , he f i r s t e d i -t o r i a l i z e s on ' l e s i n c o n v e n i e n s de l a t r a d u c t i o n ' and t hen a s s e s s e s t he s i n g e r s who had overcome M a s s e n e t ' s m i s g i v i n g s about p r e s e n t i n g t h e work i n t r a n s l a t i o n . (The s i n g e r s i n c l u d e d Mme A d l e r - D e v r i e s , M a u r e l , and t h e de Reszke b r o t h e r s . ) ] " A - 1 5/02 , p. 3 [ ( C o m m u n i c a t i o n p u b l i s h e d under t h e words "On nous e c r i t de Monaco : " ) T h e a t r e de M o n t e - C a r l o : Remarks on t h e p r a c t i c e o f s h o r t e n i n g t h e o p e r a s pe r f o rmed on t h i s " p e t i t e s c e n e . " Names o f t h e p r i n c i p a l s i n g e r s i n t h i s y e a r ' s company. S u r vey o f t h e r e p e r t o i r e (wh i ch c o n s i s t s o f I t a l i a n o p e r a s and F r e n c h ope ra s i n I t a l i a n t r a n s l a t i o n ) . Comments on t h e fame and t h e f e e o f Mme A d l e r - D e v r i e s , who w i l l appear as O p h e l i a i n a s h o r t e n e d v e r s i o n o f Ambro i s e Thomas ' s H a m l e t . N o t i c e s on p e r f o r -mances o f f i v e o t h e r p r i n c i p a l s ( V e r g n e t and M i e r z w i n s k i , two r i v a l t e n o r s ; t h e b a r i t o n e P a n d o l f i n i ; t h e b a r i t o n e Bouhy; t h e soprano C a r o l i n e Sa l l a ) . ] * LA [Cu rR 1 91 ] - 1 9/02 , p. 3 [ ( C o m m u n i c a t i o n p u b l i s h e d under t h e words "On nous e c r i t de Monaco : " ) T h e a t r e de M o n t e - C a r l o : Thomas ' s H a m l e t , s h o r t e n e d and , c o n t r a r y t o t h e cu s tom o f t h i s t h e a t r e , sung i n F r e n c h ( w i t h t he e x c e p t i o n o f t he c h o r u s e s , wh i ch were sung i n I t a l i a n ) . Rev iew f o c u s e s on t h e p e r f o r -mances o f Bouhy, Mme S a l l a , and Mme A d l e r - D e v r i e s . - - Remarks on t he absence o f t h e t h e a t r e ' s " a c c o m p a g n a t e u r , " who i s r e p l a c e d t h i s sea son by Veronge de l a Nux, a f o r m e r w i n n e r o f t h e P r i x de Rome.] * L A [ C u r R 1 91 ] - 2 7/02 , p. 2 669 "Revue m u s i c a l e . C o n c e r t s Lamoureux: E x e c u t i o n du p r e m i e r a c t e de T r i s t a n e t I s e u l t . [ Rev i ew o f t h e f i r s t P a r i s i a n p e r f o r m a n c e ( i n c o n -c e r t ; F r e n c h t r a n s l a t i o n by V i c t o r W i l d e r ) . L amou reux ' s p r e s e n t a t i o n was R e y e r ' s r e a l i n i t i a t i o n t o t h i s mus i c d rama, becau se ' c ' e t a i t l a p r e m i e r e f o i s que j ' e n t e n d a i s T r i s t a n e t I s e u l t a 1 ' o r c h e s t r e . ' The c r i t i c s e i z e d t h e o p p o r t u n i t y t o make h o n o r a b l e amends f o r h i s r e j e c t i o n o f i t i n S o u v e n i r s d ' A l l e m a g n e ( s e r i a l i z e d i n Le M o n i t e u r u n i v e r s e l ; see F - 25/12/1864 ) . ] - - L o h e n g r i n a 1 ' Ope ra -Com ique " [Comments on t he rumor t h a t C a r v a l h o i n t e n d s t o s t a g e t he P a r i s i a n p r e m i e r e o f Wagne r ' s o p e r a . ] - - T h e a t r e - I t a l i e n : l e t e n o r G a y a r r e . [ N o t i c e on a r e c e n t l y engaged t e n o r whose s u c c e s s i s ' v r a i m e n t p r o d i g i e u x . ' ] " F t t - 2 2 / 0 3 "Revue m u s i c a l e . L ' O p e r a - P o p u l a i r e e t l a p r o p o s i t i o n du c i t o y e n M i c h e l i n . [ E d i t o r i a l on t h e c i t y c o u n c i l ' s r e j e c t i o n o f a c o u n c i l m a n ' s p r o p o s a l t h a t t h e s u b s i d y g r a n t e d t o Georges de L a g r e n e ' s O p e r a -P o p u l a i r e be d i s c o n t i n u e d . The e d i t o r i a l c o n c l u d e s w i t h remark s on t he most r e c e n t p r o d u c t i o n a t t h i s t h e a t r e : a r e v i v a l o f L u c i a d i Lammer- moor i n F r e n c h t r a n s l a t i o n . ] - - L ' U n i o n i n t e r n a t i o n a l des c o m p o s i t e u r s e t l e d i r e c t e u r de 1 ' A s s i s t a n c e p u b l i q u e . [ N o t i c e on t he e s t a b l i s h i n g o f a new m u s i c a l s o c i e t y , o f wh i ch t h e v i o l i n i s t Bruneau ( f a t h e r o f t h e composer ) i s bo th f o u n d e r and ' p r e s i d e n t e f f e c t i f , ' and Reyer i s h o n o r -a r y p r e s i d e n t . D e s c r i p t i o n o f t h e s o c i e t y ' s g o a l : t o p r e s e n t t o t he p u b l i c new works by l i v i n g composer s ' de t ou s p a y s , ' by means o f s i x c o n c e r t s at t h e T r o c a d e r o . E d i t o r i a l on a d i s p u t e between Bruneau and t h e D i r e c t o r o f P u b l i c A s s i s t a n c e about t he amount o f t h e ' p o o r t a x ' t o be imposed on t i c k e t s f o r each c o n c e r t . ] - - La S i t u a t i o n m u s i c a l e e t 1 ' i n s t r u c t i o n p o p u l a i r e en F r a n c e , pa r M. Johannes Weber. [ Rev i ew o f a ' b r o c h u r e d ' u n e c e n t a i n e de p a g e s ' i n wh i ch t h e a u t h o r , a c c o r d i n g t o R e y e r , i s p r i m a r i l y c o n c e r n e d w i t h ' 1 ' e n s e i g n e m e n t , l e s e t ude s e t 1 ' o r g a n i s a t i o n de n o t r e C o n s e r v a t o i r e n a t i o n a l e t des s u c c u r s a l e s de p r o v i n c e . ' ] - - 4 e a u d i t i o n de T r i s t a n e t I s e u l t . [ N o t i c e on t he s u c c e s s o f t h e f i n a l p e r f o rmance o f A c t I a t t he C o n c e r t s Lamoureux. - - P o s t -s c r i p t on t h e r e p e t i t i o n g e n e r a l e o f Gounod ' s r e v i s e d v e r s i o n o f Sapho, a t t h e O p e r a . ] " F-29/03 "Revue m u s i c a l e . Academie n a t i o n a l e de mus ique e t de d a n s e : Sapho, o p e r a en q u a t r e a c t e s e t c i n q t a b l e a u x ( r e p r i s e e t p r e m i e r e r e p r e s e n t a -t i o n ) , poeme de M. E m i l e A u g i e r , mus ique de M. C h a r l e s Gounod. [ T h i s wo rk , o r i g i n a l l y i n t h r e e a c t s and p r e m i e r e d at t h e Opera i n 1851, was expanded by t h e l i b r e t t i s t s and composer so t h a t i t c o u l d be s t aged as an ' o e u v r e n o u v e l l e ' (one o f wh i ch was r e q u i r e d a n n u a l l y by t he O p e r a ' s c a h i e r des c h a r g e s ) . R e y e r ' s r e v i e w o f t he new v e r s i o n i n c l u d e s compar -i s o n s w i t h t h e o r i g i n a l . ] - - [ C o n c e r t o r ' f e s t i v a l ' o f 1 ' Un ion i n t e r -n a t i o n a l des c o m p o s i t e u r s , a t t h e ] S a l l e du T r o c a d e r o : La R e d e m p t i o n , t r i l o g i e s a c r e e , p a r o l e s e t mus ique de M. C h a r l e s Gounod. [ Rev i ew o f t h e f i r s t P a r i s i a n p e r f o r m a n c e o f an o r a t o r i o p r e m i e r e d at t h e B i r m i n g -ham F e s t i v a l o f 1882. (Reye r had w r i t t e n ' q u e l q u e s m o t s ' about t h i s work upon r e c e i v i n g a copy o f t h e s c o r e ; see ^D F - 1 0 / 1 2 / 1 8 8 2 . ) ] " F-06/04 670 "Revue m u s i c a l e . O p e r a - P o p u l a i r e [ s i c ] F i n i s c o r o n a t opu s . [The demi se o f Georges de L a g r e n e ' s O p e r a - P o p u l a i r e c a u s e s Reyer t o e d i t o r i -a l i z e f i r s t on t h e f a c t o r s wh i ch l e d t o i t s d o w n f a l l , and then on t h e ' m i s s i o n ' o f a r e e s t a b l i s h e d t h i r d l y r i c t h e a t r e . ] — Les c o n c e r t s du v e n d r e d i s a i n t . [Open i n g r emark s on t h e s e c u l a r c h a r a c t e r o f t h e s e ' c o n c e r t s qu i s ' i n t i t u l e n t " s p i r i t u e l s . " ' Programs o f t he c o n c e r t s c o n -d u c t e d by Lamoureux and P a s d e l o u p . - - N o t i c e s on new mus i c at r e c e n t C o n c e r t s Lamoureux and C o n c e r t s p o p u l a i r e s : e x c e r p t s f r o m G o d a r d ' s o p e r a Pedro de Za l amea ; C h a b r i e r ' s E spana . - - Mme A d l e r - D e v r i e s as gue s t a r t i s t at C o l o n n e ' s ' c o n c e r t s p i r i t u e l . ' ] - - S a l l e du T r o c a d e r o ( 2 e f e s t i v a l ) , f ragmens de H u l d a , o p e r a i n e d i t , poeme de M. C h a r l e s G r a n d -m o u g i n , mus ique de M. C e s a r F r a n c k . - - L e d a , poeme a n t i q u e de M. H e n r i L a vedan , mus ique de M. A l f r e d B r u n e a u . - - F r i t i o f , l e g e n d e s c a n d i n a v e d ' a p r e s E sa ' i a s T e g n e r , t r a d u c t i o n f r a n g a i s e de M. V i c t o r W i l d e r , mus ique de M. Max B r u c h . [ F r agment s f r o m B r u c h ' s c h o r a l work and f r om F r a n c k ' s o p e r a , as w e l l as A l f r e d B r u n e a u ' s Leda i n i t s e n t i r e t y , c o m p r i s e d t h e second c o n c e r t o f 1 ' Un ion I n t e r n a t i o n a l e des c o m p o s i t e u r s ( o f wh i ch Gounod had s u c ceeded Reyer as ' p r e s i d e n t h o n o r a i r e ' ) . None o f t h e s e works had p r e v i o u s l y been p e r f o r m e d at P a r i s , a l t h o u g h t h e o r i g i n a l v e r -s i o n o f F r i t h j o f , w i t h W i l d e r ' s t r a n s l a t i o n , had been p u b l i s h e d ( see R e y e r ' s comments i n J^_D F - 20/02/1875 ) . ] - - Les A n n a l e s du t h e a t r e e t de l a mu s i que , pa r MM. Edouard Noel e t Edmond S t o u l l i g , avec une p r e f a c e de M. C h a r l e s G a m i e r , de 1 ' I n s t i t u t . [ R e v i e w o f t h e a r c h i t e c t G a m i e r ' s p r e f a c e t o t h e n i n t h vo lume i n t h e ongo i n g s e r i e s . ] " F-20/04 " L e s C o n c e r t s p o p u l a i r e s . [ E d i t o r i a l on t h e demise o f t h e o r c h e s t r a l o r g a n i z a t i o n f ounded i n 1861 by t h e c o n d u c t o r J u l e s P a s d e l o u p . ] " A - l l / 0 5 , p. 3 "Revue m u s i c a l e . C o n s e r v a t o i r e n a t i o n a l de mus ique e t de d e c l a m a t i o n : E x e r c i c e des e l e v e s . [ Rev i ew o f t h e s t u d e n t s ' p u b l i c c o n c e r t ( M e n d e l s -sohn ' s j i l _ i j _ah , i n F r e n c h t r a n s l a t i o n ) . ] — T h e a t r e de 1 ' O p e r a - C o m i q u e : R e p r i s e de Lakme, o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. Edmond G o n d i n e t e t P h i l i p p e G i l l e , mus ique de M. Leo D e l i b e s . [Remarks on t he renewed s u c c e s s o f t h i s work , w i t h M i l e Van Zandt a g a i n i n t h e t i t l e r o l e and a young t e n o r , Degenne, mak ing h i s debut as G e r a l d . ] — T h e a t r e - I t a l i e n : Debut de M. R o b e r t S t a g n o . [ Reye r r e c o u n t s what he has hea rd about t h e p e r f o r m a n c e o f t h i s m u c h - t o u t e d t e n o r i n R i g o l e t t o . ] - - Le monument de B e r l i o z . [ A f t e r announc i ng t h a t ' l e c o m i t e fo rme pour 1 ' e r e c t i o n d ' u n monument a l a memoire de B e r l i o z ' has been g r a n t e d p e r m i s s i o n t o p l a c e a s t a t u e i n t h e s q u a r e V i n t i m i l l e , Reyer d e s c r i b e s t h e k i n d o f monument he wou ld f a v o r , and p r opo se s ' a mes c o n f r e r e s du c o m i t e ' t h a t t h e Symphonie f u n e b r e e t t r i o m p h a l e be pe r f o rmed at t h e i n a u g u r a t i o n . ] - - [Book r e v i e w : ] P a r i s d i l e t t a n t e au commencement du s i e c l e , pa r M. Ado l phe J u l l i e n . " F-16/05 "Revue m u s i c a l e . L a c a n t a t e pour l e g rand p r i x de c o m p o s i t i o n m u s i -c a l e . [The c h o o s i n g o f G u i n a u d ' s c a n t a t a t e x t L ' E n f a n t p r o d i g u e as t h e one t o be s e t by t h i s y e a r ' s c a n d i d a t e s f o r t h e P r i x de Rome prompts 671 Reyer f i r s t t o r e f l e c t on t h e ' m e d i o c r e s ' t e x t s t h a t have been s u b m i t t e d i n t h e s e annua l c o m p e t i t i o n s , and t hen t o r e i t e r a t e h i s p o s i t i o n t h a t t h e h o l d i n g o f a c o m p e t i t i o n i s an u n s a t i s f a c t o r y way t o o b t a i n a t e x t ( s e e JD F - 29/06/1881 ) . ] - - S a l l e du T r o c a d e r o : 4 e f e s t i v a l de l ' u n i o n i n t e r n a t i o n a l des c o m p o s i t e u r s . [ R e v i e w s o f t h e f o l l o w i n g (none o f wh i ch had p r e v i o u s l y been pe r f o rmed a t P a r i s ) : S a i n t - S a e n s ' s Hymne a V i c t o r Hugo; N i e l s G a d e ' s L a F a n t a i s i e du p r i n t e m p s ( F r i i h l i n g s - F a n t a s i e ) ; an o r c h e s t r a l s u i t e by Theodore D u b o i s , based on m o t i f s f r o m La F a r a n d o l e ; G u i r a u d ' s o v e r t u r e A r t e v e l d ; an Andante and a Menuet by A r t h u r C o q u a r d ; and T c h a i k o v s k y ' s I t a l i a n C a p r i c c i o . (The r e v i e w s o f t h e works by Gade and t h e young Coquard a re accompan ied by n o t i c e s on t h e i r c a r e e r s . ) Comments on M. B r u n e a u ' s d e c i s i o n t o po s t pone i n d e f i -n i t e l y t h e two r e m a i n i n g c o n c e r t s i n t h e s e r i e s . ] - - P u b l i c a t i o n s nou -v e l l e s : C e n d r i l I o n , b a l l e t pantomime en t r o i s t a b l e a u x , mus ique de M. C h a r l e s M a l h e r b e . [ R e v i e w o f a f o u r - h a n d a r rangement o f t h i s u n p e r -fo rmed b a l l e t by t h e then -unknown M a l h e r b e . ] - - R e c u e i l de v i n g t p i e c e s posthumes pour l e p i a n o , par M. H e n r i K e t t e n . [ R e v i e w o f t he o t h e r new p u b l i c a t i o n w h i c h Reyer s i n g l e s ou t f r o m amongst t h e many he has r e -c e i v e d ' p e n d a n t ce s d e r n i e r s j o u r s . ' ] " F-01/06 "Revue m u s i c a l e . T h e a t r e - L y r i q u e p o p u l a i r e : l e s M a r t y r s , mus ique de D o n i z e t t i . [ B r i e f e d i t o r i a l a p p l a u d i n g a ' c o u r a g e u x c i t o y e n ' (a t e n o r named G a m i e r ) who has e s t a b l i s h e d at t h e S a l l e du C h a t e a u - d ' E a u ' un T h e a t r e - L y r i q u e d ' e t e , l i b r e e t non s u b v e n t i o n n e . ' N o t i c e on G a m i e r ' s p e r f o r m a n c e i n h i s p r o d u c t i o n o f D o n i z e t t i ' s o p e r a . ] - - S a l l e du T r o c a -d e r o : l e F e s t i v a l P a s d e l o u p [ r e v i e w o f a b e n e f i t c o n c e r t o r g a n i z e d f o r P a s d e l o u p by t h e b a r i t o n e Fau re and t h e c o n d u c t o r C o l o n n e ] ; l e s C o n c e r t s d ' o r g u e de M. G u i l m a n t [ r e v i e w o f t h e f o u r t h c o n c e r t i n t h e s e v e n t h annua l s e r i e s , w i t h g e n e r a l r emark s on G u i l m a n t and o t h e r c o n t e m p o r a r y P a r i s i a n ' m a T t r e s ' o f t h e o r g a n ] . - - [ N o t i c e s on] P u b l i c a t i o n s d i v e r s e s : Mus ique de p iano - e t mus ique de c h a n t [ w i t h s p e c i a l a t t e n t i o n t o a c o l -l e c t i o n o f m e l o d i e s by t h e young G a b r i e l P i e r n e , d i v e r s e p i a n o c o m p o s i -t i o n s and a f o u r - h a n d a r rangement o f B e r l i o z ' s La Damnat ion de F a u s t by E r n e s t Redon, and ' u n r e c u e i l de q u i n z e m e l o d i e s e t d i f f e r e n t e s p i e c e s ' by Rene L e n o r m a n d ] . " F-14/06 "Revue m u s i c a l e . [ E d i t o r i a l on t h e f i n a n c i a l s i t u a t i o n s o f t he O p e r a -Comique and t h e Ope ra : Reyer r e p e a t s h i s c o n v i c t i o n t h a t t h e r e q u i r e -ments s t i p u l a t e d i n t h e c a h i e r des c h a r g e s o f t he f l o u r i s h i n g Comique a r e t o o ' l e g e r e s ' ( s e e JD F - 19/11/1882 ) ; he s u g g e s t s t h a t t h e p r o f i t s o f t h e f o u n d e r i n g Opera c o u l d be i n c r e a s e d i f i t would e n r i c h i t s r e p e r -t o i r e and o f f e r d a i l y p e r f o r m a n c e s . - - Rev iews o f t h r e e o n e - a c t works p r e m i e r e d t o f u l f i l a c l a u s e i n t h e c a h i e r des c h a r g e s o f t h e ] T h e a t r e n a t i o n a l de 1 ' O p e r a - C o m i q u e : l e B a i s e r , o p e r a comique en un a c t e ; p a r o l e s de M. Hen r i G i l l e t ; mus ique de M. Ado lphe D e s l a n d r e s . - -L ' E n c l u m e , o p e r a comique en un a c t e ; p a r o l e s de M. P i e r r e B a r b i e r ; mus ique de M. Georges P f e i f f e r . - - P a r t i e c a r r e e , o p e r a comique en un a c t e ; p a r o l e s de M. Auge de L a s s u s ; mus ique de M. L o v e l l o . — Que lques mots a p ropos du c o n c o u r s C r e s s e n t . [The f a c t t h a t none o f t he f o r t y -672 f o u r works s u b m i t t e d t o t h e j u r y was deemed w o r t h y o f t h e p r i z e e l i c i t s an e d i t o r i a l r e i t e r a t i n g R e y e r ' s p o s i t i o n t h a t , e x c e p t i n r a r e c a s e s , p u b l i c c o m p e t i t i o n s ' n e donne ron t e t ne peuvent donner que l e s r e s u l t a t s l e s p l u s m e d i o c r e s , e t meme l e s r e s u l t a t s n e g a t i f s . ' The e d i t o r i a l c o n -c l u d e s w i t h an announcement t h a t t h e b i e n n i a l P r i x R o s s i n i has been awarded t o two works i n s t e a d o f one , because t he l a s t c o m p e t i t i o n (1882) had no t y i e l d e d a work w o r t h y o f t h e p r i z e . - - Remarks on t he a m b i t i o u s p r o s p e c t u s c i r c u l a t e d by G a m i e r , d i r e c t o r o f t h e T h e a t r e - P o p u l a i r e du C h a t e a u - d ' E a u . ] " F-29/06 " [ O b i t u a r y o f t h e composer and p r o f e s s o r ] V i c t o r M a s s e . " A -07/07 , p. 3 "Revue m u s i c a l e . Les c o n c o u r s du C o n s e r v a t o i r e . [An i n c i d e n t d u r i n g one o f t h e c o m p e t i t i o n s p rompts Reyer t o s u g g e s t , as b e f o r e , t h a t e i t h e r t h e c o m p e t i t i o n s t a k e p l a c e a h u i s c l o s , o r t h e judgment s o f t he j u r y not be announced u n t i l t h e awards ceremony ( s ee JD_ F - 08/08/1883 ) . ] - - La d i s t r i b u t i o n des p r i x . [Comments on t h e speech o f M. Kaempfen, D i r e c t o r o f F i n e A r t s . Announcement o f hono r s bestowed upon p r o f e s s o r s and o t h e r p r o f e s s i o n a l m u s i c i a n s . N o t i c e on t h e s t u d e n t s ' c o n c e r t , wh i ch was p r e -s e n t e d a f t e r t h e awa rd i ng o f t h e i r p r i z e s . - - E d i t o r i a l r e n e w i n g R e y e r ' s demand f o r t h e t e a c h i n g o f v i o l a at t h e C o n s e r v a t o i r e ( s e e , e . g . , ^JD F - 25/08/1879 ) . - - N o t i c e on A l p h o n s e Ha s se lman s , who has succeeded P r u m i e r as p r o f e s s o r o f h a r p . - - M i s c e l l a n e o u s r e f l e c t i o n s on the v o c a l c o m p e t i t i o n s : t h e ' s o i f de v i r t u o s i t e ' ; t h e ' n e c e s s i t e d ' a p p r e n d r e a l i r e dans une p a r t i t i o n ' ; t h e n e g l e c t o f M. G e s t a , a young t e n o r whom Reyer had b rough t t o P a r i s f r o m T o u l o u s e ( s ee JD F -21/08/1882 ) . S h o r t e d i t o r i a l i n s i s t i n g ' p o u r l a c e n t i e m e f o i s ' on t h e need t o ' d o n n e r une p l u s g rande p l a c e au r e p e r t o i r e c l a s s i q u e dans 1 ' e n s e i g n e m e n t . ' - -Rev iew o f t h e v o c a l c o m p e t i t i o n s : a few words about each w i nne r i n t he s e v e r a l c a t e g o r i e s . - - O b j e c t i o n s t o t h e C o n s e r v a t o i r e ' s l a c k o f a c t i o n c o n c e r n i n g ' l a q u e s t i o n du p e n s i o n n a t . ' — P o s t s c r i p t : n o t i c e t h a t L a p i s s i d a , r e g i s s e u r g e n e r a l at t h e T h e a t r e de l a Monnaie and s t a g e d i r e c t o r at Covent G a r d e n , has been honored by t he F r ench g o v e r n m e n t . ] " F-13/08 "Revue m u s i c a l e . Le s [ r ] e n t r e e s . - - Les s o r t i e s . - - Les r e p r i s e s . - -Les d e b u t s . [ E d i t o r i a l d e c r y i n g t h e O p e r a ' s r e l i a n c e upon 'menus e v e n e -men s , ' such as t h e f a r e w e l l and r e t u r n appea rance s o f i t s p r i n c i p a l s i n g e r s , t h e s o - c a l l e d ' r e p r i s e ' o f some work wh i ch has l o n g been a s t a p l e o f t h e r e p e r t o i r e , t h e s o - c a l l e d ' d e b u t ' o f some s i n g e r who has a l r e a d y e s t a b l i s h e d a r e p u t a t i o n o u t s i d e P a r i s , and t he debu t s o f p r i z e -w i n n i n g g r a d u a t e s o f t h e C o n s e r v a t o i r e . These ' e l e v e s ' a re t he f o c u s o f R e y e r ' s a t t e n t i o n : t h e i r l a c k o f e x p e r i e n c e cau se s him t o urge e i t h e r t h a t t h e C o n s e r v a t o i r e c r e a t e a ' t h e a t r e d ' e s s a i ' where s t u d e n t s would p e r f o r m p e r i o d i c a l l y b e f o r e t h e p u b l i c , o r t h a t g r a d u a t e s be r e q u i r e d t o appear at a p r o v i n c i a l t h e a t r e f o r at l e a s t one y e a r b e f o r e embark i ng on a c a r e e r at a P a r i s i a n t h e a t r e . ] - - La s i t u a t i o n a c t u e l l e de l ' O p e r a . [ E d i t o r i a l on two r e c e n t a r t i c l e s , one by L o u i s Besson (mus i c c r i t i c o f L ' E venemen t ) and one by Moreno ( e d i t o r o f Le M e n e s t r e l ) , bo th o f whom 673 have c a l l e d f o r V a u c o r b e i 1 1 s r e s i g n a t i o n and have caused ' une t r e s v i v e s e n s a t i o n . ' ] - - La r e p r i s e p r o b a b l e du R o s s i g n o l . [A b r i e f h i s t o r y o f L e b r u n ' s Le R o s s i g n o l ( 1 8 1 6 ) , ' une p e t i t e p l a t i t u d e en un a c t e ' wh i ch V a u c o r b e i l i n t e n d s t o r e v i v e . ] - - Le B a r b i e r de S e v i l l e a 1 ' O p e r a -Comique. [ R e y e r welcomes t h e news t h a t , a f t e r V a u c o r b e i l ' s r e n u n c i a t i o n o f t h i s work , C a r v a l h o has d e c i d e d t o s t a g e i t . - - Comments on V a u c o r -b e i l ' s l a c k o f i n t e r e s t i n such works as G l u c k ' s A rm ide (wh i ch h i s p r e -d e c e s s o r s P e r r i n and H a l a n z i e r had c o n t e m p l a t e d r e v i v i n g ) and B e r l i o z ' s Les T r o y e n s . ] - - Une e t u d e su r B e r l i o z e t s u r son oeuv re d r a m a t i q u e , par M. A l f r e d E r n s t . [ Rev i ew o f E r n s t ' s L ' O e u v r e d r a m a t i q u e de H. B e r - l i o z . ] " F -14/09 "Revue m u s i c a l e . M. P a s d e l o u p e t l e s c o n c e r t s de M o n t e - C a r l o . [ R e y e r a p p l a u d s t h e news t h a t P a s d e l o u p w i l l c o n d u c t a s e r i e s o f t w e l v e c o n -c e r t s a t t h e T h e a t r e de M o n t e - C a r l o , wh i ch has r enounced ' d e s r e p r e -s e n t a t i o n s d ' o p e r a s e t d ' o p e r e t t e s . ' The c r i t i c t hen d i s c u s s e s t he r e p e r t o i r e and t h e gue s t a r t i s t s announced by P a s d e l o u p . — N o t i c e t h a t t h e C o n c e r t s p o p u l a i r e s w i l l c o n t i n u e t o e x i s t , bu t w i l l be renamed and w i l l be c o n d u c t e d by Ben jam in G o d a r d . ] - - La p a r t i t i o n d ' o r c h e s t r e des T r o y e n s . [Remarks on C h o u d e n s ' s f o r t h c o m i n g p u b l i c a t i o n o f t h i s s c o r e (wh i ch w i l l be ' a b s o l u m e n t con fo rme au m a n u s c r i t ' ) l e a d t o a c a l l f o r t h e r e e s t a b l i s h i n g o f t h e ' f o r m e p r i m i t i v e ' o f t h e p i a n o - v o c a l s c o r e o f Le s T r o y e n s a C a r t h a g e , w h i c h had been p u b l i s h e d d u r i n g B e r l i o z ' s l i f e -t i m e . J - - R e p r i s e p r o j e t e e s de Benvenuto C e l 1 i n i e t de Namouna. [Upon h e a r i n g t h a t V a u c o r b e i l m i gh t r e v i v e t h e s e two w o r k s , Reyer speaks ou t i n t h e i r f a v o r . ] - - A p ropos du voyage en A l l e m a g n e impose au g r and s p r i x de c o m p o s i t i o n m u s i c a l e . [ B r i e f e d i t o r i a l s u p p o r t i n g t h e A c a -d e m i e ' s r e q u e s t t h a t t h e government g r a n t each l a u r e a t e an i n d e m n i t y , so t h a t such a ' v o y a g e ' can r e m a i n ' o b i i g a t o i r e ' i n s t e a d o f becoming ' f a c u l t a t i f . ' ] — Les e n v o i s de Rome. [ Reye r l i s t s t he e n v o i s o f t h i s y e a r , and d e c l a r e s t h a t t h e y a r e s u p e r i o r t o t h o s e o f r e c e n t y e a r s . ] — L ' O p e r a - P o p u l a i r e : E t i e n n e M a r c e l . [Comments on r e h e a r s a l s f o r t he P a r i s i a n p r e m i e r e o f S a i n t - S a e n s ' s o p e r a . - - P o s t s c r i p t : a few words c o n c e r n i n g new p u b l i c a t i o n s ( a p i a n o t r i o by t he l a t e A l e x i s de C a s t i 1 -I o n ; t h r e e c o n c e r t works by Andre W o r m s e r ) . ] " F-28/09 "Revue m u s i c a l e . Les q u a t r e ouv r a ge s nouveaux du T h e a t r e - I t a l i e n . [ A f t e r l i s t i n g t h e f o u r works wh i ch w i l l be p r e m i e r e d d u r i n g t h e season at M a u r e l ' s T h e a t r e - I t a l i e n , Reyer c o n t r a s t s t he m u s i c a l a c t i v i t y at t h i s t h e a t r e (whe re , ' s u i v a n t l a methode i t a l i e n n e , on ne s ' a b s o r b e pas dans des p rob l emes de m i s e en scene e t de d e c o r s ' ) w i t h t h e r e l a t i v e l a c k o f a c t i v i t y at t h e Opera ( ' q u i peut a p e i n e monter un o p e r a per a n ' ) . - - E d i t o r i a l o b j e c t i n g t o t he c i t y c o u n c i l ' s w i t h d r a w a l o f the 300 ,000 f r . s u b s i d y wh i ch had once been a l l o c a t e d f o r t h e c r e a t i o n o f an O p e r a - P o p u l a i r e , and had s c a r c e l y been t o u c h e d by de L a g r e n e b e f o r e t he demi se o f h i s t h e a t r e . Reyer s u g g e s t s t h a t t h e money be g i v e n t o G a m i e r ' s O p e r a - P o p u l a i r e . ] ~ T h e a t r e de 1' Ope ra -Comique : J o l i G i l l e s , o p e r a c o m i q u e , en deux a c t e s ; p a r o l e s de M. C h a r l e s M o n s e l e t , d ' a p r e s d ' A l l a i n v a l ; mus ique de M. F e r d i n a n d P o i s e . - - [ A l s o at t h e Com ique : ] 674 R e p r i s e de Manon, de Lakme e t de G a l a t h e e . [ B r i e f e d i t o r i a l on t h e c e s -s a t i o n o f p e r f o r m a n c e s o f Lakme because M i l e Van Z a n d t , f o r whom t h e t i t l e r o l e was composed, ' e s t f a t i g u e e . ' Remarks on t he f o r e i g n popu -l a r i t y o f Manon and Lakme, ' c e s deux g r a c i e u x e c h a n t i l l o n s d ' u n a r t . . . eminnement f r a n g a i s . ' Comments on both t h e s u c c e s s f u l r e v i v a l o f t h e l a t e V i c t o r M a s s e ' s G a l a t h e e (1852) and t h e f o r t h c o m i n g p r e m i e r e o f h i s l a s t o p e r a , Une N u i t de C l e o p a t r e . ] " F-17/10 "Revue m u s i c a l e . [ G a r n i e r ' s ] T h e a t r e - L y r i q u e P o p u l a i r e : E t i e n n e M a r c e l , o p e r a en q u a t r e a c t e s , p a r o l e s de M. L o u i s G a l l e t , mus ique de M. C a m i l l e S a i n t - S a e n s . [ R e v i e w o f t h e f i r s t P a r i s i a n p e r f o r m a n c e o f a work t h a t had been r e j e c t e d by t he Opera and had s u b s e q u e n t l y been t a k e n t o L yon s , where i t was p r e m i e r e d and a c c l a i m e d i n 1879 . ] - - T h e a t r e de 1 ' Opera -Com ique : Debut de M i l e d ' A d l e r dans M i gnon . [A few words on t h e p e r f o r m a n c e o f t h i s ' t o u t e j e u n e f i l l e ' i n t he t i t l e r o l e o f Thomas ' s w o r k . ] " F-25/10 [ N o t i c e c o n c e r n i n g a p l a n t o commi s s i on a work f r om a young compose r : A t t he i n v i t a t i o n o f t h e M i n i s t r e de 1 ' i n s t r u c t i o n p u b l i q u e , t h e Academie des B e a u x - A r t s has s e l e c t e d f i v e f o r m e r w i n n e r s o f t h e P r i x de Rome, one o f whom w i l l be chosen by t h e m i n i s t e r t o compose " l a p a r t i -t i o n d ' u n ouv rage en deux a c t e s pour l ' O p e r a . " Reyer e x p r e s s e s doubt t h a t t h e d i r e c t o r o f t h e Opera has r e q u e s t e d t he m i n i s t e r ' s p e r m i s s i o n t o p r e s e n t a s i x t h c a n d i d a t e , Samuel D a v i d , as i s c l a i m e d i n t h e news-pape r Le F i g a r o . ] U-27/10, p. 3 "M. V a u c o r b e i l . [News o f t h e dea th o f t h e d i r e c t o r o f t h e Opera o c c a -s i o n s r e f l e c t i o n s on t h e f i v e - y e a r a d m i n i s t r a t i o n o f t h i s man whom Reye r had known p e r s o n a l l y and p r o f e s s i o n a l l y ' d e p u i s de l ongue s a n n e e s . ' ] " A - 0 4 / 1 1 , p. 3 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : Le s u c c e s s e u r de M. V a u c o r b e i l . [ O b s e r v a t i o n s on s e v e r a l m a t t e r s w h i c h , Reyer s u g g e s t s , p r o b a b l y a c c o u n t bo th f o r t h e m i n i s t e r ' s d e l a y i n naming a s u c c e s s o r , and f o r ' 1 ' h e s i t a -t i o n du c a n d i d a t auque l l e m i n i s t r e temo igne une s ympa th i e t o u t e p a r t i -c u l i e r e . ' ] - - R e p r i s e de F r a n g o i s e de R i m i n i . [Comments on the O p e r a ' s d e c i s i o n not t o r eengage M i l e S a l l a , who had c r e a t e d t h e t i t l e r o l e i n 1882, p r e c e d e remark s on M i l e I s a a c ' s p e r f o r m a n c e o f t h i s r o l e . ] - -T h e a t r e de 1 ' O p e r a - C o m i q u e : [ B r i e f r e v i e w o f ] l e B a r b i e r de S e v i l l e . - -C o n c e r t Lamoureux: [ N o t i c e on an e x c e r p t f r o m ] G w e n d o l i n e , poeme de M. C a t u l l e Mendes, mus ique de M. Emmanuel C h a b r i e r . [ - - A few words o f t h a n k s t o Mme M o n t a l b a and t h e young Van Dyck, who sang t he duet f r om A c t IV o f R e y e r ' s S i g u r d . ] - - [ A l s o at t h e C o n c e r t Lamoureux: P a r i s i a n p r e m i e r e o f t h e ] O u v e r t u r e pour F a u s t , par M. R i c h a r d Wagner . " F-16/11 "Revue m u s i c a l e . Les emeutes a M a d r i d . - - Mme A d l e r - D e v r i e s au t h e a t r e r o y a l de l a P u e r t a d e l S o l . [ R e y e r n o t e s t h a t a r i o t at M a d r i d had 675 s t o p p e d because p e o p l e wanted t o ' v e n i r c o n t e m p l i r e t a p p l a u d i r l a b l o n d e e t d e l i c i e u s e M a r g u e r i t e 1 ( i . e . , Mme A d l e r - D e v r i e s i n Gounod ' s F a u s t ) . He s p e c u l a t e s t h a t , a f t e r t h i s e x t r a o r d i n a r y s u c c e s s , t he s op rano w i l l be reengaged by t h e P a r i s O p e r a . - - N o t i c e t h a t t he d i r e c -t o r s h i p o f t h e Opera has been a c c e p t e d j o i n t l y by P i e r r e G a i l h a r d (a p r i n c i p a l bass i n t h e company) and Jean R i t t (a f o r m e r d i r e c t o r o f t h e O p e r a - C o m i q u e ) . - - B r i e f e d i t o r i a l on t h e T h e a t r e - P o p u l a i r e du C h a t e a u -d ' E a u , new ly f ounded by Aime Gros ( p r e v i o u s l y d i r e c t o r o f t h e G r a n d -T h e a t r e de L y o n ) . ] ~ C o n c e r t s Lamoureux: C o n c e r t o de Max B r u c h , e x e c u t e pa r M. R i v a r d e [ , ] e t Marche du C a r n a v a l d ' A t h e n e s , pa r M. B o u r g a u l t - D u c o u d r a y . [ Rev i ews o f t h e P a r i s i a n p r e m i e r e s o f t h e s e works a r e f o l l o w e d by comments on t h e F u n e r a l March f r om D ie Gb ' t terdammerung, wh i ch was pe r f o rmed at t h e same c o n c e r t . ] — C o n c e r t s modernes [ f o r m e r l y C o n c e r t s p o p u l a i r e s ] : A r i a n e , symphonie c a n t a t e en deux p a r t i e s , pa r M. A. G u i l m a n t . [ Rev i ew o f t h e p r e m i e r e o f e x c e r p t s f r om t h i s c a n t a t a ends w i t h a few words on Ben j am in G o d a r d , P a s d e l o u p ' s s u c c e s s o r . ] - -M i l e de A d l e r . [ R e y e r e x p l a i n s why t h i s young s o p r a n o ' s debut i n Mignon ( s ee ^D F-25/10) had a t t r a c t e d l i t t l e a t t e n t i o n ; he then p r a i s e s her a b i l i t i e s . ] — [Book r e v i e w : ] O r i g i n e s e t v a r i a t i o n s de n o t r e t o n a l i t e ; son a v e n i r , p a r M. L. P a g n e r r e . " F-30/11 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : R e p r i s e de Romeo e t J u l i e t t e . [ Rev i ew i s p r e c e d e d by o b s e r v a t i o n s c o n c e r n i n g t h e C o m i q u e ' s abandonment o f both Lakme and Manon.] - - Que lques mots a p ropos de l ' O p e r a e t de 1 ' engagement de Mme F i d e s A d l e r - D e v r i e s . [ Reye r e x p r e s s e s e a g e r n e s s t o hear t h i s s op rano i n Le C i d by M a s s e n e t , who has w r i t t e n one o f t h e p r i n c i p a l r o l e s f o r h e r . The c r i t i c a l s o remark s on o t h e r works wh i ch w i l l be p r e m i e r e d at t h e Opera ( i n c l u d i n g L o h e n g r i n , w i t h Mme A d l e r - D e v r i e s ) . ] - - L u t e c e , symphonie d r a m a t i q u e de M i l e A u g u s t a Ho lmes , e x e c u t e e pa r 1 ' A s s o c i a t i o n a r t i s t i q u e d ' A n g e r s : M i l e D u v i v i e r . [ R e y e r f i r s t r e p o r t s what he has r e ad about t h i s p r e m i e r e , and t h e n r e g r e t s t h a t one o f t h e s o l o i s t s b r ough t f r o m P a r i s , M i l e D u v i v i e r , i s l e a v i n g t h e Opera f o r Rome.] - - C o n c e r t s - M o d e r n e s : He ro , scene d r ama -t i q u e pour v o i x de s o p r a n o , e t o r c h e s t r e e par M. A r t h u r C o q u a r d . - - Les L u p e r c a l e s , poeme symphon ique , pa r M. Andre Wormser. [These works by Coquard and Wormser had been p r e m i e r e d by 1 ' A s s o c i a t i o n a r t i s t i q u e d ' A n g e r s , as Reyer p o i n t s ou t i n h i s r e v i e w o f t h e P a r i s i a n p r e m i e r e o f each at t h e C o n c e r t s - M o d e r n e s . ] - - [ A l s o at one o f t h e C o n c e r t s -Mode rne s : ] A u r o r e , m e l o d i e de M. Ben j am in G o d a r d , c h a n t e e pa r M i l e R o s i n e B l o c h . - - A u t r e m e l o d i e , mus i que de M. F e r r o n i , e t a i r d ' E r o s - t r a t e , c h a n t e s p a r M. Q u i r o t . [ Reye r comments on t h e song by t h e l i t t l e - k n o w n I t a l i a n composer F e r r o n i , but s i m p l y t hank s Q u i r o t f o r p e r f o r m i n g t h e a r i a f r o m E r o s t r a t e . ] - - P u b l i c a t i o n s m u s i c a l e s . [Recommendat ion o f seven new b o o k s . ] — [Announcement : ] L a p r e m i e r e r e p r e s e n t a t i o n d 'Aben-Hamet e s t a j o u r n e e . " F-14/12 "Revue m u s i c a l e . T h e a t r e - I t a l i e n : Aben-Hamet, o p e r a en q u a t r e a c t e s et un p r o l o g u e , p a r o l e s de MM. Leonce D e t r o y a t e t A. de L a u z i e r e s , mus ique de M. Theodore D u b o i s . [ A l t h o u g h D u b o i s ' s s c o r e was composed t o a 676 F r e n c h l i b r e t t o , t h e p r e m i e r e was g i v e n i n I t a l i a n . (The t r a n s l a t i o n was by one o f t h e l i b r e t t i s t s , de L a u z i e r e s . ) ] - - C o n c e r t s Lamoureux: Fragmens de L o h e n g r i n , c h a n t e s par Mme B r u n e t - L a f l e u r e t M. Van Dyck. [ N o t i c e on t h e p e r f o r m a n c e o f t h e l o v e duet and ' l e s a d i e u x de L o h e n g r i n . ' A few words about o t h e r c o m p o s i t i o n s on t he p r o g r a m . ] — R i g o l e t t o a l ' O p e r a . [ R e y e r c o n f i r m s a rumor t h a t t h i s work w i l l e n t e r t h e r e p e r t o i r e o f t h e O p e r a . He adds t h a t t h e a u t h o r i z a t i o n had been o b t a i n e d f r o m V e r d i and V i c t o r Hugo by t h e l a t e V a u c o r b e i l , who had e n t r u s t e d t h e mak ing o f a new t r a n s l a t i o n t o T h a b i l e t e ep rouve de MM. C a m i l l e Du L o c l e e t C h a r l e s N u i t t e r . ' ] " F-21/12 [ O b i t u a r y n o t i c e : Mme B o i s s e l o t ( d a u g h t e r o f L e s u e u r and w i f e o f X a v i e r B o i s s e l o t ) . ] U-21/12, p. 3 1885 J o u r n a l des Debat s "Revue m u s i c a l e de 1 ' annee 1884. [Open ing remark s on t h e demise o f bo th G a r n i e r ' s O p e r a - P o p u l a i r e and M a u r e l ' s T h e a t r e - I t a l i e n . - - E d i t o r i a l on t h e need t o r e e s t a b l i s h a t h i r d l y r i c t h e a t r e , and t o i n s u r e i t s s u r -v i v a l by means o f ' une l a r g e s u b v e n t i o n e t une sage a d m i n i s t r a t i o n . ' — The Ope ra : R e c o l l e c t i o n s o f ' l a n o u v e l 1 e S apho ' and t h e r e v i v a l o f F r a n g o i s e de R i m i n i . The i g n o r i n g o f Le s T r o y e n s . The c o - d i r e c t o r s ' c o n c e r n w i t h b u d g e t a r y r e f o r m s and r e d u c t i o n s . The r e n u n c i a t i o n o f t h e new t r a n s l a t i o n o f R i g o l e t t o ( see JD F-21/12/1884) i n f a v o r o f t he one used at t h e o l d T h e a t r e - L y r i q u e . R e h e a r s a l s o f P e s s a r d ' s T a b a r i n . - -The Ope ra -Comique : R e t r o s p e c t i v e s u r v e y o f t h e r e p e r t o i r e , w i t h s p e c i a l a t t e n t i o n t o Manon and t h e r e v i v a l o f G a l a t h e e . - - An a ccoun t o f G a r n i e r ' s s h o r t - l i v e d O p e r a - P o p u l a i r e . - - 'Nos t r o i s g randes S o c i e t e s s y m p h o n i q u e s ' : Comments on t h e p rom inence o f e x c e r p t s f r om c o n t e m p o r a r y F r e n c h and German ope ra s on t h e programs o f t h e s e o r g a n i z a t i o n s l e a d t o a demand t h a t t h e y r e c e i v e more f u n d i n g f rom the gove rnment . A f a r e w e l l t o 'mon c h e r P a s d e l o u p . ' — A b r i e f d i g r e s s i o n about t h e T h e a t r e de M o n t e - C a r l o , where P a s d e l o u p w i l l c o n d u c t a s e r i e s o f c o n c e r t s wh i ch w i l l i n c l u d e e x c e r p t s f r om o p e r a s , p e r f o r m e d ' s a n s c h o e u r s . ' ~ F u r t h e r r emark s on t h e t h r e e symphon ic s o c i e t i e s o f P a r i s : H i g h l i g h t s o f t h e season ( M e y e r b e e r ' s S t r u e n s e e ; B e r l i o z ' s La Damnat ion de F a u s t ; C a s s a n d r e ' s a r i a and duet w i t h Chorebe f r o m La P r i s e de T r o i e ) . Names o f g ue s t i n s t r u m e n t a l i s t s , and n o t i c e s on t h r e e whose p e r f o r m a n c e s Reyer has not p r e v i o u s l y d i s c u s s e d : t h e c e l l i s t C a s e l l a ; t h e h a r p i s t H a s s e l -mans; t h e v i o l i n i s t H u b a y . ] " F - l l / 0 1 "Revue m u s i c a l e . Academie n a t i o n a l e de M u s i q u e : T a b a r i n , o p e r a en deux a c t e s , p a r o l e [ s ] de M. P a u l F e r r i e r , mus ique de M. E m i l e P e s s a r d . [The f a c t t h a t t h i s work was commi s s i oned f r om a f o r m e r w i n n e r o f t h e P r i x de Rome ( i n a c c o r d a n c e w i t h a c l a u s e i n t h e c a h i e r des c h a r g e s o f t he 677 Opera) e l i c i t s r e f l e c t i o n s on t h e improvement i n t h e r i g h t s a c c o r d e d t h e s e p r i z e - w i n n e r s , and on t h e need t o f i x an age l i m i t beyond w h i c h t h e y s h o u l d no t be a l l o w e d t o c l a i m t h e s e r i g h t s . The r e v i e w o f P e s s a r d ' s work i s i m m e d i a t e l y p r e c e d e d by a n o t i c e on h i s c a r e e r . ] - -R e p r i s e du Fandango, b a l l e t en un a c t e de MM. L u d o v i c H a l e v y , Hen r i M e i l h a c e t M e r a n t e , mus ique de M. S a l v a y r e . [A few words on the b a l l e t f o r wh i ch T a b a r i n s e r v e d as a c u r t a i n - r a i s e r . ] — C o n c e r t s - L a m o u r e u x [ N o u v e a u x - C o n c e r t s ] : La Damnat ion de F a u s t . [ N o t i c e on an ' a d m i r a b l e p e r f o r m a n c e , ' w i t h s o l o i s t s Van Dyck, Mme B r u n e t - L a f l e u r , and a B e l g i a n b a r i t o n e named B l a u w a e r t . - - P o s t s c r i p t recommending t h e v o c a l methode w r i t t e n by t h e l a t e Mme N i s s e n - S a l o m a n . ] " F-18/01 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : R e n t r e e de Mme A d l e r - D e v r i e s dans F a u s t . [ B e f o r e r e v i e w i n g he r p e r f o r m a n c e as M a r g u e r i t e , Reyer remarks on t h e o t h e r f a m i l i a r r o l e s A d l e r - D e v r i e s w i l l s i n g at t h e Ope ra , and u r ge s t h a t t h i s ' g r a n d e a r t i s t e ' be g i v e n a r o l e o r r o l e s wh i ch would c h a l l e n g e he r t o ' s o r t i r de l a s phe re ou e l l e s ' e s t r e n f e r m e e j u s -q u ' i c i . ' ] - - Le voyage de M. G a i l h a r d a B r u x e l l e s : Mme C a r o n . [Com-ments on t h e g r o w i n g r e p u t a t i o n o f Mme C a r o n , whom t h e c o - d i r e c t o r o f t h e P a r i s Opera went t o hear i n a p e r f o r m a n c e o f F au s t a t t h e T h e a t r e de l a Monna ie . Reyer r e p o r t s on and r e spond s t o G a i l h a r d ' s a s ses sment o f t h e young s o p r a n o . ] - - S o c i e t e des C o n c e r t s du C o n s e r v a t o i r e : Fragmens des A r g o n a u t e s , symphonie d r a m a t i q u e , p a r o l e s e t mus ique de M i l e A u g u s t a Ho lmes! [ O b s e r v a t i o n s on t h e s u c c e s s o f P a r t I I I o f ' c e t t e r e m a r q u a b l e c o m p o s i t i o n , ' w h i c h Reyer had r e v i e w e d i n i t s e n t i r e t y when i t was p r e -m i e r e d at t h e C o n c e r t s p o p u l a i r e s ( s ee JJJ F -29/04/1881 ) . The c r i t i c ' s r e g r e t t h a t P a r i s i a n c o n c e r t s o c i e t i e s r a r e l y p e r f o r m a d r a m a t i c sym-phony or an o r a t o r i o ' p a r s u i t e des f r a i s e t des d i f f i c u l t e s d ' e x e c u t i o n q u ' e l l e e n t r a T n e , ' l e a d s t o an e d i t o r i a l r e i t e r a t i n g h i s s u g g e s t i o n t h a t t h e c i t y c o u n c i l s u b s i d i z e any one o f t h e s e s o c i e t i e s . ] - - [ N o t i c e on a] R e c u e i l de m e l o d i e s , p a r M. Pau l de L a Nux . " F-01/02 [ ( C o m m u n i c a t i o n p u b l i s h e d under t h e wo rd s : "On nous e c r i t de Monaco, l e 12 f e v r i e r : " ) The Cote d ' A z u r : c o u n t r y s i d e , v i l l a g e s , and t o u r i s t s . - -The c a s i n o at M o n t e - C a r l o . - - P a s d e l o u p ' s f i r s t c o n c e r t s i n t h e T h e a t r e de M o n t e - C a r l o : N o t i c e s on p e r f o r m a n c e s by gues t a r t i s t s ( t h e t e n o r V e r g n e t ; t h e sop rano Mme S a i l a ) . A few words on t h r e e s i n g e r s who have not honored t h e i r c o n t r a c t s . - - N i c e : The f o r t h c o m i n g " c a r n a v a l . " The u n p r o s p e r o u s c a s i n o . — F u r h e r r emark s on P a s d e l o u p ' s c o n c e r t s : The p r a c t i c e o f a l t e r n a t i n g , on a g i v e n p r o g r a m , " p i e c e s s y m p h o n i q u e s , " "morceaux de c h a n t , " and e x c e r p t s o r e n t i r e s cenes f r om ope ra s ( p e r -fo rmed w i t h cos tumes and d e c o r s but w i t h o u t c h o r u s ) . N o t i c e s on p e r f o r -mances by o t h e r gue s t a r t i s t s ( t h e s i n g e r s F a u r e , C a p o u l , and C o u t u r i e r ; t h e p i a n i s t - c o m p o s e r Theodore R i t t e r ; t h e v i o l i n i s t M a r s i c k ) . - - The c o n d u c t o r A c c u r s i ' s " c o n c e r t s c l a s s i q u e s " at t h e T h e a t r e de M o n t e - C a r l o : Comments on t h i s s e r i e s , wh i ch c o n t i n u e s t o a t t r a c t "beaucoup de monde. " - - The P r i n c e o f W a l e s , i n c o g n i t o a t P a s d e l o u p ' s most r e c e n t c o n c e r t . - -678 P o s t s c r i p t : N o t i c e on t h e s u c c e s s o f t h e s i n g e r Mme F r a n c k - D u v e r n o y at one o f P a s d e l o u p ' s c o n c e r t s . ] * LA [Cu rR 1 91 ] - 15/02 , pp. 2-3 "Revue m u s i c a l e . T h e a t r e de T O p e r a - C o m i q u e : l e C h e v a l i e r J e a n , drame l y r i q u e en q u a t r e a c t e s , p a r o l e s de MM. L o u i s G a l l e t e t Edouard B l a u , mus ique de M. V i c t o r i n J o n c i e r e s . [ R e v i e w o f t h e p r e m i e r e o f a work wh i ch had been a c c e p t e d by Maure l b e f o r e t h e demise o f h i s T h e a t r e -I t a l i e n . The f a c t t h a t t h e l i b r e t t o was s e r i o u s r a t h e r than comic p rompts Reyer t o e d i t o r i a l i z e on t he p r e s e n t i n g o f bo th o p e r a comique and o p e r a a t t h e Com ique . ] - - Academie n a t i o n a l e de Mu s i que : R i g o l e t t o , o p e r a de M. V e r d i ; r e p r i s e du T r i b u t de Zamora, o p e r a de M. C h a r l e s Gounod. [ A f t e r o f f e r i n g a few words on t h e s u c c e s s o f V e r d i ' s work ( p e r f o r m e d i n t h e t r a n s l a t i o n made f o r t h e L y r i q u e i n 1 8 6 3 ) , Reyer d e c l a r e s t h a t he must make h a s t e t o t h e Opera t o hear t he r e v i v a l o f Gounod ' s w o r k . ] - - [ P o s t s c r i p t : ] Les MaT t re s c h a n t e u r s a B r u x e l l e s . [Remarks on t h e f o r t h c o m i n g p r e m i e r e o f D i e M e i s t e r s i n g e r i n F r e n c h ( t r a n s l a t e d by V i c t o r W i l d e r ) . ] - - Un mot s u r D i a n a . [ R e f l e c t i o n s on t h e f a i l u r e o f P a l a d i l h e ' s wo rk , wh i ch had been p r e m i e r e d at t h e Ope ra w h i l e Reyer was ' a b s e n t . ' ] " F-15/03 "Revue m u s i c a l e . [Announcement t h a t M i l e Van Zandt i s l e a v i n g t h e Opera -Comique a f t e r b e i n g h i s s e d i n a r e v i v a l o f Lakme. - - ] S a l l e du C o n s e r v a t o i r e : A u d i t i o n des e n v o i s de Rome. [ G e n e r a l o b s e r v a t i o n s c o n c e r n i n g t h e s e works l e a d t o a b r i e f e d i t o r i a l r e i t e r a t i n g R e y e r ' s p o s i t i o n t h a t young F r e n c h composers must guard a g a i n s t becoming mere i m i t a t o r s o f Wagner o r any o t h e r m a s t e r ( s ee JD F t t - 1 0 / 0 1 / 1 8 8 2 ) . Rev iew o f each e n v o i : a f r a gmen t o f B r o u t i n ' s o r a t o r i o MoTse au S i n a T ; Hue ' s o u v e r t u r e s ymphon ique ; p a r t s o f H u e ' s s cene l y r i q u e S a k o u n t a l a . ] - -S a l l e du C h a t e a u - d ' E a u : l e s Sept Peches c a p i t a u x , drame a l l e g o r i q u e de M. R i c h a r d H a m e r l i n g , mus ique de M. A d a l b e r t de G o l d s c h m i d t . [ Rev i ew o f t h e P a r i s i a n p r e m i e r e o f D i e s i e b e n Todstinden ( t r a n s l a t e d by V i c t o r W i l d e r ) . Reyer i n c l u d e s a few words on t h e c a r e e r o f t he young V i e n n e s e c o m p o s e r . ] - - [ N o t i c e s on two works pe r f o rmed at t he C o n c e r t s -Lamoureux : ] La S u l a m i t e , p o e s i e de M. R i c h e p i n , mus ique de M. Emmanuel C h a b r i e r [ p r e m i e r e ] . - - L a Mor t d ' O r p h e e , scene l y r i q u e de M. L o u i s G a l l e t , mus ique de M. Leo D e l i b e s [ p r e m i e r e d at one o f t h e E x p o s i t i o n c o n c e r t s at t h e T r o c a d e r o i n 1 8 7 8 ] . [ - - Reye r r e g r e t s t h a t he was unab l e t o a t t e n d t h e p r e m i e r e o f D u v e r n o y ' s s cene l y r i q u e C l e o p a t r e at t h e C o n c e r t s - C o l o n n e . ] - - C i r q u e d ' H i v e r [ G o d a r d ' s C o n c e r t s - M o d e r n e s ] : l e s G u e l f e s ( f r a g m e n s ) , mus ique de M. Ben jam in G o d a r d . [Reye r no te s t h e s u c c e s s o f e x c e r p t s f r om the t h e n - u n p e r f o r m e d o p e r a . ] — [Recommendat ion o f two new p u b l i c a t i o n s : ] Un N i d d ' a u t o g r a p h e s , p a r M. O sca r Comet-t a n t . - - H i s t o i r e du p i a n o e t de ses o r i g i n e s , par M. M a r m o n t e l . " F-30/03 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : R e n t r e e de Mme A d l e r - D e v r i e s dans H a m l e t . - - Debut de M. de Re s zke dans F a u s t . [ A f t e r r e v i e w i n g both p e r -f o r m a n c e s , Reyer announces t h a t t h e c e l e b r a t e d bass w i l l soon l e a v e t h e Ope ra t o f u l f i l a t e m p o r a r y engagement at B a r c e l o n a ; such a s i t u a t i o n 679 c a u s e s t h e c r i t i c t o r e p e a t h i s l o n g - s t a n d i n g o b j e c t i o n s t o t he ' s t a r s y s t e m . ' ] - - C l o t u r e des 'Nouveaux C o n c e r t s . ' [ Rev i ew o f L amou reux ' s Good F r i d a y c o n c e r t , w i t h remark s on t h e rumor t h a t t h i s s e r i e s w i l l not b e g i n a g a i n i n t h e autumn.] - - Le voyage en A l l e m a g n e de M. Lamoureux. [ B r i e f e d i t o r i a l s u p p o r t i n g L a m o u r e u x ' s p l a n t o t a k e h i s o r c h e s t r a on a t o u r o f Germany. - - Compar i son o f r e a c t i o n s t o Von G o l d s c h m i d t ' s D i e s i e b e n TodsLinden a t P a r i s and at L e i p z i g . ] - - C o n c e r t de M. G. A l a r y ( s a l l e E r a r d ) . [ Rev i ew o f a p rog ram wh i ch c o n s i s t e d e n t i r e l y o f works by t h i s ' n ouveau c o m p o s i t e u r . ' ] - - Fragmens de Jeanne d ' A r c , t r a g e d i e de M. J u l e s B a r b i e r , mus ique de M. Ch. Gounod [ s e e JD F - 14/11/1873 ] , e t f r agmens de Sapho, e x e c u t e s au C i r q u e d ' H i v e r . "[The e x c e r p t s f r om Gounod ' s Sapho were f r o m A c t I I I o f t h e o r i g i n a l v e r s i o n ( 1 8 5 1 ) . ] - - Mme Sa rah B e r n h a r d t [ i n t h e c o n c e r t p r e s e n t a t i o n o f e x c e r p t s f r om Jeanne d ' A r c ] . - - [ A l s o at t h e C i r q u e d ' H i v e r : ] Les G u e l f e s , o p e r a i n e d i t de M. Ben jam in G o d a r d : o u v e r t u r e , e n t r ' a c t e , a i r . - - R e c u e i l de m e l o d i e s p a r M. Georges W e i l e r . [ N o t i c e on h i s Poeme des s o u v e n i r s . ] - - T h e a t r e de l a Monna ie : La T z i g a n e , b a l l e t en un a c t e , l i v r e t de M. Edmond C a t t i e r , mus ique de M. Stoumon. [A few words on t he p r e m i e r e o f t h i s work by t h e c o - d i r e c t o r o f t h e M o n n a i e . ] " F-19/04 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Une N u i t de C l e o p a t r e , o p e r a en t r o i s a c t e s e t q u a t r e t a b l e a u x t i r e de l a n o u v e l l e de T h e o p h i l e G a u t i e r , p a r M. J u l e s B a r b i e r , mus ique de V i c t o r Masse. [ Rev i ew o f t h e posthumous p r e m i e r e o f M a s s e ' s l a s t w o r k . ] - - S a l l e du C o n s e r v a t o i r e : E x e c u t i o n de l a s cene l y r i q u e Promethee e n c h a t n e , poeme de M. C a m i l l e du L o c l e , cou ronne au c o n c o u r s R o s s i n i e t mis en mus ique par MM. L u c i e n Lambert e t Georges M a t h i e u [ M a t h i a s ] . [ A f t e r e x p l a i n i n g why two P r i x R o s s i n i have been awarded t h i s y e a r , Reyer r e v i e w s t he c a n t a t a t e x t s e l e c t e d by t h e j u r y , and t h e w i n n i n g s e t t i n g s by t h e then-unknown Lambert and t h e c o m p o s e r - p i a n i s t M a t h i a s . ] - - E x e r c i c e annuel des e l e v e s . [ N o t i c e on t h i s p u b l i c c o n c e r t o f t h e C o n s e r v a t o i r e s t u d e n t s . - - Comments on t h e s u c c e s s f u l p r e m i e r e , at B r u s s e l s , o f a work wh i ch Reyer wants t o hea r a t P a r i s : S a i n t - S a e n s ' s e a r l y Scene d ' H o r a c e ( a v o c a l duet w i t h o r c h e s t r a l a c c o m p a n i m e n t ) . ] - - T h e a t r e de l ' O p e r a : Debut de M. B e r a r d i dans Gui11aume T e l 1 . [ N o t i c e on t h e r e t u r n o f a s i n g e r who had pe r f o rmed at t h e Opera i n t h e 1 870 s . ] - - [ N o t i c e on a new p u b l i c a t i o n : ] M e l o d i e s n o u v e l l e s composees pa r M a r i o F o s c a r i n a . " F-03/05 "Revue m u s i c a l e . L ' A r l e s i e n n e a l ' O d e o n . [ A t t h i s r e v i v a l o f D a u d e t ' s t r a g e d y , B i z e t ' s i n c i d e n t a l mus i c was pe r f o rmed by f u l l o r c h e s t r a ( c o n -d u c t e d by Co l onne ) i n s t e a d o f t he o r i g i n a l t w e n t y - s i x - p i e c e o r c h e s t r a . To i n t r o d u c e t h e r e v i e w , Reyer g i v e s a resume o f how t h i s s c o r e and Carmen had f a r e d i n F r a n c e s i n c e t h e y were p r e m i e r e d i n 1872 and 1875 r e s p e c t i v e l y . ] - - De l a mauva i se i n f l u e n c e du p i a n o s u r l ' a r t m u s i c a l , pa r M. L o u i s P a g n e r r e . [Book r e v i e w i s p r e c e d e d by a b r i e f e d i t o r i a l on ' l e p i a n o , i n s t r u m e n t e s s e n t i e l l e m e n t v u l g a r i s a t e u r . ' ] - - La r e p r e s e n t a -t i o n au b e n e f i c e de Mme V a u c o r b e i l , s a l l e du T r o c a d e r o : Mme C h r i s t i n e N i l s s o n . [ S u b t i t l e i s m i s l e a d i n g : N i l s s o n pe r f o rmed not at a b e n e f i t f o r V a u c o r b e i l ' s w idow, but r a t h e r a t a b e n e f i t f o r ' u ne S o c i e t e 680 d ' a v e u g l e s . ' Reyer r e v i e w s N i l s s o n ' s p e r f o r m a n c e ( a t t h e T r o c a d e r o ) . He g i v e s i n f o r m a t i o n about t h e f o r t h c o m i n g b e n e f i t f o r Mme V a u c o r b e i l ( s c h e d u l e d f o r 6 J u n e , a l s o at t h e T r o c a d e r o ) . ] ~ Les c o n c u r r e n s pour l e g rand p r i x de c o m p o s i t i o n m u s i c a l e . [ E d i t o r i a l on v a r i o u s r e g u l a -t i o n s g o v e r n i n g t h e c o m p e t i t i o n f o r t h e P r i x de Rome, such as t he a d m i s -s i o n o f o n l y s i x s t u d e n t s , and t h e i r t w e n t y - f i v e - d a y c o n f i n e m e n t . (As b e f o r e , Reyer o b j e c t s p a r t i c u l a r l y t o t h e h o l d i n g o f a c o m p e t i t i o n f o r t h e c a n t a t a t e x t ; s e e , e . g . , JD F -01/06/1884. ) A f t e r t he e d i t o r i a l , Reyer r e m i n i s c e s about M. GedaTge, a young man who, at t h e c r i t i c ' s r e commenda t i on , had e n t e r e d t h e c o m p o s i t i o n c l a s s o f E r n e s t G u i r a u d at t h e C o n s e r v a t o i r e , and i s now one o f t he s i x c o m p e t i t o r s f o r t he P r i x de Rome. ] " F-24/05 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a . - - S i g u r d , o p e r a en 4 a c t e s et 9 t a b l e a u x , p o e s i e de MM. C a m i l l e du L o c l e e t A l f r e d B l a u , mus ique de M. E. R e y e r . [ R e v i e w o f t h e P a r i s i a n p r e m i e r e . Reyer does not a s s e s s t he l i b r e t t o and t h e s c o r e , because h i s ' c o n f r e r e s du f e u i l l e t o n ' have a l -r e a d y done s o . I n s t e a d , t h e c o m p o s e r - c r i t i c c o n s i d e r s o t h e r m a t t e r s : t h e l o n g and t r o u b l e d h i s t o r y o f t h i s o p e r a b e f o r e t he p r e m i e r e at B r u s -s e l s ( s ee ^JD F t t - 2 6 / 0 1 / 1 8 8 4 ) ; h i s p e r s i s t e n t o p p o s i t i o n t o t h e ' c o u -p u r e s ' r e q u i r e d by t h e c o - d i r e c t o r s o f t h e O p e r a ; and t he c h a r g e t h a t S i g u r d i s t h e work o f a ' w a g n e r i e n . ' F i n a l l y , Reyer comments on t he i n t e r p r e t e r s o f each o f t h e p r i n c i p a l r o l e s . ' ] " F t t - 2 1 / 0 6 "Revue m u s i c a l e . Academie des B e a u x - A r t s : Endymion , c a n t a t e pour l e g rand p r i x de c o m p o s i t i o n m u s i c a l e ( p a r o l e s de M. Auge de L a s s u s ) ; m i s e en mus ique par MM. L e r o u x , S a v a r d , G e d a l g e , M i s s a , L e r e y e t K a i s e r . [ Reye r r e v i e w s f i r s t t h e c a n t a t a t e x t , and t hen t h e s e t t i n g s , f o c u s i n g on t h o s e o f Le roux ( t o whom t h e j u r y awarded t he P r i x de Rome) and Geda l ge (who was a c c o r d e d ' une men t i on h o n o r a b l e ' ) . ] - - Les I t a l i e n s a l ' O p e r a . [ E d i t o r i a l u r g i n g t h e ' a d m i n i s t r a t i o n s u p e r i e u r e ' o f t he Opera t o p e r m i t t h i s f i n a n c i a l l y d i s t r e s s e d t h e a t r e t o s ha re t h e P a l a i s G a m i e r w i t h ' un T h e a t r e - I t a l i e n , ' w h i c h w i l l f e a t u r e Mme P a t t i , Mme N i l s s o n , and o t h e r e x c e l l e n t p r i n c i p a l s . ] - - L o h e n g r i n a l ' O p e r a e t a 1 ' O p e r a - C o m i q u e . [Remarks on t he p o s s i b i l i t y t h a t L o h e n g r i n w i l l be p r e m i e r e d a t two P a r i s i a n t h e a t r e s s i m u l t a n e o u s l y : t h e Opera (where t h e work w i l l be pe r f o rmed i n I t a l i a n by t h e new T h e a t r e - I t a l i e n ) and the Opera -Comique (where i t w i l l be pe r f o rmed i n F r e n c h ) . ] — [ T h e a t r e de 1 ' O p e r a - C o m i q u e : ] R e p r i s e de l e Ro i l ' a d i t . [ Rev i ew i n c l u d e s a b r i e f h i s t o r y o f D e l i b e s ' s n e g l e c t e d work , wh ich had not been s t aged a t P a r i s s i n c e t h e p r e m i e r e ( s ee JD F - 29/05/1873 ) . ] — Un d e r n i e r mot su r l e s c o u p u r e s de S i g u r d . [ Reye r c a l l s upon t h e c o - d i r e c t o r s o f t h e Opera t o keep t h e i r p r om i se t h a t t h e mus i c d e l e t e d f r om t h e i r p r o d u c t i o n w i l l be r e i n s t a t e d . ] " F-06/07 "Revue m u s i c a l e . Les c o n c o u r s du C o n s e r v a t o i r e . [The v o c a l c o m p e t i -t i o n s o c c a s i o n an e d i t o r i a l r e i t e r a t i n g R e y e r ' s p l e a t h a t t h i s i n s t i t u -t i o n not j u s t c u l t i v a t e ' l e s v o i x , ' bu t ' s e p r e o c c u p e r en meme temps de 681 d e v e l o p p e r 1 1 i n t e l 1 i g e n c e e t de f o r m e r l e g o u t ' by g i v i n g ' l e r e p e r t o i r e c l a s s i q u e . . . une p l a c e p r e p o n d e r a n t e . ' - - Gene r a l remarks on t h e c a n t a t a s s u b m i t t e d i n t h e r e c e n t c o m p e t i t i o n f o r t h e P r i x de Rome. - -F u r t h e r e d i t o r i a l i z i n g on t h e t e a c h i n g o f s i n g i n g at t h e C o n s e r v a t o i r e : as i n e a r l i e r y e a r s , Reyer condemns t h e p r a c t i c e o f a l t e r i n g a com-p o s e r ' s t e x t by means o f o r n a m e n t s , r a l l e n t a n d o s , and o t h e r l i c e n s e s w h i c h ' s o n t l a mort du c h a n t . ' ] ~ La d i s t r i b u t i o n des p r i x . [The v o c a l c o m p e t i t i o n s : Reyer comments b r i e f l y on t h e w i n n e r s i n t h e s e v e r a l c a t e g o r i e s o f men ' s and women's c o m p e t i t i o n s . He adds p o i n t e d l y t h a t any young s i n g e r can l e a r n much by a p p e a r i n g as a gues t a r t i s t w i t h P a r i s i a n o r c h e s t r a l s o c i e t i e s . - - A few o b s e r v a t i o n s on o t h e r c o m p e t i -t i o n s : woodwind and b r a s s ; v i o l i n ; c e l l o . - - As i n t h e p a s t , Reyer demands t h a t v i o l a be t a u g h t at t he C o n s e r v a t o i r e . ] - - [The c r i t i c a pp l aud s c e r t a i n pas sages i n ] Le d i s c o u r s de M. l e d i r e c t e u r des beaux -a r t s . [ — N o t i c e on t h e c o n f e r r i n g o f honor s f r om the government at t he c o n c l u s i o n o f t he awards c e r e m o n y . ] - - Debuts a l ' O p e r a : Mme Bosman, M. G r e s s e , M. B e r t i n . [ B e f o r e r e v i e w i n g t he p e r f o r m a n c e s o f t h e s e a r t i s t s (each o f whom had p r e v i o u s l y sung at t h e O p e r a ) , Reyer a g a i n o b j e c t s t o t h e p r a c t i c e o f a d v e r t i s i n g as a ' d e b u t ' t h e appea rance o f a w e l l - k n o w n s i n g e r i n a r o l e t h a t i s not a l r e a d y i n h i s o r her r e p e r t o i r e ( see JD F - 1 4 / 0 9 / 1 8 8 4 ) . ] " F-17/08 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : M. Due e t M. Ibos ( d e b u t s ) . [ N o t i c e s on t h e p e r f o r m a n c e s o f t h e s e r e c e n t g r a d u a t e s o f t he C o n s e r v a -t o i r e a r e p r e ceded by an e d i t o r i a l a g a i n s t t h e p r a c t i c e o f k e e p i n g t h e Opera open d u r i n g t he summer by t h e s u b s t i t u t i o n o f ' d e v e r i t a b l e s d e b u t a n s ' f o r t h e v a c a t i o n i n g ' a r t i s t e s . ' ] - - R e n t r e e de Mme F i d e s -D e v r i e s dans H a m l e t . [ N o t i c e on her p e r f o r m a n c e i s p r eceded and f o l -l owed by remark s on Mme Caron and o t h e r p r i n c i p a l s who have r e t u r n e d t o t h e O p e r a . ] — T h e a t r e de 1 ' O p e r a - C o m i q u e : S o u l a c r o i x ( d e b u t ) . [ N o t i c e on t h e P a r i s i a n debut o f t h i s b a r i t o n e , f o r m e r l y o f t h e T h e a t r e de l a Monna i e . A few words on t h e f o r t h c o m i n g debut o f B l a n c h e Deschamps, a n o t h e r a r t i s t f r om t h e Monna i e . — ] L o h e n g r i n . — Voyage a V i e n n e . [ Reye r r e p o r t s t h a t , i n p r e p a r a t i o n f o r t h e P a r i s i a n p r e m i e r e o f L o h e n g r i n a t t h e Comique d u r i n g ' l a s a i s o n p r o c h a i n e , ' t he d i r e c t o r and t h e c o n d u c t o r o f t h i s t h e a t r e have d e p a r t e d f o r V i e n n a and B a y r e u t h . They w i l l s t u d y t h e m i se en scene and t h e p e r f o r m a n c e p r a c t i c e s a s s o c i -a t e d w i t h t h i s work , and w i l l s e a r c h f o r s i n g e r s s u i t a b l e f o r c e r t a i n r o l e s . ] - - Une l e t t r e de M. M a s i n i . [ B r i e f e d i t o r i a l on a l e t t e r f r om a c e l e b r a t e d I t a l i a n t e n o r who ' a p a r l e a E u r o p e , ' o f f e r i n g t o s i n g f o r 7500 i n s t e a d o f h i s c u s t o m a r y 10,000 f r . per p e r f o r m a n c e . ] - - Le p o r -t r a i t de Mme Rose Caron par M. Tou lmouche. [ Reye r d e s c r i b e s a p a i n t i n g wh i ch t h e a r t i s t ' e s t en t r a i n de f a i r e . ' ] — [Book r e v i e w : ] Harmonie e t M e l o d i e , pa r M. C a m i l l e S a i n t - S a e n s . " F-28/09 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : Mme Rose Caron et M. G re s se dans l a J u i v e . [The O p e r a ' s announcement o f t h e ' d e b u t s ' o f t h e s e e s t a b -l i s h e d a r t i s t s p rompts Reyer t o r e p e a t h i s l o n g - s t a n d i n g o b j e c t i o n t o 682 t h e p r a c t i c e o f a d v e r t i s i n g as a ' d e b u t ' t h e appearance o f a w e l l - k n o w n s i n g e r i n a r o l e t h a t i s new t o him or h e r . The r e v i e w o f La J u i v e i n c l u d e s a s s e s s smen t s o f Mme C a r o n , G r e s s e , and t he o t h e r p r i n c i p a l s , as w e l l as comments on temp i and s t a g i n g . ] - - T h e a t r e de 1 ' Ope r a -Com ique : R e p r i s e de 1 ' E t o i l e du N o r d : M. V i c t o r M a u r e l , M i l e I s a a c . [ R e v i e w b e g i n s w i t h a b r i e f h i s t o r y o f M e y e r b e e r ' s work , wh i ch had not been s t a g e d at P a r i s i n n e a r l y seven y e a r s . T h i s r e v i v a l i n t r o d u c e d t o the Comique t h e a l r e a d y - f a m o u s b a r i t o n e M a u r e l , and b rough t t h e r e t u r n o f t h e sop rano M i l e I s a a c , who had l e f t t h e Comique f o r t h e Opera i n 1883. Reyer r emark s on t h e i r p e r f o r m a n c e s , and on each o f t he o t h e r p r i n c i p a l s i n t h e p r o d u c t i o n . ] - - [ A l s o at t h e Com ique : ] R e p r i s e de : Une n u i t de C l e o p a t r e : M i l e B l a n c h e Deschamps. [Reye r d i s c u s s e s t h e p e r f o r m a n c e o f M i l e Deschamps ( f o r m e r l y o f t h e T h e a t r e de l a M o n n a i e ) , but says l i t t l e e l s e about t h i s r e v i v a l o f a work wh i ch he had r e v i e w e d o n l y months ago ( s ee JD F - 0 3 / 0 5 ) . — A f t e r announc i ng t h e f o r t h c o m i n g r e v i v a l o f S i g u r d at t h e Ope ra , Reyer r e f l e c t s on t h e c o - d i r e c t o r s ' r e f u s a l t o r e i n s t a t e t h e m a t e r i a l t h e y had d e l e t e d ( see JD F - 0 6 / 0 7 ) . ] " F-19/10 "Revue m u s i c a l e . La s o i r e e m u s i c a l e e s p a g n o l e du F i g a r o . [The c o n c e r t , s p o n s o r e d by t h e P a r i s i a n d a i l y Le F i g a r o , c o n s i s t e d m a i n l y o f e x c e r p t s f r o m M a s s e n e t ' s s o o n - t o - b e - p r e m i e r e d Le C i d , sung by f o u r p r i n c i p a l s o f t h e Ope ra w i t h t h e composer at t he p i a n o . Reyer however does not r e v i e w t h e s e e x c e r p t s , because he i s l o a t h e t o make ' un jugement t e m e r a i r e . ' ] — L ' A r l e s i e n n e a l ' O d e o n . [The renewed s u c c e s s o f t h i s r e v i v a l ( see JD F -24/05) e l i c i t s f u r t h e r r e c o l l e c t i o n s o f t he o r i g i n a l t w e n t y - s i x - p i e c e o r c h e s t r a , r e f l e c t i o n s on t h e c o m p o s e r ' s posthumous fame, and some c r i t -i c i s m s o f C o l o n n e ' s c o n d u c t i n g . ] - - La g rande p a r t i t i o n d ' o r c h e s t r e des T r o y e n s . [ R e y e r announces t h a t B e r l i o z ' s s c o r e , bequeathed t o t he B i b l i o t h e q u e du C o n s e r v a t o i r e , has been l o a n e d t o t h e p u b l i s h e r Chou -den s . The c r i t i c e x h o r t s B e r l i o z ' s e x e c u t o r t o i n s i s t t h a t t h e s c o r e be eng raved e x a c t l y as w r i t t e n . ] — Benvenuto C e l 1 i n i en A l l e m a g n e . [ R e y e r c a l l s f o r t h e s t a g i n g o f t h e l i t t l e - k n o w n Les T royen s and t h e v i r t u a l l y f o r g o t t e n Benvenuto C e l l i n i ; t h e l a t t e r , he p o i n t s o u t , has l o ng been p o p u l a r i n Germany. ] - - Eugene D e l a p o r t e . [ E d i t o r i a l s o l i c i t i n g f i n a n -c i a l a i d f o r t h e d y i n g m u s i c i a n , who had o r g a n i z e d and promoted t h e o rpheon s i n F r a n c e . ] - - P r e m i e r c o n c e r t de M. Lamoureux a 1 ' E d e n -T h e a t r e . [ G e n e r a l r emark s on t h e new home o f L amou reux ' s o r c h e s t r a l s o c i e t y a re f o l l o w e d by a b r i e f r e v i e w o f t h e f i r s t c o n c e r t o f the s e a s o n . ] - - I n s t i t u t de F r a n c e : E x e c u t i o n de l a c a n t a t e pour l e g rand p r i x de c o m p o s i t i o n m u s i c a l e . [ A f t e r h e a r i n g an o r c h e s t r a l p e r f o rmance o f t h e c a n t a t a w i t h w h i c h Le roux had won t h e P r i x de Rome, Reyer r e v i e w s t h i s work i n d e t a i l ( c f . JD F - 0 6 / 0 7 ) . ] " F-15/11 "Revue m u s i c a l e . Academie N a t i o n a l e de M u s i q u e : Le C i d , o p e r a en 4 a c t e s e t 10 t a b l e a u x , de MM. Dennery , L. G a l l e t e t Edouard B l a u , mus ique de M. J . Ma s s ene t . [ B e f o r e r e v i e w i n g t h i s new work , Reyer e d i t o r i a l i z e s a g a i n s t t h e advance p u b l i c i t y wh i ch i s ' l a mode a u j o u r d ' h u i , ' and wh i ch makes known ' l e poeme e t l a p a r t i t i o n , l e s cos tumes e t l e s d e c o r s , ' w i t h 683 t h e r e s u l t t h a t ' l e s s p e c t a t e u r s , avant que l e r i d e a u se l e v e , s a ven t ce q u ' i l s v on t e n t e n d r e e t ce q u ' e n v au t l ' a u n e . ' ] " F-06/12 "Revue m u s i c a l e . Academie des B e a u x - A r t s : Concou r s R o s s i n i . [Comments on t h e te rms o f t h i s b i e n n i a l c o m p e t i t i o n , t he q u a n t i t y o f poems and s c o r e s s u b m i t t e d t h i s y e a r , and t h e d e c i s i o n o f t he A c a d e m i e . ] — He rode , poeme d r a m a t i q u e pa r M. Georges B o y e r , mus ique de M. W i l l i a m Chaumet. [ Rev i ew o f t h e work wh i ch was awarded t he P r i x R o s s i n i . Reyer adds a n o t i c e on Chaumet ' s l o n g - f o r g o t t e n comic o p e r a B a t h y l e , wh i ch had won t h e f i r s t P r i x C r e s s e n t ( s ee^JD F-12/12/1875 and F - 23/05/1877 ) . ] — Les t r o i s o p e r a s qu i s e r o n t r e p r e s e n t e d c e t h i v e r au t h e a t r e r o y a l de l a Monna ie a B r u x e l l e s [ i . e . , Henry L i t o l f f ' s Les T e m p i i e r s , t he H i l l e -macher b r o t h e r s ' S a i n t - M e g r i n , and C h a b r i e r ' s G w e n d o l i n e . - - S h o r t r e -v i e w o f a ' p r e l u d e i n s t r u m e n t a l ' f r o m G w e n d o l i n e , pe r f o rmed at the two most r e c e n t C o n c e r t s - L a m o u r e u x . ] - - Le Nouveau T r a i t e d ' i n s t r u m e n t a t i o n de M. G e v a e r t . [ N o t i c e on t h e r e v i s e d and e n l a r g e d e d i t i o n o f T r a i t e d ' i n s t r u m e n t a t i o n ( 1 8 6 3 ) . ] - - A p ropos de l a r e p r e s e n t a t i o n de L o h e n g r i n a 1 ' Ope r a -Com ique . [ E d i t o r i a l on t h e t h r e a t o f an o r g a n i z e d p r o t e s t w h i c h would d i s r u p t t h e p r e m i e r e . ] - - C o n c e r t s - L a m o u r e u x : M i l e S i l b e r -b e r g e r [ s o l o i s t i n a p i a no c o n c e r t o by T c h a i k o v s k y ] ; Mme B r u n e t - L a f l e u r ; M i l e Raunay. [Mme B r u n e t - L a f l e u r sang D i d o ' s f i n a l a r i a f r om Les T r o yen s and , w i t h M i l e Raunay, t h e N o c t u r n e f r om B e a t r i c e e t B e n e d i c t . ] — Le C i d r e t a r d e pa r i n d i s p o s i t i o n de M. Jean de R e s z k e . [Remarks on t h e w e e k - l o n g i n t e r r u p t i o n o f M a s s e n e t ' s l a t e s t s u c c e s s . ] " F-13/12 "Revue m u s i c a l e de l ' a n n e e 1885 . [ B e f o r e r e v i e w i n g t h e pa s t y e a r , Reyer c o n s i d e r s whether o r not C a r v a l h o w i l l p r e m i e r e L o h e n g r i n i n 1886. - -The Ope ra : The demise o f T a b a r i n . The a c q u i s i t i o n o f ' t r o i s fameuses r e c r u e s ' f r o m the T h e a t r e de l a Monnaie (Mmes Caron and Bosman, and M. G r e s s e ) . The c o n t i n u i n g s u c c e s s o f Le C i d . Reyer announces t h e f o r t h c o m i n g p r e m i e r e o f an o p e r a by P a l a d i l h e , and wonders why the Opera i s no l o n g e r i n t e r e s t e d i n Les Deux P i g e o n s , a new b a l l e t by t h e young Me s sage r . - - Rev iew o f t h e s o i r e e d ' i n a u g u r a t i o n o f t he i l l u s t r a t e d j o u r n a l P a r i s - N o e l : a comedy by G o n d i n e t ; mus i c by Fau re ( t h e m e l o d i e ' N o e l C h r e t i e n ' ) and Godard (Les E l f e s ) ; r e a d i n g s by a c t o r s f r om the T h e a t r e - F r a n g a i s . - - The Ope ra -Comique : R e f l e c t i o n s on t he d i v e r s e f a t e s o f t h e t h r e e works p r e m i e r e d i n 1885 ( D i a n a , Le Cheva l i e r J e a n , and Une n u i t de C l e o p a t r e ) . R e c o l l e c t i o n s o f t h e r e v i v a l o f L ' E t o i l e du N o r d . Rev iew o f t h e r e c e n t r e v i v a l o f Les Con te s d ' H o f f m a n n . E d i t o r i a l u r g i n g C a r v a l h o t o s t a g e Benvenuto C e l 1 i n i . - - Announcement o f t h e demi se o f G o d a r d ' s C o n c e r t s - M o d e r n e s ( f o r m e r l y P a s d e l o u p ' s C o n c e r t s p o p u l a i r e s ) . - - B r i e f e d i t o r i a l on t h e c h o o s i n g o f an i n e x p e r i e n c e d t e n o r f o r t h e t i t l e r o l e i n L a Damnat ion de F a u s t a t t h e l a t e s t C o n c e r t - C o l o n n e . - - C o n c e r t s - L a m o u r e u x : Remarks on t h e E d e n - T h e a t r e . Rev iew o f t h e most r e c e n t c o n c e r t ( w h i c h c o n s i s t e d o f Augu s t a H o l m e s ' s s ymphon ic poem I r l a n d e , ' f r a g m e n s s ymphon i que s ' f r o m Wagne r ' s D i e M e i s t e r s i n g e r , and t h e p r e l u d e t o T r i s t a n . ] " F-27/12 684 1886 J o u r n a l des Debats "Revue m u s i c a l e . Un d e r n i e r mot a p ropo s de l a r e p r e s e n t a t i o n de L o h e n - g r i n a 1 ' O p e r a - C o m i q u e . [ Reye r comments on C a r v a l h o ' s r e n u n c i a t i o n o f h i s p l a n t o p r e m i e r e Wagne r ' s work ( s ee JTJ F -13/12/1885 ) . The c r i t i c t hen e d i t o r i a l i z e s on t h e paradox t h a t P a r i s i a n s would h i s s Wagne r ' s mu s i c ' a u t h e a t r e ' a l t h o u g h t h e y app l aud i t ' a u c o n c e r t ' and even s up -p o r t p ro -Wagner p u b l i c a t i o n s , such as t h e Revue wagne r i enne and t h e Revue d ' a r t d r a m a t i q u e . ] - - Wagner poe te d r a m a t i q u e , e t u d e par MM. A l b e r t S oub i e s e t C h a r l e s M a l h e r b e . [ Rev i ew o f a s t u d y p u b l i s h e d i n t h e Revue d ' a r t d r a m a t i q u e . (The s t u d y was e x c e r p t e d f r om L ' O e u v r e d r ama - t i q u e de R i c h a r d Wagner, wh i ch was i n p r e s s . ) ] - - T h e a t r e de 1 ' O p e r a -Comique: R e p r i s e de Zampa. [ Reye r f i r s t c o n s i d e r s whether H e r o l d ' s work s h o u l d be c l a s s i f i e d 'comme o p e r a comique ou comme grand o p e ' r a , ' and t hen a s s e s s e s t he p e r f o r m a n c e s o f t he p r i n c i p a l s . - - Announcement o f t h e p u b l i c a t i o n o f Chaumet ' s p r i z e - w i n n i n g Herode ( s ee JD F-13/12/ 1 8 8 4 ) . ] - - E d e n - T h e a t r e ( c o n c e r t s LamoureuxTi E x e c u t i o n de l a ' S ym-p h o n i e avec c h o e u r s ' de B e e t h o v e n . [ Rev i ew o f ' une m a g n i f i q u e e x e c u -t i o n . ' ] " F-24/01 "Revue m u s i c a l e . T h e a t r e r o y a l de l a Monna i e : Les T e m p i i e r s , o p e r a en c i n q a c t e s ; poeme de MM. J u l e s A d e n i s , Armand S i l v e s t r e e t E r n e s t Bonne-mere ; mus ique de M. Henry L i t o l f f . [ A f t e r r e a d i n g about t he g r e a t s u c -c e s s o f t h e p r e m i e r e o f t h i s work , Reyer s t u d i e s t he s c o r e and d i s c u s s e s i n d e t a i l bo th t h e l i b r e t t o and t h e m u s i c . - - P o s t s c r i p t : Reyer r e g r e t s t h a t he l a c k s t h e space t o r e v i e w 'comme i l c o n v i e n t ' t h e r e c e n t c o n c e r t o f t h e v i o l i n i s t J o seph J o a c h i m at t h e S a l l e E r a r d . ] " F-31/01 [ ( C o m m u n i c a t i o n p u b l i s h e d under t h e words "On nous e c r i t de Monaco : " ) Some s i g h t s o f M o n t e - C a r l o : The t e r r a c e o f t he p a l a c e . The army and i t s b a r r a c k s . The c a s i n o . - - T h e a t r e de M o n t e - C a r l o : The d i s m i s s a l o f b o t h P a s d e l o u p and h i s " r i v a l , " A c c u r s i ( s ee JD_ * L A [ C u r R 191 ] - 15/02/ 1885, pp . 2 - 3 ) . T h e i r s u c c e s s o r , A r t h u r S t e c k . N o t i c e on M i l e I s a a c i n two o p e r a s c o m i q u e s : M a s s e ' s G a l a t h e e and Thomas ' s Le CaTd. "Que l que s m o t s " about o t h e r p r i n c i p a l s i n t he company. - - The " c o n c e r t s c l a s -s i q u e s " a t t h e T h e a t r e de M o n t e - C a r l o : S teck as c o n d u c t o r . The i m p o r -t a n c e o f " l a mus ique moderne" i n t h e r e p e r t o i r e . - - An improvement i n t h e wea the r a t M o n t e - C a r l o . - - T h e a t r e m u n i c i p a l de N i c e : A few words on Mme K r a u s s , who sang i n both II T r o v a t o r e and M e y e r b e e r ' s L ' A f r i c a i n e ( t h e l a t t e r i n I t a l i a n t r a n s l a t i o n ) . F o r t h c o m i n g appea rance o f Mme P a t t i , a n o t h e r " e t o i l e " whose engagement w i l l be t e m p o r a r y . ] * L A [ C u r R 1 91 ] - 16/02 , p. 2 "Revue m u s i c a l e . Le t h e a t r e de M o n t e - C a r l o . [ E d i t o r i a l a p p l a u d i n g t h e a d m i n i s t r a t i o n ' s d e c i s i o n t o r e t u r n t o ' l e s g rands ope ra s . . . avec de g r and s a r t i s t e s , ' a f t e r two y e a r s o f e x p e r i m e n t a t i o n w i t h l e s s c o s t l y e n t e r t a i n m e n t ( i . e . , t h e ' o p e r a s - c o n c e r t s ' c o n d u c t e d by P a s d e l o u p i n 685 1885 , and t he a b b r e v i a t e d o p e r a s comiques p e r f o r m e d by ' une t r o u p e moyenne ' d u r i n g t h e p a s t s e a s o n ) . J - - P r o j e t de r e s t a u r a t i o n du T h e a t r e -L y r i q u e , par M. P a s d e l o u p . [ E d i t o r i a l a g a i n s t P a s d e l o u p ' s p r o p o s a l t o r e e s t a b l i s h a t h i r d l y r i c t h e a t r e as ' un i n t e r m e d i a i r e e n t r e l e C o n s e r -v a t o i r e e t l ' O p e r a : une E c o l e d ' a p p l i c a t i o n . ' ( Reye r had on many o c c a s i o n s opposed such s u g g e s t i o n s t h a t a t h e a t r e be c o n s e c r a t e d t o young s i n g e r s and compose r s ; s e e , e . g . , JTJ F - 01/02/1879 . ) ] — C o n c e r t s Lamoureux: La C l o c h e , pa r M. V i n c e n t d ' I n d y . [ Rev i ew o f t h e d r a m a t i c l e g e n d wh i ch had won t he P r i x de l a v i l l e de P a r i s i n 1885 . ] - - La V a l k t i r e . [Comments on t h e s u c c e s s o f e x c e r p t s ( i n F rench t r a n s l a t i o n ) a t t h e C o n c e r t s Lamoureux . ] — Messe de G r a n , e x e c u t e e a S a i n t -E u s t a c h e . [Remarks on a p e r f o r m a n c e o f t h e Gran F e s t i v a l Mass , c o n -d u c t e d by Co lonne at t h e Church o f S a i n t - E u s t a c h e i n honor o f L i s z t . (The compose r , who a t t e n d e d t h i s p e r f o r m a n c e , had c o n d u c t e d t h e P a r i s i a n p r e m i e r e at S a i n t - E u s t a c h e i n 1 8 6 6 . ) ] ~ L ' a b b e L i s z t : S o u v e n i r s de Rome. [Reye r remembers h i s v i s i t s w i t h L i s z t a t Rome i n t he summer o f 1865, when t he abbe gave p e r m i s s i o n t o i n c l u d e Les P r e l u d e s on t he p r o -gram o f t h e i n t e r n a t i o n a l c o n c e r t Reyer would c onduc t at Baden-Baden i n A u g u s t . ] " F t t - 2 8 / 0 3 "Revue m u s i c a l e . A p ropo s d ' u n e c o q u i l l e . [The c o r r e c t i n g o f a p r i n t e r ' s b l u n d e r t h a t had appeared i n t he d i s c u s s i o n o f t he ' p r o j e t P a s d e l o u p ' ( s ee ^JD F-28/03) o c c a s i o n s r e f l e c t i o n s on t h e ' p r i v i l e g e ' and t h e ' p r e s t i g e ' o f t he O p e r a . - - E d i t o r i a l on t he O p e r a ' s s u b s i d y : Reyer m a i n t a i n s t h a t t h i s s u b v e n t i o n s h o u l d be used not f o r ' l e s v i r t u o s e s q u i p a s s e n t , ' bu t r a t h e r f o r b u i l d i n g a company ' d ' e x c e l l e n s s u j e t s ' and f o r r e j u v e n a t i n g t h e r e p e r t o i r e w i t h u n f a m i l i a r w o r k s , bo th o l d and new, w h i c h m igh t not be c o m m e r c i a l l y s u c c e s s f u l . ] — M. V e r d i a P a r i s . [ Reye r s p e c u l a t e s t h a t t h e composer i s b e i n g urged by t h e Opera t o choose t h i s t h e a t r e f o r t h e w o r l d p r e m i e r e o f O t e l l o . ] ~ T h e a t r e de 1 ' O p e r a - C o m i q u e : P l u t u s , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. A l b e r t M i l l a u d e t Ga s ton J o l l i v e t , mus ique de M. C h a r l e s L e c o c q . [ I n t h i s r e v i e w Reyer a p p l a u d s L e c o c q (whose o p e r e t t a s had r i v a l l e d i n p o p u l a r i t y t h o s e o f O f f e n b a c h ) f o r a t t e m p t i n g a work i n a more s e r i o u s v e i n . ] - - Symphonie l e g e n d a i r e , par M. Ben jamin Goda rd . [ P o s t s c r i p t announc i ng t he p u b l i c a t i o n o f t h i s ' o e u v r e i m p o r t a n t e ' wh i ch w i l l be p r e m i e r e d ' l e mo i s p r o c h a i n . ' ] " F-04/04 "Revue m u s i c a l e . T h e a t r e n a t i o n a l de l ' O p e r a : 1 ' A f r i c a i n e . [ R e v i e w i s p r e c e d e d by a b r i e f e d i t o r i a l u r g i n g t h a t c o n d u c t o r s i n F r ench l y r i c t h e a t r e s be a c c o r d e d ' p l e i n s p o u v o i r s ' so t h a t t h e y can r e q u i r e e v e r y p e r f o r m e r t o be f a i t h f u l t o a c o m p o s e r ' s s c o r e . ] - - M. G a y a r r e , M. L a s s a l l e , M i l e R i c h a r d [ p r i n c i p a l s i n L ' A f r i c a i n e ; t h e I t a l i a n t e n o r G a y a r r e had neve r b e f o r e sung any o p e r a i n t h e F rench r e p e r t o i r e ] . - -C o n s e r v a t o i r e n a t i o n a l de Mus ique e t de D e c l a m a t i o n : A u d i t i o n des e n v o i s de Rome. - - S u i t e d ' o r c h e s t r e par M. G a b r i e l P i e r n e . [ G e n e r a l r emark s on t h i s e n v o i . ] - - M e r l i n e n c h a n t e , poeme d r a m a t i q u e de M. E m i l e Mo reau , mus ique de M. Georges M a r t i n [ M a r t y ] . [ B e f o r e r e v i e w i n g M a r t y ' s e n v o i , Reyer g i v e s a summary o f i t s ' p r o g r a m m e . ' ] — Theodore R i t t e r . 686 [ O b i t u a r y o f t h e f o r t y - s i x - y e a r - o l d p i a n i s t - c o m p o s e r , who had been one o f R e y e r ' s c l o s e f r i e n d s . ] " F - l l / 0 4 "Revue m u s i c a l e . T h e a t r e Roya l de l a Monna ie : P r e m i e r e r e p r e s e n t a t i o n de G w e n d o l i n e , o p e r a en deux a c t e s e t t r o i s t a b l e a u x , poeme de M. C a t u l l e Mendes, mus ique de M. Emmanuel C h a b r i e r . [ A t t he b e g i n n i n g o f t h e r e v i e w , Reyer r e c a l l s t h a t he became i n t e r e s t e d i n t h i s o p e r a when he hea rd e x c e r p t s pe r f o rmed at t h e C o n c e r t s Lamoureux ( see ^JD F -16/11/ 1884 and F -13/12/1885 ) . — P o s t s c r i p t : Rev iew o f Gounod ' s p r e f a c e t o t h e e l e v e n t h vo lume (1885) o f Les A n n a l e s du t h e a t r e e t de l a m u s i q u e , t h e ongo i ng s e r i e s by Noel and S t o u l l i g . ] " F-18/04 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : R e p r i s e du Songe d ' u n e n u i t d ' e t e , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. R o z i e r e t de L e u v e n , mus ique de M. Ambro i s e Thomas. [ R e v i e w i n c l u d e s o b s e r v a t i o n s on Thomas ' s e f f o r t t o ' r a j e u n i r ' t h i s work by s l i g h t l y r e v i s i n g t he o r i g i -n a l v e r s i o n ( 1 8 5 0 ) . ] — Le f e s t i v a l p r o j e t e au b e n e f i c e de l a f i l l e de Theodore R i t t e r . [ I n f o r m a t i o n c o n c e r n i n g a b e n e f i t wh ich i s b e i n g o r g a n i z e d f o r t h e s i x - y e a r - o l d d a u g h t e r o f t he l a t e m u s i c i a n . ] — A n t o i n e R u b i n s t e i n . [Comments on a s e r i e s o f P a r i s i a n c o n c e r t s g i v e n by t h e p i a n i s t , who w i l l be one o f t h e a r t i s t s f e a t u r e d at t he b e n e f i t f o r R i t t e r ' s d a u g h t e r . ] - - T r o i s l i v r e s nouveaux . [ P o s t s c r i p t announc i ng t h e p u b l i c a t i o n o f A r t h u r P o u g i n ' s V e r d i , h i s t o i r e a n e c d o t i q u e de s a v i e e t de ses o e u v r e s , and ' deux vo lumes s u r R i c h a r d Wagner, l ' u n s i g n e de MM. A l b e r t S o u b i e s e t C h a r l e s M a l h e r b e , 1 ' a u t r e de M. C a t u l l e Mendes . ' ( P o u g i n ' s book and t h e volume c o - a u t h o r e d by S oub i e s and Ma l he rbe a r e r e v i e w e d i n JD F - 1 3 / 0 6 . ) ] " F-25/04 "Revue m u s i c a l e . T h e a t r e de 1 ' Ope ra -Com ique : MaTt re Ambros , drame l y r i q u e en q u a t r e a c t e s e t c i n q t a b l e a u x , p a r o l e s de MM. F r a n g o i s Coppee e t D o r c h a i n , mus ique de M. W i d o r . [ Rev i ew o f t h e f i r s t o p e r a by C h a r l e s - M a r i e W ido r . The p r e m i e r e o f t h i s ' d rame l y r i q u e ' a t t he O p e r a -Comique p rompts Reyer t o e d i t o r i a l i z e on C a r v a l h o ' s a t t e m p t s t o ' r e -t a r d e r i n d e f i n i m e n t ' t h e r e s u r r e c t i o n o f a T h e a t r e - L y r i q u e , ' e n e s s a y a n t d ' a c c l i m a t e r 1 ' o p e r a de gen re e t au b e s o i n l e drame l y r i q u e su r l a scene l y r i q u e q u ' i l d i r i g e . ' ] — T h e a t r e de l ' E d e n : C o n c e r t s Lamoureux. - -C o n c e r t du v e n d r e d i s a i n t . [ Bo th s u b t i t l e s r e f e r t o R e y e r ' s r e v i e w o f t h e a l l - W a g n e r c o n c e r t c o n d u c t e d by Lamoureux on Good F r i d a y . — N o t i c e on a n o t h e r c o n c e r t o f Good F r i d a y : L i s z t ' s D i e Legende von de r H e i - l i g e n d e E l i s a b e t h , p e r f o r m e d i n F r e n c h t r a n s l a t i o n at t he T r o c a d e r o ( i n t h e p r e s e n c e o f t h e c o m p o s e r ) . ] " F-09/05 "Revue m u s i c a l e . S a l l e du T r o c a d e r o : Mors e t V i t a , a s a c r e d t r i l o g y , w r i t t e n and composed by C h a r l e s Gounod L s i c ] . LReview o f t h e f i r s t P a r i s i a n pe r f o rmance o f t h e o r a t o r i o wh i ch had been p r e m i e r e d at the B i rm ingham F e s t i v a l o f 1 885 . ] - - Les c a n t a t e s pour l e g rand p r i x de com-p o s i t i o n m u s i c a l e . [Announcement o f t h e c h o i c e o f t h e c a n t a t a t e x t t o 687 be s e t by c o m p e t i t o r s f o r t h e P r i x de Rome: La V i s i o n de S a l i l , by A d e n i s f i l s . Remarks on o t h e r c a n t a t a t e x t s t h a t had been s u b m i t t e d t o t h e j u r y . ] - - T h e a t r e de l ' O p e r a : R e p r i s e de H e n r i V I I I , o p e r a en q u a t r e a c t e s , p a r o l e s de M. Leonce D e t r o y a t , mus ique de M. C a m i l l e S a i n t - S a e n s . [ B r i e f r e v i e w o f a work wh i ch had not been s t a ged at t he Opera s i n c e t h e y e a r o f t h e p r e m i e r e ( s e e F - l l / 0 3 / 1 8 8 3 ) . ] - - [ A l s o a t t h e O p e r a : ] La 5 0 0 e r e p r e s e n t a t i o n de l a J u i v e . [Mme C a r o n , ' l a n o u v e l l e R a c h e l ' i n H a l e v y ' s work , i s de fended by Reyer a g a i n s t c r i t i -c i s m t h a t she had not p a r t i c i p a t e d i n t h e ceremony h o n o r i n g t he com-p o s e r ' s memory on t h e e v e n i n g o f t h e f i v e hund red th p e r f o r m a n c e . - -P o s t s c r i p t : A few words about a p e r f o r m a n c e o f V i c t o r R o g e t ' s new o p e r e t t a , J o s e p h i n e vendue pa r ses s o e u r s , at t h e B o u f f e s - P a r i s i e n s . ] " F-30/05 "Revue m u s i c a l e . La T r a v i a t a a 1 ' O p e r a - C o m i q u e . [ B r i e f r e v i e w o f t he r e p e t i t i o n g e n e r a l e f o c u s e s on t he new i n t e r p r e t e r s o f a work w h i c h , s i n c e t h e P a r i s i a n p r e m i e r e i n 1856 ( see RF A - 2 [ 2 0 / 1 2 ] : 3 7 7 - 8 4 ) , had been p e r f o r m e d ' e n f r a n g a i s comme en i t a l i e n . . . p l u s de c en t f o i s . ' ] - -V e r d i , h i s t o i r e a n e c d o t i q u e de sa v i e e t de ses o e u v r e s , par M. A r t h u r P o u g i n . LBook r e v i e w i n c l u d e s R e y e r ' s r e m i n i s c e n c e s o f h i s own e n -c o u n t e r s w i t h V e r d i , and an a ccoun t o f how ' l a t r e s g rande i m p r e s s i o n que p r o d u i s i t s u r moi l a p a r t i t i o n d ' A T d a ' l e d Reyer t o r eexam ine V e r d i ' s e a r l i e r works and t hu s t o 'm i eux a p p r e c i e r l e s q u a l i t e s que c e r t a i n s m u s i c i e n s . . . se p l a i s a i e n t a c o n s t a t e r . ' ] — L a V o i x e t l e C h a n t , t r a i t e p r a t i q u e , par M. J . F a u r e . [ P o s t s c r i p t announc i ng t h e p u b l i c a t i o n o f t h i s t r e a t i s e ; see t h e r e v i e w i n jID F - 0 4 / 0 7 . ] " F-13/06 "Revue m u s i c a l e . Academie des B e a u x - A r t s : Jugement des c a n t a t e s pour l e g rand p r i x de c o m p o s i t i o n m u s i c a l e : l a V i s i o n de S a l i l , s cene l y r i q u e de M. Eugene A d e n i s , m i s e en mus ique par MM. K a i s e r , B a c h e l e t , Geda l ge e t S a v a r d . [ B r i e f e d i t o r i a l on t h e A c a d e m i e ' s judgment o f t he f o u r s e t t i n g s o f t h e p r e s c r i b e d t e x t . Rev i ew o f bo th t h e t e x t and S a v a r d ' s w i n n i n g s e t t i n g . O b s e r v a t i o n s on t h e s e t t i n g s by K a i s e r and G e d a l g e , whom t h e Academie named a f t e r S a v a r d . ] - - La p r e m i e r e annee de m u s i q u e , s o l f e g e e l e m e n t a i r e pa r M. A n t o n i n Marmonte l - ! [ Reye r quo te s the t e s t i -m o n i a l s i g n e d by him and by t h e o t h e r members o f t h e ' s e c t i o n m u s i c a l e ' o f t h e A c a d e m i e . ] - - La v o i x e t l e c h a n t , t r a i t e p r a t i q u e par M. J . F a u r e . [ R e y e r r e v i e w s f i r s t t h e p r e f a c e and then ' l a p a r t i e t e c h n i q u e ' o f t h e t r e a t i s e by t h e famous b a r i t o n e . ] " F-04/07 "Revue m u s i c a l e . [ R e c o l l e c t i o n s o f a p l e a s u r e t r i p i n S w i t z e r l a n d and I s e r e , w i t h o b j e c t i o n s t o t h e u b i q u i t o u s p i a n o (wh i ch Reyer hea rd ' d an s l e s v i 1 1 e s comme dans l e s b o u r g a d e s , dans l e s p e t i t e s auberges comme dans l e s h o t e l s ' ) . - - Remarks on t h e p u b l i s h e r C h o u d e n s ' s o f f e r t o r e -e s t a b l i s h a T h e a t r e - L y r i q u e and t h e c i t y c o u n c i l ' s r e j e c t i o n o f t h i s p r o j e c t l e a d t o an e d i t o r i a l s u g g e s t i n g measures wh i ch s h o u l d be t a k e n t o i n s u r e t h e s u r v i v a l o f a t h i r d l y r i c t h e a t r e . - - The O p e r a - P o p u l a i r e ( i n s t a l l e d ' c e t e t e ' a t t h e C h a t e a u - d ' E a u , and d i r e c t e d by a M. M i l l i a u d ) : A few words on t h e r e v i v a l o f S e m e t ' s La P e t i t e F a d e t t e . 688 (Reye r had r e v i e w e d t he p r e m i e r e at t he Ope ra -Com ique ; see JD F-28/09/ 1869 . ) - - The Ope ra : N o t i c e on Mme C a r o n ' s p e r f o r m a n c e as M a r g u e r i t e i n Gounod ' s F a u s t . - - N o t i c e on a new l y p u b l i s h e d s c o r e : t h e o p e r e t t a S i n g e d ' u n e n u i t d ' e t e , l i b r e t t o by Edouard N o e l , mus i c by Gas ton S e r p e t t e . - - Reye r enumerates t h e works wh i ch t he O p e r a - P o p u l a i r e had s t a g e d d u r i n g t h e summer (and wh i ch he had not seen because he was t r a v e l 1 i n g ) . ] " F-12/09 "Revue m u s i c a l e . A p ropo s de l a r e p r e s e n t a t i o n de Benvenuto C e l l i n i a 1 ' Ope r a -Com ique . [ E d i t o r i a l on t h e f a t e o f t h i s p r o d u c t i o n , wh i ch o r i g i n a l l y was s c h e d u l e d f o r 17 O c t o b e r ( t h e day o f t h e i n a u g u r a t i o n o f t h e s t a t u e o f B e r l i o z at P a r i s ) : Reyer f i r s t r e c a l l s t he c h a i n o f e v e n t s t h a t had c u l m i n a t e d i n C a r v a l h o ' s d e c i s i o n t o p u t Benvenuto i n t o r e h e a r s a l s e v e r a l months ago. The c r i t i c t hen r e f l e c t s on how t h i s o p e r a had been a d v e r s e l y r e c e i v e d by t h e s i n g e r s and c o n d u c t o r o f t h e Opera i n 1838; he c o n t r a s t s t h e i r r e a c t i o n w i t h t h a t o f t he a r t i s t s c u r -r e n t l y at t h e Comique, and p r e d i c t s t h a t t h e work would be ' un enorme s u c c e s . ' F i n a l l y , Reyer comments on t h e C o m i q u e ' s sudden d e c i s i o n t o po s tpone t h e p r o d u c t i o n ' a une d a t e i n d e t e r m i n e e . ' ] - - T h e a t r e de l ' O p e r a : Debut de M. De lmas. [ N o t i c e on t he pe r f o rmance o f t h i s r e c e n t g r a d u a t e o f t h e C o n s e r v a t o i r e i n Les H u g u e n o t s . ] - - M i l e S a r o l t a [ a young Hunga r i a n who w i l l soon make her debut at t h e O p e r a ] . [ - - Reyer e a g e r l y a n t i c i p a t e s t h e f o r t h c o m i n g p r e m i e r e o f P a t r i e ! t h e f i r s t work f o r t he Opera by t h e a l r e a d y w e l l - k n o w n E m i l e P a l a d i l h e . - - T h e a t r e de 1 ' Ope r a -Com ique : Remarks on t h e b i l l i n g o f Le Pa rdon de P l o e r m e l as a ' r e p r i s e . ' O b s e r v a t i o n s on C a r v a l h o ' s a l l u s i o n s t o ' d e s p r o j e t s dont i l s e r a i t menace par l e s d i r e c t e u r s de l ' O p e r a . ' ] — L ' i m p o t su r l e s p i a n o s . [ E d i t o r i a l s u g g e s t i n g t h a t t he government s h o u l d impose a s m a l l annua l t a x on t h e owners o f t h e more t h a n 500,000 p i a n o s i n F r a n c e , and , m o r e o v e r , t h a t t h e r e s h o u l d be i n P a r i s (as i n c e r t a i n c i t i e s o f Germany) a p o l i c e o r d e r ' q u i d e f end de j o u e r du p i a n o , l a f e n e t r e o u -v e r t e . ' ] " F-26/09 " L a S t a t u e de B e r l i o z . [ Speech f o r t h e i n a u g u r a t i o n o f t h e s t a t u e a t P a r i s , 17 O c t o b e r 1886 ( a l s o p u b l i s h e d by t h e I n s t i t u t de F r a n c e ; see Append i x B ) . ] " F-17/10 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : Les Deux P i g e o n s , b a l l e t en t r o i s a c t e s , p a r MM. H e n r i R e g n i e r e t L o u i s M e r a n t e , mus ique de M. Andre Me s s age r . [ R e v i e w o f t he young M e s s a g e r ' s f i r s t work f o r t he O p e r a . ] — Le F r e i s c h ' u t z : [The r e v i v a l o f t h i s work (as t h e c u r t a i n - r a i s e r f o r M e s s a g e r ' s b a l l e t ) e l i c i t s an e d i t o r i a l r e a f f i r m i n g R e y e r ' s c o n v i c t i o n t h a t t h i s ' c h e f - d ' o e u v r e de moyenne d i m e n s i o n ' does not b e l o n g at t h e O p e r a , where ' l e c a d r e e s t t r o p v a s t e pour l e t a b l e a u . ' (See a l s o JD F -31/05/1870, F -29/05/1873, and A -06/07/1876 , p. 3 . ) ] Mme Rose C a r o n , M. De lmas. [ R e y e r a s s e s s e s t h e p e r f o r m a n c e s o f t h e s e and o t h e r p r i n c i -p a l s i n F r e i s c h ' u t z , g i v i n g most o f h i s a t t e n t i o n t o Mme C a r o n . ] - - Con -c e r t s du C h a t e l e t : P r e m i e r c o n c e r t a l a memoire d ' H e c t o r B e r l i o z . - -689 M. S a r a s a t e . [ B o t h s u b t i t l e s r e f e r t o R e y e r ' s n o t i c e on a C h a t e l e t c o n c e r t w h i c h , w i t h t h e e x c e p t i o n o f two c o m p o s i t i o n s pe r f o rmed by t h e v i o l i n i s t S a r a s a t e , c o n s i s t e d o f mus i c by B e r l i o z . ] " F-31/10 "Revue m u s i c a l e . Les T r o yen s a l ' O p e r a . [An a ccoun t o f an a t t empt t o have t h i s work put i n t o r e h e a r s a l at t h e Opera i n t he e a r l y 1860 s , and r e c o l l e c t i o n s o f t h e m u t i l a t e d v e r s i o n s t aged at t h e T h e a t r e - L y r i q u e i n 1863 , c u l m i n a t e i n an e d i t o r i a l u r g i n g t he c u r r e n t c o - d i r e c t o r s o f t h e Opera t o p r e m i e r e Les T r o y e n s . ] - - T h e a t r e de 1 ' Ope r a -Com ique : Debut de M i l e E l l y Wa rno t s . [ B e f o r e comment ing on t h i s d i s a p p o i n t i n g d e b u t , Reyer remembers M i l e W a r n o t s ' s f i n e p e r f o r m a n c e i n t h e N i n t h Symphony at t h e C o n c e r t s Lamoureux ( see JTJ F - 2 4 / 0 1 ) . ] - - R e p r i s e du Songe d ' u n e n u i t d ' e t e . [ N o t i c e on t h e renewed s u c c e s s o f t h i s work, wh i ch t h e Comique had r e v i v e d i n A p r i l ( s ee JD F - 2 5 / 0 4 ) . - - D e n i a l o f rumors t h a t Ambro i s e Thomas was c o n t e m p l a t i n g r e t i r i n g f r om t h e d i r e c t o r s h i p o f t h e C o n s e r v a -t o i r e and t h a t Reyer was d e s i g n a t e d as h i s s u c c e s s o r . ] ~ I n s t i t u t de F r a n c e : E x e c u t i o n de l a V i s i o n de S a l i l , s cene l y r i q u e , p a r o l e s de M. Eugene A d e n i s , mus ique de M. S a v a r d . [ "Not ice on t h e o r c h e s t r a l p e r f o r -mance o f t h e c a n t a t a wh i ch had won t h e P r i x de Rome. (The s c o r e had been r e v i e w e d i n JD_ F - 0 4 / 0 7 . ) ] - - S a l l e de l ' E d e n : l e r c o n c e r t de M. Lamoureux. [ Rev i ew o f t h e f i r s t c o n c e r t o f t h e s e a s o n : mus i c by . M e n d e l s s o h n , Schumann, and B e r l i o z . ] — Mme F i d e s - D e v r i e s a L o n d r e s . [News o f t h i s s o p r a n o ' s a c c l a i m e d p e r f o r m a n c e s i n F au s t at t he b e g i n n i n g o f an engagement at Her M a j e s t y ' s T h e a t r e . - - P o s t s c r i p t t h a n k i n g A d o l p h e J u l l i e n f o r a copy o f h i s new book , R i c h a r d Wagner, s a v i e e t se s o e u v r e s ( see t he r e v i e w i n JD F - 2 3 / 0 1 / 1 8 8 7 ) . ] " F-14/11 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Le S i g n a l , o p e r a comique en un a c t e , p a r o l e s de MM. E r n e s t D u b r e u i l e t W i l l i a m B u s n a c h , mus i que de M. Pau l P u g e t . [ Rev i ew o f t h i s p r e m i e r e i s i n t r o d u c e d by a n o t i c e on t h e c a r e e r o f P u g e t , who had won t he P r i x de Rome i n 1873 . ] — [ A l s o p r e m i e r e d at t h e Comique : ] Juge e t p a r t i e , o p e r a comique en deux a c t e s , p a r o l e s de M. J u l e s A d e n i s , mus ique de M. Edmond M i s s a . [ R e v i e w of M i s s a ' s work , wh i ch had won t h e P r i x C r e s s e n t t h a t y e a r , i s p r eceded by o b s e r v a t i o n s on t he advan tage s o f t h i s c o m p e t i t i o n ove r both t he Con -c o u r s R o s s i n i and t h e Concour s de l a v i l l e de P a r i s . Reyer a l s o p r o -v i d e s a n o t i c e on t h e c a r e e r o f t h e t w e n t y - f i v e - y e a r - o l d composer . — Announcement o f t h e l o n g - a w a i t e d p r e m i e r e o f S a l v a y r e ' s Egmont at t h e Com ique . ] - - T h e a t r e de l ' O p e r a : Debut de M i l e [ d ' ] A l v a r dans l a J u i v e . [ N o t i c e on t h e p e r f o r m a n c e o f t h i s f o r m e r s t u d e n t o f d rama. ] ~ Le ' p i a n o n o r m a l ' de M. L e s c u y e r . [Remarks on an a c o u s t i c i a n ' s ' p i a n o n o r m a l , r e s o n n a t e u r m e l o d i q u e , ' w h i c h , by means o f a t h i r d p e d a l , makes t h e sound ' s ' a d o u c i t , s ' a r r e t e ou se p r o l o n g e i n d e f i n i m e n t . ' ] " F-28/11 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Egmont, drame l y r i q u e en q u a t r e a c t e s , p a r o l e s de MM. A l b e r t W o l f f e t A l b e r t M i l l a u d , mus ique de M. Ga s ton S a l v a y r e . [ T h i s work , t h e l i b r e t t o o f wh ich was an a d a p t a -t i o n o f G o e t h e ' s t r a g e d y , had o r i g i n a l l y been a c c e p t e d by t he O p e r a ' s 690 V a u c o r b e i l , bu t had been r e j e c t e d by h i s s u c c e s s o r s . B e f o r e r e v i e w i n g t h e C o m i q u e ' s p r o d u c t i o n , Reyer e d i t o r i a l i z e s on ' l a n e c e s s i t e de r e s s u s c i t e r l e T h e a t r e - L y r i q u e , ' r e i t e r a t i n g h i s c o n v i c t i o n t h a t t he Opera -Comique c o u l d not f u n c t i o n both as t h e home o f ' s o n gen re eminemment f r a n g a i s ' and as a new L y r i q u e wh i ch would open i t s doo r s t o o p e r a s ' de t o u t e s l e s epoques e t de t o u t e s l e s p r o v e n a n c e s . ' ] " F-12/12 "Revue m u s i c a l e . Academie n a t i o n a l e de Mus ique e t de Danse [ i . e . , t he O p e r a ] : P a t r i e ! o p e r a en c i n q a c t e s e t d i x t a b l e a u x ; p a r o l e s de MM. V i c t o r i e n Sa rdou e t L o u i s G a l l e t ; mus ique de M. P a l a d i l h e . [ R e v i e w o f t h e p r e m i e r e o f P a l a d i l h e ' s o p e r a based on S a r d o u ' s h i s t o r i c a l d r a m a . ] " F-26/12 1887 J o u r n a l des Debat s "Revue m u s i c a l e . Un te leg ramme des d i r e c t e u r s du t h e a t r e r o y a l de l a Monnaie a B r u x e l l e s . [ R e y e r f i r s t s a l u t e s t he m u s i c a l a c t i v i t i e s o f t he c u r r e n t c o - d i r e c t o r s , J o seph Dupont and A l e x a n d r e L a p i s s i d a , and t h e n r e c a l l s t h e i r t e l e g r a p h e d i n v i t a t i o n t o a t t e n d a r e v i v a l o f S i g u r d ( w h i c h , u n l i k e t h e p r o d u c t i o n a t P a r i s , would be ' s a n s c o u p u r e s ' ) . The c o m p o s e r - c r i t i c does not g i v e ' u n compte rendu d e t a i l l e de c e t t e r e -p r i s e , ' but b r i e f l y a s s e s s e s t h e p e r f o r m a n c e o f each o f t h e p r i n c i p a l s . ] - - O t e l l o e t Desdemone. [As t h e d a t e o f t h e w o r l d p r e m i e r e at M i l a n a p p r o a c h e s , Reyer comments on rumors about V e r d i ' s new work , wh i ch i s c o v e t e d by both t h e Opera and t he Ope ra -Com ique . The c r i t i c a d d r e s s e s i n p a r t i c u l a r t h e rumor t h a t V e r d i has s i g n e d a c o n t r a c t w i t h t h e O p e r a ' s G a i l h a r d w i t h o u t h a v i n g s p e c i f i e d who w i l l s i n g t he r o l e o f Desdemona.] - - L ' i n v e n t i o n de M. C h a u s s i e r . [Remarks on a 'mecan i sme ' w h i c h can be adapted t o any t r a n s p o s i n g i n s t r u m e n t o f t h e o r c h e s t r a , and e n a b l e s t h e p l a y e r t o ' j o u e r l a no te r e e l l e . ' ] — [ C o n c e r t s C o l o n n e : ] La Symphonie l e g e n d a i r e de M. Ben jamin G o d a r d . [ B e f o r e r e v i e w i n g t he p r e m i e r e o f t h i s work f o r v o i c e s and o r c h e s t r a , Reyer e d i t o r i a l i z e s on t h e n e g l e c t o f Le Ta s se and D i a n e , and renews h i s demand f o r ' une S o c i e t e symphonique l a r g e m e n t s u b v e n t i o n n e ' wh i ch c o u l d a f f o r d t o m a i n -t a i n p e r m a n e n t l y a ' c h o e u r c o m p l e t ' f o r p e r f o r m a n c e s o f such w o r k s . ] ~ C o n c e r t s c a n d i n a v e : Mme C h r i s t i n e N i l s s o n . [Rev iew o f a c o n c e r t o f S c a n d i n a v i a n a r t mus ic and f o l k s o n g s , f e a t u r i n g t he Swed i sh soprano Mme N i l s s o n ( f o r m e r l y one o f t h e s t a r s o f t h e O p e r a ) . ] " F-16/01 "Revue m u s i c a l e . [Book r e v i e w : ] R i c h a r d Wagner, s a v i e & ses o e u v r e s , p a r M. Ado l phe J u l l i e n . [ Reye r b e g i n s by q u o t i n g e x c e r p t s f r om r e v i e w s by ' l e s p r i n c i p a u x c r i t i q u e s a l l e m a n d s , ' t o d e m o n s t r a t e t h e i r h i g h r e g a r d f o r J u l l i e n ' s book. Most o f R e y e r ' s r e v i e w f o c u s e s on J u l l i e n ' s p r e f a c e and t he c h a p t e r s on Wagne r ' s l i f e and works up t o and i n c l u d i n g t h e p r e m i e r e o f D i e M e i s t e r s i n g e r i n 1868 ; t he c r i t i c r e g r e t s t h a t T e s p a c e me manque' f o r more than a few comments c o n c e r n i n g t h e 691 c h a p t e r s on t h e R i n g and on Wagne r ' s c h a r a c t e r . Apropos o f J u l l i e n ' s d i s c u s s i o n o f t h e p r e p a r a t i o n s f o r t h e P a r i s i a n p r e m i e r e o f Tannh 'auser , Reyer p u b l i s h e s a l e t t e r f r o m Wagner t o A l p h o n s e R e y e r , t hen d i r e c t o r o f t h e O p e r a . (The l e t t e r had been g i v e n t o Reyer by h i s f r i e n d L u d o v i c H a l e v y , one o f t h e l i b r e t t i s t s f o r B i z e t ' s Carmen and a ' g r a n d c o l l e c -t i o n n e u r d ' a u t o g r a p h e s . 1 ) ] " F-23/01 "Revue m u s i c a l e . T h e a t r e de l a S e a l a: P r e m i e r e r e p r e s e n t a t i o n d ' O t e l l o , drame l y r i q u e en q u a t r e a c t e s , poeme d ' A r r i g o B o T t o , mus ique de G i u s e p p e V e r d i . [ Rev i ew o f t h e work i t s e l f i s p r e ceded by a d e s c r i p -t i o n o f t h e o v a t i o n g i v e n V e r d i on t h e n i g h t o f t he p r e m i e r e , and by e x c e r p t s f r o m t h e speech d e l i v e r e d t h e nex t day by t he s y n d i c o f M i l a n at a banquet f o r t h e p r e s s . ] " F t t - 1 1 / 0 2 " L e t t r e s du M i d i . [ Commun i ca t i on p u b l i s h e d under t h e words 'On nous e c r i t de Monaco : ' R e c o l l e c t i o n s o f a t r a i n t r i p f r o m V i n t i m i l l e t o Genoa and back . — N i c e : A few o b s e r v a t i o n s on t h e ' f e t e des p a r a -p l u i e s ' and o t h e r e v e n t s o f t h e annua l c a r n i v a l . The p r e c a r i o u s e x i s -t e n c e o f t h e m u n i c i p a l c a s i n o . - - T h e a t r e de M o n t e - C a r l o : Debut o f Mme R e p e t t o i n L u c i a d i Lammermoor. P e r f o r m a n c e o f Mme M a z z o l i - O r s i n i i n La F a v o r i t a . R e p e r t o i r e o f I t a l i a n o p e r a s and F r e n c h ope ra s sung i n I t a l i a n . - - The ' c o n c e r t s c l a s s i q u e s ' a t t h e T h e a t r e de M o n t e - C a r l o : R e p e r t o i r e (wh i ch i n c l u d e s ' l e s c o m p o s i t e u r s m o d e r n e s ' ) . ' L ' e x c e l l e n t o r c h e s t r e de M. S t e c k . ' N o t i c e on t he p r e m i e r e o f S u i t e a n t i q u e by a young composer named Gas ton V u i d e t . - - Remarks on a b e n e f i t c o n c e r t g i v e n by Mme N i l s s o n a t N i c e . ] " * LA [Cu rR 1 9 1 ] - 1 9 / 0 2 , p. 2 "Revue m u s i c a l e . T h e a t r e r o y a l de l a Monna ie ( B r u x e l l e s ) : La V a l k y r i e , drame l y r i q u e en t r o i s a c t e s , p a r o l e s e t mus ique de R i c h a r d Wagner; v e r -s i o n f r a n g a i s e de M. V i c t o r W i l d e r . [ Rev i ew o f t he f i r s t p e r f o rmance o f D ie Wa l k l i r e i n F rench t r a n s l a t i o n . Reyer pauses i n t he m i d s t o f t h e r e v i e w t o d i f f e r e n t i a t e h i s p o s i t i o n f r o m t h a t o f Wagne r ' s f a n a t i c a l f o l l o w e r s ( see a l s o t h e r e v i e w o f t h e P a r i s i a n p r e m i e r e o f t he p r e l u d e t o P a r s i f a l , JD F t t - 1 2 / 1 1 / 1 8 8 2 ) . ] — T h e a t r e de T O p e r a - C o m i q u e : P r o s e r p i n e ( d ' a p r e s Augu s te V a c q u e r i e ) , drame l y r i q u e en q u a t r e a c t e s , p a r o l e s de M. L o u i s G a l l e t , mus ique de M. C a m i l l e S a i n t - S a e n s . [ Reye r a p o l o g i z e s t h a t , because o f t h e l e n g t h o f h i s r e v i e w o f La V a l k y r i e , he must ' r e n v o y e r a l a h u i t a i n e l e compte rendu de P r o s e r p i n e . ' ] " F-20/03 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : P r o s e r p i n e ( d ' a p r e s Augu s te V a c q u e r i e ) , drame l y r i q u e en q u a t r e a c t e s , p a r o l e s de M. L o u i s G a l l e t , mus ique de M. C a m i l l e S a i n t - S a e n s . [ Rev i ew o f t h e p r e m i e r e . - -R e f l e c t i o n s on t h e C o m i q u e ' s abandonment o f Benvenuto C e l l i n i ( see JTJ F - 26/09/1886 ) . ] - - T h e a t r e de l ' O p e r a : r e p r i s e d ' A T d a . [ N o t i c e on a ' f o r t b e l l e r e p r i s e ' i n wh i ch Jean de Re s z ke appeared f o r t he f i r s t t i m e as Radames..] - - S a l l e de 1 ' E d e n : C o n c e r t s Lamoureux ( l a Symphonie de M. V i n c e n t d ' I n d y e t c e l l e de M. Edouard L a l o ; l e p r e m i e r a c t e de 692 T r i s t a n e t I s e u l t ) ; l e s r e p r e s e n t a t i o n s de L o h e n g r i n . [ N o t i c e on t h e p r e m i e r e o f d ' I n d y ' s Symphonie c e v e n o l e . Comments on t h e p i a no s c o r e o f L a l o ' s Symphony i n G M i n o r , wh i ch was p r e m i e r e d when Reyer happened t o be ' a b s e n t de P a r i s . ' N o t i c e on c o n c e r t p e r f o r m a n c e s o f A c t I o f T r i s t a n , t h e f i r s t such p e r f o r m a n c e s i n two y e a r s ( s ee JD F t t - 2 2 / 0 3 / 1 8 8 4 ) . Remarks on t h e f o r t h c o m i n g P a r i s i a n p r e m i e r e o f L o h e n g r i n under t h e ba ton o f Lamoureux . ] - - [ N o t i c e on a new b o o k : ] R i c h a r d Wagner j u g e en F r a n c e , pa r M. Georges S e r v i e r e s . — [A few words on ] N o u v e l l e s com-p o s i t i o n s de M a r i o F o s c a r i n a [pseudonym o f ' une pe r sonne du m e i l l e u r m o n d e ' ] . [ - - Announcement o f t h e program o f P a s d e l o u p ' s s i x t h and l a s t c o n c e r t at t h e C i r q u e d ' h i v e r . ] " F-27/03 "Revue m u s i c a l e . A p ropo s de L o h e n g r i n . [ L e s s t han a month b e f o r e t h e P a r i s i a n p r e m i e r e , Reyer e d i t o r i a l i z e s on t h e ' p a t r i o t i s m e ' w h i c h has l o n g o s t r a c i z e d Wagne r ' s mus i c f r om t h e l y r i c t h e a t r e s o f F r a n c e . ] - - A p ropo s d ' O t e l l o . [Upon l e a r n i n g t h a t V e r d i has w i t h d r a w n t h e work f r om t h e Opera because t h i s i n s t i t u t i o n w i l l not renew t he c o n t r a c t o f Mme Caron (whom the composer wanted f o r t h e r o l e o f Desdemona), Reyer e d i t o r i a l i z e s on s e v e r a l m a t t e r s : Mme C a r o n ' s demand f o r a h i g h e r s a l a r y ; t h e i d e a o f s t a g i n g t h i s ' g r a n d o p e r a ' a t t he Ope ra -Com ique ; and t h e ' m i s s i o n ' o f t h e Comique, w h i c h , he m a i n t a i n s , ' d o i t r e s t e r l ' O p e r a -C o m i q u e . ' ] - - Appe l au p u b l i c , par M. Ado l phe Sax . [ E d i t o r i a l c o n c e r n -i n g t h e i n s t r u m e n t m a k e r ' s appea l f o r p u b l i c s u p p o r t o f h i s demand t h a t t h e chamber o f commerce r e c t i f y a s e r i o u s o v e r s i g h t i n i t s r e c o r d s . ] — Les c o n c e r t s de M. Hugo e t M i l e Jeanne B e c k e r . [ B r i e f r e v i e w of a c o n -c e r t g i v e n by t h i s b r o t h e r and s i s t e r ( c e l l i s t and p i a n i s t r e s p e c t i v e l y ; son and d a u g h t e r o f t h e f o u n d e r o f t he c e l e b r a t e d Quatuor f l o r e n t i n ) . ] - - Le c h e f d ' o r c h e s t r e de l ' O p e r a . [News o f t h e imminent r e t i r e m e n t o f t h e c o n d u c t o r A l t e s e l i c i t s an e d i t o r i a l recommending as h i s s u c c e s s o r t h e composer E r n e s t G u i r a u d . ] - - Mme Rose C a r o n . [ A f t e r announc ing C o l o n n e ' s f o r t y - f o u r t h p e r f o r m a n c e o f La Damnat ion de F a u s t , Reyer o b s e r v e s t h a t Mme Caron w i l l not be among t he s o l o i s t s , and he a ga i n r e g r e t s t h a t she w i l l soon l e a v e t h e O p e r a . ] " F-17/04 "Revue m u s i c a l e . E d e n - T h e a t r e : L o h e n g r i n , o p e r a r o m a n t i q u e en t r o i s a c t e s , p a r o l e s e t mus ique de R i c h a r d Wagner, t r a d u c t i o n f r a n g a i s e de M. C h a r l e s N u i t t e r . [ R e v i e w o f t he P a r i s i a n p r e m i e r e i n c l u d e s t he v e r y d e t a i l e d r e t e l l i n g o f t h e s t o r y o f t h i s o p e r a , w h i c h Reyer had o r i g i n a l -l y p u b l i s h e d ' a 1 ' epoque ou i l f u t q u e s t i o n de r e p r e s e n t e r L o h e n g r i n s u r deux t h e a t r e s s u b v e n t i o n n e s ' ( s ee JD_ F t - 0 7 / 1 0 / 1 8 6 8 ) . - - P o s t s c r i p t : Comments on t h e f a c t t h a t Lamoureux, bowing t o p r e s s u r e f r om the g o v e r n -ment, has j u s t p u b l i s h e d a l e t t e r announc ing t h a t he w i l l not g i v e f u r -t h e r p e r f o r m a n c e s o f L o h e n g r i n . ] " F-08/05 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Le Ro i m a l g r e l u i , o p e r a comique en t r o i s a c t e s ( d ' a p r e s une p i e c e d ' A n c e l o t ) , par MM. de Na jac e t P a u l B u r a n i , mus ique de M. Emmanuel C h a b r i e r . [ Rev i ew o f t he p r e -m i e r e . ] - - Le p i a n i s t e Hofmann. [Remarks on t h e c h i l d p r o d i g y f r om 693 P o l a n d . ] - - C o n s e r v a t o i r e de Mus ique e t de D e c l a m a t i o n : E x e r c i c e s des e l e v e s . [ Rev i ew o f t h e annua l p u b l i c c o n c e r t . - - P o s t s c r i p t : Reyer d e c l a r e s t h a t he i s now r e a d i n g and w i l l soon r e v i e w A l f r e d E r n s t ' s new book, R i c h a r d Wagner e t l e Drame c o n t e m p o r a i n . ] " F-22/05 "Revue m u s i c a l e . T h e a t r e du C h a t e a u - d ' E a u ( O p e r a - P o p u l a i r e ) : K e r i m , o p e r a en t r o i s a c t e s , de MM. Pau l M i l l i e t e t H e n r i L a v e d a n , mus ique de M. A l f r e d B r u n e a u . [ Rev i ew o f t he p r e m i e r e o f t h i s young c o m p o s e r ' s f i r s t work f o r t h e s t a g e . Bruneau had p l a c e d second i n t h e P r i x de Rome c o m p e t i t i o n o f 1881 , a f a c t wh i ch a f f o r d s Reyer an o p p o r t u n i t y t o e d i t o r i a l i z e on t he c u r r e n t s i t u a t i o n o f p r i z e - w i n n e r s upon t h e i r r e t u r n t o P a r i s . ] - - S e c o u r s aux v i c t i m e s de l ' i n c e n d i e de 1 ' Ope r a -Com ique . [The r a i s i n g o f an e s t i m a t e d one m i l l i o n f r a n c s t o a i d v i c t i m s o f t h e f i r e w h i c h , on 25 May, had d e s t r o y e d t h e Comique, e l i c i t s an e d i t o r i a l f i r s t on t h e d i f f i c u l t y o f e q u i t a b l y d i v i d i n g t h e sum, and then on p o s -s i b l e ways o f u t i l i z i n g wha te ve r amount m igh t r ema in a f t e r t h e v i c t i m s have been c o m p e n s a t e d . ] - - Son A l t e s s e , l e c h e f d ' o r c h e s t r e de l ' O p e r a . [ Reye r r e c o u n t s an anecdo te ' q u e l ' o n m 'a c o n t e e ' about V i a n e s i , t he s u c c e s s o r o f A l t e s . ] " F-12/06 "Revue m u s i c a l e . Academie des B e a u x - A r t s . [ E d i t o r i a l q u e s t i o n i n g t he f a i r n e s s o f two o f t h e r u l e s wh i ch gove rn t h e P r i x de Rome c o m p e t i t i o n : each s t u d e n t must o b t a i n t h e t h r e e s i n g e r s who w i l l p e r f o r m h i s c a n t a t a f o r t h e j u r y ; and a p r o f e s s o r o f c o m p o s i t i o n at t h e C o n s e r v a t o i r e c anno t be a j u r i s t u n l e s s he i s a member o f t h e A c a d e m i e . ] — Jugement pour l e g rand p r i x de c o m p o s i t i o n m u s i c a l e : D i d o n , c a n t a t e pa r M. Auge de L a s s u s , m i s e en mus ique par MM. B a c h e l e t , K a i s e r , E r l a n g e r e t C h a r -p e n t i e r . [ A f t e r g i v i n g h i s i m p r e s s i o n s o f t h e s e f o u r s e t t i n g s ' a l a sauce w a g n e r i e n n e , ' Reyer r e i t e r a t e s h i s l o n g - h e l d b e l i e f t h a t a l l s t u -d e n t s o f c o m p o s i t i o n s h o u l d undergo ' de f o r t e s e t u d e s c l a s s i q u e s . ' He t h e n r e v i e w s both t he p r e s c r i b e d t e x t and Gu s t a ve C h a r p e n t i e r ' s w i n n i n g s e t t i n g . ] — O p e r a - P o p u l a i r e : [ B r i e f e d i t o r i a l a p p l a u d i n g ' l e s e f f o r t s q u ' i l f a i t pour v i v r e . ' ] R e p r i s e de l a P e t i t e F a d e t t e . [ N o t i c e on t he f i r s t r e v i v a l o f S e m e t ' s work , wh i ch had l e f t t h e r e p e r t o i r e o f t h e Opera -Comique s h o r t l y a f t e r t h e p r e m i e r e i n 1 869 . ] - - Ouvrages t h e o -r i q u e s pour 1 ' e n s e i g n e m e n t du p i a n o , pa r Mme H o r t e n s e P a r e n t . [ Reye r p r a i s e s a 'methode de s o l f e g e ' and recommends two o t h e r p e d a g o g i c a l works by ' un de nos m e i l l e u r s p r o f e s s e u r s de p i a n o . ' ] - - M i l e Ada A d i n y . [ A s se s sment o f t h e soprano engaged by t h e Opera t o t a k e t h e p l a c e o f bo th M i l e K r a u s s and Mme C a r o n . ] " F-03/07 " [ O b i t u a r y o f t h e c o n d u c t o r ] J u l e s P a s d e l o u p [ f o u n d e r o f t he C o n c e r t s p o p u l a i r e s and f o r two y e a r s d i r e c t o r o f t he o l d T h e a t r e - L y r i q u e ] . " A - 18/08 , p. 3 " D ' U r i a g e a A i x - l e s - B a i n s . Notes de voyage . [Commun i ca t i on p u b l i s h e d under t h e words 'On nous e c r i t d ' A i x - l e s - B a i n s : ' R e c o l l e c t i o n s o f a p l e a s u r e t r i p f r om U r i a g e ( S w i t z e r l a n d ) a c r o s s t h e b o r d e r t o G r e n o b l e 694 and on t o La S a l e t t e ( s i t e o f a s h r i n e t o t h e V i r g i n ) , and then back t o U r i a g e . - - A i x - l e s - B a i n s . Comments on ' l a m u s i q u e ' at t h e S a l l e des F e t e s i n t h e c a s i n o : f o r t h c o m i n g appea rance o f Mme Ma r the D u v i v i e r i n Carmen; t h e young G a b r i e l P i e r n e ' s ' f a n t a i s i e - b a l l e t ' ( f o r p i a no and o r c h e s t r a ) a t a r e c e n t c o n c e r t o f C o l o n n e ' s o r c h e s t r a . A few words on t h e c a s i n o ' s r i v a l , t h e V i l l a des F l e u r s , wh i ch has i t s own t h e a t r e and ' un a s s e z bon o r c h e s t r e . ' ] " * L A [ C u r R 1 91 ] - 0 3/09 , p. 3 "Revue m u s i c a l e . Ope ra -Comique : Les s u i t e s de l ' i n c e n d i e . [ E d i t o r i a l on t h e c h o i c e o f t h e T h e a t r e de P a r i s i n t h e P l a c e du C h a t e l e t (once t he home o f t h e T h e a t r e - L y r i q u e ) as t h e t e m p o r a r y l o c a t i o n o f t h e Comique. R e f l e c t i o n s on o t h e r p e r t i n e n t m a t t e r s : t h e company o f s i n g e r s ; t h e a r r e s t o f C a r v a l h o and s i x o t h e r p e r s o n s ; t he naming o f t h e compose r -c r i t i c J o n c i e r e s as t h e C o m i q u e ' s ' a d m i n i s t r a t e u r p r o v i s o i r e ' ; t h e i n t e r i m r e p e r t o i r e . ] - - Le c e n t e n a i r e de Don Juan a l ' O p e r a . [ D e s c r i p -t i o n o f p r e p a r a t i o n s f o r t h e ceremony wh i ch w i l l commemorate t he p r e -m i e r e o f M o z a r t ' s work a t P rague i n 1787. — N o t i c e on a R e c u e i l de v o c a l i s e s by Mme M u l l e r de L a S o u r c e . ] — La m i se a l a r e t r a i t e de M. M a r m o n t e l , p r o f e s s e u r au C o n s e r v a t o i r e . [Remarks on t he r e t i r e m e n t o f t h i s eminent p r o f e s s o r o f p i a n o a re f o l l o w e d by an e d i t o r i a l on t he Con -s e r v a t o i r e ' s h i r i n g a s i x t h p r o f e s s o r f o r t h i s i n s t r u m e n t w h i l e c o n t i n u -i n g t o n e g l e c t t h e b a s s o o n , h a r p , v i o l a , and n a t u r a l t r u m p e t . - - N o t i c e on t h e s h o r t engagement o f M i l e L e i s i n g e r at t h e O p e r a . ] - - La p a r t i t i o n de Namouna e t une n o u v e l l e symphon ie de M. L a l o . [The p u b l i c a t i o n o f t h e s c o r e o f L a l o ' s b a l l e t ( s e e JD F-12/03/1882) l e a d s t o a b r i e f e d i t o r i a l c a l l i n g f o r a r e v i v a l o f t h i s work . Announcement: L a l o ' s Symphony i n G M ino r ( s ee JD_ F -27/03) w i l l be pe r f o rmed a g a i n ' c e t h i v e r . ' ] - - Le Benvenuto C e l l i n i de B e r l i o z , e t 1 ' A s c a n i o de M. C a m i l l e S a i n t - S a e n s . [ Reye r f i r s t a p p l a u d s S a i n t - S a e n s f o r c h a n g i n g t he t i t l e o f h i s new o p e r a f r o m Benvenuto C e l l i n i t o A s c a n i o , and then e d i t o r i a l -i z e s on t h e need t o r e e s t a b l i s h a t h i r d l y r i c t h e a t r e wh i ch wou ld open i t s doo r s t o B e r l i o z ' s work and o t h e r n e g l e c t e d ' c h e f s - d ' o e u v r e s . ' ] " F-09/10 "Revue m u s i c a l e . T h e a t r e de 1 'Ope ra -Com ique ( a n c i e n T h e a t r e - L y r i q u e ) . R e o u v e r t u r e : Romeo e t J u l i e t t e , o p e r a en c i n q a c t e s , p a r o l e s de MM. J u l e s B a r b i e r e t M i c h e l C a r r e , mus ique de M. C h a r l e s Gounod. [Rev iew i s i n t r o d u c e d by a b r i e f h i s t o r y o f t h i s p o p u l a r work s i n c e i t s p r e m i e r e at t h e o l d L y r i q u e two decades e a r l i e r ( s e e 3^D F - 05/05/1867 ) . - - Reyer recommends B e r l i o z ' s Benvenuto C e l l i n i t o t h e i n t e r i m d i r e c t o r o f t he Comique , J u l e s B a r b i e r , who must r e b u i l d t he r e p e r t o i r e . ] - - Les r e s p o n -s a b i l i t e s dans l ' i n c e n d i e de 1 ' O p e r a - C o m i q u e . [Summary o f t h e cha r ge s t h a t t h e ' p a r q u e t des r e s p o n s a b i l i t e s ' i s d i r e c t i n g at C a r v a l h o and t he two f i r e m e n who were on d u t y at t h e Comique t h e n i g h t o f t he d i s a s t e r . ] — L o u i s B r a n d u s . [ O b i t u a r y o f t h e man who had l o n g been head o f t h e P a r i s f i r m o f mus i c p u b l i s h e r s f ounded by M a u r i c e S c h l e s i n g e r . ] — M a u r i c e S t r a k o s c h . - - La l e gende de l a p e t i t e N i k i t a . [ O b i t u a r y n o t i c e o f S t r a k o s c h i s f o l l o w e d by a s t o r y wh i ch t h e l a t e i m p r e s a r i o had t o l d R e y e r , c o n c e r n i n g t h e k i d n a p p i n g o f a p r o d i g y i n A m e r i c a . ~ P o s t s c r i p t 695 on t h e O p e r a ' s p r e p a r a t i o n s f o r t h e f i v e hund red th p e r f o r m a n c e o f G o u n o d ' s F a u s t . ] " F-23/10 "Revue m u s i c a l e . I n s t i t u t de F r a n c e : Seance a n n u e l l e de 1 ' A cademie des B e a u x - A r t s . E x e c u t i o n de l a c a n t a t e pour l e g rand p r i x de c o m p o s i t i o n m u s i c a l e : D i d o n , p a r o l e s de M. Auge de L a s s u s , mus ique de M. Gu s t a ve C h a r p e n t i e r " [ Rev i ew o f t h e o r c h e s t r a l p e r f o r m a n c e o f t he p r i z e - w i n n i n g c a n t a t a i s p r e ceded by an e d i t o r i a l r e i t e r a t i n g R e y e r ' s p o s i t i o n t h a t each w i n n e r o f t h e P r i x de Rome s h o u l d , upon h i s r e t u r n t o F r a n c e , be a p p o i n t e d c o n d u c t o r o f a m u n i c i p a l l y r i c t h e a t r e and be g i v e n t he r i g h t t o p r oduce t h e r e a t h r e e - a c t o p e r a . Reyer now adds t h a t t h e government c o u l d c o v e r t h e c o s t o f such an a r rangement by r e d u c i n g t o one y e a r t he l e n g t h o f t h e l a u r e a t e ' s ' s e j o u r ' a t Rome.] - - Academie n a t i o n a l e de Mus ique [ i . e . , T h e a t r e de l ' O p e r a ] : Le c e n t e n a i r e de Don J u a n . [ R e y e r f i r s t g i v e s h i s o p i n i o n o f t h e ceremony wh i ch honored t h e memory o f M o z a r t , and then r e v i e w s t h e r e v i v a l o f ' l ' i m m o r t e l c h e f - d ' o e u v r e . ' ] - -C o n c e r t s du C h a t e l e t e t du C i r q u e d ' E t e . [Comments on t h e C i r q u e d ' E t e , t h e new home o f L a m o u r e u x ' s c o n c e r t s o c i e t y . Rev iew o f h i s f i r s t c o n -c e r t o f t h e season ( w i t h s p e c i a l a t t e n t i o n t o t h e i n t e r p r e t a t i o n o f t h e 'Ma r che des p e l e r i n s ' f r o m H a r o l d en I t a l i e ) . Rev iew o f C o l o n n e ' s p e r f o r m a n c e s o f B i z e t ' s L ' A r l e s i e n n e s u i t e . Remarks on o t h e r works p r e -s e n t e d by Co lonne and Lamoureux. Announcement o f f o r t h c o m i n g p e r f o r -mances o f G a b r i e l l e K r a u s s , whom Co lonne has engaged as s o l o i s t f o r t h e s e a s o n . - - A few words on t h e O p e r a ' s f i v e hund red th p e r f o r m a n c e o f Gounod ' s F a u s t . ] " F-06/11 "Revue m u s i c a l e . [ B r i e f e d i t o r i a l r e p e a t i n g R e y e r ' s demand t h a t t he government g e n e r o u s l y s u b s i d i z e t he c o n c e r t s o c i e t i e s o f Lamoureux and C o l o n n e , so t h a t t h e y can a f f o r d t o p r e s e n t more o f t e n ' d e g randes e x -e c u t i o n s d ' o r a t o r i o s ou d ' o e u v r e s symphoniques avec s o l i e t c h o e u r s . ' ] C o n c e r t s du C h a t e l e t : Le P a r a d i s e t 1 a P e r i , de R o b e r t Schumann, t r a d u c t i o n f r a n g a i s e de M. V i c t o r W i l d e r ; M i l e G a b r i e l l e K r a u s s . [As Schumann ' s work had not been p e r f o r m e d f o r t h e P a r i s i a n p u b l i c s i n c e t h e p r e m i e r e n e a r l y t w e n t y y e a r s ago ( s e e JD_ F - 15/12/1869 ) , Reyer d i s c u s s e s a t l e n g t h both t h e t e x t and t h e s c o r e . H i s a s ses sment o f t he i n t e r -p r e t a t i o n f o c u s e s on M i l e K r a u s s , who a g a i n sang t he r o l e o f t h e P e r i . ] - - T h e a t r e de 1 'Ope ra -Comique [ P l a c e du C h a t e l e t ] : R e p r i s e du Roi m a l g r e l u i , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. de Na jac e t Pau l B u r a n i , mus ique de M. Emmanuel C h a b r i e r . [ A f t e r r e c a l l i n g t h a t C h a b r i e r ' s work ( s e e ^D F-22/05) had been pe r f o rmed o n l y a few t i m e s b e f o r e t h e C o m i q u e ' s o ld home burned down, Reyer comments on t h e s u c c e s s o f a s l i g h t l y r e v i s e d v e r s i o n . ] " F-20/11 "Revue m u s i c a l e . C o n c e r t s du Cha te l e t : Le C e n t e n a i r e de l a mort de G l u c k . Fragmens d ' I p h i g e n i e en A u l i d e , d ' A r m i d e , d ' I p h i g e n i e en T a u r i d e , d ' O r p h e e e t d ' A l c e s t e ; Lwith s o l o i s t s ] M i l e K r a u s s , M. V e r g n e t , M. Auguez . LRev iew o f C o l o n n e ' s commemorat ive c o n c e r t i s p r eceded by a t r i b u t e t o G l u c k and t o the o n g o i n g c r i t i c a l e d i t i o n o f h i s p r i n c i p a l 696 o p e r a s . ] — T h e a t r e de 1 1 Ope ra -Com ique [ P l a c e du C h a t e l e t ] : R e p r i s e s du CaTd, de P h i l e m o n e t B a u c i s e t de G a l a t h e e . [ N o t i c e on t h e s e t h r e e r e v i v a l s s t a g e d i n one week. Reyer app l aud s i n p a r t i c u l a r Gounod ' s Ph i lemon and Thomas ' s C a T d . ] " F t t - 0 4 / 1 2 "Revue m u s i c a l e . C o n c e r t s du C h a t e l e t : M a r i e - M a g d e l e i n e , drame s a c r e en t r o i s a c t e s e t q u a t r e p a r t i e s , poeme de M. L o u i s G a l l e t , mus ique de M. J u l e s Ma s sene t . [ R e v i e w i s i n t r o d u c e d by r e c o l l e c t i o n s o f t he p r e -m i e r e ( s e e JD_ F + t - 23/04/1873 ) . ] - - Scene d ' H e r m i o n e , t i r e e d 'Andromaque e t m i se en mus ique par Mme P a u l i n e V i a r d o t . [ R e v i e w o f a ' p a ge r e -m a r q u a b l e ' f o r v o i c e and o r c h e s t r a , Mme V i a r d o t ' s s e t t i n g o f a pas sage f r o m A c t IV o f R a c i n e ' s t r a g e d y . ] - - [ T h e a t r e des M e n u s - P l a i s i r s : ] S t r a t o n i c e , o p e r a comique en un a c t e , p a r o l e s de M. E. C h a r d o n , mus ique de M. E. D i e t . [ N o t i c e on t h e p r e m i e r e o f ' u ne o p e r e t t e ' by a p u p i l o f Ce s a r F r a n c k . ] - - S o c i e t e S a i n t e - C e c i l e de Bo rdeaux : C o n c e r t de M. E r n e s t G u i r a u d . [ R e y e r r e p o r t s what a ' c o r r e s p o n d a n t ' has w r i t t e n t o him about a c o n c e r t wh i ch was c o n d u c t e d by G u i r a u d and c o n s i s t e d a l m o s t e n t i r e l y o f mus i c by ' 1 ' e m i n e n t c o m p o s i t e u r . ' ] - - S a l l e du C o n s e r v a -t o i r e : A u d i t i o n des e n v o i s de Rome. [ N o t i c e s on Georges M a r t y ' s o v e r -t u r e B a j t h a z a r , a ' s u i t e d ' o r c h e s t r e ' by t h e same composer , and G a b r i e l P i e r n e ' s Les E l f e s f o r s o l o i s t s , c h o r u s , and o r c h e s t r a . ] - - T h e a t r e de 1 ' O pe r a -Com ique [ P l a c e du C h a t e l e t ] : Debut de M i l e A r n o l d s o n dans M i gnon . [ N o t i c e on t h e P a r i s i a n debut o f t h e Swed i sh s o p r a n o . ] - - P u -b l i c a t i o n s d i v e r s e s . [ P o s t s c r i p t i n wh i ch Reyer enumerates p u b l i c a t i o n s he has r e c e n t l y r e c e i v e d . (These i n c l u d e S i e g f r i e d w i t h V i c t o r W i l d e r ' s F r e n c h t r a n s l a t i o n , and s c o r e s by s e v e r a l F r e n c h c o m p o s e r s . ) ] " F-18/12 1888 J o u r n a l des Debats "Revue m u s i c a l e de 1 'annee 1887. [Open i ng remark s on ' l e s t r o i s e v e n e -mens . . . l e s p l u s c o n s i d e r a b l e s ' : O t e l l o at M i l a n , La V a l k y r i e a t B r u s s e l s , and L o h e n g r i n a t P a r i s . B r i e f e d i t o r i a l on t h e p r o t e s t wh i ch had r e s u l t e d i n t h e abandonment o f L o h e n g r i n . R e c o l l e c t i o n s o f the s u c -c e s s e s o f O t e l l o and La V a l k y r i e , w i t h r e g r e t s t h a t n e i t h e r work i s f o r t h c o m i n g a t P a r i s . — The T h e a t r e de l a Monnaie ( B r u s s e l s ) : N o t i c e on t h e p r e m i e r e o f P o n c h i e l l i ' s La G i o c o n d a ( 1 8 7 6 ) . — The O p e r a : O b s e r v a t i o n s c o n c e r n i n g a y e a r wh i ch had f a i l e d t o b r i n g f o r t h any o f t h e works ' d e s t i n e e s a r e n o u v e l e r l e r e p e r t o i r e ' ( i . e . , S a l v a y r e ' s L a Dame de Mon so reau , Veronge de L a N u x ' s Z a T r e , and Thomas ' s o p e r a - b a l l e t La Tempe te ) . Remarks on M a s s e n e t ' s Le C i d (1885) and P a l a d i l h e ' s P a t r i e ! ( 1 8 8 6 ) , wh i ch had r ema ined s t a p l e s o f t he r e p e r t o i r e . - - The Ope ra -Com ique : E d i t o r i a l on t h e r e f u s a l o f t h e Commiss ion des a u t e u r s t o s i g n an agreement w h i c h would have made t he i n t e r i m d i r e c t o r , J u l e s B a r b i e r , t h e s u c c e s s o r o f C a r v a l h o . A few words about t he new d i r e c t o r , P a r a v e y . Comments on t h e f a t e s o f S a i n t - S a e n s ' s P r o s e r p i n e and C h a b r i e r ' s Le Ro i m a l g r e l u i , t h e o n l y works p r e m i e r e d t h a t y e a r . - - The 697 s h o r t - l i v e d O p e r a - P o p u l a i r e : R e m i n i s c e n c e s o f B r u n e a u ' s K e r i m and t he r e v i v a l o f S e m e t ' s La P e t i t e F a d e t t e . - - ' R e f l e x i o n s ' on t he i n t e n t i o n o f a M. B e r t r a n d t o r e e s t a b l i s h a t h i r d l y r i c t h e a t r e . - - C o n c e r t s Lamoureux: The p l a c e o f Wagne r ' s mus i c on t h e p r og r ams . P r e m i e r e s o f ' c o m p o s i t i o n s i m p o r t a n t e s ' by F r e n c h compose r s . - - C o n c e r t s C o l o n n e : H i g h l i g h t s o f t h e s e a s o n . N o t i c e on G a b r i e l l e K r a u s s , gue s t a r t i s t a t many o f t h o s e p e r f o r m a n c e s . - - Reyer r e i t e r a t e s h i s o p i n i o n t h a t ' c ' e s t au c o n c e r t . . . que s ' a c c o m p l i t d e p u i s q u e l q u e s annees l e v e r i t a b l e mouvement m u s i c a l ' ( s e e , e . g . , JJD F - 1 5 / 0 1 / 1 8 8 1 ) . ] " F-01/01 "Revue m u s i c a l e . [Comments on t h e c u r r e n t ' temps de d i s e t t e ' at bo th t h e Opera and t h e Ope ra -Com ique . - - ] T h e a t r e de l ' O p e r a : Debut de M i l e B r o n v i l l e . [ N o t i c e on t h i s ' e l e v e ' as A l i c e i n Les Huguenot s . Rumors about t h e l i b r e t t o and s c o r e o f S a l v a y r e ' s La Dame de Mon so reau , wh i ch i s i n r e h e a r s a l . - - Reyer r e g r e t s t h a t he w i l l p r o b a b l y be ' dans l e M i d i ' when G o d a r d ' s J o c e l y n i s p r e m i e r e d at B r u s s e l s ; however , t h e c r i t i c i s s t u d y i n g t h e p i a n o - v o c a l s c o r e , and w i l l d i s c u s s i t ' quand l e moment s e r a v e n u ' ( see JD F - 0 4 / 0 3 ) . ] - - P r e m i e r e r e p r e s e n t a t i o n , a L i l l e , de Z a T r e , o p e r a en q u a t r e a c t e s , d ' a p r e s l a t r a g e d i e de V o l t a i r e , p a r MM. Pau l C o l l i n e t C h a r l e s L e f e b v r e . [ A f t e r r e m i n d i n g r e a d e r s t h a t t h e Opera w i l l p r e m i e r e Veronge de L a N u x ' s Z a T r e , Reyer r e v i e w s t h e s c o r e o f L e f e b v r e ' s work based on t h e same t r a g e d y . (The c r i t i c , who had been u n a b l e t o a t t e n d t h e p r e m i e r e o f L e f e b v r e ' s o p e r a , n o t e s t h a t t h i s f o r m e r w i n n e r o f t he P r i x de Rome had t a k e n h i s s c o r e t o L i l l e because t h e r e was no P a r i s i a n t h e a t r e wh i ch would a c c e p t i t . ) ] - - Con -c e r t s du C h a t e l e t : Le M a n f r e d , de Schumann. [ Reye r does not r e t e l l t he s t o r y o f t h e w e l l - k n o w n poem, but r e v i e w s t h e p e r f o r m a n c e , d i s c u s s e s t h e o v e r t u r e and ' l e s p r i n c i p a u x morceaux de l a p a r t i t i o n , ' and compares E m i l e M o r e a u ' s new t r a n s l a t i o n ( i n v e r s e ) w i t h t h a t o f V i c t o r W i l d e r ( i n p r o s e ) . ] - - [Book r e v i e w : ] Une P r e m i e r e par j o u r , c a u s e r i e s s u r l e t h e a t r e , p a r M. A l b e r t S o u b i e s . - - S i r e 0 1 a f , l e gende d r a m a t i q u e de M. Andre A l e x a n d r e ; mus ique de M. L u c i e n L a m b e r t . [ Rev i ew o f y e t a n o t h e r s c o r e t h a t had been p r e m i e r e d a t L i l l e . ] " F-22/01 "Revue m u s i c a l e . Ope ra : La Dame de Mon so reau , o p e r a en q u a t r e a c t e s e t s e p t t a b l e a u x , t i r e p a r Augu s te Maquet du roman d ' A l e x a n d r e Dumas e t Augu s te Maquet [ i . e . , t h e l i b r e t t o was drawn by Maquet f rom both t he n o v e l by Dumas and t h e p l a y by Dumas and M a q u e t ] , mus ique de M. G. S a l v a y r e ; d e c o r s de MM. Rube, Chape ron , Jambon, P o i s s o n , L a v a s t r e e t C a r p e z a t ; co s tumes d e s s i n e s pa r M. B i a n c h i n i . [ A l t h o u g h t h e s u b t i t l e s u g g e s t s o t h e r w i s e , R e y e r ' s a s se s sment s o f t h e d e c o r s and t he costumes c o n s i s t o f o n l y a few w o r d s . The r e v i e w i s a lmos t e n t i r e l y devo ted t o t h e l i b r e t t o , t h e m u s i c , and t he i n t e r p r e t a t i o n o f t he f i r s t work by S a l v a y r e t o be s t a ged at t h e O p e r a . (Reye r no te s t h a t t h i s composer was a f o r m e r w i n n e r o f t he P r i x de Rome, and t h a t s e v e r a l o f h i s works had been p e r f o r m e d at o t h e r t h e a t r e s . ) ] - - C o n c e r t s du C h a t e l e t . [Comments on each o f t he s o l o i s t s i n C h a r p e n t i e r ' s D i d o n , t h e c a n t a t a wh i ch had r e c e n t l y won t h e P r i x de Rome ( s ee JD_ F - 03/07/1887 ) . ] - - C o n c e r t s 698 Lamoureux. [ N o t i c e on Mme M o n t a l b a ' s p e r f o r m a n c e o f ' l a Mort d ' I s e u l t ' ( I s o l d e ' s L i e b e s t o d ) . ] " F-05/02 [ ( C o m m u n i c a t i o n p u b l i s h e d under t h e words "On nous e c r i t de Monaco : " ) R e c o l l e c t i o n s o f N i c e : The annua l c a r n i v a l d u r i n g "un h i v e r e x c e p t i o n -n e l . " E n t e r t a i n m e n t at t he m u n i c i p a l c a s i n o ( p e r f o r m a n c e s o f t he a c t o r C o n s t a n t C o q u e l i n i n t h e c a s i n o ' s t h e a t r e ; " l e s t e e p l e - c h a s e , " a new d i v e r s i o n f o r g a m b l e r s ) . - - The w e e k l y " c o n c e r t s c l a s s i q u e s " at t he T h e a t r e de M o n t e - C a r l o : The i m p o r t a n c e o f t he c o n t e m p o r a r y " E c o l e f r a n g a i s e " i n t h e r e p e r t o i r e . A r t h u r S t e c k ' s o r c h e s t r a . - - T h e a t r e de M o n t e - C a r l o : The " v i e u x r e p e r t o i r e " o f o p e r a s c o m i q u e s . Memories o f t h e e r a when t h i s s m a l l t h e a t r e p r e s e n t e d s h o r t e n e d v e r s i o n s o f " g r a n d s o p e r a s , " and e n j o y e d a p r e s t i g e wh i ch r i v a l l e d t h a t o f " l e s p l u s g r andes s cene s l y r i q u e s de F r a n c e e t d ' l t a l i e , qu i l u i e n v o y a i e n t l e u r s m e i l -l e u r s e t l e u r s p r e m i e r s s u j e t s . " B r i e f remarks on t h e " a r t i s t e s de t a l e n t " who a re f e a t u r e d t h i s s e a s o n . ] * L A [ C u r R 1 91 ] - 2 5/02 , p. 3 "Revue m u s i c a l e . T h e a t r e de l a Monna i e : J o c e l y n , o p e r a en q u a t r e a c t e s e t h u i t t a b l e a u x , t i r e du poeme de L a m a r t i n e par MM. Armand S i l v e s t r e e t V i c t o r C a p o u l , mus ique de M. Ben jam in G o d a r d . [ A l t h o u g h u n a b l e t o go t o B r u s s e l s f o r t h i s p r e m i e r e , Reyer r e v i e w s t h e l i b r e t t o and t he mus i c o f t h e p i a n o - v o c a l s c o r e , wh i ch he had been s t u d y i n g s i n c e J a n u a r y ( s ee JD F - 2 2 / 0 1 ) . The f a c t t h a t Capou l had once d i r e c t e d a l y r i c t h e a t r e at t he S a l l e Ven t adou r ( s ee F -23/10/1878) prompts Reyer t o e d i t o r i a l i z e on t h e need t o r e e s t a b l i s h a t h i r d l y r i c t h e a t r e i n P a r i s ; he i l l u s t r a t e s h i s p o i n t by g i v i n g a b r i e f a c coun t o f t h e f a t e s o f G o d a r d ' s e a r l i e r o p e r a s ( Le s G u e l f e s and Pedro de Z a l a m e a ) . The c r i t i c a l s o e d i t o r i a l -i z e s on t h e n e g l e c t o f G o d a r d ' s c o n c e r t works f o r s o l o v o i c e s , c h o r u s , and o r c h e s t r a (Le T a s s e , D i a n e , and Symphonie 1 e g e n d a i r e ) . ] " F-04/03 " L e t t r e s du M i d i . [ Commun i ca t i on p u b l i s h e d under t he words 'On nous e c r i t de Monaco, l e 7 m a r s : ' News about N i c e : D e s c r i p t i o n o f e v e n t s p l a n n e d f o r t h e ' f e t e s du p r i n t e m p s . ' Comments on t h e c h o i c e o f Ro s -s i n i '"s r i a£ t2 ie j2_de_Sev j^ t h e ' r e p r e s e n t a t i o n t h e a t r a l e ' i n t e n d e d t o c l i m a x t h e c e l e b r a t i o n s . - - T h e a t r e de M o n t e - C a r l o : F u r t h e r r e f l e c t i o n s on ' l e programme de l a s a i s o n ' ( i . e . , t h e d i r e c t o r ' s r e n u n c i a t i o n o f ' l e s e t o i l e s ' and ' l e g rand o p e r a ' i n f a v o r o f a ' t r o u p e ' and a ' r e p e r -t o i r e v i e i l l o t ' o f ope ra s c o m i q u e s ; see JD * LA [Cu rR 1 91 ] - 2 5/02 , p. 3 ) . N o t i c e on t h e p e r f o r m a n c e s o f M a r i e Hamann and S i g r i d A r n o l d s o n i n M i gnon . A few words on t he t e n o r T a l a z a c (who, l i k e M i l e A r n o l d s o n , w i l l r e t u r n t o t h e Opera -Comique i n P a r i s ) . - - The p r e s e n c e o f t he Emperor o f B r a z i l (a ' v r a i d i l e t t a n t e ' ) a t t h e ope ra s and c o n c e r t s g i v e n a t t h e T h e a t r e de M o n t e - C a r l o c a l l s t o mind a work commi s s i oned by t h e mona r ch : t h e 'poeme l y r i q u e ' P a r a g u a s s u by V i l l e n e u v e and O ' K e l l y ( f i r s t pe r f o rmed at t h e T h e a t r e - L y r i q u e i n 1 8 5 5 ) . ] " * LA [Cu rR 1913 -10/03 , p. 3 699 "Revue m u s i c a l e . [ E d i t o r i a l r e g r e t t i n g t h a t ' d e p u i s que l que s annee s ' t h e c o n c e r t s f o r E a s t e r Week and Good F r i d a y have been n o t ' s p i r i t u e l s ' bu t r a t h e r ' l a ' T q u e s , ' composed l a r g e l y o r e n t i r e l y o f ' e l e m e n s p r o -f a n e s . ' I n c l u d e d i n t h e e d i t o r i a l a re remarks on t he r e c e n t Good F r i d a y c o n c e r t o f t he S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e and t he ' c o n c e r t s p i r i t u e l ' a t t h e Ope ra -Comique , as w e l l as r e c o l l e c t i o n s o f t h e P a r i -s i a n p r e m i e r e o f V e r d i ' s Requiem a t t he Comique ( see JD F -14/06/1874 ) . - - ] Les C o n c e r t s du v e n d r e d i s a i n t : [Comments on t h e programs o f Lamoureux (now at t he C i r q u e d ' h i v e r ) and Montardon ( a t t he C h a t e a u -d ' E a u ) . ] M i l e G a b r i e l l e K r a u s s ; Ludus p r o p a t r i a , o d e - s y m p h o n i e , poeme e t mus ique de M i l e A u g u s t a Holmes"! L N o t i c e on M i l e K r a u s s as s o l o i s t i n o p e r a t i c e x c e r p t s a t t h e Good F r i d a y c o n c e r t o f C o l o n n e . Rev iew o f H o l m e s ' s work , wh i ch was pe r f o rmed at t h e same c o n c e r t . ] - - Le C o n s e r v a -t o i r e de M a r s e i l l e : M. C l a u d i u s B l a n c . [ E d i t o r i a l d e f e n d i n g t h e new d i r e c t o r a g a i n s t ' l e s a t t a q u e s dont i l e s t l ' o b j e t . ' ] — Le l i v r e de M. V i c t o r Maure l s u r O t e l l o . [ Rev i ew o f A p ropos de l a m i s e - e n - s c e n e du drame l y r i q u e ' O t e l l o ' , by t h e c e l e b r a t e d b a r i t o n e who had c r e a t e d t he r o l e o f I a g o . ] " F-08/04 "Revue m u s i c a l e . C o n c e r t s du C h a t e l e t : l a Damnat ion de F a u s t . [The e n d u r i n g s u c c e s s o f t h i s work (wh i ch Co lonne has c o n d u c t e d f o r t h e f o r t y - s e v e n t h t i m e s i n c e 1877) e l i c i t s an e d i t o r i a l o b j e c t i n g t h a t t he t h e a t r e s o f P a r i s c o n t i n u e t o i g n o r e B e r l i o z ' s o p e r a s even though t h e c o n c e r t s o c i e t i e s have p r e s e n t e d much o f h i s m u s i c . The r e v i e w o f C o l o n n e ' s p e r f o r m a n c e i n c l u d e s f u r t h e r e d i t o r i a l i z i n g on what Reyer r e g a r d s as l i n g e r i n g p r e j u d i c e s and m i s c o n c e p t i o n s about B e r l i o z t h e c o m p o s e r . ] - - T h e a t r e de l ' O p e r a : r e p r i s e de H e n r i V I I I , o p e r a en q u a t r e a c t e s , p a r o l e s de MM. Leonce D e t r o y a t e t Armand S i l v e s t r e , mus ique de C a m i l l e S a i n t - S a e n s . [ N o t i c e on a work wh i ch had not been r e v i v e d i n two y e a r s ( s ee JD F - 0 9 / 0 5 / 1 8 8 6 ) . ] " F-22/04 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Le Ro i d ' Y s , o p e r a en t r o i s a c t e s e t c i n q t a b l e a u x , poeme de M. Edouard B l a u , mus ique de M. Edouard L a l o . [ Rev i ew o f a l o n g - a w a i t e d p r e m i e r e . A t L a l o ' s r e q u e s t , Reyer quo te s e x c e r p t s f r om a l e t t e r i n wh i ch t he composer d e n i e s t he p o p u l a r n o t i o n t h a t t h i s s c o r e i s t w e n t y y e a r s o l d . ] - - C o n s e r v a t o i r e de Mu s i que ( C o n c e r t R o s s i n i ) : Les J a r d i n s d ' A r m i d e , c a n t a t e par M. E m i l e Mo reau , mus ique de M. Augu s te C h a p u i s . - - E x e r c i c e des e l e v e s . - -H a m l e t , t r a g e d i e l y r i q u e en c i n q a c t e s e t neuf t a b l e a u x , p a r o l e s t r a -d u i t e s de Shake spea re pa r P i e r r e de G a r a l , mus ique de M. A r i s t i d e H i g n a r d . [These t h r e e s u b t i t l e s r e f e r t o a p o s t s c r i p t i n wh ich Reyer a p o l o g i z e s t h a t , because o f t h e l e n g t h o f ' 1 ' a n a l y s e du poeme e t de l a p a r t i t i o n du Roi d ' Y s , ' he must ' r e n v o y e r a l a h u i t a i n e ' h i s r e v i e w s o f Les J a r d i n s d ' A r m i d e , t h e p u b l i c c o n c e r t o f t h e C o n s e r v a t o i r e s t u d e n t s , and H i g n a r d ' s H a m l e t . ] " F t t - 1 3 / 0 5 "Revue m u s i c a l e . S a l l e du C o n s e r v a t o i r e : Les J a r d i n s d ' A r m i d e , c a n t a t e pa r M. E m i l e Moreau , mus ique de M. Augu s te Chapu i s ( c o n c o u r s R o s s i n i ) . 700 [ R e v i e w o f t he work wh i ch had been, awarded t he b i e n n i a l P r i x R o s s i n i i n 1886, and now, 'comme d ' h a b i t u d e , ' has been pe r f o rmed by t h e o r c h e s t r a o f t h e S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e . I n c l u d e d i n t he r e v i e w a re a few ' r e n s e i g n e m e n s b i o g r a p h i q u e s ' about t h e young C h a p u i s . ] — E x e r c i c e des e l e v e s . [ Rev i ew o f t h e annua l p u b l i c c o n c e r t p r e s e n t e d by t h e s t u d e n t s o f t h e C o n s e r v a t o i r e . ] — Hamle t , t r a g e d i e l y r i q u e en c i n q a c t e s e t neuf t a b l e a u x , p a r o l e s t r a d u i t e s de S h a k e s p e a r e , par P i e r r e de G a r a l , mus ique de M. A r i s t i d e H i g n a r d . [ Rev i ew o f t h e s c o r e o f an o p e r a t h a t has j u s t been p r e m i e r e d at t h e m u n i c i p a l t h e a t r e o f N a n t e s . Reyer n o t e s t h a t H i g n a r d ' s work was composed b e f o r e Thomas ' s Hamlet ( 1 8 6 8 ) , but t h e c r i t i c does not compare t h e two w o r k s . — P o s t s c r i p t announc ing t h a t , f r o m t h e f o r t y - t w o c a n t a t a t e x t s s u b m i t t e d t o t h e j u r y o f t h e Academie des B e a u x - A r t s , Ve l1eda has been chosen t o be s e t t o mus i c by t h e s t u d e n t s c ompe t i n g f o r t h e P r i x de Rome. ] " F-20/05 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : R e p r i s e de S i g u r d . [Remarks on t h e l a c k o f s u c c e s s o f a r e v i v a l wh i ch t he c o - d i r e c t o r s s t aged d u r i n g ' un temps s u p e r b e ' and w i t h ' l e u r t r o u p e d ' e t e . ' ] ~ T h e a t r e de 1 ' O p e r a -Comique: l e B a i s e r de Su zon , un a c t e pa r M. P i e r r e B a r b i e r , mus ique de M. Hermann Bemberg. LRev iew o f a ' l e v e r de r i d e a u , ' t h e f i r s t work f o r t h e s t a g e by a ' j e u n e a m a t e u r ' who was a p u p i l o f M a s s e n e t . ] — [ A l s o a t t h e Com ique : ] R e p r i s e de 1 'Ombre, t r o i s a c t e s par M. de S a i n t - G e o r g e s , mus ique de M. de F l o t o w . [Rev i ew o f a work wh i ch had not been seen at t h e Comique s i n c e August 1870, when i t s s c a r c e l y begun c a r e e r had been c u t s h o r t by t h e F r a n c o - P r u s s i a n War ( s e e JD_ F -03/08/1870 ) . Reyer f i r s t r e t e l l s t he s t o r y o f F l o t o w ' s work , ' s i peu connu de l a g e n e r a t i o n a c t u e l l e , ' and t hen d i s c u s s e s t h e m u s i c ] - - La b i b l i o t h e q u e de 1 ' Ope ra -Com ique . [ B r i e f e d i t o r i a l c a l l i n g upon t he government t o put f o r t h f und s t o h e l p r e p l e n i s h t h e C o m i q u e ' s l i b r a r y , wh ich had c o n s i s t e d o f more than seven hundred s c o r e s b e f o r e t h e r u i n o u s f i r e o f 1 887 . ] — Mme M a r i e S a s s e . [ A f t e r d e s c r i b i n g ' 1 ' a d m i r a b l e v o i x ' o f t h i s t e a c h e r , f o r m e r l y a p r i n c i p a l s op rano at t h e o l d T h e a t r e - L y r i q u e and t he O p e r a , Reyer s u g g e s t s t h a t she be made a p r o f e s s o r at t h e C o n s e r v a t o i r e . ] " F-10/06 "Revue m u s i c a l e . I n s t i t u t de F r a n c e : Jugement du c o n c o u r s pour l e g rand p r i x de c o m p o s i t i o n m u s i c a l e . [ E d i t o r i a l s u p p o r t i n g ' l ' i d e e d ' u n de mes c o n f r e r e s ' t h a t , when t he c a n t a t a s by t h e c o m p e t i t o r s f o r t he P r i x de Rome a re sung f o r t h e j u r y , t h e p e r f o r m e r s s h o u l d be s t u d e n t s o f t h e C o n s e r v a t o i r e i n s t e a d o f p r o f e s s i o n a l s r e c r u i t e d by the c o m p e t i t o r s t h e m s e l v e s . (Reyer had a l r e a d y made such a s u g g e s t i o n ; s ee JD F -03/07/ 1887. ) ] - - E x e c u t i o n de l a c a n t a t e V e l l e d a , p a r o l e s de M. Fernand B e i s s i e r , mi se en mus ique pa r MM. C a r r a u d , B a c h e l e t , E r l a n g e r e t Dukas. [As i n p r e v i o u s y e a r s , Reyer comments on t h e q u a n t i t y and t he d i s a p -p o i n t i n g q u a l i t y o f t he e n t r i e s i n t h e annual c o m p e t i t i o n f o r t h e P r i x de Rome c a n t a t a t e x t . He t hen r e v i e w s B e i s s i e r ' s V e l l e d a and C h a r -p e n t i e r ' s w i n n i n g s e t t i n g , as w e l l as t h a t o f Dukas (who had p l a c e d s e c o n d ) . ] - - MM. C a l a b r e s i e t Stoumon, d i r e c t e u r s du grand t h e a t r e de M a r s e i l l e . [ E d i t o r i a l a p p l a u d i n g t he appo i n tment o f the f o r m e r c o - d i r e c t o r s o f t h e T h e a t r e de l a M o n n a i e . ] - - L ' A r t m u s i c a l au 701 d i x - n e u v i e m e s i e c l e , c o m p o s i t e u r s c e l e b r e s , par M. l e baron E r n o u f . [ N o t i c e on a volume c o m p r i s i n g ' e t u d e s su r l a v i e e t l e s oeuv re s de maTt re s c e l e b r e s , ' s t u d i e s wh i ch were o r i g i n a l l y p u b l i s h e d i n t he Revue c o n t e m p o r a i n e . ] - - R e c u e i l de v i n g t m e l o d i e s , pa r M. E m i l e C h i z a t . L N o t i c e on a c o l l e c t i o n by ' 1 ' a m i e t l ' e l e v e de M a s s e n e t . ' ] " F-01/07 "Revue m u s i c a l e . Les p l a g e s normandes. [Mus ing s on t he c o m m e r c i a l i z a -t i o n o f towns a l o n g t h e c o a s t o f Normandy. D e s c r i p t i o n o f a t y p i c a l ' h o s t e l l e r i e . ' ] — L ' i n c i d e n t S a l e z a . [ O b s e r v a t i o n s on t he outcome o f an e ven t ' d o n t on s ' e t a i t beaucoup emu s u r l a c o t e n o r m a n d e ' : a d i s p u t e between t h e Opera and t h e Opera -Comique ove r a young t e n o r named A l b e r t S a l e z a . ] - - Les p r o j e t s de M. P a r a v e y . [Remarks on t he C o m i q u e ' s r e p e r t o i r e f o r t h e new s e a s o n . ] - - Le t h e a t r e l y r i q u e du C h a t e a u - d ' E a u . [ R e y e r f i r s t no te s t h a t t h e i m p r e s a r i o S e n t e r r e i s g o i n g t o r e e s t a b l i s h a t h i r d l y r i c t h e a t r e , and t hen c o n s i d e r s t h e p l a n t o i n a u g u r a t e i t w i t h t h e f i r s t P a r i s i a n p r o d u c t i o n o f G o d a r d ' s J o c e l y n . ] - - Le t h e a t r e de l a Monna i e . [A few words on t h e f o r t h c o m i n g r e v i v a l o f S i g u r d . ] ~ Henry V I I I , A s c a n i o e t Benvenuto C e l l i n i . [ R e f l e c t i o n s on news c o n c e r n i n g t he Opera and t h e Ope ra -Comique : at t h e Ope ra , S a i n t - S a e n s ' s Henry V I I I w i l l be s h o r t e n e d t o s e r v e as a c u r t a i n - r a i s e r , t a k i n g t he p l a c e o f t he s t i l l - u n f i n i s h e d ZaTre by Veronge de L a Nux; at t h e Comique, no d a t e has been s e t f o r t he p r e m i e r e o f S a i n t - S a e n s ' s A s c a n i o ( f o r m e r l y e n t i t l e d Benvenuto C e ! 1 i n i ) . ] - - B e r l i o z e t M. Eugene D i a z . [Reye r s u g g e s t s t h a t B e r l i o z ' s Benvenuto C e l l i n i , wh i ch had been abandoned by C a r v a l h o , be t a k e n up by P a r a v e y , and e d i t o r i a l i z e s on t he announcement t h a t t h e Comique w i l l p r e m i e r e a work ' s u r l e meme s u j e t ' by Eugene D i a z , an a d m i r e r o f B e r l i o z . T h i s e d i t o r i a l l e a d s t o r e c o l l e c t i o n s o f t he O p e r a ' s c o m p e t i t i o n o f 1869, when D i a z d e f e a t e d such composers as Mas se -net and B i z e t . ( D i a z ' s w i n n i n g s e t t i n g o f t he l i b r e t t o L a Coupe du r o i de T h u l e was r e v i e w e d i n JD F - 1 6 / 0 1 / 1 8 7 3 . ) ] " F-03/09 "Revue m u s i c a l e . T h e a t r e - L y r i q u e n a t i o n a l [ e s t a b l i s h e d by S e n t e r r e a t t h e C h a t e a u - d ' E a u ] : J o c e l y n , o p e r a en q u a t r e a c t e s , d ' a p r e s L a m a r t i n e , p a r MM. Armand S i l v e s t r e e t V i c t o r C a p o u l , mus ique de M. Ben jamin Goda rd . [ R e y e r r e c a l l s t h a t he had been u n a b l e t o a t t e n d t he p r e m i e r e at B r u s s e l s , and at t h e t i m e had r e v i e w e d o n l y t h e p i a n o - v o c a l s c o r e (as he had e x p l a i n e d i n JD F - 0 4 / 0 3 ) . A f t e r h e a r i n g t h e f i r s t P a r i s i a n p e r -f o r m a n c e , he d i s c u s s e s i n g r e a t e r d e t a i l G o d a r d ' s m u s i c , and a s s e s s e s t h e p r i n c i p a l s as w e l l as t h e o r c h e s t r a and cho ru s o f S e n t e r r e ' s t h e a t r e . - - E d i t o r i a l on P a r a v e y ' s sudden r e f u s a l t o r e l e a s e Adam's o p e r a comique S i j ' e t a i s r o i ( 1 8 5 2 ) , wh i ch S e n t e r r e had p l anned t o a l t e r n a t e w i t h J o c e l y n . The e d i t o r i a l ends w i t h a p l e a t h a t t he g o v e r n -ment s u b s i d i z e S e n t e r r e ' s t h e a t r e . ] - - [Book r e v i e w : ] L e t t r e s de W.-A. M o z a r t , t r a d u c t i o n c o m p l e t e de M. H. de C u r z o n . - - T h e a t r e n a t i o n a l de l ' O p e r a : [ B r i e f e d i t o r i a l on t he a t t a c k s wh i ch c e r t a i n P a r i s i a n p e r i o d -i c a l s a re d i r e c t i n g at t h e a d m i n i s t r a t i o n o f R i t t and G a i l h a r d . ] Debuts de M i l e L a n d i e t de M. Je rome . [ N o t i c e s on t h e i r p e r f o r m a n c e s are f o l -lowed by f u r t h e r e d i t o r i a l i z i n g on t h e O p e r a ' s a d m i n i s t r a t i o n , w h i c h , Reye r m a i n t a i n s , s h o u l d be g i v e n a l a r g e r s u b s i d y . ] — Les c o n c e r t s 702 a e Y i e n s de l a t o u r E i f f e l . [ B r i e f e d i t o r i a l a g a i n s t t he i d e a o f i n -s t a l l i n g at t h e t o p o f t he t o w e r ' un o r c h e s t r e a e r i e n compose de ha rpe s e o l i e n n e s , de gongs enormes e t de t r o m p e t t e s g i g a n t e s q u e s ' w h i c h , by means o f a s p e c i a l mechan i sm, would be sounded by a i r c u r r e n t s around t h e t o w e r . - - P o s t s c r i p t announc ing t h a t S i j ' e t a i s r o i has been r e -l e a s e d t o S e n t e r r e ' s T h e a t r e - L y r i q u e n a t i o n a l . j " F-21/10 "Revue m u s i c a l e . Voyage en E c o s s e . [ G a i l h a r d ' s j o u r n e y t o S c o t l a n d t o meet w i t h A d e l i n a P a t t i o c c a s i o n s an e d i t o r i a l on t h e c o - d i r e c t o r s ' hopes o f g a r n e r i n g ' l e s g r o s s e s r e c e t t e s ' by l u r i n g t he d i v a back t o t he Ope ra , where she would s t a r i n Gounod ' s Romeo e t J u l i e t t e . ] - - I n s t i t u t de F r a n c e : Seance a n n u e l l e de 1 ' A cademie des B e a u x - A r t s : E x e c u t i o n de l a c a n t a t e V e l l e d a , p a r o l e s de M. Fe rnand B e i s s i e r , mus ique de M. E r l a n g e r : M i l e Rose C a r o n , MM. P l angon e t P i r o ' i a . [ F u r t h e r remark s on E r l a n g e r ' s p r i z e - w i n n i n g c a n t a t a ( s e e JD^ F - 0 1/07 ) , now p e r f o r m e d w i t h o r c h e s t r a and w i t h C a r o n , P l angon and P i r o ' i a as s o l o i s t s . ] - - O u v e r t u r e s ymphon ique , pa r M. Georges M a r t y . [ T h i s s u b t i t l e p r o b a b l y r e f e r s t o t h e e n v o i w h i c h would have been pe r f o rmed b e f o r e t h e c a n t a t a , but i s not men t i oned i n R e y e r ' s t e x t . ] - - T h e a t r e - L y r i q u e : [Comments on S e n t e r r e ' s h a v i n g t o d e l e t e t h e word ' n a t i o n a l ' f r o m t h e name o f h i s t h e a t r e . ] R e p r i s e des Amours du D i a b l e , poeme de M. de S a i n t - G e o r g e s , mus ique d ' A l b e r t G r i s a r . [ R e v i e w o f S e n t e r r e ' s p r o d u c t i o n o f an o p e r a comique t h a t had been p r e m i e r e d at t h e o l d L y r i q u e i n 1853 . ] — Le Mage e t l e P e r s a n . [Upon r e a d i n g about t he g rand o p e r a wh i ch Massenet i s compos-i n g , Reyer s u g ge s t s a f o rm o f c o m p e n s a t i o n f o r Mme M a r g u e r i t e O l a g n i e r , whose o p e r a Le P e r s a n was based on t h e same b i b l i c a l s t o r y . ] — [ A n -nouncement o f a new p u b l i c a t i o n ( r e v i e w e d i n I^D F - 03/02/1889 ) : ] H e c t o r B e r l i o z , sa v i e e t ses o e u v r e s , par M. Ado lphe J u l l i e n . - - C o n c e r t s C o l o n n e . [Announcement o f t he program o f t he f i r s t c o n c e r t . ] - - Le v o l au phonographe. [ A n e c d o t e about t h e c l a n d e s t i n e use o f the new ly i n v e n t e d phonograph at t h e New York p r e m i e r e o f The Yeomen o f t h e G u a r d . ]•" F-04/11 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : Romeo e t J u l i e t t e , o p e r a en c i n q a c t e s , p a r o l e s de MM. M i c h e l C a r r e e t J u l e s B a r b i e r , mus ique de M. C h a r l e s Gounod; Mme A d e l i n a P a t t i - N i c o l i n i . [ Rev i ew o f t h e O p e r a ' s f i r s t p r o d u c t i o n o f Gounod ' s work , wh i ch f e a t u r e d t he c e l e b r a t e d soprano who had not pe r f o rmed at t h i s t h e a t r e ' d e p u i s une q u i n z a i n e d ' a n n e e s ' ( s ee JD F -17/10/1874 ) . The r e v i e w i s i n t r o d u c e d by a b r i e f e d i t o r i a l a g a i n s t e x p a n d i n g ' un ouv rage de demi c a r a c t e r e , 1 such as Pe r F r e i - s c h u ' t z , Don G i o v a n n i , and now Romeo e t J u l i e t t e , f o r t h e sake o f p r e -s e n t i n g i t ' s u r l a v a s t e s cene de l ' O p e r a . ' - - A f t e r g i v i n g news o f t h e g r e a t s u c c e s s o f t he Dresden p r e m i e r e o f B e r l i o z ' s Benvenuto C e l 1 i n i , Reyer r e g r e t s t h a t t h e l y r i c t h e a t r e s o f P a r i s c o n t i n u e t o i g n o r e bo th t h i s work and Les T r o y e n s . ] - - C o n c e r t s du C h a t e l e t . [ R e y e r a p o l o g i z e s t h a t he has ' n i l e temps n i l ' e s p a c e ' t o r e v i e w t he c o n c e r t s w i t h wh i ch t h e season has been ' b r i l l a m m e n t i n a u g u r e e . ' ] " F-02/12 703 "Revue m u s i c a l e . Ope ra -Comique : l ' E s c a d r o n v o l a n t de l a R e i n e , o p e r a comique en t r o i s a c t e s , p a r o l e s de MM. A d o l p h e Dennery e t J u l e s B r e s i l , mus ique de M. Hen r i L i t o l f f . [A n o t i c e on L i t o l f f ' s l o n g c a r e e r as com-po se r p r e c e d e s t h e r e v i e w o f h i s f i r s t ma jo r work t o be s t a ged at a P a r i s i a n t h e a t r e ( a work t h a t had been r e j e c t e d by t h r e e s u c c e s s i v e d i r e c t o r s o f t h e Comique b e f o r e b e i n g a c c e p t e d by P a r a v e y ) . ] - - Le T h e a t r e - L y r i q u e . [Remarks on S e n t e r r e ' s ' t h e a t r e f i e v r e u s e m e n t a c t i f , ' w h i c h , a l t h o u g h not s u b s i d i z e d , has p r e s e n t e d f i v e works and has announced s e v e r a l more t h a t w i l l appear ' a v a n t l a f i n de l ' h i v e r . ' A few words about t h e L y r i q u e ' s l a t e s t p r o d u c t i o n s : L a m b e r t ' s S i r e 01 af ( p r e m i e r e d at L i l l e ; see t h e r e v i e w o f t h e s c o r e i n JiD F - 2 2/01 ) , and a r e v i v a l o f N i c o l o ' s o p e r a comique Joconde ( 1 8 1 4 ) . ] - - Les c o n c e r t s Co l onne e t l e s c o n c e r t s Lamoureux. [ Rev i ews o f C o l o n n e ' s f i r s t two c o n -c e r t s o f t h e s e a s o n , w i t h s p e c i a l a t t e n t i o n t o G a b r i e l l e K r a u s s , g ue s t a r t i s t at t h e second c o n c e r t . N o t i c e on Mme R o g e r - M i c l o s , s o l o i s t i n R u b i n s t e i n ' s P i a n o C o n c e r t o i n D M ino r at t h e most r e c e n t c o n c e r t o f Lamoureux . ] - - Que lques r e f l e x i o n s t a r d i v e s a p ropos du v o t e de l a Chambre r e d u i s a n t de 50 ,000 f r . l a s u b v e n t i o n de l ' O p e r a . [ E d i t o r i a l on t h e d e c i s i o n o f t he Chamber o f D e p u t i e s t o r e d u c e t h e s u b s i d y , a d e c i -s i o n t h a t has been appea l ed by the c o - d i r e c t o r s o f t h e O p e r a . ] " F-23/12 1889 J o u r n a l des Debat s "Revue m u s i c a l e . H e c t o r B e r l i o z , s a v i e e t ses o e u v r e s [ , ] pa r M. A d o l p h e J u l l i e n . [As i n t he r e v i e w o f J u l l i e n ' s volume on Wagner ( see JD_ F - 23/01/1887 ) , Reyer c a l l s a t t e n t i o n t o t h e ' c h a l e u r e u s e s f e l i c i t a -t i o n s ' w i t h wh i ch t he book i s b e i n g g r e e t e d by c r i t i c s o u t s i d e F r a n c e . R e y e r ' s own a s ses sment i s i n t e r s p e r s e d w i t h h i s t h o u g h t s on t he m u s i c a l ' a n c e t r e s ' o f B e r l i o z ; r e c o l l e c t i o n s o f t he r e a c t i o n s o f p r om inen t P a r i s i a n c r i t i c s t o t h e p r e m i e r e o f Les T royen s a C a r t h a g e i n 1863 ; and comments on l i n g e r i n g o p p o s i t i o n t o B e r l i o z ' s mus i c i n F r a n c e . - - P o s t -s c r i p t c o r r e c t i n g ' une e r r e u r ' i n J u l l i e n ' s book: Reyer d e n i e s t h a t he was one o f t he m u s i c i a n s t o whom t h e e x e c u t o r o f B e r l i o z ' s w i l l gave t he l a t e m a s t e r ' s ' b a t o n s de c h e f d ' o r c h e s t r e . ' ] " F-03/02 " L e t t r e s du M i d i . [ Commun i ca t i on p u b l i s h e d under t he words 'On nous e c r i t de Monaco : ' The wea the r a l o n g t h e R i v i e r a . - - M a r s e i l l e : A s k e t c h o f t he c i t y and i t s ' p o p u l a t i o n c o s m o p o l i t e . ' — The r e s t o r e d G r a n d - T h e a t r e de M a r s e i l l e , c o - d i r e c t e d by Stoumon and C a l a b r e s i . - -C o n c e r t s e r i e s and chamber mus i c at M a r s e i l l e : The ' c o n c e r t s c l a s -s i q u e s ' c o n d u c t e d by M i r anne at t h e T h e a t r e V a l e t t e ( ' 1 ' e l e m e n t mode rne ' i n t h e r e p e r t o i r e ; t h e f i f t e e n - y e a r - o l d v i o l i n i s t H e n r i Mar teau as gues t a r t i s t at t h e most r e c e n t c o n c e r t ) . N o t i c e on one o f t h e c o n c e r t s o f t h e S o c i e t e du Q u i n t e t t e - H a r m o n i q u e . - - R e g r e t s about t he r a z i n g o f t he Church o f S a i n t - M a r t i n , one o f M a r s e i l l e ' s l a n d m a r k s . - - M o n t e - C a r l o : The l a n d s c a p e d u r i n g a ' s u p e r b e ' s p r i n g . - - T h e a t r e de M o n t e - C a r l o : The 704 s e a s o n a l company ( w h i c h i n c l u d e s a r t i s t s f r om the Ope ra -Com ique , and Mme F i d e s - D e v r i e s ) . N o t i c e on Mme Va i11 a n t - C o u t u r i e r 1 s p e r f o r m a n c e i n Gounod ' s M i r e i l l e . ] " * LA [Cu rR 1 91 ] - 1 3/02 , p. 3 "Revue m u s i c a l e . Les P e c h e u r s de p e r l e s de B i z e t . [ Commun i ca t i on d a t e d ] Monaco, m e r c r e d i 17 f e v r i e r . [News about t he annual c a r n i v a l at N i c e . - - 'Des A n g l a i s ' at M o n t e - C a r l o . - - T h e a t r e de M o n t e - C a r l o : Re-v i e w o f t he f i r s t p r o d u c t i o n o f B i z e t ' s work ( w h i c h had not been s t a g e d a t P a r i s s i n c e 1863, when i t was pe r f o rmed e i g h t e e n t i m e s at t he T h e a t r e - L y r i q u e ) . Near t h e end o f t he r e v i e w , Reyer e d i t o r i a l i z e s on ' l e s c o u p u r e s ' i n works s t a g e d at t h e T h e a t r e de M o n t e - C a r l o ; he c i t e s examp le s not o n l y i n B i z e t ' s s c o r e , bu t a l s o i n Gounod ' s F a u s t . ] " F-03/03 "Revue m u s i c a l e . C o n c e r t s du C h a t e l e t : 4 8 e a u d i t i o n de 1 a Damnat ion de F a u s t . [ O b s e r v a t i o n s on t h e p o p u l a r i t y o f t h i s work l e a d t o i r o n i c r e -marks on t h e i d e a t h a t i t s h o u l d be s t a g e d . T h i s o c c a s i o n s an e d i t o r i a l on both t h e need f o r ' une s a l l e de c o n c e r t ' and t he i n s u f f i c i e n c y o f t he s u b s i d i e s a c c o r d e d by t h e government t o t h e s o c i e t i e s o f Co lonne and Lamoureux. The s u b j e c t o f s u b s i d i z a t i o n l e a d s , i n t u r n , t o e d i t o r i a l i z -i n g on a ' p r o j e t ' w h i c h , u n l i k e t h e s t a g i n g o f t h e Damnat i on , does not s t r i k e Reyer as ' a b s u r d e ' : t h e l o g e s a t t h e Opera s h o u l d be a u c t i o n e d , and t h e p r o f i t s would e n a b l e t h i s t h e a t r e t o f u n c t i o n w i t h o u t a s u b s i d y ; t h e money t hu s saved c o u l d be d i v i d e d between t he T h e a t r e - L y r i q u e and a symphon ic s o c i e t y ( t h e l a t t e r m a i n t a i n i n g p e r m a n e n t l y a c ho r u s and s o l o -i s t s ) . Reyer then r e t u r n s t o h i s r e v i e w o f t h e Damna t i on , and a s s e s s e s t h e p e r f o r m a n c e o f each o f t he gue s t s o l o i s t s . ] — B e r l i o z i n t i m e ( n o u -v e l l e e d i t i o n ) , par M. Edmond H i p p e a u . [ N o t i c e on t he e d i t i o n wh i ch c o m p r i s e s a s h o r t e n e d v e r s i o n o f t h e o r i g i n a l (1883) and a ' s e c o n d e p a r t i e ' e n t i t l e d B e r l i o z e t son t e m p s . ] - - Une f e t e m u n i c i p a l e . [ A f t e r d e s c r i b i n g a ceremony f o r w h i c h A u g u s t a Holmes had been d e s i g n a t e d t o compose m u s i c , Reyer comments on t he abandonment o f t he p r o j e c t . ] — Voyage a M a r s e i l l e . [The c o m p o s e r - c r i t i c remembers a s o j o u r n at h i s n a t i v e c i t y , where he had gone t o work on t h e o r c h e s t r a t i o n o f Salammbo and, at t h e i n v i t a t i o n o f t h e c o - d i r e c t o r s o f t h e G r a n d - T h e a t r e , t o s u p e r v i s e r e h e a r s a l s f o r t h e f i r s t p e r f o r m a n c e o f S i g u r d . Reyer says n o t h i n g about t he o p e r a i t s e l f , but s a l u t e s t he c o n d u c t o r and each o f t h e p r i n c i p a l s i n g e r s . ] " F-14/04 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a - C o m i q u e : E s c ! a rmonde , o p e r a r oma-nesque en q u a t r e a c t e s e t h u i t t a b l e a u x , dont un p r o l o g u e e t un e p i l o g u e , poeme de MM. A l f r e d B l a u e t L o u i s de Gramont , mus ique de M. Ma s s ene t . [ B e f o r e r e v i e w i n g t h i s new work , Reyer r e c a l l s t h a t , ' i l y a b i e n des annees d e ' j a , ' h i s f r i e n d A l f r e d B l a u i n t r o d u c e d him t o ' l a s c e n a r i o q u ' i l p r e p a r a i t en vue d ' u n poeme l y r i q u e . ' - - P o s t s c r i p t : Reyer a p o l o g i z e s t h a t l a c k o f space o b l i g e s him t o ' r e n v o y e r a p l u s t a r d ' h i s r e v i e w o f G l u c k ' s O r f e o a t t he T h e a t r e de l a GaTte ( see JD F - 0 2 / 0 6 ) . ] " F-19/05 705 "Revue m u s i c a l e . Le T h e a t r e - I t a l i e n ( s a l l e de l a G a T t e ) . [Remarks on t h e d i r e c t o r o f t h e T e a t r o C o s t a n z i a t Rome, M. Sonzogno, who i s a t t e m p t -i n g t o r e v i v e t h e T h e a t r e - I t a l i e n f o r t h e d u r a t i o n o f t he P a r i s E x p o s i -t i o n . R e f l e c t i o n s on what Reyer has been t o l d about S onzogno ' s u n s u c -c e s s f u l p r o d u c t i o n o f B i z e t ' s Les P e c h e u r s de p e r l e s i n I t a l i a n ; r e c o l -l e c t i o n s o f t h e w e l l r e c e i v e d p r o d u c t i o n i n F rench at M o n t e - C a r l o ( s ee JD F - 0 3 / 0 3 ) . Rev iew o f S o n z o g n o ' s p r o d u c t i o n o f G l u c k ' s O r f e o , a work wh i ch had not been s t a ged a t P a r i s i n e i t h e r I t a l i a n o r F rench s i n c e 1863 (when t h e F r e n c h v e r s i o n e s t a b l i s h e d by B e r l i o z l e f t t he r e p e r t o i r e o f t he T h e a t r e - L y r i q u e ) . Comments on the p r i n c i p a l s i n S on zogno ' s company. C o n c l u d i n g no te s on t he T h e a t r e - I t a l i e n and t h e T e a t r o C o s t a n z i . - -T h e a t r e de l ' O p e r a - C o m i q u e : F u r t h e r o b s e r v a t i o n s c o n c e r n i n g E s c l a r m o n d e , w h i c h Reyer has heard f o r t he second t i m e . ] - - Les c o n c e r t s du T r o c a -d e r o . [ N o t i c e on t h e c o n c e r t s g i v e n by H e n r i Dal 1 i e r t o i n a u g u r a t e ' l e s c o n c e r t s d ' o r g u e de 1 ' E x p o s i t i o n . ' B r i e f r e v i e w o f a c o n c e r t c onduc ted by Lamoureux, t h e f i r s t i n t h e s e r i e s o f ' c o n c e r t s o f f i c i e l s f r a n g a i s ' wh i ch w i l l c o n s i s t o f o r c h e s t r a l mus i c as w e l l as e x c e r p t s f r om ope ra s and o r a t o r i o s by F rench c o m p o s e r s . ] — P u b l i c a t i o n s d i v e r s e s . [ N o t i c e s o n : a 'methode . . . pour l e s v o i x de b a r y t o n e t de bas se c h a n t a n t e ' by t h e I t a l i a n p r o f e s s o r Augus to B e n d e l a r i ; two c o l l e c t i o n s o f m e l o d i e s by Guy de K e r v e g u e u e ; a S u i t e v e n i t i e n n e f o r o r c h e s t r a by Ma r i o F o s c a r i n a (pseudonym o f T e l e v e de mon ami E r n e s t G u i r a u d ' ) ; and a s e t o f s t u d i e s by t h e p i a n i s t and p r o f e s s o r A u z e n d e . ] " F-02/06 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : La Tempete, b a l l e t f a n t a s t i q u e en t r o i s a c t e s e t s i x t a b l e a u x , d ' a p r e s S h a k e s p e a r e , l i v r e t de M. J u l e s B a r b i e r , c h o r e g r a p h i e de M. J . Hansen , mus ique de M. A m b r o i s e Thomas. [ Rev i ew o f t he p r e m i e r e o f t h e l a s t ma jo r work by Thomas. - - ] S a l l e du T r o c a d e r o : Grande a u d i t i o n o f f i c i e l l e de l a S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e sous l a d i r e c t i o n de M. J u l e s G a r c i n . [ B r i e f r e v i e w o f a n o t h e r i n t h e s e r i e s o f c o n c e r t s o f F r ench mus ic at t h e E x p o s i t i o n . Reyer r e g r e t s t h a t Mme C a r o n , one o f t h e gue s t a r t i s t s f e a t u r e d at t he c o n c e r t , was not y e t r e - e n g a g e d by t h e Opera (wh i ch she had l e f t i n 1887 f o r t h e T h e a t r e de l a Monnaie at B r u s s e l s ) . ] " F-30/06 "Revue m u s i c a l e . P a l a i s de 1 ' I n d u s t r i e : 1 'Ode t r i o m p h a l e , de M i l e A u g u s t a Ho lmes . [ R e y e r f i r s t w r i t e s about t h e c o n c e r t ( ' f e s t i v a l ' ) • c o n -d u c t e d by B e r l i o z i n t h e same b u i l d i n g i n 1844, and then d e s c r i b e s t h e r e c e n t c e l e b r a t i o n : a pageant o r g a n i z e d by t he c i t y c o u n c i l o f P a r i s i n honor o f t h e c e n t e n a r y o f t h e F r e n c h R e v o l u t i o n . T h i s d e s c r i p t i o n i s f o l l o w e d by a r e v i e w o f H o l m e s ' s work , wh i ch accompan ied t he p a g e a n t . ] " F-15/09 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a - C o m i q u e : R e p r i s e de M i r e i l l e , o p e r a en t r o i s a c t e s e t c i n q t a b l e a u x , t i r e du poeme de F r e d e r i c M i s t r a l p a r M i c h e l C a r r e , mus ique de M. C h a r l e s Gounod. [Rev iew o f ' l a v e r s i o n n o u v e l l e ' o f a work t h a t had pas sed t h r o u g h s e v e r a l d i f f e r e n t v e r s i o n s , f i r s t at t h e T h e a t r e - L y r i q u e ( 1864 -1865 ) and then at t h e Comique ( s e e ^D F - 15/11/1874 ) . Reyer b e g i n s t he r e v i e w w i t h a p l e a f o r a r e s t o r a t i o n o f 706 t h e o r i g i n a l v e r s i o n , . w h i c h had been p r e m i e r e d at t he L y r i q u e on 19 March 1864. — ] S a l l e du C o n s e r v a t o i r e : Les Noces de F i n g a l , poeme en t r o i s p a r t i e s , par Mme J u d i t h G a u t i e r , mus ique de M. B i a s Co lomer ( l e poeme e t l a p a r t i t i o n cou ronne s par 1 ' A cademie des B e a u x - A r t s au c o n -c o u r s R o s s i n i ) . [ Rev i ew o f t h e p r i z e - w i n n i n g work i s p r e ceded by remark s on ' l e s c o n c o u r s ' i n g e n e r a l and t h e Concou r s R o s s i n i i n p a r -t i c u l a r , as w e l l as a b r i e f n o t i c e on t h e c a r e e r o f C o l o m e r . ] " F-03/12 1890 J o u r n a l des Debats "Revue m u s i c a l e de 1 ' annee 1889. [ R e c o l l e c t i o n s o f t he T h e a t r e de l a Monna ie ( B r u s s e l s ) : Mme Caron i n F i d e l i o . R e h e a r s a l s f o r R e y e r ' s Salammbo (Mme C a r o n ; o t h e r p r i n c i p a l s ) . - - The O p e r a : Comments on t h e pos tponement s o f de L a N u x ' s ZaTre and S a i n t - S a e n s ' s A s c a n i o . A few words on t h e p r e m i e r e o f La Tempete. B r i e f e d i t o r i a l on t h e m u t i l a t i o n o f D o n i z e t t i ' s L u c i e de Lammermoor. - - The Ope ra -Comique : R e f l e c t i o n s on t h e s u c c e s s o f E s c l a rmonde l e a d t o o b s e r v a t i o n s on i t s r e c e p t i o n at B r u s s e l s , w i t h a c o m p a r i s o n o f t h e C o m i q u e ' s S i b y l Sander son and t h e M o n n a i e ' s Mme N u o v i n a . Apropos o f t h e r e v i v a l o f M i r e i l l e a t t he Comique, Reyer f i r s t a p o l o g i z e s f o r a p r i n t e r ' s b l u n d e r i n h i s r e v i e w ( see JD_ F -03/12/1889 ) , and t hen c o n g r a t u l a t e s P a r a v e y on t he s u c c e s s o f T u n e des p l u s j o l i e s p a r t i t i o n s de M. Gounod . ' - - An accoun t o f S o n z o g n o ' s a t t empt t o r e e s t a b l i s h t h e T h e a t r e - I t a l i e n : The r e p e r t o i r e and t h e p u b l i c . Mme C a l v e and t h e o t h e r p r i n c i p a l s . - - C o n c e r t s Lamoureux and C o n c e r t s C o l o n n e : B r i e f e d i t o r i a l r e p e a t i n g R e y e r ' s l o n g - h e l d v i ew t h a t t h e government s h o u l d s u b s i d i z e t h e s e o r g a n i z a t i o n s more g e n e r o u s l y , t o e n a b l e them t o h i r e f r e q u e n t l y t h e c h o r u s e s and s o l o i s t s r e q u i r e d f o r ' d e s g randes symphonies d r a m a t i q u e s e t des o r a t o r i o s . ' H i g h l i g h t s o f t h e season ( ' l e s s o l o i s t e s , ' i n c l u d i n g M i l e K r a u s s and Mme C a r o n ; d ' I n d y ' s La Mor t de W a l l e n s t e i n ; t he p r e m i e r e o f L a l o ' s P i a n o C o n c e r t o i n F M i n o r ) . - - N o t i c e on J u l i e n T i e r s o t ' s Mus iques p i t t o r e s q u e s ; Promenades m u s i c a l e s a 1 ' E x p o s i t i o n de 1 8 8 9 . ] " F _ 0 8 / 0 1 " L e t t r e s du M i d i . [ Commun i ca t i on p u b l i s h e d under t h e words 'On nous e c r i t de Monaco : ' T h e a t r e de M o n t e - C a r l o : Opening remark s on t h e i n -a u g u r a t i o n o f ' l a s a i s o n t h e a t r a l e ' w i t h Gounod ' s F au s t and R e y e r ' s La S t a t u e , t h e l a t t e r neve r b e f o r e s t a ged at M o n t e - C a r l o . Rev iew o f La S t a t u e ( t h e expanded v e r s i o n , w i t h b a l l e t , f i r s t p r e s e n t e d at t he O p e r a -Comique ; see j]D F t t - 0 5 / 0 5 / 1 8 7 8 ) . N e i t h e r t he l i b r e t t o nor t he mus ic i s d i s c u s s e d , but t he p e r f o r m a n c e s o f t h e p r i n c i p a l s a re a s s e s s e d ( w i t h s p e c i a l a t t e n t i o n t o gues t a r t i s t Mme Caron i n t h e r o l e o f Ma r g yane ) . The r e v i e w i s f o l l o w e d by an e n u m e r a t i o n o f t h e o t h e r works i n d i r e c t o r G a n d r e y ' s r e p e r t o i r e f o r t h e s e a s o n . - - B r i e f r e c o l l e c t i o n s o f t h e c e l e b r a t i o n s h e l d i n honor o f T e n t r e e du p r i n c e de Monaco dans ses E t a t s . ' A g l i m p s e o f t h e r o y a l f a m i l y . ] " * LA [Cu rR 1 9 1 ] - 2 0 / 0 1 , p. 3 707 " L e t t r e s du M i d i . [ Commun i ca t i on p u b l i s h e d under t h e words 'On nous e c r i t de Monaco : ' O b s e r v a t i o n s c o n c e r n i n g t h e annua l c a r n i v a l a t N i c e . - - T h e a t r e de M o n t e - C a r l o : N o t i c e s on t h e t e n o r Dere ims and t he soprano N e l l i e M e l b a , gue s t a r t i s t s i n Hamlet and Romeo e t J u l i e t t e . A few words on p r o d u c t i o n s t h a t took p l a c e a f t e r t h e d e p a r t u r e o f Me lba ( s e v e r a l o p e r a s and o p e r a s c o m i q u e s ; D e l i b e s ' s C o p p e l i a ) . - - P r i n c e s s A l i c e , m u s i c - l o v i n g w i f e o f P r i n c e A l b e r t , t he new r u l e r o f Monaco. - - A f o r t h c o m i n g e l e c t i o n a t N i c e . - - ' L e s A n g l a i s ' on t h e R i v i e r a . ] " * LA [Cu rR 1 9 1 ] - 2 3 / 0 3 , p. 3 "Revue m u s i c a l e . Academie n a t i o n a l e de Danse e t de Mus ique [ i . e . , T h e a t r e de l ' O p e r a ] : A s c a n i o , o p e r a en c i n q a c t e s et s i x t a b l e a u x , d ' a p r e s l e drame de Benvenuto C e l 1 i n i , de M. Pau l M e u r i c e , poeme de M. L o u i s G a l l e t , mus ique de M. C a m i l l e S a i n t - S a e n s . [ Rev i ew i s p r e ceded by comments on S a i n t - S a e n s ' s l o n g and v a r i e d m u s i c a l c a r e e r . ] " F-30/03 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a - C o m i q u e : Dan te , drame l y r i q u e en q u a t r e a c t e s , p a r o l e s de M. Edouard B l a u , mus ique de M. Ben jamin G o d a r d . [ Rev i ew i n c l u d e s e d i t o r i a l i z i n g on t h e need t o r e e s t a b l i s h a T h e a t r e - L y r i q u e i n s t e a d o f e r e c t i n g a new home f o r t he Comique ( w h i c h , s i n c e 1887, has o c c u p i e d a b u i l d i n g on t he s i t e o f t he o l d L y r i q u e i n t h e P l a c e du C h a t e l e t ) . ] — T h e a t r e r o y a l de l a Monna ie : C l o t u r e de l a s a i s o n t h e a t r a l e . [Remarks on f o r t h c o m i n g changes i n the r o s t e r o f p r i n c i p a l s . N o t i c e s on t h e p e r f o r m a n c e s o f Mme Caron and o t h e r p r i n c i -p a l s i n R e y e r ' s Salammbo, wh i ch was p r e s e n t e d on t he f i n a l n i g h t o f t h e s e a s o n . ( T h i s work had been p r e m i e r e d at t h e Monnaie on 10 F e b r u a r y . ) N o t i c e s on t h e t h e a t r e ' s c o n d u c t o r and i t s ' e t o n n a n s d i r e c t e u r s ' ( S t o u -mon and C a l a b r e s i ) . ] " F-20/05 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : Z a T r e , o p e r a en deux a c t e s d ' a p r e s l a t r a g e d i e de V o l t a i r e , p a r o l e s de MM. Edouard B l a u e t L o u i s B e s s o n , mus ique de M. Pau l Veronge de L a Nux. [Rev iew i s p r e ceded by comments on T o d y s s e ' o f t h i s f o r m e r w i nne r o f t h e P r i x de Rome, whose o p e r a ( commi s s i oned i n a c c o r d a n c e w i t h a c l a u s e i n t h e c a h i e r des c h a r g e s o f t h e Opera ) was f i r s t announced i n 1887. - - ] A p ropos de l a S o c i e t e des g randes a u d i t i o n s m u s i c a l e s de F r a n c e f ondee par Mme l a comte s se G r e f f u l h e . [ N o t i c e on t h e new s o c i e t y : i t s l e a d e r s (Mme G r e f f u l h e and Gounod, ' l a p r e s i d e n t e e f f e c t i v e ' and ' l e p r e s i d e n t hono -r a i r e ' r e s p e c t i v e l y ) ; i t s pu rpo se ( t o spon so r p e r f o r m a n c e s o f l i t t l e - o r unknown w o r k s , ' a n c i e n n e s ou m o d e r n e s ' ) . A f t e r e d i t o r i a l i z i n g on t h e o s t r a c i s m o f B e r l i o z ' s o p e r a s f r om t h e l y r i c t h e a t r e s o f P a r i s , Reyer announces t h a t t h e S o c i e t e w i l l s pon so r t h e P a r i s i a n p r e m i e r e o f B e a t r i c e e t B e n e d i c t . (The c r i t i c l a t e r r e v e a l s t h a t he i s among t he m u s i c i a n s f r o m whom Mme G r e f f u l h e seeks c o n s e l ; s ee 1^D F - 07/06/1891 . ) ] — [ O b i t u a r y o f ] Le v i o l i n i s t e Hube r t L e o n a r d . " F-01/06 "Revue m u s i c a l e . T h e a t r e de l ' O d e o n : ( S o c i e t e des g randes a u d i t i o n s m u s i c a l e s de F r a n c e ) . P r e m i e r e r e p r e s e n t a t i o n de B e a t r i c e e t B e n e d i c t , 708 o p e r a en deux a c t e s , i m i t e de S h a k e s p e a r e , p a r o l e s e t mus ique d ' H e c t o r B e r l i o z . [The p e r f o r m a n c e was p r e s e n t e d w i t h t he c o o p e r a t i o n o f t h e d i r e c t o r o f t h e Odeon (who l o aned h i s t h e a t r e and some o f h i s a c t o r s ) and C h a r l e s Lamoureux (who r e c r u i t e d t he s i n g e r s and c o n d u c t e d h i s ' i n c o m p a r a b l e o r c h e s t r e ' ) . B e f o r e r e v i e w i n g t h i s p e r f o r m a n c e , Reyer r e c a l l s t h e p r e m i e r e at Baden-Baden i n 1862 . - - ] T h e a t r e de 1 ' O p e r a -Comique: La B a s o c h e , o p e r a comique en t r o i s a c t e s , p a r o l e s de M. A l b e r t C a r r e , mus ique de M. Andre Messager [ p r e m i e r e ] . [ — ] T h e a t r e de l ' O p e r a : Debut de Mme F i e r e n s dans l a J u i v e . [ N o t i c e on t he c a r e e r o f t h i s young B e l g i a n s o p r a n o , and a few words on h e r ' t r e s heureux d e b u t . ' ] " Ftt-08/06 "Revue m u s i c a l e . [ T h e a t r e de V ] 0 p e r a : l e Reve , b a l l e t en deux a c t e s e t t r o i s t a b l e a u x , l i v r e t de M. Edouard B l a u , c h o r e g r a p h i e de M. J . Hansen, mus ique de M. Leon G a s t i n e l . [ R e v i e w i s p r e ceded by a n o t i c e on t h e c a r e e r o f t h i s compose r , who had won t h e P r i x de Rome i n 1846. - -N o t i c e s on two t r e a t i s e s : ] T r a i t e p o p u l a i r e d ' h a r m o n i e [ , de c o m p o s i t i o n e t d ' o r c h e s t r a t i o n ] , pa r M. J u l e s P h i l i p p o t . — A u t r e T r a i t e d ' h a r m o n i e [ i . e . , T r a i t e d ' h a r m o n i e m o d e r n e ] , par M. A n a t o l e L o q u i n ( d ' O r l e a n s ) . - -[ N o t i c e on M a u r i c e K u f f e r a t h ' s ' b r o c h u r e ' P a r s i f a l . - - N o t i c e on a b o o k : ] H i s t o i r e du t h e a t r e de l a Monnaie [ i . e . , Le T h e a t r e de l a Mon- n a i e , d e p u i s s a f o n d a t i o n j u s q u ' a nos j o u r s ] , par M. J a c q u e s I s n a r d o n . - - Une m a t i n e e d ' e l e v e s chez Mme Edouard C o l o n n e . [ S h o r t r e v i e w o f a v o c a l r e c i t a l g i v e n by s t u d e n t s o f t h i s ' e x c e l l e n t p r o f e s s e u r . ' ] — Un mot su r l a d i s p a r i t i o n de D a n t e . [ B r i e f e d i t o r i a l o b j e c t i n g t h a t t he Opera-Comique has abandoned G o d a r d ' s new o p e r a ' a p r e s neuf ou d i x r e p r e s e n t a t i o n s s e u l e m e n t , ' f o r t he r e a s o n t h a t t h i s work ' n e f a i t pas d ' a r g e n t ! ' The c r i t i c r e g r e t s t h a t t h e gove rnment , ' en donnant sa s u b -v e n t i o n sans a s s e z s ' i n q u i e t e r de s a v o i r ou e l l e v a , ' i s t he d i r e c t o r ' s a c c o m p l i c e i n t h e ' i n j u s t i c e . ' ] " F-15/06 "Revue m u s i c a l e . Le Mage e t Salammbo. [An a c coun t o f the e v e n t s t h a t c u l m i n a t e d i n a p r o m i s e f r om t h e O p e r a ' s R i t t and G a i l hard t o s t a g e Salammbo, and t he sub sequent deve l opmen t s t h a t i n s t e a d f o r c e d t he c o - d i r e c t o r s t o honor a c o n t r a c t t o p r e m i e r e M a s s e n e t ' s Le Mage. (Reyer e x p l a i n s t h a t he has been ' b eaucoup i n t e r v i e w e ' s i n c e t h e m i s a d v e n t u r e , and t h a t h i s pu rpo se i n w r i t i n g about i t i s t o ' d i r e t o u t e l a v e r i t e . ' ) ] " F-18/09 "Revue m u s i c a l e . T h e a t r e - L y r i q u e ( E d e n - T h e a t r e ) : [ I n an e d i t o r i a l on t h e l y r i c t h e a t r e founded at t h e Eden by V e r d h u r t ( a f o r m e r d i r e c t o r o f t h e T h e a t r e de l a M o n n a i e ) , Reyer recommends t h a t t h e r e p e r t o i r e be ' c l a s s i q u e e t moderne a l a f o i s , ' and empha s i ze s t he need f o r both a s u b s i d y and ' une bonne t r o u p e d ' e n s e m b l e . ' ] Samson e t D a l i l a , o p e r a en t r o i s a c t e s , p a r o l e s de M. F e r d i n a n d L e m a i r e , mus ique de M. C a m i l l e S a i n t - S a e n s . [ Rev i ew o f t h e f i r s t P a r i s i a n p r o d u c t i o n o f a work t h a t had been p r e m i e r e d at Weimar i n 1 877 . ] - - [ A l s o at V e r d h u r t ' s T h e a t r e -L y r i q u e : ] L a J o l i e F i l l e de P e r t h , o p e r a comique en q u a t r e a c t e s , p a r o l e s de MM. de S a i n t - G e o r g e s e t A d e n i s , mus ique de Georges B i z e t . 709 [ R e y e r r e c a l l s t h a t he has a l r e a d y w r i t t e n a ' l o n g a r t i c l e ' on t h i s work ( s ee JD_ F t t - 0 6 / 0 1 / 1 8 6 8 , t he r e v i e w o f t he p r e m i e r e ) . The c r i t i c t h e r e -f o r e say s n o t h i n g about t he s t o r y , and l i m i t s h i s remark s on t he mus i c t o ' l e s pages . . . que l ' o n a p p l a u d i t a u j o u r d ' h u i . ' ] - - Le duo du t r o i -s ieme a c t e de L o h e n g r i n , a l ' O p e r a . [ A f t e r n o t i n g t h a t t he l o v e duet was sung by V e r g n e t and Mme Caron (whom t h e Opera has r e e n g a g e d ) , Reyer c a l l s upon t h i s t h e a t r e t o ' l e v e r 1 ' i n t e r d i t ' imposed on Wagner ' s w o r k s . ] — [ N o t i c e on t h e ] T r a i t e p r a t i q u e d ' i n s t r u m e n t a t i o n , pa r M. E r n e s t G u i r a u d . " F t t - 0 9/11 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a - C o m i q u e : B e n v e n u t o , o p e r a en q u a t r e a c t e s e t s i x t a b l e a u x , p a r o l e s de M. Gas ton H i r s c h , mus ique de M. Eugene D i a z . [ I n t h e r e v i e w Reyer d e c l a r e s t h a t n e i t h e r t h e l i b r e t t o nor t h e mus i c o f t h e new work b e a r s any ' r e s s e m b l a n c e ' t o B e r l i o z ' s Ben - v enu to C e l l i n i ; t h e c r i t i c t h e r e f o r e does not compare t h e two o p e r a s T ] - - L a f e r m e t u r e du T h e a t r e - L y r i q u e . [ R e f l e c t i o n s on t h e f a i l u r e o f V e r d h u r t ' s t h e a t r e and t h e d i f f i c u l t i e s o f r e e s t a b l i s h i n g a t P a r i s a t h e a t r e c o n s e c r a t e d t o ' l a g rande m u s i q u e . ' ] - - Noel ou l e M y s t e r e de l a N a t i v i t e , en v e r s , en q u a t r e t a b l e a u x , pa r M. M a u r i c e B o u c h o r , mus ique de scene de M. Pau l V i d a l . [Comments on t h e i n c i d e n t a l mus i c f o r a m a r i o n e t t e p l a y s t a g e d ' d an s une p e t i t e s a l l e de l a r u e V i v i e n n e . ' ] " F -07/12 1891 J o u r n a l des Debat s "Revue m u s i c a l e . T h e a t r e r o y a l de l a Monna i e : S i e g f r i e d ( t r o i s i e m e p a r t i e de V A n n e a u du N i e b e l u n g ) , o p e r a en t r o i s a c t e s , de R i c h a r d Wagner, t r a d u c t i o n de M. V i c t o r W i l d e r . [ Rev i ew o f t he p r e m i e r e o f t h i s work i n F r e n c h t r a n s l a t i o n . B e f o r e d i s c u s s i n g t he drama and t he m u s i c , Reyer p o i n t s ou t t h a t t h e Monnaie has a l r e a d y s t a g e d f i v e o f Wagne r ' s w o r k s , i n c l u d i n g La V a l k y r i e ( see JD F -20/03/1887 ) , and t h a t t he e n t i r e R i n g c y c l e was p r e s e n t e d t h e r e i n 1882 by a German company. Reyer a l s o s k e t c h e s t h e h i s t o r y o f S i e g f r i e d and t h e R i n g c y c l e , f r om the c o m p o s i -t i o n o f S i e g f r i e d s Tod t o t h e p r e m i e r e o f t he c y c l e at B a y r e u t h . ] " F t t - 1 8/01 [Commun i ca t i on f r o m B r u s s e l s , a dd re s s ed t o t h e " d i r e c t e u r " o f t h e D e b a t s : R e y e r , who i s a t t e n d i n g p e r f o r m a n c e s o f " 1 ' a d m i r a b l e S i e g f r i e d " a t t h e T h e a t r e de l a Monna ie , e x p l a i n s why he d i d not go t o N i c e f o r t he p r e m i e r e o f B e r l i o z ' s La P r i s e de T r o i e . (The e x p l a n a t i o n i s t an tamount t o an e d i t o r i a l a r g u i n g t h a t t h e T h e a t r e - M u n i c i p a l de N i c e c o u l d not do j u s t i c e t o t h i s " g r a n d ouv rage l y r i q u e . " ) - - Reyer announces " a v e c une v e r i t a b l e j o i e " t h a t L a P r i s e de T r o i e w i l l be s t a g e d at t he T h e a t r e de l a Monnaie d u r i n g " l a s a i s o n p r o c h a i n e . " ] LA - 24/02 , p. 4 710 "Revue m u s i c a l e . Academie n a t i o n a l e de Mus ique [ i . e . , T h e a t r e de l ' O p e r a ] : Le Mage, o p e r a en c i n q a c t e s e t s i x t a b l e a u x , poeme de M. Jean R i c h e p i n , mus i que de M. J u l e s Ma s sene t . - - D e c o r s : ( l e r a c t e ) de MM. Rube, Chaperon e t Jambon; ( 2 e a c t e ) de MM. Amable e t G a r d y ; ( 3 e a c t e ) de M. L e m e u n i e r ; ( 4 e e t 5 e a c t e s ) de MM. L a v a s t r e e t C a r p e z a t . - -Costumes d e s s i n e e s pa r M. Ch. B i a n c h i n i . [To i n t r o d u c e t he d i s c u s s i o n o f M a s s e n e t ' s new work , Reyer emphas i ze s t h a t t he s u c c e s s o f o p e r a d e -pends t o some e x t e n t on t h e v i s u a l i m p r e s s i o n s p r e s e n t e d on t h e s t a g e . ] " F-24/03 "Revue m u s i c a l e . S a l l e du T r o c a d e r o : S o c i e t e des g randes a u d i t i o n s m u s i c a l e s de F r a n c e : I s r a e l en E g y p t e , o r a t o r i o en deux p a r t i e s , de H a e n d e l , p a r o l e s f r a n c h i s e s de M. X a v i e r P e r r a u d . [ Rev i ew of t h i s P a r i s i a n p r e m i e r e i s i n t e r s p e r s e d w i t h t h e f o l l o w i n g : o b s e r v a t i o n s on t h e o r g a n i z a t i o n and t he f u t u r e p l a n s o f t h e S o c i e t e f ounded i n 1890 by Mme G r e f f u h l e ; r e c o l l e c t i o n s o f a p e r f o r m a n c e o f I s r a e l i n Egypt at t h e Handel F e s t i v a l i n London ( see ^D F -27/07/1880 ) ; and g e n e r a l remark s on t h e o r a t o r i o f e s t i v a l s h e l d t r i e n n i a l l y a t London, M a n c h e s t e r , and B i r m i n g h a m . ] - - Henry V i e u x t e m p s , sa v i e e t ses o e u v r e s , par M. Theodore Radoux. [ N o t i c e on a monograph w h i c h Radoux had w r i t t e n o r i g i n a l l y f o r t h e Academie r o y a l e de B e l g i q u e . R e y e r , who had ' beaucoup connu V i e u x -t e m p s , ' c o n c l u d e s t h e n o t i c e by add i n g a r e m i n i s c e n c e about an e v e n i n g s p e n t w i t h t h e v i o l i n i s t and h i s w i f e . ] " F-07/06 "Revue m u s i c a l e . [ T h e a t r e de l ' O p e r a - C o m i q u e : ] Le Reve, drame l y r i q u e en q u a t r e a c t e s e t h u i t t a b l e a u x , d ' a p r e s l e roman de M. E m i l e Z o l a , poeme de M. L o u i s G a l l e t , mus ique de M. A l f r e d B r u n e a u . [ Rev i ew i n -c l u d e s comments on B r u n e a u ' s use o f ' c e r t a i n s p r o c e d e s p a r t i c u l i e r s a R i c h a r d W a g n e r . ' ] " F-21/06 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : L o h e n g r i n , o p e r a r o m a n t i q u e en t r o i s a c t e s , p a r o l e s e t mus ique de R i c h a r d Wagner, t r a d u c t i o n f r a n g a i s e de M. C h a r l e s N u i t t e r . [ Rev i ew o f t h e f i r s t p r o d u c t i o n o f L o h e n g r i n a t t h e Opera i s p r e c e d e d by a s h o r t h i s t o r y o f t h i s work a t P a r i s , f r om t h e p r o j e c t s o f C a r v a l h o and P e r r i n i n 1868 t o t h e p r e m i e r e c o n d u c t e d by Lamoureux at t h e E d e n - T h e a t r e i n 1887. Reyer does not r e t e l l t he s t o r y o f t h e l i b r e t t o , h a v i n g a l r e a d y done so on two o c c a s i o n s ( s ee JD F t - 0 7 / 10/1868 and F -08/05/1887 ) . I n s t e a d , he c o n s i d e r s t h e i n f l u e n c e o f Webe r ' s E u r y a n t h e on both t he mus i c and t he l i b r e t t o o f L o h e n g r i n ; i t s p l a c e i n Wagne r ' s o e u v r e ; and c e r t a i n t r a d i t i o n s a s s o c i a t e d w i t h t h e p e r f o r m a n c e o f t h i s o p e r a i n Germany. (Ap ropos o f t h e s e t r a d i t i o n s , Reyer quo te s f r om l e t t e r s s e n t by Wagner t o L i s z t when t h e l a t t e r was p r e p a r i n g t o p r e m i e r e L o h e n g r i n a t We imar . ) The c r i t i c a l s o e d i t o r i a l -i z e s b r i e f l y on ' un p r e c e d e n t ' a t t h e O p e r a : t h e g r a n t i n g o f ' p l e i n s p o u v o i r s ' t o t h e c o n d u c t o r ( i n t h i s c a s e Lamoureux, who was gues t c o n d u c t o r ) . F i n a l l y , Reyer a s s e s s e s t he p e r f o r m a n c e o f each o f t h e p r i n c i p a l s i n g e r s . ] " F-20/09 711 "Revue m u s i c a l e . Le C e n t e n a i r e de M e y e r b e e r : s o u v e n i r s a n e c d o t i q u e s . [To commemorate t h e b i r t h o f a composer w i t h whom 'mes r e l a t i o n s . . . m ' on t l a i s s e l e s p l u s cha rmant s s o u v e n i r s , ' Reyer remembers v i s i t s and chance e n c o u n t e r s a t P a r i s , B e r l i n , and Baden -Baden . The c r i t i c t hen r e f l e c t s on M e y e r b e e r ' s c o n t r i b u t i o n t o ' l e monde m u s i c a l , ' t h e e n d u r i n g s u c c e s s o f h i s ' q u a t r e g rands o u v r a g e s ' i n F r a n c e , and t h e ' a m o i n d r i s s e -ment de sa renommee' i n Germany, where h i s works were e c l i p s e d by t h o s e o f Wagner. - - T h e a t r e de l ' O p e r a : Remarks on t h e ' s o i r e e du C e n t e -n a i r e , ' a t wh i ch t he c e r e m o n i a l c r o w n i n g o f a bu s t o f Meyerbeer was f o l l o w e d by a p e r f o r m a n c e o f t h e ' B e n e d i c t i o n des p o i g n a r d s ' scene f r om Les Huguenot s . ( Reye r n o t e s t h a t t he scene was pe r f o rmed as o r i g i n a l l y w r i t t e n , t h a t i s , w i t h t h e Queen s i n g i n g t h e r o l e g i v e n t o S a i n t - B r i s b e f o r e t he p r e m i e r e i n 1 8 3 6 . ) ] " F-22/11 1892 J o u r n a l des Debats "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : Thamara, o p e r a en q u a t r e t a -b l e a u x , poeme de M. L o u i s G a l l e t , mus ique de M. B o u r g a u l t - D u c o u d r a y . [ R e v i e w o f a c u r t a i n - r a i s e r by a composer who had won t he P r i x de Rome i n 1862 and had s i n c e become w e l l known amongst ' de s a r t i s t e s ' w h i l e r e m a i n i n g v i r t u a l l y unknown t o ' l e p u b l i c . ' ] - - R e p r i s e de l a Tempete , b a l l e t en t r o i s a c t e s e t c i n q t a b l e a u x , de MM. J u l e s B a r b i e r e t Hansen, mus ique de M. Ambro i s e Thomas. - - M i l e M a u r i . [ N o t i c e on the O p e r a ' s f i r s t r e v i v a l o f Thomas ' s b a l l e t , w i t h R o s i t a Maur i a g a i n i n t h e p r i n c i -p a l r o l e . ( F o r R e y e r ' s r e v i e w o f t h e p r e m i e r e , see _JJ) F - 30/06/1889 . ) ] — M u s i c i e n s d ' a u j o u r d ' h u i , pa r M. A d o l p h e J u l l i e n . [ I n t h i s r e v i e w o f a s e l e c t i o n o f J u l l i e n ' s a r t i c l e s f r om Le F r a n g a i s , Le M o n i t e u r u n i v e r s e l , and L ' A r t , Reyer f o c u s e s on h i s f e l l o w - c r i t i c ' s o p i n i o n s about t h e mus i c o f Wagner and B e r l i o z . ] - - Un mot d ' a d i e u a MM. l e s d i r e c t e u r s de l ' O p e r a . [ R i t t and G a i l h a r d , whose c o n t r a c t as c o - d i r e c t o r s had e x p i r e d on 31 December 1891, a re t hanked by Reyer f o r h a v i n g r e i n s t a t e d t he mus i c d e l e t e d f r o m t h e i r o r i g i n a l p r o d u c t i o n o f S i g u r d ( 1 8 8 5 ) , and f o r h a v i n g g i v e n t h e composer ' l a douce s a t i s f a c t i o n d ' a s s i s t e r a l a 1 0 0 e r e p r e s e n t a t i o n . ' Reyer a l s o d e s c r i b e s h i s ' s i n c e r e ' r e c o n c i l i a t i o n w i t h t h e s e two men, and app l aud s them f o r h a v i n g s t a ged L o h e n g r i n ( 1 8 9 1 ) . ] " F-03/01 " L e t t r e s du M i d i . [Commun i ca t i on p u b l i s h e d under t he words 'On nous e c r i t de Monaco : ' A v i s i t t o M a r s e i l l e o c c a s i o n s an e d i t o r i a l on the c o n s t r u c t i n g o f r oad s at t h e s a c r i f i c e o f s e v e r a l ' p a r t i c u l a r i t e s du v i e u x M a r s e i l l e ' : t h e Chu rch o f S a i n t - M a r t i n ( see JD * LA [Cu rR 1 9 1 ] -13/02/1889, p. 3 ) ; and two famous ' p r o m e n a d e s . ' - - N i c e : D e s c r i p t i o n o f D e l o y e ' s s t a t u e o f G a r i b a l d i . - - T h e a t r e - M u n i c i p a l de N i c e : A few words about t h e f o r m e r d i r e c t o r , Gunsbourg , and one o f h i s p r o d u c t i o n s ( G l i n k a ' s La V i e pour l e t z a r ) . O b s e r v a t i o n s on G u n s b o u r g ' s s u c c e s s o r , S a n t i n i C o s t a , and t h e c u r r e n t r e p e r t o i r e . — Gene r a l remark s on ' l a m u s i q u e ' a t M o n t e - C a r l o : S t e c k ' s ' c o n c e r t s c l a s s i q u e s ' ; t h e t w i c e - w e e k l y 712 p e r f o r m a n c e s at t h e t h e a t r e ( d i r e c t e d by J e h i n s i n c e 1 891 ) . - - T h e a t r e de M o n t e - C a r l o : Comments on f o r t h c o m i n g p e r f o r m a n c e s o f Noel D e s j o y a u l x ' s G y p t i s and Wagne r ' s L o h e n g r i n , t h e l a t t e r ' t r e s r a c c o u r c i . ' Announcement o f t h e r e p e r t o i r e and t he p r i n c i p a l s i n t h e company f o r t he s e a s o n . An a l l u s i o n t o ' l e d i s c r e d i t dans l e q u e l e s t tombee l a scene de M o n t e - C a r l o ' l e a d s t o a c a l l f o r t h e r e t u r n o f t h e f o r m e r d i r e c t o r , G a n d r e y . ] " * LA [Cu rR 1 9 1 J - 3 1 / 0 1 , p. 2 "Revue m u s i c a l e . La Mus ique e t ses r e p r e s e n t a n t s , e n t r e t i e n s s u r l a m u s i q u e , p a r A n t o i n e R u b i n s t e i n . L in t h i s book r e v i e w Reyer c o n c e n -t r a t e s on t h e c e l e b r a t e d p i a n i s t ' s a s se s sment s o f t h e mus i c o f B e r l i o z , Wagner, and L i s z t . ] - - L a S a r d a n a p a l e de M. A l p h o n s e Duvernoy a L i e g e . - - Le C o u s i n P l a c i d e , o p e r a comique en un a c t e de M. E. D i e t . [ Reye r g i v e s news o f t h e s u c c e s s o f t h e s e works by Duvernoy and D i e t , wh i ch were p r e m i e r e d on t h e same e v e n i n g at a t h e a t r e i n L i e g e . The c r i t i c c o n s i d e r s v e r y b r i e f l y t h e s c o r e o f D u v e r n o y ' s o p e r a , and hopes t h a t i t w i l l be s t a ged at P a r i s . ] - - Un mot a p ropos du Wer ther de M. Ma s s ene t . [Remarks on C a r v a l h o ' s i n t e n t i o n o f p r e s e n t i n g t h i s work at t h e O p e r a -Comique a f t e r t he ' r e t e n t i s s a n t s u c c e s ' o f t h e p r e m i e r e at V i e n n a . ] — Les Drames mus i caux de R i c h a r d Wagner e t l e t h e a t r e de B a y r e u t h , e t u d e c r i t i q u e par l e d o c t e u r H e n r i Cou tagne . LRev iew o f a ' b r o c h u r e ' i n wh i ch a m u s i c - l o v i n g p h y s i c i a n p r o v i d e s a s h o r t d e s c r i p t i o n o f each o f Wagne r ' s o p e r a s ( f r o m D ie Feen t o P a r s i f a l ) and g i v e s i m p r e s s i o n s o f p r o d u c t i o n s he has a t t e n d e d at B a y r e u t h . ] " F-17/04 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a - C o m i q u e : E n g u e r r a n d e , drame l y r i q u e en q u a t r e a c t e s , t i r e du poeme d r a m a t i q u e d ' E m i l e B e r g e r a t par M. V i c t o r W i l d e r , mus ique de M. Augus te C h a p u i s . [ R e v i e w i n c l u d e s e d i t o r i a l i z i n g i n d e f e n c e o f W i l d e r ' s l i b r e t t o , many pas sages o f w h i c h had been ' s o u l i g n e s ' by t h e a u d i e n c e ' s ' a c c e s de f o l l e g a i e t e . ' ] — [ N o t i c e s on t h e c a r e e r s o f t h r e e r e c e n t l y decea sed c o m p o s e r s : ] Edouard L a l o . - - E r n e s t G u i r a u d . - - F e r d i n a n d P o i s e . " F-15/05 "Revue m u s i c a l e . Salammbo a l ' O p e r a . [ F o l l o w i n g t he f i r s t p r o d u c t i o n o f R e y e r ' s o p e r a at P a r i s ( two y e a r s a f t e r t h e p r e m i e r e at B r u s s e l s ) , t h e c o m p o s e r - c r i t i c d e s c r i b e s v a r i o u s a s p e c t s o f t h e h i s t o r y o f t h i s work : t h e w r i t i n g o f t h e l i b r e t t o (a t a s k f i n a l l y e n t r u s t e d t o C a m i l l e du L o c l e ) ; t h e g e s t a t i o n o f t h e s c o r e ; t h e p e r f o r m a n c e o f Mme Rose Caron i n t h e t i t l e r o l e at t he p r e m i e r e ; t h e a b o r t e d p l a n t o p r e s e n t t h e work a t P a r i s ( s e e JD F - 18/09/1890 ) ; and t he p r e p a r a t i o n s f o r t he c u r r e n t p r o -d u c t i o n at t h e F r ench c a p i t a l . Reyer does not e v a l u a t e t he l i b r e t t o and t h e s c o r e , because h i s ' c o n f r e r e s ' i n t h e P a r i s i a n p r e s s have a l r e a d y done s o . I n s t e a d , he app l aud s each o f t he p r i n c i p a l s i n g e r s , the c o n -d u c t o r ( C o l o n n e ) , and t h e c h o r u s , as w e l l as o t h e r a r t i s t s who c o n t r i b -u t e d t o t h e s u c c e s s o f t h e w o r k . ] " F t t - 2 9 / 0 5 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a - C o m i q u e : Les T r o y e n s , o p e r a en q u a t r e a c t e s , d ' H e c t o r B e r l i o z . ( R e p r i s e . ) [ Rev i ew o f C a r v a l h o ' s 713 r e v i v a l o f t h e s h o r t e n e d v e r s i o n t h a t t h i s d i r e c t o r had p r e m i e r e d at the T h e a t r e - L y r i q u e i n 1863. (The 1863 v e r s i o n c o n s i s t e d o f a p r o l o g u e com-posed by B e r l i o z t o t a k e t h e p l a c e o f La P r i s e de T r o i e , and an a b b r e v i -a t e d Les T r o yen s a C a r t h a g e . ) The r e v i e w o f t h e r e v i v a l i n c l u d e s t h e f o l l o w i n g : r e c o l l e c t i o n s o f t h e p r e m i e r e ; comments on new changes and d e l e t i o n s made by C a r v a l h o ; a s se s sment s o f t he p r i n c i p a l s i n g e r s and t h e c o n d u c t o r ; a p l e a t h a t Les T r o yen s be s t a ged i n i t s e n t i r e t y at t he O p e r a ; and e d i t o r i a l i z i n g on t h e n e g l e c t o f a l l o f B e r l i o z ' s o p e r a s by t h e s u c c e s s i v e d i r e c t o r s o f bo th t he Opera and t he Ope ra -Com ique . (Reyer p o i n t s ou t t h a t C a r v a l h o ' s r e v i v a l o f t h e s h o r t e n e d T royens was u n d e r t a k e n at t h e s u g g e s t i o n and w i t h t he a s s i s t a n c e o f t he S o c i e t e des g randes a u d i t i o n s m u s i c a l e s de F r a n c e . ) ] " F-12/06 "Revue m u s i c a l e . [ T h e a t r e de l ' ] 0 p e r a : S y l v i a , b a l l e t de MM. J u l e s B a r b i e r e t M e r a n t e , mus ique de Leo D e l i b e s ( r e p r i s e ) . [ Reye r remembers t h a t he d i d no t d i s c u s s t h e p r e m i e r e i n 1876, because ' a c e t t e epoque ' t h e p r i v i l e g e o f r e v i e w i n g b a l l e t f o r t h e Debats was r e s e r v e d f o r t h e drama c r i t i c . In t h e r e v i e w o f t h e r e v i v a l o f S y l v i a , Reyer s u g g e s t s r e a s o n s why t h e p r e m i e r e was ' a s s e z f r o i d e m e n t a c c u e i l l i e . ' ] — [ P e r -fo rmed at t h e Opera on t he same e v e n i n g as t he r e v i v a l o f S y l v i a : ] La V i e du P o e t e , s ymphon ie -d rame, p a r o l e s e t mus ique de M. Gus tave C h a r -p e n t i e r . [ R e v i e w o f the l a s t e n v o i by t he young composer who had won t h e P r i x de Rome i n 1887. ( I n c l u d e d i n t h e r e v i e w i s an e x p l a n a t i o n o f how t h i s work f o r o r c h e s t r a , c h o r u s , and s o l o i s t s came to be pe r f o rmed a t ' n o t r e p r e m i e r e scene l y r i q u e . ' ) ] " F-26/06 "Revue m u s i c a l e . 011a p o d r i d a [name o f a d i s h o f meat and v e g e t a b l e s (an a l l u s i o n t o t h e h e t e r o g e n e o u s m i x t u r e o f s u b j e c t s i n t h i s f e u i l l e - t o n ) . - - Remarks on f o r t h c o m i n g p r e m i e r e s and r e v i v a l s at t he O p e r a , t h e Ope ra -Comique , and t h e ' t h e a t r e l y r i q u e ' f ounded by Leonce D e t r o y a t at t h e f o r m e r T h e a t r e de l a R e n a i s s a n c e . — S o u v e n i r s o f R e y e r ' s t h r e e -month h o l i d a y : U r i a g e : A g a t h e r i n g o f a few f r i e n d s c h e z V i c t o r i n J o n c i e r e s , who sang and p l a y e d at t h e p i a n o t he s c o r e o f h i s new o p e r a , L a n c e l o t au Lac (wh i ch Reyer recommends t o t h e d i r e c t o r o f t h e P a r i s O p e r a ) . L u chon : Edouard B r o u s t e t , c o n d u c t o r o f t he o r c h e s t r a o f t he c a s i n o . An ' o u r s g i g a n t e s q u e ' k i l l e d by h u n t e r s i n t h e e n v i r o n s o f L u chon . M a u l e o n - B a r o u s s e . Encaus se and o t h e r v i l l a g e s i n t he P y r e n e e s . - - The o p e n i n g o f t h e new season o f t h e C o n c e r t s Co l onne w i t h t h e s i x t y -f i r s t p e r f o r m a n c e o f La Damnat ion de F a u s t c au se s Reyer t o r e g r e t both t h e n e g l e c t o f B e r l i o z ' s o t h e r l a r g e c o n c e r t works and t h e i n s u f f i c i e n c y o f t h e s u b s i d i e s a c c o r d e d t he s o c i e t i e s o f Co l onne and Lamoureux. - -News t h a t Gunsbourg ( t he new d i r e c t o r o f t h e T h e a t r e de M o n t e - C a r l o ) i n t e n d s t o put t h e Damnat ion on t h e s t a g e ' e n l e t r a n s f o r m a n t en grand o p e r a ' e l i c i t s an e d i t o r i a l a g a i n s t such a p r o j e c t ; Reyer r em ind s r e a d e r s t h a t he had e x p r e s s e d t h i s p o s i t i o n i n an e a r l i e r f e u i l l e t o n ( s e e JD F -14/04/1889 ) . - - Rev iew o f t h e s i x t y - f i r s t p e r f o r m a n c e o f t h e Damnat ion a t t h e C o n c e r t s C o l o n n e . - - Comments on rumors c o n c e r n i n g ' d e s p r o j e t s de l a d i r e c t i o n de l ' O p e r a en ce qu i t o u c h e 1 ' o e u v r e de R i c h a r d 714 Wagner qu i s u c c e d e r a a L o h e n g r i n . ' ] " F -23/10 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : [A few words on each o f f o u r ' a r t i s t e s m a r s e i l l a i s ' who have r e c e n t l y j o i n e d t he O p e r a . ] M i l e Tanesy dans l e s Hugueno t s ; M i l e L o l a Beeth dans L o h e n g r i n . [ Rev i ew o f t h e debut o f M i l e Tane s y , a f i f t h a r t i s t f r om M a r s e i l l e . Rev iew o f t he debu t o f M i l e B e e t h , p r e c e d e d by e d i t o r i a l i z i n g on t h e d i s a p p e a r a n c e o f J o n c i e r e s ' s Le C h e v a l i e r Jean f r o m the r e p e r t o i r e o f t he Opera -Comique (where t h e P o l i s h s op rano had p l a n n e d t o make he r P a r i s i a n debut i n 1 8 8 7 ) . ] - - Academie des B e a u x - A r t s : l a Chasse f a n t a s t i q u e , morceau sym-p h o n i q u e , pa r M. E r l a n g e r ; Amad i s , s cene l y r i q u e , p a r o l e s de M. Edouard A d e n i s , mus ique de M. B u s s e r . LRev iew o f t he two c o m p o s i t i o n s pe r f o rmed a t t h e p u b l i c seance o f t h e Academie . The one by E r l a n g e r , who had won t h e P r i x de Rome i n 1888, was an e x c e r p t f r om h i s ' l e g e n d e ' S a i n t J u l i e n 1 ' H o s p i t a l i e r . The o t h e r , by B u s s e r , was t h e c a n t a t a wh i ch r anked h i g h -e s t i n t h e P r i x de Rome c o m p e t i t i o n o f 1892 . B u s s e r ' s s e t t i n g o f t he p r e s c r i b e d t e x t o c c a s i o n s g e n e r a l r emark s on t h e c o m p e t i t i o n ( i n w h i c h t h e ' p r e m i e r g r a n d - p r i x ' was not awarded) and r e f l e c t i o n s on t h e n e g l e c t o f f o r m e r w i n n e r s o f t h i s c o v e t e d p r i z e . ] - - N o u v e a u - T h e a t r e : R a b e l a i s , p i e c e en q u a t r e a c t e s e t c i n q t a b l e a u x , de MM. Oscar M e t e n i e r e t Dubut de L a f o r e s t , mus ique de M. Leon Ganne. [Reye r r e v i e w s t h e s c o r e (by a p u p i l o f M a s s e n e t ) , but l e a v e s t h e l i b r e t t o t o t he drama c r i t i c o f t he D e b a t s , J u l e s L e m a T t r e . ] " F-06/11 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : Samson e t D a l i l a , o p e r a en t r o i s a c t e s , p a r o l e s de M. F e r d i n a n d L e m a i r e , mus ique de M. C a m i l l e S a i n t -Saen s . [ B e f o r e r e v i e w i n g t h i s p r o d u c t i o n , Reyer r e c a l l s t h e P a r i s i a n p r e m i e r e a t V e r d h u r t ' s s h o r t - l i v e d T h e a t r e - L y r i q u e and e d i t o r i a l i z e s on t h e demise o f t h a t t h e a t r e . The c r i t i c ' s r e t e l l i n g o f t h e s t o r y o f t h e l i b r e t t o , and much o f h i s d i s c u s s i o n o f t h e m u s i c , a re t a k e n f rom t h e r e v i e w o f V e r d h u r t ' s p r e m i e r e (JTJ F t t - 0 9 / 1 1 / 1 8 9 0 ) . A f t e r a s s e s s i n g t he p r o d u c t i o n a t t h e Ope ra , Reyer no te s t h a t t h i s t h r e e - a c t work w i l l be p r e c e d e d by ' un ouv rage en deux a c t e s ' ; he recommends Za ' i r e by de L a Nux ( s e e JJ) F - 01/06/1890 ) . ] - - C o n c e r t s C o l o n n e : P e n t h e s i l e e , poeme sympho-n i q u e , avec c h a n t , de M. C a t u l l e Mendes, mus ique de M. A l f r e d B r u n e a u . [ N o t i c e on a work f o r s op rano and o r c h e s t r a , w i t h t h e O p e r a ' s L u c i e n n e B r e v a l as s o l o i s t . ] — Au f o y e r de l ' O p e r a : L e s b o s , poeme s a p h i q u e , de M. J o s eph Gayda , mus ique de M. F o u r n i e r - A l i x . LNot i c e on a work f o r two f e m a l e v o i c e s , two h a r p s , and two f l u t e s , pe r f o rmed i n t he f o y e r f o r ' q u e l q u e s i n v i t e s s e u l e m e n t . ' ] " F-27/11 "Revue m u s i c a l e . T h e a t r e du C h a t e l e t ( C o n c e r t s C o l o n n e ) : L ' E n f a n c e du C h r i s t . [ Rev i ew i s p r e ceded by r e c o l l e c t i o n s o f e a r l i e r p e r f o r m a n c e s o f B e r l i o z ' s work at P a r i s : t h e p r e m i e r e , c o n d u c t e d by t he composer i n 1854 (and r e v i e w e d by Reyer i n AthF A - [ 3 0 / 1 2 ] : 1 2 2 8 - 3 1 ) ; t h e r e v i v a l a t t h e C h a t e l e t ( s ee JD_ F -15/01/1875 ) ; and t h e second r e v i v a l , a g a i n at t he C h a t e l e t ( s ee JD F -30/01/1881 ) . Reyer does not r e p e a t what he has w r i t t e n ' e n m a i n t e s o c c a s i o n ' ap ropo s o f t h e t e x t and t he m u s i c . 715 I n s t e a d , he r e v i e w s t h e new ' e x e c u t i o n ' a t t he C h a t e l e t , and s ugge s t s t h a t a more a p p r o p r i a t e l o c a l e f o r t h e pe r f o rmance o f t h i s ' o e u v r e de d e m i - c a r a c t e r e ' wou ld be ' l a p e t i t e s a l l e de l a r ue B e r g e r e , ' home o f t h e S o c i e t e des c o n c e r t s du C o n s e r v a t o i r e . ] - - T h e a t r e de l ' O p e r a : S t r a t o n i c e , o p e r a en un a c t e , poeme de M. L o u i s G a l l e t , mus ique de M. F o u r n i e r - A l i x . [ Rev i ew o f t h e work wh ich had won t h e P r i x C r e s s e n t t h a t y e a r . At t he end o f t h e r e v i e w , Reyer adds a few words on M e h u l ' s S t r a t o n i c e ( 1 7 9 2 ) , and r e g r e t s t h a t t h i s composer i s g e n e r a l l y r e g a r d e d as b e i n g ' b i e n d e m o d e . ' ] " F - l l / 1 2 1893 J o u r n a l des Debat s "Revue m u s i c a l e . T h e a t r e de l ' O p e r a - C o m i q u e : W e r t h e r , drame l y r i q u e en t r o i s a c t e s e t q u a t r e t a b l e a u x ( d ' a p r e s G o e t h e ) , poeme de MM. Edouard B l a u , Pau l M i l l i e t e t Georges Har tmann, mus ique de M. J . Massenet ( l r e r e p r e s e n t a t i o n ) . [ Rev i ew o f t h e f i r s t p r o d u c t i o n a t P a r i s ; t h e o p e r a had been p r e m i e r e d at V i e n n a i n F e b r u a r y 1 8 9 2 . ] " F t t - 2 2 / 0 1 "Revue m u s i c a l e . [The o p e n i n g o f a T h e a t r e - L y r i q u e , founded by Leonce D e t r o y a t at t h e f o r m e r T h e a t r e de l a R e n a i s s a n c e ( see JD F - 23/10/1892 ) , p rompts Reyer t o c o n s i d e r s e v e r a l m a t t e r s : t h e q u a l i f i c a t i o n s o f t h e d i r e c t o r ; t h e r o l e o f a t h i r d l y r i c t h e a t r e i n P a r i s i a n m u s i c a l l i f e ; and t h e need t o e s t a b l i s h t h e new t h e a t r e ' s u r des bases s o l i d e s ' by g r a n t i n g i t a generous s u b s i d y . ] T h e a t r e - L y r i q u e : Madame Ch r y s an theme , comed ie l y r i q u e en q u a t r e a c t e s , un p r o l o g u e e t un e p i l o g u e , d ' a p r e s P i e r r e L o t i , par MM. Georges Hartmann e t Andre A l e x a n d r e , mus ique de M. Andre Me s sage r . [ Rev i ew o f t h e work wh i ch i n a u g u r a t e d D e t r o y a t ' s t h e a t r e . ] " F -05/02 " L e t t r e s du M i d i . [ Commun i ca t i on p u b l i s h e d under t h e words 'On nous e c r i t de Monaco : ' M o n t e - C a r l o and i t s e n v i r o n s : The w e a t h e r . The d i s a p p e a r a n c e o f many ga rdens as new b u i l d i n g s a re e r e c t e d and o l d ones e n l a r g e d t o accommodate an e v e r - r i s i n g ' f l o t d ' e t r a n g e r s . ' M. de T h i a i l l a t , f o r m e r d i r e c t o r o f t h e C e r c l e des e t r a n g e r s . - - The b a l l s h o s t e d by P r i n c e A l b e r t and P r i n c e s s A l i c e . - - MM. Gerome, Bonna t , and Bougue reau , j u d g e s at a r e c e n t ' e x p o s i t i o n de p e i n t u r e ' at M o n t e - C a r l o . - - T h e a t r e de M o n t e - C a r l o : The new d i r e c t o r , M. Gunsbourg , and h i s ' p r og ramme ' o f o p e r a s , o p e r e t t a s , and p l a y s . The ' e t o i l e s de p r e m i e r g r a n d e u r ' ; o t h e r names on t h e ' p r o g r a m m e . ' A few words on t h e t e n o r Jean de Reszke ( i n Romeo e t J u l i e t t e ; f o r t h c o m i n g appea rance s i n Le P r o p h e t e and L o h e n g r i n ) . Comments about o t h e r p r o d u c t i o n s on G u n s b o u r g ' s ' p rog ramme ' ( n o t a b l y La Damnat ion de F a u s t ' a v e c d e c o r s e t c o s t u m e s ' ; and T r i s t a n e t I s e u l t ) . - - N i c e : The annua l c a r n i v a l . - -Napou le (a s m a l l bay nea r C a n n e s ) . ] " * LA [Cu rR 1 9 1 ] - l l / 0 2 , p. 3 716 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : ' l a V a l k y r i e , ' drame l y r i q u e en t r o i s a c t e s , p a r o l e s e t mus ique de R i c h a r d Wagner; v e r s i o n f r a n g a i s e de M. V i c t o r W i l d e r . [ B e f o r e r e v i e w i n g t h e f i r s t P a r i s i a n p r o d u c t i o n o f a mus i c drama by Wagner, Reyer remark s on both t h e unabated s u c c e s s o f L o h e n g r i n a t t h e O p e r a , and t h e measures t a k e n by t h i s t h e a t r e t o i n s u r e t h a t La V a l k y r i e would be w e l l r e c e i v e d . The c r i t i c ' s r e t e l l i n g o f t h e s t o r y o f t h e l i b r e t t o , and much o f h i s d i s c u s s i o n o f t he m u s i c , a re t a k e n f r om t h e r e v i e w o f t h e p r e m i e r e at B r u s s e l s ( s ee <3D_ F - 20/03/1887 ) ; most o f t h e a d d i t i o n a l o b s e r v a t i o n s p e r t a i n t o t h e O p e r a ' s s h o r t e n i n g o f A c t I I . Reyer a s s e s s e s t h e p e r f o r m a n c e o f t h e o r c h e s t r a and t he p r i n c i -p a l s i n g e r s i n t h i s new p r o d u c t i o n , and then c o n c l u d e s t h e r e v i e w w i t h a b r i e f e d i t o r i a l s a l u t i n g t h e a r r i v a l o f ' l ' e r e w a g n e r i e n n e ' at t h e O p e r a . ] " F t t - 1 3 / 0 5 "Revue m u s i c a l e . A l ' O p e r a : Les r e f o r m e s e t l e s p r o j e t s de M. G a i l -h a r d . [ E d i t o r i a l s u p p o r t i n g t he c o - d i r e c t o r ' s s e v e r a l i n n o v a t i o n s : t h e d e c r e e t h a t s i n g e r s and d a n c e r s under c o n t r a c t t o t h e Opera w i l l no l o n g e r be p e r m i t t e d t o p e r f o r m e l s e w h e r e ; t h e p r o j e c t o f r e d u c i n g g r a d u -a l l y t h e number o f s i n g e r s t o ' de s p r o p o r t i o n s n o r m a l e s , c ' e s t - a - d i r e au c h i f f r e e x i g e par l e s n e c e s s i t e s du r e p e r t o i r e s e u l e m e n t ' ; and the p l a n t o r e j u v e n a t e t h e o r c h e s t r a by g i v i n g an e a r l y r e t i r e m e n t t o c e r t a i n s ' v i e u x s e r v i t e u r s ' and r e p l a c i n g them w i t h ' j e u n e s v i r t u o s e s . ' - - Reye r c a s t s doubt on t h e rumor t h a t Cos ima Wagner wan t s Tannh 'auser t o s u c c e e d La V a l k y r i e a t t h e O p e r a . — R e f l e c t i o n s on t he a r r i v a l o f ' l ' e r e w a g n e r i e n n e ' l e a d t o comments on t h e rumor t h a t A u g u s t a Ho lmes, whose La M o n t a g n e - N o i r e has j u s t been a c c e p t e d by t h e O p e r a , w i l l r i s k ' l e s i n c o n v e n i e n t s d ' u n v o i s i n a g e d a n g e r e u x . ' ] - - Le d e p a r t de M. C o l o n n e . [A b r i e f t r i b u t e t o t h e ' e x c e l l e n t m u s i c i e n ' who had been one o f t he c o n d u c t o r s o f t h e Opera o r c h e s t r a s i n c e J a n u a r y 1892 . ] - - T h e a t r e de l ' O p e r a - C o m i q u e : P h r y n e , o p e r a comique en deux a c t e s , poeme de M. L. Auge de L a s s u s , mus ique de M. C a m i l l e S a i n t - S a e n s ( l r e r e p r e s e n t a t i o n ) . [ Rev i ew i n c l u d e s a r e s p o n s e t o ' c e u x q u i , a p ropos de l a n o u v e l l e p a r t i -t i o n de M. S a i n t - S a e n s , ont p r ononce l e mot d ' o p e r e t t e . ' - - P o s t s c r i p t : A few words on H e n r i de C u r z o n ' s new book, M u s i c i e n s du temps p a s s e . ] " F-27/05 "Revue m u s i c a l e . I n s t i t u t de F r a n c e . - - Academie des B e a u x - A r t s . — Jugement du c o n c o u r s pour l e g rand p r i x de c o m p o s i t i o n m u s i c a l e . - - S i x c o n c u r r e n t s . - - A n t i g o n e , scene l y r i q u e , par M. Fe rnand B e i s s i e r . [These s u b t i t l e s r e f e r t o R e y e r ' s r e v i e w o f t he P r i x de Rome c o m p e t i -t i o n . The r e v i e w c o m p r i s e s t h e f o l l o w i n g : an a s ses sment o f B e i s s i e r ' s t e x t ; r emark s on t he s i x s e t t i n g s i n g e n e r a l and t h o s e o f t h e w i n n e r s i n p a r t i c u l a r ( i . e . , B l o c h and B l i s s e r , each o f whom was awarded a ' p r e m i e r g r and p r i x , ' and Le vade , who r e c e i v e d t h e ' p r e m i e r second grand p r i x ' ) ; and o b s e r v a t i o n s on t h e A c a d e m i e ' s a lmos t unanimous r a t i f i c a t i o n o f t h e ' j u g e m e n t p r e p a r a t o i r e ' s u b m i t t e d by t h e ' s e c t i o n de m u s i q u e . ' ] ~ Mme Bosman, Mme R i c h a r d e t M. S a l e z a dans 1 a V a l k y r i e . [ A t t h e s t a r t o f t h e O p e r a ' s summer s e a s o n , Mmes Caron and De s champs - Jeh i n as w e l l as M. Van Dyck have d e p a r t e d ; Reyer r e v i e w s t h e p e r f o r m a n c e s o f t h e i r r e p l a c e -m e n t s , Mme Bosman ( S i e g l i n d e ) , Mme R i c h a r d ( F r i c k a ) , and M. S a l e z a 717 ( S i e gmund ) . The r e v i e w i s p r eceded by o b j e c t i o n s t o a s t a t e m e n t , e x -c e r p t e d f r o m a s o u r c e w h i c h Reyer does not i d e n t i f y , t h a t Wagner ' s works a l o n e can i n s u r e t h e p r o s p e r i t y o f t he O p e r a . ] - - Le p r o j e t de t h e a t r e l y r i q u e ou o p e r a p o p u l a i r e de M. A d o l p h e A d e r e r . [ Reye r quo te s f r om and e d i t o r i a l i z e s on a p l a n , p u b l i s h e d by t h e mus i c c r i t i c o f Le Temps, f o r t h e r e e s t a b l i s h i n g o f a t h i r d l y r i c t h e a t r e a t P a r i s . ] " F-08/07 "Revue m u s i c a l e . P r e a m b u l e . [ R e c o l l e c t i o n s o f a summer h o l i d a y : U r i a g e ( S w i t z e r l a n d ) ; V a u c l u s e and A r i e s . ] - - Academie n a t i o n a l e de Mus ique e t de Danse [ i . e . , T h e a t r e de l ' O p e r a ] : D e i d a m i e , o p e r a en deux a c t e s , poeme de M. Edouard N o e l ; mus ique de M. Hen r i M a r e c h a l . [ Rev i ew i n c l u d e s a n o t i c e on t he c a r e e r o f t h i s composer , who had won the P r i x de Rome i n 1870. - - A f t e r a l l u d i n g t o ' 1 ' a c c i d e n t s u r venu a M. Pau l V i a r d o t , l e s o i r ou i l d i r i g e a i t pour l a p r e m i e r e f o i s l ' e x e c u t i o n de l a V a l k y r i e , ' Reyer renews h i s demands t h a t s t u d e n t s o f c o m p o s i t i o n at t h e C o n s e r v a t o i r e be t a u g h t t he a r t o f c o n d u c t i n g , and t h a t each w i nne r o f t h e P r i x de Rome be r e q u i r e d t o g a i n e x p e r i e n c e i n t h i s a r t by s e r v i n g f o r a few y e a r s as c o n d u c t o r o f a p r o v i n c i a l l y r i c t h e a t r e ( s e e , e . g . , JD F-29/06/1872 and F - 06/11/1887 ) . ] - - T h e a t r e de 1 ' O p e r a - C o m i q u e : TjReyer e d i t o r i a l i z e s b r i e f l y on C a r v a l h o ' s s l owne s s t o f u l f i l l one o f t h e c l a u s e s i n t h i s t h e a t r e ' s c a h i e r des c h a r g e s , a c l a u s e r e q u i r i n g t h a t t he d i r e c t o r p r e m i e r e each y e a r two new o n e - a c t works by young F r e n c h compo se r s . The c r i t i c t hen r e v i e w s t h i s y e a r ' s c h o i c e s : ] Le DTner de P i e r r o t , un a c t e , de M. B e r t r a n d M i l l a n v o y e ; mus ique de M. C h . - L . He s s ; Madame Rose , un a c t e , de MM. P. B i l h a u d e t B a r r e ; mus ique de M. Ch. Banes . - - I n t e r v i e w d ' u n t e n o r c e l e b r e . [An e x c e r p t f r om Jean de R e s z k e ' s i n t e r v i e w w i t h a w r i t e r f o r t h e E n g l i s h r e v i e w B l a c k and Wh i te i s f o l l o w e d by R e y e r ' s comments on t he t e n o r ' s c o n v i c t i o n t h a t l y r i c drama has e n t e r e d a p e r i o d o f ' d e c a d e n c e . ' ] " F-30/09 "Revue m u s i c a l e . Gounod & son o e u v r e . [ R e m i n i s c e n c e s o f 'mon i l l u s t r e a m i ' a r e i n t e r s p e r s e d i n t h i s a s se s sment o f t h e works o f t h e l a t e com-p o s e r . Reyer d w e l l s p a r t i c u l a r l y on t he o p e r a Sapho (1851) and the c h o r u s e s f o r P o n s a r d ' s drama U l y s s e ( 1 8 5 2 ) , i n an a t t empt t o d e m o n s t r a t e t h a t Gounod ' e t a i t un g rand maTt re avant d ' e t r e 1 ' i l l u s t r e a u t e u r de F a u s t . ' - - P o s t s c r i p t : Announcement t h a t t h e second h a l f o f C o l o n n e ' s n e x t c o n c e r t w i l l c o n s i s t e n t i r e l y o f mus i c by Gounod, p r e s e n t e d i n memory o f t h i s ' g r a n d c o m p o s i t e u r . ' ] " F t t - 2 8 / 1 0 "Revue m u s i c a l e . Le r e t o u r des r e p r e s e n t a t i o n s du d imanche a l ' O p e r a . [ E d i t o r i a l a g a i n s t t h e r e s u m p t i o n o f e x t r a p e r f o r m a n c e s ' a p r i x r e d u i t s ' on Sunday, an e x p e r i m e n t i n s t i t u t e d t he p r e c e d i n g y e a r ; Reyer u rges t h a t t h e gove rnment , i n s t e a d o f t r y i n g t hu s t o t u r n t h e Opera i n t o ' un t h e -a t r e p o p u l a i r e , ' s h o u l d r e e s t a b l i s h a T h e a t r e - L y r i q u e . — Rev i ew o f a r e v i v a l o f M e y e r b e e r ' s L ' A f r i c a i n e at t h e Ope ra , f o c u s i n g on t h e debut o f t h e young b a r i t o n e Jean B a r t e t i n t h e r o l e o f N e l u s k o . ] - - C o n c e r t s donnes par M. Co l onne a l a memoire de C h a r l e s Gounod. [ Rev i ew o f two c o n c e r t s wh i ch c o n s i s t e d a lmo s t e n t i r e l y o f mus i c by t h e l a t e compose r , 718 w i t h s o l o i s t s G a b r i e l l e K r a u s s , M i l e Auguez , M. Warmbroot, and a ' j e u n e c a n t a t r i c e ' named L i n a P a c a r y . ] - - M i l e P a c a r y e t l e c i t o y e n C h a l v e t . [ I n o r d e r t o ' o f f r i r a mes l e c t e u r s un t a b l e a u . . . des moeurs t h e a t r a l e s en p r o v i n c e , ' Reyer r e c o u n t s an ' e p i s o d e de mon s e j o u r a M a r s e i l l e , ' where he had c o n d u c t e d t h e f i r s t p e r f o r m a n c e o f Salammbo a t t h e G r a n d - T h e a t r e i n Ma r ch . (Among t h e key pe r s on s i n v o l v e d i n t h e ' e p i s o d e ' were M i l e P a c a r y , whom Reye r had chosen t o s i n g the t i t l e r o l e , and M. C h a l v e t , one o f t h e m u n i c i p a l o f f i c i a l s who had d i s p u t e d R e y e r ' s r i g h t t o choose t h e s i n g e r . ) ] — Le monument de Gounod. [ R e -marks on t h e o p e n i n g o f a s u b s c r i p t i o n t o r a i s e f unds f o r t he e r e c t i o n o f a s t a t u e o f ' l e maTtre r e g r e t t e . ' ] " F - l l / 1 1 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a - C o m i q u e : L ' A t t a q u e du m o u l i n , drame l y r i q u e en q u a t r e a c t e s , d ' a p r e s M. E m i l e Z o l a , poeme de M. L o u i s G a l l e t , mus ique de M. A l f r e d B r u n e a u . [ Rev i ew b e g i n s w i t h a b r i e f com-p a r i s o n o f ' l e s t y l e ' o f t h i s work w i t h t h a t o f Le Reve ( see JD F-21/06/ 1 8 9 1 ) . ] " F-25/11 The C e n t u r y Magaz ine " H e c t o r B e r l i o z . B i o g r a p h i c a l Notes and P e r s o n a l R e m i n i s c e n c e s . [ T h i s a r t i c l e was p r o b a b l y t r a n s l a t e d f r om a F r e n c h p u b l i c a t i o n . ] " R - 47 ( 00/12 ) : 304 - 10 1894 J o u r n a l des Debats "Revue m u s i c a l e . [ Commun i ca t i on d a t e d ] Monaco, l e 5 m a r s . [ D e s c r i p t i o n o f M o n t e - C a r l o , w h i c h ' s e t r a n s f o r m e a vue d ' o e i l ' : ' l e s j o l i e s m a i s o n -n e t t e s a 1 ' i t a l i e n n e ' a r e now dom ina ted by ' v i l l a s e t h o t e l s somptueux ' as w e l l as ' d e s ba r s a 1 ' u sage de m e s s i e u r s l e s A n g l a i s . ' - - Comments on t h e ' s c a n d a l e ' c au sed at t he Opera -Comique i n P a r i s by t h e debut o f M i l e J ane H a r d i n g , f o r m e r l y a member o f t h e company o f t h e T h e a t r e - M u n i c i p a l de N i c e . - - ] T h e a t r e de M o n t e - C a r l o : [ N o t i c e on t h e c a r e e r o f t he i m p r e s a r i o Gun sbou rg , d i r e c t o r o f t h i s t h e a t r e s i n c e t h e w i n t e r o f 1892 -93 . G e n e r a l o b s e r v a t i o n s on ' c e t h e a t r e m i n i s c u l e , ' i t s e n v i a b l e r e p u -t a t i o n , and i t s permanent m u s i c a l p e r s o n n e l ( t h e c h o r u s ; t h e o r c h e s t r a , c o n d u c t e d by Leon J e h i n ) . ] P r e m i e r e r e p r e s e n t a t i o n de H u l d a , o p e r a en q u a t r e a c t e s e t un e p i l o g u e ( l e g e n d e s c a n d i n a v e ) , d ' a p r e s B j o e r n s t e r n e B j o e r n s o n , poeme de M. C h a r l e s G randmoug in , mus ique de Cesa r F r a n c k . [ Rev i ew o f t h i s posthumous p r e m i e r e i n c l u d e s remark s on t h e h i s t o r y o f t h e work s i n c e i t s c o m p l e t i o n i n 1885. - - A few words c o n c e r n i n g a d i s -p u t e between t h e t e n o r S a l e z a (one o f t h e gue s t a r t i s t s i n F r a n c k ' s work ) and t he O p e r a . - - Announcement o f a f o r t h c o m i n g p r e m i e r e at t he T h e a t r e de M o n t e - C a r l o : A r e t h u s e , by Mme de M o n t g o m e r y . ] " F-08/03 719 "Revue m u s i c a l e . T h e a t r e de 1 1 O p e r a - C o m i q u e : F a l s t a f f , comedie l y r i q u e en t r o i s a c t e s , p a r M. A r r i g o B o T t o , mus ique de M. G i u s e p p e V e r d i ( t r a -d u c t i o n f r a n g a i s e de MM. Pau l S o l a n g e s e t A r r i g o B o T t o ) . [ Rev i ew o f t he P a r i s i a n p r e m i e r e ends w i t h a p l e a t h a t t h e Opera s t a g e O t e l l o , w h i c h had not been p r e m i e r e d at t h e F r e n c h c a p i t a l . - - P o s t s c r i p t : Announce -ment o f f o u r new books w h i c h Reyer i s h o l d i n g ' en r e s e r v e ' u n t i l he has T o c c a s i o n p r o p i c e pour en p a r l e r comme i l c o n v i e n t ' : L ' H i s t o i r e de 1 'Ope ra -Comique ( 1 8 6 0 - 1 8 8 7 ) , by A l b e r t S o u b i e s and C h a r l e s M a l h e r b e ; E c r i t s s u r l a mus ique e t l e s m u s i c i e n s , by Robe r t Schumann, t r a n s l a t e d by H e n r i de C u r z o n ; M u s i c i e n s d ' a u j o u r d ' h u i (deux ieme s e r i e ) , by Ado lphe J u l l i e n ; and T r i s t a n e t I s e u l t , an ' e t u d e ' e x t r a c t e d f r o m Le T h e a t r e de R i c h a r d Wagner, de ' Tannh ' au se r ' a ' P a r s i f a l ' , by M a u r i c e K u f f e r a t h . J " F-21/04 "Revue m u s i c a l e . S a l l e du C o n s e r v a t o i r e de Mu s i que : A u d i t i o n des e n v o i s de Rome. S a i n t J u l i e n 1 ' H o s p i t a l i e r , l e gende d r a m a t i q u e en t r o i s a c t e s e t s ep t t a b l e a u x , poeme de M. M a r c e l L u g u e t , d ' a p r e s l e c o n t e de G u s t a v e F l a u b e r t , mus ique de M. C a m i l l e E r l a n g e r . [F rom E r l a n g e r ' s s c o r e , wh i ch c o m p r i s e d ' p l u s de q u a t r e c e n t s p a g e s , ' o n l y f o u r e x c e r p t s were p e r f o r m e d ; Reyer r e c a l l s t h a t one o f t h e s e , La Chas se f a n t a s t i q u e , had been p r e s e n t e d at a p u b l i c m e e t i n g o f t h e Academie des B e a u x - A r t s ( s e e JD F -06/11/1892 ) . The c r i t i c ' s r e v i e w o f t h e f o u r e x c e r p t s p e r -fo rmed at t h e C o n s e r v a t o i r e i n c l u d e s a d i s c u s s i o n o f t he t e n d e n c i e s w h i c h , i n h i s o p i n i o n , c h a r a c t e r i z e t h e mus i c o f most c o n t e m p o r a r y F r e n c h composer s ( ' l ' E c o l e m o d e r n e ' ) . ] " F-05/05 " L e s r e p r e s e n t a t i o n s d ' O r a n g e . [Commun i ca t i on p u b l i s h e d under t h e words 'On nous e c r i t d ' O r a n g e : ' R e p o r t on a two -day f e s t i v a l o f mus i c and drama a t t h e ' T h e a t r e , ' a r e s t o r e d Roman a m p h i t h e a t r e . Among t h e works pe r f o rmed were t h e f o l l o w i n g : F r e n c h a d a p t a t i o n s o f Oed ipu s Rex and A n t i g o n e , w i t h i n c i d e n t a l mus i c by Edmond Membree and C a m i l l e S a i n t -Saens r e s p e c t i v e l y ; a comedy by Pau l F e r r i e r ; Hymne a P a l l a s - A t h e n e , composed by S a i n t - S a e n s f o r t h e s op r ano L u c i e n n e B r e v a l ; and an ' a n t i q u e e t a u t h e n t i q u e ' Hymn t o A p o l l o , p r e ceded by v e r s e s by t h e a r c h e o l o g i s t Theodo re R e i n a c h . The p e r f o r m e r s f e a t u r e d at t he f e s t i v a l were p r i n c i -p a l s o f t h e C o m e d i e - F r a n g a i s e , t h e O p e r a ' s M i l e B r e v a l , and a s i n g e r named M i l e C o s t e (who was w e l l known i n t he s ou th o f F r a n c e ) . In a d d i -t i o n t o comment ing b r i e f l y on t h e mus i c o f t h i s f e s t i v a l , Reyer l o o k s back at t h e p r o d u c t i o n s o f drama and o p e r a g i v e n at t he a n c i e n t t h e a t r e s p o r a d i c a l l y s i n c e 1869, and he p r o v i d e s a d e t a i l e d d e s c r i p t i o n o f t he t h e a t r e i t s e l f . ] " LA -16/08 , pp. 1-2 "Revue m u s i c a l e . Academie n a t i o n a l e de Mus ique e t de Danse [ i . e . , T h e a t r e de l ' O p e r a ] : O t h e l l o , drame l y r i q u e en q u a t r e a c t e s , de M. A r r i g o B o T t o , t r a d u c t i o n f r a n g a i s e de MM. C a m i l l e Du L o c l e e t A r r i g o B o T t o , mus ique de M. G i u s e p p e V e r d i . [ B e f o r e r e v i e w i n g t h e f i r s t P a r i -s i a n p r o d u c t i o n , Reyer o f f e r s a few r e c o l l e c t i o n s o f t h e p r e m i e r e at M i l a n ( s ee 3D_ F t , t - l l / 0 2 / 1 8 8 7 ) , and s p e c u l a t e s as t o why t h i s work t ook n e a r l y seven y e a r s t o r e a c h P a r i s . R e y e r ' s r e t e l l i n g o f t h e s t o r y o f t h e 720 l i b r e t t o , and a lmo s t a l l o f h i s d i s c u s s i o n o f t h e m u s i c , a re t a k e n f r om t h e 1887 r e v i e w ; v a d d i t i o n a l r emark s p e r t a i n t o t h e F rench t r a n s l a t i o n , t h e s t a g i n g o f t h e cho ru s accompan ied by m a n d o l i n s ( A c t I I ) , and t he i n t e r c a l a t i o n o f a b a l l e t ( A c t I I I ) . The r e v i e w ends w i t h an a s se s sment o f t h e i n t e r p r e t a t i o n , f o c u s i n g on t h e t h r e e p r i n c i p a l s ( i n c l u d i n g V i c t o r M a u r e l , who had c r e a t e d t h e r o l e o f Iago at M i l a n ) . ] " F-13/10 "Revue m u s i c a l e . Academie des B e a u x - A r t s . - - Seance p u b l i q u e a n n u e l l e : Daphne, scene l y r i q u e pa r M. C h a r l e s R a f f a l l i , mus ique de M. H e n r i Rabaud. [ R e v i e w o f t h e c a n t a t a wh i ch won t he P r i x de Rome e a r l i e r t h a t y e a r . ] - - [ N o t i c e on t h e e n v o i pe r f o rmed at t h e same m e e t i n g : ] Buona P a s q u a , morceau symphonique compose par M. C a r r a u d , a n c i e n p e n s i o n n a i r e de Rome. - - Les p r i x de Rome. [ Reye r f i r s t r e f l e c t s on t h e n e g l e c t o f t h e s e p r i z e - w i n n e r s a f t e r t h e i r r e t u r n f r om Rome, and then e d i t o r i a l i z e s on a p l a n wh i ch he has o f t e n o u t l i n e d : a l l s t u d e n t s o f c o m p o s i t i o n at t h e C o n s e r v a t o i r e s h o u l d be t a u g h t t h e a r t o f c o n d u c t i n g ; each w i nne r o f t h e P r i x de Rome s h o u l d , upon h i s r e t u r n , be r e q u i r e d t o c o n t i n u e ' s o n a p p r e n t i s s a g e de c h e f d ' o r c h e s t r e ' by s e r v i n g as c o n d u c t o r o f a p r o v i n -c i a l l y r i c t h e a t r e ; and each o f t h e s e young c o n d u c t o r s s h o u l d be g i v e n t h e r i g h t t o s t a g e an o p e r a o f h i s own, i n o r d e r t o a c q u i r e t h e renown wh i ch c o u l d open t h e doo r s o f P a r i s i a n l y r i c t h e a t r e s . - - Remarks on a ' m a l e n c o n t r e u s e ' s e n t e n c e about B e r l i o z ' s La Damnat ion de F a u s t , a s e n -t e n c e wh i ch had appeared i n t h e ' N o t i c e ' on t h e l a t e C h a r l e s Gounod w r i t t e n by t h e S e c r e t a i r e p e r p e t u e l de T A c a d e m i e des B e a u x - A r t s . ] — Les C o n c e r t s Co l onne e t l e s C o n c e r t s Lamoureux. - - J u l e s P a s d e l o u p . [An e d i t o r i a l on t h e need t o i n c r e a s e t h e s u b s i d i e s o f t h e c o n c e r t s o c i e t i e s o f Co l onne and Lamoureux c o n c l u d e s w i t h a b r i e f t r i b u t e t o t h e decea sed f o u n d e r o f t h e f i r s t such ' i n s t i t u t i o n , ' t h e c o n d u c t o r J u l e s P a s d e l o u p . Reyer s u g g e s t s t h a t t h e c i t y c o u n c i l o f P a r i s honor P a s d e l o u p ' s memory by g i v i n g h i s name t o one o f t h e s t r e e t s b o r d e r i n g on the C i r q u e d ' h i v e r . ] " F-10/11 "Revue m u s i c a l e . C o n c e r t s - C o l o n n e : Le C y c l e B e r l i o z . [ S h o r t e d i t o r i a l a p p l a u d i n g C o l o n n e ' s p l a n t o p r e s e n t t h e ' g r a n d s ouv r a ge s du maTt re e c r i t s en deho r s du t h e a t r e ' i n a s e r i e s o f t e n c o n c e r t s , each program t o be pe r f o rmed t w i c e . - - A few g e n e r a l o b s e r v a t i o n s c o n c e r n i n g B e r l i o z ' s i n f l u e n c e on Wagner, whose mus i c was d o m i n a t i n g most o f t he programs o f P a r i s i a n c o n c e r t s o c i e t i e s and d r aw i ng crowds t o t h e O p e r a . ] — Romeo e t J u l i e t t e , symphonie d r a m a t i q u e avec c h o e u r s , s o l i de chan t e t p r o l o g u e en r e c i t a t i f c h o r a l , d e d i e e a N i c o l o P a g a n i n i . [ Rev i ew o f t h e f i r s t o f f e r i n g i n t h e ' C y c l e B e r l i o z ' i s p receded by comments on m a t t e r s p e r t i n e n t t o t h e g e n e s i s and t h e h i s t o r y o f B e r l i o z ' s symphonie d r a m a t i q u e : t h e g i f t o f 20 ,000 f r . t o B e r l i o z f r om P a g a n i n i , w i t h whose son Reyer had been f r i e n d s d u r i n g h i s y o u t h at M a r s e i l l e ; c r i t i c a l r e a c t i o n t o t h e p r e m i e r e o f Romeo e t J u l i e t t e i n 1839; and l a t e r p e r f o r -mances o f some o r a l l o f t h i s work at t h e F r ench c a p i t a l . - - Reyer g i v e s ' u ne heu reu se n o u v e l l e ' w h i c h , a l t h o u g h not ' a b s o l u m e n t c e r t a i n e , ' i s n o t ' a p o c r y p h e ' : b e f o r e t h e end o f t h e c e n t u r y , t h e Opera w i l l s t a g e 721 t h e P a r i s i a n p r e m i e r e o f La P r i s e de T r o i e . ] " F^08712 1895 J o u r n a l des Debats " L e t t r e du M i d i . [ Commun i ca t i on p u b l i s h e d under t h e words 'On nous e c r i t de N i c e : ' N i c e and i t s e n v i r o n s : The i n c l e m e n t w e a t h e r . The imminent a r r i v a l o f Queen V i c t o r i a at C i m i e z . N o t i c e on p e r f o r m a n c e s o f A d e l i n a P a t t i a t t h e T h e a t r e - M u n i c i p a l de N i c e . The ' r e j o u i s s a n c e s f i n a l e s ' o f t h e annual c a r n i v a l at N i c e . - - T h e a t r e de M o n t e - C a r l o : La J a c q u e r i e , o p e r a i n f o u r a c t s , l i b r e t t o by Edouard B l au and Simonne A r n a u d , mu s i c by Edouard L a l o . ( Rev i ew o f t he posthumous p r e m i e r e o f t h e o p e r a c o m p l e t e d by A r t h u r Coquard a f t e r L a l o ' s d e a t h . ) - - R e c o l l e c -t i o n s o f ' u n s e j o u r a s s e z p r o l o n g e ' a t M a r s e i l l e : The c i t y ' s ' t r a v a u x d ' a s s a i n i s s e m e n t . ' M o b i s s o n , t h e new d i r e c t o r o f t h e G r a n d - T h e a t r e . The ' c o n c e r t s c l a s s i q u e s ' c o n d u c t e d by Lecocq at t he T h e a t r e V a l e t t e (comments on t h e h i s t o r y o f t h e s e r i e s ; a c a l l f o r a more generous s u b -s i d y ) . ] " F-16/03 "Revue m u s i c a l e . [ P r e l i m i n a r y r e f l e c t i o n s o n : t h e d e c i s i o n o f t h e O p e r a ' s c o - d i r e c t o r s t o r e v i v e Tannh 'auser i n s t e a d o f f o l l o w i n g t h e i r o r i g i n a l p l a n t o p r e m i e r e T r i s t a n e t I s e u l t ; and t h e subsequent f l u r r y o f p u b l i c i t y t h a t r e c a l l e d the f i a s c o o f t h e P a r i s i a n p r e m i e r e o f Tann - h'auser and t hu s p r imed a new g e n e r a t i o n o f o p e r a - g o e r s t o ' b i e n r e m p l i r son r o l e de j u s t i c i e r . ' - - T h e a t r e de V ] 0 p e r a : Tannh 'auser , o p e r a en t r o i s a c t e s e t q u a t r e t a b l e a u x , poeme e t mus ique de R i c h a r d Wagner; t r a d u c t i o n f r a n g a i s e de M. C h a r l e s N u i t t e r . [ B e f o r e r e v i e w i n g the r e v i v a l , Reyer c o n s i d e r s some o f t h e m u s i c a l and v i s u a l d i f f e r e n c e s between t h i s o p e r a and t he two l a t e r works ( L o h e n g r i n and La V a l k y r i e ) wh i ch have c a p t i v a t e d a u d i e n c e s at t h e O p e r a ; he a l s o d e f e n d s Tannh 'auser f r o m ' l e s w a g n e r i e n s p r o f e s s i o n e l s ' who denounce i t as i n f e r i o r or s u b s t a n d a r d Wagner. In t h e r e v i e w i t s e l f , Reyer does not r e t e l l t h e a l r e a d y - f a m i l i a r s t o r y o f t he l i b r e t t o . I n s t e a d , he s k e t c h e s t he p r i n c i p a l s cenes as he d i s c u s s e s ' d e s m o r c e a u x ' i n t he s c o r e . ] - - La Damnat ion de F a u s t a l ' O p e r a . [ E d i t o r i a l a g a i n s t t he c o - d i r e c t o r s ' p r o j e c t o f s t a g i n g B e r l i o z ' s work . (See a l s o t h e e d i t o r i a l o p p o s i n g G u n s b o u r g ' s p l a n t o s t a g e t h i s symphonie d r a m a t i q u e a t t he T h e a t r e de M o n t e - C a r l o , i n JD F-23/10/1892TTTn F-25/05 " Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : G u e r n i c a , drame l y r i q u e en t r o i s a c t e s , pa r MM. P. G a i l h a r d e t P . -B . G h e u s i , mus ique de M. Pau l V i d a l . [ R e v i e w o f t h e f i r s t o p e r a by t h e young V i d a l , who had won t he P r i x de Rome i n 1889. The l i b r e t t o was w r i t t e n by Pedro G a i l h a r d ( t h e n c o - d i r e c t o r o f t h e Opera ) and v e r s i f i e d by t he poet G h e u s i . ] — [ A l s o p r e m i e r e d at t h e Comique : ] P r i s au p i e g e , o p e r a - b o u f f e en un a c t e , d ' a p r e s l e F l o r e n t i n de La F o n t a i n e e t Champmesle, p a r o l e s de M. M i c h e l 722 C a r r e [ f i l s ] , mus ique de M. Andre G e d a l g e . [ Rev i ew i n c l u d e s a n o t i c e on t h e c a r e e r o f t h e c o m p o s e r . ] - - A p ropos des C o n c e r t s de l ' O p e r a . [ E d i t o r i a l i n wh i ch Reyer f i r s t a pp l aud s t h e c o - d i r e c t o r s ' p r o j e c t o f g i v i n g c o n c e r t s on t h e s t a g e o f t h e Ope ra , and t hen a d v i s e s them t o ' s ' e n t e n i r aux symphon ies e t aux o r a t o r i o s ' r a t h e r than f r a g m e n t s o f o p e r a s . ] " F-08/06 "Revue m u s i c a l e . [ R e c o l l e c t i o n s o f R e y e r ' s summer h o l i d a y , d u r i n g wh i ch he t r a v e l l e d t h r o u g h ' p l u s i e u r s d e p a r t e m e n t s ' i n F r a n c e and spent some t i m e at L u c h o n . - - ] T h e a t r e de l ' O p e r a - C o m i q u e : La N a v a r r a i s e , e p i s o d e l y r i q u e en deux a c t e s , poeme de MM. J u l e s C l a r e t i e e t Hen r i C a i n , mus ique de J . Ma s s ene t . [ R e v i e w o f t h e f i r s t P a r i s i a n p r o d u c t i o n o f a work t h a t had a l r e a d y been pe r f o rmed a t London and B r u s s e l s . A f t e r t h e r e v i e w , t h e r e i s a s h o r t e d i t o r i a l f a u l t i n g C a r v a l h o f o r h a v i n g d ropped V i d a l ' s G u e r n i c a a f t e r ' q u e l q u e s r e p r e s e n t a t i o n s , ' and f o r not g i v i n g young F r e n c h composers t h e i r r i g h t f u l p l a c e ' s u r un t h e a t r e l a r gemen t s u b v e n t i o n n e . ' ] - - M. A l f r e d B r uneau , s u c c e s s e u r de C h a r l e s Da r cou r s au F i g a r o . [ R e y e r welcomes t he appo i n tmen t o f Bruneau as mus ic c r i t i c f o r t h i s P a r i s i a n d a i l y , and o f f e r s a t r i b u t e t o t h e memory o f t h e l a t e C h a r l e s R e t y (who had w r i t t e n under t h e pseudonym D a r c o u r s ) . ] - - Le F i a n c e de 1 a mer, p e t i t drame l y r i q u e en un a c t e , poeme de M. E. Le M o u e l ; mus ique de M. J . B o r d i e r d ' A n g e r s . [ R e v i e w o f a s c o r e by J u l e s B o r d i e r , f o r m e r l y a banke r a t A n g e r s . The r e v i e w i s p r eceded by a n o t i c e on t he d e f u n c t C o n c e r t s d ' A n g e r s , a s e r i e s founded and s u p p o r t e d by B o r d i e r d u r i n g h i s p r o s p e r o u s c a r e e r i n b a n k i n g . ] " F-12/10 "Revue m u s i c a l e . Academie n a t i o n a l e de Mus ique e t de Danse: [A h i s t o r y o f t h e p r o j e c t o f p r e s e n t i n g c o n c e r t s at t h e Ope ra , a p r o j e c t c o n c e i v e d by B e r t r a n d ' i l y a q u a t r e a n s . ' D e s c r i p t i o n o f t h e ' f o r m e ' o f t he C o n c e r t s de l ' O p e r a new l y i n s t i t u t e d by t h e c o - d i r e c t o r s B e r t r a n d and G a i l h a rd ( ' d e s c o n c e r t s avec i n t e r m e d e s d a n s e s ' ) . ] Le p r e m i e r c o n c e r t . [ Rev i ew o f a p rogram wh i ch c o n s i s t e d o f t he f o l l o w i n g : B e r l i o z ' s C o r s a i r e o v e r t u r e ; e x c e r p t s f r om ope ra s by G l u c k , F e l i c i e n D a v i d , and d ' I n d y ; e x c e r p t s f r om o r a t o r i o s by F r anck and Gounod; and s e v e r a l R e n a i s s a n c e and Baroque d a n c e s . Reyer f o c u s e s on t he scene f rom d ' I n d y ' s t h e n - u n p u b l i s h e d o p e r a F e r v a a l , and t h e Temple Scene f r o m G l u c k ' s A l c e s t e . The r e v i e w c o n c l u d e s w i t h a r e i t e r a t i o n o f t he c r i t i c ' s o p i n i o n t h a t t h e c o - d i r e c t o r s s h o u l d p r e s e n t ' q u e l q u e o e u v r e c o m p l e t e , o r a t o r i o ou s y m p h o n i e , ' i n s t e a d o f r e l y i n g on ' l e s f r a g m e n t s d ' o u v r a g e s ' ( see a l s o ^D F - 0 8 / 0 6 ) . ] - - [ T h e a t r e de l ' O p e r a - C o m i q u e : ] Un mot s u r C a v a l l e r i a r u s t i c a n a . [ A f t e r h e a r i n g f o r t he f i r s t t i m e a work wh i ch had been c o n t r o v e r s i a l s i n c e t h e P a r i s i a n p r e m i e r e i n 1892, Reyer r emark s on t he l i b r e t t o , t he m u s i c , and t he pe r f o rmance o f N i n a Pack as S a n t u z z a . ] - - [ N o t i c e on a c o l l e c t i o n o f m e l o d i e s : ] L i t a n i e s de l a B e a u t e , p o e s i e de M. Armand S i l v e s t r e ; mus ique de M. Pau l P u g e t . - -[ B r i e f r e v i e w o f a new b o o k : ] Mu s i que , par M. A d o l p h e J u l l i e n . " F-23/11 723 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a - C o m i q u e : X a v i e r e , i d y l 1e d rama-t i q u e en t r o i s a c t e s , poeme de M. L o u i s G a l l e t , d ' a p r e s l e roman de M. F e r d i n a n d F a b r e , mus ique de M. Theodore D u b o i s . [ R e v i e w i n c l u d e s a n o t i c e on t h e c a r e e r o f D u b o i s , whose name had not y e t been ' p o p u l a r i s e ' even though t h r e e o f h i s e a r l i e r o p e r a s and s e v e r a l o t h e r s e c u l a r and s a c r e d works had been pe r f o rmed a t P a r i s . Near t h e b e g i n n i n g o f t h e r e v i e w , Reyer d i g r e s s e s b r i e f l y t o p r e s e n t t o h i s r e a d e r s ' u n m u s i c i e n de g rand s a v o i r e t de g rand a v e n i r ' : A l e x a n d r e G e o r g e s . (The c r i t i c had hea rd t h r e e o f G e o r g e s ' s Chansons de M i a r k a a t a r e c e n t C o n c e r t L a m o u r e u x . ) ] " F-07/12 "Revue m u s i c a l e . [ T h e a t r e de T ] 0 p e r a : F r edegonde , o p e r a en c i n q a c t e s , poeme de M. L o u i s G a l l e t ; mus ique de E r n e s t G u i r a u d e t C a m i l l e S a i n t - S a e n s . [ Reye r i n t e r s p e r s e s r e m i n i s c e n c e s o f G u i r a u d i n t h i s r e -v i ew o f t h e posthumous p r e m i e r e o f h i s l a s t o p e r a ( c o m p l e t e d by S a i n t -Saens and t h e young Pau l D u k a s ) . ] - - T r o i s i e m e c o n c e r t de l ' O p e r a . [ Rev i ew o f a p rog ram w h i c h c o m p r i s e d : a scene f r om F i d e l i o ; A c t I I I o f La Mue t t e de P o r t i c i ; R e n a u d ' s a r i a f r o m L u l l y ' s A rmide and t he a n a l o -gous a r i a f r o m G l u c k ' s s e t t i n g o f Q u i n a u l t ' s l i b r e t t o ; a symphony by C h a r l e s - M a r i e W i d o r ; t h e Chasse f a n t a s t i q u e f r o m E r l a n g e r ' s S a i n t J u l i e n 1 ' H o s p i t a l i e r ( see a l s o JD F-05/05/1894 and F - 06/11/1892 ) ; and dances c h o r e o g r a p h e d t o t he m inue t f r om G l u c k ' s O r p h e e . ] - - Une j e u n e v i o l i n -i s t e que j e v a i s a v o i r l ' h o n n e u r de vous p r e s e n t e r . [Comments on Mme Howl and (nee von S t o s c h ) , who, i n 1890, won a ' p r e m i e r p r i x ' a t t h e C o n s e r v a t o i r e r o y a l e de B r u x e l l e s . ] " F-21/12 1896 J o u r n a l des Debat s " A m b r o i s e Thomas. [Commun i ca t i on f r o m M a r s e i l l e : Upon l e a r n i n g o f Thomas ' s d e a t h , Reyer o f f e r s an a p p r e c i a t i o n o f t he works o f t h i s ' g r a n d m u s i c i e n , ' and r e c o l l e c t i o n s o f '1 'homme e x c e l l e n t dont j e m ' hono re d ' a v o i r e t e l e c o n f r e r e e t 1 ' a m i . ' ] " LA - 18/02 , p. 2 "Revue m u s i c a l e . G h i s e l l e , drame l y r i q u e en q u a t r e a c t e s , de M. G i l b e r t A u g u s t i n - T h i e r r y , mus ique de Ce s a r F r a n c k . [ Reye r o b s e r v e s t h a t F r a n c k ' s o p e r a was c o m p l e t e d a f t e r h i s dea th by s e v e r a l o f h i s s t u -d e n t s . The c r i t i c , who was at P a r i s when t h e work was p r e m i e r e d at t he T h e a t r e de M o n t e - C a r l o , r e v i e w s i t on t h e b a s i s o f ' une l e c t u r e a t t e n -t i v e de l a p a r t i t i o n . ' The r e v i e w i s i n t r o d u c e d by a n o t i c e on F r a n c k ' s c a r e e r as compose r , and a p l e a t h a t ' un c o m p o s i t e u r de l ' e n v e r g u r e de C e s a r F r a n c k ' be heard at t h e O p e r a . ] - - Les C o n c e r t s s p i r i t u e l s de l ' O p e r a e t du C h a t e l e t : l e Requiem de M. A l f r e d B r u n e a u ; l e S a i n t - G e o r g e s , de M. Pau l V i d a l . - - B e r l i o z e t Wagner. [The C o n c e r t s p i r i t u e l a t t h e Ope ra , t h e l a s t i n t h e s e r i e s o f C o n c e r t s de l ' O p e r a o f t h e sea son 1895 -96 , was devo ted t o ' d e b u t a n t s ' : i t i n c l u d e d an o v e r t u r e by 724 Eugene M e s t r e s as w e l l as t he works by Bruneau and V i d a l . Reyer g i v e s most o f h i s a t t e n t i o n t o t h e Requiem (neve r b e f o r e pe r f o rmed a t P a r i s ) and S a i n t - G e o r g e s ( o r i g i n a l l y an e n v o i f r o m Rome). The C o n c e r t s p i r i t u e l at t h e C h a t e l e t i s not r e v i e w e d by R e y e r ; he s i m p l y d e c l a r e s t h a t i t was 1 u n c o n c e r t s upe rbe compose d ' u n e s e l e c t i o n des oeuv re s de R i c h a r d Wagner e t de B e r l i o z . ' - - P o s t s c r i p t c o n c e r n i n g t h e s a l a r y o f whomever s ucceeds Ambro i s e Thomas as d i r e c t o r o f t h e C o n s e r v a t o i r e . ] " F-12/04 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : H e l l e , o p e r a en q u a t r e a c t e s , p a r o l e s de MM. C a m i l l e Du L o c l e e t C h a r l e s N u i t t e r ; mus ique de M. A l p h o n s e Duvernoy . [ Rev i ew b e g i n s w i t h remark s on t h e dua l c a r e e r o f t h i s p i a n i s t - c o m p o s e r . ] " F-26/04 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : Le C h e v a l i e r d ' H a r m e n t a l , o p e r a - c o m i q u e en c i n q a c t e s ; d ' a p r e s A l e x a n d r e Dumas e t Augus te Maquet , pa r M. Pau l F e r r i e r ; mus ique de M. Andre Me s s age r . [ B e f o r e r e v i e w i n g a work wh i ch Reyer r e g a r d s as a m i x t u r e o f o p e r a , o p e r a de g e n r e , cornedie l y r i q u e , and o p e r a - c o m i q u e , t h e c r i t i c w r i t e s an e d i t o r i a l c a l l i n g f o r ' l a r e s t a u r a t i o n du v e r i t a b l e genre de 1 ' o p e r a - c o m i q u e ' : t h e O p e r a -Comique, i n s t a l l e d i n a t h e a t r e on t h e P l a c e du C h a t e l e t s i n c e t h e f i r e o f 1887, s h o u l d r ema in t h e r e , bu t s h o u l d be c o n s e c r a t e d t o the p r e s e r v a -t i o n o f ' un gen re "eminemment n a t i o n a l ' " ; and t he new home b e i n g b u i l t f o r t h e Comique s h o u l d i n s t e a d be ' u n v e r i t a b l e t h e a t r e l y r i q u e ' w h i c h would open i t s doo r s t o works t h a t a re n o t ' a l e u r p l a c e ' at e i t h e r t h e Comique or t h e O p e r a . ] - - [ P o s t s c r i p t : ] C o n c e r t de M i l e J enny Pas sama. [Rev i ew o f a r e c i t a l g i v e n by t h e ' c a n t a t r i c e a t t i t r e e ' o f t h e C o n c e r t s Lamoureux . ] - - C o n c e r t de M i l e M a d e l e i n e C r e u x . [ N o t i c e on a r e c i t a l g i v e n by t h i s ' e x c e l l e n t p r o f e s s e u r de p i a n o . ' ] " F-10/05 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : l a Femme de C l a u d e , drame l y r i q u e en t r o i s a c t e s , d ' a p r e s A l e x a n d r e Dumas f i l s , par M. Leon G a l l e t , mus ique de M. A l b e r t Cahen. [The m u t i l a t i o n o f C a h e n ' s s c o r e c a u s e s Reyer t o e d i t o r i a l i z e on ' une manie d ' o m n i p o t e n c e ' w h i c h , i n h i s o p i n i o n , has c h a r a c t e r i z e d both terms o f C a r v a l h o ' s d i r e c t o r s h i p o f t h e Comique. - - N o t i c e on t h e C o m i q u e ' s r e v i v a l o f D o n i z e t t i ' s Don P a s q u a l e . - - In a b r i e f e d i t o r i a l on t he annual two-month ' c l o t u r e ' o f t h e Comique, Reyer s u p p o r t s h i s p o s i t i o n w i t h an e x c e r p t f rom an a r t i c l e p u b l i s h e d by E m i l e B e r g e r a t i n Le J o u r n a l . ] - - I n s t i t u t de F r a n c e (Academie des B e a u x - A r t s ) : Concour s pour l e g rand p r i x de c o m p o s i t i o n m u s i c a l e : l a C a n t a t e c o u r o n n e e . [ O b s e r v a t i o n s on t he r e s u l t s o f t he r e c e n t c o m p e t i t i o n f o r t h e P r i x de Rome, and a few words on J u l e s M o u q u e t ' s w i n n i n g s e t t i n g o f Fernand B e i s s i e r ' s c a n t a t a t e x t M e l u s i n e . ] - - L ' i n c i d e n t de M i l e K u t s c h e r r a . [ Reye r r e c o u n t s and comments on a s e r i e s o f e v e n t s c o n c e r n i n g a f o r e i g n sop rano who, a f t e r o b t a i n i n g ' un c e r t a i n s u c c e s ' a t t h e C o n c e r t s C o l o n n e , was q u i c k l y engaged by t h e Opera and made a debut wh i ch c r i t i c s and p u b l i c a l i k e r e g a r d e d as an ' e c h e c . ' ] " F-05/07 725 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a : R e p r i s e de Don J u a n . [ R e v i e w o f t h e f i r s t r e v i v a l s i n c e t h e c e n t e n a r y ( s e e JID F -06/11/1887 ) . Reyer c o n -s i d e r s t h e O p e r a ' s t r e a t m e n t o f M o z a r t ' s s c o r e : t h e i g n o r i n g o f s e v e r a l ' f a c h e u s e s t r a d i t i o n s ' wh i ch had l o n g d i c t a t e d c e r t a i n c h a n g e s ; and t h e p r e s e r v i n g o f t he i n t e r p o l a t e d b a l l e t ( w r i t t e n f o r t he p r o d u c t i o n o f 1 8 6 6 ) . The c r i t i c a l s o a s s e s s e s t he p e r f o r m a n c e o f each o f t h e e i g h t p r i n c i p a l s . ] - - I n s t i t u t de F r a n c e : seance a n n u e l l e de 1 ' Academie des B e a u x - A r t s : M e l u s i n e , scene l y r i q u e de M. Fe rnand B e i s s i e r ; mus ique de M. J u l e s Mouquet. [ R e v i e w o f t he o r c h e s t r a l p e r f o rmance o f t he p r i z e -w i n n i n g c a n t a t a i s p r e c e d e d by a n o t i c e on t h e o t h e r c o m p o s i t i o n p l a y e d a t t h i s p u b l i c m e e t i n g : O u v e r t u r e de f e t e by Bu s se r ( a f o r m e r w inne r o f t h e P r i x de Rome). - - P o s t s c r i p t : To ' no s d i r e c t e u r s de C o n c e r t s , p a r f o i s en que te de n o u v e a u t e s , ' Reyer commends two wo r k s : C a n t i l e n a amorosa f o r v i o l i n and o r c h e s t r a , by Edouard B r o u s t e t ; and P e t i t Roman, v e r s e s by Henry de G o r s s e , m u s i c by Georges G u i r a u d . ] " F-08/11 "Revue m u s i c a l e . S a l l e des c o n c e r t s du C o n s e r v a t o i r e : Aude e t R o l a n d , poeme l y r i q u e de MM. Georges Hartmann e t Edouard A d e n i s , mus ique de M. Leon Honnore , ouv rage cou ronne par 1 ' Academie des B e a u x - A r t s ( p r i x Ro s -s i n i , 1 8 9 7 ) . [ R e v i e w o f t h i s work i s p r eceded by : an e d i t o r i a l on ' l a p e t i t e m a l i c e ' i n c o r p o r a t e d by R o s s i n i when, i n h i s w i l l , he s t a t e d t h e g o a l o f t h e c o m p e t i t i o n t o be e s t a b l i s h e d i n h i s name; and remark s on t h e c a r e e r o f t h e young Honnore (whose ' l e g e n d e e g y p t i e n n e ' I s i s had won t h e p r i z e i n 1 8 9 2 ) . ] - - Don J u a n , a l ' O p e r a - C o m i q u e . [ Reye r b r i e f l y compares t h e r e l a t i v e a u t h e n t i c i t y o f t h i s p r o d u c t i o n w i t h t h a t o f t h e Opera ( s ee JD F - 0 8 / 1 1 ) . He t hen f o c u s e s on c e r t a i n a s p e c t s o f t h e C o m i q u e ' s p r o d u c t i o n , such as t h e use o f a h a r p s i c h o r d i n t h e o r c h e s -t r a . Reyer does not r e v i e w t h e p e r f o r m a n c e s o f t h e p r i n c i p a l s , but does comment on s e v e r a l pa s sages f r o m A p ropo s de l a m i s e en s cene de 'Don J u a n ' , a new b r o c h u r e by V i c t o r Maure l (who sang t he r o l e o f t h e Don at t h e C o m i q u e ) . 7 " F-22/11 1897 J o u r n a l des Debat s "Revue m u s i c a l e . Choses vagues a p ropos d ' u n hameau de pecheu r s e t d ' u n e l e t t r e de M. C a m i l l e S a i n t - S a e n s . [ R e c o l l e c t i o n s o f t he P r o v e n g a l v i l l a g e where Reyer spen t t h e w i n t e r bo th p r e c e d e and f o l l o w t h o u g h t s on two e v e n t s t h a t o c c u r r e d i n P a r i s d u r i n g h i s ab sence . The event wh i ch r e c e i v e s most o f R e y e r ' s a t t e n t i o n i s t h e p u b l i c a t i o n o f a l e t t e r w r i t -t e n i n 1896 by S a i n t - S a e n s t o a c i t y c o u n c i l l o r , c o n c e r n i n g the c o u n -c i l ' s p r o p o s a l t o r e e s t a b l i s h a t h i r d l y r i c t h e a t r e at t h e T h e a t r e du C h a t e l e t . The second even t wh i ch Reyer c o n t e m p l a t e s i s t he pe r f o rmance o f O t e l l o i n I t a l i a n a t t h e Ope ra . The c r i t i c t hen c o n s i d e r s f o r t h -coming p r o d u c t i o n s o f works by Wagner and V e r d i at t he Opera and the Ope ra -Comique , as w e l l as p r e p a r a t i o n s f o r a new p r o d u c t i o n o f Les Huguenots a t t h e O p e r a . ] - - T h e a t r e de l a B o n d i n i e r e : Chemin de c r o i x , 726 pa r M. Armand S i l v e s t r e ; mus ique de M. A l e x a n d r e G e o r g e s . [ R e v i e w o f t h e mus ic f o r t w e l v e ' t a b l e a u x v i v a n t s ' r e p r e s e n t i n g t h e s cenes o f t h e P a s s i o n . ( Reye r a l s o remembers t he young c o m p o s e r ' s Chansons de M i a r k a ; see JJD F - 07/12/1895 . ) ] - - Le c o n c e r t pour l e monument d ' H e n r i V i e u x -temps . [Remarks on p l a n s f o r a b e n e f i t c o n c e r t a re f ramed w i t h memories o f t h e g r e a t v i o l i n i s t . ] - - Que d e v i e n t l e f u t u r t h e a t r e l y r i q u e ? [ R e -f l e c t i o n s on t h e f a c t t h a t t he c i t y c o u n c i l has not y e t d e c i d e d whethe r t h e C h a t e l e t w i l l become a l y r i c t h e a t r e . ] " F-25/04 "Revue m u s i c a l e . T h e a t r e de 1 ' O p e r a - C o m i q u e : l e V a i s s e a u - F a n t o m e , o p e r a en t r o i s a c t e s , de R i c h a r d Wagner; t r a d u c t i o n f r a n g a i s e de M. C h a r l e s N u i t t e r . [ R e v i e w o f t he P a r i s i a n p r e m i e r e i n c l u d e s : a summary o f t h e e a r l y h i s t o r y o f t h e work , f r om t h e g e n e s i s o f t he s c e n a r i o t o t h e p r e m i e r e at D r e s d e n ; and a c o m p a r i s o n o f R e y e r ' s r e a c t i o n s t o t h i s o p e r a when he heard i t f o r t he f i r s t t i m e ( a t Weimar i n 1863 -64 ) and f o r t h e second t i m e ( a t B r u s s e l s , p r o b a b l y i n 1 890 ) . - - B r i e f e d i t o r i a l on t h e d e c i s i o n o f t h e O p e r a ' s c o - d i r e c t o r s t o c o n t i n u e an ' o p e r a t i o n f r u c t u e u s e , ' n ame l y , t he p r e s e n t i n g o f e x t r a p e r f o r m a n c e s o f O t e l l o i n I t a l i a n w i t h t h e c e l e b r a t e d t e n o r Tamagno i n t h e t i t l e r o l e . - - P o s t -s c r i p t a p p l a u d i n g changes made a t t h e C o n s e r v a t o i r e by i t s new d i r e c t o r , Theodore D u b o i s : t h e r e v i v a l o f t h e e x e r c i c e s des e l e v e s ( p u b l i c c o n -c e r t s pe r f o rmed by s t u d e n t s ) ; and t h e p l a n t o i n s t i t u t e a ' c l a s s e de c h e f d ' o r c h e s t r e ' such as Reyer had demanded ' s i s o u v e n t . ' ] " F t t - 2 3 / 0 5 "Revue m u s i c a l e . T h e a t r e d ' O r a n g e . [ R e p o r t on a two -day f e s t i v a l o f mus i c and drama at t h e r e s t o r e d Roman a m p h i t h e a t r e . ] P r e m i e r e s o i r e e . [Open ing remark s on t h e a r r i v a l o f F e l i x F a u r e , then p r e s i d e n t o f F r a n c e . ] Les E r i n n y e s , t r a g e d i e a n t i q u e de L e c o n t e de L i s l e , mus ique de M. J u l e s Ma s sene t . [Tn t h i s r e v i e w o f t h e ' p u remen t s ymphon ique ' v e r -s i o n o f M a s s e n e t ' s i n c i d e n t a l m u s i c , Reyer r e g r e t s t h e s u p p r e s s i o n o f t h e f o u r c h o r u s e s t h a t had been added f o r t he r e v i v a l o f de L i s l e ' s drama a t V i z e n t i n i ' s T h e a t r e - L y r i q u e ( s e e JID F -28/05/1876 ) . The r e v i e w i s f o l l o w e d by a b r i e f e d i t o r i a l on t h e i m p r a c t i c a b i l i t y o f t h e i d e a t h a t Orange can become ' un B a y r e u t h f r a n g a i s . ' ] Le T r i omphe d ' A p o l l o n , pa r L o u i s G a l l e t . [ D e s c r i p t i o n o f t h i s a l l e g o r i c a l ' a - p r o p o s en v e r s . ' N o t i c e on an accompany ing march composed by M. Leon ( c o n d u c t o r o f t h e o r c h e s t r a o f t he C o m e d i e - F r a n g a i s e ) . ] — Deuxieme s o i r e e : A n t i g o n e , t r a g e d i e de S o p h o c l e , t r a d u i t par MM. Pau l M e u r i c e e t Augu s te V a c q u e r i e , mus ique de M. C a m i l l e S a i n t - S a e n s . [ R e v i e w o f S a i n t - S a e n s ' s i n c i d e n t a l m u s i c , about w h i c h Reyer had s a i d l i t t l e when he heard i t a t Orange i n 1894. (The i n a d e q u a t e p e r f o r m a n c e at t he e a r l i e r f e s t i v a l ' a nu i q u e l -que peu a 1 ' i m p r e s s i o n p r o d u i t e ' ; s ee JD L A - 1 6 / 0 8 / 1 8 9 4 . ) ] " F-08/08 "Revue m u s i c a l e . [ T h e a t r e de l ' ] 0 p e r a : Les MaTt re s c h a n t e u r s de Nuremberg , poeme e t mus ique de R i c h a r d Wagner; v e r s i o n f r a n g a i s e de M. A l f r e d E r n s t . [ R e v i e w o f t h e P a r i s i a n p r e m i e r e i n c l u d e s : r e c o l l e c t i o n s o f R e y e r ' s r e a c t i o n t o t h i s o p e r a when he hea rd i t a t London ( s ee JD * L A - 1 8 / 0 6 / 1 8 8 2 , p. 2 ) ; comments on t h e P a r i s i a n p u b l i c ' s warm r e c e p t i o n 727 o f a work wh i ch t he c r i t i c r e g a r d s as ' l e p l u s f o n c i e r e m e n t a l l e m a n d ' o f a l l Wagne r ' s c r e a t i o n s ; and remark s on t he n e g l e c t o f F rench work s because o f ' l a wagneromanie p a r i s i e n n e . ' - - N o t i c e on t he t r i u m p h a n t r e t u r n o f Mme Caron a f t e r a f i v e - m o n t h absence f r om t h e O p e r a . ] - -C o n c e r t s - C o l o n n e : Mme Jeanne Raunay. [ N o t i c e on her ' t r e s g rand s u c -c e s ' i n two e x c e r p t s f r om Les T r o y e n s : C a s s a n d r a ' s a r i a , and ' l a mor t de D i d o n . ' ] " F t t - 2 1 / 1 1 "Revue m u s i c a l e . T h e a t r e de l ' O p e r a - C o m i q u e : Sapho, p i e c e l y r i q u e en c i n q a c t e s , d ' a p r e s l e roman de M. A l p h o n s e Daude t , par MM. Hen r i C a i n e t [ A r t h u r ] B e r n e d e ; mus ique de M. J . M a s s e n e t . [ Rev i ew o f t h i s p r e -m i e r e i n c l u d e s o b s e r v a t i o n s c o n c e r n i n g ' l ' o u b l i ' o f one o f M a s s e n e t ' s e a r l i e r o p e r a s , E s c l a rmonde ( s ee JD F - 19/05/1889 ) . ] — [ T h e a t r e de l ' ] 0 p e r a : R e n t r e e de M. S a l e z a . " [ A f t e r a l l u d i n g t o t h e a i l m e n t wh i ch had cau sed t h e ' j e u n e e t b r i l l ant t e n o r ' t o be absent f r o m t h e Opera f o r more t han two y e a r s , Reyer app l aud s S a l e z a ' s s u c c e s s f u l r e t u r n i n Romeo e t J u l i e t t e . The c r i t i c adds a n o t i c e on t he p e r f o r m a n c e o f a ' j e u n e d e b u t a n t e , ' ATno A c k t e , i n t h e r o l e o f J u l i e t t e . ] - - C o n c e r t s - C o l o n n e : M. H e n r i Ma r teau [ s o l o i s t i n a v i o l i n c o n c e r t o by Theodore D u b o i s ] . " F-05/12 1898 J o u r n a l des Debat s "Revue m u s i c a l e . [ T h e a t r e de l ' ] 0 p e r a : La C l o c h e du R h i n , drame l y r i q u e en t r o i s a c t e s , poeme de MM. J a c q u e s M o n t o r g u i e l e t P . - B . G h e u s i ; mus ique de M. Samuel Rou s seau . [Rev iew o f t h e f i r s t work f o r t h e Ope ra by t h e composer who had won t h e P r i x de Rome i n 1878. B e f o r e d i s c u s s i n g t h e work i t s e l f , Reyer p r o v i d e s a n o t i c e on R o u s s e a u ' s c a r e e r , and e d i t o r i a l i z e s on t h e need t o r e e s t a b l i s h a t h i r d l y r i c t h e -a t r e a t P a r i s . ( I n t h e m i d s t o f t he e d i t o r i a l , t he c r i t i c pauses t o d e s c r i b e h i s c o n c e p t i o n o f an i d e a l l y r i c t h e a t r e ; see a l s o t h e d e s c r i p -t i o n i n jJD F -28/10/1877. ) - - Comments on t h e f o r t h c o m i n g p r e m i e r e o f P u c c i n i ' s La Boheme a t t h e Ope ra -Comique l e a d t o a b r i e f e d i t o r i a l on t h e c a r e w i t h wh i ch f o r e i g n works a re s t a ged a t ' no s deux t h e a t r e s l y r i q u e s , ' v i s - a - v i s t h e ' n e g l i g e n c e s ' s u f f e r e d by F r e n c h works at I t a l i a n t h e a t r e s . ] " F-12/06 "Revue m u s i c a l e . [ T h e a t r e de 1 ' ] O p e r a - C o m i q u e : La V i e de boheme, comed ie l y r i q u e en q u a t r e a c t e s , d ' a p r e s l a p i e c e de Theodore B a r r i e r e e t H e n r i Mu r ge r , par MM. G. G i a c o s a e t L. I l l i c a ; t r a d u c t i o n de M. Pau l F e r r i e r ; mus ique de M. Giacomo P u c c i n i . [ Rev iew o f t h e P a r i s i a n p r e -m i e r e . - - P o s t s c r i p t : N o t i c e on B a l d i n e l l i , ' p r e m i e r e ba s se b o u f f e du t h e a t r e r o y a l de M a d r i d , ' whom Reyer hea rd ' c h e z un de mes a m i s . ' ] " F-26/06 728 1899 Le F i g a r o [ L e t t e r d a t ed " L e Lavandou ( V a r . ) " and add re s sed t o "Mon c h e r c o n f r e r e " ( i . e . , t h e w r i t e r o f t h e co lumn " C o u r r i e r des t h e a t r e s " ) : Reyer r e -q u e s t s t he c o r r e c t i o n o f a s i g n i f i c a n t m i s p r i n t i n a l e t t e r wh i ch had f ound i t s way i n t o t h e co lumn o f 23 November. (The l e t t e r i n q u e s t i o n had been s en t by Reyer t o t he c o - d i r e c t o r s o f t he Opera t o c o n g r a t u l a t e them on t h e i r p r o d u c t i o n o f B e r l i o z ' s L a P r i s e de T r o i e . ) ] U-27/11, p. 4 1901 J o u r n a l des Debats [ B r i e f d e s c r i p t i o n o f t h e b u r i a l o f R e y e r ' s f r i e n d t he p a i n t e r C a z i n , who had d i e d at Lavandou and was i n t e r r e d at t he town o f Bo rmes . ] U-16/05, p. 2 " E d o u a r d B r o u s t e t . [A s h o r t o b i t u a r y o f t h e c o m p o s e r - c o n d u c t o r , ' un ami q u i m ' e t a i t c h e r e t . . . un m u s i c i e n que j ' e s t i m a i s . ' ] " A - 0 4/12 , p. 3 1903 Le Monde m u s i c a l " B e r l i o z . - - S o u v e n i r s i n t i m e s . [A few r e c o l l e c t i o n s o f t h e l a s t f i f -t e e n y e a r s o f B e r l i o z ' s l i f e . (The a r t i c l e b e a r s t h e d a t e ' 13 novembre 1903 ' and was w r i t t e n e x p r e s s l y f o r t h e B e r l i o z number o f t h i s p e r i o d i -c a l , as i s e x p l a i n e d i n a p r e f a t o r y no te s u p p l i e d by the e d i t o r s . ) ] " A - 1 5 ( 3 0 / l l ) : 3 3 5 1904 Le F i g a r o " B e n j a m i n G o d a r d . [Memor ies o f R e y e r ' s f r i e n d s h i p w i t h t h e compose r . ( A c c o r d i n g t o a p r e f a t o r y no te s u p p l i e d by t h e e d i t o r s o f Le F i g a r o , t h i s a r t i c l e was w r i t t e n a t t h e i r r e q u e s t t o mark t h e o p e n i n g o f a s u b -s c r i p t i o n t o h e l p r a i s e money f o r t h e e r e c t i o n o f a monument t o G o d a r d , i n commemorat ion o f t h e t e n t h a n n i v e r s a r y o f h i s d e a t h . ) ] " A - 2 2 / 1 1 , p. 1 729 1907 M u s i c a "Un a r t i c l e d ' E r n e s t R e y e r . [ Reye r b e g i n s by d e c l a r i n g t h a t t h e a r t i c l e i s ' d e s t i n e e a accompagner un p o r t r a i t , ' name ly , a r e p r o d u c t i o n o f t he p o r t r a i t o f Rose Caron by t he p a i n t e r Tou lmouche . R e y e r ' s o b s e r v a t i o n s c o n c e r n i n g t h e p o r t r a i t a re f o l l o w e d by a b i o g r a p h i c a l n o t i c e on t h e s o p r a n o . (The p u b l i c a t i o n i n wh i ch t h i s a r t i c l e o r i g i n a l l y appeared i s not i d e n t i f i e d i n t h e p r e f a t o r y no te s u p p l i e d by t h e e d i t o r s o f M u s i c a . The a r t i c l e may d a t e f r o m as e a r l y as 1885 , when Reyer d e s c r i b e d f o r the Debats t h e ' p o r t r a i t ' w h i c h 'mon ami Toulmouche . . . e s t en t r a i n de f a i r e ' ; see JD F - 2 8 / 0 9 / 1 8 8 5 . ) ] " R -5 (00/02 ) :31 R e y e r , E r n e s t . Notes de mus i que . P a r i s : C h a r p e n t i e r , 1875 . [ Each i t e m i s r e p r i n t e d f r om t h e JD f e u i l l e t o n u n l e s s o t h e r w i s e s t a t e d . ] " H i s t o i r e d ' u n m u s i c i e n " [Revue f r a n g a i s e 3 (20 June 1 8 5 7 ) : 3 2 1 - 2 9 ] Voyages S o u v e n i r s d ' A l l e m a g n e [Le M o n i t e u r u n i v e r s e l , f e u i l l e t o n s o f 19 November 1864-22 J a n u a r y 1865] " L ' A l s a c e . - - Les V o s g e s . " [20 and 21 September 1873] "Voyage au C a i r e " [16 J a n u a r y and 17 F e b r u a r y 1872] E tudes e t P o r t r a i t s " S t r u e n s e e " [16 J a n u a r y 1867] " L o h e n g r i n " [30 September and 7 O c t o b e r 1868] " R o s s i n i " [29 November 1868] " H e c t o r B e r l i o z " [ o b i t u a r y , JD , 31 March 1869, p. 3 ] " F i d e l i o " [2 December 1869] " F e s t i v a l en l ' h o n n e u r d ' H e c t o r B e r l i o z " [31 March 1870] "Memo i re s d ' H e c t o r B e r l i o z " [15 and 16 M a r c h , 4 and 5 June 1171] "Requ iem de V e r d i " [14 June 1871] " E r o s t r a t e " [24 O c t o b e r 1871] 730 [No te s de m u s i q u e , c o n t ' d ] "A p ropos des c o n c o u r s du C o n s e r v a t o i r e " [18 Augus t 1872] " A u b e r " [16 J u l y 1871] " F e t i s " [16 J u l y 1871] " C a r a f a " [18 Augus t 1872] " T h e o p h i l e G a u t i e r " [1 November 1872] P e t i t e s no te s "On nous e c r i t de B e n a r e s " [29 June 1873] " Le s Ma l heu r s d ' E u t e r p e " [27 September 1874] " L a Dot mal p l a c e e " [9 March 1873] "MaT t r e W o l f r a m " [13 December 1873] I -V I I I [ E i g h t u n t i t l e d anecdo te s and s a l l i e s . As f a r as I have been a b l e t o d e t e r m i n e , t h e f i r s t seven had neve r b e f o r e been p r i n t e d . The e i g h t h i s an e x c e r p t - - w i t h new i n t r o d u c t o r y r e m a r k s — f r o m R e y e r ' s r e v i e w o f Les D e s e s p e r e s , an o p e r a comique by F r a n g o i s B a z i n (CP f e u i l l e t o n o f 7 F e b r u a r y 1 8 5 8 ) . ] . Qua ran te ans de m u s i q u e . C o m p i l e d , w i t h a p r e f a c e and n o t e s , by E m i l e H e n r i o t . P a r i s : C a l m a n n - L e v y , 1909. [Each i t e m i s r e p r i n t e d f r om the JD f e u i l l e t o n u n l e s s o t h e r w i s e s t a t e d . ] P r e f a c e [ b y H e n r i o t ] E r n e s t Reyer " L a S t a t u e " [5 May 1878] " S i g u r d " [21 June 1885] "Sa lammbo" [29 May 1892] Wagner "Tannh ' auser " [CP f e u i l l e t o n o f 30 September 1857] " R i e n z i " [18 A p r i l 1869] " L e p r e l u d e de P a r s i f a l " [12 November 1882] " T r i s t a n e t I s e u l t ( p r e m i e r a c t e ) " [22 March 1884] " S i e g f r i e d " [18 J a n u a r y 1891] 731 [ Q u a r a n t e ans de m u s i q u e , c o n t ' d ] " L a V a l k y r i e " [13 May 1893] " L e s MaTt re s c h a n t e u r s de Nuremberg " [21 November 1897] " L e V a i s s e a u f a n t o m e " [23 May 1897] " E t u d e s c l a s s i q u e s e t wagne r i sme " [10 J a n u a r y 1882] B e r l i o z " L a Damnat ion de F a u s t " [ 13 March 1877] " L a P r i s e de T r o i e " [12 December 1879] " B e a t r i x e t B e n e d i c t " [8 June 1890] "A p ropo s de Pau l e t V i r g i n i e " [25 November 1876] G l u c k " L e c e n t e n a i r e de l a mort de G l u c k " [4 December 1887] L i s z t " L i s z t " [28 March 1886] Weber " E u r y a n t h e " [CP f e u i l l e t o n o f 11 September 1857] F e l i c i e n Da v i d " F e l i c i e n D a v i d " [18 September 1876] Gounod " F a u s t " [CP f e u i l l e t o n o f 29 March 1859] "Gounod e t son o e u v r e " [28 O c t o b e r 1893] Georges B i z e t " L a J o l i e f i l l e de P e r t h " [6 J a n u a r y 1868] " L ' A r l e s i e n n e " [10 O c t o b e r 1872] "Ca rmen " [14 March 1875] "Geo rge s B i z e t " [13 June 1875] V e r d i " O t e l l o " [11 F e b r u a r y 1887] Mas senet " M a r i e - M a g d e l e i n e " [23 A p r i l 1873] 732 [ Q u a r a n t e ans de m u s i q u e , c o n t ' d ] " H e r o d i a d e " [25 December 1881] "Manon" [26 J a n u a r y 1884] " W e r t h e r " [22 J a n u a r y 1893] S a i n t - S a e n s "Samson e t D a l i l a " [9 November 1890] L a l o " L e Ro i d ' Y s " [13 May 1888] T a b l e c h r o n o l o g i q u e des f e u i l l e t o n s d ' E r n e s t Reyer parus dans l e C o u r r i e r de P a r i s e t l e J o u r n a l des Debat s (1857-1899) [by H e n r i o t ] 733 Endnotes 1 H. R o b e r t Cohen , " M u s i c a l I c onog raphy i n t h e N i n e t e e n t h - C e n t u r y F r e n c h I l l u s t r a t e d P r e s s : A Method f o r C a t a l o g u i n g and I n d e x i n g , " i n R e p o r t o f t h e T w e l f t h Cong re s s o f t h e I n t e r n a t i o n a l M u s i c o l o g i c a l S o c i e t y , e d . D a n i e l H e a r t z and Bonn i e Wade ( K a s s e l : B a r e n r e i t e r , 1 9 8 1 ) , p. 838. Fo r d e t a i l e d d i s c u s s i o n s o f t h e n i n e t e e n t h - c e n t u r y F rench m u s i -c a l p r e s s and t h e p r e s e n t s t a t e o f r e s e a r c h , see t he f o l l o w i n g a r t i c l e s a l s o by Cohen: "The N i n e t e e n t h - C e n t u r y F r e n c h P r e s s and t h e M u s i c H i s -t o r i a n : A r c h i v a l S o u r c e s and B i b l i o g r a p h i c a l R e s o u r c e s , " 1 9 t h - c e n t u r y M u s i c 7 ( F a l l 1 9 8 3 ) : 1 3 6 - 4 2 ; and "R IPM: An O v e r v i e w . A Paper p r e s e n t e d a t t h e C o n f e r e n c e o f t h e Mus i c L i b r a r y A s s o c i a t i o n , 6 March 1 9 8 5 , " P e r i o d i c a M u s i c a 3 ( S p r i n g 1 9 8 5 ) : 3 1 - 3 2 . 2 The f i f t e e n p u b l i c a t i o n s a re c i t e d i n n . 18 o f t h e P r e f a c e . I had l e a r n e d o f R e y e r ' s a f f i l i a t i o n w i t h t h e s e p u b l i c a t i o n s w h i l e d o i n g r e s e a r c h a t s e v e r a l l i b r a r i e s i n N o r t h A m e r i c a and P a r i s : t h e l i b r a r i e s o f t h e U n i v e r s i t y o f B r i t i s h C o l u m b i a and U n i v e r s i t e L a v a l ( C a n a d a ) ; t h e New Eng l and D e p o s i t o r y L i b r a r y ( B o s t o n ) , t he Widener L i b r a r y and t h e Eda Kuhn Loeb Mus i c L i b r a r y o f H a r v a r d U n i v e r s i t y , t h e Bos ton P u b l i c L i b r a r y , and t h e New York P u b l i c L i b r a r y ; and t h e B i b l i o t h e q u e N a t i o n a l e as w e l l as t h e B i b l i o t h e q u e S a i n t e G e n e v i e v e ( P a r i s ) . 3 Namely , an a r t i c l e f o r t he RP_ o f "mai 1 8 5 2 . " T h i s i n c o m p l e t e c i t a t i o n was f r o m Georges S e r v i e r e s ' s " L e s R e l a t i o n s d ' E r n e s t Reyer e t de T h e o p h i l e G a u t i e r , " Revue d ' H i s t o i r e l i t t e r a i r e de l a F r a n c e , no. 24 ( 1 9 1 7 ) , p. 74. I l o c a t e d R e y e r ' s a r t i c l e - - a r e v i e w o f H a l e v y ' s Le J u i f e r r a n t - - i n RP 8 (May 1 8 5 2 ) : 1 5 0 - 6 1 . 4 "Une l e t t r e - p r e f a c e de E. R e y e r " i n P a r i s , s o u v e n i r s d ' u n m u s i - c i e n : 185 . - 1 8 7 0 , by Hen r i Ma recha l ( P a r i s i H a c h e t t e , 1 9 0 7 ) . T h i s c i t a t i o n appeared i n The New York P u b l i c L i b r a r y : D i c t i o n a r y C a t a l o g o f t h e Mus i c C o l l e c t i o n , 2d e d . , 45 v o l s . ( B o s t o n : G. K. H a l l , 1 9 8 2 ) , 3 4 : 522 . An e x a m i n a t i o n o f M a r e c h a l ' s book r e v e a l e d t h a t R e y e r ' s l e t t e r -p r e f a c e was d a t e d " 9 decembre 1 9 0 6 . " 5 S e r v i e r e s , " R e y e r e t G a u t i e r , " p. 7 1 . 6 I b i d . , p. 75n. 7 These a c t i v i t i e s r e q u i r e e x p l a n a t i o n . The pu rpose o f t h e page -b y - page s c r u t i n y o f c o n s e c u t i v e i s s u e s i n O c t o b e r 1868 was t o l o c a t e a l e t t e r w h i c h , a c c o r d i n g t o S e r v i e r e s , Reyer w r o t e i n r e s p o n s e t o J u d i t h G a u t i e r Mende s ' s " R i c h a r d Wagner e t l a c r i t i q u e . " S e r v i e r e s c i t e d t h e d a t e o f Mme Mende s ' s a r t i c l e ( L a P r e s s e , 17 O c t o b e r 1 8 6 8 ) , bu t n e g l e c t e d t o g i v e t h e d a t e o f R e y e r ' s r e s p o n s e ; see Wagner j u g e en F r a n c e ( P a r i s : L i b r a i r i e i l l u s t r e e , 1 8 8 7 ) , p. 138. I t h e r e f o r e had t o 734 examine La P r e s s e p a g e - b y - p a g e , b e g i n n i n g w i t h t h e i s s u e o f 18 O c t o b e r , u n t i l I f o und R e y e r ' s l e t t e r - - o r , r a t h e r , h i s l e t t e r - a r t i c l e - - i n t h e i s s u e o f 29 O c t o b e r . As i n d i c a t e d i n C h a p t e r I I ( n . 5 ) , S e r v i e r e s gave c o m p l e t e c i t a -t i o n s — c o n s i s t i n g o f t h e day , mon th , and y e a r o f p u b l i c a t i o n - - f o r o n l y t e n o f t h e e i g h t e e n f e u i l l e t o n s wh i ch he a t t r i b u t e d e i t h e r w h o l l y o r i n p a r t t o Reye r ( " Reye r e t G a u t i e r , " pp . 7 2 - 7 5 ) . I v e r i f i e d t h e s e t e n s i m p l y by e x a m i n i n g t h e i s s u e s c i t e d . Of t h e r e m a i n i n g e i g h t f e u i 1 1 e - t o n s , f o u r were uncove red by my i n v e s t i g a t i o n o f t he s i x - m o n t h p e r i o d s d e s c r i b e d above on p p . 5 1 0 - 1 1 . The o t h e r f o u r c o u l d be found o n l y by t h e e x a m i n i n g o f c o n s e c u t i v e i s s u e s . S i n c e S e r v i e r e s s t a t e d t h a t t h r e e o f t h e s e f o u r f e u i l l e t o n s r e v i e w e d p r e m i e r e s o f s p e c i f i c w o r k s , I f i r s t a s c e r t a i n e d f r om o t h e r s o u r c e s t he d a t e o f each p r e m i e r e , then checked La P r e s s e f r o m t h a t d a t e f o r w a r d u n t i l I l o c a t e d t h e f e u i l l e t o n i n q u e s -t i o n . A c c o r d i n g t o S e r v i e r e s , t h e f o u r t h f e u i l l e t o n was a r e v i e w o f a p e r f o r m a n c e by t h e Mau r i n q u a r t e t , and was p u b l i s h e d i n " J a n v i e r 1854" ( i b i d . , p. 7 3 ) . I t h e r e f o r e exmined c o n s e c u t i v e i s s u e s , b e g i n n i n g w i t h 1 J a n u a r y 1854, u n t i l I f ound t h e f e u i l l e t o n . The i n v e s t i g a t i o n o f t h e p e r i o d s J u l y t h r o u g h December f o r t h e y e a r s 1852 and 1854 was u n d e r t a k e n t o v e r i f y not o n l y S e r v i e r e s ' s s t a t e -ment t h a t t h e c o l l a b o r a t i o n was anonymous, but a l s o h i s a s s e r t i o n t h a t R e y e r ' s " c o p i e " was " q u e l q u e f o i s meme r e j e t e e a l a f i n du f e u i l l e t o n , avec un s o u s - t i t r e , ma i s avant l a s i g n a t u r e : T h e o p h i l e G a u t i e r . " ( I b i d . , pp . 79 and 79n . ) The i n v e s t i g a t i o n y i e l d e d t h r e e f e u i l l e t o n s i n w h i c h a s e c t i o n o f mus i c c r i t i c i s m does i ndeed appear w i t h a s u b t i t l e but ahead o f G a u t i e r ' s s i g n a t u r e ( o r t h a t o f h i s s u b s t i t u t e , L o u i s de C o r m e n i n ) . In a l l t h r e e f e u i l l e t o n s , t h e s u b t i t l e i s " C h r o n i q u e m u s i -c a l e . " 8 JD f e u i l l e t o n o f 1 November 1872 ( o b i t u a r y o f G a u t i e r ) ; r e p e a t e d a l m o s t v e r b a t i m i n i b i d . , 20 March 1887 ( r e v i e w o f D i e Wa lku re i n F r e n c h t r a n s l a t i o n at B r u s s e l s ) . R e y e r ' s r e a s o n f o r r e c a l l i n g i n 1887 t h e j o u r n e y t o Wiesbaden t h i r t y y e a r s e a r l i e r was, e v i d e n t l y , t o p r ove t h a t he had s u p p o r t e d Wagner " de l a p r e m i e r e h e u r e . " y In 1857, when Reyer d i s p a t c h e d h i s anonymous r e v i e w o f T a n n - h'auser t o L ' I n d e p e n d a n c e b e i g e , he was a l r e a d y becoming known i n P a r i s as mus i c c r i t i c f o r t h e CP ( i n w h i c h , we may r e c a l l , he p u b l i s h e d a s i g n e d r e v i e w o f Wagne r ' s o p e r a as t he f e u i l l e t o n o f 30 September 1 8 5 7 ) . H i s t w o - a n d - a - h a l f - y e a r c a r e e r w i t h t h i s newspaper must have made h i s name f a m i l i a r t o much o f t h e P a r i s i a n p u b l i c , and i t i s t h e r e f o r e i m -p r o b a b l e t h a t he e v e r l o o k e d t o B r u s s e l s f o r an o u t l e t f o r h i s w r i t i n g s . 10 In h i s a r t i c l e " T h e o p h i l e G a u t i e r , mus i c c r i t i c , " M u s i c and L e t t e r s 49 ( J a n u a r y 1 9 6 8 ) : 1 6 n , M i c h a e l S pence r s t a t e s t h a t R e y e r ' s anonymous r e v i e w appeared i n t h e i s s u e o f 30 September 1857. 11 " T a b l e c h r o n o l o g i q u e des f e u i l l e t o n s d ' E r n e s t Reyer parus dans l e C o u r r i e r de P a r i s e t l e J o u r n a l des Debats ( 1 8 5 7 - 1 8 9 9 ) , " i n Qua ran te ans de mu s i que , by E r n e s t R e y e r , c o m p i l e d , w i t h a p r e f a c e and n o t e s , by E m i l e H e n r i o t ( P a r i s : C a l m a n n - L e v y , 1 9 0 9 ) , pp . 4 0 1 - 2 9 . The many f l a w s 735 i n H e n r i o t ' s b i b l i o g r a p h y — s u c h as t he o m i s s i o n o f R e y e r ' s f e u i l l e t o n i n t h e JD o f 29 J a n u a r y 1 882 - -we re d e s c r i b e d i n C h a p t e r I I ( n . 8 2 ) . 12 Among t h e i t ems f o r w h i c h I made such s p o t - c h e c k s were " de s L e t t r e s " w h i c h Reyer s en t t o t he JD " chaque annee, de Monaco (en f e v r i e r - m a r s , d e p u i s 1 8 8 0 ) , " a c c o r d i n g t o Hen r i de C u r z o n , E r n e s t R e y e r , s a v i e e t ses o e u v r e s (1823 -1909) ( P a r i s : P e r r i n , 1 9 2 4 ) , p. 191 . As i n d i c a t e d i n C h a p t e r I ( n n . 54 and 6 5 ) , I d i s c o v e r e d s e v e n t e e n l e t t e r s f r o m t h e R i v i e r a : f i f t e e n were p u b l i s h e d as anonymous l e t t e r - a r t i c l e s , and two as s i g n e d f e u i l l e t o n s . The re was one s t i p u l a t i o n c o n c e r n i n g t he s p o t - c h e c k i n g o f c o n s e c u -t i v e i s s u e s o f t h e ^JD f o r t h e s e l e t t e r s and t h e o t h e r i t ems whose e x i s -t e n c e had f i r s t become known t o me t h r o u g h t h e Reyer l i t e r a t u r e : i f I l o c a t e d t h e i t e m a f t e r s e a r c h i n g f ewer than s i x i s s u e s , I made up t h i s minimum t o t a l w i t h n o n - c o n s e c u t i v e i s s u e s chosen at random f r om o t h e r months . 13 The RP i s a c a s e i n p o i n t . I n o t i c e d t h a t i t s r e g u l a r f e a t u r e s — i n c l u d i n g R e y e r ' s "Revue m u s i c a l e " — d i s a p p e a r e d f r om the t a b l e s o f c o n t e n t s as o f 15 September 1853. In t he t a b l e f o r t h a t i s s u e , a g e n e r -i c t i t l e a p p e a r e d : " C h r o n i q u e de l a q u i n z a i n e , " f o r wh i ch no au tho r was c i t e d . When I examined each page o f t h i s " C h r o n i q u e , " I f ound t h a t i t c o n s i s t e d o f R e y e r ' s "Revue m u s i c a l e " and t h e o t h e r r e g u l a r f e a t u r e s wh i ch had f o r m e r l y been l i s t e d i n t he t a b l e s . By c h e c k i n g e v e r y " C h r o -n i q u e " f o r t he r e s t o f t he R P ' s e x i s t e n c e , I d i s c o v e r e d t h a t R e y e r ' s l a s t "Revue m u s i c a l e " was p u b l i s h e d i n t he i s s u e o f 15 November 1 8 5 4 — more than a y e a r a f t e r t h i s f e a t u r e had d i s a p p e a r e d f r om the t a b l e s . 14 The c o m p l e t e c i t a t i o n s o f t h e t h r e e a r t i c l e s a r e : " G a l e r i e du X I X e s i e c l e : IX. H e c t o r B e r l i o z , " L ' A r t i s t e , 6 t h s e r . , 2 (6 December 1 8 5 7 ) : 2 0 9 - 1 4 ; " B e r l i o z . - - S o u v e n i r s i n t i m e s , " Le Monde m u s i c a l 15 (30 November 1 9 0 3 ) : 3 3 5 ; and " B e n j a m i n G o d a r d , " Le F i g a r o , 22 November 1904, p. 1. 15 From t h e 1860s I c ho se f o u r c o n s e c u t i v e i s s u e s w h i c h , as I had hoped, y i e l d e d a l e t t e r t h a t Reyer had sen t a l s o t o t h e e d i t o r s o f t h e JD and La F r a n c e . The decade 1870-79 was r e p r e s e n t e d by t h e month o f November 1876, w h i c h I c hecked i n i t s e n t i r e t y by r e a d i n g sommaires and - - i f no sommaire was p r o v i d e d — b y e x a m i n i n g each page o f a g i v e n i s s u e . ( I t h o u g h t t h i s month w a r r a n t e d i n v e s t i g a t i o n because on t h e e l e v e n t h day Reyer was e l e c t e d t o t he I n s t i t u t de F r a n c e , s u c c e e d i n g t o the c h a i r l e f t v a c a n t by t h e d e a t h o f F e l i c i e n D a v i d . ) The decade 1880-89 was r e p r e s e n t e d by a g roup o f f o u r i s s u e s s e l e c t e d at random: 17, 18 , 19 , and 20 O c t o b e r 1886. The s p o t - c h e c k f o r m a t e r i a l d a t i n g f rom the f i n a l p e r i o d o f R e y e r ' s t e n u r e w i t h t h e JD (1890 -98 ) c o n s i s t e d o f s e a r c h e s o f c o n s e c u t i v e i s s u e s i n September 1895 and March 1896. The y e a r 1 8 9 9 — t h e f i r s t y e a r o f R e y e r ' s r e t i r e m e n t — w a s checked i n two ways : (1) by v e r i f y i n g two l e t t e r s wh i ch Ado l phe J u l l i e n had c u t ou t o f Le F i g a r o and had p a s t e d , w i t h a h a n d w r i t t e n c i t a t i o n o f e a c h , i n t o h i s copy o f Notes de mus ique ( ap ropo s o f t h e f i r s t l e t t e r — w h i c h i s no t l i s t e d i n t h e b i b l i o g r a p h y — s e e b e l o w , n. 1 8 ) ; and (2) by e x a m i n i n g 736 each page o f t h e i s s u e s o f 13 -20 J u l y and 17-20 O c t o b e r . (The J u l y i s s u e s were cho sen because i n t h a t month Reyer was promoted t o t he rank o f G r a n d - O f f i c i e r i n t he L e g i o n d ' h o n n e u r ; t h e O c t o b e r i s s u e s were s e l e c t e d becau se R e y e r ' s o p e r a E r o s t r a t e , wh i ch had not been heard i n F r a n c e s i n c e 1871 , was p r e m i e r e d at h i s n a t i v e M a r s e i l l e on 16 O c t o b e r . ) A l l o f t h e s e s p o t - c h e c k s s upp lemented t h e s e a r c h f o r t h e 1904 a r -t i c l e and t h e subsequent a p p l i c a t i o n o f t h e " f o u r - y e a r r u l e " (1900-03 and 1905 - 08 ; see T a b l e I ) . 16 A n o t h e r volume i n t h e RIPM s e r i e s i s a l s o f o r t h c o m i n g : a c a t a l o g and i ndex o f La C h r o n i q u e m u s i c a l e . I have been a d v i s e d t h a t n o t h i n g s i g n e d by Reyer was e i t h e r p u b l i s h e d or r e p r i n t e d i n t h i s j o u r n a l . 17 J a c q u e s - G a b r i e l Prod 'homme, " B i b l i o g r a p h i e b e r l i o z i e n n e , " La Revue m u s i c a l e , n o . 233 ( 1 9 5 6 ) , pp . 9 7 - 147 . IS As i n d i c a t e d i n t h e p r e f a c e ( n . 2 1 ) , t h e o n l y l e t t e r s wh i ch can be c o u n t e d amongst R e y e r ' s c r i t i c a l w r i t i n g s a re t h o s e add re s s ed t o e d i -t o r s o r j o u r n a l i s t s and p e r t a i n i n g t o h i s c a r e e r as c r i t i c . The f o l l o w -i n g b i b l i o g r a p h y t h e r e f o r e does not i n c l u d e l e t t e r s c o n c e r n e d s o l e l y w i t h R e y e r ' s a c t i v i t i e s as compose r . (An example i s a l e t t e r t o t h e e d i t o r , p r i n t e d i n Le M e n e s t r e l 50 [18 May 1 8 8 4 ] : 1 9 8 . Here Reyer c o r -r e c t e d two e r r o r s t h a t appeared i n a n o t i c e - - p u b l i s h e d i n t he p r e c e d i n g i s s u e — a b o u t t h e s u c c e s s o f S i g u r d a t B r u s s e l s . ) Nor does t he b i b l i o g -r a p h y i n c l u d e p e r s o n a l l e t t e r s wh i ch f ound t h e i r way i n t o p r i n t ( such as t h e l e t t e r c o n g r a t u l a t i n g t h e c o - d i r e c t o r s o f t he Opera on t h e i r p r e -m i e r e o f L a P r i s e de T r o i e , p u b l i s h e d i n t he " C o u r r i e r des t h e a t r e s " co lumn o f Le F i g a r o , 23 November 1899, p. 4 ) . l y I have e n c o u n t e r e d two such i t e m s . One i s about Rose C a r o n , but i s e n t i t l e d s i m p l y "Un a r t i c l e d ' E r n e s t R e y e r , " M u s i c a 5, Reyer number ( F e b r u a r y 1 9 0 7 ) : 3 1 . The o t h e r i s a r e p r i n t i n t r a n s l a t i o n , p u b l i s h e d i n an Amer i c an j o u r n a l : " H e c t o r B e r l i o z . B i o g r a p h i c a l Notes and P e r s o n a l R e m i n i s c e n c e s , " The C e n t u r y Magaz ine 47 (December 1 8 9 3 ) : 3 0 4 - 1 0 . T h i s r e p r i n t was i t s e l f r e p r i n t e d at l e a s t t w i c e , w i t h t h e a d d i t i o n o f p o r -t r a i t s , p l a t e s , and f a c s i m i l e s : i n The C e n t u r y L i b r a r y o f M u s i c , v o l . 1 (New Y o r k : n . p . , 1 9 0 0 ) , p p . 1 -17; and i n The I n t e r n a t i o n a l L i b r a r y o f Mu s i c f o r Home and S t u d i o : Mus i c L i t e r a t u r e , v o l . 1: The H i s t o r y o f Mu s i c (New Y o r k : The U n i v e r s i t y S o c i e t y , 1 9 2 5 ) , pp . 163 -78 . 20 S e r v i e r e s c i t e d "26 decembre 1852" as t h e d a t e o f t h i s r e v i e w w h i c h he a t t r i b u t e d t o Reyer ( see " Reye r e t G a u t i e r , " p. 7 2 n ) . My v e r i f i c a t i o n o f S e r v i e r e s ' s c i t a t i o n r e v e a l e d t h a t t he r e v i e w appeared i n t h e i s s u e o f 27 ( no t 26) December. 21 T h i s c o r r e c t e d p r i n t i n g o f R e y e r ' s a r t i c l e was r e p r i n t e d as t he p r e f a c e (pp . i - i v ) t o t h e second volume o f t h e t h r e e - v o l u m e c o l l e c t i o n Chan t s e t chan son s ( p o e s i e e t mus ique ) de P i e r r e Dupont [. . . ] ( P a r i s : A. H o u s s i a u x , 1 855 - 58 ; v o l s . 2 and 3 have i m p r i n t : P a r i s , L e c r i v a i n e t Toubon, 1 8 5 8 ) . 737 " The f a c t t h a t R e y e r ' s s i g n a t u r e does not appear at t h e c o n c l u -s i o n o f t h i s a r t i c l e i s due t o a p r i n t e r ' s o v e r s i g h t , as i s e x p l a i n e d by t h e f o l l o w i n g n o t i c e i n t h e n e x t i s s u e : " C ' e s t par e r r e u r que l e nom de M. Reyer n ' a pas e t e m i s , dans n o t r e d e r n i e r numero, au bas de 1 ' a r t i c l e s u r l a T o n n e l l i , p. 348 , l r e c o l . " ( A thF 2 [16 A p r i l 1 8 5 3 ] : 3 6 9 . ) 2 3 S e r v i e r e s c i t e d "24 e t 31 decembre 1854" as t he d a t e s o f t h i s t w o - p a r t r e v i e w wh ich he a t t r i b u t e d t o Reyer ( see " R e y e r e t G a u t i e r , " p. 7 5 n ) . My v e r i f i c a t i o n o f S e r v i e r e s ' s c i t a t i o n r e v e a l e d t h a t t he r e v i e w was p u b l i s h e d i n t h e i s s u e s o f 24 and 31 O c t o b e r ( n o t December ) . 2 4 T h i s n o t i c e , wh i ch appea r s i n J u l e s de S a i n t - F e l i x ' s co lumn " C h r o n i q u e p a r i s i e n n e , " does not bear R e y e r ' s s i g n a t u r e but i s i n t r o -duced by t h e f o l l o w i n g r e m a r k s : " N o t r e c o n f r e r e E. R e y e r , q u i , p l u s heureux que nou s , a s s i s t a i t m e r c r e d i au debut de Mme B a r b o t , dans l e r o l e de V a l e n t i n e , des Hugueno t s , v e u t b i e n nous t r a n s m e t t r e q u e l q u e s d e t a i l s s u r l e t a l e n t de ce p r i m a - d o n n a . " (CP_, 4 December 1858, p. 2 . ) 2 6 The d a t e on t h i s f e u i l l e t o n i s m i s p r i n t e d : i t r e a d s "30 o c t o b r e 1 8 6 9 , " whereas each page o f t h e i s s u e b e a r s t he d a t e "31 o c t o b r e 1 8 6 9 . " O the r m i s p r i n t e d d a t e s on R e y e r ' s f e u i l l e t o n s i n t h e JD a r e as f o l l o w s : "15 mars 1870 " ( i n s t e a d o f "15 mars 1 8 7 1 " ) ; " 16 mars T 8 7 0 " ( i n s t e a d o f " 16 mars 1 8 7 1 " ) ; " 26 mai 1883 " ( i n s t e a d o f "27 mai 1 8 8 3 " ) ; "31 mai 1884" ( i n s t e a d o f " l e r j u i n 1 8 8 4 " ) ; "16 o c t o b r e 1884" ( i n s t e a d o f "16 novembre 1 8 8 4 " ) ; and "18 J a n v i e r 1890 " ( i n s t e a d o f "18 J a n v i e r 1 8 9 1 " ) . In each c a s e , t h e code g i v e n i n t h e b i b l i o g r a p h y e x p r e s s e s t h e d a t e on t h e i s s u e . 738 APPENDIX B OTHER WRITINGS BY REYER The s i x w r i t i n g s w h i c h Reyer d i d not i n t e n d e x p r e s s l y f o r p e r i o d i -c a l s and newspapers f a l l i n t o two c a t e g o r i e s : " S p e e c h e s " and "Component P a r t s i n B o o k s . " In t h e l i s t g i v e n b e l o w , each r e f e r e n c e t o a speech i s f o l l o w e d by a c i t a t i o n ( s ) o f t he s o u r c e ( s ) i n wh i ch i t was p u b l i s h e d . Speeches [ Speech h o n o r i n g t h e memory o f F e l i c i e n D a v i d , d e l i v e r e d at a m e e t i n g o f o f t h e Academie des B e a u x - A r t s o f t h e I n s t i t u t de F r a n c e , 17 Novem-ber 1877] " I n s t i t u t de F r a n c e , Academie des B e a u x - A r t s . N o t i c e s u r F e l i c i e n D a v i d , par M. E. R e y e r , membre de I ' A c a d e m i e , l u e dans l a seance du 22 [ s i c ] novembre 1 8 7 7 . " Revue e t G a z e t t e m u s i c a l e de P a r i s 44 (25 November 1 8 7 7 ) : 3 7 0 - 7 2 . I n s t i t u t de F r a n c e . Academie des B e a u x - A r t s . N o t i c e su r F e l i c i e n D a v i d , pa r M. E. R e y e r , membre de I ' A c a d e m i e . Lue dans l a seance du 17 novembre 1877. P a r i s : F i r m i n - D i d o t , 1877 . [ Speech f o r t h e i n a u g u r a t i o n o f t h e s t a t u e o f B e r l i o z at P a r i s , 17 O c t o -be r 1886] " L a S t a t u e de B e r l i o z . " J o u r n a l des D e b a t s , f e u i l l e t o n o f 17 O c t o -be r 1886. I n s t i t u t de F r a n c e . Academie des B e a u x - A r t s . I n a u g u r a t i o n de l a s t a t u e de B e r l i o z a P a r i s , l e 17 o c t o b r e 1886. D i s c o u r s de M. l e V t e D e l a b o r d e . . . [ e t d i s c o u r s de MM. C h a r l e s G a m i e r e t R e y e r ] . P a r i s : F i r m i n - D i d o t , 1886. [ Speech f o r t h e i n a u g u r a t i o n o f t he s t a t u e o f B e r l i o z a t La Co t e S a i n t -A n d r e , 28 September 1890] " I n a u g u r a t i o n de l a s t a t u e de B e r l i o z . " J o u r n a l des Deba t s , 29 September 1890, pp . 2 - 3 . 739 [ Speech f o r t h e i n a u g u r a t i o n o f t h e B e r l i o z Memor i a l at G r e n o b l e , 15 Augus t 1903] " D i s c o u r s de M. E r n e s t R e y e r . " Le Gu i de m u s i c a l 49 (23 and 30 Augus t 1 9 0 3 ) : 6 0 5 - 7 . " D i s c o u r s de M. E r n e s t R e y e r . " Le Monde m u s i c a l 27 (30 Augus t 1 9 0 3 ) : 2 4 5 - 4 6 . Component P a r t s i n Books " L a C r i t i q u e m u s i c a l e : C a s t i 1 - B l a z e , H. B e r l i o z , " In Le L i v r e du c e n - t e n a i r e du " J o u r n a l des D e b a t s , " 1789 -1889 , p p . 4 27 - 40 . P a r i s : L i b r a i r i e P l o n , 1889. P r e f a c e [ " L e t t r e en g u i s e de p r e f a c e , a M o n s i e u r H e n r i M a r e c h a l " ] t o P a r i s , s o u v e n i r s d ' u n m u s i c i e n : 185 . - 1 8 7 0 , by Hen r i M a r e c h a l . P a r i s : H a c h e t t e , 1907. * * * As we o b s e r v e d i n C h a p t e r I I , S o u v e n i r s d ' A l l e m a g n e i s a s p e c i a l c a s e : a l t h o u g h o s t e n s i b l y w r i t t e n f o r t h e F r ench M i n i s t e r o f S t a t e , i t was p r o b a b l y i n t e n d e d f o r p u b l i c a t i o n i n p e r i o d i c a l and/or n o n -p e r i o d i c a l l i t e r a t u r e . In f a c t , i t was p u b l i s h e d i n b o t h , and s h o u l d t h e r e f o r e be c i t e d he re as w e l l as i n A p p e n d i x A. S o u v e n i r s d ' A l l e m a g n e . In Notes de m u s i q u e , p p . 2 1 - 159 . P a r i s : C h a r -p e n t i e r , 1875! [ O r i g i n a l l y p u b l i s h e d i n Le M o n i t e u r u n i v e r s e l , f e u i l l e t o n s o f 19 November 1864-22 J a n u a r y 1865 .J
Thesis/Dissertation
eng
Music - Musicology
Vancouver : University of British Columbia Library
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The critical writings of Ernest Reyer
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