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Scan 113
Grove's dictionary of music and musicians;, 1907
16 lines. Read by computer on 3 September 2026. Printed page 90. See the scan on archive.org.
1servatoire, born at Liège, July 19, 1811, died in Paris, Feb. 13, 1892. Massart received his first instruction in violin-playing from an amateur named Delavau, who was so impressed with the talent displayed by his pupil, that he persuaded the municipal authorities of Liège to grant him a scholarship which would enable him to study in Paris. On his arrival in the city Massart sought admission, as a student, to the Conservatoire, but was refused by the then director, Cherubini, on account of his being a foreigner. Notwithstanding this first rebuff, Massart's gifts were soon recognised by Rudolph Kreutzer, who willingly undertook the task of developing the young artist's talents. Although Massart became a fine executant under Kreutzer's tuition, yet, on account of his excessive shyness he never attained much fame as a public player. An instance of his modesty is related by Sir Charles Hallé in his Autobiography: Massart and Liszt were bracketed together to play the 'Kreutzer Sonata' at a concert. Scarcely had they played a couple of bars, when a voice in the Hall shouted 'Robert le Diable!' referring to Liszt's recently composed and successful Fantasia on airs from that Opera. The request was repeated by other members of the audience until the sonata was drowned in the tumult. Liszt rose and said: 'I am always the humble servant of the public, will you hear the Fantasia before, or after the Sonata?' Renewed cries of 'Robert!' greeted his speech, upon which Liszt half turned to Massart and with a wave of his hand dismissed him from the platform, without apology. The Fantasia roused the audience to such a pitch of frenzy, that when Massart upon its completion dutifully returned to the platform his performance of the 'Kreutzer Sonata' fell entirely flat. In 1843 the Paris Conservatoire appointed him professor of the violin, and in this position his energy and thoroughness gained for him a world-wide renown. Among his many famous pupils were: Henri Wieniawski, Lotto, Pablo de Sarasate, Martin Marsick, and Teresina Tua. Massart was an excellent quartet player, and together with his wife Louise Aglae Marson,—who succeeded Farrenc as professor of piano at the Paris Conservatoire—gave many delightful Chamber music concerts.
3Bibliography:—Famous Violinists of To-day and Yesterday, Henry C. Lahee. (Boston, 1889.) Biog. Univ. des Musiciens, F. J. Fétis. Biog. Dict. of Musicians. T. Baker.
5E. H-A.
7MASSÉ, FELIX MARIE (known as VICTOR), born at Lorient, March 7, 1822; entered the Conservatoire at twelve, obtained the first prizes for piano, harmony, and fugue, and in 1844, after some years' study with Halévy, the 'Grand prix de Rome' for composition. His cantata 'Le Rénégat' was given three times at the Opéra (Feb. 1845), a rare event. During his stay in Rome he composed a 'Messe Solennelle,' performed at the church of St. Louis des Français (May 1, 1846), a careful and clever work, though wanting in religious sentiment—never Massé's strong point. The unpublished score is in the library of the Conservatoire. After his two years in Rome he travelled through Italy and Germany, and returned to Paris, where he was much appreciated in society. Publishers readily accepted his 'Mélodies' and 'Romances,' and he gained access to the stage with little delay. 'La Chambre gothique' (Opéra-Comique, 1849), and 'La Chanteuse voilée,' one act (Opéra-Comique, Nov. 26, 1850), were followed by 'Galathée,' two acts (April 14, 1852), and 'Les Noces de Jeannette' (Feb. 4, 1853), a charming lyric comedy in one act. These early successes justified the hope that in Massé the French stage had found a composer as fruitful and melodious, if not as original, as Auber; but his later efforts were less fortunate. 'La Reine Topaze' (Dec. 27, 1856) indeed succeeded completely, and has kept the boards, but 'La Fiancée du Diable' (June 3, 1854), 'Miss Fauvette' (Feb. 13, 1855), 'Les Saisons' (Dec. 22, 1855), 'Les Chaises à porteurs' (April 28, 1858), 'La Fée Carabosse' (March 7, 1859), 'Mariette la Promise' (1862), 'La Mule de Pedro' (March 6, 1863), 'Fior d'Aliza' (Feb. 5, 1866), and 'Le Fils du Brigadier' (Feb. 25, 1867), though fairly received, soon disappeared. Some, however, contain good music, especially 'Les Saisons' and 'Fior d'Aliza.' In 1860 he became chorus-master to the Académie de Musique, and in 1866 succeeded Leborne as professor of composition at the Conservatoire—gratifying appointments, as showing the esteem of his brother artists, although the work they entailed left him little time for composition. On June 20, 1872, he was elected to the Institut as successor to Auber.
9After a long period of silence Massé produced 'Paul et Virginie,' three acts (Nov. 15, 1876; given in Italian at Covent Garden Opera-house, June 1, 1878). In spite of its success and its evident ambition, this opera seems less original and less homogeneous in style than 'Galathée' or 'Les Noces de Jeannette,' and its best parts, as in all his operas, are the short pieces and the simple romances.
11To complete the list of his operas we may mention 'La Favorita e la Schiava' (Venice, 1855), and 'Le Cousin Marivaux' (Baden, 1857); also two drawing-room operettas 'Le Prix de Famille' and 'Une loi Somptuaire' (published in 1879). He published three sets of twenty songs each, selected from his numerous romances. Many of these are charming little pieces. In 1877 he was made an officer of the Legion of Honour.
13G. C.
15A painful illness compelled him to resign his post at the Académie in 1876, and rendered him totally incapable of active work. During seven years of suffering his only consolation lay in composition, and in this way his opera, 'La Mort de Cléopâtre,' intended for the Opéra, was
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