Scan 78
Groves Dictionary Of Music And Musicians,vol.4, Ed.3, 1908
100 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1Traversa, Jarnowick, François Lamotte, Viotti and Frederic Eck; the horn players Punto and Rodolphe; Jérôme Besozzi and Louis Lebrun (oboe); Etienne Ozi (bassoon); Michel Yost (clarinet), and many others of less repute. Among many illustrious singers we must content ourselves with mentioning Farinelli, Raff, Caffarelli, Davide, Mmes. Aguari, Danzi, Todi and Mara. one of two readings
2Traversa, Jarnowick, François Lamotte, Viotti and Frederic Eck; the horn players Punto and Rodolphe; Jérôme Besozzi and Louis Lebrun (oboe); Etienne Ozi (bassoon); Michel Yost (clarinet), and many others of less repute. Among many illustrious singers we must content ourselves with mentioning Farinelli, Raff, Caffarelli, Davide, Mmes. Agujari, Danzi, Todi and Mara. one of two readings
4In 1770 the important enterprise of the CONCERT DES AMATEURS was founded by d'Ogni and Delahaye at the Hôtel Soubise. It was conducted by Gosssec, and its solo violin was the famous Chevalier de St. Georges. At these concerts the symphonies of J. B. Toeschi, Van Maldere, Vanhall, Stamitz and Gosssec, for wind instruments, were first produced. When the association removed to the Galerie de Henri III., in the Rue Coq Héron, they adopted the title of Concert de la Loge Olympique, and their orchestra contained the best players of the day. The change took place in 1780, a year after the introduction of Haydn's symphonies into France by the violinist Fonteski. So great was the success of these compositions as to induce the directors to engage Haydn to write six symphonies specially for the society. They date from 1784-89; are in C, G minor, Eb, Bb, D and A; and were afterwards published in Paris as op. 51, under the special title of 'Répertoire de la Loge Olympique.' (See HAYDN, List of Symphonies.)
6Two similar institutions, the CONCERT DE LA RUE DE CLÉRY (1789), and the CONCERT FEYDEAU (1794), may be considered as feeble imitations of the Loge Olympique. They had, however, their periods of success — according to Fétis in 1796 and 1802. Among the artists who chiefly contributed to the éclat of the performances were the violinists R. Kreutzer and Rode, Fred. Duvernoy the horn-player, and the singers Garat and Mme. Barbier-Valbonne.
8THE CONCERTS FRANÇAIS, the first of which took place in 1786, had their origin in the public exercises of the pupils of the École Royale de Musique et de Déclamation; the 'exercises' were in danger of suppression, when the old pupils of the Conservatoire formed themselves into a society quite independent of the school. The first concert took place in the foyer of the Théâtre Olympique, Nov. 21, 1801, and from 1802 the series was continued in the small theatre of the Conservatoire, rue Bergère, which theatre existed until 1911. The concerts were directed successively by Marcel Duret, F. Habeneck (then aged 22 years, but already a conductor of remarkable ability), and by Gasse, all of whom had been violin pupils. Besides songs and instrumental solos a symphony of Haydn, Mozart, or Méhul, etc., was always played, as well as an overture. Some of the symphonies of Beethoven (which the professional orchestras had not then attempted) were heard there for the first time in Paris (the C major symphony on Feb. 22, 1807). This orchestra of students won general admiration by the excellence of its performances.1
10THE CONCERTS DU CONSERVATOIRE.—The creation of the celebrated Société des Concerts du Conservatoire was due to Habeneck, and its first 'Matinée dominicale' took place on Sunday, March 9, 1828, at 2 p.m., in the theatre of the Conservatoire. This programme, which produced a very deep impression, was as follows:
12(1) Eroica Symphony, Beethoven.
13(2) Duet from 'Semiramide,' Rossini, sung by Nélia and Caroline Maillard.
14(3) Horn Solo, composed and executed by Melfred.
15(4) Concerto for violin, Rode, performed by Eugène Sauzay.
16(5) Air by Rossini, sung by Nélia Maillard.
17(6) Chorus from 'Blanche de Provence,' Cherubini.
18(7) Overture, 'Les Abencérages,' Cherubini.
19(8) Kyrie and Gloria from the 'Coronation Mass,' Cherubini.
21The following table shows the direction of these famous concerts from their inception to the present day:
23<table>
24 <tr>
25 <th>Conductor.</th>
26 <th>Sub-Conductor.</th>
27 <th>Date.</th>
28 </tr>
29 <tr>
30 <td>Habeneck</td>
31 <td>Tilmant aîné</td>
32 <td>Mar. 9, 1828–Apr. 10, 1848</td>
33 </tr>
34 <tr>
35 <td>Narcisse Girard</td>
36 <td>"</td>
37 <td>Jan. 14, 1849–Jan. 1860</td>
38 </tr>
39 <tr>
40 <td>Tilmant</td>
41 <td>Deldevez</td>
42 <td>1860–63</td>
43 </tr>
44 <tr>
45 <td>G. Hainl</td>
46 <td>"</td>
47 <td>1864–Mar. 17, 1872</td>
48 </tr>
49 <tr>
50 <td>Deldevez</td>
51 <td>Lamoureux</td>
52 <td>May 25, 1872–77</td>
53 </tr>
54 <tr>
55 <td>Jules Garcin</td>
56 <td>E. Altès</td>
57 <td>1877–85</td>
58 </tr>
59 <tr>
60 <td>Paul Taffanel</td>
61 <td>Jules Danbé</td>
62 <td>June 2, 1885–92</td>
63 </tr>
64 <tr>
65 <td>Georges Marty</td>
66 <td>D. Thibault</td>
67 <td>Nov. 27, 1892–1901</td>
68 </tr>
69 <tr>
70 <td>A. Messager</td>
71 <td>Gasser</td>
72 <td>June 12, 1901–8</td>
73 </tr>
74 <tr>
75 <td>Phll. Gaubert</td>
76 <td>Ed. Nadaud</td>
77 <td>1908–18</td>
78 </tr>
79 <tr>
80 <td>Phll. Gaubert</td>
81 <td>Gaubert</td>
82 <td>1919 (onwards)</td>
83 </tr>
84 <tr>
85 <td>Phll. Gaubert</td>
86 <td>Tracol</td>
87 <td>1919 (onwards)</td>
88 </tr>
89</table>
91During 1897-98 the Société des Concerts du Conservatoire gave its concerts provisionally at the Opéra, as the Commission supérieure des Théâtres ordered the hall in the rue Bergère to be shut after the disastrous fire at the Charity bazaar. Fourteen concerts were given at the Opéra, for which the orchestra was augmented to ninety-eight performers. From the date of the resumption of the concerts in the original building (Nov. 27, 1898) the former number of performers (84) was restored; and the Commission des Théâtres ordered a certain number of seats to be removed, so that the number of concerts had to be increased to make up for the diminution in the receipts.
93Minor institutions of some historic importance may be summarised as follows:
95ORCHESTRAL CONCERTS
96L'ATHÉNÉE MUSICALE, founded by Chelard in 1829 at the Hôtel de Ville, directed by Barbereau, Vidal, Gérard, 60th to 66th concert in 1837. President, Onslow.
97CONCERTS HISTORIQUES, founded by Fétis (4 concerts); 1st concert, Apr. 8, 1832; 4th, Apr. 2, 1833. From 1832 onwards: CONCERTS MUSARD (rue
991 Constant Pierre, Le Conservatoire National de Musique et de Déclamation (Paris, 1900).
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