Scan 10
Musical Courier 1894-02-14: Vol 28 Iss 727, 1894
123 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 11. See the scan on archive.org.
1Deshayes—Church of the Annunciation.
3(no line here) one of two readings
4It is senseless to argue that grown people are better fitted to be choir singers than boys, because being capable of thought, feeling and emotion, the result of age and experience. Sacred music is not emotional music, nor is the church the place for its exercise. The opera, not the church, is the place for sentiment. One may sing sacred music with unction, not with emotion. This is wholly a matter of training, and boys are susceptible of the highest point of artistic education. Still personally and from a musical point of view I like a mixture of women's voices with those of the boys.
6Henri Deshayes,
7Organiste du Grand Orgue de l'Annunciation, Paris.
9"Be sure and see Deshayes before you leave Paris. He writes exquisite music!"
11Past miles of beautiful Parisian boulevard; past Trocadero, Eiffel Tower, a monastery with its "caché" brow, and not far off a "Dégustation des Vins," closed to the eye, but opening to the imagination delicious samples of palate luxuries indigenous to the home of the grape; past series of streets of ponderous association to a still and noble quarter, evidently consecrated to literature, where "George Sand," "Lamartine," "Theophile Gautier" he immortalized in precise wooden tablets on the wall corners—on to the quiet home of the organist of the Annunciation. Here he lives in unmolested and artistic peace with a wife who teaches in one of the Government schools, and two sweet young daughters, both musicians, one of them making a specialty of the violoncello.
13M. Deshayes is in one sense "a stranger," being but fifteen years in Paris, whence he came from Rouen. He has charge of the very bad organ of the church, which has but little prospect of renovation, although the parish is very rich. Gentle, unassuming, modest and timid to a fault, full of musical feeling, without a touch of worldliness, the dream of his life has been to have "a good organ to play on." Neither salary nor fame occur to him.
15As to America! His dreamy blue eyes become distorted in their expression, his pale face tense, at thought of leaving his "pays, bien-aimé" for "So far!"
17He speaks English quite well for a Frenchman having lived five years in London, where he was organist of the Spanish Place Chapel, but says he has lost most of it since coming back.
19He does not compare English organists favorably with the French; says they are "fine technicians," but "wholly lacking in imagination or fancy." (Everyone says this same thing—will I suppose till I reach London!) They are mechanical and lack taste. Artists do not play the organ as generally as in Paris, and as composers cannot compare with the French.
21He has recently felt much interest in America; knows the names of Eddy, Carl Huber best; knows little or nothing of American composition, wishes he did; has a curiosity as to it. Was glad of Guilmant's success, but says he is a "vrai homme d'affaires" and rich besides; heard he was guaranteed all expense, which made the road easy.
23To Lefebure Wely, the predecessor of Widor at St. Sulpice; to Lemmens and Chauvet, he ascribes much of the glory of present organ achievement in Paris, not to forget Cavaillé-Coll, whom no French artist fails to include within the sacred circle. He thinks women may be taught to be good organ players, but they cannot be organists in the sense of the term on account of the arduous duties and the difficulty of getting positions. In England he tried the concave pedal, but found it difficult to manage, doubtless owing to lack of familiarity with it.
25He deplores that there is no means whatever of union between organists here in Paris. There is no club, no headquarters. Unless he meets them on the street—which means once in a lifetime—he never sees Widor, Guilmant or Dubois.
27Among the principal compositions of M. Deshayes are the following:
281. Thirty-two pieces, in ten books, for grand organ, with pedal obligato.
292. Pastorale for grand organ.
303. Nineteen pieces for organ or harmonium without pedal. 1 vol.
314. Two romances (without words) for violin or violoncello, with piano accompaniment.
325. Twelve suites for grand organ, first and second books in MSS.
336. Music for plain chant, piano songs, &c.
34He is glad of the St. Gervais movement, "a good work bound to move on to splendid results." He congratulates M. Bordes. M. Gigout, too, he warmly praises for his musical activity.
36Speaking of M. Gigout's Recitals,
37You in a city punctuated with organ recitals can have but little idea of the character of the Paris recital, of which M. Eugene Gigout is sole exponent during the winter season. They are much more in the nature of concerts, much more difficult of achievement and more heavy in responsibility than those at home.
39There, a sort of congregational pride sometimes amounting to rivalry—a loyalty to church, pastor, organist, enter into the decision to support the recital. There, too, many have a vague sort of an idea that they need musical education and attend as a means of coming in touch with the times. Then the music, however severe, is light compared with this, and the performances are free; here, paid. There is here no friendly interest to influence; nothing but merit and its demand. The audience does not need instruction, it goes to be musically fed and entertained, and the organist must keep well within the bounds of tradition while evidencing originality and power. The Paris recital is no playingthing for a man with a reputation. None other would be listened to.
41There is certainly no inducement offered in hall effectiveness. Established by the Parisian nobleman whose name it bears, the Salle d'Harcourt is severe and undraped as the rest of Parisian "Salle"-dom. In pale terra cotta walls, monogramed in "H" and medallioned in the names of the masters, with spacious gallery, small stage and no ventilation, it is usually chilly and cheerless. But the acoustics are good, and the organ, when in order, is fine; and nobody thinks of ventilation in Paris anywhere ever, and so this is as good a place as can be had for the purpose.
43The audiences are certainly complimentary to the organist, being large, growing larger with each performance, very appreciative, and remaining en masse to the end of each.
45A feature of each recital is the "Improvisation" upon which the people insist, M. Gigout being considered one of the most fertile and original masters of that art in the city, indeed being so proclaimed by Saint Saëns, that exacting critic. These are extremely interesting, never disappointing, and are listened to with the devouring attention of the Parisian, which it is earnestly to be wished might be exported in small quantities to America. Certainly mechanism seems to be wholly lost sight of while he guides the imagination of the hearer with clearness, certainty and ease. The one of January 18 was unusually happy. It must always be a surprise to an amateur to hear a man, after fifteen minutes deviation through musical form and color, return and pick up the thread of the original motive working it up into a solid and symmetrical finish. It is a pity that real improvisation is an unknown art in America, as with our imagination and well-balanced minds we should make beautiful musical stories. Tout à l'heure!
47With organ combination at his fingers' ends, M. Gigout is thoroughly cosmopolitan in his art, playing all schools with equal earnestness, and he is deeply respected for his solidity and intelligence. It is not generally known that he was a pupil of Clement Loret, and of Saint-Saëns, and of Niedemeyer, also of l'Ecole de Musique Religieuse, in which he has for twenty years been professor. He is, too, an officer of l'Instruction Publique, Commander of the Order of Isabelle la Catholique; is member of the College of Organists in London, and has a private "cours" in organ aside from private lessons, his organ at St. Augustine, and these recitals which he is carrying forward to such success. He also writes excellent musical criticisms, and withal is gentle, gentlemanly, attentive and kind to all people.
49Surely it is that some people have a wider grasp of execution than others.
51For those organists who write asking so earnestly for French programs I cannot do better than give those of the past recitals:
53Prélude et fugue en ut mineur (No. 6, 2me. livre)………….J. S. Bach
54"A la Nuit," mélodie………………………………………Gounod
55Intermezzo…………………………………………………Léon Boëllmann
56Offertoire sur des Noëls………………………………….The regular d'Harcourt pianist.
57Air du Sommeil (Armide)………………………………..Gluck (1712-1787)
58Marche des Rois Mages………………………………….Th. Dubois (of Madeleine)
59Chœur final de l'Oratorio de Noël…………………………..Saint-Saëns
60(Transcription paraphrasée par M. Gigout.)
61Ave Maria…………………………………………………Cherubini (1760-1842)
62Improvisation—
63Récit et air du Messe "Il guérira tous ceux qui souffrent"……………………………………………..Händel (1685-1759)
64Prélude et fugue en mi mineur (No. 10, 3me. livre)……..J. S. Bach
65Prélude en mi bé mol (No. 1, 8me. livre)………………J. Bach (1685-1750)
66Air d'Iphigénie en Tauride………………………………..Gluck
67Air d'Hippolyte et Aricie………………………………….Rameau (1683-1764)
68(With violoncello, harp and organ. Splendid effect.)
69Méditation…………………………………………………De Planchet
70Capriccio sopra la Girolmeta……………………………Frescobaldi (1587-1651)
71(Enthusiastic applause.)
72Andante et Finale………………………………………….J. Haydn
73(With 'cello and piano.)
75Now then! There's a composition, let it be as old as the hills, classic and ancient as one could wish! That has the "real call upon the people" of which Mr. Robt. G. Ingersoll speaks, meaning something which makes a universal impression of more than ordinary power. I think it was without any exception the most exquisitely elegant composition I ever listened to. The people went wild over it and no wonder. How I do wish Mr. Herbert would take time from his directorship duties to learn this to perfection if he does not already know it. With Agramonte for accompanist what a hit he could make some time. How I should like to be one of the company! The violoncello here was played by M. Jules Loeb, of l'Opéra.
77Pièce en sol mineur………………………………………A. Boely, 1785-1858
78Grand chœur (masterful and grand)…………………….A. Chauvet, 1889-1871
79Noël (great furore)………………………………………Léon Boëllmann
80Improvisation…………………………………………….Saint-Saëns
81Benedictus de l'Oratorio de Noël………………………….Saint-Saëns
82Soprano, baritone, harp-effective.
83Fugue en mi bémol, No. 1, livre 3……………………….J. S. Bach
85Following is a program of séance given by pupils of the organ school:
87Prelude en re (No. 3, livre 4)……………………………J. S. Bach
88Fantasia 5 parties (19-4)…………………………………J. S. Bach
89Sonate pour violon et piano……………………………..Corelli (1653-1719)
90Fantasie…………………………………………………….César Franck (1821-1890)
91Poco lento.
92All cantando.
93Quasi lento.
94Adagio.
95"La Cloche" (Victor Hugo)……………………………..Saint-Saëns
96Naiade (Armide)…………………………………………..Gluck
97Allegro de la 5 Sonate…………………………………..J. S. Bach
98Andante Sostenuto………………………………………..Eug. Gigout
99Three Rhapsodies sur des Cantiques…………………….Breton-Saint-Saëns
100Méditation pour violon et orgue…………………………Eug. Gigout
101Noël………………………………………………………..L. Boëllmann
102Fugue en sol mineur (No. 7, livre 4)…………………..J. S. Bach
104The compositions of M. Gigout have not been touched upon—an imposing list sufficient for the musical life work of any one man too long for repetition here.
106Fannie Edgar Thomas.
108Opera at Vienna.—The Opera at Vienna receives a subvention of 300,000 gulden from the Emperor, and shows a deficit of 160,000.
110Dresden.—Count Nicholaus Seebach has been named General Intendant of the Court Theatre. He is a man of considerable musical taste and knowledge.
112Dresden.—In the first fortnight in January the Dresdeners made the acquaintance of two new symphonies. One, D minor, by Sinding, had not been given before; the other, in D major, by Sgambati, was played for the first time in Dresden.
114Leon Margulies' Concert Bureau.
115Agency for Leading Artists and Musical Organizations.
116OFFICE, CARNEGIE MUSIC HALL, NEW YORK.
118SOLE MANAGEMENT OF
119MMR. LILLIAN NORDICA, Soprano; Miss THEODORA PFAFF-LIN, Soprano; MME. KATE ROLLA, Soprano; MME. SOFIA SCALCHI, Contralto; MME. SIGNE WOLF, Contralto; MME. ARISTOTA DIGNES, Contralto; MR. VICTOR DE GROMESKI, Baritone; MR. PLUNKET GREENE, Basso; Miss DORA VALESCA BECKER, Violinist; Herr ANTON HEGNER, 'Cello Virtuoso; Herr RICHARD BURMEISTER, Pianist; THE GERALDINE MORGAN STRING QUARTET; THE LINEFF RUSSIAN CONCERT AND OPERATIC CO.
120Agent for MME. AMALIA MATERNA and Herr EMIL FISCHER.
121Special engagement of Miss ELEANORA MAYO, Soprano.
122Also authorized to receive offers for concert engagements for the principal artists of Messrs. Abbey & Grau's Opera Company.
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