Scan 7
Musical Courier 1898-01-05: Vol 36 Iss 931, 1898
50 lines. Read by computer on 21 September 2026. Printed page 8. See the scan on archive.org.
A town on its own line is one of the directory's headings. That is where the town on a maker's page comes from.
1PARIS.
3ALPHONSE DAUDET.
5PARIS, December 20, 1897.
7THE death knell again in the air. These white clouds trailing through the place, shrouding street from street and man from his fellow, seem part of the great mystery that has taken off out of his place into space another clairvoyant spirit. Where, why, what for, this taking off? Discouraging to the weak, inspiration to the strong, the disappearance; to the thoughtful it speaks the futility of a futile life or the cause and impulse of all deficiency.
9Although fading out of life these last twenty years, Daudet's death has been shockingly sudden. An invalid, object of care and solicitude always, such had come to seem his normal condition. All the more so that the life principle remained exceptionally clear and vibrant to extinction.
11Dining with his family, suddenly the fatal clutch at his throat of the coward Death, that has crept in at his feet, not daring to attack the noble intelligence, and before he is laid on his bed he is in eternity. At luncheon of the same day he felt for the first time the peculiar tug at the muscles of the throat which in such cases means that the enemy has mounted to the top rung, that escape is impossible. It was taken, however, as an accident of swallowing, and so the end stole on him to the very last.
13Two days previously it seems he made some slight allusion to a possible change in speaking with his friend Léon Hennique, with whom he was working to make a drama from "La Petite Parvisse." His last years have been spent in an invalid's chair, a cover over his knees, and among his inseparable companions a little opium syringe, with which the spasms of rheumatic like pains were allayed even while engaged in conversation or occupation. Charcot, who had been a friend of the family, it seems had diagnosed the case and given warnings. Strange as it may seem, the novelist in a way resented the dread message. At least, from being a strong friend of the celebrated doctor, having dedicated to him his "Evangeliste," a coolness grew between them which never again warmed. It was in writing "Sapho" in 1882 that he experienced the first symptoms. His wife, his sons Léon and Lucien, his daughter Edmée and his brother Ernest, who had been like a father to him, were about him when he died. Léon, it seems, was his favorite, if such could exist in the deep affection he held for his children. But the latter's success in letters was a source of special pride. Goncourt, Hennique, Loti, Jules Lemaitre, Massenet, Zola, Octave Mirabeau and Edouard Drumont were among his near friends. His death occurred the same day of the month and week as that of Goncourt.
15He was but fifty-seven years of age and had had thirty years of literary life. The French love to speak of him as "The French Dickens." His last work, "Soutien de Famille," was just completed. It appeared in serial form in Illustration. He was very proud of the success of "Sapho" both in prose and music. But recently moved into the home in which he died, Rue de l'Université, near the Chamber of Deputies, he had planned having a "Pendre la Cremaillère" or house warming in a week or so, a fête at which Calvé and Réjane were both to be present. He it was, with Massenet, who chose Calvé to be the creator of Sapho.
17His head is spoken of as a "Christ head," "cameo head." His life, in fact, had been one long martyrdom to illness, so that in sort his soul, born a mondaime passionne, had become spiritualized. Patience, pity and ineffable goodness had grown out of his sufferings. Moncel the sculptor, he who is making the bust of Alexandre Dumas for the Academy, is already at work on the head of Daudet. Probably never in case of death of a celebrity was newspaper praise so unanimous, so sincere and so eulogious.
19The funeral took place this morning in the Church Ste. Clothilde, in the St. Germain quarter across the Seine, almost back of the home of Pauline Viardot, the church of which César Franck was the revered organist, and where Gabriel Pierné is his successor as organist and M. Samuel Rousseau is maître de chapelle. Massenet had charge of the music. Motives from Bizet's "Arlesienne" were played as entrée by M. Pierné. "Rose des Morts" was sung by MM. Auguez and Clement of the Opéra and Opéra Comique. "Solitude," by Massenet, for violoncello; "Sanctus," for organ, by M. Dubois; Massenet's "Pie Jesu," a violin solo from "Arlesienne," and "Libera," by Samuel Rousseau, were other selections. Daudet was passionately fond of music, especially of Bizet and Brahms.
21Everybody in the world of letters and art, with a large body of society and a solid mass of admirers of his works who did not know the man, were at the church and followed the procession to Pere Lachaise cemetery. Zola, Lemaitre, Drumont, Hennique, Hebner, his secretary, and Hervieu were pall bearers. George Hugo was among the members of the family who followed the chariot of flowers. Zola delivered the funeral address at the tomb. Bernhardt, Calvé and Réjane were among the sorrowing company.
23Calvé unfortunately took cold by the exposure and "Sapho," in which she was to appear in the evening, had to be suddenly changed at the last moment. To graciously appease the immense house which had assembled to greet the actress, M. Carvalho not only presented them their tickets for the next "Sapho" performance, but gave them the change of bill, "Barber of Seville," gratis.
25Calvé has been beset by newspaper requests for "impressions of Daudet," "thoughts of Daudet," "opinions of Daudet's works," &c. These things annoy rather than please her. "There is no logic in that sort of thing," she says, with some spirit. "Where is the sense of coming to me, an actress, an interpreter, poor, simple me, to pass judgment on the works of a great creator like Daudet. Why should I. I am occupied with my roles and my voice and my acting. It is not my work. And then, I am not a writer. They try to get me to write and then turn round and laugh at my want of style? Why do not their writers do that sort of thing whose business it is? Nobody thinks of asking a writer to give acting scenes as illustrations of their consideration of a subject!"
27The beautiful Sapho is also nervous over private criticisms and well-meant advices of friends and acquaintances. Those, indeed, more than the professional critics, disturb her. "One tells me I make too much gesture; another I show too much feeling; another this; another that. How can I modify my gestures? I am meridional! See, while I talk I make gestures all the time. I cannot express an idea without. Well, if I stop all this by force on the stage will I be myself? Will I be acting naturally or will I be a—mannikin? Oh, I wish people would let me alone! I wish there were no traditions; that is, I wish to heaven it were not all tradition, as it is in France. They don't watch and think the play. They watch to see if you do everything exactly as others have all done it before. Oh, my dear America! Ah, how often I sigh for America! One is so free there—and so loved!
29Calvé, too, is to give a "pendre la crémaillère" or house warming for her pretty new home in the Place des Etats Unis. It is an exquisite little nest, much more elegant and conventional than the artistic boudoirs of the Avenue Montaigne. Sweetest of the roms is her "salle d'étude," as perfect a den as one would wish to have, and of which she is justly proud. Her latest toy is a superb three-quarter portrait in oils as Sapho. Positively, she is the most glorious looking creature alive, in superb health, her voice at its very best.
31This expression, "pendre la crémaillère," signifies "hang the crane in the chimney," and refers to the old usage of a portable hanger swinging out of the large fireplace over the fire, and on which the great pot or oven containing the pièce de résistance of the feast was hung. It is used to mean house warming, as we have it, or good cheer on entering a new home.
33Her new home is almost vis-à-vis with that of Emma Eames. The two prima donnas are now the best of friends. Ever since the latter's illness peace has been concluded forever. The gentle, sympathetic attention of the meridional French woman, who has the best and most tender of hearts, is no doubt responsible for this.
35Paris is now the headquarters of many notable songbirds. Calvé and Eames in the Place les Etats Unis; Melba in the Prony St. Monceau Park quarter; Sibyl Sanderson Terry, 104 Champs Elysées, near the Arc de Triomp; Emma Nevada, Avenue Wagram; Suzanne Adams, Place Wagram; Van Zandt, Avenue d'Ijena, and Nilsson, Clement Marot.
37Fate seems to care for the tension of the French nerve. Besides the death of Daudet, distraction from the painful patriotic conditions has been offered by the uncovering of the dust of Voltaire and Rousseau in the Pantheon, the result of a historical polemic; by the discovery of seven new Panama thieves (!); by discovery of the false imprisonment for twenty years (!) of two good men, for whose misfortune and death the state is held accountable to the extent of 150,000 francs; by Sara Bernhardt's sensational socialistic play, which causes much disturbance, even to the extent of people's leaving the theatre; by the Opera House ball, at which electricity was made to aid in the festivity, and by the eighty-seventh representation of the "Damnation of Faust."
39The old Chatelet on Sunday was packed as closely as it was four years ago, although the chef d'œuvre has been incessantly given ever since. M. Colonne, still confined to his house, was replaced by his sous-chef, Mr. La-porte. The orchestra was in excellent order. Marcella Preger, the ideal Marguerite of the work, fortunately in the city, sang the role. It was faultless to the point of absolute perfection. Her voice has grown without losing any of her exquisite timbre, and her finish of execution is something remarkable.
41The only thing to be regretted is the absence of M. Fournets as Mephistopheles. Engaged at the Opéra, he was replaced by a singer good enough in other styles, but absolutely bad as the Devil. It is impossible to imagine a part losing so much by treatment at different hands. Indeed, it must lose as sung by anybody but M. Fournets. Attention was as intense as though the composition were being heard for the first time.
43The electricity at the Opéra ball was managed by means of a keyboard, every note of which lit 500 lamps at one pressure. Colors were made to harmonize with the phases of the dance. Quite a sensation was produced by a novel and graceful effect, and still greater effects are promised in the future.
45The well-known singing teacher, Mme. Renée Richard, a great favorite at the Paris Opéra House and one of the youngest and most beautiful of the professors here, has been engaged to give a series of concerts in Austria and Germany. She leaves Paris in January.
47Mr. Henneman, of St. Louis, has just reached Paris, with his wife, to take a course of instruction with M. Brighlia. He is already delighted with his teacher and the efficient manner of taking hold of the needs in his case. Mr. Henneman was a child singer and later member of choir and chorus, and an earnest piano student. He graduated from the Munich Conservatory. He understands harmony and has already written. Returning from Italy, he speaks of the bad pianos there, the loud accompaniments, and the talking through music. The Italian vocal emission and the language, however, are second to none, he claims. He expects to remain in Paris till spring. Mr. Henneman is an exceptionally earnest singer and teacher.
49In M. Philipp's concert this evening three songs of M. Widor were sung, "La Nuit," on words by Paul Bourget; "Silence Ineffable," by the same poet, and "Le Doux Appel." All three were charmingly novel and excellently written. They were sung by Mlle. Holmstrand, of the Monnaie, accompanied by the accomplished author himself. He was looking remarkably well and had a cordial reception. There were three songs likewise by G. Pierné and a novelette for piano by M. Philipp won much applause. These concerts
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