SubmittedFriday, 03 May 2019
Salle Pleyel
The first concert was given on 25 November, 1871, in the Salle Pleyel; and it is worthy of note that the first work played was a trio of César Franck’s. Since then the Society has given three hundred and fifty performances of chamber-music or orchestral works. The best known French composers and virtuosi have taken part as executants, among others: César Franck, Saint-Saëns, Massenet, Bizet, Vincent d’Indy, Fauré, Chabrier, Guiraud, Debussy, Lekeu, Lamoureux, Chevillard, Taffanel, Widor, Messager, Diémer, Sarasate, Risler, Cortot, Ysaye, etc. And among the compositions that have been played for the first time it is enough to mention the following:
César Franck: Nearly the whole of his works, including his Sonata, Trio, Quartette, Quintette, Symphonic Variations, Preludes and Fugues, Mass, Rédemption, Psyche, and a part of Les Béatitudes.
Saint-Saëns: Phaéton, Second Symphony, Sonatas, Persian Melodies, the Rapsodie d’Auvergne, and a quartette.
Vincent d’Indy: The trilogy of Wallenstein, the Poême des Montagues, the Symphonie sur un thème montagnard, and quartettes.
Chabrier: Part of Gwendoline.
Lalo: Fragments of the Roi d’Ys, Rhapsodies and Symphonies.
Bruneau: Penthésilée, La Belle au Bois Dormant.
Chausson: Viviane, Hélène, La Tempête, a quartette and a symphony.
Debussy: La Damoiselle élue, the Prélude à l’après-midi d’un faune, a quartette, pieces for the pianoforte, and melodies.
Dukas: L’Apprenti Sorcier, and a sonata for the pianoforte.
Lekeu: Andromède.
Alberic Magnard: Symphonies and a quartette.
Ravel: Schéhérazade, Histoires Naturelles, etc.
Saint-Saëns was director with Bussine until 1886. But from 1881 the influence of Franck and his disciples became more and more felt; and Saint-Saëns began to lose interest in the efforts of the new school. In 1886 there was a division of opinion about a proposition of Vincent d’Indy’s to introduce the works of classical masters and foreign composers into the programmes. This proposition was adopted; but Saint-Saëns and Bussine sent in their resignations. Franck then became the true president, although he refused the title; and after his death, in 1890, Vincent d’Indy took his place. Under these two directors a quite important place was given to old and classical music by composers such as Palestrina, Vittoria, Josquin, Bach, Händel, Rameau, Gluck, Beethoven, Schumann, Liszt, and Brahms. Foreign contemporary music only occupied a very limited place. Wagner’s name only appears once, in a transcription of the Venusberg for the pianoforte; and Richard Strauss’s name figures only against his Quartette. Grieg had his hour of popularity there about 1887, as well as the Russians–Moussorgski, Borodine, Rimsky-Korsakow, Liadow, and Glazounow–whom M. Debussy has perhaps helped to make known to us. At the present moment the Society seems more exclusively French than ever; and the influence of M. Vincent d’Indy and the school of Franck is predominant. That is only natural; the Société Nationale most truly earned its title to glory by discerning César Franck’s genius; for the Society was a little sanctuary where the great artist was honoured at a time when he was ignored or laughed at by the rest of the world. This character of a sanctuary was kept even after victory. In its general programme of 1903-1904, the Society reminded us with pride that it had remained faithful to the promises made in 1871; and it added that if, in order to permit its members to keep abreast of the general progress of art, it had little by little allowed classical masterpieces and modern foreign works of interest on its programmes, it had, however, always kept its guest-chamber open, and shaped many a future reputation there.
this was: Salle Pleyel
go to next chapter: French music has been derived
