Fauré had taught at the Conservatoire since 1886. Enthusiasm for Beethoven and his music had reached Paris via the returning Napoleonic bandsmen—the oboist Gustave Vogt, for instance—and the acquisition of Beethoven’s scores by the Conservatoire library in the 1820s. (7) PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). after Bloom, op. Cited, following Constant Pierre, in Catherine Massip, “La Bibliothèque de Conservatoire (1795–1819): une utopie réalisée?”, Bongrain 1996, 118. (15) Paris: Firmin-Didot, 1887. La Musique à Paris sous l’Occupation. Students were expected to participate in the appropriate classe d’ensemble—orchestra or chorus—and other public exercices. 21st June, 2016. Gustave Chouquet, Le Musée du Conservatoire de Musique: Catalogue raisonné des instruments de cette collection (Paris: Firmin-Didot, 1875); new edn. “Gabriel Fauré au Conservatoire de Paris: une philosophie de l’enseignement.” In Le Conservatoire de Paris (Bongrain 1996), 219–234.Find this resource: Pierre, Constant. Conservatoire International de Musique PARIS 16 (@conservatoireparis16) Bienvenue au Conservatoire International de Musique PARIS 16 ! Governance and administration was by the members, or sociétaires, themselves, following statutes adopted at the inauguration and which held, in most principles, until the dissolution. (32) (11) “Works of masters from every epoch and nation,” Sarrette proclaimed at his inauguration (October 1796), “must be assembled in the Conservatoire library, offering to the research of young artists the lessons of true knowledge.”26. (The leading singers at the Opéra were typically sociétaires as well, making extended opera excerpts possible.) Specifically pour servir à l’enseignement de la clarinette à anneaux mobiles et de celles à 13 clés (Paris: J. Meissonnier, 1843). Yet Peter Bloom cautions that the archival to-do list remains daunting: collecting, publishing, and interpreting Cherubini’s massive correspondence, for instance, is far from done.41. Among the early method books were the Méthode de Violon par MM. Recent research has documented the complexity of the Conservatoire’s response to the Occupation (1940–44). The orchestra was soon made up almost entirely of famous-name professors and premiers prix, almost without exception French and graduates of the Conservatoire. In 1964 the Music Department relocated to a new building at 2 rue Louvois, adjacent to the main library in the rue Richelieu, where it continues to yield up its secrets as modern library science and database initiatives gain control of ever more of its treasures.30, (A teaching collection and some early materials remained at the Conservatoire in the rue de Madrid until 1989, then became part of the Médiathèque Hector Berlioz at the new Conservatoire. The program in orchestral conducting evolved from the classe d’ensemble/classe d’orchestre assigned to Edme-Marie-Ernest Deldevez in October 1873, from which a formal program was introduced in 1914, the work of Fauré and his successor, Henri Rabaud.17 This project encountered the usual impediments, including instrument teachers who objected to having their students drafted into a training orchestra; but by the time of Rabaud’s deft proposal for the new class (April 1912), the arguments in favor were incontrovertable. Then in 1946, he, became the National Conservatory of Music and in, December 1990 it moved to the Cité de la Musique in, La Villette under the name of the Conservatoire, National Supérieur de Musique et de Danse de Paris, (CNSMDP). Here the livid Cherubini, of cadaverous face, sunken eyes, and bristling hair, limps forward to identify the intruder: “Sir,” says Berlioz “my name will perhaps be familiar to you one day—but you shall not have it now.”, “S-S-seize ‘eem,” Cherubini says to the porter Hottin (later Berlioz’s own employee). Quotidian matters of funding and oversight cropped up every year, and, with the increasing involvement of ministers and legislators in academic affairs, came an often-problematic cahier des charges associated with each new funding cycle.1 For all that, the most remarkable characteristic of the Conservatoire during the nineteenth century was its constancy, the result of widespread agreement as to its mission and of its graduates’ conspicuous profile in the world at large. The dialectic of old and new, particularly the marked conservatism of the audience and the professors squaring off against the progressive agendas of the younger generation, intensified as music by living French composers found less favor than the ongoing worship of Beethoven, Haydn, and Mendelssohn. Indeed the primary exposure of the students to the real world of public performance came by way of these exercices publics.9 Shortly after the Société des Concerts was established in 1828, the student orchestra was called the Société Mineure des Jeunes Élèves de l’École Royale de Musique and offered concerts d’émulation—that is, in imitation of their elders. Catherine Massip, “La Bibliothèque de Conservatoire (1795–1819): une utopie réalisée?”, Bongrain 1996, 117, Florence Gétreau, “Un cabinet d’instruments pour l’instruction publique: faillite du projet, ouverture du débat,” Bongrain 1996, p. 134, Catherine Massip, “La Bibliothèque de Conservatoire (1795–1819): une utopie réalisée?”, Bongrain 1996, 118, Catherine Massip, “La Bibliothèque de Conservatoire (1795–1819): une utopie réalisée?”, Bongrain 1996, 120, D. Kern Holoman, “Orchestral Material from the Library of the Société des Concerts.”, Gétreau, “Cabinet,” Bongrain 1996, 133–150, Jean-Michel Nectoux, “Gabriel Fauré au Conservatoire de Paris: une philosophie de l’enseignement,” Bongrain 1996, 219–234, Marguerite Sablonnière, “Claude Delvincourt et les Cadets du Conservatoire: une politique d’orchestre, 1943–1954,” Bongrain 1996, 261–281, Jean-Marc Warszawski, “Le Conservatoire National sous l’Occupation: Jacques Chailley, l’histoire et la mémoire,”, Jean Gribenski, “L’exclusion des juifs du Conservatoire (1940–1942),” in, Antoine Elwart’s foundational study of the Société des Concerts (1860), areditions.com/rr/special/S_Paris_Conservatoire_Set.html, oxfordmusiconline.com/subscriber/article/grove/music/40089pg4, http://www.irpmf.cnrs.fr/etudes-et-documents-de-l-irpmf-en/corpus/article/le-conservatoire-de-musique-de?lang=fr, E’en now doth Nature greet returning day…, Déjà d’un doux éclat l’horizon se colore…, E’en now with lustre soft th’ horizon glows…, Déjà du blond Phœbus le char brillant s’avance…, E’en now blond Phoebus’ shining car draws near…, Déjà de pourpre et d’or les monts lointains se parent…, E’en now in purple pomp the mountains decked…. But if the Société des Concerts was never especially successful at fostering a school of French symphonists, it showed serious commitment to cantatas and oratorios that could feature both chorus and orchestra (for example Théodore Dubois’s Les Sept Paroles du Christ, 1872; Franck’s Les Béatitudes, 1882; Gounod’s Mors et Vita, 1884—though more frequently as excerpts than as full productions). By then the Conservatoire was well embarked on an overall transformation toward the international standing and modern curriculum of its present. with introduction and index by Florence Gétreau. National Conservatory of Music and Drama. Universities related to Conservatoire de Paris. Notes sur les bâtiments et l’installation du Conservatoire National de Musique. Napoleon, sharing its philosophies, continued to support the Conservatoire as consul and emperor. Les cours de danse classique sont accessibles à partir de classe scolaire GSM pour les débutants, et CM2 pour les non débutants. Such teachers as Gossec, Méhul, Le Sueur, Halévy, Daniel-François-Esprit Auber, Adolphe Adam, and Ambroise Thomas produced a strong lineage of outstanding and influential French composers. (10) La vocation du Conservatoire International de Musique PARIS 16 est de mettre en relation des élèves avec des professeurs indépendants, et de les accueillir dans des locaux adaptés à la pratique et à l'enseignement de la musique. Bienvenue sur la chaîne YouTube du Conservatoire International de Musique PARIS 16 ! Baillot, Rode, et Kreutzer, membres du Conservatoire de Musique, rédigée par Baillot, adoptée par le Conservatoire pour servir à l’étude dans cet établissement (Paris: Mme Le Roy) as compiled by Baillot; and his subsequent L’Art du violon (1834).12 Today among the most employed are Hyacinthe Klosé’s Méthode complète of 1843 for the Buffet-Crampon clarinet,13 widely disseminated as Klosé’s Conservatory Method (Boston 1879ff.) Fidèle à sa tradition humaniste, le Conservatoire s’attache à encourager la création artistique en lançant une bourse destinée aux jeunes talents.  Berlioz Mémoires and Cairns translation, see n. 3. It stood at the juncture of most Parisian musical enterprise: its graduates staffed the major theaters, onstage and in the pit; served as consultants and participants in the development and manufacture of the modern orchestral instruments; and composed the competition solos and wrote the method books that served music pedagogy all over the world for much of the nineteenth and twentieth centuries. AIMS 2020-21 : deux artistes du Conservatoire de Paris en résidence à Saint-Denis. A la suite des dernières annonces gouvernementales et notamment de l’avancement du couvre-feu, les cours s’arrêteront à 18h dès ce samedi 16 janvier 2021. Reserve a table at Le Conservatoire, Paris on Tripadvisor: See 34 unbiased reviews of Le Conservatoire, rated 3.5 of 5 on Tripadvisor and ranked #12,645 of 18,116 restaurants in Paris. Soon afterward Clapisson donated 80-some secondary items. Subscriptions were passed from fathers to sons (but not wives or daughters; a special vote had to be taken to accommodate Mme Habeneck after her husband’s demise). A la suite des dernières annonces gouvernementales et notamment de l’avancement du couvre-feu, les cours s’arrêteront à 18h dès ce samedi 16 janvier 2021. The Conservatoire de Paris , also known as the Paris Conservatory, is a college of music and dance founded in 1795. These had been placed in a dépôt national de musique in the rue Bergère (the hôtel Doué). Dates : Le 18/06/2019 de 19h30 à 21h00. Cours de Chant, cours de Piano, cours de Violon, cours de … Habeneck oversaw orchestral activities at the Conservatoire from the time he led the student orchestra from the front desk until the end of his career on the podium of the Société des Concerts. The young Hector Berlioz, attempting to visit the library on one of the days it was open to the public and ignorant of the custom, managed to take the wrong entry, with the consequences so vividly related in chapter 9 of his Mémoires. Meanwhile there was serious competition from outside its walls: from other conservatories (the École Niedermeyer, for church musicians, 1850s; later, Guilmant and d’Indy’s Schola Cantorum, 1894, and Cortot’s École Normale de Musique, 1919); from progressive composer alliances like the Société Nationale (1879) and its search, under Franck, for a true Ars Gallica; and from the many concert-giving societies born from the very success of the Société des Concerts—the Pasdeloup, Lamoureux, and Colonne ochestras, to name the most successful. Today’s museum is a triumph of the French manière of museology (visual, sonorized, interactive), with permanent and rotating exhibitions and ample space for performances and public encounters. (38) ... See more of Conservatoire International de Musique PARIS 16 on Facebook. Here the master will deposit his works, safe there to earn posterity’s admiration—a lasting reputation, not merely ephemeral applause.”27. Vichy and Provisional Governments, 1940–46, Table 2 Directors of the Conservatoire to 1920, François-Louis Perne 1816–22 (“inspecteur général des études”), Table 3 Conductors of the Société des Concerts, This essay focuses on the musical institution from its reemergence during the Bourbon Restoration—that is, under Luigi Cherubini2 and his successors—to the watershed appointment of Fauré, who had not attended the Conservatoire, as its director in 1905.3. The curriculum consisted of classes in harmony and counterpoint before individual lessons, much like composition study today. In 1900 Constant Pierre (1855–1918) published a monumental compilation of “historical and administrative documents”—over 1,000 pages—wherein may be found such essential documentation as lists of all prize winners and professors, and texts of all the relevant legal decrees. (14) These teaching instruments were deposited at the Musée Instrumental in 1969; among them a dozen were identified in 1990 as having come from property seizures during the Revolution.31, The notion of preserving the patrimoine instrumental prevailed, just as a new generation of improved orchestral instruments was gaining a permanent foothold in the orchestra; in the 1860s it coalesced into the Musée Instrumental of the Conservatoire (not to be confused with the museum of the same name at the Royal Conservatory in Brussels). Le Conservatoire régional ferme à cause de 35 cas positifs au coronavirus parmi les élèves. teachers, jury members ... : Debussy, Ravel. Compensation was by an annual division of the proceeds into equal shares (the conductor and eventually the principal players receiving more than one share). David Cairns (New York: Knopf, 1969, and multiple later edns.). The Musée in the rue de Madrid was still a hodge-podge, gloomy place, but Thibault led it to be taken seriously, supporting the nascent early music movement and paving the way for the formidable museum that succeeded it.34, The affaire Ravel broke out in 1905, when on his fifth attempt at the Prix de Rome, Ravel failed the preliminaries, summarily ending his already checkered career at the Conservatoire. Paris: Imprimerie Nationale, 1900.Find this resource: Pierre, Constant. Bienvenue au Conservatoire International de Musique PARIS 16 ! 22), beginning: Neither Ernest Chausson nor Maurice Ravel won the prize—nor did Manet or Degas in painting; and many of the winners left behind little of lasting merit. The language of 1795 comes nearly verbatim from the decree founding the Institut National, November 1793, cited in Florence Gétreau, “Un cabinet d’instruments pour l’instruction publique: faillite du projet, ouverture du débat,” Bongrain 1996, p. 134. The Prix de Rome in composition (sojourns in Rome and sometimes Germany, major public performances, and a handsome multiyear stipend) drew ambitious young composers to the Conservatoire from the beginning. The other, rather younger, principal designer of the Conservatoire was the violinist/conductor François-Antoine Habeneck (1781–1849), who had matriculated there in 1801 and left with his premier prix just three years later. Officially known as the Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP), it is situated in the avenue Jean Jaurès in the 19th arrondissement of Paris, France. Concertos occupied an important place in the repertoire, owing equally to the popularity of the soloists, often foreign (Mendelssohn in 1832, Liszt and Chopin in 1835, Clara Schumann in 1862), who were drawn to Paris and to the remarkable new instruments to be heard there. Charlton, David, “Paris, §VI: 1789–1870,” Grove Music Online/Oxford Music Online, oxfordmusiconline.com/subscriber/article/grove/music/40089pg4. Le Conservatoire de Paris, 1795–1995: des Menus-Plaisirs à la Cité de la Musique (Bongrain 1996). See a summarizing chart by D. Kern Holoman, “Orchestral Material from the Library of the Société des Concerts.” 19th-Century Music 7, no. © Oxford University Press, 2018. For the Conservatoire had carved out for itself a secure place in the national patrimony, a heritage widely recognized as contributing to the fundamental strength of the nation. (37) Low on creature comforts but long on cachet, the Salle des Concerts du Conservatoire (or Salle des Menus-Plaisirs) was possessed of enviable acoustics—“the Stradivarius of concert halls,” according to Antoine Elwart.7 When occupied by the Société des Concerts in 1828 it became the locus of weekly presentations each season by the Conservatoire’s leading figures, offering a repertoire founded in the symphonies of Beethoven and Haydn and a few remnants of ancien régime tradition to a public made up of titled aristocrats, political leaders, and intellectual giants from George Sand to Jean Cocteau and beyond. In principle all “living” instruments were taught, though a separate class in viola was not added until 1894 (under Théophile-Édouard Laforge, then Maurice Vieux).10 Harpsichord was dropped after the first year and only reintroduced, as part of the early music program, in 1950 (Robert Veyron-Lacroix, etc.). The chorus, in its search for a cappella repertoire, made great headway in music of such Renaissance composers as Costeley, Lassus, and Palestrina. Heilbronn: Galland, 1998.Find this resource: Devriès-Lesure, Anik. The preliminary round—a counterpoint exercise or fugue—was the equivalent of the black-and-white sketch required of the artists. Emmanuel Hondré, “Liste des professeurs du Conservatoire des origines à nos jours,” Le Conservatoire de Paris (Hondré 1995), 281–300. The Société des Concerts du Conservatoire, 1828–1967. Danse: à partir de la grande section de maternelle, jusqu’aux candidats de niveau terminale à la rentrée de l'année en cours. A provision of the employment of the professors was that they contribute official method books (méthodes) appropriate to the curriculum and not based on foreign models.11 Among the earliest, and certainly most influential, of these was Charles-Simon Catel’s Traité d’harmonie (1802; the title continues: par Catel, membre du Conservatoire de Musique, adopté par le Conservatoire pour servir à l’étude dans cet établissement; later modified to boast adopté par le Conservatoire imp. The best recent account of the affaire is found in Roger Nichols, Ravel (New Haven; Yale University Press, 2011), 61–65. The political, educational, and social upheavals of the 1960s resulted in wholesale revision of longstanding practices in French arts and education: a national political scheme for music (the Landowski Plan, 1964), for instance, and subsequent government programs focused on the regional and municipal conservatoires. Papillon de la Ferté left a comprehensive journal, first published in 1887: Journal de Papillon de La Ferté, Intendant et Contrôleur de l’Argenterie, Menus-Plaisirs et Affaires de la Chambre du Roi, 1756–1780, ed. November 28, 2020 at 6:04 AM. Students were admitted by competitive audition and remained at the Conservatoire until they left with a prize or were dropped from the rolls: thus the academic year centered on the concours d’entrée in October or November and the concours pour les récompenses in June and July. These were vital, of course, to the composition program and, later, to the training of conductors. See Jean-Michel Nectoux, “Gabriel Fauré au Conservatoire de Paris: une philosophie de l’enseignement,” Bongrain 1996, 219–234. (25) It has a unique gift, the result of the individual merit and artistry of its members. Le Conservatoire de Paris, 1795–1995: deux cents ans de pédagogie. with introduction and index by Florence Gétreau (Geneva: Minkoff, 1973). The collection summarized and lavishly pictured in Philippe Blay et al., Musée de la Musique, Paris, Guide (Paris: Réunion des Musées Nationaux/Musée de La Musique, 1997). From 1862, the library was located above the foyer and grand stairwell of the Salle des Concerts—in the attic, that is, just under the rafters.28 The librarians included the abbé Roze (from 1807), followed by Auguste Bottée de Toulmon (from 1831), Berlioz (from 1850), Félicien David (from 1869), and Jean-Baptiste Weckerlin (from 1876). The new museum so constituted opened November 20, 1864. Paris: M. Senart, 1917. Le Conservatoire Russe Alexandre Scriabine a été fondé à Paris en 1997 par un groupe de professeurs russes. Lavergne in 1951 and modified by Gonzalez in 1981. 15 (1847), is among those identified as “adoptée au Conservatoire National de Musique.” Also carrying the institution’s name were two volumes of Charles-Valentin Alkan’s Souvenirs des Concerts du Conservatoire for solo piano (1847, 1861); a two-volume edition of the symphonies of Beethoven “dédiée à la Société des Concerts du Conservatoire, et revue par Fétis” (1841); Gounod’s Répertoire des Concerts du Conservatoire …: quatorze grands chœurs à quatre voix avec accompagnement de piano (1884); Henry Expert’s collection of choral Répertoire de la Société des Concerts du Conservatoire de Paris extrait des Maîtres Musiciens de la Renaissance française (Paris, 1906); and 170 volumes of the symphonic concert repertoire reduced for piano. Cours de Chant, Piano, Violon, Guitare, Batterie, Flûte Traversière, Saxophone, Clarinette, Éveil Musical, Chorale, Orchestre. There are precious scale models of the various concert halls associated with the Conservatoire, including the Salle des Concerts before its Pompeiian renovation of 1865 and the Salle du Trocadéro (1878, demolished 1937), with its Cavaillé-Coll pipe organ, where Saint-Saëns’s Third Symphony (“Organ”) was first offered to the French by the Société des Concerts in 1887.39. Not Now. Paris: Réunion des Musées Nationaux/Klincksieck, 1996.Find this resource: Gétreau, Florence. Paris: S.E.V.P.E.N., 1971.Find this resource: Elwart, Antoine. (28) It was typical of the Republican mindset to arrange access to these treasures methodically: the library was open to the public from 10 until 12 on the days 2–4 of each 10-day week; to the students on days 6–8; and reserved on days 1, 5, and 9 for cataloging and shelving. Introduction. La Société des Concerts du Conservatoire de 1828 à 1897; les grands concerts symphoniques de Paris. transl. ), Flûte harmonique 8 - Prestant 4 - Plein Jeu IV, Diapsaon 8 - Flûte traversière 8 - Gamba 8 -, Voix celeste 8 - Flûte octaviante 4 - Nasard 2 2/3 -, Octavin 2 - Tierce 1 3/5 - Basson-Hautbois 8, Soubasse 32 - Soubasse 16 - Basse 8 -Flûte 4 -, because it is the distant successor of the instrument, it seems that it contains material from Cavaillé-Coll, and a study might show that it contains pipes, The Paris Regional Conservatory is located. Conservatoire International de Musique PARIS 16. Letter 6 April 1912, Henry Rabaud to Gabriel Fauré, transcribed in Laurent Ronzon, “L’enseignement de la direction d’orchestre à ses débuts,” Hondré 1995, 198–201. Singers had supplemental training in expressive diction (déclamation, a trademark of French oration) from noted actors, and in posture and carriage from professional dancers. The Conservatoire de Paris (pronounced [kɔ̃.sɛʁ.va.twaʁ də pa.ʁi]; English: Paris Conservatory) is a college of music and dance founded in 1795. Since its establishment by legislative decree of August 3, 1795 (16 Thermidor, year III of the Republican calendar), the Paris Conservatoire has functioned as the gateway to the upper echelons of classical music in France—much as, say, the younger “Sciences Po” (originally the École Libre des Sciences Politiques, 1871) has from its beginnings provided the nation’s political and diplomatic leadership. La Société des Concerts du Conservatoire: notice historique par Jean Cordey, conservateur de la Bibliothèque et du Musée de l’Opéra. de musique et par tous les conservatoires de France et de l’étranger). Balmary, Anne. Together with the Opéra and to some extent the music (composition) section of the Académie des Beaux-Arts, the Conservatoire dictated the substance of French musical culture—the élite sort, anyway—from the Revolution to the Belle Époque and beyond. The Conservatoire offers instruction in music and dance, drawing on the traditions of the "French School". Nearly all the major French composers of the nineteenth century passed through the Conservatoire, with its faculty of a half-dozen active composers who provided entrée to the best opportunities in the capital. cit. 40, Le Rouet D'Omphale Op. and Arban’s Complete Conservatory Method (New York, 1936ff.). Sarrette’s associates in establishing the principles of the institution were five “inspectors of teaching” (inspecteurs de l’enseignement), all of them important composers: Étienne Méhul (1763–1817), André Grétry (1741–1813), Gossec, Jean-François Le Sueur (1763–1837), and Cherubini (1769–1842). transl. Paris: Buchet/Chastel, 1996.Find this resource: Bongrain, Anne, and Alain Poirier, with Marie-Hélène Coudroy-Saghai, eds. Founded to populate the new French Republic with bandsmen and theater artists, theorized as a branch of public education, the Paris Conservatoire developed into and through the nineteenth century with sagacity and prescience. Peter Bloom, review of Hondré 1995, Notes 52, no. In addition, hundreds of instrumental solos were composed for use in the curriculum, both as sight-reading exercises and as set pieces for competitions and juries.14 These accumulated, as a modern editor has observed, into the core of the instrumental teaching repertoire today. The widely reprinted photograph (HERE) was by Eugène Pirou, 1895. I confirm that I am over 16 years old and I am happy to receive newsletters and up-to-date information about Top Universities, Top MBA and QS Leap. Fauré enjoyed a long, mostly productive tenure, through World War I and on into 1920. Paris, France. But in fact Dubois had decided to resign well before the prize competition, and Ravel’s two principal detractors at the Academy, Charles Lenepveu and Émile Paladilhe, held scant claim to the compositional stature traditionally enjoyed by directors of the Conservatoire. Yves Gérard, in preface to Hondré 1995, 4–5; transl. (16) Le Conservatoire Municipal du 16e arrondissement - Francis Poulenc est l’un des 17 établissements d’enseignement artistique spécialisé en danse, musique et art dramatique de la ville de Paris. At one point we find Sarrette going off with Catel and Cherubini to choose books for the nascent library. Berlioz, having stood four times before winning the award in July 1830, took a bemused view of the proceedings, especially the stereotypical texts he satirizes in the Mémoires (ch. (35) Conservatoire National des Arts et Métiers February 16, 2018 Stan Lemeshow College of Public Health The Ohio State University Global significance. 16e Nord : … 2 (Autumn 1983), p. 115. For instance Eugène Jancourt’s method for the Buffet bassoon, called Méthode théorique et pratique en 3 parties, op. Le Conservatoire Municipal du 16e arrondissement - Francis Poulenc est l’un des 17 établissements d’enseignement artistique spécialisé en danse, musique et art dramatique de la ville de Paris. Three sides of a courtyard were surrounded by the academic buildings, entered from the rue du Faubourg-Poissonnière through a decorative portal and a vaulted passageway. Use of the concert hall was limited, with rare exceptions, to functions sponsored by the school. (9) Currently known as the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP), it is situated in the avenue Jean Jaurès in the 19th arrondissement of Paris, France. Cited, following Constant Pierre, in Catherine Massip, “La Bibliothèque de Conservatoire (1795–1819): une utopie réalisée?”, Bongrain 1996, 117. In December 1861, Alexandre Walewski, Minister of State and Director of Fine Arts, agreed to the purchase by the Conservatoire of 230 instruments from the collection of the composer Louis Clapisson (1808–66), an inveterate collector and member of the Academy. But in the first days of the Occupation, Henri Rabaud had investigated the racial origins of his faculty and staff, and assented to the dismissal of 25 students (out of 580) and two faculty (Lazare Lévy, piano; and André Bloch, harmony). Richard Wagner, “Über das Dirigiren” (1869), transl. Histoire de la Société des Concerts du Conservatoire Impérial de Musique. The Salle des Concerts was originally painted in ivory hues with mint-green accents. The repertoire deemed acceptable for study and performance was broadened conspicuously to include early music and the newer schools; the worldly André Messager, a protégé of Fauré but not a graduate, came to lead the Société des Concerts; the school left its faded campus and moved to 14, rue de Madrid in 1911.

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