Phonograph Monthly Review, Vol. 3, No. 11 (1929-08)

364 The Phonograph Monthly Review August, 1929 Massenet and His Music By JAMES HADLEY (Continued from the last issue) I N 1865 Massenet regretfully bade farewell to Rome and the Villa Medici, and soon after a one-act comic opera called “La Grand Tante” was brought out at the Opera-Comique, following the rule that every “Prix de Rome” winner should have a one-act work presented at this theatre. The leading parts were assumed by Capone, the best lover ever seen on the lyric stage, and Mile. Marie Heilbronn for whom it served as a debut for her first original creation, and who after- wards was the first “Manon.” “La Grand Tante,” however, created no extraordinary ripple of ex- citement, and was soon laid aside. At this time Massenet produced numerous pieces for the piano; among others, the “Valse tres lente,” “Eau dormante,” and “Eau courante,” well known as salon pieces. The “Sept improvisa- tions” are of great difficulty. The “Dix Pieces de Genre” (op. 10) are charming; in this volume is found the famous “Elegie,” played by the violon- cello in “Les Erinnyes.” Though an exception- ally busy man, Massenet occasionally found time to mingle in society. There is an amusing story of how, one evening after dinner, his hostess in- sisted that he listen to her daughter while she played the master’s “Sarabande Espagnole.” Mas- senet sat motionless, with the unrevealing expres- sion of a sphinx. As the performance concluded amid a shower of false notes, Madame asked his opinion of her daughter’s talent. Massenet paused for a moment, as if considering his words, then said impressively:—“It is quite evident that the young lady had received a Christian educa- tion.” “Indeed?”, exclaimed the lady, extremely sur- prised at the words. “And may I ask why?” “Because she so scrupulously observes the pre- cept of the evangelist,” answered Massenet, “her right hand knoweth not what her left hand doeth!” As a general thing, however, he was generous to a fault in his judgment of others. Some few years ago a young composer, Louis Ganne, wrote an Intermezzo, which he called “Ex- tase.” It was first heard in Paris and speedily became popular. One evening Massenet was dining with Caro- lus Duran at Voisin’s,—a choice little repast of stewed prawns and chablis, with some unbeliev- ably perfect hot-house nectarines. During the evening the cafe orchestra played the “Extase.” “What is that piece?” asked Massenet, “and who wrote it?” “No one that you ever heard of,” responded the great painter. “However, there he is!”, he con- tinued, indicating the young man, who was sitting with a party of friends, a few feet away. “Good!”—said Massenet. He then wrote upon the back of the menu-card:— “MONSIEUR LOUIS GANNE My dear Sir:— Your “Extase” is exquisite; wish that I had written it! All my compliments,— —Massenet.” giving the card to an attendant, he despatched it to the young composer, whose surprise and delight may be imagined. The fashion in which the note was signed re- minds me that Sibyl Sanderson once told me that Massenet had a particular aversion to his first name,—Jules. Miss Sanderson said that, good friends as they were—she had never used the name in her association with the composer. Both friends and business associates always avoided using it any more than was absolutely necessary. This Intermezzo, “Extase”, has been beautifully recorded by the Tollefsen Trio (Victor, 35030-A). This famous organization has done splendid work in furthering the interests of Chamber Music in America. The record is a gem. After three arpeggio chords of introduction, the melody is played superbly by Mr. Paul Keefer, the ’cellist of the organization, with a richness of tone that makes one wish for more recordings from this fine artist. Also, it useless to deny the fact that Massenet was sensitive as an exposed nerve to any sort of a criticism of his own works. On the day of the public dress rehearsal of one of his operas he fled Paris, sullen, temptestuous in his moods, and, often in a violent temper. Without underestimating the skill and inven- tiveness displayed in these morceaux for the piano, it must be admitted that it is in his songs that we find the true Massenet. He has written more than a hundred solo songs . . . indeed, there are six volumes of twenty each—without reckon- ing a number which have been printed separately. Here his fervid, emotional style is displayed to the most favorable advantage. There are very attrac- tive records of some of these songs. Especially good are the following:— “Ah, si les Fleurs Avaient les Yeux”, sung by Madame Alda, (Victor, 87066) ; “Pensee d’Automne,” sung by the baritone, Armand Crabbe, (Victor, 68308-B); “Ouvre tes Yeux Bleus”, sung by Madame Alda. (Victor 64451); “Je T’Aime (I love thee) sung by Alfred Piccaver, (Odeon 0-8103, RXX). This record is a remark-