Theodore Salome

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Theodore Salome was a 19th Century French composer.

[edit] Biography

Born in Paris on 20 January, 1834, Théodore César Salomé did all of his musical studies at the Conservatory of Paris, under the tuteledge of François Bazin for harmony and accompaniment, and François Benoist for organ. He won several honorable awards there. For example: 1855 - second prize in harmony 1856 - second prize in organ and in harmony 1857 - second and third prize in harmony and organ 1859 - second prize in harmony His cantata “Atala” was awarded the second Grand Prix de Rome in 1861. It is interesting to note that in the same year Théodore Dubois, Eugene Anthiome and Titus Constantin were also honored.

In 1863 the architect Théodore Ballu began the construction of the church of the Sainte-Trinite. (He had already built the Basilica of Sainte Clothilde in 1861 and would construct the City Hall of Paris some ten years later). Situated in the ninth arrondisment of Paris on the Estienne-d’Orrves Square, Sainte-Trinite was blessed in November of 1867. It was not consectated, however, until 1913, the eve of World War I. The reason for this forty-six year gap is unknown. La Trinité, although rather austere, was in that period one of the most important churches in Paris. Among the parishioners of this affluent congregation were Charles Gounod and Georges Bizet, who were both quite fond of Salome. Gounod sent several students to Salome for organ lessons, including his dear friend, Paul Poisson. Jules Massenet, Ambrois Thomas and Francois Bazin also sent composition students to him.

Aristide Cavaillé-Coll installed in this new church a grand organ of 46 ranks across three manuals and pedal, which was inaugurated March 16, 1869 by Saint-Säens, Franck and Widor. At the same time, Cavaillé-Coll also built a choir organ of 12 ranks over two manuals and pedal. Théodore Salomé, who had already occupied the post of choir organist for several years on a temporary organ, continued his services in this position until 1895. Claude Terrasse, better known for his operettas (Monsieur de la Paliasse, le Mariage de Telemaque and Cartouche) rather than for his activities as a liturgical organist, succeeded him, a peculiar choice. Upon the completion of the new Cavaillé-Coll grand organ, Alexis Chauvet was awarded the post of organist titulaire, which he held for only three years. And, upon Chauvet’s untimely death in 1871, his post of was awarded to Alexandre Guilmant. Replacing Guilmant at the grand organ during the latter’s concert tours in the United States. Guilmant and Salome became great friends, dedicating numerous compositions to each other. Théodore Salomé played for Masses and religious services with great talent and knowledge. His religious compositions were often sung by the choir of Sainte-Trinité, which was composed of some 20 children and 10 professional singers, under the capable direction of their choirmaster, Emile Bouichere. It was there, that on the 5th of June 1875, that Salomé presided at the organ for the funeral Mass of Georges Bizet, in the presence of 4000 people. For a prelude, Salome improvised on themes from “The Pearl Fishers” then during the absolution improvised on themes from “Carmen.”

Camille Saint-Saens highly recommended Salome for the post as titulare organist at La Trinite upon the death of Alexis Chauvet. In a letter to the pastor, Saint-Saens writes: “Permit me to recommend to you a young organist whom I am interested in your extending the warmest welcome. I had chosen him to replace me at the grand organ ot the Madeleine, and I can add that he has fulfilled this tast in the most brilliant fashion. I have only heard compliments. Your grand organ is destined for M. Salome – and you couldn’t make a better choice.” Charles Gounod wrote a letter to the pastor some four weeks later (a bit too late) after Guilmant was to be hired: “I have learned in London at this very moment from one of my friends, the death of the poor organist Chauvet, [titulare] of the grand organ of our parish. It is a great loss! There are few Chauvets, unfortunately. But, I have learned at the same time that the position will be given to a Belgian organist, whose name I do not know. It seems to me very regrettable in the midst of so much French sorrow, to have looked at a foreigner when you have there, under your hand, a true talent, the young Salome who should be able to be promoted to this position. God keeps me, monsieur le cure, from any unforgettable gesture, but if you pardon me and permit me, and even approve my bringing these claims. I esteem that the master who is at our door [Salome] is better than one from abroad; he belongs to us. I hope that you will not make a lie of the proverb: A prophet is not welcome in his own land. Receive, dear monsieur le cure, my sentiments of profound regret. -Charles Gounod” Bizet also offered to write a recommendation for Salome, but to no avail. Salome sat in on juries, solfege and composition exams at the Paris Conservatoire when available, but his church work always came first. (1) He even wrote to his pastor in August of 1887 asking for a raise to at least as much as what his colleagues at St. Augustin, St. Louis and La Madeleine were making. (2)

His pieces for piano, with charming and evocative names, were included in the “Pantheon of Pianists” published by the Parisian editor Henry Lemoine at the beginning of the 20th century: Aubade op. 38; Berceuse, op. 36; Le Bocage, op. 51; Danse Mauresque, op. 34; Fleur d’Aragon, op. 35; Rose de Mai, op. 33; Tante Aurore, op. 32; Vielle Chanson, op.31. In addition to his piano pieces, there exists some symphonic fragments of his compositions that were performed by the National Society of Music in 1877. These compositions aroused the interest of the specialists who found them excellent writing which portended a brilliant future for the composer. Théodore Salomé, however, preferred to dedicate himself entirely to his activities as organist and choirmaster.

Upon her visit to La Trinite in November of 1893, Fannie Edgar Thomas described M. Salome as a handsome man “with his fine silver hair, slender, gentle face, pink cheeks, tender mouth and appealing brown eyes, dressed in an easy dark coat and vest, with gray trousers, and no evident personal ambition.” In 1875, he married Celeste Condrot, and moved into his new home at 70, rue St. Lazare, just one block from La Trinité. Fifteen years his junior, Celeste gave birth to a son – their only child, René. He was seen by his friends as a poet, or “man of letters,” who never married. It appears that they were a close family, with particular devotion to his mother-in-law, Virginie-Marie Condrot. In 1885, Salome composed his “Offertoire pour grand orgue (in D-flat),” published in Paris by Mackar and dedicated to his mother-in-law, Madame V. Condrot. This piece gained immense popularity in America. Alexandre Guilmant performed the work in his first recital on his American Tour in 1893 and at the 1904 World’s Fair.(3) It was also one of the most popular rolls that was available in Estey Pipe Organ Roll Collection.(4) The piece was subsequently published in Amercia by G. Schirmer alone and then in various Victorian collections.(5) Salome himself, even transcribed this piece for full orchestra under the title “Serenade” (Mackar et Noel, 1892). John Henderson states that “the Offertoire in D-flat has to be one of the worst pieces of organ music ever written!” None the less, Theodore, his wife and son share the Condrot-Gault Family Mauseluem at Pere Lachaise Cemetery. This information came to me from a letter by Jean-Claude LaFond, a great nephew of both Theodore Salome and Marcel Dupre. Fascinated by this information, I traveled to Pere Lachaise and located the Condrot-Gault mauseleum. It was obvious that the mauseleum had not received much attention, as shown by the moss encrusted granite sculpture of a prei-deu and an open covered book. Needless to say, it was an emotionally charged moment for me, as I placed a small bouquet of flowers upon the open book as my humble tribute to Theodore Cesar Salome.

In 1895, Salomé and his family took sabbatical in the Parisian suburb of Saint-Germain-en-Laye; he never returned to the church. It was there on the 26th of July, 1896, that he died. The Musical Courier of August 12, 1896 had the following obituary by William C. Carl: “Last week the sad news of M. Theodore Salome’s death was received, and M. Guilmant was very much affected by it, as they had been together at La Trinite for twenty-five years, and naturally there was a strong bond of friendship. M. Salome was only ill for about ten days, and his sudden death was a surprise to all, and greatly regretted by everyone. He had much talent and was an artist of high rank. M. Salome was of a retiring disposition, but with a most amiable and attractive manner that made one feel at once that he was their friend. His funeral was held at St. Germain, in the Eglise Paroissale, on Wednesday, July 22. Mr. Guilmant played the grand organ, choosing for the selections: First, prelude in E minor, J. S. Bach , and second, the Absoute, by M. Salome. M. Caron [baritone soloist from La Trinite connected with the Grand Opéra] sang his Pie Jesu, and his cantabile for violin was also played. The choir of La Trinite rendered the music under the direction of M. Planchet (the maitre de chapelle). I know that M. Salome’s death will be much regretted in America, where his music has found much favor and is frequently performed.” A much shorter obituary followed in The Musical Times of September 1, praising Salome for his organ compositions “which are greatly esteemed by organists of this country [America].”

Parallel to his activities at Sainte-Trinité, our Prix de Rome winner Monsieur Salomé, was also professor of solfege at the National Conservatory of Music of Paris, professor of Music at the College Rollin, as well as choirmaster at the Saint-Louis School.

Théodore Salomé left some very admirable pages for the organ, among which one remembers a collection of Dix Pièces pour organ in three volumes and another of Douze Pièces Nouvelles pour orgue, publiushed by Leduc. Volume 3 of Mitres parisiens de l’orgue au Xxe siecle (1936) contains two of Salomé’s canons (op. 21, nos. 1 and 3).

Despite M. Salomé’s position among the major figures in European composition during the second half of the nineteenth century, it was probably the change of aesthetic orientation which began about the turn of the century leading to a radical move away from the conservative-classical ideals to which he (like Guilmant and Dubois) had felt committed, that led to his demise among organ repertoire.

1). In two letters to Ambroise Thomas (18? and 18?), Salome regrets to inform Thomas that he cannot help at the exams because of his church commitments.

2). In a letter of the 16 August 1887, Salome asks his pastor for a raise, as his responsibilities had increased over the previous few years, and he had not been compensated for the extra work. He asked for a total of 600 [francs?] more (including the mere 25 that he had received each year for five previous years).

3). Other Salome compositions performed in America by Guilmant were the Sonata (Op. 25), Andante Espressivo (“Cantilene” Dix Pieces Vol. 1, No. 9), and Berceuse (Op. 59, No. 5).

4). The Estey Pipe Organ Roll Library had three compositions by Salome: Cantilene (#306), Offertoire in D-flat (#437) and Grand Chorus (#577).

5). Collections containing the Offertoire in D-flat include: The Organ Player – Preston Ware Orem The Contemporary Organist – Chas. H. Morse (Theodore Presser, 1904)

[edit] Compositions

4 Cantata: Atala (1861)

8 Offertoire pour grand orgue (Mackar 1885) a Madame V. Condrot

9 Romance sans paroles (Noël) piano

16 Scherzo (Hamelle) piano

21 Trois Canons pour grand orgue (Mackar et Noël 1894) a mon ami Alexandre Guilmant

22 Aragonesa-mia, caprice espagnol (Noël) piano

24 Kyrie à 3 voix avec orgue (Noël)

25 Premiere Sonata (Schott 1884) orgue

27 Tantum Ergo (Noël) TTBB avec orgue

28 Sourires d’enfant, 6 esquisses (Lemoine) piano 1. Doux souvenir 2. Badinage 3. Chasse 4. La Chatoyante 5. Marche 6. Pastorale

29 Six Morceaux (Schott 1888) orgue a mon Ami Alexandre Guilmant 1. Mélodie 2. Valse 3. Offrande à la Madone 4. Intermezzo 5. Marche 6. Echos Villageois

30 Messe Brève à 3 voix ègales (Leduc)

31 Vieille Chanson (Lemoine) piano

32 Tante Aurore (Lemoine) piano

33 Rose de Mai (Lemoine) piano

34 Danse mauresque (Lemoine) piano

35 Fleur d’Aragon (Lemoine) piano

36 Berceuse (Lemoine) piano

37 Les Lutins roses, 6 récréations (Lemoine) piano 1. Berceuse 2. Ronde 3. Les Petits Bergers, pastorale 4. Trompette et Tambour 5. Marine 6. Galopade

38 bis Aubade (Lemoine) piano

39 Marche Française (Lemoine) piano

41 Quatre Pièces faciles et doigtées (Société nouvelle) piano 1. Menuet 2. Bourrée

   3. Villageoise

4. Valse

42 Mélodie suédoise (Hamelle) piano

43 Graziella, caprice (Hamelle) piano

44 Souvenir d’enfance, 6 petits morceaux de genre très faciles, sans octaves et soigneusement doigtés piano 1. Le Cerf-volant 2. Colin-Maillard 3. Les Quatre-Coins 4. Cache-cache 5. Berceuse de la poupée 6. Le Main-chaude

45 Fleur printainière (Hamelle)

46 Les Farfadets, caprice (Hamelle) piano

47 Les Myosotis, valse (Hamelle) piano

48 Dix Pièces pour orgue - Vol. 3 (Schott 1894) 1. Marche Gothique (a Monsieur R.H. Woodman) 2. Prière (a Monsieur Philip Hale) 3. Rapsodie Pastorale (a Monsieur Arthur Foote) 4. Eglogue Ecossaise (a Monsieur William Huber) 5. Fugue (a Monsieur G. Smith) 6. Offertoire (a Monsieur J. Kendrick Pyne) 7. Epithalame (a Monsieur Filippo Capocci) 8. Minuetto (a Monsieur I. V. Flager) 9. Andantino (a Monsieur William C. Carl) 10. Allegro symphonique (a Monsieur William T. Best)

50 Danse la montagne (Hamelle) piano

51 Le Bocage (Lemoine) piano

52 Douze Pièces Nouvelles Vol. 1 (Laudy) orgue

    Cantabile (Lemoine 1893) pour violin avec piano ou orgue

53 La Moscovite, fant.-valse (Hamelle) piano

55 Les Bluets, 3 esqu. mus. (Hamelle) piano 1. Chanson russe 2. Tyrolienne 3. Dans la prairie

56 Stella, valse de salon (Hamelle) piano

58 Sérénade villageoise (Hamelle) piano

57 Romance (Hamelle) – transcription from Op. 29 violin and organ

59 Douze Pièces Nouvelles pour orgue – Vol. 1 (Leduc 1894): 1. Marche (to C.W. Perkins, esquire) 2. Aspiration Religieuse ( to Alfred Eyre, esquire) 3. Eglogue (to W. de Manby Sergison, esquire) 4. Grand Chœur (to James Shaw, esquire) 5. Berceuse (to C.V. Stanford, esquire) 6. Andante Pastorale (to W. Mullineux, esquire) 7. Menuet Symphonique (to E. Townshend Driffield, esquire) 8. Romance (to James Strachan, esquire) 9. Offertoire (to Sir John Stainer, Mus.Dr.) 10. Pièce Symphonique (to Sir Walter Parratt) 11. Cantabile (to D.J. Wood, esquire) 12. Marche (to Fountain Meen, esquire)

60 Aubade Navarraise (Lemoine)

61 Canzonetta (Lemoine)

62 Dix Récréations facil. et doigtées (Société nouvelle) piano 1. Tendre mere, melodie 2. Minette et Jacquot, polka 3. Valse Tyrolienne 4. Jeanne, mazurka 5. Chant des moissonneurs 6. Troisième Berceuse 7.La Fête de bonne maman, compliment 8. Galop 9. Montagnarde 10. Petits soldats, marche

63 Douze Pièces Nouvelles pour orgue – Vol. 2 (Leduc 1896): 1. Marche nuptiale (a Monsieur Clarence Eddy) 2. Mater Amabilis (a Madame Th. Salomé) 3. Prélude (a Monsieur William Edward Mulligan) 4. Élégie (a Monsieur Clément Loret) 5. Cantilène Pastorale (a Monsieur Samuel Rousseau) 6. Légende (a Monsieur Edward Cutler) 7. Sortie Solennelle (a Monsieur E. T. Driffield) 8. Scherzo (a Monsieur R. Ernest Bryson) 9. Adorate Dominum (a Monsieur H. J. Stewart) 10. Lamento (a Monsieur Harold Bond Nason) 11. Intermezzo (a Monsieur Filippo Capocci) 12. Marche Religieuse (a Monsieur Aug. Wiegand; City Organist, Sydney, Australie)

64 Sérénade espagnole (Hamelle) piano

64 Villanelle – in the collection “Vox Organi” – Vol. 3 (J. B. Millet Co., 1896) orgue

65 Marche joyeuse (Hamelle) piano

66 Fleur de lotus, romance sans paroles (Hamelle) piano

67 and 68 Douze Versets de Magnificat et cinq sorties (Hamelle) a Monsieur Aloys Claussmann

67 Huit Pièces (Hamelle 1910)

A Venise, mélodie de Meyerbeer (Benoit) piano

Aubade (Lemoine) piano

Autum Winds, nocturne (Ellis) piano

Ave Maria (Girod)

Ave Verum (Girod)

Berceuse (Lemoine) piano

Bocage, impromptu pastoral (Lemoine) piano

Cantabile (Mustel) harmonium

Dix Pièces pour orgue - Vol. 1 (Leduc 1875): a mon cher Maître Monsieur F. Benoist 1. Offertoire 2. Grand Chœur 3. En Forme de Canon 4. Offertoire 5. Invocation 6. Mélodie 7. Offertoire 8. En Forme de Canon 9. Cantilène 10. Grand Chœur

Dix Pièces pour orgue – Vol. 2 (Leduc 1879): a mon cher Maître Monsieur F. Benoist 1. Pastorale (a mon Ami Alexandre Guilmant) 2. Absoute (a mon Ami Amédée Mager) 3. Verset 4. Offertoire (a mon Ami Henri Fissot) 5. Offertoire (a Monsieur Alphonse Mailly) 6. Fugue (a mon Ami Théodore Dubois) 7. Pastorale (a Monsieur Cavaillé-Coll) 8. Andantino (a Monsieur Eugène Gigout) 9. Verset 10. Marche (to W.T. Best, Esquire)

Pendant l’Office: 100 morceaux divisés en 10 offices, dont 2 offices funèbres (Leduc 1889) A mon Ami Henri Hess

Cantabile pour grand orgue: transcription par Léon Lemoine (Henry Lemoine 1912)

+ + +

Sources: J.R. Daniels, Théodore Salomé dissertation

Bibliothèque nationale de France

Jean-Claude LaFond (great-great nephew of Théodore Salomé)

musica et memoria (le prix de rome) http://www.musimem.com/prix-de-rome-1.htm