Page 83 - HandbookMarch1

previous offered in the military schools of music. But, regardless of the method of teaching
adopted, there are two powerful methods that can be used to multiply the number of great artists
on these instruments in this country: the first is to give wind players the opportunity to practice,
once they have reached a certain level, as we do string players, so that they can experience
expression and sentiment in music of the best quality, and develop sight-reading skills; the
second is to invite composers to write more often for these essential category of their art.

After having touched on a few of the greatest deficiencies in certain musical areas, we see
that the mediocrity of education at the disposal of these musicians may also apply to those
interested in composition; After they receive the basics of harmony, these artists have no
opportunity to formulate their talent by studying the works of previous geniuses as models.
Beautiful productions, excepting those that are in Theaters only by demand of public taste, are
beyond the reach of most students. They cannot play these works, nor can they study the scores;
even purchasing a printed copy is often beyond their financial means.

Thus was the state of music in France until today, even with 500 schools and almost 10
million francs of annual revenue coming from foundations that were supposed to instruct and
support musicians. Thus, this art so suitable to French taste and character, has struggled, with
the exception of a few great geniuses, to reach come even close to perfection, and certainly
popularity which is usually monopolized by Germans and Italians. The causes of this struggle
are all the responsibility of the old government. In short, where are the fundamental works of
pedagogy? What encouragements were given to leading minds to give the theory of music the
same attention as the other sciences? Finally, what home was art given, as was given for the
father of poetry, painting and architecture so that as an institution, this art could be organized for
study, and its students tasked with distinguishing themselves in different areas. Nothing that
could have been useful to music was done; instead the Royal Court enjoyed the delicacies of the
best performances while allowing the musicians to fester in poverty and need. And yet,
unbelievably, the Royal Court of France, which did nothing to protect this art, had the audacity
1
to name a “Royal Academy of Music ”…undoubtedly for show, as how could it actually honor
the name “Academy?” And, considering the name, why has the opera done nothing to try and
live up to it?

But let us cease to dampen the spirit of this day with descriptions of miserable reasons
that French music has been impeded; we must focus on ways to repair the damage done by
2
ignorance and apathy: namely, the Conservatoire de Musique. The law of 16 thermidor, in
setting the outline of the establishment of the Conservatoire, gave it great duties and latitude for
good.…
This is how Europe will be enlightened, as it appreciates the results of the school, and
will impartially give it the place it deserves next to those in Germany and Italy. It is then that the

1 This was, in fact an opera company (a precursor to today’s Paris Opera). Sarette’s point is that rather than a
school, this was essentially just a production company.
2 This date use the Revolutionary Calendar. During the French Revolution it was decided that the standard
Gregorian calendar should be replaced by a calendar that began the first year of the revolution, that eliminated
Sundays (as a method of erasing Christian worship) and followed an agricultural organization.