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Updated: April 30, 2025
He was still a youth when he entered the Paris Conservatory, where he studied harmony under Lavignac, composition under Guiraud, and piano playing with Marmontel. He was only fourteen when he won the first medal for solfège, and fifteen when he won the second pianoforte prize. He no longer uses the first of these given names.
Madame de Guiraud had merely honored her with a slight nod. She realized that she was in the way, and that she ought to have declined to stay. If she still remained, it was no longer through the sense of a duty to be fulfilled, but rather by reason of a strange feeling stirring vaguely in her heart's depth's a feeling which had previously thrilled her in this selfsame spot.
She often left the Deberles plunged in sadness, full of despair when she thought how fragile and unstable was the basis of human love. And on this occasion, in this crisis in her life, the thought brought her still keener pain. "We'll skip the scene with Chavigny," said Juliette. "He won't be here this morning. Let us see Madame de Lery's entrance. Now, Madame de Guiraud, here's your cue."
The work is entitled Lieder des Pierrot Lunaire, the text of which is a fairly good translation of a poem cycle by Albert Guiraud. This translation was made by the late Otto Erich Hartleben, himself a poet and dramatist. I have not read the original French verse, but the idea seems to be faithfully represented in the German version. The piece is described as a melodrama.
Give my best regards to Monsieur de Guiraud." When Madame Deberle returned she found Helene standing in the middle of the drawing-room. Jeanne had drawn close to her mother, whose hands she firmly grasped; and thus clinging to her caressingly and almost convulsively, she was drawing her little by little towards the doorway.
She told of a monstrous moon-drunken world, then she described Columbine, a dandy, a pale washer-woman "Eine blasse Wäscherin wäscht zur Nachtzeit bleiche Tücher" and always with a refrain, for Guiraud employs the device to excess. It is the decomposition of the art, I thought, as I held myself in my seat. Of course, I meant decomposition of tones, as the slang of the ateliers goes.
And, following their initiative, César Franck, Ernest Guiraud, Massenet, Garcin, Gabriel Fauré, Henri Duparc, Théodore Dubois, and Taffanel, joined forces with them, and at a meeting on 25 February, 1871, agreed to found a musical society that should give hearings to the works of living French composers exclusively.
There was a hushed silence. Then all at once Punch sprang in, with so ferocious a yell that baby Guiraud could not restrain a responsive cry of terror and delight. It was one of those bloodthirsty dramas in which Punch, having administered a sound beating to the magistrate, murders the policeman, and tramples with ferocious glee on every law, human and divine.
Monsieur Letellier related how he had gone to Lyons for the purpose of inspecting some silk he had ordered, and how he had been greatly impressed by the fact that the Saone did not mingle its waters with those of the Rhone. Monsieur de Guiraud, who was a magistrate, gave vent to some sententious observations on the need of stemming the vice of Paris.
Her 'Mathilda' is a snivelling, insufferable affair. You remember that delightful soliloquy when she addresses the purse 'Poor little thing, I kissed you a moment ago'? Well! she declaims it like a school-girl who has learnt a complimentary greeting. It's so vexatious!" "And what about Madame de Guiraud?" he asked, as he drew his chair closer and took her hand. "Oh! she is perfection.
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