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Updated: June 6, 2025
After having been conductor for the Société des jeunes artistes du Conservatoire since 1851, in the Salle Herz, he founded, in 1861, at the Cirque d'Hiver, with the financial support of a rich moneylender, the first Concerts populaires de musique classique. Unhappily, says M. Saint-Saëns, Pasdeloup, even up to 1870, made an almost exclusive selection of German classical works.
This good custom has disappeared and with it the opportunity to give the public such delightful works as the Seven Words, and so many other things which harmonize with the character of the day. At one of these Sacred Concerts, Pasdeloup presented on the same evening the Credo from Liszt's Missa Solemnis and the one from Cherubini's Messe du Sacre.
Even parodies of Tannhauser were given in the theatres for the delectation of the public; and Musard could find no better means of attracting audiences to his concerts than the daily announcement, in enormous letters, of the Overture to Tannhauser. Pasdeloup also frequently produced some of my pieces by way of showing his sentiments.
It was about the period of these tours that her influence upon young women began to be felt, for she was at an age when womanly grace becomes evident, and her manners and character were as fascinating as her playing. In Paris she so pleased M. Pasdeloup that he begged her not to allow herself to be heard in public until she had played at his concerts.
Among these latter were Delacroix, Vernet, Eugene Giraud, Pasdeloup, Scudo, Heugel, and Jules Levy. The criticism of the journals which followed was, as usual, a blending of censure and praise.
Pasdeloup was sincerely fond of music but he was a very ordinary musician. He had little of Seghers's feeling and profound comprehension of the art. In Seghers's hands the popular concerts would have become an admirable undertaking, but Pasdeloup, in spite of his zeal and skill, was able to give them only a superficial and deceptive brilliancy.
Besides, Seghers would have worked for the development of the French school whom Pasdeloup, with but few exceptions, kept under a bushel until 1870. Among these exceptions were a symphony by Gounod, one by Gouvy and the overture to Berlioz's Frances-Juges.
The Conservatoire, which was formerly more hospitable, rather reluctantly performed a portion of L'Enfance du Christ; but it gave young composers no encouragement. There he had performed Mendelssohn's Symphonie Italienne, the overtures to Tannhäuser and Manfred, Berlioz's Fuite en Égypte, and Gounod's and Bizet's early, works. But lack of money cut short his efforts. Pasdeloup took up the work.
Viardot as an interpreter and Berlioz as conductor; and the directors who followed Carvalho Rety, Pasdeloup, etc. did not succeed any better. In 1875 Vizentini took over the Gaîté, with a grant of two hundred thousand francs and excellent artists; but he had to give it up.
As to Prométhée, even if the last part is not in harmony with the rest of it, the work was well worthy the honor of a performance, which the proud society in the Rue Bergère had accorded it. By these refusals Seghers was deprived of the support of two powerful protectors. Pasdeloup craftily took advantage of the situation.
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