NOTES:
1)
Whether this is Royer, Roger or Boyer, is unclear. At this moment,
poet and writer Georges Boyer (1850-1931) seems a good candidate. A
contemporary of Paladilhe (1844-1926) and well known to a contemporary
circle of French composers like Massenet for whom he supplied several
song texts.
2)
His father, Alcide Paladilhe, has been characterized as a "Leopold
Mozart" because of his forthright promotion of his prodigious son,
Emile. Alcide noted in his journal Jan. 7, 1857 that Emile had "played
his third Nocturne in
Halévy's class. Bizet and a lame young man with whom he had jointly
won the Offenbach Prize, were carried away while Emile played, as were
all the other pupils." [Mina Curtiss, Bizet and His
World (1958), p. 43.
3) Victor [Massé?]
4)
Paladilhe was known to have been close with fellow
Prix de Rome winners Ernest Guiraud and Georges Bizet. They lived close
to one another in Paris on the rue Fontaine St. Georges. Paladilhe was
proud of Bizet when The Pearl Fishers (Les Pecheurs de
Perles) premiered. He wrote to his father, “This score is
remarkable and far superior to anything Auber, Thomas, Clapisson, etc.
are doing today.” (Mina Curtiss, Bizet and His World, (1958),
p.141
5)
Marie Galli-Marie
(1840-1905) sang the lead in the premiere of Paladilhe’s 2-act opera,
L’Amour africaine. The libretto was by Ernest Legouve whose
granddaughter the composer later married. The opera was unsuccessful
and heard only six times. (Mina Curtiss, Bizet and His World,
(1958), p.414
6)
Paladilhe was romantically connected to Marie Galli-Marie
by 1867. She had sung is his opera, Le Passant. She had made Paladilhe’s song Mandolinata very popular. In 1872, while
resting in Switzerland, Galli-Marie gave her address as “Mme.
Paladilhe, Hotel Beau Rivage a Montreux.” (Mina Curtiss, Bizet and
His World, (1958), p.363
7) Paladilhe’s opera, Le Passana, text by Coppee,
premiered April 24, 1872. It closed after only three performances. (Demar
Irvine, Massenet-A Chronicle of His Life and Times, (1994),
p.64.
8) Paladilhe's
Solo for oboe was one of the best known and frequently played oboe
compositions in the Paris Conservatoire Concours (1898, 1906 and
1914). Tad Margelli, The Paris Conservatoire Concours Oboe Solos:
The Gillet Years (1882-1919), International Double Reed Society
Journal, n.d., pp. 41-55
