A Dictionary of Music and Musicians/Salvayre, Gervais
SALVAYRE, Gervais Bernard, born June 24, 1847, at Toulouse, and educated at the Maitrise and the Conservatoire, where he studied the piano and harmony, and took a first prize for cello. He then went to Paris, entered the Conservatoire, and studied composition under Ambroise Thomas, and the organ under Benoist. He made his way upwards slowly, taking the first organ-prize in 1868, and the Grand Prix not till 1872, though he had been a competitor since 1867. At that time Bazin was professor of composition, Thomas having become director of the Conservatoire. During his two years in Rome Salvayre learned the mandoline, and made himself thoroughly acquainted with the bella lingua Romana; and his first publications (Milan, Ricordi) were some Italian songs—'Sospiri miei,' 'Inamoramento,' 'Dolore del tradimento,' 'Serenata romana,' and 'Serenata di Francesca da Rimini.' Industrious to a degree, he brought back (besides the regulation compositions as government student, which he had punctually forwarded) a number of compositions in various styles, and was thus ready for any opportunity which might bring him into notice. Among these Roman works were a 'Stabat Mater'; an orchestral piece, 'Les Bacchantes'; the 113th Psalm for orchestra, solos and chorus; and an oratorio, 'Le Jugement dernier,' which he subsequently remodelled, and produced at the Châtelet concerts as 'La Résurrection' (1876). Other compositions were an 'Ouverture Symphonique' (Concerts populaires), and a brilliant divertissement for the ballet inserted in Grisar's 'Amours du Diable' on its revival (Châtelet, Nov. 1874). Having at length found his way to the boards, Salvayre produced at the Gaieté (then recently transformed into an opera under Albert Vizentini) 'Le Bravo' (April 18, 1877), libretto by Blavet, from Cooper's novel. The piece was transformed from an opera comique into a spectacular drama, and had an immense success, partly owing to the singing of Bouhy the baritone, and Heilbron the prima donna. It has since been performed at several theatres of importance both in France and elsewhere. 'Le Fandango,' a one-act ballet (Opéra, Nov. 26, 1877), was less fortunate. So far M. Salvayre's gift seems rather for stage and dramatic music than for light comedy, or more poetical conceptions.
[ G. C. ]
Appendix page 779:
SALVAYRE, Gervais Bernard, called Gaston, born at Toulouse, Haute-Garonne, June 24, 1847, began his musical education at the maîtrise of the cathedral, and afterwards studied at the conservatoire of the town, before he was brought by Ambroise Thomas to the Paris Conservatoire, where he studied the organ with Benoist, and composition and fugue with Thomas and Bazin. He gained the first prize for organ in 1868, and competed for the Prix de Rome every year from 1867 to 1872, gaining it at last by sheer force of perseverance. During his stay at Rome, Salvayre worked very hard, and many of his compositions date from this, time, notably his opera of 'Le Bravo,' and his sacred symphony in four movements, 'Le Jugement dernier,' of which the first two movements were performed at the Concerts du Châtelet, March 19, 1876. It was given in its entirety at the same concerts on Dec. 3, 1876, under the title of 'La Resurrection,' and again, under a third title, 'La Vallée de Josaphat,' at Lamoureux's concert on April 7, 1882. The remaining works written by Salvayre for the concert-room are an 'Ouverture Symphonique,' performed on his return from Rome at the Concerts Populaires, March 22, 1874; a Stabat Mater, given under the care of the Administration des Beaux-Arts; a setting of Ps. cxiii for soli, chorus, and orchestra; and an air and variations for strings, performed in 1877, all the last given as the fruits of his residence in Italy. On his return to Paris, he was appointed chorus master at the Opéra Populaire which it had been attempted to establish at the Théâtre du Châtelet, and he then wrote ballet music for Grisar's 'Amours du Diable,' revived at this theatre Nov. 18, 1874. Three years later he made his real début with his grand opera, 'Le Bravo' (Théâtre Lyrique, April 18, 1877), a noisy and empty composition revealing the true nature of the composer, who loves effect, but is wanting in inspiration, style, and form, and is wholly destitute of any fixed ideal. His little ballet, 'Fandango' (Opéra, Nov. 26, 1877), in which he made use of some highly characteristic Spanish melodies, was a decided advance in point of instrumentation, but his grand opera, 'Richard III,' performed at St. Petersburg, Dec. 21, 1883, was a dead failure, and in 'Egmont,' produced at the Opéra Comique, Dec. 6, 1886, his chief faults, noisiness, and an amalgamation of different styles, from that of Meyerbeer to that of Verdi, were so predominant that the work was only performed a few times. Salvayre, who is a great friend of the present director of the Opera, M. Gailhard, having been his companion at the maîtrise of Toulouse, was commissioned to set to music Dumas' drama 'La Dame de Monsoreau,' a subject little fitted for musical treatment. It was produced at the Opéra, Jan. 30, 1888, and was wholly unsuccessful. Salvayre, who has the qualities of a good musician, in spite of his repeated failures, was decorated with the Légion d'honneur in July 1880.
[ A. J. ]