Register of Persons Mentioned in Jeanne Demessieux’s Diaries and Letters

Most often, the source of information on these persons is the Internet. Information on organists and choirmasters is also from Pierre Guillot, Dictionnaire des organistes français des XIX^e et XX^e siècles (Sprimont, Belgium: Mardaga, 2003). Tenures of Paris Conservatory piano instructors are from Charles Timbrell, French Pianism: A Historical Perspective, 2nd ed. (Portland, Ore.: Amadeus Press, 1999), 275–277. Indication that a composer or performer was active during France’s Vichy era (the German Occupation period) is from Yannick Simon, Composer sous Vichy (Lyon: Symétrie, 2009). Some lesser-known persons have been identified with the assistance of François Sabatier, “Avant-propos,” in Jeanne Demessieux: Journal (1934–1946), L’Orgue, Nos. 287–288 (2009/III–IV): 3–27.

Page numbers correspond to those in the diary manuscripts, which are shown in square brackets in the translations.

A

Alain, Jehan (1911–1940).
French organist and composer. Son of Albert Alain who designed the organ of St-Esprit. Winner of the Association des Amis de l’Orgue 1936 composition prize. Demessieux’s classmate during her first year in Dupré’s Conservatory class (1938–1939) and winner of a First Prize in organ at the end of that academic year. Prolific composer of music for voices, chamber ensembles, and organ, including the famous Litanies for organ. Killed in action June 20, 1940.
Diary of 1940–46: 39, 43, 47, 315, 393, 398, 399, 449, 523.

Alkan, Charles Valentin (1813–1888).
Virtuoso pianist, composer, and recipient of a First Prize in organ in the class of François Benoist in 1834. Composed piano works equaling and surpassing Liszt’s in technical difficulty. Demessieux studied his Twelve Studies for the Pedals Alone (c. 1865) composed for pedal piano or organ.
Diary of 1940–46: 57, 63, 93, 113, 117, 125.

d’Argœuves, Michel (1882–1966).
Long-time choirmaster at St-Esprit (beginning 1936) and friend of Demessieux. Studied at the Schola Cantorum, including organ with Guilmant. Organ teacher at the Schola Cantorum, 1920–1934, then at the École César Franck.
Letter of Aug. 1, 1938. Diary of 1940–46: 5, 51, 149.

Aubin, Tony (1907–1981).
Composer and conductor who studied at the Paris Conservatory. Served on the jury for the 1941 Conservatory composition competition that heard Demessieux’s last submissions to a Conservatory competition. Regarded by the Vichy government as one of the most important of France’s younger generation of composers, his name figures frequently on Vichy-era cultural committees and among composers who received commissions, including those whose works received a recording and performances.
Diary of 1940–46: 46.

Aubut (-Pratte), Françoise (1922–1984)
French-Canadian organist. After study at the Montreal Conservatory and the New England Conservatory, moved to Paris in 1938 to study at the École normale de musique and privately with Dupré. Organist of Notre-Dame d’Assomption in the Passy area of Paris from 1938. Joined Dupré’s Conservatory class during the 1939–1940 academic year, but absent during 1940–1941 because as a British Commonwealth citizen she was interned at Besançon from October to June by the German occupiers. Earned a Paris Conservatory First Prize in organ in 1944, and returned to Québec in 1945.
Diary of 1940–46: 47, 327.

Auxiètre, Mireille (d. 1983).
Pianist and close friend of Demessieux (who sometimes referred to Mireille as “Mimi”). Born in Montpellier, she studied with Yolande Demessieux and graduated from the Montpellier Conservatory at age 11. First Prize in piano in 1946 in the class of Yves Nat. Married the Polish film maker Wojciech Jankowski.
Diary of 1940–46: 53, 69, 122–23, 137, 203, 273, 359, 522, 567.

B

Backhaus, Wilhelm (1884–1969).
Distinguished German pianist active internationally from 1900 until his death and one of the world’s first recording artists. Known particularly for his playing of Beethoven and Brahms. Tainted by Naziism during the 1930s he may have renounced his affiliations and, in any case, concealed them after World War II.
Diary of 1940–46: 139.

Barié, Augustin (1883–1915).
Paris organist. Student of Adolphe Marty at the National Institute for the Young Blind, then of Vierne and, at the Paris Conservatory, of Guilmant. From 1906 organ instructor at the Institute for the Young Blind and titular of St-Germain-des-Prés.
Diary of 1940–46: 20.

Barthélémi, M^r & M^me (?–?).
Friends of the Dupré family who planned, with Dupré, the rebuilding of Normandy organs destroyed in World War II.
Diary of 1940–46: 377–78.

Bauzet, Micheline (?–?)
French violinist who was a student of Gabriel Bouillon at the Paris Conservatory. As a performer, she would go on to be featured in recordings of violin concertos performed with the Berlin Philharmonic Orchestra under Herbert von Karajan.
Diary of 1940–46: 11.

Beaucamp, Albert (1921–1967).
Rouen organist and music educator. Studied organ at the Rouen Maîtrise St-Evode and earned First Prizes in harmony and in counterpoint and fugue at the Paris Conservatory. Titular of St-Godard, 1938–c.1950. Named director of the Rouen Conservatory in 1949.
Diary of 1940–46: 218.

Beaussenat, Dr Maurice (?–?).
French surgeon who in 1915 performed an unprecedented operation on the heart of a young sergeant, successfully removing from the right vesicle a splinter of a hand grenade that had been lodged there for four and a half months.
Diary of 1940–46: 479–80, 509, 530.

Bénassy, Dr (?–?)
Surgeon recommended to Demessieux by Dr Dramez.
Diary of 1940–46: 423, 425.

Bénet, Eugène Paul (1863–1942) & M^me.
French sculptor in the academic style, born in Dieppe.
Diary of 1940–46: 279, 289.

Bernac, Pierre (1899–1979).
French baritone particularly associated with the composer and pianist Poulenc. In his Recollections (Dupré 1975, 106) Dupré mentions a 1940 encounter with Poulenc and Bernac while travelling.
Diary of 1940–46: 509.

Bénard, M^r & M^me (?–?).
Director of Paris’s Salle Pleyel during the 1940s.
Diary of 1940–46: 379, 379 bis–380, 383, 401, 405–07, 420–21, 428–29, 432, 438–39, 461, 483, 494, 496, 499, 501–02, 509, 511, 513–14, 528, 530, 532, 536, 544, 548, 559.

Berveiller, Jean Marie (1904–1976).
Paris businessman who in his spare time was a jazz pianist, organist, and composer for various media. Private composition student of Dupré in the early to mid 1940s. Close friend of the Demessieux family and supporter of Demessieux from the 1940s until her death. Her Sept Méditations sur le Saint-Esprit is dedicated to him. Demessieux played his organ works in recital and recorded his organ piece Mouvement.
Diary of 1940–46: 130, 206, 225, 279, 368, 369, 406, 408, 424–25, 436–37, 445, 455, 458, 461, 463, 477, 556, 558, 562, 564, 577, 578, 579, 580, 581.

Beuchet, Joseph (1904–1970)
Grandson of Louis Debierre, an influential French organ builder trained by Debierre’s successor Georges Gloton. Became one of the directors of the House Cavaillé-Coll in 1931. In 1934, took the lead when the Gloton-Le Mintier company opened a Paris branch. In 1947 he became head of the company, re-named Beuchet-Debierre.
Diary of 1940–46: 31, 55, 105, 243, 301, 376, 414.

Bigot, Eugène (1888–1965).
French orchestral conductor; director of Paris’s Concerts Lamoureux, 1935–1950. Served on many committees overseeing music in France during the Vichy regime.
Diary of 1940–46: 268–69, 271, 274.

Blanchard (?–?).
U.S. marines/naval officer and organ enthusiast.
Diary of 1940–46: 467–68, 470.

Blanchet, Emile Robert (1877–1943).
Swiss pianist (student of Busoni) and composer. Among his works are 64 Preludes for Pianoforte in Contrapuntal Style.
Diary of 1940–46: 139, 142.

Blin, René (1884–1951).
Organist and composer who studied with Guilmant and d’Indy at the Schola Cantorum. Organist and choirmaster of Ste-Élisabeth in Paris, 1910–1939.
Diary of 1940–46: 55.

Bondeville, Emmanuel (1898–1987).
Rouen-born and -educated composer and organist. Music director for Radiodiffusion française from 1935, then director of opera in Marseille and Paris.
Diary of 1940–46: 333, 343.

Bonnet, Joseph (1884–1944).
Internationally celebrated French organist who made his first concert tour of the U.S. in 1917. Was exiled in the U.S. during World War II and then held various organ and teaching posts in North America.
Diary of 1940–46: 206.

Borchard, Adolphe (1882–1967).
French pianist and composer who studied at the Paris Conservatory. Became popular with audiences and noted for his flashiness as a performer. Remembered as the composer of music for eighteen French films between 1931 and 1943.
Diary of 1940–46: 111, 289.

Bornemann, Stéphane (d. 1956).
Paris music publisher who issued Dupré’s editions of the complete organ works of Bach, Liszt, Mendelssohn, and Schumann, the Handel organ concertos, and many of Dupré’s compositions, beginning with Évocation, Op. 37 in 1941.
Diary of 1940–46: 82, 84, 85, 95, 104, 143, 144, 146, 149, 157, 202, 285, 293, 295, 299, 316, 317, 221, 443, 485, 497, 508, 522.

Bouillon, Gabriel (1898–1984).
Montpellier-born and -trained violinist who also studied with Jacques Thibaut in Paris and became a violin teacher at the Paris Conservatory.
Diary of 1940–46: 6, 11.

Boulnois, Michel (1907–2008).
Paris-born organist, composer, and educator who studied organ with Dupré and composition with Busser at the Paris Conservatory. Organist of St-Philippe-du-Roule in Paris from 1937 to 1990 and inspector of music instruction for the city of Paris from 1946 to his retirement.
Diary of 1940–46: 92, 279, 300, 523.

Bourdon, Pierre (?–?).
Industrialist. Director and chief of engineering for Michelin factories for a time.
Diary of 1940–46: 327–28, 364, 425, 432-34, 436, 443–45, 522, 537.

Bracquemond, Marthe Henriod (1898–1973).
Paris organist-composer who studied privately with both Vierne and Dupré.
Diary of 1940–46: 42.

Braïlowsky, Alexander (1896–1976).
Naturalized French pianist born in Kiev. Studied with Leschetizky, Busoni, and Planté, and made his career on both sides of the Atlantic. Specialized in playing Chopin, including presenting the complete piano works in recital series.
Letters of Feb. 1, 1934 and Apr. 18, 1937.

Busoni, Ferruccio (1866–1924).
Italian-born pianist, composer, conductor, and writer who made an international career. As a teacher in the German Lisztian style, he taught at conservatories in Helsinki, Moscow, Boston, and Bologna and, also living in Berlin and Zürich, was a direct influence upon generations of European pianists. In his Recollections (Dupré 1975, 124–35), Dupré claims to have been present during one of Busoni’s lunches with Widor on Busoni’s visits to Paris.
Diary of 1940–46: 29, 82, 139, 145, 369, 387, 453, 455, 483.

Busser, Henri (1872–1974).
Prolific French composer in all genres, including stage music, as well as being an arranger, organist, conductor, opera director, and teacher. Studied organ at the École Niedermeyer and with Franck and Widor at the Paris Conservatory. A composition student of Ernest Guiraud at the Conservatory, he won second First Prize in the Rome competition of 1893. Instructor of composition at the Paris Conservatory, 1930–1948 and Demessieux’s composition teacher, 1939–1941.
Diary of 1940–46: 2, 6–7, 9, 19, 22, 30, 31–32, 35–37, 39, 46–47, 56, 63, 76–77, 91, 121, 130, 132, 134, 151–52, 327, 412–13. 484.

C

Carcopino Jérôme (1881–1970).
French historian and author who was a professor at the Sorbonne, 1920–1937, then director of the French School at Rome and (from Feb. 25, 1941 to Apr. 18, 1942) Minister of National Education (and Secretary of State for Public Instruction) in the government of Vichy France.
Diary of 1940–46: 71.

Casals, Pablo (1976–1973).
Spanish-born cellist, composer, teacher, and conductor who between 1939 and 1942 appeared occasionally as a cellist in the unoccupied zone of France, and in Switzerland. Before and after the war he appeared throughout Europe and in the U.S.
Diary of 1940–46: 124, 204 491b.

Cavaillé-Coll, Aristide (1811–1899).
French organ builder born in Montpellier and based in Paris from 1833. Responsible for many innovations that revolutionized French organ building, performance, and composition for the instrument in ways that were consistent with mainstream Romantic-era developments.
Diary of 1940–46: 113, 489, 490.

Cellier, Alexandre (1883–1968).
Paris organist and composer who studied at the Conservatory with Guilmant (organ) and Widor (composition). Titular organist of the Temple de l’Étoile, 1910–1917 and principal inspector of music instruction in schools, 1943–1953. Author of an introduction to how organs work that in 1940 was in its 10th edition.
Diary of 1940–46: 40, 42, 292.

Chailley, Jacques (1910–1999).
Paris musicologist, administrator, and choral director who held the post of secretary-general of the Paris Conservatory from 1937.
Diary of 1940–46: 151.

Challan, Henri (1910–1977).
Paris composer and teacher who studied with Jean Gallon and Henri Busser at the Paris Conservatory and taught harmony at the Conservatory from 1936.
Diary of 1940–46: 45.

Chauvière, Jeanne (?–?).
Younger sister of Dupré’s mother, contralto soloist, and teacher of voice and piano. During the period of Demessieux diaries she continued to live in the house in Rouen where she grew up, which had also become the home of Dupré and his parents while he was growing up.
Diary of 1940–46: 43, 161, 240–43, 245, 253–57, 407, 409.

Claudel, Paul (1868–1955).
French poet, dramatist, and diplomat most known for his poetic dramas that convey his devout Catholicism. Author of the poetry that inspired Dupré’s Le Chemin de la Croix, Op. 29.
Diary of 1940–46: 79. Letter of March 2, 1955.

Cliquot, François-Henry (1732–1790).
One member of four generations of celebrated eighteenth-century French organ builders and the individual with whom Cliquot organs reached their perfection. Among François-Henry’s instruments was that of St-Sulpice in Paris, built 1781 and restored over time in the 1830s–1850s by the firms Callinet and Ducroquet before it was completely reconstructed and enlarged by Cavaillé-Coll in the late 1850s to early 1860s. Only a very few Cliquot organs have survived in a state close to their original.
Diary of 1940–46: 489–90.

Cortot, Alfred (1877–1962).
Legendary Swiss-French concert pianist, chamber musician, conductor, and recording artist. Piano student of Chopin disciple Émile Descombes and a Paris Conservatory first-prize winner in the class of Louis Diémer. His exposure to German pianos and pianists distinguished his playing and teaching from that of most of his French contemporaries, consisting, in part, of greater use of arms and shoulders. Conservatory piano instructor, 1907–1923, and a founder of Paris’s École normale de musique. A key figure in the Vichy government with the role of regulating music during the Occupation years, he was known to have presented recitals to visiting German officials during the Occupation.
Letters of Dec. 11, 1933 and Feb. 1, 1934. Diary of 1940–46: 139, 311.

D

Dandelot, Georges (1895–1975).
French composer of instrumental music, ballet, and opera, and graduate of the Paris Conservatory. From 1942 he taught harmony at the Conservatory.
Diary of 1940–46: 268.

Delannoy, Marcel (1898–1962).
Composer of theatre music, and a music critic who belonged to a faction of composer-critics championing new compositions that are easy to understand. Now frequently cited as a “soft collaborator” with German authorities in charge of artistic matters in Paris during the Occupation. Began writing weekly articles reviewing Paris musical events for Les Nouveaux Temps soon after the paper began publication in November 1940.
Diary of 1940–46: 39, 46, 77.

Delestre, abbé Robert (1901–1993).
Began music study in Rouen, then studied with d’Indy, Dukas, Jean Gallon, Noël Gallon, and Dupré. Choirmaster and choir organist of Rouen’s Notre-Dame Cathedral. Director of the Maîtrise St-Evode in Rouen. A close friend of Dupré, he would write the first study of Dupré’s organ works, L’Œuvre de Marcel Dupré (Paris: Éditions Musique sacrée, 1952).
Diary of 1940–46: 218, 227, 228, 231, 239–45, 247–50, 253–55, 260, 262, 266, 336, 387, 218, 227, 228, 231, 239–45, 247–50, 254–56, 260–62, 266, 336, 387, 543.

Delvincourt, Claude (1888–1954).
Pianist and a composer in all genres. Studied at the Paris Conservatory. Director of the Versailles Conservatory, 1931–1941, and of the Paris Conservatory, 1941–1954. Credited with significant administrative reforms at the Paris Conservatory and for taking an active role in the French Resistance.
Diary of 1940–46: 7, 9, 36–38, 40, 42, 46, 84, 134, 446, 501.

Deschamps, M^lle (?–?).
Classmate of Demessieux in Busser’s Paris Conservatory composition class. An Anne-Marie Deschamps composed the music for the 1985 film Le Mystère Alexina by Réné Féret.
Diary of 1940–46: 31, 47.

Desenclos, Alfred (1912–1971).
French composer of mostly instrumental music. Entered the Paris Conservatory class of Busser in 1936. Instructor of a Conservatory harmony class, 1967–1971.
Diary of 1940–46: 47.

Desvallières, Georges (1861–1950).
French painter who became interested in religious art after losing a son in World War I. Elected to the Académie des Beaux-Arts in 1930, he contributed to the art work of the Church of St-Esprit in Paris.
Diary of 1940–46: 78.

Diémer, Louis (1843–1919).
French concert pianist and influential piano instructor at the Conservatory under whom Dupré won his First Prize in piano in 1905. Represented the old style of French pianist. One of the first nineteenth-century pianists to include Baroque keyboard music in his piano recital programs and to give harpsichord recitals in series.
Diary of 1940–46: 139.

Divoire, Fernand (1883–1951).
Belgian-born French essayist, poet, dramatist, novelist, and editor of a literary journal.
Diary of 1940–46: 578–79.

Doyen, Jean (1907–1982).
Paris-born pianist and recording artist who studied at the Paris Conservatory, made his professional debut in 1925, enjoyed an international career, and became a Conservatory piano teacher in 1940. Also, a composer who published some of his compositions.
Letter of Oct. 22, 1938. Diary of 1940–46: 579.

Dramez, Dr (?–?).
Radiologist; father of Marthe Dramez.
Diary of 1940–46: 300, 419–20, 423.

Dramez, Marthe (?–?).
Qualified history teacher. Student of Demessieux.
Diary of 1940–46: 71, 129, 153, 185, 201, 203, 350, 424, 462.

Dubois, Théodore (1837–1924).
Paris organist, choirmaster, and prolific composer who studied at the Paris Conservatory, became a teacher there, and was director of the Conservatory, 1896–1905. Held various church posts, including choirmaster at the Madeleine, 1869–1877, and became Saint-Saëns’ successor as organist of the Madeleine, 1877–1896.
Diary of 1940–46: 20.

Dufourcq, Norbert (1904–1990).
Paris organist, historian, and author. Studied organ with Marchal, 1920–1940; organist of St-Merry, 1923–90. Taught music history at the Paris Conservatory. One of the founders of the Association des Amis de l’Orgue. In 1939 appointed artistic director for the organ of the Palais de Chaillot. For more than forty years, sat on the French Minister of Culture’s Commission on Historic Organs.
Diary of 1940–46: 40, 56, 232, 233–34, 239, 333–34, 372, 380, 429, 487, 489–90, 526.

Dupré, Jeanne, née Pascouau (1883–1978).
Born in Biarritz. Studied at the Sorbonne and at Oxford, qualifying as a teacher of English at the baccalaureate level. Upon her marriage to Marcel Dupré, gave up her teaching career to concentrate on assisting her husband in his career.
Diary of 1940–46: 3 and passim.

Dupré, Marguerite (1909–1963).
Daughter of Marcel and Jeanne Dupré. Married Emmanuel Tollet in 1948. French pianist who was a student of Lazare-Lévy at the Paris Conservatory and Nicolai Medtner in Paris. Debuted performing Dupré’s Ballade for piano and organ on the occasion of the inauguration of the organ of the Théâtre Pigalle in Paris, 1932. Performed in major cities in France (including with orchestra), London, Brussels, and Zürich, and with her father throughout North America.
Diary of 1940–46: 3 and passim.

Durand, Auguste (1830–1909).
Harmonium player, organist (studied at the Paris Conservatory), and composer of choral, vocal solo, and piano pieces, as well as pieces for harmonium and harmonium with piano. Founder in 1869, with six others, of the music publishing firm that would become Durand & Cie.
Diary of 1940–46: 392.

Duruflé, Maurice (1902–1986).
Celebrated French organist, recording artist, and composer. Studied at the Maîtrise St-Evode of Rouen, then in Paris with Tournemire and Vierne, and at the Paris Conservatory with Gigout. Prizes won include the composition prize of the Association des Amis de l’Orgue. Titular organist of St-Étienne-du-Mont, 1929–1975 (with Marie-Madeleine Duruflé-Chevalier from 1946). Served as “member rapporteur” on the French Minister of Culture’s Commission on Historic Organs. A Conservatory harmony instructor, he also substituted for Dupré as instructor of the organ class.
Diary of 1940–46: 7, 21–22, 31, 39, 42, 45, 55–56, 58, 75, 512, 523.

E
Etlin, Henri (1886–1951).
Concert pianist and teacher. A fellow student of Dupré in the Paris Conservatory class of Diémer and, c. 1930, the artist of a small portrait of Dupré in India ink.
Diary of 1940–46: 266.

F

Falcinelli, Nina (?–?).
Mother of Rolande Falcinelli.
Diary of 1940–46: 406, 412, 464, 466, 522, 526.

Falcinelli, Rolande (born Rolande Ginabat) (1920–2006).
Paris-born pianist, composer, international concert organist, and teacher. First studied organ with Gaston Litaize. At the Paris Conservatory, studied piano with Philipp, organ with Dupré (First Prize, 1942), and composition with Busser, in which class she was a fellow student of Demessieux. Awarded second Second Prize in the Rome competition of 1942. Titular organist at Sacré-Cœur from 1946. Would succeed Dupré as instructor of the Conservatory organ and improvisation class in 1955.
Diary of 1940–46: 12, 46–47, 121–122, 130–33, 134–35, 194, 218, 225, 286, 327, 378, 411–413, 414, 442, 466, 522, 542, 545, 546.

Flavigny, Bernard (b. 1931)
At the time of the diary of 1940–1946, a gifted teenage pianist whom Demessieux first met through Magda Tagliaferro. At age 15 won his Conservatory First Prize in piano, prelude to other prizes and to an international concert, recording, and teaching career.
Diary of 1940–46: 262, 522.

Fleury, André (1903–1995).
Paris organist and composer. Studied organ with Marchal and Vierne, then at the Paris Conservatory with Gigout and Dupré. Studied composition with Paul Vidal and Vincent d’Indy. Titular organist of St-Augustin, 1930–1948, and organ instructor at the École normale de music, 1941–1948.
Diary of 1940–46: 32, 39, 42, 55, 110.

Fleury, Gaëtan (?–?).
Father of André Fleury. Studied composition with Vincent d’Indy and Paul Vidal.
Diary of 1940–46: 51, 110.

Fontino, Maria (1913–1996).
Distinguished Romanian pianist and teacher. After graduating from the Bucharest Conservatory in 1929, studied with Edwin Fischer in Berlin, then with Santiago Riera at the Paris Conservatory.
Letter of Jan. 21, 1934.

Funk, Heinrich (1904–1978).
Swiss organist and conductor who studied at the Zürich Conservatory, then privately with Dupré in Paris. Principal organ instructor at the Zürich Conservatory from 1942, organist of the Fraumünster in Zürich from 1943, and conductor of the orchestra and choir of the Zürich Tonhalle.
Diary of 1940–46: 569, 572.

G

Gallois-Montbrun, Raymond (1918–1994).
French violinist and composer who won First Prize in the Rome competition of 1944. Would become director of the Versailles Conservatory, 1957–1962 and of the Paris Conservatory, 1962–1983.
Letter of Jul. 2, 1939. Diary of 1940–46: 47, 437.

Gallon, Jean (1878–1959).
Paris choirmaster and composer who studied at the Paris Conservatory. Instructor of a Conservatory harmony class, 1919–1949, in which Demessieux participated, 1936–1937. Choirmaster of St-Philippe-du-Roule from 1903 and at the Paris opera, 1909–1914. Older brother of Noël Gallon.
Diary of 1940–46: 8, 19, 20, 22–26, 30, 35–38, 40, 42, 44, 45, 51, 62, 70, 75, 86, 102, 121, 122, 137, 149–50, 164, 197–99, 227, 296, 343, 360, 365, 383, 386–90, 417–18, 421, 424, 435, 519, 523.

Gallon, Noël (1891–1966).
Paris composer of stage and orchestral works. Studied harmony at the Paris Conservatory with his brother Jean Gallon. Instructor of a Paris Conservatory class in counterpoint and fugue from 1926.
Letters of Oct. 20, 1935; Jul. 19, 1938; Sept. 24, 1938; Oct. 15, 1938; Nov. 5, 1939. Diary of 1934–38: 25, 30.

Gaubert, Philippe (1879–1941).
Paris flutist, conductor, and composer of stage, orchestral, and chamber music. Taught flute and then orchestral conducting at the Paris Conservatory. From 1931, director of the Paris Opera.
Diary of 1940–46: 11, 52–53.

Gavoty, Bernard (1908–1981).
Paris music critic, writer on music, musical biographer, and organist. From 1945, music critic for Figaro under the pseudonym “Clarendon.” Lectured frequently at concerts of Jeunesses Musicales de France. Studied organ with Dupré both privately and in the Paris Conservatory class, and in 1942 was appointed titular organist of St-Louis-des-Invalides.
Diary of 1940–46: 173, 334, 379b, 391, 398–403, 404, 421, 449, 485, 512, 514, 544.

Gentil, Jules (1898–1985).
Paris pianist and teacher. Studied at the Paris Conservatory with Santiago Riera, then with Lazare-Lévy. Taught at the Schola Cantorum and (from the 1920s until 1985) at the École normale de musique. Taught a preparatory class at the Conservatory from 1941 and an advanced class, 1947–1969.
Letter of Feb. 21, 1934.

Geyer, Stefi (1888–1956).
Hungarian-born violinist for whom Bartók wrote violin concertos. Married Swiss composer Walter Schulthess and moved to Zürich where she gave concerts, founded the Collegium Musicum Zürich, and taught at the Zürich Conservatory, 1934–1953.
Diary of 1940–46: 569.

Gieseking, Walter (1895–1956).
German pianist born in France of German parents. Made extensive tours of Europe and the U.S.
Diary of 1940–46: 139, 185, 209, 525.

Gigout, Eugène (1844–1925).
Paris organist and composer of organ music. Organ student of Clément Loret at the École Niedermeyer. Premiered Franck’s Choral No. 3. Succeeded Guilmant as organ teacher at the Paris Conservatory, 1911–1925. Titular of St-Augustine from 1863 to his death.
Diary of 1940–46: 121.

Gilles, Joseph (1903–1942).
Paris organist and composer who earned a First Prize in Dupré’s Conservatory class in 1929. Organist of St-Pierre-de-Chaillot. Killed in action in 1942.
Letter of Nov. 5, 1939.

Giraud-Latarse, M^me (fl. 1920).
Paris piano instructor. Studied with Paris Conservatory preparatory class instructor Émilie Réty, likely in the 1880s. Served as assistant to Lazare-Lévy and to Alfred Cortot. Her students included Lélia Gousseau and Canadian pianist-composer André Mathieu.
Letter of Jun. 23, 1933.

Girod, Marie-Louise (1915–2014).
French organist. Student of Henriette Puig-Roget and, at the Paris Conservatory, of Dupré. Titular organist of the Protestant Temple de l’Oratoire du Louvre from 1941 (co-titular with Henriette Roget, 1941–1979). Would remain a life-long friend of Demessieux.
Diary of 1940–46: 40, 43, 47, 55, 232, 331.

Glazunov, Alexander (1865–1936).
St. Petersburg-born composer who studied with Rimsky-Korsakov, wrote in a romantic style (principally prior to 1906), and became director of the St. Petersburg Conservatory. Left Russia in 1928, appeared as a conductor in the U.S. in 1929 and, some time after 1929 (as an exile from post-Revolution Russia), moved to the Paris region, where he died. Mentor of Russian pianist Nicolai Medtner through whom Dupré met Glazunov. A frequent visitor to Meudon and the organ gallery of St-Sulpice.
Diary of 1940–46: 140, 302.

Gloton, Georges (1876–1955).
French organ builder who studied organ building in Dijon and in the workshop of Cavaillé-Coll. In 1919 took over the organ-building company of Louis Debierre. Trained Joseph Beuchet, Louis Debierre’s grandson. In 1934, Gloton and his associate Le Mintier opened a Paris branch of what became Gloton-Debierre (the firm that built the organ of St-Esprit). The firm passed to Joseph Beuchet in 1947, becoming Beuchet-Debierre.
Diary of 1940–46: 239, 489.

Gogniat, Joseph (1881–1954).
In 1946, organist of St-Nicolas Cathedral, Fribourg, Switzerland.
Diary of 1940–46: 571.

Gonzalez, Victor (1877–1956) and Fernand Gonzalez (1904–1940).
Spanish-born organ builder and his son. Victor trained with Cavaillé-Coll in France. Then working in Germany (while a prisoner of war there), became familiar with principles of the organ reform movement that were meant to serve polyphony better than romantic-style organs did. In 1921 Victor established the French firm of organ builders Gonzalez, which his son Fernand joined in 1929. Influenced by Dufourcq and Marchal, built eclectic (neoclassic) organs aiming to serve both Baroque and Romantic organ music such as Franck. Also did restorations and rebuilds; these included restorations of eighteenth-century French organs that had been rebuilt by Cavaillé-Coll, and a rebuilding of the Cavaillé-Coll Palais du Trocadéro organ for the Palais de Chaillot as a neoclassic-style organ.
Diary of 1940–46: 487, 489–91.

Gousseau, Lélia (1909–1997).
Pianist and teacher who won a Paris Conservatory First Prize under Lazare-Lévy in 1925 and then served as his teaching assistant. As Lazare-Lévy’s assistant, in 1932–1933 helped prepare Demessieux for entrance to a Conservatory piano class. In 1937, won a prize (twelfth) in the Warsaw Chopin Competition. Would have a career that extended to performances with major U.S. orchestras, and was instructor of a Conservatory piano class, 1961–1978.
Letters of Nov. 5, 1932; Dec. 1, 1932; Jan. 23, 1933; May 21, 1935; Oct. 20, 1935. Diary of 1934–38: 7. Diary of 1940–46: 579.

Grimaud, Yvette (1920–2012).
Fellow student of Demessieux at the Paris Conservatory. A pianist and composer, she would be noteworthy for performing the works of twentieth-century French composers such as André Jolivet and Pierre Boulez. Would later abandon her career as a pianist for research and teaching in ethnomusicology.
Diary of 1940–46: 4, 46, 55, 79, 128.

Grovlez, Gabriel (1879–1944).
French pianist, conductor, composer, and opera producer. Educated at the Paris Conservatory and professor of chamber music there from 1939.
Diary of 1940–46: 46.

Grunenwald, Jean-Jacques (1911–1982).
Paris organist, composer, and teacher. Trained as an architect and at the Paris Conservatory. Organist of Christ Church (Anglican) in the Paris suburb Neuilly-sur-Seine, 1935–1939 and assistant organist to Dupré at St-Sulpice following his 1935 First Prize in organ. In the mid- 1950s to mid-1960s, would hold various posts as titular organist at St-Pierre-de-Montrouge in Paris and teacher of organ at the Schola Cantorum, then the Geneva Conservatory. Would serve as titular organist of St-Sulpice, 1973–1982, and enjoy a career as an international concert organist.
Letter of Jul. 2, 1939. Diary of 1940–46: 22, 91, 100–101, 104, 116, 130, 138, 185, 194, 199, 200–01, 234, 286, 289–91, 310–312, 316, 327, 391, 406, 437, 451, 461, 483, 522, 526, 552.

Guerner, Jean (?–?)
Engineer, music afficionado, and long-time friend of the Dupré family. Assisted Dupré professionally by editing the prefaces to Dupré’s Bornemann editions and (being fluent in German) doing research for Dupré during frequent visits to Berlin.
Diary of 1940–46: 129–30, 202, 206, 279, 298, 395, 403, 404, 408, 425, 429, 443–44, 446, 448, 451, 453–58, 461–63, 469, 470, 477, 486, 495, 498, 512, 521, 537, 558, 562, 564.

Guilmant, Alexandre (1937–1911).
Paris organist, teacher, and composer who was a student of Jacques-Nicolas Lemmens and titular organist of La Trinité in Paris from 1871. Enjoyed tremendous success as a concert organist in France and overseas during the 1880s–1890s. A pioneering editor of French Baroque organ music, he was one of the founding teachers of the Schola Cantorum in Paris. Also taught a generation of French organists, including Dupré, while instructor of the Paris Conservatory organ class 1896–1911.
Diary of 1940–46: 52, 162, 449.

H

Hamilton, Valérie (1914–1995).
French pianist. Daughter of George Hamilton Briggs, an English architect working in Paris. Classmate of Demessieux in Santiago Riera’s piano class and in Henri Busser’s composition class.
Diary of 1934–38: 6. Diary of 1940–46: 157.

Hekking, Gérard (1879–1942).
Cello teacher at the Paris Conservatory and a teacher of cellist Pierre Fournier.
Diary of 1940–46: 79, 117.

Henriot, Nicole (1925–2001).
French pianist who won a First Prize in piano at age 13 in the class of Marguerite Long and third prize in the Gabriel Fauré International Piano Competition at age 14. During the war, worked in connection with the French Resistance. After the war, made an international career as a pianist.
Diary of 1940–46: 567.

Hernández, Mateo (1884–1949).
Famed Spanish-born sculptor who resided in France after 1909, and from 1928 in Meudon.
Diary of 1940–46: 337.

Hoehn, Paul (?–?).
Zürich organ enthusiast and part-time organist. Close friend of Dupré whom Dupré credited with developing his career in Switzerland, including help with travel arrangements and providing accommodation in Zürich. Dedicatee of Dupré’s Deuxième Symphonie for organ (1929).
Diary of 1940–46: 486, 544–45, 569–76.

Hubeau, Jean (1917–1992).
Paris pianist, chamber musician, and composer who trained at the Paris Conservatory. Extremely active as a pianist and in having his compositions performed during the German Occupation.
Diary of 1940–46: 10.

Hüe, Georges (1858–1948).
Paris composer in a variety of genres, but known particularly for opera, choral works, and pieces for flute. Studied composition with Gounod and at the Paris Conservatory, where he was also an organ student of Franck. Succeeded Saint-Saëns as a member of the Académie des Beaux Arts in 1922.
Diary of 1940–46: 11, 19, 39, 46.

I

Ibert, Jacques (1890–1962).
French composer and administrator. Veteran of World War I and winner of a second First Prize in the Rome competition of 1919. Director of the Académie de France in Rome, 1937–1940 and 1946–1960. Elected to the Académie des Beaux Arts in 1956.
Diary of 1940–46: 36.

Inghelbrecht, Désiré Émile (1880–1965).
French violinist and conductor who trained at the Paris Conservatory. Music director of the Opéra-Comique, 1924–1925 and conductor of the Concerts Pasdeloup, 1938–1932. Upon request in 1934 formed the Orchestre national de la Radiodiffusion française. Lost his position with that orchestra when, during World War II, he refused to conduct a program devoted to German music.
Diary of 1940–46: 273, 274.

Isambart, Jules (?–?).
Organ builder and one of the last artisans of the house of Cavaillé-Coll. Started his own firm in 1936 restoring organs and building new instruments.
Diary of 1940–46: 56.

J

Jacob, Georges (1877–1951).
Paris organist and editor of editions of early organ music. Studied at the École Niedermeyer, then with Widor and Guilmant at the Paris Conservatory. Organist and choirmaster of St-Ferdinand-des-Terns, 1907–1951.
Diary of 1940–46: 292.

Jacquot, Pierre (1901–1981).
Organ builder. The organ company Jacquot & Fils was the 1918 successor of a distinguished tradition of builders dating from the nineteenth century. In 1936 Jaquot [sic] the father, and his son Pierre Jacquot, took René Lavergne as partner in their company, the name of which became Jacquot-Lavergne. Following the death of the father and Pierre’s return from captivity as a prisoner of war, Pierre Jacquot was gradually forced out of the running of the company by Lavergne.
Diary of 1940–46: 489n.

Joachim, Irène (1913–2001).
Paris opera singer. Born in Germany, her mother was a French violinist and her father the son of the great violinist Joseph Joachim. After early violin and piano study in France, began singing lessons in 1933 and entered the Paris Conservatory, where she frequently made herself available to sing works by the Conservatory’s composition students. After a First Prize in the 1937 voice competition, she made recordings and played roles at the Opéra-Comique. During the German Occupation, she refused an invitation from the Nazi Propaganda Department in Paris to sing in Berlin and refused subsequent invitations to perform with German musicians in Paris.
Diary of 1940–46: 46.

Johnson, Claude Goodman (1864–1926).
A wealthy, globe-trotting businessman and English patron of Dupré. His patronage began in 1919 when he commissioned written versions (published as Fifteen Pieces, Op. 18) of Dupré’s improvisations that Johnson had heard at Vespers at Notre-Dame in Paris on Assumption Day. He also arranged for Dupré to perform them in alternation with a choir at a gala concert at Royal Albert Hall in 1920. Dupré and Johnson henceforth corresponded and made many return visits across the Channel to each other.
Diary of 1940–46: 459.

Jouvet-Magron, Dominique (fl. 1930s).
Paris artist who is best known for her etchings. Friend and Meudon neighbour of Dupré.
Diary of 1940–46: 60–63, 555–55.

K

Kempff, Wilhelm (1895–1991).
Great German pianist and one of the twentieth century’s principal exponents of the German musical tradition. Toured widely, including many visits to Japan. The first to record the sonatas of Schubert, he recorded the complete Beethoven sonatas twice. His teaching including masterclasses in Beethoven interpretation.
Diary of 1940–46: 207, 209.

Kiesgen, Charles (?–?).
Paris-based artists representative (impresario). Head of Kiesgen International Concert Bureau, he began representing Dupré in Paris and Europe shortly after Dupré’s 1920 Bach series of concerts at the Paris Conservatory.
Diary of 1940–46: 267, 271, 379b, 383, 509–10, 517, 520, 528, 535, 546, 547–48.

Kœchlin, Charles (1867–1950).
French composer, teacher, and writer on music. Studied at the Paris Conservatory and was greatly influenced by Fauré, whose biography he wrote. Undertook many advocacy activities, particularly on behalf of music and musicians. Unsuccessful in his application to teach counterpoint and fugue at the Paris Conservatory, he taught fugue and modal counterpoint at the Schola Cantorum, 1935–1939.
Diary of 1940–46: 46.

L

Laloy, Louis (1874–1944).
French musicologist, music critic, and writer who held teaching posts at the Sorbonne and the Paris Conservatory, and held the post of secretary-general of the Paris Opera. As well as writing on his contemporaries Ravel, Stravinsky, Satie, and Dukas, he wrote the first biography of Debussy and a book on Rameau.
Diary of 1940–46: 48.

Lambert, Guy (1906–1971).
French organist and musicologist. After work in Lyon as a journalist, writer, and church organist he moved to Paris in 1938 where he was co-supply organist to Léonce de Saint-Martin at Notre-Dame, and titular organist and choirmaster at St-Laurent, 1938–1971. Founder of the association Les Amis de l’Orgue de la Salle Pleyel, he produced and did commentary for organ recitals held at the Salle Pleyel.
Diary of 1940–46: 401, 465, 509, 513–14, 520, 536, 542, 544.

Landowski, Marcel (1915–1999).
French composer who beginning in 1935 trained at the Paris Conservatory where he composed his first pieces. He also studied orchestral conducting in Paris with Pierre Monteux. In the 1960s and 1970s he would pursue a career as an administrator.
Diary of 1940–46: 47.

Langlais, Jean (1907–1991).
Virtuoso French organist and prolific composer who was one of the most distinguished of a long line of blind French organists. Studied organ with Marchal at the National Institute for the Young Blind and at the Paris Conservatory with Dupré (First Prize, 1930). Winner of the Association des Amis de l’Orgue prize for excellence in performance and improvisation in 1931. Taught at the National Institute for the Young Blind. His church organ positions began with serving as supply organist to Marchal at St-Germain-des-Prés and climaxed with becoming titular organist of Ste-Clothilde in 1945, succeeding Ermend Bonnal. Would enjoy an international career as a concert organist.
Diary of 1940–46: 45–46, 56, 91, 188, 483, 494, 522.

Lanquetuit, Marcel (1894–1985).
Rouen organist who became Dupré’s first student when Dupré was 15 years old. Also studied at the Paris Conservatory with Gigout (First Prize, 1914). For a time, Dupré’s substitute at St-Sulpice and as instructor of the Conservatory organ class. Organist of Rouen Cathedral from 1937. Taught organ at the Rouen Conservatory beginning 1946.
Diary of 1940–46: 50, 130.

Lavergne, René (1900–1975).
French organ builder who was employed in 1931 by Cavaillé-Coll-Convers to take charge of organs with electric action. In 1936 he joined Pierre Jacquot and Jacquot’s father to form the company Jacquot-Lavergne, of which he took total control after World War II. An organ builder favoured by Dupré during the period of the diary of 1940–1946, he would be responsible for the 1956 renovations to the organ of Rouen Cathedral.
Diary of 1940–46: 369, 414, 429–33, 438, 465, 498, 496, 505, 532.

Lazare-Lévy (1882–1964).
French pianist who studied at the Paris Conservatory in the class of Diémer (First Prize, 1898) but went on to become an exponent of the new school of French piano playing. Was one of the piano coaches of Dupré and later of Marguerite Dupré, and had occasion to perform in a piano duo with Dupré. Adopted the hyphenated form of his name in the 1920s. First a temporary Conservatory piano instructor (1914–1916 and 1918–1923), in 1923 he succeeded to the class of Alfred Cortot. Was dismissed from the post in 1941 due to Vichy government anti-Semitism but hired back immediately upon the end of the Vichy government and German Occupation in 1944.
Diary of 1934–38: 3, 5, 6. Letters of Oct. 2, 1932; Jan. 1, Mar. 16, Mar. 22, and Jun. 23, 1933; Jan. 21, Feb. 21, and Nov. 24, 1934; May 21, 1935; May 29, 1936; Feb. 14, 1937; Jul. 2, 1939. Diary of 1940–46: 39, 139.

Le Boucher, Maurice (1882–1964).
Organist, composer, and educator, born in the Normandy region. At the Paris Conservatory studied composition with Fauré and won First Prize in the Rome Competition of 1907. Dupré premiered his Symphony in E for organ in Rouen in 1916. Director of the Montpellier Conservatory, 1920–1942.
Letters of Oct. 20, 1935 and Jul. 21, 1938. Diary of 1940–46: 65, 203, 324, 335, 483–84, 486, 521, 534, 537–38.

Leduc, Alphonse (1878–1951).
Grandson of the founder of a publishing company that moved to Paris in 1841 and became Éditions Alphonse Leduc. Publisher of some of Dupré’s first organ works and many of his theoretical treatises.
Diary of 1940–46: 136, 285–86, 293, 296, 317.

Lemmens, Jacques-Nicolas (1823–1881).
Belgian organist, composer, and teacher. Studied at the Brussels Conservatory, then taught organ there. Introduced the playing of Bach’s organ works to Paris in the 1850s and became known for the virtuosity of his pedal playing, his legato, and his use of finger substitution. Had his major influence on French organ playing through his student Widor in the 1890s.
Diary of 1940–46: 52.

Lenepveu, Charles (1840–1910).
French composer and teacher who studied composition at the Paris Conservatory in the class of Ambroise Thomas and eventually succeeded to Thomas’s chair at the Académie des Beaux Arts. Had only minor success as a composer. Taught harmony at the Conservatory from 1880 and composition there from 1894. Expecting to be named director of the Conservatory in 1905, he lost the opportunity for having been involved in favoritism towards his own students in that year’s Rome competition.
Diary of 1940–46: 134.

Lifar, Serge (1905–1986).
French ballet dancer and choreographer born in Kiev and famous as one of the greatest male dancers of the twentieth century. After being noticed by Sergei Diaghilev, he made his debut with the Paris-based Ballets Russes in 1923. Upon Diaghilev’s death, took over the directorship of the Paris Opéra Ballet; during his tenure (1930–1944 and 1947–1953) he reinvigorated the company and created many new ballets for it.
Diary of 1940–46: 54, 316.

Litaize, Gaston (1909–1991).
Among the most distinguished of blind French organists in the twentieth century and composer of organ, choral, piano, and chamber music. Studied organ with Adolphe Marty at the National Institute for the Young Blind and at the Paris Conservatory with Dupré (First Prize, 1931). Studied composition under Busser and achieved a second Second Prize in the 1938 Rome competition. Winner of the Association des Amis de l’Orgue 1935 prize for organ performance and improvisation and its 1936 composition prize. From 1938, teacher of piano, organ, and harmony at the National Institute for the Young Blind. Long-time member of the Minister of Culture’s Commission on Historic Organs. Succeeded Busser as organist of St-Cloud in a Paris suburb in 1934, and Adolphe Marty as organist of St-François-Xavier in Paris in 1946.
Diary of 1940–46: 28, 42, 45, 55–56, 188, 217, 297–98, 393, 411-12, 416–17, 437, 494, 522.

Long, Marguerite (1874–1966).
Paris pianist and influential teacher, born in Nîmes in the south of France. As a performer, a proponent of the music of Fauré, Debussy, and Ravel. An exponent of the old style of French piano playing, she taught a women’s preparatory class at the Paris Conservatory from 1906, then a mixed men and women advanced class, 1920–1940. During World War II taught and performed in Paris and France, often in collaboration with violinist Jacques Thibaud, with whom she opened a school in 1941.
Diary of 1940–46: 298.

Lubin, Germaine (1890–1979).
French operatic soprano who was a friend of Dupré and the German pianist Wilhelm Kempff. Studied at the Paris Conservatory beginning 1905, debuted at the Opéra-Comique in 1912, and sang with the Paris Opéra, 1914–1944. Sang in Salzburg, Covent Garden, Berlin, and Bayreuth, and became known for her Wagnerian roles. Active as a performer during the German Occupation, she was the brunt of false accusations of collaborative activities with the occupiers that would cause her to be imprisoned, interrogated, brought to trial, and sentenced. Eventually exonerated, she was still banned thenceforth from singing opera or teaching at a conservatory in France.
Diary of 1940–46: 53, 111.

M

Magre, Maurice (1877–1941).
Novelist, poet, and playwright known for having been a defender of the Occitan language and for using legends and the romantic epic for his historical novels.
Diary of 1940–46: 115.

Magron, Brigitte (?–?).
Daughter of the artist Dominique Jouvet-Magron and a Meudon neighbour of the Duprés.
Diary of 555–556.

Maillard-Verger, Pierre (1910–1968).
French pianist and composer who studied composition at the Paris Conservatory in the class of Paul Dukas and won First Prize in the Rome competition of 1939. He would make his career as a pianist and recording artist, and a composer of music for piano, voice, films, and monologues.
Letter of Jul. 2, 1939.

Marchal, André (1894–1980).
Among the most distinguished of blind French organists in the twentieth century, a pioneer in performance practice of early organ music and a founding member of the Association des Amis de l’Orgue. At the National Institute for the Young Blind, studied organ with Adolphe Marty and harmony with Albert Mahaut (both students of Franck). A member of Gigout’s Paris Conservatory organ class (First Prize, 1913), he then began to teach organ at the Institute for the Young Blind. Titular organist of St-Germain-des-Prés, 1915–1945, then of St-Eustache. An internationally known concert organist. Musicologist Dufourcq delivered commentary for his many recitals in France. Like Dupré, an inaugural member of the French Minister of Culture’s Commission on Historic Organs. With Dufourcq and organ builder Victor Gonzalez, promoted the neoclassic style of organ building. In 1939, appointed titular of the organ of the Palais de Chaillot in Paris.
Diary of 1940–46: 22, 33, 39, 40, 42, 45, 55, 188, 345, 402, 418, 429, 458, 488.

Marguillard, Jeanne (1916–1993).
Besançon organist. In Paris studied piano with Isidor Philipp and Yves Nat and organ privately with Vierne, Dupré, and Duruflé.
Diary of 1940–46: 59.

Marriott, Frederick L. (1901–1989).
American organist and carillonneur of Rockefeller Chapel at the University of Chicago who, on more than one occasion, engaged Dupré to teach and perform either at the University or his church. Studied organ privately with Dupré in Paris, 1938–1939.
Diary of 1940–46: 365, 368, 369. Letter of Feb. 19, 1953.

Martinet, Jean-Louis (1912–2010).
French composer who studied at the Schola Cantorum with Charles Kœchlin and at the Paris Conservatory with Jean Roger-Ducasse. A member of Olivier Messiaen’s analysis class at the Conservatory, he also studied twelve-tone serialism privately with René Leibowitz. From 1971 would teach at the Montreal Conservatory.
Diary of 1940–46: 47.

Massis, Amable (1893–1980).
French viola player, composer, educator, and conductor. Born in Cambrai in northern France and trained at the Cambrai Conservatory and the Paris Conservatory, he was a close friend of Dupré. Founder of the Troyes Conservatory in 1920 for which, in the 1930s, he collaborated with Dupré in teaching a five-year program of music theory and composition with textbooks written by Dupré.
Diary of 1940–46: 105, 107, 187.

Matigot, ? (?–?).
Scientist and friend of Dupré.
Diary of 1940–46: 279, 286–88, 300.

Maurice, Paule (M^me Lantier) (1910–1967).
French composer and teacher. Studied in the Paris Conservatory classes of Jean Gallon, Noël Gallon, and Henri Busser (First Prize in composition, 1939). Served as Jean Gallon’s teaching assistant for his harmony class, 1933–1947, and in 1942 was appointed instructor of sight-reading at the Conservatory. Would go on to teach harmonic analysis at the École normale de musique.
Letters of Jul. 19 and Oct. 15, 1938. Diary of 1940–46: 157, 158.

Mazellier, Jules (1879–1959).
French composer of operas, chamber music, songs, and piano pieces. Studied at the Paris Conservatory and won First Prize in the Rome competition of 1909.
Diary of 1940–46: 26, 40.

Messiaen, Olivier (1908–1992).
French organist who invented highly personal styles of pitch and rhythmic organization and became one of the major composers of the twentieth century. Studied at the Paris Conservatory with Paul Dukas and Dupré, among others (First Prize in organ, 1929). Titular organist of Ste-Trinité from 1931. A prisoner of war during World War II, soon after his release in 1941 he was appointed instructor of a harmony class at the Conservatory where he influenced a new generation of composers through his teaching of analysis of twentieth-century music and his own compositions. Composed piano, orchestral, and chamber music, often using mystical and religious themes, and a distinctive body of organ music to which he frequently appended biblical quotations as epigraphs.
Diary of 1940–46: 40, 46, 50, 55, 56, 82, 172, 188, 188, 208–09, 210–12, 277, 312, 378, 429, 469, 491–491b, 503.

Medtner, Nicolai (1880–1951).
Russian-born pianist, composer, and teacher. Made a successful tour of European capitals in 1900–1902, of North America for the first time in 1924–1925. He moved to Paris in 1925 (where one of his students was Marguerite Dupré), and settled in England in 1935, where he died.
Diary of 1940–46: 66, 302, 368.

Menuhin, Yehudi (1916–1999).
American-born violinist and conductor who spent most of his career in Britain. Made his first appearance as a solo violinist with the San Francisco Symphony Orchestra at the age of 7. His first concerto recording was made in 1931. During World War II he performed for Allied soldiers. The Demessieux biography by Trieu-Colleney includes a photo of Demessieux at a piano keyboard with Menuhin holding his violin, taken in 1953 aboard a ship.
Diary of 1940–46: 525.

Merret, Canon (?–?).
Choirmaster at Notre-Dame Cathedral in Paris.
Diary of 1940–46: 319, 438, 448–49.

Meunier, M^r & M^me (?–?).
Members of a fashionable social set who cultivated Demessieux’s acquaintance; frequently appeared in organ galleries when she played for a service.
Diary of 1940–46: 171, 202, 203, 280, 288.

Mignan, Edouard (1884–1969).
Paris organist and composer who studied with Vierne then with Guilmant at the Paris Conservatory (Second Prize, 1904). Won Second Prize in the 1912 Rome competition. Titular of La Madeleine, 1935–1962 where he would be succeeded by Demessieux.
Diary of 1940–46: 42, 292.

Möller, M. P., Jr. (1902–1961).
Son of the founder in the 19th century of the prolific American organ-building firm Möller. After 1923 built organs with electro-pneumatic action. Prior to World War II Möller was considered a low-cost builder, but after the war the firm went into competition with Aeolian-Skinner for higher-end organs.
Diary of 1940–46: 468.

Monet, Edouard (?–?).
A second cousin of Claude Monet, Edouard Monet was devoted to Dupré and followed his career closely. A pilot during World War I, he subsequently made his career as a journalist.
Diary of 1940–46: 41, 55, 105, 107, 279, 443, 537, 541, 558, 562, 564.

de Montaigne, Michel (1533–1592).
French statesman, courtier, and essayist. Remembered for his Essais (the first use of this word as a literary genre), which were a major influence upon subsequent writers.
Diary of 1940–46: 139.

de la Motte, Father (?–?).
Parish priest of St-Esprit and Demessieux’s confessor.
Letter of Aug. 1, 1938. Diary of 1934–38: 29. Diary of 1940–46: 76, 77–78, 81, 192–93, 274–75, 381, 391, 435, 439–41, 550–51.

N

Nat, Yves (1890–1956).
French pianist and composer who earned his First Prize in piano in 1907 in the Paris Conservatory class of Louis Diémer. Toured internationally then, in 1937, took a break from the concert stage to devote himself to teaching piano at the Conservatory and composing. He would play his final concerts in 1953–1954, including the première in Paris of his own piano concerto.
Diary of 1940–46: 53, 111–12, 115, 273.

Neuville, Valentin (1863–1941).
French composer, organist, and teacher who studied organ with Jacques-Nicolas Lemmens in Mechelen, Belgium, then with Alphonse Mailly at the Brussels Conservatory. His operas were largely unacknowledged in France because they contained Wagnerisms. Filled titular organist positions in Lyon and taught organ at the Lyon Conservatory, 1915–1933.
Diary of 1940–46: 171.

O

d’Ollone, Max (1875–1959).
French composer of works for stage, orchestra, chamber ensemble, piano, and voice. Studied at the Paris Conservatory and won First Prize in the Rome Competition of 1897. Taught an instrumental ensemble class at the Conservatory. Considered a collaborator with the occupying Germans during World War II because of the positions he held in music administration for the Groupe Collaboration and the Vichy government.
Letter of Oct. 23, 1935. Diary of 1940–46: 46.

P

Panel, Ludovic (1887–1952).
Born in Rouen, he studied organ at the Maîtrise St-Evode, then at the Paris Conservatory with Guilmant and Gigout (First Prize, 1913). Titular organist of Sacré-Cœur, 1926–1946, then organist and choirmaster at the monastery St-Martin-des-Champs to 1952.
Diary of 1940–46: 40, 42, 55, 292.

Pascal, Claude (1921–2017).
Paris composer of all musical genres who studied at the Paris Conservatory and won second First Prize in the Rome competition of 1945. Would gain a Conservatory teaching post in 1952.
Diary of 1940–46: 47.

Pangnier, Jacqueline (1917–2007).
French pianist trained at the Paris Conservatory where she was a piano student of Victor Staub, winning First Prize in 1936. After the war would enjoy a career as both a solo and a duo pianist. From 1968 would teach sight-reading at the Conservatory. Also performed under the names Jacqueline Bonneau and Jacqueline Robin.
Letter of Jul. 2, 1939. Diary of 1940–46: 44, 46.

Paray, Paul (1886–1979).
French orchestral conductor, organist, and composer who studied in Rouen, was a childhood friend of Dupré, and with whom Dupré enjoyed a lifelong friendship. Conducted orchestras in Paris, Monte Carlo, and Marseille, and would become conductor of the Detroit Symphony Orchestra, 1952–1963. A soldier and prisoner of war during World War I, he spent World War II in Monaco.
Letter of Dec. 16, 1936. Diary of 1940–46: 9, 28.

Picaud, Eugène (1896–?).
Paris organ builder who, with Jean Perroux, became employed by the firm Beuchet-Debierre, headed by Joseph Beuchet and founded in 1947.
Diary of 1940–46: 496.

Plé-Caussade, Simone (1897–1986).
French pianist (student of Alfred Cortot at the Paris Conservatory), composer, and teacher. As a composer, most noted for her piano music for children. Succeeded her husband Georges Caussade as teacher of fugue at the Paris Conservatory.
Diary of 1940–46: 128.

Pendleton, Edmund (1899–1987).
U.S.-born musician, conductor, and composer who settled in Paris. In the U.S. studied at Columbia University and in Paris studied composition with Paul Dukas and conducting with Charles Munch, Pierre Monteux, and Igor Markevitch. Also making a living as a pianist and a saxophonist, he was organist and choirmaster of the American Cathedral in Paris (avenue George V) beginning 1934 (though he fled Paris during World War II, returning in 1945).
Diary of 1940–46: 436–37, 534.

Perroux, Jean (1874–?)
Paris organ technician who as an adolescent apprenticed in all aspects of organ building with craftsmen trained by Cavaillé-Coll and who became a master at voicing organs. According to his longtime acquaintance Dupré, organs whose creation or refurbishment he contributed to were (to 1953): in Paris, 63 church organs and 64 organs in concert halls, theatres, and private homes; elsewhere in France and North Africa, 117 organs; in foreign countries, 15. Was Dupré’s choice to maintain the organ of St-Sulpice and the hall organ of his Meudon home. With Eugène Picaud, became employed by the firm Beuchet-Debierre, headed by Joseph Beuchet and founded in 1947.
Diary of 1940–46: 31, 56, 72–73, 90, 218, 277, 279, 300 314–15, 385, 395, 408, 410, 427, 429, 496.

Philip, Achille (1878–1959).
Organist and composer; at the Paris Conservatory he studied organ with Guilmant and composition with Lenepveu and won a first prize in counterpoint and fugue in 1904. Choir organist at the Madeleine in Paris, 1904–1913 and, subsequently, titular organist of various organs outside Paris.

Philipp, Isidor (1863–1958).
Eminent French pianist and teacher associated with the old French school, and piano instructor at the Paris Conservatory, 1903–1934.
Diary of 1940–46: 139.

Pierront, Noëlie (1899–1988).
Paris organist, teacher, and composer who studied organ with Vierne, Gigout, Dupré (First Prize, 1928), and Marchal. Taught for a time at the Schola Cantorum, where also she published editions of early organ music. A close friend of Jehan Alain who premiered many of his organ works and whose interpretations were greatly admired by him. Titular organist at St-Pierre-du-Gros-Caillou, 1929–1970.
Diary of 1940–46: 39, 42, 82, 383, 430.

Poirier-Denis, Geneviève (1912–?).
Organ student in Dupré’s Conservatory class, 1935–1940, and a supply organist for Dupré at St-Sulpice.
Diary of 1940–46: 104.

Provost, Charles (1901–1953).
Music critic. Member and staunch supporter of the Association des Amis de l’Orgue who wrote record reviews for the association’s journal L’Orgue. A friend of Norbert Dufourcq and regular Sunday visitor to his organ gallery at St-Merry.
Diary of 1940–46: 51, 55, 232, 234–35, 239, 372, 393, 487–91.

Q
R

Rabaud, Henri (1873–1949).
Paris conductor and composer of stage music in a conservative style. Trained at the Paris Conservatory, he won First Prize in the Rome competition of 1894. Director of the Paris Opera, 1914–1918, and elected to the Académie des Beaux Arts in 1918. In 1920 succeeded Fauré as director of the Paris Conservatory.
Diary of 1940–46: 3, 6, 9, 11, 14, 16.

Raffy, Denise (1916–c. 1971).
French organist who studied in Rouen with Marcel Lanquetuit and in Dupré’s Conservatory class (First Prize, 1942). In 1943 was organist of Immaculate Conception in Elbeuf. After a short career as an organist, entered la vie religieuse.
Diary of 1940–46: 40, 43.

Raugel, Félix (1881–1975).
French choral conductor and musicologist who played an important role in the restoration of traditional sacred music and who as a historian specialized in the organ and its repertoire. Studied organ at the Schola Cantorum with Abel Decaux and served on the French Minister of Culture’s Commission on Historic Organs. Among other choral positions, was director of choirs for Radiodiffusion française, 1934–1947.
Diary of 1940–46: 579.

Reboulot, Antoine (1914–2002).
French organist who studied at the National Institute for the Young Blind with Marchal, then in Dupré’s Conservatory class (First Prize, 1936). Titular organist of the cathedral St-Jean in Perpignan, 1937–1942. Taught at the National Institute for the Young Blind, 1941–1967, then held posts in Trois-Rivières, Quebec, and Montreal, becoming a Canadian citizen.
Diary of 1940–46: 55.

Régulier, Gaston (1896–1989).
Possible identity of the Régnier mentioned in the diary of 1940–1946. A blind pianist who taught at the National Institute for the Young Blind, 1917–1962, and was a friend of Marchal.
Diary of 1940–46: 372, 379, 379b–380, 451, 455, 457–58, 567.

Riera, Santiago (1867–1959).
Barcelona-born pianist and teacher who adopted French citizenship. Studied at the Paris Conservatory with Georges Mathias and Charles de Bériot and enjoyed a successful career as a concert pianist. Taught piano at the Conservatory, 1913–1937.
Diary of 1934–38: 3, 6, 7–9, 14, 15. Letters of Nov. 24, 1933 and Feb. 21, 1934. Diary of 1940–46: 62.

Robineau, Maurice (1873–1954).
Choir organist at St-Sulpice, 1930–1954. Studied at the École Neidermeyer then in the organ class of Guilmant at the Paris Conservatory, earning a Second Mention in the organ competition of 1900.
Diary of 1940–46: 130, 171, 201, 288, 449.

(Puig-) Roget, Henriette (1910–1992).
Paris organist, pianist, accompanist, and composer. Studied organ with Tournemire, then in Dupré’s Conservatory class (First Prize, 1930). Awarded first Second Prize in the Rome Competition of 1933. Titular organist of the Protestant Temple de l’Oratoire du Louvre, 1934–1979 (co-titular with Marie-Louise Girod, 1941–1979) and of the Grand Synagogue of Paris, 1930–1951. Premiered many contemporary works as an accompanist and soloist. Composed for orchestra, piano, organ, and voice.
Diary of 1940–46: 430, 437, 440.

Rolland, Ernest (1913–?).
Organ student of Jean Langlais at the National Institute for the Young Blind, then of Dupré at the Paris Conservatory.
Diary of 1940–46: 39, 55.

Rouët de Journel, Father Marie Joseph (?–?).
Historian and writer in French and Latin on Roman Catholic Church history.
Diary of 1940–46: 54.

Rousseau, Samuel (1853–1904).
French composer of music for choir, voice, organ, piano, and other instruments. Choirmaster at Ste-Clothilde when Franck was organist there. Father of the composer Marcel Samuel-Rousseau.
Diary of 1940–46: 71.

S

de Saint-Martin, Léonce, comte de Pailhas (1886–1954).
French organist and composer. Studied organ privately with Adolphe Marty and Vierne. Assistant organist to Vierne at Notre-Dame in Paris unofficially, 1923–1930, and officially, 1932–1937, before succeeding Vierne as titular organist, 1937–1954.
Diary of 1940–46: 54, 281–82, 351–52.

Samuel-Rousseau, Marcel (1882–1955).
French composer of operas, ballets, and other vocal and instrumental music in a conservative style. Won second First Prize in the Rome competition of 1905. Harmony instructor at the Paris Conservatory, 1919–1952. President of the Société des auteurs, compositeurs et éditeurs de musique, 1935–1953. Director of the Paris Opera, 1941–1944.
Diary of 1940–46: 3, 11, 36.

Sancan, Pierre (1916–2008).
French pianist who studied at the Paris Conservatory: piano with Yves Nat (First Prize, 1937); composition with Henri Busser (First Prize in the Rome competition, 1943). Would become a piano instructor at the Paris Conservatory.
Letter of Jul. 2, 1939.

von Sauer, Emil (1862–1942).
German pianist and composer who studied piano with Arthur Rubinstein in Moscow and Liszt in Weimar. Toured Europe many times and the U.S. twice. Retired to Vienna in 1936.
Diary of 1940–46: 387, 455.

Sautereau, César (1913–?).
French composer who was a great-grandson of Guilmant. At the Paris Conservatory studied organ with Dupré and composition with Jean Roger-Ducasse. Very active as a composer during the Occupation. Wrote articles for the newsletter of Jeunesses Musicales de France.
Diary of 1940–46: 47.

Schwartz, Solange (1910–2000).
French dancer who studied at the Paris Opera Ballet School, joined the company in 1930, and became a star dancer.
Diary of 1940–46: 54.

Schmitt, Florent (1870–1958).
Prolific French composer of vocal and instrumental music, including a small number of organ compositions. Studied at the Paris Conservatory with Jules Massenet and Fauré. During the Occupation, said to have been notorious as a supporter of the Nazi presence.
Letter of Jul. 2, 1939. Diary of 1940–46: 140, 316, 558–59.

Segond, Pierre (1913–2000).
Swiss organist who studied with Dupré at the Conservatory (First Prize, 1939). In 1942 became organist of St-Pierre Cathedral in Geneva.
Diary of 1940–46: 43.

Skinner, Ernest M. (1866–1960)
U.S. organ builder of among the finest of American symphonic-style instruments between 1900 and 1940. He excelled as an inventor and mechanical engineer, using these skills to perfect pneumatic and electrical methods of transmitting commands of the organist’s fingers to the pipes with less human effort than mechanical trackers require. Tonally, he was after subtlety and smoothness of sound. Struck by the sound of Willis instruments in England, he developed his own orchestrally imitative flue and reed voices, constantly striving to give the organ the beauty and gamut of color of an orchestra. His organs were known for their concave, radiating pedalboards before this became standard among American builders, and his consoles in their time were famous for their sophistication and ease of playing.
Diary of 1940–46: 436.

T

Tagliaferro, Magda (1893–1986).
Brazilian pianist who studied at the Paris Conservatory (First Prize, 1907), then studied with Alfred Cortot, and subsequently made a brilliant career on both sides of the Atlantic. Succeeded Santiago Riera as a Conservatory instructor in 1937 but only taught there for two academic years.
Letters of Jun. 22, 1937; Jul. 21–22, Aug. 11, Sept. 24, Oct. 11, 1938. Diary of 1934–38: 26. Diary of 1940–46: 62, 139, 262.

Tallon, M^r, M^me, & Lily (?–?).
Paris family of organ music aficionados. Daughter Lily (sometimes referred to as Louise) was a private organ student of Dupré, 1937–1946, and became titular organist of St-Dominique.
Diary of 1940–46: 279, 395, 443, 448, 454, 463, 478.

Thalben-Ball, George (1896–1987).
British organist known for his virtuosity and his flamboyant style of playing Baroque music using all the resources of the modern organ. Organist and choirmaster of London’s Temple Church for over 30 years. Curator and organist at Royal Albert Hall, 1934–1984. Frequently heard on radio. In 1948 became president of the Royal College of Organists.
Diary of 1940–46: 579–80.

Thibaud, Jacques (1880–1953).
French violinist, famous as a soloist and as part of a piano trio with Alfred Cortot and Pablo Casals. During the Occupation continued his career in Paris.
Diary of 1940–46: 33.

Tortelier, Paul (1914–1990).
French cellist and composer who studied at the Paris Conservatory with Gérard Hekking. First cellist with the Boston Symphony Orchestra, 1937–1940; of the Orchestre de la Société des Concerts du Conservatoire (Paris), 1946–1947. Would later become instructor of cello at the Paris Conservatory.
Diary of 1940–46: 150.

Touche, Jean-Claude (1926–1944).
Paris organist, composer of organ music, and long-time friend of Demessieux. Son of Firmin Touche. Studied with André Fleury, Marcel Lanquetuit, and in Dupré’s Conservatory class (First Prize, 1944). Titular of St-Louis-d’Antin, 1942–1944. While serving as a stretcher bearer during the final liberation of Paris, was fatally wounded by a German bullet.
Diary of 1940–46: 33, 286, 327, 334, 358–59.

Touche, M^r Firmin (1875–1957) & M^me.
Paris violinist (solo, chamber, and orchestral) who studied at the Paris Conservatory and later taught a violin class there. For a time, principal violinist of the Paris Opera and the Orchestre Colonne. As a chamber musician, founded the Touche Quartet and worked with Debussy, Fauré, Saint-Saëns, Gaubert, D’Indy, and Ravel.
Diary of 1940–46: 33, 334, 412.

Tournemire, Charles (1870–1939).
Paris organist, composer, and teacher who studied organ with Franck, then Widor, at the Paris Conservatory (First Prize, 1891). Studied composition with d’Indy at the Schola Cantorum. Succeeded Gabriel Pierné as titular of Franck’s church, Ste-Clotilde, 1898–1939. His organ works, most notably the 51 sets of five liturgical pieces published as L’Orgue mystique, like his recorded improvisations, often incorporate Gregorian chant and are said to be reminiscent of the style of Debussy. Taught chamber music at the Conservatory, 1920–1935, and in 1925–1926 was a candidate in a contentious competition for organ instructor there.
Diary of 1940–46: 90.

Tournon, Paul (1881–1964).
French architect who designed the church of St-Esprit in the 12th arrondissement of Paris in a neo-Byzantine style. Elected to the Académie des Beaux-Arts in 1942.
Diary of 1940–46: 414b.

U
V

de Vallambrosa, Amédée Mancat Amat, comte (1880–1968).
Paris organist, choirmaster, and composer who studied organ with Franck student Henri Dallier and Vierne, and composition with Widor. Choirmaster and choir organist at St-Sulpice, 1921–1925, then at St-Eustache, 1928–1968, both while teaching at the Gregorian Institute in Paris.
Diary of 1940–46: 292.

Van Wyck, Wilfrid (1904–1983).
British music artists representative (impresario) and manager through his agency Wilfrid Van Wyck Ltd., based in London. Among the many artists (as well as ensembles) he represented were Arthur Rubenstein, Marcel Dupré, Robert Casadeus, and Kirsten Flagstad. His agency would manage Demessieux’s concerts in the U.K.
Diary of 1940–46: 410, 567–68, 579–80. Diary of 1955 Recital Tour: 5, 6.

Vierne, Louis (1870–1937).
Distinguished Paris organist and prolific composer of organ music in a harmonically rich style. Studied organ at the National Institute for the Young Blind with Adolphe Marty, harmony privately with Franck, and organ at the Paris Conservatory with Franck and Widor (First Prize, 1894), after which he became, for nineteen years, assistant instructor to the Conservatory organ class where his students included Dupré. He was substitute organist for Widor at St-Sulpice, 1892–1900, and titular organist at Notre-Dame from 1900 to his death. Taught at the Schola Cantorum from 1912, and as a concert organist toured internationally.
Diary of 1940–46: 55, 402, 488.

Vigot, Thérèse (1913–?).
Paris organist who studied organ privately with Dupré, 1937–1940, then in his Paris Conservatory organ class.
Diary of 1940–46: 183, 301.

Vuillermoz, Émile (1878–1960).
Writer and influential critic of music, literature, and film. Studied composition with Jules Massenet and Fauré at the Paris Conservatory, but gave up composing in favour of criticism.
Diary of 1940–46: 333.

W

Widor, Charles-Marie (1844–1937).
Legendary Paris composer, organist, and teacher. Composer in all genres, instrumental and vocal. Mentor to the Dupré. Organist of St-Sulpice, 1870–1933. Leading organ recitalist, particularly associated with builder Cavaillé-Coll. Succeeded Franck as instructor of the Paris Conservatory organ class, 1890–1896, then Théodore Dubois as instructor of a Conservatory composition class, 1896–1927. Named to the Académie des Beaux-Arts in 1910 and elected perpetual secretary of the Académie in 1914.
Diary of 1940–46: 1, 20, 52, 67, 74, 103, 114, 134, 187, 281 291–292, 336, 381, 394.

Willis & Sons, Henry.
British firm of organ builders founded in 1845 by “Father Willis” who in the Victorian era established the firm as the leading builder of well-made organs suited to large performance spaces and large churches. The firm, overseen by five generations of the Willis family, continued to make innovations to the symphonic style of organ even as the organ reform movement took root in Britain in the twentieth century.
Diary of 1940–46: 373, 459.

Y
Yon, Jean (?–?).
Private organ student of Dupré who grew up on a farm about 12 miles northwest of Rouen and whose family was close to the Dupré family. The name Yon occurs on Dupré’s list of private students for the academic year 1942–1943.
Diary of 1940–46: 240, 242–43, 246.

Ysaÿe, Eugène (1858–1931).
Celebrated Belgian violin virtuoso of international acclaim who was also a conductor, teacher, and composer. Franck’s Violin Sonata was dedicated to him, as was Debussy’s String Quartet, premiered by the Ysaÿe Quartet. Among the orchestras he conducted was the Cincinnati Symphony, 1918–1922.
Diary of 1940–46: 387, 453.

Yvain, Maurice (1891–1965).
Paris composer of light music noted for his songs, operettas, and film scores. His operettas were successful elsewhere in Europe and in the U.S.
Diary of 1940–46: 46.

Z

Ziegler, Rudolf (?–?).
Swiss organ builder who in 1949 built a neoclassic-style organ for Victoria Hall, Geneva on which Demessieux recorded music of Bach, Handel, Liszt, Franck, and Widor during the period 1952–1955.
Diary of 1940–46: 570.