Currently, the aspect I find most surprising about the Concerts Lamoureux is that until the war ended, they played a lot of Wagner. In Paris, the Musical Kaleidoscope by Eleanor Brody, I found out that on March 23rd, 1894, nine Wagner excerpts appeared on a Lamoureaux program (179). That was shocking to me. That is a whole lot of Wagner for a single program. Especially because Debussy was starting to make his name known, I assumed that in general, people wanted to move away from Wagner and focus on French composers. But, after doing this research, I realized that the Wagner camp did not disappear overnight. His influence and popularity was enormous, and he was respected. In the Harlequin Years, I found that even in an April concert in 1920, there was still a Wagner excerpt on the program (Nichols). The war has ended by this point, but they still had German excerpts being played. Paul Paray made a pretty significant shift to premiering and playing more French composers, but I have gotten the vibe that the Concerts Lamoureux did programming that was a little more old school than avant-garde. I am having a hard time finding much more information than this. I do not know how people reacted. I assume they were well respected because of the success of the Concerts Lamoureux for years to come. I have found this information through referencing the general French musical history books, but have not found much else. As I continue my research, I hope to find more about this German influence and how their audience responded to their program choices after the war.
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