Programming New Music against the Odds: Gabriel Pierné and the Concerts Colonne in Interwar Paris

ABSTRACT Gabriel Pierné (1863–1937) was one of the foremost conductors of interwar Paris, leading the popular Concerts Colonne between 1910 and 1932. In this article, I ask by what means—and against what odds—Pierné forged a reputation as a defender of new music. Using a range of archival material, I argue that Pierné’s choice of provocative works, and the ways in which he ‘imposed’ them, were decisive in establishing his reputation. Premieres of controversial works by Darius Milhaud and Alexander Tcherepnin form key case studies. I go on to examine the socio-economic obstacles that Pierné faced, including public antipathy to new music, insufficient subsidization, and growing competition. Pierné bypassed these issues with careful spacing and ‘sandwiching’ of new works, as well as shrewd advertising. Ultimately, the advent of ‘new music’ as a phenomenon is highlighted, offering parallels with current challenges in the classical concert industry.