other unappreciated composers of genius, the
author of the article, Franck Marie, goes on:

"With the confidence to which I recently referred, Delsarte has
undertaken the reform. Sure of the success which shall crown his bold
undertaking, he began almost unaided, a movement which was no less than
a revolution. Between two snatches from Romagnesi or Blangini, the
majestic pages of Gluck appeared to the surprise of the auditor. The
heroes of the great master took the place of Thyrcis and Colin, the
songs of Pergolese and Handel, coming from the inspired mouth of the
virtuoso, at once aroused unknown sensations. Lully and Rameau,
rejuvenated in their turn, surprised by beauties hitherto unsuspected."

Earlier still (in the _Presse_ for December 6, 1840) in an article
signed Viscount Charles Delaunay are these lines:

"We are, to-night, to hear an admirable singer (Delsarte). He is said to
be the Talma of music; he makes the most of Gluck's songs, as Talma made
the most of Racine's verses. We must hasten, for his enthusiastic
admirers would never pardon us if we arrived in the middle of the air
from 'Alcestis;' and if all we hear be true, we could never be consoled
ourselves, for having missed half of it."

March 14, 1860, we read in the _L'Independance Beige:_

"Among the many concerts announced there is one which is privileged to
attract the notice of the _dilettanti_. We refer to that announced,
almost naively, by the two lines: Concert by Francois Delsarte, Tuesday,
April 4.--Nothing more! These two lines tell everything! Why give a
program? Who is there in the enlightened world who would not be anxious
to be present at a concert given by Delsarte? For, at _his_ concert, he
will sing--he who never sings anywhere, at any price. Observe what I
say: _never anywhere, at any price_, and I do not exaggerate."

This assertion, which shows the indifference of Delsarte to the
speculative side of art, is not without a certain analogy to the fact
which follows. At one of his concerts he was to be aided by one of the
great celebrities of the time; Rachel was to recite a scene from some
play.

The actress failed to appear. Some few outcries were heard. Delsarte
considered this a protest: "I beg those who are only here to hear
Mademoiselle Rachel," said he, "to step to the box-office. The price of
their tickets will be returned." Applause followed these words, and the
artist sang in a way to leave no room for regret.

I quot