This chapter continues the exploration of repertorial change, beginning with an examination of the almost entirely masculine virtuoso cult of early organ music, given new impetus by Alexandre Guilmant's Trocadéro concerts from 1878. The contributions of Guilmant and Louis Diémer to Bach organ music and French clavecin music, respectively, are discussed intensively, as is the rise of Bach as a profound, Romantic, Wagnerian, and universally Christian composer. In a largely anticlerical age, religious politics reappear with a discussion of the Chanteurs de Saint-Gervais and the early Schola Cantorum as, in part, moderate ultramontane initiatives aimed at reconciling the differences of pro-Gregorian and pro-Palestrinian clerics. Intensifications of nationalist fervour result in new attempts to rehabilitate la musique française: in addition to Diémer's contribution, a first collected edition of French opera (Michaëlis, 1877-84); and Carpentras, Goudimel, Lassus, and Rameau performances by Charles Bordes and his Chanteurs from 1892. Regionalist imperatives underpin the first modern staging of Adam de la Halle's Jeu de Robin et de Marion, in Arras (1896).
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