Abstract
Some time before his death in 1910, Louis Bourgault-Ducoudray, the professor of music history at the Paris Conservatoire, received an unusual guest. As he recounts in an undated letter, his visitor was a member of the monarchist Action Franraise, with which, despite his position at a Republican institution, he harbored covert sympathy.1 The mission of this singular call was astutely to solicit the musician's advice concerning the planning of an evening of both literature and music for the benefit of the nationalist league. The professor responded with caveats, pointing out the difficulties of such a venture in a season already crammed with so many competing concerts in Paris. But he gradually proceeded to expatiate on his philosophical opinion of the project and the idea of using concerts to inseminate nationalist ideology in France:
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