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Fonds Gabriel Astruc (1902-1927) Fonds Gabriel Astruc (1902-1927) Répertoire (409AP/1-409AP/47) Par A.-M. Bruleaux Archives nationales (France) Pierrefitte-sur-Seine 1981 1 https://www.siv.archives-nationales.culture.gouv.fr/siv/IR/FRAN_IR_004941 Cet instrument de recherche a été encodé en 2012 par l'entreprise Numen dans le cadre du chantier de dématérialisation des instruments de recherche des Archives Nationales sur la base d'une DTD conforme à la DTD EAD (encoded archival description) et créée par le service de dématérialisation des instruments de recherche des Archives Nationales 2 Archives nationales (France) INTRODUCTION Référence 409AP/1-409AP/47 Niveau de description fonds Intitulé Fonds Gabriel Astruc Date(s) extrême(s) 1902-1927 Nom du producteur • Astruc, Gabriel (1864-1938) Localisation physique Pierrefitte DESCRIPTION Présentation du contenu Dates extrêmes : 1902-1927 Importance matérielle : 46 cartons (409 AP 1-47), 7 mètres linéaires Modalités d'entrée : achat, 1957-1958 Conditions d'accès : libre Instrument de recherche : rép. num. détaillé dact. (409 AP 1-46), par A.-M. Bruleaux, 1981 ; suppl. dact. (409 AP 47), s. d., 44 p. Notice biographique : Gabriel Astruc, né à Bordeaux en 1864, exerça la fonction de directeur associé dans la maison d'éditions musicales Enoch et C ie à Paris. En 1902, il créa avec l'éditeur Pierre Laffitte la revue Musica, dont il devint directeur en février 1907 et dont il s'occupa jusqu'en 1910. Parallèlement, il avait fondé en juin 1904 une maison d'éditions musicales installée au pavillon de Hanovre, à laquelle il adjoignit, dès 1905, une agence de concerts et de théâtre, la Société musicale. Parmi ses réalisations, il convient de citer la tournée des Concerts Lamoureux en Allemagne, en octobre 1904, la saison italienne du théâtre Sarah-Bernhardt et le festival Beethoven au Nouveau Théâtre sous la direction de Félix Weingartner, en mai 1905, le festival anglais du London symphony orchestra et le festival Mozart au Nouveau Théâtre, en janvier 1906, le festival Beethoven-Berlioz au Châtelet et à l'Opéra en avril-mai 1906, la tournée de Camille Saint-Saëns en Amérique, en décembre 1906, les concerts historiques russes à l'Opéra et les représentations de Salomé sous la direction de Richard Strauss en mai 1907, la saison d'Opéra et de ballet russe en mai-juin 1909, la saison d'opéra italien en mai-juin 1910 et les fameux ballets russes pendant plusieurs années à partir de 1908. Il organisa aussi des galas de bienfaisance et des bals au profit d'associations de secours diverses. La grande œuvre de Gabriel Astruc reste la création du théâtre des Champs-Elysées ; reprenant les démarches de son ami, Charles Joly, rédacteur musical au Figaro, il se heurta au refus du Conseil municipal de Paris qui rejeta le projet de construction sur un terrain concédé par la ville. L'achat de l'ancien hôtel de Lillers, avenue Montaigne, permit toutefois la construction de ce théâtre édifié par les frères Perret et décoré par Bourdelle et Maurice Denis. Les représentations du Sacre du printemps d'Igor Stravinsky sont restées particulièrement mémorables. A l'approche de la guerre, la conjoncture obligea le théâtre à fermer ses portes. Gabriel Astruc fut publiciste après les années de guerre, à la tête de l'Agence Radio. 3 Archives nationales (France) INTRODUCTION C'est la carrière de Gabriel Astruc qui a servi de guide au classement du fonds qui contient principalement les archives de la Société musicale et du Théâtre des Champs-Élysées. Le fonds est presque entièrement constitué par de la correspondance, surtout des lettres reçues, mais renferme aussi des programmes, des plans, des photographies, des contrats, des archives de société et de comptabilité. Les dossiers de correspondants ont été regroupés thématiquement et dans l'ordre alphabétique. Pour la correspondance avec les théâtres et les sociétés de concerts, le classement est géographique. Le terme "correspondance" n'est employé dans l'inventaire que pour l'analyse des dossiers qui contiennent à la fois des lettres reçues et des lettres envoyées. Par ailleurs, lorsque le prénom ou l'initiale du prénom du correspondant sont ignorés, il n'est rien indiqué pour les noms d'hommes, et il est précisé "Madame" ou "Mademoiselle" pour les noms de femmes Le classement du fonds 409 AP avait été commencé par Michel Hayez, qui fut, par la suite, directeur des Archives départementales du Vaucluse. En ce qui concerne le fonds microfilmé, l'inventaire succinct a été complété par des fiches beaucoup plus détaillées qui précèdent chaque dossier sur le microfilm lui-même. Tout chercheur qui s'intéresse à l'histoire de la musique, de la danse ou du théâtre trouvera dans ce fonds des renseignements multiples sur l'organisation matérielle des concerts et des spectacles, les programmes, les rapports humains entre les artistes et leurs imprésarios, le fonctionnement d'un théâtre. L'intérêt de ce fonds dépasse largement la personnalité de Gabriel Astruc, par ailleurs attachante, pour toucher toute la vie musicale et artistique d'une époque riche et novatrice. Une partie des papiers de Gabriel Astruc a été achetée par les Archives nationales les 6 novembre 1957 et 1 er janvier 1958 (409 AP) et le reste a été microfilmé (150 Mi). Le chercheur pourra compléter utilement sa recherche en consultant outre les collections de la Bibliothèque nationale, de l'Académie nationale de musique à l'Opéra et de la Bibliothèque de l'Arsenal, les archives de l'Union des arts aux Archives nationales En particulier 16 AS 8, 10, 12 et 28. (16 AS). Type de classement Présentation du contenu : 409 AP 1 Société Pierre Laffitte et revue Musica. 1902-1925. 2-35 La Société musicale. 2-4 Origines et fondation. Personnel et régie. Affaires financières et contentieuses. 1906-1915. 5 Oeuvres de bienfaisance et galas. 1904-1924. 6 Bals de l'Opéra. 1914. 7 Théâtres et salles de concerts à Paris. 1913-1914. 8 Théâtres, salles de concerts et casinos de province. 1904-1914. 9-11 Théâtres, salles de concerts et casinos à l'étranger, par pays. 1904- 1914. 12 Sociétés de concerts : lettres reçues. 1903-1913. 13-15 Agents et imprésarios. 1904-1914. 16-22 Chorales et artistes lyriques : lettres reçues, répertoires, programmes, photographies, contrats. 1902-1921. 23 Pianistes, organistes, harpistes : lettres reçues. 1901-1914. 24 Violonistes, violoncellistes : lettres reçues. 1905-1914. 25 Chefs d'orchestres : lettres reçues, programmes, photographies. 1904-1920. 26 Orchestres : lettres reçues, programmes, photographies. 1903-1914. 27 Compositeurs : lettres reçues. 1904-1918. 28 Editeurs : lettres reçues. 1904-1914. 29 Danseurs, art dramatique, hommes de lettres : lettres reçues, photographies, manuscrits d'œuvres littéraires. 1903- 1915. 30-31 Presse. 1903-1914. 32 Papiers de Charles Joly (1860-1905), rédacteur musical au Figaro. 1900-1911. 33-35 Vie mondaine : lettres reçues. 1904-1914. 36-43 Le Théâtre des Champs-Elysées. 36-40 Création du Théâtre des Champs-Elysées, construction. La Société du Théâtre des Champs-Elysées. Affaires financières, contentieux, domaine. Personnel et régie. 1906-1914. 41 Activités artistiques et locations. 1912-1914. 42 Correspondance. 1912-1914. 43 Liquidation du théâtre des Champs-Elysées. 1913-1921. 44 Astruc directeur de l'Agence Radio. 1923-1927. 45 Correspondance diverse. 1904-1914. 46 Photographies. 47 Correspondance et documents divers. 1905-1914. SOURCES ET REFERENCES Sources complémentaires • Sources complémentaires : • Le Centre historique des Archives nationales détient le microfilm de documents relatifs aux ballets et concerts russes (Diaghilev, Chaliapine) de 1906 à 1925, et de lettres reçues d'auteurs et de compositeurs, de chefs d'orchestre et de 4 Archives nationales (France) solistes, de chanteurs, de danseuses, d'entrepreneurs de concerts et de spectacles, de théâtres étrangers, de clients de la Société de 1897 à 1923 (150 Mi 1-11). Bibliographie • BIBLIOGRAPHIE • Rien n'a été écrit sur la Société musicale proprement dite, mais la bibliographie est abondante sur l'histoire de la musique, de la danse et du théâtre au début du XX e siècle. • Le chercheur consultera surtout avec profit des revues de l'époque telles que Comoedia, Comoedia illustré, Musica, le Théâtre et des annuaires dont nous indiquons ci-dessous les principaux titres : • Almanach des spectacles continuant l'ancien almanach des spectacles(1752-1815), Paris, Libraire des bibliophiles, 1874 à 1913, 40 vol, in-12. • Annuaire des artistes, de l'enseignement dramatique et musical et des sociétés orphéoniques de France. Répertoire complet du théâtre, de la musique et de la facture instrumentale, Paris, 167, rue Montmartre, in-8° (année 1901). • Annuaire de l'Association syndicale professionnelle et mutuelle de la critique dramatique et musicale, Paris, impr. de C. Pariset, 1912-1931, 10 vol. in-8°. • L'Art dramatique et musical au XXe siècle. Annuaire international des artistes et des œuvres mois par mois, avec index, publ. sous le direction de M. Eugène Morel et de M. Robert Brussel, Paris, éd. de la Revue d'art dramatique, 1903, in-8°. • En ce qui concerne le Théâtre des Champs-Élysées, il convient de regarder une brochure sur l'activité de ce théâtre depuis sa création jusqu'en 1958 : • Le Théâtre des Champs-Élysées [s. l.], 1958, in-8°. • Et celle préfacée par Gérard Bauer : • Théâtre des Champs-Élysées : cinquante années de créations artistiques, 1913-1963 [s. l.], O. Perrin, 1963, in-4°, 84 p. • Il existe aussi des articles de l'époque, parmi lesquels : • « Le Théâtre des Champs-Élysées » dans Magasin pittoresque, 1913, supplément, p. 53-54. Marnold (Jean). • « Le Théâtre des Champs-Élysées et son promoteur Gabriel Astruc. L'acoustique de notre opéra », dans Mercure de France, 1 er décembre 1913, p. 637-642. • Enfin, le chercheur lira avec plaisir et profit les mémoires de Gabriel Astruc publiés en 1929 chez Grasset sous le titre Le pavillon des fantômes, ainsi que l'ouvrage d'Octave Mirbeau intitulé, Gens de théâtre, auteurs et critiques, comédiens et comédiennes, la censure, le théâtre populaire, quelques portraits, Paris, Flammarion, 1924, in-8°.
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