Composer, pianist and photographer, Martial Caillebotte (1853–1910) was the unknown younger brother of famous impressionist painter, Gustave Caillebotte (1848–1894). Martial studied harmony and piano at the Paris Conservatory from 1870–1874 under the tutelage of Théodore Dubois (1837¬1924) and Antoine Marmontel (1815–1898). Martial created a substantial number of musical compositions including mélodies, scènes lyriques, operas, symphonic poems, as well as sacred choral and symphonic works. Born into a wealthy Parisian family, he did not need to work for a living and did not self-promote, therefore his musical works, after his death, were left in family archives. In the late 1990’s a rebirth of interest in the Caillebotte name (both Gustave and Martial) and artistic contributions led to the rediscovery of Martial Caillebotte’s music and current research. 

 

While there are not many sources that give a clear picture of Martial’s position as musician in the Parisian society during the late 1800’s, documentary evidence from newspapers and music magazines indicate that he participated fully in Paris’s musical life. While official symphonic societies were scarce, there were a number of private chamber music societies. The Société nationale de musique (SNM) was founded in 1871 after the Franco-Prussian War, providing performance opportunities for young and unknown composers and performing artists of which Martial was a member as well as Franck, Saint- Saëns, Massenet and Fauré.

 

Today, his works have gained greater recognition recently thanks to the efforts of French baritone Benoît Riou (b. 1968). Riou has had a successful career as soloist, historian and antique book collector. In 1998, he was approached by his childhood friend Gilles Perrot, the director of culture of Yerres and the manager of the historic Caillebotte family property at that time, to give a recital at the Caillebotte family home. 

 

After this recital, Riou joined forces with Maestro Michel Piquemal, of Choeur Vittoria Régional d’Île de France to record Caillebotte’s Choral music. A CD of Caillebotte’s Messe Solenelle de Pâques was produced. Riou provided the historical background and liner notes for the CD jacket and assisted in the recording process.

 

In 2012, I was in Paris, having lived, studied, and worked there for over ten years. During the 2012-13 season, I had the opportunity to work as soloist with Choeur Régional Vittoria d’Île de France when I was asked to perform as soprano soloist in the twenty-first century premiere of two of Caillebotte’s sacred works, Dies Irae (1882) and Psaume 132 (1887). Singing through the scores, I was immediately taken by Caillebotte’s compositional style and marveled at the complex harmonies, well-developed thematic elements, wandering tonalities, and evasive cadences. I found Caillebotte’s music reminiscent of the compositions of Duparc, Chausson, and Massenet, with a touch of Wagner, all in one sweep. I participated in the Choeour Vittoria’s tour of France in 2013. Caillebotte’s works were featured prominently in these programs, and his music was introduced to audiences all over the country. Thanks to these performances, Martial Caillebotte’s musical talents were brought to light in a realm apart from his brother Gustave’s influence and celebrity. The Choeur Vittoria went on to make another recording of Dies Irae, Une Journée and Psaume 132 (2014).

 

Benoît Riou, attended one of the concerts in which I sang, and we struck up a friendship. When I told him that I was interested in Caillebotte’s melodies, he kindly directed me to the collection of Caillebotte’s Scènes et Mélodies, published by Hartmann in 1884. I opened the score and recognized the significance of this composer and his works. It now became my mission and passion to present Caillebotte to a larger audience and bring his works back to life.