Gilson, Paul

1865-

Belgian composer; born at Brussels; was largely self-taught, but studied harmony and counterpoint under the director of the Brussels Conservtory. In 1889 his cantata, Sinai, won the Grand Prize of Rome, and created great interest on its performance in Brussels in 1890. In 1889 he became professor of harmony and theory in the Royal Conservatory of that city, and in 1904, in the Conservatory of Anvers, which positions he still occupies. In 1906 he was appointed musical editor of the Soir, and in 1907 professor of orchestration and instrumentation at the Ixelles School of Music. His compositions are as follows: For orchestra: Dramatic Overture; Festival Overture; Fantasie on Canadian melodies; a Scotch dance and rhapsody; La Mer (The Sea), a sketch, or group of symphonic sketches; an andante and presto on the theme Brabangon; a humoresque for wind-instruments, frequently performed in the Brussels Conservatory; three scherzos; a Festival March; an Inaugural Fanfare; eight suites; a third overture; symphonic poem, Halia; symphonic poem, Destiny; two Slavonic dances; a Cavatina; a suite ballet; a suite rustique; variations; and a symphonic waltz, Alvar. For strings: Three Scotch melodies; Pizzicati; Zabara polka; serenade for cello; two Flemish melodies; a Prelude and Scherzo; an Elegie; alia marcia; and rhapsody. For violin and piano: Berceuse; Prelude; Barcarolle; and Romance. For harp: A Prelude and suite. For brass instruments: Military fanfare; processional march; polka fantastic; alia Polacca; Overture to Richard III.; fantasia; and variations. For harmonium: Two books of Preludes. For wood and horns: Suite Norwegienne; and two humoresques, probably including the one mentioned under orchestral works. For trumpets alone: Concertstuck; and scherzo. For saxophone: A concerto. His operas include Le Demon; Le Captive; Les Pauvres Gens; Prinses Zonneschyn; and Gens de Mer (People of the Sea), after Victor Hugo. He has written incidental music to Kiel's Alvar, and to a fiveact drama, Liefdebloem; also two ballets. Among his choral works are Marine; Ballade Franchise; Song of the Forge; Inaugural Cantata; Sinai; Let There be Light; Moses; and a dramatic oratorio, Francesca da Rimini. Also a number of songs with piano accompaniment. Arthur Elson, in his Modern Composers of Europe, calls especial attention to the oratorio, Francesca da Rimini, as a work displaying " great strength, a strength almost excessive and at times too much in evidence. But the skill in orchestration, the variety of combinations  and the marvelous invention shown in the harmonic progressions all stamp the work as a masterpiece." Gilson is called by one writer the " spiritual descendant of the young Russian school."