⌈ PIANISM 1. «the art of artistically playing the piano» 2. «a collective of musicians playing the piano» ADAM WOLAŃSKI , Słownik terminów muzyki rozrywkowej, Warszawa 2000. ⌋

.: VICTORA GILLE's CASE

On June 1, 1917, "La Presse" published an article by Edmond Épardaud, journalist, chief editor of the newspaper "Cinéma", screenwriter and producer, describing a concert by French pianist Victor Gille, who specialized in performing Chopin's music. He described the performance as a great event ‘bearing all the hallmarks of true artistic priesthood’. The artist possessed a ‘unique gift of inspiration’ which he drew, as he himself said, ‘from a special communion with Chopin’s soul’.

He is said to have often visited the Polish composer's grave in the Père-Lachaise cemetery in Paris at dusk to “soak up the composer's spirit and penetrate the mind of the great composer.” Edmond Épardaud wrote of this eccentric pianist's playing: “Gille plays Chopin like an artist full of inspiration, his serious and profound playing [...] and the kind of electrifying atmosphere that radiates around the sublime songs sung by his fingers captivates us and subjugates us like magic”.

⸜ → CHOPIN.POLSKIERADIO.pl, accessed: 11/09.2025

Chopin’s eminent pupils, such as Georges Mathias (1826-1910) and Émile Decombes (1829-1912), together with the Pole Karol Mikuli (1821-1897), left a profound mark on the history of French piano playing as distinguished teachers. There is no doubt that their own students looked to them for insights into Chopin’s performance style, and some among them even left fragments of this tradition captured on recordings.

Francis Planté (1839-1934), Louis Diémer (1843-1919), Raoul Pugno (1852-1914), Isidore Philipp (1863-1958), Alfred Cortot (1877-1962), Lucien Wurmser (1877-1967) and Henri Etlin (1886-1951) all gained renown as “Chopin players”, transmitting his legacy to subsequent generations. In this way, France became, alongside Poland, one of the richest repositories of Chopin interpretation. Among these heirs, we now turn to perhaps the most unorthodox yet uniquely radiant figure: Victor Gille (1884-1964).

Victor Gille, the grandson of the renowned opera composer Victor Massé (1822-1884), grew up wealthy in salons frequented by musicians who knew Chopin. This meant he was not bound by commercial performances and could perform freely and without hesitation, without worrying about criticism. The idiosyncrasies of Gille's playing are reminiscent of another piano magician, Vladimir de Pachmann.

Gille combines the improvisational qualities of Pachmann with the innovativeness of Stanisław Niedzielski (1905-1975), who was able to reconstruct and perform large-scale pieces. However, there were many elements that drew criticism from critics. Many are written about by the pianist himself. Unfortunately, Gille's autobiographical memoir, Souvenirs Romantiques contains anecdotes that are difficult to verify as fact.

For example, his encounter with Liszt in his final years lacks historical corroboration. According to Gille's recollection, Liszt visited his home in Paris and placed the two-year-old Gille's hands on the piano keys to congratulate him on his talent. However, Liszt's physical strength was too low in 1886, towards the end of his life, and such a visit would have been impossible. This is perhaps one of the reasons why Gille has not been seriously evaluated by Chopin scholars.

However, he is important. His playing possesses a unique quality that cannot be overlooked even among 19th-century Romantic pianists. Surprisingly, Gille's foundations lie in French Classicism, and his performances of Chopin reflect the composer's own style.

In his youth, he studied in Louis Diémer's class, where he acquired refined technique and restraint. His early recordings, French Odeon 78rpm recordings of Chopin's Nocturne No. 5 in F-sharp major, Op. 15-2 and Etude in A-flat major, Op. 25-1, are flawless performances that boast the refined beauty of form that is characteristic of Diémer's students. Furthermore, a rare footage of a performance of the Nocturne from the same period still exists, showcasing his unwavering demeanor and delicate phrasing. It is truly unfortunate that this was the only recording he released in his prime.

His subsequent activities in the 1940s are unknown, but from the 1950s onward, the French company Acropole released Chopin: Complete Four Ballades and albums containing pieces by Scarlatti, Weber, Schumann, Grieg and Maurice Santoz. Grieg’s To Spring, Op.43-6~Lyric Pieces, Book 3 is particularly fantastic among the many historical recordings, including one in which the composer himself performs the piece.

» WE LISTEN: VICTOR GILLE PLAYS GRIEG, To Spring, Op.43-6 (Sakuraphon) → HERE

Both were recorded in studios with excellent acoustics, allowing Gille's beautiful tone to shine through. Four Ballades is an unusual two 7” inch disc set. Unfortunately, Gilles's condition was poor, resulting in frequent mistakes and lapses in memory. His performance of the opening Ballade No. 1 in G minor, Op. 23 is at his weakest, but he gradually improves until Ballade No. 4 in F minor, Op.52. Still, I accept these imperfections in order to hear his unique interpretation of Chopin.

On the other hand, the Piano Recital, LP album, while less noteworthy because it does not include Chopin, is the album that best showcases Gille's beautiful and imaginative playing. It is particularly noteworthy that an entire side is devoted to the work of the unknown composer, Santoz. The reason for devoting one side of the album to the performance of the unknown Swiss author Maurice Santoz (1892-1958) is likely due to the fact that this amateur composer had a close relationship with the Acropole label. This can also be inferred from the fact that other pianists who released albums on Acropole also recorded Santoz’s works.

Santoz’s piano pieces are interesting, including homages to Schumann and Chopin, but when performed by other pianists, they tend to sound a bit too lightweight and scattered. However, in Gille' hands, Santoz’s works shine like jewels. This is the perfect record to enjoy Gille' rich color, subtle touch and improvisational rubato.

What truly conveyed Gille's true worth to future generations was his private recording of his complete Chopin program. It was released on three LPs by the Disque Raium label (an alternate take of the Heroic Polonaise from the same session was likely released on 78 rpm shellac discs by the SEPES St-Cloud label). While the sound quality isn't the best, likely because they were recorded at home on a reel-to-reel machine, the fact that every piece is dedicated to Chopin best conveys that he was an exceptional Chopinist.

The album includes major works such as Sonatas No. 2 and 3, Fantasy and Barcarolle, as well as Nocturnes Op. 9-1, 9-2 i 48-2, several Preludes, Impromptu No. 3, the Heroic Polonaise (an alternate take of it from the same session was likely released on 78 rpm by the St. CLOUD label) and one Mazurka (strangely, not a single waltz remains). In the famous Nocturne No. 2 in E-falt major, Op. 9-2 Gille puts into practice beautiful bel canto that Chopin had taught his students, telling them: “Listen to Bellini's operas.”

» WE LISTEN: VICTOR GILLE PLAYS CHOPIN, Nocturne No.2 in E-flat, Op.9-2 (Sakuraphon) → HERE

Let us pay attention to how Gille’s Nocturne No. 14 in F-sharp minor, Op. 48-2 tętni niepewnością bycia na skraju upadku, teems with the precariousness of being on the brink of collapse, yet performed with a free and unrestrained heart, it exudes a unique charm that no one else can match. While this performance would never be accepted in modern music college entrance exams or piano competitions, it is a clear example of the fact that artistic quality is not something that can be acquired by rigorously adhering to a method. Pianists should avoid being so concerned with the opinions of others that they restrict their playing and affect the interpretations that arise naturally within themselves.

At the heart of Gille's performance lies a diverse range of elements, including the improvisational style he learned directly from the Chopin circle he was exposed to as a child, the refined classical style he learned from Louis Diémer, the poetry of Ignacy Jan Paderewski and, in his large-scale works, the grand style of Anton Rubinstein.

In particular, a contemporary review of Rubinstein's performance of the Funeral March, the third movement of Chopin's Sonata No. 2 in B-flat minor, Op. 35, while he was still alive, described it as "reminiscent of a funeral procession approaching from afar, passing in front of the viewer, and then receding into the distance again," and went on to write that "the whole performance was dominated by a roaring bass sound never heard before."

Gille' performance of the piece is surprisingly consistent with this impression and it is as if Anton Rubinstein's memories are being brought back to life. Gille' performance, which goes beyond preconceived notions from the post-modernist era, suggests that there are still undiscovered possibilities in interpreting Chopin. As Confucius observed, "Study the past if you would divine the future." ●

» Victor Gille’s recordings released by Sakuraphon on CDs can be found → HERE