Ga verder naar de inhoud

Gilson, Paul

° Brussel, 15/06/1865 — † Schaarbeek, 3/04/1942

Jaak Van Holen (Foundation Paul Gilson)

Paul Gilson was born in Brussels on 15 June 1865 as the second child of Victor Gilson, clerk, and Jeanette Vander Borght, his brother Charles being his elder by 10 years. In May 1866 the Gilsons moved to Ruisbroek in the Brabant province. Auguste Cantillon, the local church sexton-organist-choirmaster and local bandleader gave him his first musical training: solfège, piano and a little harmony. It was also there in Ruisbroek, probably around 1880, that he wrote his first compositions for choir and band. This early contact with the fanfare medium marked his further career as a composer. In fact Gilson was one of the first ever to create both original and high-quality music for wind and percussion instruments, with good reason earning him the epithet of "father of Belgian brass and wind band music". Also his symphonic oeuvre shows the marks of this craftsmanship, being characterised by a subtle use of the wind section.

In 1882, upon his father's death, Paul Gilson returned to Brussels. There he took lessons from Charles Duyck (harmony and a crash course of counterpoint), along with some composition training at the conservatory with François-Auguste Gevaert, yet all the same he mainly stayed self-educated. In Brussels he eagerly dived into concert life, where he was touched above all by Wagner's operas and by the colourful orchestral range of the Russian National School. With people like César Cui and the publisher Belaieff he kept up a lively correspondence. He met Rimsky-Korsakov, Glazounov and Scriabin.

After a first abortive attempt owing to illness, he obtained the Prize of Rome in 1889 with the cantata Sinaï. Inspired by this award, the next few years he wrote an interesting series of compositions: the Six Mélodies (1889-1890); Alla Marcia, Rapsodie (1890) for string orchestra; Le Démon (1890), a dramatic cantata for soloists, choir and orchestra; the Mélodies Ecossaises (1891-1892) for string orchestra. But especially after the widely-acclaimed creation of La Mer, Esquisses Symphoniques (The Sea, Symphonic Sketches, Brussels, 20 March 1892) he seemed to have secured a definite position on the Belgian concert platform.

Nevertheless his further career went off anything but smoothly. Actually upon the creation of his oratorio Francesca de Rimini (Brussels, 20 January 1895) music reviews blamed him for his bad textual choice and particularly denounced the strongly descriptive, evocative nature of his oeuvre.

Moreover, francophone by birth though for sure having learnt Dutch in Ruisbroek, Gilson had gradually been exposed to musical life in Flanders. Certain metropolitan circles took it ill of him that he had these contacts, which met with quite some antagonism. Maurice Kufferath, director of the Théâtre de la Monnaie, for one, tried his utmost to boycott the creation of La Captive in 1902.

In 1900 Gilson was appointed as teacher of harmony at the Brussels Conservatory. Two years later he got the same function in Antwerp. He filled both positions until 1909, when he succeeded Edgar Tinel as inspector of Flemish music education. In 1912 he was also empowered to inspect music education in the Walloon provinces of Belgium in succession of Emile Wambach. During his years as a teacher his compositions include two Symfonische ouvertures (Symphonic Overtures, 1900; 1903-04), the Petite Suite Rustique for piano (1901), the ballet La Captive (1902), the Variations originally for big brass band, later revised for symphony orchestra (1903), and the operas Prinses Zonneschijn (Princess Sunshine, 1901) and Rooversliefde (Robbers' Love, 1902). Concurrently he developed a gigantic activity as a musicographer, musicologist and critic. Even after officially ending his teaching assignment at the conservatories of Brussels and Antwerp, he continued as a private teacher. Thus just about the entire Belgian composers generation of the interbellum period have apprenticed themselves to Gilson.

Owing to the pressure of these demanding activities, the weakness of his health and to be sure also the continuous opposition he still encountered in Brussels, between 1905 and 1910 his compositional work took a remarkable turn. With the exception of the ballet Les Deux Bossus (The Two Hunchbacks, 1910-1921) he stopped writing large-scale works; the full casts were substituted by a traditional, early-romantic orchestra, more often even Gilson restricted himself to chamber strength. Increasingly more he based his work on reliable professional skills apparently devoid of the spark of spontaneous inspiration. This by no means implies that after 1910 he didn't write any valuable music to speak of. On the contrary, periods of deep despondency repeatedly alternated with an ever-recurring creative urge. Yet the promises held by compositions such as De Zee (The Sea) could not be redeemed at a 'mature age'.

The most conspicuous flickering of his creative power coincides with the outbreak of the Great War. The country's collapse indeed caused the music schools to close their doors temporarily. Only then did he get what he had hoped for when accepting his appointment as inspector: time to compose. In this period he finished works like the Suite Nocturne for piano while writing also three of Six Chansons Ecossaises on texts by Leconte de Lisle. He revised his Tutti Orchestral and started an impressive three-volume Traité d'Harmonie. His involvement though with the commotion around the replacement of the Royal Flemish Conservatory director Wambach, who had fled abroad, gave him a serious mental blow he barely recovered from. A complex tangle of political, Flemish-nationalist manoeuvres shortly before the end of the war resulted in Gilson's appointment by the German occupier as acting director of the Royal Flemish Conservatory. On a charge of collaboration he was indicted after the war and deprived of all his functions for a period of three years.

Close on his sixtieth anniversary, Gilson was one of the co-founders of La Revue Musicale Belge, of which he stayed the artistic director until the last issue was published in December 1939. That same year he also became a correspondent of Radio Belgique. He was assigned a weekly five-minute chronicle, 'La Semaine Musicale', providing a survey of the ins and outs of the musical world. His busy pursuits as inspector, critic and private teacher impeded his work as a composer. He mainly restricted himself to writing for wind ensembles, often occasional works for competitions (such as Tornacum, Grande Marche du Centenaire being the imposed work for the international competition in Doornik/Tournai, 1930), although a composition such as Parafrazen op Vlaamse Volksliederen (Paraphrases on Flemish Folksongs,1929?) for symphony orchestra is the happy exception.

As of 1 September 1930 Gilson officially retired. Five years later the celebration of his seventieth anniversary was again overshadowed by the Flemish-Walloon differences. After the reconversion of public broadcasting to NIR-INR he alternately took care of 'La Quinzaine Musicale' and 'De Veertiendaagsche Muziekkroniek', as a sequel to 'La Semaine Musicale'. In the spring of 1935 he was dismissed inadvertently and replaced by Ernest Closson. An interpellation by Flemish senators was needed for Gilson, who had become the political hencoop's toy, to return to the radio. Yet Minister Spaak's concession was indeed meant to emasculate more fundamental claims of the Flemings (a Flemish broadcast of their own) rather than to reinstate Gilson in his office himself.

He ever more often failed to compose, though never completely giving up this activity. Thus he wrote film music for string orchestra to Carlo Queeckers's Le Mas d'Icare (Icarus' Estate, 1934); duets for wind instrument and piano, the Romantische werkjes (Romantic Little Pieces, 1934-1936); Aria di Timpani con 6 Variazioni (1940). Presumably the music for Cyriel Verschaeve's tragedy Elijah also dates from this period.

In London on 1 April 1937 Gilson married Celina Stoops, singer and singing teacher whom he had probably been living with since the time before World War One. Meanwhile his state of health became ever more worrying: liver cirrhosis, diabetes, and a tumor.

At the outbreak of World War Two he had no choice but to virtually stop teaching altogether. In the shop-window of the Brussels publisher Joris Vriamont the following ad was to be read: "Composer, First Grand Prix de Rome, accepts all copying works, please contact 33, Rue Voltaire. According to testimonies rather a sign of mental depression than of real financial stringency.

Paul Gilson passed away in his house in Schaarbeek on Good Friday 3 April 1942.

Archief Bibliotheek Conservatorium Antwerpen.

Audio en video

La prière


Ouverture de pirat


Eigen werk

  • Gilson, P.: Les compositeurs belges, in: Série française n° 8 - Emissions musicales A, NIR-INR (Brussel, 1936).
  • Gilson, P.: Notes de musique et Souvenirs, Brussel, 1942.
  • Gilson, P.: Le Sacre du Printemps d’I. Strawinsky, in: La Belgique musicale, jrg. 1, nr. 10, 30 mei 1923, p. 149-152.

Anderen over deze componist

  • Blangenois, J.: Jubilé Paul Gilson, in: La Revue Musicale Belge, jrg.1, nr.7, 1925-1926, p. 8.
  • Brenta, G.: Les Synthétistes, in: Music. Revue de la musique, de la danse et du théâtre, jrg. 7, nr. 63, 1930, p. 278-280.
  • Brenta, G.: Paul Gilson, Brussel, 1965.
  • Brenta, G.: Paul Gilson en de sintetisten, in: De Nationale Muziekraad, Voorlichtingsblad van het Belgisch Muziekleven, 1966, p. 17-19.
  • Brenta, G.: Paul Gilson. Esquisse monographique et analytique. Sa carrière, son art, ses Oeuvres, sa philosophie, Brussel, 1926.
  • Brenta, G., Painparé, E., Poot, M., e.a.: Numéro Spécial [Paul Gilson], in: La Revue Musicale Belge, jrg. 11, 16.06.1935.
  • Buyssens, M.: Gilson, Paul, in: Encyclopedie van de Vlaamse Beweging, dl. 1, o.l.v. J. Deleu, Tielt-Utrecht, 1973, p. 598.
  • Caspers, A.: Paul Gilson, in: Ons Tooneel, jrg. 4, nr. 23, p. 297-300.
  • CeBeDeM: Paul Gilson, in: Muziek in België, Brussel, 1967, p. 80-82.
  • Celis, F.: August de Boeck en Paul Gilson. Proeve tot vergelijkende synthese bij het eeuwfeest van hun geboorte, toespraak gehouden bij de opening van de tentoonstelling 'August de Boeck en Paul Gilson', AMVC, 8 mei 1965, gepubliceerd in: Antwerpen, jrg. 11, nr. 3, 1965, p. 85-89.
  • Celis, F.: Bij de honderdste verjaardag van de geboorte van Paul Gilson, in: De Toerist, jrg. 45, nr. 45-46, 1965, p. 725-729, en in: De Autotoerist, jrg. 25, nr. 25-26, 1965, p. 1213-1217.
  • Closson, E.: Paul Gilson, in: La Libre Critique, jrg. 3, nr. 22, 1893, p. 177-184 en nr. 23, 1893, p. 193-196.
  • Cooremans, K.: Paul Gilson, in: Twintig eeuwen Vlaanderen, dl. 14, Vlaamse Figuren 11, Hasselt, 1976, p. 15-20.
  • Corbet, A.: Gilson, Paul, in: Die Musik in Geschichte und Gegenwart, dl. 5, Kassel-Bazel, 1956, kol. 133-134.
  • Corbet, A.: Paul Gilson : Flemish Composer, in: Music and Letters, jrg. 27, nr. 2, 1946, p. 71-73.
  • Corbet, A. en Sternefeld, D.: Gilson, Paul, in: Algemene Muziek Encyclopedie, dl. 3, Haarlem, 1980, p. 396-398.
  • Cui, C.: Twee buitenlandse componisten, deel 2, Paul Gilson, in: De Artiest, nr. 35, 1894, p. 117-120 (in het Russisch).
  • D'Haricourt: Jubilé Paul Gilson, in: La Revue Musicale Belge, jrg. 1 nr. 2, 1925, p. 8.
  • Daneau, N.: Les oeuvres symphoniques et théâtrales de Paul Gilson, in: L'Aurore, jrg. 2, nr. 31, 1925, p. 103-104.
  • Daneau, N.: Paul Gilson, in: Gazette Musicale de Belgique et Revue de tous les Arts, jrg. 1, nr. 3, 1933, p. 5-7.
  • Daneau, S.: Paul Gilson, leven en oeuvre, in: Het Toneel en het Antwerps Toneel, jrg. 63, nr. 7, 1965, p. 2; jrg. 63, nr. 8, 1965, p. 2.
  • Daneau, S. e.a.: Manifestation Paul Gilson 1865-1935, Brussel, 1935.
  • De Klerk, J.: Paul Gilson, grote vriend en ijveraar voor de blaasmuziek, een eeuw geleden geboren, in: Sint-Cecilia, 1965, p. 340-342.
  • De Schrijver, K.: Paul Gilson, in: Levende componisten uit Vlaanderen, deel 1, 1865-1900, Leuven, 1954, p. 11-18.
  • De Wever, F.: Paul Gilson et les Synthétistes, Brussel, 1949.
  • Dewilde, J.: Gilson, Paul, in: Nieuwe Encyclopedie van de Vlaamse Beweging, dl. 2, Tielt, 1998, p. 1323.
  • Dubois, J.: Le 70ième anniversaire de Maître Paul Gilson, in: Libra lllustré, jrg. 3, nr. 111, 1935, p. 12-13.
  • Dufour, V.: Gilson, Paul, in: Die Musik in Geschichte und Gegenwart, o.l.v. L. Finscher, Personenteil 7, Kassel-Bazel, 2002, p. 970-971.
  • Gijssels, W.: Onze toondichters: Paul Gilson, in: Vlaamsch Leven, jrg. 2, nr. 32, 1917, p. 500.
  • Gijssels, W.: Prinses Zonneschijn, in: Lucifer, jrg. 5, nr. 3, 1905, p. 78-81.
  • Gijssels, W.: Prinses Zonneschijn van Pol de Mont en Paul Gilson, in: Vlaamsch Leven, jrg. 4, nr. 2, 1918, p. 20-21.
  • Hadermann, J.: Paul Gilson wordt gevierd, in: De Illustratie, 02.06.1937.
  • Hullebroeck, E.: Een onderhoud met Paul Gilson, in: Muziek-Warande, jrg. 4, nr. 9, 1925, p. 202-205.
  • J. D. B.: Francesca da Rimini, in: De Vlaamsche School (Nieuwe Reeks), jrg. 8, 1895, p.17-18.
  • Justus: Koninklijke Vlaamsche Opera. Rond de herneming van Paul Gilson's "Zeevolk", in: Het Handelsblad van Antwerpen, jrg. 84, nr. 58, 1928, p. 1.
  • Kufferath, M. en Chadfield, E.: Gilson, Paul, in: Grove's Dictionary of Music and Musicians, o.l.v. E. Blom, dl. 3, Londen, 1976, p. 644-645.
  • Leytens, L.: Bij een dubbele verjaardag. Paul Gilson (1865-1942), in: Kaderblad Jeugd en Muziek Vlaanderen, nr. 173, 1992, p. 5-18.
  • Liebrecht, H.: Paul Gilson. Médaillon musical, in: Nos Musiciens. Notes Biographiques, jrg. 1, nr. 4, Brussel, 1916.
  • Maddens, J.: Paul Gilson, in: Vlaanderen, jrg. 15, nr. 90, november 1966, p. 382-385.
  • Meulemans, A.: Anecdoten - Paul Gilson, Antwerpen, s.d.
  • Meulemans, A.: Paul Gilson, in: Muziek-Warande, jrg. 1, nr. 1, 1 januari 1922, p. 3-6.
  • Meulemans, A.: Paul Gilson (1865-1942), in: Mededelingen van de Koninklijke Vlaamse Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Klasse der Schone Kunsten, jrg. 17, nr. 1, Brussel, 1955.
  • Moulckers, J.: Recueil de chants patriotiques des maîtres de l’art musical belge - 75e anniversaire de l’indépendance nationale 1830-1905 / Vaderlandsche zangen der meesters van de Belgische toonkunst - 75ste verjaring der nationale onafhankelijkheid, Lier, 1905, p. 142.
  • M. R.: Paul Gilson, in: L'Art Moderne, jrg. 15, nr. 43, 1895, p. 341-342.
  • N.N.: Francesca da Rimini. Paroles de Jules Guilliaume. Musique de Paul Gilson, in: Le Guide Musical, jrg. 41, nr. 2, 1895, p. 31-35.
  • N.N.: La Guirlande de Paul Gilson, in: L'Aurore, jrg. 2, nr. 31, 1925, p. 107-111.
  • N.N.: Maîtres Contemporains. Paul Gilson, in: Le Guide Musical, jrg. 39, nr. 4, 1893, p. 46-47.
  • N.N.: Paul Gilson, in: Pourqoui Pas?, jrg. 22, nr. 948, 1932, p. 2448-2451.
  • N.N.: Paul Gilson, le musicien indépendant, in: Voilà, jrg. 2, nr. 14, 1941, p. 627-630.
  • Nuten, P.: Toondichter Paul Gilson, in: Wetenschap in Vlaanderen, jrg. 4, juli-augustus 1939, kol. 315-318.
  • Ontrop, L.: Over "Prinses Zonneschijn". Een zangspel van P. Gilson, op woorden van P. de Mont, in: Vlaanderen, jrg. 1, nr. 12, 1903, p. 569-574.
  • Palos, C.: Les cas Gilson, in: Haro!, nr. 6, 20.09.1919, p. 45-46.
  • Pierné, G. en Woollett, H.: Histoire de l'orchestration. Belgique, in: Encyclopédie de la Musique et Dictionnaire du Conservatoire, o.l.v. A. Lavignac, dl. 2, Technique, Esthétique, Pédagogie, vol. 4, Orchestration. Musique liturgique des différentes cultes, Parijs, 1929, p. 2661-2666.
  • Pieters, F.: Blaasmuziek en Harmonies-Fanfares, in: SABAM 75. 1922-1997, Brussel, 1997, p. 372-391 en p. 392-409.
  • Pieters, F.: Gilson en de blaasmuziek, in: Fedekamnieuws, jrg. 24, nr. 2, 1979, p. 96-99.
  • Pieters, F.: Paul Gilson: Father of Belgian Wind Band Music, in: Kongressbericht IGEB Banska Bystrica 1998 (Alta Musica, dl. 22), Tutzing, 2000, p. 307-324.
  • Pieters, F.: Paul Gilson, in: The Heritage Encyclopedia of Band Music, dl. 3, o.l.v. W. Rehrig, Westerville Ohio, 1996, p. 311-312.
  • Poot, M.: Een volksvriend. Paul Gilson, in: Winterhulp, nr. 5, 1942, p. 13-14.
  • Poot, M.: Paul Gilson, in: De Vlaamse muziek sedert Benoit, Antwerpen, 1951, p. 30-33.
  • Poot, M.: Paul Gilson, Professeur, in: L'Aurore, jrg. 2, nr. 31, 1925, p. 104.
  • Quitin, J.: Douze lettres inédites de Guillaume Lekeu à Paul Gilson, in: Bulletin de la Société Liégeoise de Musicologie, jrg. 6, nr. 19, 1977, p. 1-7.
  • Riessauw, A.: De toonzetting van Pol de Monts gedicht '0 kom met mij in den lentenacht' door Paul Gilson en Frank van der Stucken. Vergelijkend onderzoek naar de musico-literaire verhoudingen, in: Liber amicorum J. L. Broeckx, Gent, 1986, p. 263-296.
  • Schoemaeker, M.: Brelan de Festivals Gilson à la Société de Zoologie, in: La Revue Musicale Belge, jrg. 1, nr. 9, 1926, p. 11 -12.
  • Van Den Bos, G.: Vlaamse balletkomponisten, in: Gamma, jrg. 28, nr. 1, 1976, p. 9-12.
  • Van Deuren, A.: Prinses Zonneschijn van Pol de Mont - Paul Gilson, in: Vlaamsche Muziek, nr. 2, Antwerpen, s.d., p. 21-24.
  • Van Etsen, G.: Paul Gilson, in: Muzikale Ommegang, o.l.v. G. Van Ravenzwaaij, Amsterdam, 1948, p. 418-419.
  • Van Holen, J.: De orgelmuziek van Paul Gilson (1865-1942). Componeren ten dienste van ... , in: Orgelkunst, jrg. 20, nr. 2, 1997, p. 26-30.
  • Van Holen, J.: Gilson, Paul, in: Nationaal Biografisch Woordenboek, o.l.v. J. Maton, dl. 9, Brussel, 1981, kol. 303-312.
  • Van Holen, J.: Marines in klanken, in: Vlaanderen, jrg. 49, nr. 3, 2000, p. 188-193.
  • Van Holen, J.: Paul Gilson, De Zee. Studie naar de muzikaal-technische aspekten, onuitgegeven verhandeling tot het bekomen van de graad van licentiaat in de Oudheidkunde en Kunstgeschiedenis, afdeling Muziekwetenschap; K.U. Leuven, 1979.
  • Van Holen, J.: Paul Gilson. Bezettings-bestuurder voor twee maanden, in: Koninklijk Vlaams Conservatorium Antwerpen. 1898 - 1998.Traditie en vernieuwing, o.l.v. G. Persoons, Antwerpen, 1998, p. 281-284.
  • Van Holen, J.: Paul Gilson in Amsterdam, in: Nieuwe Vlaamse Muziekrevue, jrg. 8, nr. 3, 2001, p. 63-65 en nr. 5, 2001, p. 54-56.
  • Van Hoof, J.: Gedachten van Jef van Hoof. Over Paul Gilson, in: Harop, jrg. 21, nr. 5, 1969, p. 149-150.
  • Van Hoof, J.: Paul Gilson, de kunstenaar en zijn werk, in: Vlaamsch Leven, jrg. 2, nr. 32, 1917, p. 501-503.
  • Vander Linden, A.: Claude Debussy, Octave Maus et Paul Gilson, in: Belgisch Tijdschrift voor Muziekwetenschap / Revue Belge de Musicologie, jrg. 16, nr. 1-4, 1962, p. 107-116.
  • Vanhulst, H.: Gilson, Paul, in: The New Grove Dictionary of Music and Musicians, o.l.v. S. Sadie, dl. 7, Londen, 1980, p. 384-385.
  • Vanhulst, H.: Gilson, Paul, in: The New Grove Dictionary of Music and Musicians. Second edition, o.l.v. S. Sadie, dl. 9, Londen, 2001, p. 871-872.
  • Vanhulst, H.: Gilson, Paul, in: The New Grove Dictionary of Opera, o.l.v. S. Sadie, dl. 2, Londen, 1992, p. 418-419.
  • Verheyden, E.: Paul Gilson, in: Ons Volk Ontwaakt, jrg. 3, nr. 3, 1913, p. 1-2.
  • Verleye, A.: Paul Gilson, een blijvende waarde, in: Flandrianieuws, jrg. 12, nr. 9, 1991, p. 21-26.
  • Weyler, W.: In memoriam Paul Gilson, in: De Vlag, jrg. 4, nr. 11, 1942, p. 533-534.
  • Weyler, W.: Paul Gilson und seine Oper "Prinses Zonneschijn", in: Die Musik, jrg. 31, nr. 3, 1938, p. 179-183.


Höflich-uitgave: Andante et scherzo pour violoncelle et orchestre ou piano (1906)

Jan Dewilde

Nederlandse inleiding bij Höflich-cataloognummer 2636

Höflich-uitgave: Schéhérazade: réduction pour piano à deux mains, op. 35

Jan Dewilde

Nederlandse inleiding bij Höflich-cataloognummer 2628

Höflich-uitgave: Alla Marcia. Rhapsodie pour orchestre d'instrument à cordes (1890)

Jan Dewilde

Nederlandse inleiding bij Höflich-cataloognummer 2604

Höflich-uitgave: Suite nocturne for piano solo

Liselotte Sels

Nederlandse inleiding bij Höflich-cataloognummer 2558

Höflich-uitgave: Mélodies Ecossaises (1891-1892)

Jaak Van Holen

Nederlandse inleiding bij Höflich-cataloognummer 540

Höflich-uitgave: Werken voor strijkorkest

Jaak Van Holen

Nederlandse inleiding bij Höflich-cataloognummer 528

Historische teksten

Paul Gilson

Jef Van Hoof

Vraagt iemand mij: wie is Vlaanderens grootste toondichter, dan antwoord ik dadelijk: Paul Gilson. Vraagt men verder — wat altijd gebeurt — waarom? dan antwoord ik onomwonden: om zijn volledigheid. Volledigheid van muzikaal standpunt uit; en volledigheid omdat dit werk is doordacht, doorvoeld en doorwrocht.

Le Sacre du Printemps d’I. Strawinsky

Paul Gilson

Le Sacre du Printemps débute presque naïvement, par le 1er basson, qui entonne tout seul une phrase d'apparence pasto­rale, mais à laquelle l'émission pénible et comme maladive de l'instrument (il joue à des hauteurs invraisemblables), donne une teinte voilée, singulière, presque inquiétante.


Paul Gilson

La vogue extraordinaire de la musique nègre incita, cela va s’en dire, tous les compositeurs amateurs à délaisser la Valse lente pour le Fox-trot et le Shimmy. Cela nous valut une collection sans cesse accrue de musique "que ce n’est pas la peine", comme disait Chabrier.

Paul Gilson en de sintetisten

Gaston Brenta

De componist en muziekcriticus Gaston Brenta (1902-1969), leerling van Gilson en lid van de Synthetisten, publiceerde in 1966 volgende tekst in het tijdschrift van de Belgische muziekraad.

Arthur Meulemans over Paul Gilson

Arthur Meulemans

Paul Gilson aanzien wij als het hoofd der huidige muziek-expressie in Vlaanderen, - wat hij feitelijk ook is voor heel het land. Daarom nu wil het Vlaamsch Tijdschrift De Muziek-Warande in het eerste nummer en met deze regelen, hulde brengen aan den Meester; hulde die, dankzij klein-landsche bekrompenheid en afgunst, niet is wat ze zou moeten zijn: algemeen en een apotheose van hartelijke sympathie en eerbiedige waardeering.

Heb je een vraag of heb je een foutje opgemerkt? Zoek je een partituur?

Of heb je zelf nog meer informatie over deze persoon, contacteer ons dan.