In 1851, two years after the death of Habeneck, there was founded a second concert organization that was destined to bring both inspiration and recognition to many a young composer of the modern French School. It was founded by Pasdeloup (1819-1887) and went under the name of "Société des jeunes artistes du Conservatoire." It is not to be confounded with the "Concerts du Conservatoire" which continued to exist in connection with the conservatory proper. Out of this "Société des jeunes artistes" emanated in 1861 the "Concerts populaires de musique classique," which, as the name implies, was a further progressive step in affording the general public opportunity for hearing good music at popular prices. Pasdeloup's undertakings had for their original object the rendition of the best classical works. But the productions of contemporaneous composers both native and foreign were by no means excluded, and so such men as Lalo, Bizet, Saint-Saëns and Massenet were not slow to be the gainers thereby. That Pasdeloup was eventually forced into the background by Lamoureux and Colonne is but another proof of the fickleness and gross ingratitude of the general public. In vain did Pasdeloup in 1886 duplicate Godard's previous attempt to revive the "Concerts populaires," and this signal defeat undoubtedly hastened his end which took place one year later. The career of the violinist and conductor, Lamoureux (1834), has been triumphant from the time when in association with Colonne he established a society for the performance of chamber music up to the time of his retirement in 1897. In 1873 he established an oratorio society which went under the name of the "Société de Musique sacrée." Subsequently he became conductor at the Grand Opéra as well as of the Conservatoire concerts. His crowning achievement was the founding in 1881 of the "Nouveaux Concerts," better known as the "Concerts Lamoureux." Colonne (1838), greatest of all exponents of Berlioz and a zealous interpreter of Wagner, instituted in 1874 a series of performances under the name of the "Concerts du Chatêlet" that have since made his name famous. At the present day he still ranks as the most eminent contemporary French conductor. His activity shows no signs of abatement, for season after season finds him and his orchestra furthering the cause of French music in the musical centres of Europe as well as in America.