Le Concert de la Loge
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The use of the terms olympic, olympus, olymp

By the sports code article L141-5, the CNOSF (representing the International Olympic Committee in France) is “owner of the national Olympic emblems and depositary of the motto, the anthem, the Olympic symbol and the terms “Olympic games” and “Olympiad”. »
This law, which could also be criticized for its tailor-made and derogatory nature (the constitutional council could usefully be questioned), therefore does not grant protection to the CNOSF on the sole qualifying adjective “Olympic”.
The rights available to the CNOSF over the term “Olympic” result from a series of case laws recognizing a usage mark, but this has not been filed with the National Institute of Intellectual Property. The INPI records indicate that the Bongrain company (manufacture of cheeses) and the Gibaud company (for girdles and bras) are owners of this brand.
Un accord a longtemps été espéré, mais finalement le CNOSF a décidé de ne pas laisser utiliser l’appellation historique Le Concert de la Loge Olympique.
Consulted on the subject, several lawyers specializing in intellectual property issues confirmed that any change in spelling (olampique, elympic, oelympic, etc.), reference to a proper name or adjective “Olympic” or deletion of letters (Olymp, etc.) remained attackable.

The history and relevance of the resumption of this name

The Concert de la Loge Olympique came from the “Olympic Society”, which was a Masonic lodge founded in Paris in 1781 and whose essential object was the establishment in Paris of a private concert, capable of replacing the Concert des Amateurs and operating by private subscriptions.
The Olympic Loge Concert brought together the largest number of musicians and was considered one of the best orchestras in Europe. He gave his first concerts in 1783 at the Hôtel de Bullion, then at the Palais des Tuileries under the protection of Marie-Antoinette.
This society, founded by two noble music lovers, Farmer General Charles-Marin de la Haye des Fosses and Count Claude-François Marie Rigoley d’Ogny, existed at least until 1797, the date of a concert at the Théâtre de l’Ogny. Odeon.

The Concert de la Loge Olympique occupies an essential place in the history of French music because it brought together in its music stands many composers who subsequently founded the Paris Conservatory (Cherubini, Méhul, Rigel, Dalayrac, Jadin, etc.) and commissioned and created famous works from the classical music repertoire, like Haydn’s six Parisian symphonies.
The historical proof of the existence of the Concert de la Loge Olympique can simply be found on numerous original scores, first period editions and in music catalogs kept at the Bibliothèque Nationale de France, the British Library or the Library of Congress with the mention “From the repertoire of the Olympic Lodge”, but also on period rental leases, articles relating concerts etc.
Using the name of an old group or the title of a period work is a practice of independent artists and ensembles like ours who specialize in historical interpretation (Le Concert Spirituel, Le Palais Royal, Les Arts Florissants, The Great Stable and the king’s bedroom).
By taking up this name, the violinist Julien Chauvin wanted to give a strong historical identity to his new orchestra by drawing on the history of music during the revolutionary period, the repertoire of the “classical” period of which Haydn and Mozart are the most famous. representatives.
The current project of the Concert de la Loge Olympique draws both its identity and its sources from the 18th century formation, wishes to revive the spirit which animated this orchestra but also to attempt to fill the historical gaps, because much research remains to be carried out. on this concert organization.
Today, one of the projects of the Concert de la Loge Olympique is to record the complete six Parisian symphonies commissioned in 1785 from Haydn, a first for a French orchestra on period instruments.