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+The Project Gutenberg EBook of Masters of French Music, by Arthur Hervey
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Masters of French Music
+
+Author: Arthur Hervey
+
+Release Date: September 12, 2011 [EBook #37410]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK MASTERS OF FRENCH MUSIC ***
+
+
+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This book was
+produced from scanned images of public domain material
+from the Internet Archive.)
+
+
+
+
+
+
+
+
+Masters of Contemporary Music
+
+A SERIES OF BIOGRAPHICAL AND
+CRITICAL SKETCHES
+
+
+
+
+=Masters of Contemporary Music.=
+
+_WITH PORTRAITS, &C._
+
+=MASTERS OF ENGLISH MUSIC.=
+By CHARLES WILLEBY,
+Crown 8vo, cloth, 5s.
+
+=MASTERS OF GERMAN MUSIC.=
+By J. A. FULLER MAITLAND,
+Crown 8vo, cloth, 5s.
+
+[_In the Press._
+
+[Illustration: CH. GOUNOD
+
+_Frontispiece._]
+
+
+
+
+Masters of French Music
+
+BY
+
+ARTHUR HERVEY
+
+_WITH ILLUSTRATIONS_
+
+LONDON
+OSGOOD, McILVAINE & CO.
+45 ALBEMARLE STREET
+1894
+
+
+THIS LITTLE VOLUME
+
+IS
+
+BY SPECIAL PERMISSION
+
+DEDICATED TO
+
+HER ROYAL HIGHNESS
+
+THE PRINCESS OF WALES
+
+
+
+
+PREFACE
+
+
+_The reader who turns to these pages with the idea of finding therein a
+large and exhaustive account of the composers mentioned, with a
+technical analysis of their works, will, I fear, be disappointed. My
+intention has been a far more modest one._
+
+_The dimensions of this volume would not have allowed me to devote that
+amount of space to each composer that might be considered due to his
+merits._
+
+_The object I have had in view has been to give an account of their
+lives and to draw attention to the tendencies exhibited in their works._
+
+_The French can boast a splendid musical record, particularly as regards
+the opera. Paris was for many years the centre towards which foreign
+artists were wont to gravitate. It was here that Gluck laid the seeds of
+his musical reforms; that Cherubini and Spontini lived and brought out
+their best works; it was the influence of French taste that caused
+Rossini to forsake the inartistic devices of his earlier Italian operas
+and write "Guillaume Tell," his masterpiece; it was for Paris that
+Meyerbeer composed "Robert le Diable," "Les Huguenots," "Le Prophète,"
+and "L'Africaine;" that Donizetti wrote the "Favorite," and Verdi, "Don
+Carlos." It was Paris that Wagner had in his mind when he composed his
+"Rienzi."_
+
+_Then if we cast a glance at their native composers what treasures of
+melody, what grace, and what innate dramatic feeling do we not find in
+the works of Méhul, Boïeldieu, Auber, Hérold, Adam, Halévy, and others
+whose operas during the first half of the present century were heard all
+over Europe._
+
+_Of a different type to the above we meet the Titanic figure of Berlioz,
+whose influence has been so great over the younger generation of
+composers and whose orchestral innovations have borne such fruit. In the
+present volume I am only dealing with living composers, otherwise there
+are four who occupy prominent places in the records of contemporary
+music whose names would have been included, Bizet, Lalo, César Franck,
+and Léo Delibes._
+
+_Bizet, the gifted author of "Carmen," the inspired musician who wrote
+"L'Arlésienne," snatched away at the very moment when his genius was
+beginning to meet with recognition. Who knows what he might not have
+done had he lived! As it is, "Carmen" is probably the most generally
+popular opera that has been written by a Frenchman since Gounod produced
+his "Faust," and Bizet was only thirty-seven years of age when he died!_
+
+_Edouard Lalo, whose death occurred last year (1892), had to wait a long
+time before his merits received the recognition to which they were
+entitled. His popularity in France may be said to date from the time
+when his opera, "Le Roi d'Ys," was first produced at the Opéra Comique
+some five years ago, when the composer had reached his sixtieth year. An
+opera of his entitled "Fiesque," composed many years previously, was
+accepted by one manager after another, but some circumstance invariably
+occurred to prevent its being brought out. His ballet "Namouna" contains
+much that is both charming and original, yet it failed to captivate the
+public of the Paris Opéra when it was produced._
+
+_Amongst his orchestral works are to be found a fine symphony, which I
+remember hearing at one of the Lamoureux concerts in Paris and which
+ought to be given here; two Norwegian Rhapsodies, and the "Symphonie
+Espagnole" for violin and orchestra. The work he will probably be best
+remembered by is "Le Roi d'Ys." A great admirer of Wagner, Lalo in this
+opera applies the master's theories in a restricted sense only, and "Le
+Roi d'Ys" has a greater affinity with "Tannhäuser" and "Lohengrin" than
+with "Tristan" or the "Meistersinger." His chamber compositions and
+orchestral works reveal a considerable amount of originality and
+knowledge of effect, allied to consistently elevated notions with regard
+to the æsthetics of his art. A tendency towards the employment of
+curious rhythms often imparts a peculiar "cachet" to Lalo's
+compositions. In all his works he exhibits a complete mastery over
+orchestral resources, a branch of the art in which French composers as a
+rule excel._
+
+_The name of César Franck is less known in England. Although a Belgian
+by birth, he may through his long residence in France be reckoned
+amongst the composers of that country. His reputation has been steadily
+on the increase of late, and some of his enthusiastic admirers have not
+scrupled to call him the "French Bach."_
+
+_Perhaps we may one day have an opportunity of judging works such as
+"Ruth," "Rédemption" and "Les Béatitudes," which last is generally
+considered as his masterpiece._
+
+_Léo Delibes will be remembered chiefly through his exquisite ballet
+music, such as "Coppelia" and "Sylvia," full of grace, charm and
+refinement, never commonplace, and bearing the stamp of a distinct
+individuality. His operas, "Le Roi l'a dit," "Jean de Nivelle," and
+"Lakmé," do not show his talent off to the same advantage, albeit
+containing many delightful pages._
+
+_Léo Delibes' music is typically French and is full of that "esprit" so
+characteristic of our neighbours. A pupil of Adolphe Adam, Delibes seems
+to have acquired his master's lightness of touch and gift of melody, to
+which he was able to add a quality of distinction which the composer of
+"Le Postillon de Lonjumeau" did not possess._
+
+_It is, however, with the living that we are concerned, and, having paid
+a passing tribute to the memory of the above deceased musicians, I will
+now proceed with my task, once more claiming the indulgence of my
+readers, and begging them to bear in mind that, whatever defects may be
+noticeable in these imperfect sketches, I can at least claim that they
+have been written in perfect good faith._
+
+      _ARTHUR HERVEY._
+
+_P.S.--Among the books that I have had occasion to consult I may mention
+especially Mons. Adolphe Jullien's "Musiciens d'Aujourd'hui," Mons.
+Pagnerre's "Charles Gounod," Mlle. de Bovet's "Life of Gounod," Mons.
+Hugues Imbert's "Profils de Musiciens," and "Nouveaux Profils de
+Musiciens."_
+
+_I also take this opportunity of expressing my indebtedness to my
+friend, Mr. Robin H. Legge, for having been instrumental in procuring
+for me information of a valuable nature._
+
+      _A.H._
+
+_July 1893._
+
+_Note.--Since these sketches were written, the death of Charles Gounod
+has deprived France of one of her greatest musicians. The composer of
+"Faust" died on the 18th of October (1893), the anniversary of the first
+performance of his opera, "La Nonne Sanglante," which was produced in
+1854. His loss is one that will be mourned, not by France alone, but by
+all other nations, and Englishmen will not forget that their country was
+the birthplace of the "Redemption" and "Mors et Vita."_
+
+      _A. H._
+
+
+
+
+CONTENTS
+
+
+                                       PAGE
+
+AMBROISE THOMAS                           1
+
+CHARLES GOUNOD                           37
+
+CAMILLE SAINT-SAËNS                     107
+
+JULES MASSENET                          173
+
+ERNEST REYER                            207
+
+ALFRED BRUNEAU                          223
+
+SOME OTHER FRENCH COMPOSERS             253
+
+APPENDIX                                277
+
+
+
+
+ILLUSTRATIONS
+
+
+CH. GOUNOD                                                 _Frontispiece_
+
+AMBROISE THOMAS                                   _To face p._         1
+
+CH. GOUNOD                                             "              37
+
+FACSIMILE OF AUTOGRAPH SCORE BY GOUNOD                 "              92
+
+CAMILLE SAINT-SAËNS                                    "             107
+
+FACSIMILE OF AUTOGRAPH SCORE OF "SAMSON ET DALILA"     "             144
+
+JULES MASSENET                                         "             173
+
+FACSIMILE OF AUTOGRAPH SCORE OF "WERTHER"              "             200
+
+ERNEST REYER                                           "             207
+
+ALFRED BRUNEAU                                         "             223
+
+FACSIMILE OF AUTOGRAPH SCORE OF "LE RÊVE"              "             240
+
+_The frontispiece and the portrait of M. Massenet are taken from
+photographs by M. G. Camus, Paris. The portrait of the late M. Gounod,
+facing page 37, is taken from a photograph by M. Petit, Paris; and the
+portraits of MM. Thomas, Saint-Saëns, Reyer, and Bruneau, from
+photographs by MM. Benque and Co., Paris._
+
+[Illustration: AMBROISE THOMAS]
+
+
+
+
+AMBROISE THOMAS
+
+
+It has become a trite saying that music is the youngest of the arts. The
+truth of this is nevertheless indisputable, and the remark is perhaps
+more applicable to music as represented in the "lyrical drama" than in
+any other form. What pleases one generation is often distasteful to the
+next, and a period of twenty or even ten years has sometimes been
+sufficient to witness a thorough evolution in the methods and general
+style of dramatic music.
+
+The career of the composer whose name heads this chapter is, from this
+point of view, interesting to study, and a cursory glance at the state
+of musical affairs at the time when he emerged from the Paris
+Conservatoire, having won the "Grand Prix de Rome," will not be out of
+place, and may help towards forming a more accurate estimate of his
+talent.
+
+Every art has traversed a period of degeneration, when true æsthetics
+have been neglected and men of undoubted talent, or even genius, have
+been unable to free themselves from the shackles of a vitiated taste.
+This applies, perhaps, more to music than to any other art, probably for
+the reason that in this case the demand upon the intellect is
+proportionately greater, and a certain degree of culture is absolutely
+necessary for its due appreciation. There is a semblance of truth in the
+contention advanced by Rubinstein, that music is the reflex of its time,
+and even re-echoes the political events and general state of culture of
+the age. The following paradoxical opinion of the eminent Russian
+composer and pianist, taken from his "Conversation on Music,"[1] is well
+worth quoting _in extenso_: "I can follow musically even the events of
+our century. Our century begins either with 1789, the French Revolution
+(musically with Beethoven), or the year 1815 is to be looked upon as
+the close of the eighteenth century, disappearance of Napoleon from the
+political horizon, the Restoration, &c. (musically the scholastic-virtuoso
+period: Hummel, Moscheles, and others); flourish of modern philosophy
+(third period of Beethoven); the July Revolution of 1830, fall of the
+Legitimists, raising the son of Philippe Egalité to the throne, the
+Orleans dynasty, democratic and constitutional principle in the
+foreground, monarchical principle in the background, 1848 in sight
+(Berlioz); the Æolian harp of the Polish rebellion of 1831 (Chopin);
+romanticism generally and its victory over the pseudo-classic
+(Schumann); flourish of all the arts and sciences (Mendelssohn); the
+triumph of the bourgeoisie, in sense of material existence, a shield
+against all disturbing elements of politics and culture (Capellmeister
+music); Louis Napoleon becomes Emperor (Liszt, the virtuoso, becomes the
+composer of symphonies and oratorios); his reign (the operetta a branch
+of art); the German-Franco war, Germany's unity, the freedom of Europe
+resting on ten millions of soldiers, change in all formerly accepted
+political principles (Wagner, his music-drama, his art principles,
+&c.)."
+
+We are able with a tolerable degree of certainty to determine the period
+when a house was built by the style of its architecture, just as we
+experience no difficulty, as a rule, in discovering the date when a
+picture was painted through details that unmistakably reveal the epoch
+when the artist lived, even if the subject he may have chosen to
+illustrate be ever so remote. The well-known picture by Paul Veronese of
+the "Marriage Feast of Cana" is a case in point.
+
+In respect to music, a similar law would appear to govern its
+manifestations, and special characteristics are associated with the
+productions of different epochs. This is made evident by the non-success
+that attends the composer whose genius impels him onward towards new and
+unknown horizons. Woe be to the one who has the temerity to forestall
+his own generation. Although immortality and a tardy homage to his
+memory may be his reward, these will perhaps scarcely afford
+compensation for the trials and hardships endured whilst battling for
+sheer existence in this vale of tears. It is a moot consideration
+whether the wisest course to adopt is that followed by Hector Berlioz,
+or the one that has brought prosperity as well as celebrity to Ambroise
+Thomas; for whereas the former may result in post-mortem panegyrics, the
+latter procures a more immediate recompense, and may lead to the
+directorship of the Paris Conservatoire.
+
+There is something inexpressibly sad in the evanescence of music, and in
+thinking of the comparatively small number of compositions destined to
+survive their age. In this respect music is at a decided disadvantage in
+comparison with the sister arts; the fact of the former being
+essentially creative possibly accounting in some measure for this. At
+any rate, whereas masterpieces of classic art, such as "The Dying
+Gladiator" and the "Apollo Belvedere" remain unrivalled and do not
+betray a vestige of their antiquity, much of the music composed fifty
+years ago has become so hopelessly old-fashioned that it can scarcely be
+listened to with patience.
+
+Is it that in this special case familiarity breeds a larger dose of
+contempt than usual? The fact has been proved over and over again, that
+compositions that seem absolutely incomprehensible to one generation,
+are accepted as comparatively simple by the next; whereas those that
+have caught on with the public at once very soon lose their hold.
+
+The great test of an art work, as such, is its truth of expression. The
+moment this is wanting, its value diminishes, and it is powerless to
+survive the caprice of fashion.
+
+Thus we find that those works into which composers have poured their
+innermost feelings, untrammelled by any desire to purchase an ephemeral
+popularity at the cost of the sacrifice of principle, are those that
+have remained. This is so much the case with stage works that it is
+necessary to state it definitely before proceeding any further.
+
+For years the operatic composer was almost entirely at the mercy of the
+singer, and it has required many efforts on the part of great artists to
+shake off the load, the final emancipation being effected through the
+agency of one whose genius towers far above that of his contemporaries,
+and whose influence upon music has been as widespread as it has been
+beneficial. Need I say that I allude to Richard Wagner?
+
+The spirit of routine, so engrained in the human mind, has also much to
+account for in preventing the development of music as represented in the
+opera. It is far from my desire to say anything in disparagement of a
+form of art such as the "opéra comique," a _genre_ that has been
+illustrated with so conspicuous a degree of success by composers such as
+Grétry, Monsigny, Dalayrac, Nicolo, Boiëldieu, Hérold, and Auber. At the
+same time, it must be admitted that the ideal aimed at by modern French
+musicians is altogether a higher one. The "lyrical drama" has usurped
+the place of the old "opéra comique," and those composers whose
+inability or disinclination have kept them from following the prevalent
+movement, have perforce drifted into that mongrel species of art known
+as the "opérette." From an æsthetic point of view the change is
+emphatically for the better, as the "opéra comique," corresponding to
+the German "Singspiel," and to our "ballad opera," and consisting of an
+amalgam of speech and song, being neither fish, flesh, nor fowl, is
+utterly inconsistent with logic.
+
+That there is still, however, a place for works coming under the
+denomination of a modernised form of "opéra comique," as distinct from
+the "opérette," without pretensions of too lofty an order, is evidenced
+by the delightful works of the late Léo Delibes, "Le Roi l'a dit," "Jean
+de Nivelle," and "Lakmé"; and more recently by Mons. Chabrier's "Le Roi
+Malgré Lui" and Mons. Messager's "La Basoche."
+
+In the year 1832, when Ambroise Thomas had completed his twenty-first
+birthday, the Rossini fever was at its height. Beethoven was
+comparatively little known in France, and those amongst his symphonies
+that had been brought to a hearing had excited more wonder than
+admiration.
+
+"Il ne faut pas faire de la musique comme celle-là," Lesueur had said to
+Berlioz after having listened to the C Minor Symphony; "Soyez
+tranquille, cher maître, on n'en fera pas beaucoup," had been the answer
+vouchsafed by the future author of "La Damnation de Faust." In the
+meanwhile Boiëldieu never lost the opportunity of playing through
+Rossini's operas to his pupils, and descanting upon their merits. It is
+indeed difficult to account for the extraordinary influence exercised by
+Rossini over his contemporaries. That his "facile" melodies should have
+proved agreeable to the general public, and his florid ornamentations
+grateful to the singers, "passe encore." But that an entire generation
+of composers should have been so fascinated by the sham glitter of his
+brilliant though shallow compositions as to follow his methods in so
+faithful a manner, is incomprehensible. It is eminently to the credit of
+French taste that "Guillaume Tell," his only really great work of
+serious import, should have been written for the Paris Grand Opéra.
+
+Entirely devoid of artistic conscience or of any of those lofty
+aspirations towards the ideal that stamp the true artist, be his name
+Bach or Beethoven, Schubert or Schumann, Berlioz or Wagner, Rossini
+deliberately squandered his genius. Success seems to have been his only
+object, and this once acquired he was content to idle away the remainder
+of a long existence, sublimely unconscious of the great musical upheaval
+that was being accomplished by genuine workers in the cause of art.
+
+What can we think of a composer who could employ the same overture to
+precede operas so widely different in regard to their subject-matter as
+"Elisabetta, Regina d'Inghilterra" and "Il Barbiere"? What of the
+musician who thought that a brilliant martial strain was the right
+musical interpretation of the sublime and poignant words expressive of
+Mary at the foot of the Cross? "Cujus animam gementem, contristantem et
+dolentem"; words of indescribable sadness and depth; a mother mourning
+her Divine Son; a theme unexampled in point of pathos and emotion, set
+to a melody that would be in its proper place in some pageant
+descriptive of the triumphal entry of a conqueror into a city!
+
+What, again, of the composer who could prefix a tragedy like "Othello"
+with an overture fit for an "opéra bouffe?" And what would be said
+nowadays of the musician who, finding himself short of an idea, pilfered
+that of another composer, as Rossini did in "Il Barbiere," the trio in
+the last act of which being palpably taken from Haydn's "Seasons"? The
+greater a man's genius--and no one would dream of denying this attribute
+to Rossini--the greater his responsibility. _Noblesse oblige._ In order
+that I may not be accused of formulating too harsh a judgment upon the
+Italian master, I will quote the following words of Blaze de Bury, his
+friend and admirer: "Avec du génie et les circonstances, on fait les
+Rossini; pour être Mozart ou Raphaël, Michel Ange ou Beethoven, il faut
+avoir quelque chose de plus: des principes."
+
+What has been termed the "golden epoch" of the "grand opéra" was at this
+time at its _apogee_, and the period often years from 1828 to 1838
+witnessed the production upon the same boards of Auber's "La Muette de
+Portici," known here as "Masaniello," Rossini's "Guillaume Tell,"
+Halévy's "La Juive," and Meyerbeer's "Robert le Diable" and "Les
+Huguenots."
+
+It has been too much the fashion in recent years to decry the works of
+Meyerbeer, and to lay stress upon their shortcomings whilst giving but a
+grudging half-hearted acknowledgment to the many undeniable beauties
+that pervade them. Against so unjust a verdict I desire emphatically to
+protest, for however much Meyerbeer may have sacrificed for the sake of
+effect, there can be no doubt that he contributed in a large measure
+towards raising the operatic standard, then at a very low level.
+
+If we find the rich crop of wheat not devoid of chaff, we must at any
+rate admit that the former is of excellent quality. To be the author of
+"Les Huguenots," the fourth act of "Le Prophète," and the music to
+"Struensee," not to speak of many another dramatic masterpiece, is in
+itself a sufficient title to rank amongst the greatest musicians of the
+age.
+
+It would occupy too much space were I to enter further into a question
+which I may in the course of this volume have occasion to allude to
+again. I will therefore terminate these preliminary observations by
+stating the position occupied by the three great emancipators of
+dramatic and instrumental music--Berlioz, Liszt, and Wagner--at the time
+I mention, _circa_ 1832.[2] The first was endeavouring to obtain a
+hearing for works that were condemned as incoherent and unintelligible,
+the second had achieved high fame as a pianist, and the third was
+qualifying for the humble position of "Capellmeister" in a German
+provincial town. The charge of incoherence was destined to cling to
+Berlioz even unto the end, whilst the colossal reputation of Liszt as an
+executant for a long while caused his labours as a creative musician to
+be underrated. As to Wagner, the number of misrepresentations that he
+had to live through are too numerous and too well known to mention.
+
+Time, however, sets all things right, and the three masters are little
+by little gaining the position in public estimation to which they are
+entitled.
+
+Ambroise Thomas was born at Metz on the 5th of August 1811, the same
+year as Liszt. He entered the Paris Conservatoire, of which institution
+he is at the time I am writing the honoured director, in 1828, and
+studied there under Zimmerman, Dourlen, and Lesueur;[3] also receiving
+instructions from Kalkbrenner,[4] and Barbereau.[5] The vein of
+sentiment which in later years was to be so prominent a feature in his
+compositions must have been noticeable even at that time, for it is said
+that his master Lesueur, on being told that the future author of
+"Mignon" was seventh in the class, remarked: "Thomas est vraiment ma
+note sensible." (The seventh note of the scale, or what we in England
+call the leading note, is known in French as "la note sensible.") Having
+won the "Prix de Rome" in 1832, for a cantata entitled "Herman et
+Ketty," Ambroise Thomas repaired to Italy, where he spent the following
+three years according to the usual custom.
+
+It must have been about this time that he composed the trio and
+"Caprices en forme de Valses" for piano, marked respectively Opus 2 and
+4, which were appreciated in the following terms by Schumann.[6]
+
+"We come to an extremely pleasant composition, a 'salon trio,' during
+which it is possible to look around without completely losing the
+musical thread; neither heavy nor light, neither deep nor superficial,
+not classical, not romantic, but always euphonious and in certain parts
+full of beautiful melody; for instance, in the soft leading motive of
+the first movement, which, however, loses a great deal of its charm when
+it reappears in the major, and even sounds commonplace," etc.
+
+"The 'Caprices' of Thomas move in a higher circle than Wenzel's 'Adieu
+de St. Petersbourg,' but, notwithstanding the evident application and
+the great amount of talent evinced, are nothing more nor less than
+higher-class Wenzel; 'lederne' German thoughts translated into the
+French language, so pleasant that one must needs beware of them, and so
+pretentious that one could well get vexed with them. Occasionally the
+composer wanders into mystic harmonies, but, soon frightened at his own
+temerity, returns to his natural mode of expression, to what he
+possesses and is able to give. But what do I expect? The 'Caprices' are
+pretty, sound well," etc.
+
+During his sojourn in the eternal city, Thomas made himself popular with
+all who came across him, and was alluded to by Ingres, the celebrated
+painter, at that time head of the school whither were sent the
+successful young artists and musicians who had won the "Prix de Rome,"
+as "l'excellent jeune homme, le bon Thomas."
+
+The operatic career of the composer of "Mignon" dates from the year
+1837, his first venture being a one-act comic opera entitled "La Double
+Échelle," produced at the Opéra Comique. This was succeeded the
+following year by "Le Perruquier de la Régence," three acts, at the same
+theatre; and in 1839 by "La Gipsy," a ballet at the Opéra, in
+collaboration with Benoist, and "Le Panier Fleuri," at the Opéra
+Comique.
+
+The prolific nature of the composer's talent was further illustrated by
+the production in quick succession of "Carline" (1840), "Le Comte de
+Carmagnole" (1841), "Le Guerillero" (1842), and "Angélique et Médor"
+(1843), none of which obtained any appreciable success. It was otherwise
+with "Mina," a three-act comic opera, produced at the Opéra Comique in
+1843, which enjoyed a certain vogue at the time, but has not survived.
+
+The first permanent success achieved by Thomas was with "Le Caïd," a
+light opera given in 1849, which rapidly became popular, and is regarded
+by some as the precursor of the style of _opéra bouffe_ which was
+destined later on to achieve so great a notoriety at the hands of
+Offenbach and his imitators. This is scarcely a correct view to take, as
+the innate refinement of a nature such as that of Ambroise Thomas has
+little in common with the vulgarities associated with the _genre_. "Le
+Caïd," in which the composer amusingly parodies the absurdities
+associated with the now happily obsolete Italian opera style of the
+period, would nowadays pass muster as a high-class _opérette_. This
+bright little score is full of that _esprit_ of which French composers
+seem to possess the secret, and is wedded to an exceedingly amusing
+libretto. "Le Caïd" has remained popular in France, and occupies a
+permanent place in the _répertoire_ of the Paris Opéra Comique.
+
+Before proceeding with the composer's operatic career, it may be well to
+mention a phase in his existence during which he bravely performed his
+duties as a citizen. At the time of the political troubles of 1848, when
+art was forcibly relegated into the background, Ambroise Thomas donned
+the uniform of a _garde national_. It is related that one night, when
+passing under the windows of his friend and collaborator Sauvage, with
+whom he was at that moment working, he shouted out to him, brandishing
+his gun, "This is the instrument upon which I must compose to-day; the
+music it produces requires no words."
+
+Happily Thomas was able soon to revert to more pacific and profitable
+occupations.
+
+The composer's next work was of a different nature, and if "Le Songe
+d'une Nuit d'Été" ("A Midsummer Night's Dream"), given at the Opéra
+Comique in 1851, did not achieve a similar success to "Le Caïd," it
+possessed merit of a higher order, and is even now still occasionally
+performed.
+
+This opera has nothing to do with Shakespeare's comedy, as its name
+might imply. Curiously enough, the immortal bard is made to figure as
+the hero of the piece. He is represented as a drunkard, who is rescued
+by Queen Elizabeth from his evil habits through a stratagem, by which he
+is made to see the veiled figure of a woman, when he is recovering from
+a drunken bout, whom he mistakes for the embodiment of his own genius,
+and who threatens to abandon him unless he promises to reform. It is
+strange that such a farrago of nonsense should have been deemed worthy
+of serving as an operatic text.
+
+"Raymond," a three-act opera, founded upon the story of the Man with the
+Iron Mask, followed the above work in 1851. The overture is the only
+number that has survived. It is a brilliant orchestral piece, somewhat
+in the style of Auber.
+
+In the course of the same year Ambroise Thomas was elected a member of
+the Institute in the place of Spontini. It can scarcely be said that
+this brought him much luck, for of the five operas that he wrote within
+the ten succeeding years, not one has kept the stage. They need not
+detain us long. Their names are "La Tonelli" (1853); "La Cour de
+Célimène" (1855); "Psyché'" (1857), a revised version of which was
+produced at the Opéra Comique in 1878; "Le Carnaval de Venise" (1857);
+and "Le Roman d'Elvire" (1860).
+
+After these comparative failures the composer appears to have taken a
+much-needed rest and devoted some time to reflection, which was to be
+productive of excellent results. It may safely be urged that had Thomas
+died at this period he would have been only entitled to rank with
+musicians of subordinate talent, such as Massé, Maillart, Clapisson, "e
+tutti quanti."
+
+As it happens, he had not then given the full measure of his worth, and
+the two works destined to procure for him the European reputation he
+enjoys belong to his full maturity.
+
+The following is the opinion emitted by Fétis in his "Dictionnaire des
+Musiciens" upon Ambroise Thomas. It must be remembered that these lines
+were written before the production of either "Mignon" or "Hamlet":
+"Talent fin, gracieux, élégant, toujours distingué, ayant l'instinct de
+la scène, souvent mélodiste, écrivant en maître et instrumentant de
+même, cet artiste n'a malheureusement pas la santé, necessaire a
+l'énergie de la pensée. Il a le charme délicat et l'esprit, quelquefois
+il lui manque la force. Quoi qu'il en soit, M. Ambroise Thomas n'en est
+pas moins un des compositeurs les plus remarquables qu'ait produits la
+France."
+
+Six years after the "Roman d'Elvire," the bills of the Opéra Comique
+announced the first performance of "Mignon," the instantaneous success
+of which must have helped to console the composer for former reverses.
+In constructing an opera book out of Goethe's "Wilhelm Meister," the
+librettists, Michel Carré and Jules Barbier, showed an even greater
+independence of spirit than they displayed when adapting the same poet's
+"Faust," for they deliberately altered the original _dénouement_, and
+instead of ending the work with Mignon's death, they prosaically allowed
+her to marry the hero, with whom she is presumably supposed to live
+happily for ever afterwards, possibly in order not to depart too
+abruptly from the conventionalities of the Opéra Comique Theatre, which
+has long been a match-making centre for the _bourgeoisie_.
+
+Happily, Ambroise Thomas did not compose his "Hamlet" for the same
+boards, otherwise who knows but that the Prince of Denmark would not
+have been made to see the error of his ways, and wed the fair Ophelia,
+who would thereby have been saved from going mad, and spared the trouble
+of mastering the vocal acrobatics that are always indulged in by
+operatic heroines who are bereft of reason.
+
+The marriage festivities given in honour of Hamlet and Ophelia would
+have enabled Ambroise Thomas to make use of his ballet music, and every
+one would have been left happy and contented, except perhaps the Ghost,
+who is sufficiently tedious not to deserve any sympathy. It is but fair
+to say that the requirements of _habitués_ at the Opéra Comique have
+considerably changed. Realism has invaded the stage, and a tragic ending
+is no longer the exception to the rule in works destined for this
+theatre.
+
+The poetical subject of "Mignon" was well suited to the refined nature
+of the composer's talent, and the musical value of the work has amply
+justified its success. What soprano vocalist is there who has not sung
+the suave cantilena, "Connais-tu le pays"?
+
+The melodious duet between Mignon and the old harpist ("Légères
+Hirondelles"), the piquant little gavotte that precedes the second act,
+the tenor song, "Adieu, Mignon," and the brilliant overture, are amongst
+the most noteworthy and popular numbers of the opera.
+
+The original interpretation of "Mignon" was of great excellence. Nothing
+could have been more perfect than Mme. Galli Marié's[7] assumption of
+the heroine, an actual embodiment of Ary Scheffer's well-known pictures
+of Mignon. I have heard many artists in this part, but none who so
+completely realised the character in all its details. Mme. Cabel[8]
+personified Philine, and the cast was completed by Achard (Wilhelm
+Meister), Couderc (Laertes), Bataille (Lothario), etc. Mme. Christine
+Nilsson, Mme. Minnie Hauk, and Miss van Zandt must be mentioned as
+successful interpreters of the title _rôle_. For the Italian version,
+Ambroise Thomas altered the small part of Frédéric, and added a vocal
+arrangement of the "Entr'acte Gavotte" for the late Mme. Trebelli.
+
+"Mignon," it may be mentioned, was the opera that was being performed on
+the night of the terrible fire that destroyed the Opéra Comique in 1887.
+
+In Germany and in Austria this opera has not proved less successful than
+it has in France, and the following appreciation of Dr. Hanslick[9] may
+not prove uninteresting: "This opera is in no place powerfully striking,
+and is not the work of a richly organised, original genius. Rather does
+it appear to us as the work of a sensitive and refined artist showing
+the practical ability of a master-hand. Occasionally somewhat meagre and
+tawdry, akin to the vaudeville style, the music to 'Mignon' is
+nevertheless mostly dramatic, spirited and graceful, not of deep, but of
+true, and in many instances warm feeling. Its merits and defects are
+particularly French, which is the reason why the first are more
+noticeable upon the French and the latter upon the German boards."
+
+Having followed the example of Gounod in going to Goethe for a subject,
+Ambroise Thomas further trod in his illustrious _confrère's_ footsteps
+by seeking for inspiration in the works of Shakespeare.
+
+The opera of "Hamlet," performed for the first time in 1868, was the
+result. After having cruelly libelled the bard of Avon by presenting him
+in the character of a drunkard in his "Songe d'une Nuit d'Été," the
+composer of "Mignon" was but making an _amende honorable_ in doing his
+best to provide one of the immortal poet's greatest works with a worthy
+musical setting. If his attempt can scarcely be said to have been
+crowned with the fullest amount of success, the fault is not entirely
+his own, unless he may be blamed for ignoring the fact of discretion
+being the better part of valour.
+
+In endeavouring to set Shakespeare's tragedy to music Ambroise Thomas
+undertook an almost impossible task, and it is scarcely surprising that
+he should not have been absolutely successful. It would require the
+genius of a Wagner to give an adequate musical rendering of a work so
+deep and philosophical, and the Bayreuth master took care not to attempt
+it. Then again the peculiar nature of Ambroise Thomas's talent would
+appear to be absolutely unsuited to the musical interpretation of a
+tragedy of this description.
+
+In judging the operatic version of "Hamlet," the fact must be borne in
+mind that this was written for the Paris Opera, and subjected to the
+exigencies of that institution, which were then far more stringent than
+at the present time, when Wagner has at last been admitted into the
+stronghold, "Lohengrin" forms part of the regular _répertoire_, and the
+"Walküre" draws large audiences. Amongst these exigencies must be
+specially mentioned the introduction of a "ballet" towards the middle
+of an opera, whatever its subject. Wagner's refusal to conform to this
+practice had not a little to do with the failure of "Tannhäuser" at the
+Paris Opera in 1861.
+
+The French are ever priding themselves upon their superiority to the
+rest of the world in all matters theatrical. They are nevertheless
+prepared to accept the most glaring inconsistencies in the matter of
+operatic "libretti." What, for instance, can be more incongruous than
+the introduction of a set ballet in a tragedy like "Hamlet"? This can
+almost be placed on a similar level of absurdity as the mazourka
+introduced by Gounod in his "Polyeucte," the action of which takes place
+during the time of the early Christian martyrs, or as the Scotch ballet
+supposed to be performed at Richmond in Saint-Saëns' "Henry VIII."
+
+Curiously enough, the most successful portion of Ambroise Thomas's
+"Hamlet" turns out to be precisely this ballet act, during which all the
+choregraphic resources of the Paris Opera House are called into play.
+In order to render justice to this work it is necessary to try and
+forget Shakespeare as much as possible and look upon it in a purely
+operatic light, when much will be found that can be unreservedly
+admired. The melodies are refined, and a certain poetical tinge,
+peculiar to the composer, pervades its pages, whilst the instrumentation
+is altogether of great excellence. In this last branch Ambroise Thomas
+has ever shown himself highly proficient, and I do not think that the
+following remarks of Mons. Lavoix[10] are unmerited: "Mons. Ambroise
+Thomas' orchestration is clear in its general design, _spirituel_ and
+ingenious in its details, always interesting and full of poetical
+touches and of pleasant surprises."
+
+The original interpretation of "Hamlet" had much to do with the success
+that attended it, and the parts of Ophelia and Hamlet found unrivalled
+exponents in Mme. Christine Nilsson and Mons. Faure. During the
+rehearsals, in order to be free from interruption, Ambroise Thomas
+transferred his abode to the Opera House itself, where he was allotted a
+room and kept a strict prisoner by the manager, with his piano and a
+goodly assortment of cigars to keep him company, for the composer of
+"Hamlet" has always been an inveterate smoker. On the night following
+the first representation he was re-accorded his liberty, and being asked
+to make a few alterations in his score, plaintively remarked that he
+thought "his two months were over."
+
+At this period Ambroise Thomas was one of the lions of the day, and a
+favourite at the Court of Napoleon III. His presence at the sumptuous
+entertainments given by the Emperor at the palace of Compiègne will be
+remembered by many who profited by the Imperial hospitality. Every
+autumn the beautiful château was used to entertain series of visitors,
+and all the notabilities of Paris were bidden thither as the Emperor's
+guests. How some of these requited his hospitality later on, when
+trouble had gathered about his head, is unhappily a matter of history.
+
+Ambroise Thomas had now reached the apogee of his fame, and this was to
+receive its final consecration when he was called upon to succeed the
+veteran Auber, whose last days were embitterred, and possibly shortened,
+by the misfortunes that had befallen his country and disturbed his
+essentially pacific habits, as director of the Paris Conservatoire. This
+office he has continued to hold until the present day.
+
+Since then his dramatic compositions have been few and far between, and
+if we except "Gille et Gillotin," a one-act trifle written many years
+previously, and played at the Opéra Comique in 1874, have consisted of
+"Françoise de Rimini," a grand opera in five acts produced at the Opéra
+in 1882, and "La Tempête," a ballet given at the same theatre in 1889.
+These works have maintained their composer's reputation, without,
+however, in any material way adding to it.
+
+In examining the compositions of Ambroise Thomas it is impossible to
+avoid being struck by the eclecticism that pervades them all.
+
+The composer of "Mignon" is not one of those great leaders of musical
+thought whose individuality becomes stamped in an indelible fashion upon
+the art products of their period. He has been content to follow at a
+respectful distance the evolution that has gradually been effected in
+the "lyrical drama," taking care to avoid compromising himself through a
+too marked disregard of recognised traditions. Hence the presence of
+much needless ornamentation and countless florid passages, introduced
+obviously in order to show off the singer's voice, that cause many of
+his works to appear old-fashioned.
+
+Mons. Adolphe Jullien, the well-known critic, somewhat severely sums up
+the measure of the composer's talent in the following words; "The
+principal talent of Mons. Thomas consists in having been able to bend
+himself to the taste of the public by serving up in turn the style of
+music that suited it best. Very clever in his art, but without any
+originality or conviction of any sort, he began by writing _opéra
+comiques_ imitated from Auber, and pasticcios of Italian _opéra buffa_
+imitated from Rossini (such as "Carline" and "Le Caïd"); he then
+attempted the dramatic _opéra comique_, after the manner of Halévy, in
+the "Songe d'une Nuit d'Été," and "Raymond." Later on he did not disdain
+to compete with Clapisson in writing "Le Carnaval de Venise" and
+"Psyché"; then, after a long period of inaction provoked through several
+repeated failures, during which the star of M. Gounod had risen on the
+horizon, he has attempted a new style, imitated from that of his young
+rival, with "Mignon" and "Hamlet." In one word, he is a musician of
+science and worth absolutely devoid of artistic initiative, and who
+turns to all the four quarters of the winds when these blow in the
+direction of success."
+
+These words contain undoubted elements of truth, inasmuch as they
+accentuate the fact that Ambroise Thomas' talent partakes largely of an
+assimilative nature. Notwithstanding this, there is a certain degree of
+personality evident in much of his music, discernible through an
+indefinable touch of melancholy that imparts a measure of distinction to
+many of his works, which can be sought for in vain amongst the
+compositions of his more immediate contemporaries.
+
+Ambroise Thomas is one of the last offshoots of a brilliant period,
+showing in his later works indications of a desire to follow the new
+movement, without possessing sufficient strength to do more than make a
+feeble attempt at breaking through the bonds of operatic "routine," and
+ridding himself of the tyranny of the vocalist.
+
+His work is unequal as a whole, but there is sufficient good in "Mignon"
+and "Hamlet" to atone for many weaknesses, and it is through these
+operas that his name will be handed down to posterity.
+
+[Illustration: CHARLES GOUNOD]
+
+
+
+
+CHARLES GOUNOD
+
+
+To be the composer of "Faust" is in itself sufficient to establish a
+claim upon the sympathy and gratitude of many thousands, as well as to
+enjoy the indisputable right of occupying a niche by the side of the
+greatest and most original composers of the century.
+
+There are but few creative musicians whose individuality is so striking
+that it leaves its impress, not only upon their own productions, but
+upon those of their contemporaries. Their genius is reflected, their
+mode of thought copied, and even their mannerisms are reproduced by
+numberless admirers and conscious or unconscious imitators.
+
+As it was with Mendelssohn, Schumann, and Wagner, so it has been with
+Gounod. A higher tribute of praise it is indeed impossible to offer.
+
+The French master has himself defined in a few words the indebtedness of
+every composer to his predecessors, and the difference existing between
+that which is communicable and that which is individual.
+
+"The individuality of genius consists," he says, "according to the
+beautiful and profound expression of an ancient writer, in saying in a
+new way things that are not new: 'Nove non nova.' The influence of the
+masters is a veritable paternity: wishing to do without them is as
+foolish as to expect to become a father without ever having been a son.
+Thus the life which is transmitted from father to son, leaves absolutely
+intact all that in the son constitutes personality. In this way is it
+with regard to the tradition of the masters, which is the transmission
+of life in its impersonal sense: it is this which constitutes the
+doctrine which the genius of St. Thomas Aquinas admirably defines as the
+science of life."[11]
+
+With some masters the personality above alluded to shows itself earlier
+than usual, as in the case both of Mendelssohn and Gounod.
+
+There exists a point of contact between these two composers, so entirely
+dissimilar one from another in every way, which it may be well to point
+out. This is in respect to the nature of the influence they have
+exercised over other composers, which consists not so much in the
+adoption of any special mode of thought or art principle, but is
+exemplified by the servile imitation of specific mannerisms. Less
+far-reaching and wide-spread than that of Wagner, the influence of the
+above masters has also been less beneficial, for the reason that it has
+been more objective than subjective, and has shown itself rather in the
+outward details of many a composition than through its inward
+conception. The likeness has been more in the cut of the garment than in
+the material thereof. This may be accounted for by the fact that both
+Mendelssohn and Gounod are mannerists in the highest sense of the word,
+and their favourite methods of expression being easy to imitate, have
+been repeated by others _ad nauseam_, until they have begun to pall;
+whereas Wagner has opened a vast expanse, beyond which stretches an
+illimitable horizon, whither the composer of the future will be able to
+seek fresh sources of inspiration. His art, which has been described by
+some as typically Teutonic, is in reality universal, because it reposes
+upon the immutable principles of truth and logic, and is applicable to
+all nations, amongst which it has imperceptibly struck root and become
+acclimatised, perhaps nowhere more so than in the country of the
+composer with whom I am now dealing.
+
+Two elements have in their turn exercised their sway over Gounod, and
+both have helped to impart, either separately or jointly, to his music
+certain of those characteristics familiar to all who have studied his
+works--religion and love. The mysticism and sensuous tenderness that
+pervade his compositions, whether sacred or secular, are evidently the
+reflex of a mind imbued with lofty aspirations, swayed at one moment by
+worldly tendencies, but returning with renewed intensity towards the
+pursuit of the ideal. Something of the same spirit may be discerned in
+the musical personality of another great artist, and both Liszt and
+Gounod exhibit in their widely different works the dual ascendancy of
+divine and human love.
+
+"Das Ewig Weibliche zieht uns hinan," the words with which Goethe
+terminates the second part of his "Faust," are singularly applicable to
+the composer whose greatest work is founded upon the immortal poet's
+tragedy, and who has been especially successful in his treatment of the
+sentimental portions thereof.
+
+The sensuous nature of his music is noticeable even in his religious
+compositions, of which it does not constitute the least charm.
+
+The future composer of "Faust" was born in Paris on the 17th of June
+1818.
+
+From his earliest age he displayed exceptional musical aptitudes, and
+showed signs of an undoubted vocation for the career in which he was
+destined so conspicuously to shine. In her "Life of Gounod" Mdlle. de
+Bovet relates the following anecdotes of his childhood: "At the age of
+two, in the gardens of Passy, where he was taken for exercise, he would
+say, 'That dog barks in Sol,' and the neighbours used to call him _Le
+petit musicien_. He likes to repeat what he said one day in that far
+distant childhood. He had been listening to the different cries of the
+street vendors, 'Oh!' he exclaimed suddenly, 'that woman cries out a Do
+that weeps.' The two notes with which she hawked her carrots and
+cabbages actually formed the minor third--C, E flat. The baby, scarcely
+out of his leading-strings, already felt the mournful character of this
+combination."
+
+When about seven years of age he was taken to hear Weber's "Freischütz,"
+or rather the mutilated version of this masterpiece by Castil-Blaze
+known under the name of "Robin des Bois." The impression produced upon
+his youthful mind by Weber's beautiful melodies appears to have been
+very great. A few years later, when a schoolboy, he heard Rossini's
+"Otello" interpreted by Malibran and Rubini, and the Italian "maestro's"
+florid strains seem to have struck him in an equal degree. His
+enthusiasm, however, reached its highest pitch when he became acquainted
+with "Don Giovanni." He has ever since been an ardent devotee at the
+shrine of Mozart, and of late years his admiration for the master's
+music seems, if anything, to have increased.
+
+Having had the misfortune to lose his father at an early age, he was
+brought up under the care of his mother. His first studies in
+composition were pursued under Reicha, one of the most celebrated
+theorists of the time; and having completed his general education at the
+college of St. Louis, he entered the classes of the Conservatoire in
+1836, receiving instruction in counterpoint from Halévy, and in
+composition from Lesueur. In 1839 he obtained the "Grand prix de Rome,"
+and soon afterwards left for Italy. During his sojourn in Rome Gounod
+devoted himself largely to the study of religious music, and spent a
+great portion of his time in perusing the works of Palestrina and Bach.
+
+Whilst residing at the famous Villa Médicis he made the acquaintance of
+Fanny Hensel, the sister of Mendelssohn, in whose correspondence may be
+found several interesting details concerning the future composer of
+"Faust."
+
+In a letter dated April 23, 1840, she writes: "Gounod has a passion for
+music; it is a pleasure to have such a listener. My little Venetian air
+delights him; he has also a predilection for the Romance in B Minor
+composed here at Rome, for the duet of Felix, his 'Capriccio' in A
+minor, and especially for the concerto of Bach, which he has made me
+play more than ten times over." Later on, in another letter, she writes
+as follows: "On Saturday evening I played to my guests, and performed,
+amongst other things, the Concerto of Bach; although they know it by
+heart, their enthusiasm goes 'crescendo.' They pressed and kissed my
+hands, especially Gounod, who is extraordinarily expansive; he always
+finds himself short of expressions when he wishes to convey to me the
+influence I exercise over him, and how happy my presence makes him. Our
+two Frenchmen form a perfect contrast: Bousquet's nature is calm and
+correct, Gounod's is passionate and romantic to excess. Our German music
+produces upon him the effect of a bomb bursting inside a house."
+
+In June 1840 Fanny Hensel and her husband left for Naples. The following
+extract from a letter is interesting, as showing to what extent, even at
+that early period, Gounod had become imbued with religious ideas:
+"Bousquet confided to us on the way his fears concerning the religious
+exaltation of Gounod since he had come under the ascendancy of the Père
+Lacordaire ... whose eloquence had already during the previous winter
+grouped around him a number of young men. Gounod, whose character is
+weak and whose nature is impressionable, was at once gained over by
+Lacordaire's stirring words; he has just become a member of the
+association entitled 'John the Evangelist,' exclusively composed of
+young artists who pursue the regeneration of humanity through the means
+of art. The association contains a large number of young men belonging
+to the best Roman families; several amongst these have abandoned their
+career in order to enter into holy orders. Bousquet's impression is that
+Gounod is also on the point of exchanging music for the priest's garb."
+
+In 1843 we find Gounod in Vienna, where a "Requiem" of his composition
+attracted some attention. On his return to Paris he vainly endeavoured
+to find a publisher for some songs he had composed while at Rome. When
+we hear that these included "Le Vallon," "Le Soir," "Jésus de Nazareth,"
+and "Le Printemps"--that is to say, some of the most beautiful
+inspirations that have emanated from his brain--it becomes difficult to
+account for the obtuseness of the publishers.
+
+Discouraged in this quarter, Gounod devoted his attention once more to
+religious music, and accepted the post of organist to the chapel of the
+"Missions Etrangères." He even entertained the idea of entering into
+holy orders. Happily this was not to be. The name of Gounod was becoming
+known in musical circles, and through the influence of Mme. Viardot, the
+celebrated singer, sister of Malibran, the young composer was
+commissioned to write the music of an opera to a book by Emile
+Augier,[12] for the "Académie Nationale." This, his first contribution
+to the lyric stage, was "Sapho," which was brought out in 1851, without,
+however, achieving much more than a _succès d'estime_. It was revived in
+a curtailed form seven years later, and finally, remodelled and
+enlarged, was reproduced in 1884. Notwithstanding its failure to attract
+the public, "Sapho" commanded the approbation of many competent judges,
+amongst whom we find no less a musician than Berlioz, who thus expressed
+himself upon the composer's merits: "M. Gounod is a young musician
+endowed with precious qualities, whose tendencies are noble and
+elevated, and whom one should encourage and honour, all the more so as
+our musical epoch is so corrupt."
+
+"Sapho" is by no means the worst opera Gounod has composed, though
+unequal as a whole. The original version remains the best.
+
+The year after the production of "Sapho" Gounod married a daughter of
+Zimmermann,[13] a well-known musician and professor.
+
+His next venture was at the Théâtre Français, for which he wrote
+incidental music to "Ulysse," a tragedy by Ponsard. A detail to note is
+that the orchestra was conducted by Offenbach. Although the music to
+this was universally praised, it did not suffice to save the piece from
+dire failure. "La Nonne Sanglante," a five-act opera, founded upon a
+novel by Monk Lewis, produced in 1854, was even less successful than
+"Sapho." At the same time, the press was sufficiently favourable, and
+Gounod's reputation, though awaiting its final consecration, was at any
+rate on the increase. It is as well to mention here the success achieved
+in London of some religious compositions of Gounod's at a concert given
+in 1851, which called forth an enthusiastic article in the _Athenæum_.
+
+The year 1855 witnessed the production of one of the master's most
+individual works, the "Messe de Ste. Cécile," the popularity of which
+has remained unabated on both sides of the Channel, and which furnishes
+perhaps the most typical example of his genius in this particular line.
+Mons. Pagnerre, Gounod's biographer, very rightly considers this as
+occupying the same position in regard to his religious as "Faust" does
+to his dramatic works.
+
+For years Gounod had cherished the desire of setting Goethe's "Faust" to
+music, and in 1855 he mentioned the subject to the librettists Michel
+Carré and Jules Barbier, who immediately set to work and provided the
+required text. Circumstances, however, combined to prevent him from
+completing his work, and Mons. Carvalho, then director of the Théâtre
+Lyrique, having suggested something of a lighter description, Gounod
+interrupted his labours, and in five months completed the score of "Le
+Médecin Malgré Lui," an operatic version of Molière's comedy, which was
+performed for the first time on January 15, 1858. This little opera is a
+perfect gem of delicate fancy and refined humour. It affords a proof of
+what can be achieved with limited means by a true artist, and how
+burlesque situations are susceptible of being treated without a
+suspicion of vulgarity or triviality. Berlioz well defined its true
+worth when he wrote: "Everything in this comic opera is pretty, piquant,
+fresh, spontaneous; there is not a note too much nor a note too little."
+It has frequently been performed in England under the title of "The Mock
+Doctor."
+
+We now approach the culminating point in the composer's career. The
+score of "Faust" was almost finished in October 1857, and Gounod was
+said to be at work upon a grand opera entitled "Ivan the Terrible,"
+which was never completed, or at all events never played. The composer
+utilised several portions thereof in other operas: the celebrated
+soldier's march in "Faust" was originally composed for the above work.
+"Faust" was first performed at the Théâtre Lyrique on the 19th of March
+1859, with the following cast: Faust, Barbot; Mephistophéles, Balanqué;
+Valentin, Reynald; Siebel, Mdlle. Faivre; Marguerite, Mme. Carvalho. It
+was transferred to the Grand Opéra in 1869, with certain alterations,
+including new ballet music for the fifth act, when it was interpreted by
+Colin, a young tenor of great talent and promise, who was destined to
+die prematurely not long after; Faure, unsurpassed as Mephistophéles;
+Devoyod, Mdlle. Mauduit, and Mme. Nilsson, the best of Marguerites.
+
+The success of "Faust" did not for some time assume anything like the
+proportions it was destined to attain later on, and the following
+extracts from some of the criticisms of the day may not be
+uninteresting. Berlioz was on the whole distinctly favourable to his
+young rival's work, and his appreciation, coming from one who had
+himself sought for inspiration from the same source, acquires thereby
+additional importance. According to him, the most remarkable portion of
+the score is the monologue of Marguerite at her window, which closes the
+third act. In this it is probable that many will now agree.
+
+Scudo,[14] the once famous critic of the _Revue des Deux Mondes_, was
+less favourable than Berlioz, although he admitted the work to be
+thoroughly distinguished; "but," he added, "the musician has not seized
+the vast conception of the German poet; he has not sufficiently
+succeeded in appropriating unto himself the epic force of Goethe, to
+render any new attempt impossible." In this, Scudo was perhaps not
+altogether wrong. As, however, he always showed himself the
+uncompromising opponent of Berlioz, Wagner, and the newer school of
+musical thought, his judgment loses some of its weight, and it is not
+surprising that he should have pronounced the soldier's march to be a
+masterpiece, whilst failing to recognise the beauty of the garden scene.
+
+Strangely enough, neither Berlioz nor Scudo, judging the work from such
+different standpoints, were in any way impressed by the musical beauties
+or dramatic force of the prison scene. Jouvin, the critic of the
+_Figaro_, whilst praising the second and fourth acts, thought the third
+monotonous and lengthy. On the other hand, the critic of the
+_Illustration_ considered this as the finest. Scudo having died in 1864,
+he was succeeded on the _Revue des Deux Mondes_ by Blaze de Bury, who
+proved even more hostile to Gounod than his predecessor.
+
+"Faust" was first performed in London under Col. Mapleson's _régime_, in
+1864, with the following cast: Mme. Titiens, Marguerite; Mme. Trebelli,
+Siebel; Giuglini, Faust; Gassier, Mephistophéles; Santley, Valentine.
+Signor Arditi was the conductor.
+
+Later on, during the same season, it was given at Covent Garden and
+interpreted as follows: Mme. Miolan-Carvalho, Marguerite; Mme. Nantier
+Didier, Siebel; Tamberlik, Faust; Faure, Mephistophéles; Graziani,
+Valentine.
+
+Since then, the number of singers who have appeared in this unique work
+has been very great. There probably does not exist a _prima donna_ who
+has not enacted the part of Marguerite; and "Faust" has usurped the
+place formerly occupied by "La Sonnambula" as the _débutante's_ opera.
+
+In his amusing Memoirs, Colonel Mapleson gives an entertaining account
+of the production of "Faust" in London.
+
+Finding that there appeared to be a lack of public interest in the new
+work, discernible through the fact that only £30 worth of seats had been
+disposed of for the first night, he adopted the bold and singular course
+of distributing the tickets for the first three performances far and
+wide, and giving out that the house was sold out. He then put an
+advertisement in the _Times_, stating that, "in consequence of a death
+in the family, two stalls for the first representation of 'Faust,' the
+opera that had excited so much interest that all places for the first
+three representations had been bought up, could be had at 25_s._ each."
+The success of this stratagem appears to have been complete. Public
+curiosity was aroused, and the triumphant career of "Faust" in this
+country was begun.
+
+The success "Faust" has achieved all the world over is probably
+unprecedented in operatic annals.
+
+Gounod is said to have got only £40 for the English rights, and he was
+deemed lucky to get even that.
+
+It would appear to be an impossibility for a composer to succeed in
+pleasing every one, and although perhaps "Faust" possesses this gift as
+much as any other operatic work, yet it is not surprising that it should
+have been criticised adversely from many varied points of view. That it
+should have proved distasteful to Wagner is but natural, considering the
+fact that the "libretto" must have seemed to the German master a
+desecration of Goethe's poem, even as much as the book of "Guillaume
+Tell" was a parody of Schiller's play.
+
+Amongst the most singular appreciations of "Faust" is that emitted by
+Blaze de Bury, who qualifies it as an "Italian" opera!
+
+As a contrast to this, several others have commented upon the composer's
+German tendencies, and the names of Mendelssohn and Schumann have been
+freely mentioned as furnishing the source of his inspiration. In point
+of fact, "Faust" is neither German nor Italian, but French, essentially
+French in its melody, essentially French in its harmony. The few
+unmistakable reminiscences of Mendelssohn do not detract from this any
+more than does the undoubted influence in many places of Meyerbeer. Of
+Schumann I can find but few if any traces. On the other hand, the work
+bears the stamp throughout of Gounod's own individuality. It is not an
+occasional reminiscence or a passing thought that suffices to class a
+work as belonging to any special school, but rather its general
+characteristics. Those who want a typical German Faust must go to
+Schumann, whilst those who prefer Goethe as seen through Italian
+spectacles can apply to Boïto. As regards the essentially Gallic
+interpretations of Berlioz and Gounod there can be no question.
+
+Probably no legend has ever been turned to such account by poet,
+dramatist, and musician as that of "Faust." The fascination of the
+story, whether looked at in its philosophical or purely romantic aspect
+has proved irresistible to many generations. The original Faust appears
+to be a mythical personage, who in some form or another has figured in
+the folk-lore of all nations, and is not to be confounded with Faust, or
+Fust, the printer. An individual of this name is mentioned by Melancthon
+in his "Table Talk" as having been a professor of magic at Cracow, and a
+great traveller, who had startled the inhabitants of Venice by flying
+through the air. The Reformer pleasantly alludes to this person as
+"Turpissima bestia et cloaca multorum diabolorum." The existence of this
+Faust at Cracow is further corroborated by Wierns in 1588, a year later
+than the publication of the earliest version of the Faust legend by
+Spiess. It is upon this last that Marlowe founded his "Dr. Faustus,"
+which was brought out in the following year. The long narrative of the
+story by Widman appeared in 1599. In all these versions the character of
+Marguerite is absent. It was reserved for Goethe to evolve this
+beautiful conception from his brain.[15]
+
+Since the appearance of the great German poet's masterwork, the subject,
+as treated by him, has been utilised in various manners by numberless
+musicians. It would perhaps not be uninteresting to cast a glance at
+some of these. The following composers had preceded Gounod in making use
+of "Faust" as an opera text: Lickl (1815), Strauss (1814), Spohr (1814),
+Seyfried (1820), Béancourt (1827), Sir Henry Bishop (1825), Lindpaintner
+(1831), Mdlle. Berlin (1831), Rietz (1837), and Gordigiani (1837).[16]
+What has become of all these works? _Chi lo sa?_ The only one that has
+in any way survived is that by Spohr, extracts from which are still
+occasionally heard in the concert-room. Boïto's "Mefistofele" belongs of
+course to a subsequent period. It redounds greatly to the credit of the
+Italian composer that he should have succeeded in imposing a new
+operatic setting of Goethe's poem when this was so intimately associated
+in most people's minds with the music of Gounod.
+
+Although strangely unequal, "Mefistofele" is nevertheless in many ways a
+highly remarkable work, particularly as marking a departure from the
+usual methods peculiar to Italian composers, and aiming at a higher
+ideal. It has born fruit. Boïto is a poet as well as a musician, and in
+his operatic adaptation of "Faust" he has evidently striven to depart
+as little as possible from Goethe's plan. This is of course commendable.
+Unfortunately, the result has not been altogether satisfactory, for in
+endeavouring to compress the two "Fausts" of Goethe into one work, the
+Italian composer has been compelled to make a selection from the
+different situations occurring in the original, and has only succeeded
+in presenting a succession of scenes strung together apparently without
+rhyme or reason. A proper sub-title for "Mefistofele" would be, "A
+selection of scenes from the two Fausts of Goethe, operatically treated
+by A. Boïto." Certainly the librettists of Gounod's opera have shown but
+scant regard for Goethe's intentions, but they have at any rate
+concocted a story with a well-regulated and dramatically logical plot.
+Boïto, on the other hand, in his evident desire to do justice to Goethe,
+has attempted too much and achieved too little. "Qui trop embrasse, mal
+étreint." This has been the case with Boïto. Many people have tried to
+discover a philosophical meaning, and the realisation of a quantity of
+abstract notions in Boïto's music, which only exist in their
+imagination. Perhaps the three composers who have best grasped the
+spirit of the wonderful poem have been Schumann, Liszt, and Wagner: the
+first in his "Scenes from Faust," the second in his "Faust Symphony,"
+the third in his "Faust Overture." Gounod has been more successful in
+this respect than many people are inclined to allow. It is only
+necessary to point to the first bars of the Prelude and the commencement
+of the first act as a proof of this fact.
+
+Of late years Berlioz's "Damnation de Faust" has acquired a
+well-deserved though tardily-bestowed popularity. It was considered by
+the composer as one of his best works, a judgment which has since then
+received a practically universal endorsement. At the same time, it is
+rather by reason of its own individuality than as a satisfactory
+interpretation of Goethe, that the above "dramatic legend" is entitled
+to the high rank it occupies in the esteem of musicians, and much of
+the effect produced by this extraordinary composition can in a large
+measure be assigned to the glamour shed over it by the wonderful
+orchestral colouring that Berlioz knew so well how to employ, his
+mastery of which will probably remain his chief glory with posterity.
+Berlioz states that the score of his "Faust" was composed by him with an
+amount of facility that he rarely experienced in connection with his
+other works. The famous march on a Hungarian theme was written by him in
+one night. "The extraordinary effect," he writes, "that it produced at
+Pesth decided me to introduce it into the score of 'Faust,' in taking
+the liberty of placing my hero in Hungary at the outset of the work, and
+causing him to assist at the passing of a Hungarian army across the
+plain where he is indulging in dreamy thoughts." Berlioz excuses this
+liberty by stating that in composing his "Faust" he had never intended
+to bind himself into following the plan adopted by Goethe in his
+masterpiece. This specious sort of argument is all very well in its way,
+and the adoption of similar methods might prove of infinite service to
+composers in enabling them to utilise previously-written works, and
+thereby save themselves trouble. Whether it is artistic or not, is
+another matter. If we suppose, for instance, that Berlioz had had by him
+a "Tarantella" and an Irish jig, he might have transported his hero
+alternately to Italy and to Erin, and named his work "The Travels of
+Faust," which at any rate would not have been open to the same objection
+as the original title chosen by him. Despite these casual observations
+and the fact that, looked at from the point of view of a satisfactory
+interpretation of Goethe's poem, the work falls short, Berlioz's "Faust"
+none the less remains one of its author's most inspired compositions;
+beautiful in parts, though needlessly eccentric in others; powerful,
+and, above all, eminently individual.
+
+If the "Faust" of Berlioz may be ranked as one of its author's best
+works, the same place of honour can undoubtedly be ascribed to the
+"Scenes from Faust" of Schumann in the lengthy catalogue of the master
+of Zwickau's compositions, and it is strange that so few opportunities
+should be afforded to Londoners of appreciating its beauties. The second
+part of this work is generally considered by musicians as being the most
+remarkable, but Schumann's setting of the Church scene counts amongst
+his finest inspirations. The overture is the weakest portion, and cannot
+compare with Wagner's masterly tone-poem known as "Eine Faust
+Ouverture," one of the most striking examples of modern orchestral
+music. I must not omit to mention the "Faust Symphony" of Liszt, which
+is also too seldom performed, probably on account of its length and
+extreme difficulty, also possibly owing to the uncompromising hostility
+entertained in certain quarters against the master's music. Although
+consisting of three movements--labelled respectively "Faust,"
+"Marguerite," and "Mephistophéles," the work in question might rather
+come under the category of a "symphonic poem." It is constructed upon
+entirely unconventional lines, the themes being subjected to various
+transformations, after the method peculiar to Liszt. The second portion
+is one of the most beautiful movements in the entire range of
+instrumental music.
+
+The following composers have also treated the same subject more or less
+successfully: Prince Radziwill, Litolff, Hugo Pierson, Zöllner, and
+Eduard Lassen.[17] The latter's incidental music is constantly given in
+Germany in conjunction with the drama. As this is the age of festivals,
+I should like to suggest to the minds of those responsible in such
+matters the feasibility of attempting what might be termed a "Faust"
+festival. This could be made to occupy the inside of a week, and would
+be devoted entirely to works inspired by Goethe's poem. I venture to
+think that the idea is susceptible of being turned to good account. Many
+musical treasures, the existence of which is unsuspected, would thereby
+come to light.
+
+It would appear to be almost needless to attempt to give a description
+of the music that Gounod has wedded to Messrs. Michel Carré and Jules
+Barbier's operatic version of "Faust." That it is perhaps the most
+popular opera composed during the last fifty years is a generally
+recognised fact, and one that is not likely to be seriously contested,
+whatever restrictions may be made from different points of view
+concerning its merits. Since it was first produced, a new generation has
+sprung up, and what appeared startlingly bold thirty years ago has long
+ceased to be so considered. In 1859 matters were very different from
+what they now are. The operatic _pabulum_ in England consisted of the
+works of Balfe and Wallace. In France, Auber was at the head of the
+Conservatoire; Ambroise Thomas had written neither "Mignon" nor
+"Hamlet"; Clapisson, Massé, Maillart, and composers of that calibre,
+enjoyed the confidence of the patrons of the Opéra Comique; whilst
+Berlioz and Wagner were looked upon as musical iconoclasts.
+
+In Italy, Verdi reigned supreme, the Verdi of "Il Trovatore" and "La
+Traviata," and nothing tended to foreshadow the astonishing
+transformation of style that was eventually to lead the master to
+compose works such as "Aïda," the "Requiem," "Otello," and "Falstaff."
+
+Musical education has made considerable progress since those days, and
+the all-absorbing individuality of Wagner has exercised a sway over
+musical art that is far from having spent itself.
+
+The form in which "Faust" was composed did not tend to differ in any
+appreciable degree from that adopted by Meyerbeer, with the exception
+that certain Italianisms and concessions to the vocalist were dispensed
+with.
+
+Gounod's method, from which he has not since departed, seems to have
+been to musically delineate each phase of the drama, treating every
+scene as a separate whole--that is to say, without having recourse to
+any connecting link or _leit motiv_; the recurrence of previously-heard
+melodies in the fifth act hardly coming under this category. He is
+satisfied to depict his characters in music that is intended to be more
+or less in accordance with their individuality. Herein consists the
+great difference that separates his works from those that are conceived
+after Wagnerian ideas.
+
+The music allotted to Mephistophéles has an appropriate amount of
+Satanic colouring, and is invested with a certain grim humour. It has
+been remarked that Gounod has been less successful than Berlioz in his
+musical depiction of the philosophical side of Goethe's poem. This may
+or may not be true, but in comparing the two works it must be
+recollected that the composers cannot be judged from the same point of
+view, for whereas Berlioz was hampered by no theatrical trammels or
+operatic conventionalities, but was able to turn the legend to whatever
+account he chose, even to transporting Faust to the plains of Hungary
+and accompanying him to the infernal regions, Gounod was to a certain
+extent dependent upon his librettists, who saw in Goethe's poem nothing
+more than a story susceptible of being turned to operatic purposes. As
+to what really constitutes the philosophical in music, probably no two
+people will agree. Music is intended to convey certain impressions which
+in turn cause corresponding emotions to the listener, in accordance with
+that which it has been the composer's intention to depict. If it fails
+in so doing, the fault may be ascribed either to the composer's
+incapacity, or to a want of sympathetic feeling on the part of the
+listener.
+
+It is eminently to the credit of Gounod that he should have found the
+means in his "Faust" of pleasing a variety of differently constituted
+individuals, who probably admire his work from totally different
+standpoints.
+
+To the great majority the charm of "Faust" lies in melodies such as
+those of the "old men's" and soldiers' choruses, the Kermesse and
+well-known waltz; the more refined and sentimental will prefer the
+famous love duet and the prison trio; _prime donne_ will incline to the
+jewel song, which furnishes them with the opportunity of displaying the
+agility of their throats; and the cultivated musician will single out
+parts that do not attract the same amount of attention, but are not the
+less noteworthy--such as the opening bars of the Prelude, the entire
+first act, the end of the third act, the death of Valentine, the Church
+scene, the commencement and end of the last act. When "Faust" was
+transferred from the Théâtre Lyrique to the Grand Opera in 1869, Gounod
+wrote additional ballet music, which, though charming enough in itself,
+is absolutely out of keeping with the nature of the subject, and might
+equally well figure in any opera of the type associated with this
+theatre.
+
+"Faust" may be considered as an important landmark in French music, and
+from the year 1859 may be said to have sprung up an entirely new
+generation of composers, imbued with a high and noble ideal, and
+differing in many essentials from their predecessors. Previous to this
+the voice of Berlioz remained that of one crying in the desert, unheeded
+and scoffed at. The author of the "Symphonie Fantastique" had come too
+soon, and, moreover, was altogether too thorough in his ideas and devoid
+of any spirit of compromise. The pen of the critic, which he wielded
+with such a conspicuous amount of success, was too often dipped in gall,
+and the shafts of sarcasm which he unremittingly hurled at his enemies
+kept their rancour alive, and mayhap did something to prevent even a
+moderate amount of fair criticism from being meted to his musical
+compositions. Although not a reformer in the same sense, Gounod
+nevertheless contrived, in a quieter and less obtrusive manner, to
+impose certain innovations without offending the prejudices of the
+partisans of the older style of operatic music. To us nowadays it seems
+difficult to realise that an opera so full of melody as "Faust" should
+have seemed at all unduly complicated, but so it appears to have been
+thought, and the Parisians of thirty years ago concentrated their
+admiration upon the lighter portions, and looked askance at the rest.
+These same Parisians were destined two years later to show the measure
+of their musical aptitudes by the disgraceful manner in which they
+received Wagner's "Tannhaüser" on the occasion of the memorable
+performances of this work at the Opéra in 1861. At that period Gounod
+was professedly an admirer of the German master, although since then his
+opinions seem to have become sensibly modified. It is necessary to
+remember that Wagner was only known then as the author of "Tannhaüser"
+and "Lohengrin," and as holding certain heterodox views upon dramatic
+art.
+
+After the _fiasco_ of "Tannhaüser" Gounod appealed to the detractors of
+the master, and gave them _rendezvous_ in ten years' time before the
+same work and the same man, when, he said, they would lift their hats to
+them both. It has required somewhat more than ten years for this, but
+the Parisians have gone even further now than Gounod, and possibly the
+popularity of Wagner in Paris may eventually equal, if it does not
+surpass, that of the composer of "Faust."
+
+Within a year after the production of this last work, a new opera by
+Gounod was brought out at the Théâtre Lyrique. "Philémon et Baucis,"
+played for the first time on February 18th, 1860, is a graceful and
+delicate little score, that has remained popular in France and only
+recently has obtained a fair measure of success in London, where it was
+produced by Sir Augustus Harris at Covent Garden in 1891.
+
+This pleasing work belongs entirely to the Opéra Comique _genre_, and
+consists of a number of detached pieces connected together through the
+means of spoken dialogue. In writing it Gounod evidently did not trouble
+himself about questions of operatic reform, but was content with filling
+in the framework provided for him, and allowing his ideas to flow
+naturally. There is nothing forced in this melodious little opera.
+Everything is pure and limpid as crystal. Putting aside all æsthetic
+considerations as to the somewhat old-fashioned form in which the
+composer's ideas are expressed, it is impossible not to feel charmed by
+their refinement and delicacy.
+
+"La Colombe," a little comic opera given at Baden in 1860, and later on
+at the Opéra Comique, is comparatively of little importance. A charming
+_entr'acte_ still occasionally finds its way into concert programmes. A
+work of larger dimensions was "La Reine de Saba," produced on February
+28th, 1862, the third opera written by Gounod for the Grand Opéra.
+
+The music of this work is unequal, and the _libretto_ devoid of
+interest. There are, however, certain numbers that have survived the
+wreck of this ill-fated score, which has been somewhat too harshly
+condemned. Amongst these may be mentioned the air, "Plus grand dans son
+obscurité" (which has remained a favourite with dramatic _prime donne_),
+the graceful women's chorus at the beginning of the second act, the
+characteristic ballet music, and the grand march. These last two
+extracts have become popular, and form part of all properly constituted
+concert _répertoires_. At the period when this opera was produced, the
+peculiar disease known as "Wagnerophobia" was raging in Paris, and every
+composer with something new to say was gratified with the epithet
+Wagnerian, which was held to be a term of contumely, implying absence of
+melodic ideas and want of inspiration.
+
+There is not much in the "Reine de Saba" that suggests the influence of
+the German master, except a passing reminiscence of "Tannhaüser," but at
+that time people did not look too closely into these matters. The score
+was both long and monotonous, it did not contain too plentiful a
+proportion of sops to the singers, and it was forthwith pronounced to be
+Wagnerian, an expression as condemnatory in its intention as its real
+meaning was little understood. Gounod himself laid great store upon his
+work, and being met a short time after its production by a musical
+critic at Baden, he told him that he was travelling on account of a
+family bereavement. "I have lost," he said, "a woman whom I loved
+deeply, the Queen of Sheba."
+
+Only those who know the amount of labour involved in the composition of
+a five-act opera can measure the disappointment that must accrue to its
+author on finding that his work has failed to satisfy that agglomeration
+of entities known as the public. "La Reine de Saba" was more successful
+in Brussels than in Paris, and was well received in Germany, where,
+however, it has been dethroned in favour of the far finer work by
+Goldmark bearing the same name. It has also been heard in London under
+the title of "Irene."
+
+The opera of "Mireille," played for the first time at the Théâtre
+Lyrique in 1864, and introduced to the notice of the English public at
+Her Majesty's Theatre during the same year, is one of Gounod's most
+characteristic productions in the way that it illustrates the composer's
+qualities and defects perhaps as much as anything he has done. The poem
+upon which it is founded is the "Mireio" of Frederick Mistral, the
+celebrated Provençal poet. It is a pastoral, and as such necessarily
+appealed irresistibly to a composer who is never so happy as when
+treating a subject of this kind.
+
+The story is simple enough, and is thus condensed by Mons. Pagnerre,
+Gounod's clever biographer, to whose work I may refer those amongst my
+readers who seek for further information upon the composer's life: "A
+rich young girl, a poor young man, an ill-fated love; and death of the
+young girl through sunstroke."
+
+This tragic _dénouement_ was subsequently altered, and, according to the
+latest version of the opera, Mireille lives presumably to enjoy
+connubial bliss with her lover.
+
+Gounod has been less happy in his treatment of the essentially dramatic
+portions of the story than in those in which the lyrical element
+predominates. The general colour of his score is quite in keeping with
+a subject dealing with Provençale life, although it can scarcely be said
+that he has proved so successful in this respect as Bizet has in his
+music to Alphonse Daudet's "L'Arlésienne."
+
+Notwithstanding this, there are many charming pages in "Mireille,"
+strongly marked with the composer's individuality, suggestive of warm
+sunshine and southern skies. If the opera is emphatically a
+disappointment when considered as a whole, if it absolutely fails to
+carry conviction as a musical drama, if it is full of contradictions of
+style and concessions to the vocalist, it may at least claim to be
+replete with melody of a refined nature and to contain several numbers
+that are always heard with pleasure. The melodious duet, "Oh Magali ma
+bien-aimée," has been one of the chief items in the _répertoire_ of
+tenors and sopranos during the last five-and-twenty years, and has been
+massacred by numberless amateurs in countless drawing-rooms.
+
+The overture is a delightfully fresh composition of a pastoral nature,
+and serves as a fitting prelude to the story. For some reason, best
+known to himself, Gounod has written two endings to this, the first of
+which is immeasurably superior, which is probably the reason why the
+second is usually played. In the first act the composer has introduced a
+vocal waltz of the same type as the one he was subsequently to place in
+the mouth of Juliet, both being evidently written for the purpose of
+giving Mme. Carvalho, the creatrix of these parts, the opportunity of
+indulging in vocal acrobatics. Such concessions to the exigencies of the
+singer are much to be deplored.
+
+Amongst the most noticeable numbers in "Mireille" I would mention, in
+addition to those I have already singled out, the opening chorus of the
+first act, the "couplets" of Ourrias, so often sung in our concert rooms
+by Mr. Santley, the "Musette," the shepherd's song, and Mireille's air,
+"Heureux petit berger." This opera was originally in five acts; it was
+then reduced to three, and restored to five, with certain
+modifications, on the occasion of its revival at the Opéra Comique in
+1874.
+
+If Gounod had not succeeded since his "Faust" in producing any work that
+could bear comparison with this masterpiece (however creditable in their
+way the operas that had followed it might be), he was destined in "Romeo
+and Juliet" to be more fortunate, and to wed music to Shakespeare's
+story, that many of his admirers have not scrupled to place upon the
+same level as the former work. With this estimate I am by no means
+disposed to agree, although I should be inclined to consider "Romeo" as
+occupying the second place in the list of the composer's dramatic works.
+
+Shakespeare's wondrous tragedy had already been set to music by several
+composers,[18] amongst whom it will be sufficient to mention Dalayrac,
+Steibelt, Zingarelli, Vaccai, Bellini, and Marchetti. An opera by the
+Marquis d'Ivry, entitled "Les Amants de Vérone," on the same theme,
+although written before the production of Gounod's work, was brought out
+in Paris in 1878 with Capoul as Romeo. It may be well to point out also
+that, by a curious coincidence, Gounod once more chose a subject that
+had been treated by Berlioz, whose symphony of "Romeo and Juliet"
+remains one of his greatest works.
+
+In her interesting biography of Gounod, Mdlle. de Bovet makes the
+following apt observations: "'Faust,' as we have seen, is remarkable for
+its homogeneity, the happy outcome of the subordination of the fantastic
+to the emotional element. It is not possible to say that all the parts
+of 'Roméo et Juliette' are linked by so close a bond, and this could not
+well have been so. All Jules Barbier's cleverness could not make the
+plot other than a love duet, or rather a succession of love duets."
+
+It is this fact that accounts in a measure for the tinge of monotony
+noticeable in this opera. When Mons. A. Jullien very truly remarks that
+of all musicians Gounod is the one whose ideas, method, and style vary
+the least, he strikes a vulnerable point in the composer's armour. Thus
+the duets in "Romeo" have appeared to many people as attenuated versions
+of the love music in "Faust." Not that the themes in themselves bear any
+appreciable likeness one to another, but that the general
+characteristics and harmonic colouring are similar. To many this will
+appear an additional evidence of powerful individuality, whereas others
+will see in it an element of weakness. Wagner has proved that it is
+possible to write love duets totally distinct in conception one from the
+other, yet bearing the impress of the same hand, in "Lohengrin," "Die
+Walküre," "Tristan," and "Siegfried."
+
+Although the love music of "Romeo" cannot compare with that of "Faust,"
+yet there is no denying the charm that pervades it. Over-sentimental and
+apt to cloy, it is eminently poetical and full of melody. If we miss
+the note of true passion, we find in its stead a fund of tenderness.
+The prelude, or prologue, in which the characters are seen grouped upon
+the stage, is altogether happily conceived and novel in point of form.
+There is little in the first act that calls for much notice, with the
+exception of the clever song for Mercutio, "La Reine Mab," and the
+graceful two-voiced madrigal. The vocal waltz to which I have previously
+alluded is out of place in a work of this kind. The second act contains
+the balcony scene, and is conceived in a delicate and refined vein well
+adapted to the situation. The music throughout is suave and charming.
+There is nothing particularly noticeable in the treatment of the
+marriage scene in the cell of Brother Lawrence.
+
+During the next scene we witness the famous quarrels in which Mercutio
+and Tybalt are killed. The influence of Meyerbeer is strongly marked
+here, although the music lacks the dramatic force which is so prominent
+in the works of the composer of the "Huguenots." The _finale_ to this,
+with its impassioned tenor solo, is highly effective.
+
+Gounod is once more in his element in the fourth act, which contains the
+celebrated love duet, "Nuit d'Hyménée," and in the phrase "Non ce n'est
+pas le jour" he strikes a note of genuine inspiration.
+
+The charming orchestral movement accompanying the sleep of Juliet and
+the final love duet bring us to the end of the numbers demanding special
+attention.
+
+"Romeo" proved successful in France from the outset, whereas in England
+it failed to maintain itself in the operatic _répertoire_ for a number
+of years, notwithstanding the appearance of Mme. Patti as Juliet.
+Recently it has acquired an undoubted popularity, owing possibly in part
+to Mons. Jean de Reszke's assumption of the principal character.
+
+Alike to "Faust," "Romeo" has also been transferred to the _répertoire_
+of the Grand Opéra. It is in these two works that the essence of the
+master's genius would appear to be concentrated.
+
+Gounod having been successful in his treatment of works by Molière,
+Goethe, and Shakespeare, now turned his attention to Corneille, whose
+"Polyeucte" exercised an irresistible fascination over his mind.
+
+Several events, however, were destined to transpire before this work was
+to be brought to a termination.
+
+The Franco-German war broke out, and Gounod, who was past the age to
+serve his country in a military capacity, took refuge in England. During
+his sojourn in London he composed the cantata "Gallia," inspired by the
+troubles that had befallen his native land. This work was written for
+the inauguration of the Royal Albert Hall, where it was performed for
+the first time on May 1st, 1871. On this occasion four composers were
+asked to contribute to the solemnity. Sir Arthur Sullivan represented
+England, Gounod France, Pinsuti Italy, and Ferdinand Hiller Germany.
+Gounod entitled his work a "biblical elegy." It met with success in
+London, and was subsequently performed in Paris. The best portion of
+"Gallia" is the effective _finale_ for soprano and chorus, "Jerusalem."
+Gounod was at that time working at his "Polyeucte," and was also engaged
+upon the "Redemption." Mrs. Weldon was to take the principal part in the
+first of these works.
+
+Whilst in London Gounod composed a great deal. In addition to "Gallia"
+he wrote several choral works and a quantity of songs. Amongst these
+last may be mentioned such popular favourites as "Maid of Athens," "Oh
+that we two were maying," "There is a green hill far away," "The
+Worker," "The fountain mingles with the river," and the fascinating duet
+entitled, "Barcarolle." The "Funeral march of a Marionette" also dates
+from this epoch, as does the charming "Recueil" of songs entitled
+"Biondina," instinct with southern spirit. It may be amusing to peruse
+his opinion of English musical feeling, as recorded by Mdlle. de Bovet:
+"When one sees Englishmen attentively follow the execution of a score,
+as grave and solemn as if they were fulfilling an austere duty; then
+suddenly, as if a spring had been touched, raise their heads and with
+beaming faces exclaim, 'Oh, how nice! very beautiful indeed!' and again
+bury themselves in their book as gravely and solemnly as before, one
+cannot help thinking that they are would-be rather than real musicians.
+They are actuated by British pride, because their artistic taste must be
+superior to the taste of other nations, just as their navy is more
+powerful and their cotton and flannel of better quality."
+
+The opera "Polyeucte," which was terminated in London, was not brought
+out until October 7, 1878. Previous to this Gounod had set to music an
+operatic version of Alfred de Vigny's "Cinq Mars," given for the first
+time at the Paris Opéra Comique on April 5, 1877, which may be classed
+among his weakest productions. It bears manifest signs of haste. Apart
+from a suave "cantilena," "Nuit resplendissante," and some graceful
+ballet music, there is little in "Cinq Mars" that calls for notice.
+
+Gounod was not much luckier with his "Polyeucte," over which he had
+devoted so much thought and labour. This opera, which savours rather of
+the oratorio, was not particularly suited to the stage of the Grand
+Opéra, notwithstanding the introduction of a set ballet, very charming
+in its way, but utterly unfit for the subject. A gorgeous
+_mise-en-scène_ and an admirable interpretation did not save it from
+failure. Out of this elaborate and unequal score it is possible to
+detach certain pages that are worthy of the illustrious name by which
+they are signed, but the work in its _ensemble_ is thoroughly
+disappointing. Gounod seems after "Romeo" to have adopted an entirely
+retrograde style of composition in his operas, and to have receded with
+each new operatic attempt.
+
+If "Cinq Mars" and "Polyeucte" were both destined to accentuate this
+fact, "Le Tribut de Zamora," given at the Grand Opéra in 1881, confirmed
+it without further doubt. This last work is certainly one of his least
+interesting operas, not so much in respect of want of ideas, as from the
+fact of its being constructed upon old and obsolete models. Gounod has
+pursued an absolutely contrary course to that adopted by Wagner and
+Verdi, for whereas these masters have produced their greatest works at a
+comparatively advanced period of their lives, the composer of "Faust"
+has lost ground at each successive production. In saying this I allude
+especially to his operas. Mons. Adolphe Jullien, in an article on the
+"Tribut de Zamora," makes the following apt remarks: "Generally
+speaking, musicians as they advance in their career obtain renewed
+strength, and follow an upward course--at any rate, as long as they have
+not attained old age. It is even the case with certain musicians, such
+as Rossini and Verdi, that a revelation at a later stage of their career
+enables them to perceive a new ideal, which they endeavour to attain,
+with more or less success, according to the amount of genius they
+possess; even for the one who is unable to reach his aim, it is always a
+merit to have had it in view. There is nothing of this in M. Gounod.
+After the long period of rest that followed the production of his best
+works, from 'Faust' to 'Roméo,' he has re-entered the career with ideas
+absolutely modified as regards dramatic music; he has returned straight
+to the old type of opéra comique and opera, carefully cutting up each
+act into airs and recitatives, each romance or melody into short square
+periods, simplifying the orchestral accompaniment as much as possible,
+and subordinating it to the voices, which it often doubles. According to
+this retrograde system he has written his last operas, 'Cinq Mars,'
+'Polyeucte,' and 'Le Tribut de Zamora,' whilst the young French
+musicians taking his earlier works as their starting-point, were
+endeavouring to add to the refinement of his orchestration, and to treat
+each act as a vocal and orchestral symphony. There can be no doubt that
+it is to this that the dramatic music of the present day tends, and it
+is all the more strange to see M. Gounod going against this irresistible
+movement that he has been one of the first to help."
+
+Before taking leave of the master as a dramatic composer it is necessary
+to mention a musical version of Molière's "Georges Dandin," which has
+never been performed, and may possibly be still unfinished. The
+peculiarity of this work consists in the fact of the music being
+composed to Molière's actual prose. In a preface destined to precede the
+above opera, Gounod has exposed his ideas with a considerable amount of
+ingenuity regarding the superiority he considers that prose possesses
+over verse for operatic purposes. It is to be hoped that an opportunity
+may some time or other be offered to the public of judging the practical
+value of these theories by the production of "Georges Dandin." According
+to Gounod, the substitution of prose for verse opens to the musician "an
+entirely new horizon, which rescues him from monotony and uniformity."
+The question, it may be added, had already been mooted by Berlioz, who
+expressed himself favourable to the employment of prose in an article
+published in 1858.
+
+There remain two important compositions of Gounod's to be mentioned,
+both of which naturally possess great interest to the British public,
+having been heard for the first time in England. "The Redemption," which
+was produced at the Birmingham Festival of 1882, has obtained a great
+and lasting success amongst us. It forms part of the current
+_répertoire_ of the Royal Choral Society.
+
+[Illustration: FACSIMILE OF AUTOGRAPH SCORE BY GOUNOD]
+
+Gounod has preceded the score of what he terms a sacred "trilogy" with a
+few explanatory words. He describes his work as being the expression of
+the three great events upon which rest the existence of Christianity:
+(1) The Passion and death of the Saviour; (2) His glorious life on earth
+between His resurrection and ascension; (3) The diffusion of
+Christianity throughout the world by the apostolical mission. These
+three parts of the "trilogy" are preceded by a prologue on the Creation,
+the first Fall, and the promise of a Redeemer. This is, indeed, an
+ambitious programme, and it is scarcely to be wondered at that Gounod
+should not have succeeded altogether in realising it. The music rarely
+approaches the grandeur and depth of expression requisite for an
+adequate interpretation of such a theme. It is full of sensuousness and
+mystic charm, but although containing several numbers of undeniable
+beauty, the effect of the work as a whole is decidedly monotonous.
+Having dedicated the "Redemption" to Queen Victoria, Gounod dedicated
+"Mors et Vita," a sacred "trilogy" produced at the Birmingham Festival
+of 1885, to Pope Leo XIII. This companion work to the "Redemption" is at
+least equally ambitious in its scope. The first part consists of a
+"Requiem," the second is descriptive of the Judgment, and the last deals
+with Eternal Life. Hence its title, "Mors et Vita." This work has not
+obtained the same popularity in England as the "Redemption," to which I
+personally am inclined to prefer it.
+
+Having arrived thus far in the composer's life, I will have to content
+myself with the bare mention of works, such as the incidental music
+written by him to "Les Deux Reines," "Jeanne D'Arc," and "Les Drames
+Sacrés." Gounod is also the author of two symphonies, composed at an
+early stage of his career, several masses, and other religious works. As
+a song-writer he has greatly distinguished himself, and his melodies
+have long been the delight of vocalists all the world over. Amongst
+these is one that deserves special mention and has probably done more to
+popularise his name than the majority of his larger works. I allude to
+the famous "Ave Maria," composed upon the first prelude of Bach. A
+facetious Teuton a year or two ago published a book purporting to
+contain biographies of great musicians. His sketch of Bach runs thus:
+"John Sebastian Bach owes his great reputation almost entirely to the
+fortunate circumstance that he received a commission to write the
+accompaniment to a famous melody by Gounod. With a most incomprehensible
+impertinence he also published his accompaniment, without Gounod's
+melody, as a so-called 'prelude,' together with a number of small pieces
+under the title of 'Wohltemperirte Clavier,' but the book had little
+success, on account of its silly title, among the admirers of the
+melody. His numerous sons are, to the annoyance of historians, also
+called Bach."
+
+Gounod has lately attempted to improve (?) another of Bach's preludes,
+but with indifferent results. Such things are not to be repeated.
+Amongst his other songs it is only necessary to mention at random such
+exquisite gems as the "Serénade," "Medjé," "Le Vallon," "Le Printemps,"
+"Au Printemps," "Prière," "Ce que je suis sans toi," &c., in order to
+revive the most delightful recollections. Occasionally the composer of
+"Faust" has been tempted to express his views upon art and artists. Of
+late years he has exhibited an exuberant admiration for Mozart, upon
+whose "Don Juan" he has written a pamphlet abounding in expressions of
+the most dithyrambic description. In a preface to the "Lettres Intimes"
+of Berlioz, he expresses his great admiration for that master. He has
+also written two interesting and eulogistic notices of Saint-Saëns's
+"Henry VIII." and "Ascanio."
+
+Composers are proverbially bad judges of each other's works. This is
+probably due to the fact that every composer looks upon his art from a
+special point of view, and is often unable to appreciate works that are
+constructed upon different lines to his own. Every one knows the manner
+in which Weber and Spohr criticised Beethoven, and how Schubert was
+unable to perceive the beauties of Weber's "Euryanthe." Meyerbeer fared
+badly at the hands of Mendelssohn, Schumann, and Wagner. The last-named
+has been freely condemned by many of his contemporaries. Nevertheless,
+there is a decided attraction in hearing the opinion of one creative
+artist about another, and Gounod's ideas concerning some of the great
+musicians are worth recording. We are already aware of his boundless
+enthusiasm for Mozart, whom he terms "the first, the only one." Bach and
+Beethoven have also exercised their sway upon him, and both these
+masters run the composer of "Don Giovanni" hard in Gounod's estimation.
+He is reported to have one day expressed himself in the following terms
+concerning Bach: "If the greatest masters, Beethoven, Haydn, Mozart,
+were to be annihilated by an unforeseen cataclysm, in the same manner in
+which the painters might be through a fire, it would be easy to
+reconstitute the whole of music with Bach. _Dans le ciel de l'art, Bach
+est une nébuleuse qui ne s'est pas encore condensée._"
+
+According to Mdlle. de Bovet, "Rossini is in Gounod's estimation the
+most limpid, broad, and lofty of lyric authors"--after Mozart be it
+said. This certainly would seem to upset my theory that a composer is
+not able to appreciate works conceived after different methods to his
+own, for what operas could possibly be more opposed in style than say
+"Semiramide" or "La Gazza Ladra" and "Faust?" Certainly, if we read the
+following passage in Mdlle. de Bovet's book we find that Gounod
+considers that Rossini's work "is summed up in two masterpieces of
+strangely opposite character, 'Il Barbiere di Seviglia' and 'Guillaume
+Tell,'" which possibly qualifies the force of the preceding passage. His
+appreciation of Berlioz is curious. According to Gounod, the composer
+of the "Romeo and Juliet" symphony is "fantastical and emotional; he
+suffers, he weeps, he grows desperate, or loses his head. The personal
+side of things seizes hold of him: he has been called the Jupiter of
+music. Granted; but a Jupiter who stumbles, a god who is a slave to his
+passions and his transports; but withal possessing masterly qualities: a
+marvellous colourist, he handles orchestration--which is the musician's
+palette--with a sure and powerful grasp. And then we come suddenly
+amongst remarkable passages, upon mistakes, awkward bits, betraying a
+tardy and faulty education--in short, an incomplete genius." As regards
+Wagner, the composer of "Faust" prefers to keep his opinion to himself,
+or at any rate only to deliver it in words the ambiguity of which fit
+them for an illustration of the saying that _La parole a été donnée à
+l'homme pour cacher sa pensée._
+
+Gounod inhabits a handsome house in Paris. Mdlle. de Bovet has given the
+following interesting description of his study, which I will take the
+liberty of reproducing: "It is an immense apartment, rising the height
+of two floors, lit by a broad window with light-stained glass; it is
+panelled with oak and vaulted like a church. And is it not the sanctuary
+of art? At the further extremity, on a platform reached by several low
+steps, stands a large organ by Cavaillé Coll; the bellows are worked by
+a hydraulic machine in the basement. A medallion representing a head of
+Christ is placed in the centre of the instrument. The writing-table,
+under the stained-glass window, is one of those composite ones used by
+musicians, a movable keyboard sliding backwards and forwards under the
+desk at will. The Renaissance mantelpiece in wood, richly carved in high
+relief representing scenes of the Passion, is decorated with a bronze
+medallion of Joan of Arc and massive iron ornaments. In the centre of
+the room is a large grand piano by Pleyel. One side is filled with
+bookcases--works on Theology and Philosophy occupying a conspicuous
+place--and with musical scores; amongst these, the collection of
+ancient ones inherited by Gounod from his father-in-law is extremely
+valuable." "In this immense room," writes Mons. Pagnerre, "the author of
+'Faust' can often be seen, clad in black velvet, with a loose cravat
+round his neck, and his feet imprisoned in small slippers fit for a
+woman. There is ever something feminine about Gounod. His conversation
+is charming and persuasive. The musician is a witty and eloquent
+conversationalist. His physiognomy is mobile, his voice is soft, and
+when he speaks it is like music."
+
+The individuality of a great composer is ever attractive to his
+admirers, and when in addition to his gifts as a creator he possesses
+that peculiar qualification known as "personal magnetism," their
+enthusiasm occasionally causes them to outstep the bounds of
+common-sense. It is especially members of the fair sex who are prone to
+indulge in exaggerated expressions of hero-worship. The emotional nature
+of music causes it to appeal to their minds with such intensity that
+they make a fetish of their idol, and fall down and worship not only
+him but everything he touches and looks upon. There are plenty of most
+amusing incidents on record which might be cited in support of this.
+Amongst these I will mention the following, concerning which it may be
+said, _Se non è vero, è ben trovato_:
+
+A story is told of a lady admirer of his who once paid him a visit.
+Noticing a cherry-stone on the mantelpiece, she annexed it, took it home
+and had it set by a jeweller as a brooch, surrounded by diamonds and
+pearls. Paying a visit to Gounod some weeks later the lady drew
+attention to her act of reverence, when Gounod said: "But, madam, I
+never eat cherries; the stone you found on the mantelpiece was from a
+cherry eaten by my servant Jean!" Tableau!
+
+       *       *       *       *       *
+
+In summing up the qualifications of a great composer--and as such there
+can be no doubt that Gounod must be reckoned--it is evidently better to
+dwell upon that which he has actually achieved than upon what he may
+have left undone.
+
+The composer of "Faust" has imprinted his mark in an unmistakable manner
+upon his epoch. He has struck a note that had not previously been heard,
+and if he has perhaps reiterated this note somewhat too frequently,
+thereby attenuating its effect, the credit of having been the first to
+employ it must not be refused to him.
+
+Mons. Adolphe Jullien judges him severely when he says that the more he
+has had occasion to hear and study his works, the more convinced he has
+become that Gounod possesses the genius of assimilation. According to
+him, the greatness of Gounod's talent is derived through the study of
+the works of all the masters, and especially of those of Bach, Handel,
+Schumann, and Berlioz. This I consider open to doubt. That Gounod has
+studied the works of his predecessors and profited thereby is evident,
+but this has been the case with all musicians. Something more is
+required to compose a work such as "Faust"; that something which is the
+appanage of but few composers, and which is known as "individuality."
+
+Mons. Arthur Pougin, in his Supplement to Fétis's "Dictionnaire des
+Musiciens," thus describes the genius of Gounod: "Musically and as
+regards the theatre, M. Gounod is more spiritualistic than
+materialistic, more of a poet than a painter, more elegiac and more
+nervous than truly pathetic. It is perhaps this that has caused people
+to say that he lacked dramatic feeling; those who have expressed
+themselves thus have been mistaken, for it is not the dramatic
+feeling--that is to say, _la perception passionée_--which Gounod
+occasionally wants, but rather the temperament. At the same time, the
+author of 'Faust,' 'Roméo,' 'Le Médecin Malgré Lui,' remains a true
+poet, an inspired creator, an artist of the first rank and of high
+order."
+
+The essence of the master's genius is contained in "Faust." Although
+since then he has composed many works of great merit, yet he has never
+been inspired to a similar degree. He may have abused certain formulas,
+and employed the same devices _ad nauseam_, but at any rate he can claim
+them as his own. It is not his fault if his imitators have reproduced
+his mannerisms to so great an extent.
+
+Ernest Reyer once remarked that every one nowadays wrote music in the
+style of Gounod. "So far," added the witty Academician, "it is still
+that of Gounod himself that I prefer." This opinion, I venture to think,
+will probably be endorsed by my readers.
+
+I cannot better terminate this notice on the composer of "Faust" than by
+reproducing the following sonnet addressed to him by Camille
+Saint-Saëns:
+
+    "_Son art a la douceur, le ton des vieux pastels
+    Toujours il adora vos voluptés bénies,
+    Cloches saintes, concert des orgues, purs autels;
+    De son oeil clair, il voit les beautés infinies._
+
+    _Sur sa lyre d'ivoire, avec les Polymnies,
+    Il dit l'hymne paiën, cher aux Dieux immortels.
+    'Faust,' qui met dans sa main le sceptre des génies
+    Egale les Juan, les Raoul et les Tell._
+
+    _De Shakespeare et de Goethe il dore l'auréole;
+    Sa voix a rehaussé l'éclat de leur parole,
+    Leur oevre de sa flamme a gardé le reflet.
+    Echos du Mont Olympe, échos du Paraclet
+    Sont redis par sa Muse aux langueurs de créole;
+    Telle vibre à tous les vents une harpe d'Eole._"
+
+[Illustration: CAMILLE SAINT-SAËNS portrait signed]
+
+
+
+
+CAMILLE SAINT-SAËNS
+
+
+There probably does not exist a living composer who is gifted with a
+musical organisation so complete as that of Camille Saint-Saëns. A
+perfect master of his craft, the French composer has contributed his
+quota to every branch of his art, and may truly be said to have
+distinguished himself in each. An eclectic in the highest sense of the
+word, Saint-Saëns has attempted every style and form, disseminating his
+works right and left with seemingly reckless prodigality. Never at a
+loss for an idea, invariably correct and often imaginative, going from a
+piano concerto to an opera, and from a cantata to a symphonic poem with
+disconcerting ease, composing rapidly, yet never exhibiting any trace of
+slovenly workmanship, finding time in the meanwhile to distinguish
+himself as organist and pianist, and to wield the pen of the critic, the
+astonishing capabilities of this wonderfully gifted musician may be put
+down as absolutely unique. His eclecticism may indeed be said to have
+been with him both a source of strength and weakness, for reasons which
+I shall propose to examine later on. Before endeavouring to formulate an
+opinion upon his multifarious works, a few biographical notes will not
+be out of place.
+
+Camille Saint-Saëns was born on October 9, 1835. He lost his father when
+a child, and was brought up by his mother and his great-aunt, thanks to
+whose combined care he was able to battle against the natural delicacy
+of his constitution. Many anecdotes are related concerning the precocity
+of his musical development, and the ease with which he mastered those
+first principles of his art which usually appear so trying to the
+youthful mind.
+
+One day, when he was at play, a visitor having been ushered into the
+adjoining room, the child, in listening to his footsteps, gravely
+observed, to the amusement of those present: "That gentleman in walking
+marks a crotchet and a quaver." The visitor in question walked with a
+limp.
+
+It was from his great-aunt that he learnt the elements of music. Later
+on, he studied the piano under Stamaty,[19] and composition under
+Maleden, subsequently entering the Conservatoire in the class presided
+over by Halévy.
+
+In 1852 he competed without success for the "Prix de Rome," and that
+same year witnessed the production of his first symphony by the Société
+de Sainte-Cécile under Seghers.
+
+Twelve years later, he once more entered the lists, but again failed,
+and the prize was awarded to Victor Sieg.[20]
+
+Saint-Saëns was luckier in 1867, when his cantata "Les Noces de
+Prométhée" was allotted the first place in a competition organised for a
+work to be performed on the occasion of the opening of the International
+Exhibition.
+
+No less than one hundred and two musicians competed for the prize.
+Berlioz wrote as follows to his friend Ferrand concerning the success
+achieved by Saint-Saëns: "On avait entendu les jours précédents cent
+quatre cantates, et j'ai eu le plaisir de voir couronner (à l'unanimité)
+celle de mon jeune ami Camille Saint-Saëns, l'un des plus grands
+musiciens de notre époque.... Je suis tout ému de notre séance du jury!
+Comme Saint-Saëns va être heureux! j'ai couru chez lui, lui annoncer la
+chose, il était sorti avec sa mère. C'est un maître pianiste foudroyant.
+Enfin! voilà donc une chose de bon sens faite dans notre monde musical.
+Cela m'a donné de la force; je ne vous aurais pas écrit si longuement
+sans cette joie."[21]
+
+A curious incident is related as having occurred on the occasion of this
+competition. The works sent in naturally did not bear the names of their
+authors, and many of the judges seemed to imagine that Saint-Saëns'
+cantata, which was far ahead of the others in point of merit, was by a
+foreigner. This caused the veteran Auber to make the following remark:
+"Je voudrais être certain que l'auteur de ces 'Noces' soit un Français.
+C'est un symphoniste si sur de ses moyens, si franc du collier, d'allure
+si libre, que je ne vois pas chez nous son pareil."
+
+The fact of Saint-Saëns having sent his score from London led some of
+his judges to imagine that they were voting for Sir Julius (then Mr.)
+Benedict.
+
+Saint-Saëns had been named organist at the church of Saint Merry when
+only seventeen years of age, and in 1858 was appointed to a similar post
+at the Madeleine, in succession to Lefébure Wély.[22] He relinquished
+this position in 1877, finding that he had not sufficient time to devote
+to his duties, and was succeeded by Théodore Dubois.[23] In the
+meanwhile, the reputation of Saint-Saëns as a pianist had been
+spreading, and during frequent journeys over Europe he invariably met
+with great success wherever he went.
+
+The opinion of one artist concerning another is ever interesting, and
+the following words of Hans von Bülow, written in 1859, will give an
+idea of the esteem in which the great German pianist held his French
+colleague: "There does not exist a monument of art of whatsoever
+country, school, or epoch, that Saint-Saëns has not thoroughly studied.
+When we came to talk about the symphonies of Schumann, I was most
+astonished to hear him reproduce them on the piano with such an amount
+of facility and exactitude that I remained dumbfounded in comparing this
+prodigious memory with my own, which is thought so much of. In talking
+with him I saw that nothing was unknown to him, and what made him appear
+still greater in my eyes was the sincerity of his enthusiasm and his
+great modesty." It must be recollected that at that time Schumann was
+comparatively little known in France. Testimony of this kind coming from
+a musician like Hans von Bülow is indeed precious. We have already seen
+what Auber and Berlioz thought of Saint-Saëns, it remains to record the
+opinions emitted by Wagner and Gounod.
+
+The composer of "Tristan," in a _réunion_ consisting of several French
+artists who had journeyed to Switzerland to see him, drank to the health
+of Saint-Saëns, whom he qualified as the "greatest living French
+composer."
+
+Gounod has never lost an opportunity of expressing his admiration for
+his friend's wonderful gifts, and has recorded his appreciation of the
+surprising versatility so often exhibited by Saint-Saëns in the
+following words: "He could write at will a work in the style of Rossini,
+of Verdi, of Schumann, or of Wagner."
+
+Mons. Edouard Schuré has endeavoured to trace the musical physiognomy of
+Saint-Saëns in the following lines, occurring in the preface written by
+him to the interesting "Profils de Musiciens" of Mons. Hugues Imbert:
+"Personne ne possède plus à fond la science technique de la musique,
+personne ne connait mieux les maîtres, de Bach jusqu'à Liszt, à Brahms,
+et Rubinstein, personne ne manie plus habilement toutes les formes
+vocales et instrumentales. Mons. Saint-Saëns peut dire: 'Rien de musical
+ne m'est étranger.' Il a abordé tour à tour tous les genres et presque
+avec un égal bonheur. On remarque chez lui une imagination souple et
+vive, une constante aspiration à la force, à la noblesse, à la majesté.
+De ses quatuors, de ses symphonies se détachent des échappées
+grandioses, des fusées trop vite évanouies. Mais il serait impossible de
+définir l'individualité qui se détache de l'ensemble de son oeuvre. On
+n'y sent pas le tourment d'une âme, la poursuite d'un idéal. C'est le
+Protée multiforme et polyphone de la musique. Essayez de le saisir; le
+voilà qui se change en sirène. Vous êtes sous le charme? Il se
+métamorphose en oiseau moqueur. Vous croyez le tenir enfin? mais il
+monte dans les nuages en hypogriffe. Sa nature propre perce le mieux en
+certaines fantaisies spirituelles d'un caractère sceptique et mordant
+comme la 'Danse Macabre' et le 'Rouet d'Omphale.'"
+
+Saint-Saëns is no stranger to us. His visits to London have been
+frequent, and his cantata, "The Lyre and the Harp," was composed
+expressly for the Birmingham Festival of 1879. This very year, 1893, the
+University of Cambridge has paid homage to the greatness of the musician
+by conferring upon him the honorary degree of Doctor of Music. His first
+appearance in London was at the Musical Union in 1871. He played at
+Philharmonic Concerts in 1874 and 1879, choosing Beethoven's concerto in
+G on the first occasion, and his own concerto in G minor on the second.
+He has also been heard at the Crystal Palace, and this year (1893) he
+again appeared at a Philharmonic Concert, playing the same concerto in G
+minor of his own composition, and conducting his symphonic poem, "Le
+Rouet d'Omphale." During one of his visits to London, some ten or twelve
+years ago, he met with an accident that might have had fatal results. He
+fell through an open trap-door, and received serious injuries to his
+back, from which he did not recover for a long while. Having promised
+to take part in an arrangement for eight hands of his "Marche Heroïque,"
+at a concert given by Sir Julius Benedict, he somehow contrived to get
+on to the platform and perform his task, but when it came to acknowledge
+the applause of the audience he was unable to bend forward or bow, and
+had to slide off as best he could. As a pianist, Saint-Saëns may be
+classed in the very first rank. His execution is prodigious, and his
+lightness of touch quite unique. He is, perhaps, heard at his best when
+interpreting Bach, with whose works he is as intimately acquainted as
+any living musician.
+
+Unfortunately, he now seriously contemplates giving up performing in
+public, not feeling anxious to continue after his powers are on the
+wane. The reason he alleges will scarcely be accepted as a good one, for
+so far there has been no falling off whatever in his execution. What is
+more likely is that he finds he has no time to practise. As a matter of
+fact he now rarely touches the instrument, and a paragraph that
+recently appeared in a paper to the effect that he was in the habit of
+practising all day long, caused him to indulge in a prolonged fit of
+merriment. In his humorous way--for Saint-Saëns is a humorist, _comme il
+y en a peu_--he told me that he considered that an executant should know
+how to stop in time, and that he was not desirous of emulating the
+example of certain artists who went on giving concerts until they had
+completed their allotted span of life, and were capable, even after
+their demise, of finding sufficient strength to announce a "posthumous
+recital."
+
+In the course of his eventful career Saint-Saëns has had some amusing
+experiences of the stupidity of those amateurs who pretend to be
+musical, and whose knowledge may be put down at zero. The Duchess de
+C---- once expressed the desire to hear him perform some strictly
+classical music. A party was organised, and none were invited but those
+whose musical proclivities were known to be of a serious order.
+Saint-Saëns seated himself at the piano, and asked the Duchess de
+C----, who was by his side, what she would wish him to play. There was a
+pause, the Duchess thought deeply, and suddenly turning towards him,
+said she would so like to hear _the Miserere from the "Trovatore."_
+
+On another occasion he was asked by a lady who was giving a party to
+play something that would not be too difficult of comprehension. "Play a
+piece suitable for a pack of donkeys," she said. As it happened,
+Saint-Saëns had just got up a "fantasia" upon Bellini's "Casta diva,"
+one of those drawing-room show pieces utterly devoid of any musical
+value; so he expressed himself ready to provide the required article.
+The evening arrived; he sat down at the piano and duly went through his
+fireworks. The moment the piece was at an end, up jumped a gentleman,
+who was profuse in his expressions of delight, and warmly clasping the
+hostess's hand, exclaimed: "I am sure you got him to play this beautiful
+piece for _my_ benefit!"
+
+Having remarked at the beginning of this sketch that Saint-Saëns had
+distinguished himself as a composer in every branch of his art, I will
+endeavour to allude briefly to those amongst his works that have
+contributed the most to ensure him the supremacy he now occupies amongst
+the musicians of his country, a supremacy which is practically
+uncontested, if only for the reason of the universality of his gifts.
+Whereas other composers occupy, perhaps, an equal or even superior rank
+in some particular line, there is not one who has shown himself capable
+of shining in conspicuous fashion in so many varied styles. Mons.
+Gauthier Villars, in a clever article upon the composer, has remarked
+that there exist in Camille Saint-Saëns "three men--three temperaments
+that influence one another. There is an 'absolute' musician, a dramatic
+musician, and a critic, whose polemics are always erudite, frequently
+witty, occasionally bitter and violent." These words will serve in a
+great measure to explain certain apparent inconsistencies that are
+noticeable in the composer's works. A thorough master of every technical
+detail of his art, a contrapuntist of unsurpassed excellence, a
+musician endowed with a prodigious facility of production, Camille
+Saint-Saëns has not always been able to keep his productivity within due
+bounds. His sureness of hand enables him to complete a work in so short
+a time that he has not invariably given proof of that spirit of
+concentration which shows itself in the compositions of some masters.
+With Saint-Saëns it is the impulse of the moment that compels him to
+compose in one style or another. This will account for the fact that if
+in some cases his works betray a want of inspiration, yet they rarely
+smell of lamp oil, or seem unduly laboured. He is essentially a
+_fantaisiste_, careless of any preconceived plan, but exhibiting a
+wondrous command of musical resources, and a complete grasp over his
+subject. The themes he employs may sometimes lack character or
+distinction, yet no one knows better than he does how best to treat
+them, and by ingenious transformations to render them interesting. This
+applies more especially to his chamber music, of which the piano trio in
+F, op. 18, the piano quartet, op. 41, and the septet for trumpet,
+piano, and strings, op. 65, are perhaps the best examples. In these
+compositions the classical turn of mind, to which a happy admixture of
+modern elements lends additional charm, is very noticeable. This
+peculiar combination of the classical and the romantic is a special
+characteristic in the works of Saint-Saëns, and is found in the majority
+of his productions. Janus-like, he keeps one side of his head turned
+towards Bach, Handel, and Beethoven, whilst he finds means with the
+other of gazing at Liszt, Wagner, and Gounod. These masters have
+exercised a very marked influence upon his style.
+
+The simplicity of treatment and perfect clearness in the workmanship
+noticeable in his chamber music, form a distinct contrast to the
+complexities indulged in by that section of the modern German school
+represented by Brahms. The perfectly balanced nature of his mind, and
+his predilection for works of classic proportions, prevent Saint-Saëns
+from ever falling into any musical aberrations of intellect. At the
+same time, he rightly considers that new forms in music do not
+necessarily imply formlessness, as some people appear to imagine, and in
+his larger orchestral compositions he has ever displayed a tendency to
+avoid recognised models. His four symphonic poems illustrate the dual
+nature of his talent as much as any of his productions. If in these we
+miss the powerful grandeur of Liszt, we find in its stead a clearer and
+more compact method of expression.
+
+These four works constitute one of the most abiding titles to the
+composer's fame. They also offer an opportunity of discussing a question
+over which there has been much controversy--viz., the position occupied
+by so-called "programme music" in contradistinction to "absolute music."
+The partisans of musical reaction, who are ever doing their utmost to
+stifle any attempt at emancipation from routine, and place every
+obstacle in the way of true progress, have often directed their sneers
+against this particular form of art. It is difficult to understand the
+reason that actuates them when they try all they can to shut the doors
+upon the efforts of musicians whose only desire is to serve the cause of
+true art to the best of their ability. These dogmatic pedants would lead
+one to believe that "programme music" is the product of our degenerate
+age, invented by musicians barren of inspiration, eagerly clutching at
+anything enabling them to earn even a fictitious reputation.
+
+In reality, "programme music," in some form or other, has existed for
+many generations.
+
+Kühnau, the precursor of Bach, has left a sonata intended to describe
+the fight between David and Goliath. Bach himself has not disdained the
+"form" in question. His capriccio on the departure of a friend, with its
+differently labelled parts, comes distinctly under the above
+denomination.
+
+It is as well though, in dealing with this subject, to draw a
+distinction between purely imitative and descriptive music. Whereas the
+former exemplifies a puerile, and necessarily inferior, form of art,
+the latter is susceptible of serving the noblest ends.
+
+It stands to reason that a musical imitation of physical sounds must
+necessarily fall short of the reality.
+
+A single clap of thunder will produce more effect than all the symphonic
+thunderstorms that have ever been composed, with all due deference to
+Beethoven and Rossini. Haydn has attempted to imitate all manner of
+sounds in the "Creation," from the bounding of a deer to the falling of
+snow! These things fail to do more than provoke a smile. Music should
+act by suggestion rather than actual imitation. At the same time, a
+composer should not be denied the use of any device calculated to aid
+his inspiration, or to enable him to enlarge the domain of art by the
+employment of new or little used formulas.
+
+Beethoven and Mendelssohn have both given the sanction of their names to
+"programme" music, and the example shown by the composers of the
+"Pastoral" symphony and the "Hebrides" overture ought to be sufficient
+to silence the objections of the partisans _quand même_ of "absolute"
+music.
+
+In an admirable article upon the "Symphonic Poems" of Liszt, Saint-Saëns
+has dealt fully and conclusively with the matter, and I cannot do better
+than reproduce the French master's own words, which have the advantage
+also of drawing attention to the great and still imperfectly recognised
+merits of Liszt as a composer. After laying stress upon the fact that
+Liszt had dared to break with the traditions regulating the symphonic
+form, and had by this shown a greater amount of boldness than Weber,
+Mendelssohn, Schubert, or Schumann, he proceeds to discuss the principle
+of "programme music" in the following terms:
+
+"To many people, 'programme music' is a necessarily inferior _genre_. A
+quantity of things have been written upon this subject that I find it
+impossible to understand. Is the music in itself good or bad? Everything
+lies there. Whether it be or not accompanied by a programme, it will be
+neither better nor worse. It is exactly as in painting, when the subject
+of a picture, which is everything for the vulgar, is nothing or is but
+little for the amateur. There is yet more: the reproach made against
+music of expressing nothing of itself, without the help of words,
+applies equally to paintings. A picture will never represent Adam and
+Eve to a spectator who does not know the Bible; it will only represent a
+naked man and woman in a garden. And yet the spectator, or listener,
+will lend themselves easily to this deception, which consists in adding
+to the pleasure of the eyes or ears the interest or emotion of a
+subject. There is no reason to refuse them this pleasure, neither is
+there any compelling one to grant it. The liberty in the matter is
+complete; the artists profit by it, and they are right. What is
+undeniable is that the taste of the public at the present epoch tends
+towards the picture with a distinct subject and towards music with a
+programme, and that the taste of the public, at least in France, has
+drawn artists in this direction. 'Programme music' is, for the artist,
+only a pretext to explore new tracks, and new effects require new
+means."
+
+Saint-Saëns has put his theory into practice with considerable success
+in the four symphonic poems entitled "Le Rouet d'Omphale," "Danse
+Macabre," "Phaëton," and "La Jeunesse d'Hercule." Fundamentally
+different the one from the other, each of these compositions comes under
+the category of descriptive music, and is intended to illustrate a
+special subject. In the "Rouet d'Omphale," the composer has employed the
+well-known classic tale of Hercules at the feet of Omphale as a pretext
+for illustrating the triumph of weakness over strength.
+
+No words can express the art with which the composer has developed his
+themes, or give an idea of the delicacy of an instrumentation which,
+gossamer-like, seems to float in an atmosphere of melody.
+
+Perhaps the most characteristic of the four symphonic poems is the
+well-known "Danse Macabre." This work is suggested by a poem of Henri
+Cazalis, the first verse of which runs thus:
+
+    "_Zig et zig et zag, la mort en cadence
+    Frappant une tombe avec son talon
+    La mort à minuit joue un air de danse
+    Zig et zig et zag, sur son violon._"
+
+The hour of midnight is heard to strike, and Death is supposed to
+perform a weird and ghastly dance, which grows wilder and wilder, until
+the cock having crowed, the excitement gradually subsides, and quiet
+reigns once more.
+
+The way in which Saint-Saëns has succeeded in musically depicting the
+above story is intensely original and masterly. The general plan of the
+piece is perfectly clear and logically worked out. The two themes upon
+which it is constructed are admirably adapted for the purpose, and
+susceptible of being employed together with striking effect. There is a
+certain passage which produces the uncanny impression of the wailing of
+an unhealthy night wind through the trees of a churchyard. In order to
+give an imitation of the rattling of bones, Saint-Saëns has made use of
+the xylophone. A curious detail to be noted is the introduction, in a
+species of burlesque manner, of the "Dies Iræ," transposed into the
+major and converted into a waltz, to which the skeletons are supposed to
+dance. Strikingly original and ingenious is the effect of the "solo"
+violin, with its string tuned to E-b-, producing a
+diminished fifth on the open strings A and E-b-, which,
+being reiterated several times, conveys a peculiar sensation of
+weirdness. The "Dance Macabre" has contributed largely to spread its
+author's reputation all over Europe. It is undoubtedly one of his most
+popular works. "Phaëton," op. 39, and "La Jeunesse d'Hercule," op. 50,
+although less well known, are not the less remarkable. The first of
+these deals with the well-known story of Phaëton, who has obtained
+permission to drive the chariot of his father, the Sun, through the
+skies. His unskilled hands are powerless to retain the steeds. The
+entire universe is about to perish through the too close proximity of
+the flaming chariot, when Jupiter strikes the imprudent Phaeton with
+his thunderbolts. Upon this legend Saint-Saëns has constructed a
+symphonic piece of great descriptive power. The music may indeed be said
+to tell its own story. A prelude of a few bars describes Phaeton
+gathering up his reins. He starts, and, presumably, after a preliminary
+canter, induces the horses to proceed quietly. Suddenly, however, they
+break away. Vainly does he use all his endeavours to stop them in their
+frantic course. The catastrophe is nearing, when a formidable crash puts
+an end to Phaeton and his misplaced ambition.
+
+The instrumentation of "Phaëton" is in itself worth a detailed notice,
+and is a perfect marvel of ingenuity.
+
+"La Jeunesse d'Hercule" is the most elaborate of the four symphonic
+poems, and is, perhaps, the least well-known. It attempts to describe
+the legend of Hercules, who at the outset of life saw two roads open to
+him, that of pleasure and that of duty. The hero does not allow himself
+to be swayed by the seductions of nymphs or bacchantæ, but resolutely
+follows the path of struggles and of combats, at the end of which he is
+to receive the recompense of immortality.
+
+In treating this subject Saint-Saëns has given full rein to his
+imagination, and has shown a complete independence of spirit in the
+matter of construction. The score of this poetical and original
+composition will fully repay any amount of study that may be devoted to
+it. It is, of course, impossible to attempt an analysis of this
+interesting work in these pages. I would, however, draw the attention of
+musicians to the wonderfully ingenious manner in which the climax is
+reached, producing an accumulative effect of concentrated force bursting
+through its bonds, evidently descriptive of the final triumph of
+Hercules.
+
+A symbolic meaning is attached to all these symphonic poems, with the
+possible exception of the "Danse Macabre," and although they are each
+professedly intended to describe an actual story, this is only used as a
+means of suggesting the abstract idea that underlies it.
+
+Saint-Saëns has published four pianoforte concertos, the second and
+fourth of which are the best known. Some years since he told me that he
+contemplated writing a fifth, but for some reason best known to himself
+he did not put his project into execution. The second and fourth
+concertos are two of the most striking examples of the kind that have
+proceeded from the pen of a modern composer. Why the third should be so
+persistently neglected is more than I profess to understand, except for
+the reason that pianists are like the traditional _moutons de Panurge_,
+and are, as a race singularly destitute of initiative, preferring to
+follow on the beaten track sooner than give themselves more trouble than
+necessary.
+
+The form adopted by Saint-Saëns in his second concerto, op. 25, is
+sufficiently novel. Its first movement is labelled "Andante sostenuto,"
+and commences with a long introduction for the piano, somewhat in the
+style of Bach. The passionate melody which succeeds to this, and may be
+considered as the principal theme of the movement, is, however, quite
+modern in character. The delightful "Scherzo" and inspiriting "Finale,"
+are slightly suggestive of both Weber and Mendelssohn, whilst bearing
+the distinctive mark of their composer's personality. In his fourth
+concerto in C minor, op. 44, Saint-Saëns has departed still further from
+the usual model. This work is divided into two sections, which include
+five changes in the "tempo." A noticeable feature in the concerto is the
+reintroduction in the last movement of themes previously heard in the
+first, thus producing a sense of homogeneity.
+
+The fourth concerto is the most ambitious work of the kind that
+Saint-Saëns has written. It is also the best. A few years since, the
+composer attempted the experiment of performing all four works in
+succession at a concert given at the St. James's Hall.
+
+Saint-Saëns did not make his _début_ as an operatic composer until he
+had reached the age of thirty-seven, and then only with a one-act
+opéra-comique, entitled "La Princesse Jeaune," produced at the Opéra
+Comique Theatre in 1872. This curious little work, the scene of which
+is laid in China, was not well received and speedily disappeared from
+the bills. The overture is delightfully quaint, and is occasionally
+heard at concerts. Now that one-act works are coming into vogue, this
+delicate little score might well be reproduced.
+
+The reputation acquired by Saint-Saëns as a symphonist, and what is
+known in France as "un musicien savant," had been sufficient to cause
+any pretension on his part to aspire to the fame of a dramatic composer
+to be looked upon with suspicion. Added to this, he had the reputation
+of harbouring feelings of admiration for Wagner, which at that time was
+quite enough to prevent a manager from producing his works.
+
+An opera entitled "Le Timbre d'Argent," not to be confounded with
+Vasseur's operetta "La Timbale d'Argent," was written before the war of
+1870, and was destined for the Opéra Comique Theatre. It was, however,
+not brought out until 1877, when it was played at the Théâtre Lyrique
+under the direction of Mons. A. Vizentini.
+
+The influence of Gounod is very apparent in this work, and Bizet even
+found therein certain affinities with Auber which I confess myself
+unable to discover. One thing certain is, that this opera has but little
+in common with Wagner. "Le Timbre d'Argent" reveals the hand of the
+practised musician, but is very unequal as a whole, and does not occupy
+an important place in the composer's dramatic outfit. A point to note in
+this opera is the superiority of the orchestral treatment and general
+workmanship over the melodies, many of which border upon the
+commonplace.
+
+The same year that "Le Timbre d'Argent" was produced in Paris, the Grand
+Ducal Theatre of Weimar announced the first performance of a new opera
+by Saint-Saëns, entitled "Samson et Dalila."
+
+As many consider this the composer's finest dramatic work, and as it is
+only comparatively recently that its beauties have come to be generally
+recognised, and that it has been incorporated into the _répertoire_ of
+the Paris Opera, a short account of the genesis of this remarkable
+composition may not be out of place, the more so as if will accentuate
+the difficulties that appear to beset composers and stand in the way of
+works of the highest merit.
+
+"Samson et Dalila" was begun by Saint-Saëns before the year of the
+Franco-German war.
+
+The second act was tried over in private, when the part of Samson was
+sung by the ill-fated painter, Henri Regnault, who was destined to be
+killed a year later, during the war. The "Marche Heroïque," composed by
+Saint-Saëns, is dedicated to the memory of the unfortunate artist.
+
+The score of "Samson et Dalila" was terminated towards 1872, and a
+performance of the second act was given by Madame Viardot at her
+country-house at Croissy two years later. On this occasion the gifted
+hostess undertook the part of Dalila, and all who can remember her
+incomparable method of singing will agree that she must have been an
+admirable interpretress of the passionate accents allotted by
+Saint-Saëns to the heroine of his opera.
+
+The influence of this admirable artist upon French music has been very
+great. In a volume of verses recently published Saint-Saëns thus
+apostrophises her:
+
+    "_Gloire de la Musique et de la Tragédie;
+    Muse qu'un laurier d'or couronna tant de fois,
+    Oserai-je parler de vous, lorsque ma voix
+    Au langage des vers follement s'étudie?_
+
+    _Les poëtes par Apollon vainqueur
+    Ont seuls assez de fleurs pour en faire une gerbe
+    Digne de ce génie éclatant et superbe
+    Qui pour l'éternité vous a faite leur soeur._
+
+    _Du culte du beau chant prêtresse vénérée,
+    Ne laissez pas crouler son autel précieux,
+    Vous qui l'avez reçu comme un dépôt des cieux,
+    Vous qui du souvenir êtes la préférée!_
+
+    _Ah! comment oublier l'implacable Fidés
+    De l'amour maternel endurant le supplice,
+    Orphée en pleurs qui pour revoir son Eurydice
+    Enhardi par Éros pénétre dans l'Hades!_
+
+    _Grande comme la Lyre et vibrante comme elle,
+    Vous avez eu dans l'Art un éclat nonpareil.
+    Vision trop rapide, hélas! que nul soleil
+    Dans l'avenir jamais ne nous rendra plus belle!_"
+
+In 1875 the first act of "Samson et Dalila" was given in its entirety in
+Paris at one of Mons. Colonne's concerts.
+
+It was, however, not until the second of December 1877 that "Samson et
+Dalila" was brought out upon the stage. Liszt, ever anxious to further
+the progress of art, had been struck by the merits of the work, and
+undertook to have it mounted at Weimar, where some twenty-five years
+earlier he had been instrumental in producing "Lohengrin" for the first
+time on any stage.
+
+Musicians of the calibre of Liszt are indeed rare, and it is right to
+tender a passing tribute to the absolute disinterestedness of this great
+man, who never lost an opportunity of helping a brother artist. Having
+been brought out on German soil for the first time, a fact which the
+composer should remember when indulging in those patriotic ebullitions
+that of late years have so frequently appeared from his pen, "Samson et
+Dalila" was played at Hamburg in 1883 with Frau Sucher in the principal
+part.
+
+It was not until 1890 that the opera was given in France, Rouen being
+the first town in which it was played. During that year it was produced
+in Paris at the Eden Theatre under the same manager. On this occasion
+the principal parts were interpreted by Mme. Rosine Bloch and Mons.
+Talazac, both of whom have recently died.
+
+Lyons, Marseilles, and Aix-les-Bains followed in 1891, and the next year
+"Samson et Dalila" was given at Toulouse, Bordeaux, Montpellier, Nantes,
+Nice, Florence, Monte Carlo, Geneva, and Dijon, receiving its final
+consecration by being produced on a grand scale at the Paris Opera
+House, having thus occupied a period of twenty years in reaching its
+goal. It has since then been played in other continental towns. London
+still remains, and upon this I should like to say a word. The fact of
+"Samson et Dalila" being taken from a Biblical source has been accepted
+as a reason for its non-production in our metropolis. That a work of the
+most serious import should thus be excluded from our stage when
+productions of the most futile description are passed without demur, is
+another example of the contradictions that exist in our pharisaical
+country.
+
+Not so long ago an operetta was licensed in which ministers of religion
+were held up to ridicule, and jokes were freely made concerning matters
+that must by a great portion of the audience have been held sacred, and
+yet nothing was said. But should some manager think of producing an
+episode culled from the Old Testament, and treated in a strictly serious
+and even reverent manner, the British conscience, that article of home
+manufacture of which Englishmen are so proud, is at once up in arms. We
+cannot support too many music-halls or give too much encouragement to
+those bastard specimens of operatic music known as "original" (?) comic
+operas, but our feelings of propriety revolt against anything like the
+stage treatment of works founded upon Biblical subjects. Let us be
+consistent whilst we are about it. If it is wrong to introduce Samson,
+Dalila, the Queen of Sheba, Joseph, Moses, or other Biblical personages
+upon the stage, it is surely worse to sanction the performance of operas
+or dramas in which scenes are introduced representing the interior of
+churches, or religious ceremonies of any description! Worse than all is
+the performance of pieces calculated to throw ridicule upon ministers of
+religion. To see respectable audiences sitting complacently gazing at a
+popular actor personifying a clergyman dancing in a _pas de quatre_ with
+his chapel in the background, and to think that some of these very
+individuals may possibly be numbered amongst those who object to Sunday
+concerts, is indeed more than strange.
+
+In the meanwhile as this state of things exists, and the musical public
+is debarred from hearing a work like "Samson et Dalila" on the stage, it
+may be wondered that no one seems to have been struck with the idea of
+producing it in oratorio form in the concert-room. It is not creditable
+that England should remain the only nation where "Samson et Dalila" has
+not been given.[24]
+
+The prejudice existing against the employment of Biblical subjects for
+operatic purposes is unfortunate, as the fund of material is apparently
+exhaustless. The story of Samson and Dalila has furnished Saint-Saëns
+with a plot such as he has since sought for in vain in the pages of
+English and French history. The less complicated the story, the better
+it is fitted for operatic treatment. Wagner has exposed his reasons at
+length concerning the superiority of a legendary over a historical
+subject. Saint-Saëns is unfortunately not of this way of thinking. Of
+later years the bias of his mind has been rather tending towards
+historical subjects.
+
+"Samson et Dalila" may be considered not only as one of the master's
+best operas, perhaps even as the very best, but as one of the finest
+dramatic works produced by any French composer during the last
+five-and-twenty or thirty years.
+
+A work like this cannot be otherwise than the spontaneous outcome of a
+composer's feelings, untrammelled by outward considerations. The varied
+influences that are noticeable in the musical style of Saint-Saëns, and
+to which I have already made allusion, are perhaps more marked in this
+work than in any of his other operas. In the first act the choruses sung
+by the captive Hebrews breathe the spirit of Bach and Handel, and are
+conceived rather in the oratorio style. As a strong contrast to these we
+have the dainty chorus of the priestesses of Dagon and their
+characteristic dance, the fascinating trio in which Dalila endeavours to
+cast her spell over Samson, and the lovely air, "Printemps qui
+commence," which terminates the act and which has been sung by every
+contralto. Samson's spirited appeal to arms must also be mentioned. The
+second act commences with Dalila's invocation to love, praying for aid
+in her design to ensnare Samson. The lengthy duet between the heroine
+and the high priest is eminently dramatic, and the following duet
+between her and Samson may be ranked amongst the finest love scenes ever
+written. It contains a beautiful phrase sung by the temptress when
+endeavouring to inveigle her victim, which is reproduced later on in an
+admirably suggestive manner by the orchestra, and reappears in the third
+act, transformed into a mocking theme, when Dalila is scoffing at her
+victim in chains and deprived of his sight. The third and last act
+contains a touching prayer for Samson, bewailing his lost sight, some
+admirable ballet music, in which the composer has made effective use of
+the Eastern scale, and a masterly scene depicting the revelries of the
+Philistines, culminating in the destruction of the temple by Samson. So
+ends this beautiful score, the merits of which are so transparent and
+yet have remained so long unrecognised.
+
+[Illustration: FACSIMILE OF AUTOGRAPH SCORE OF "SAMSON ET DALILA"]
+
+In "Samson et Dalila" Saint-Saëns had made use of representative themes,
+and although he has done so in a sufficiently discreet fashion, avoiding
+anything approaching to Wagnerian polyphony, the fact deserves to be
+noted as affording, perhaps, the first instance in which the system has
+been rigorously followed by a French composer. There can be no doubt but
+that the device contributes to a great extent in securing that unity
+which is so much sought for nowadays in dramatic works. Another point to
+be noted is the suppression of detached numbers, the opera being divided
+into scenes that are logically developed.
+
+The instrumentation of "Samson et Dalila" is rich and varied, yet never
+unduly complicated. Saint-Saëns knows how to distribute his effects with
+unerring certainty, and his work is a model of orchestral skill. The
+opera is scored for a very full orchestra, of which it may be
+interesting to give the composition. In addition to the strings and
+usual wood wind, he employs a third flute, a _cor anglais_, a bass
+clarinet, a double bassoon, four horns, two trumpets, two cornets, three
+trombones, a bass tuba, two ophicleides, two harps, three kettledrums, a
+_grosse caisse_, cymbals, a triangle, a _glockenspiel_, _crotales_,
+castagnettes made of wood and iron, a _tambour de basque_, and a tamtam.
+
+These constitute a powerful engine of sound, which is made subservient
+to the composer's will, and reproduces his thoughts with unimpeachable
+exactitude.
+
+"Samson et Dalila" perhaps remains the dramatic masterpiece of
+Saint-Saëns. His other operas may be equally remarkable in point of
+style and more elaborate in the matter of detail, but they often lack
+that apparent spontaneity which constitutes not the least charm of the
+Biblical work, and, although containing much that is admirable, are
+perhaps less inspired. Saint-Saëns could not write an uninteresting work
+if he chose, and musicians will find much to admire in his later operas.
+In "Samson et Dalila" he has succeeded in compelling the admiration of
+both musicians and the public at large, perhaps for the very reason that
+when he wrote it he did not attempt to please either, but was content to
+follow the bent of his inspiration without _arrière pensée_ of any sort.
+
+"Etienne Marcel," the composer's next opera, produced at Lyons in 1879,
+has not received the amount of attention due to its merits. The defects
+in this work arise from a certain want of unity, consequent upon the
+obvious desire of the composer to reconcile the conflicting elements of
+the old and the new schools. Putting such considerations aside, there
+can be no doubt as to the general effectiveness of the music. The
+subject deals with a stirring episode of French history. If in treating
+it the composer has not discarded the older forms associated with the
+"grand opéra" style, he has imparted a modern colouring to his score
+which goes far to redeem any shortcomings in this respect. He has been
+particularly happy in his treatment of the scenes of popular life that
+abound in this opera. There is a freshness and an irresistible
+_entrain_ in the ballet music, which is deliciously scored and abounds
+in charming details. The presence of a waltz in an opera, the action of
+which is laid in the fourteenth century, may cause some surprise, but it
+does not do to be over-particular in such matters, and much may be
+forgiven when the result is so pleasing.
+
+A few years ago it was quite on the cards that "Etienne Marcel" should
+be performed at Covent Garden, with Mme. Patti in the principal
+character. The great _prima donna_ had taken a strong fancy to the
+music, and expressed a desire to sing it. Unfortunately circumstances
+occurred which induced the _diva_ to change her mind, and to display her
+vocalisation in an opera of little musical worth, which has long since
+disappeared from the _répertoire_.
+
+If would be a thousand pities if an opera containing so much that is
+excellent should be allowed to suffer perpetual neglect, and it may be
+hoped that some day we may be afforded the chance of hearing it in
+England.
+
+The great moment in the dramatic career of Saint-Saëns was now at
+hand--that psychological moment so long desired and eagerly anticipated
+by every French aspirant to operatic fame. The doors of the Opera, that
+_sanctum sanctorum_, was at length to be opened to him. After the
+comparative failure of such works as Gounod's "Tribut de Zamora," and
+Ambroise Thomas' "Françoise de Rimini," the prestige of the French
+school wanted looking after, and some fresh blood was required to renew
+it. That a composer such as Saint-Saëns should be obliged to go to
+Weimar and Lyons in order to get played seemed an anomaly, and the
+author of "Samson et Dalila" was at last, and not too soon, commissioned
+to write a work for the leading operatic stage of Paris.
+
+Great expectations had been formed concerning the opera that so
+consummate a musician, and one holding such high artistic notions, would
+produce. It was held that a composer so well endowed would prove to be
+the one, _par excellence_, destined to free the French operatic stage
+from the bondage of "routine," and be the standard-bearer of French
+progressive art. These anticipations were destined to be only partly
+realised. Leaving French history for the nonce, Saint-Saëns found in the
+life of our much-married monarch a subject congenial to his muse, and
+"Henri VIII." was produced with success in March 1883. If this opera is
+ever to be performed in England certain alterations will have to be
+made, as the inclusion of a Scotch ballet danced at Richmond might tend
+to ridicule.
+
+It must be admitted that if the book of "Henri VIII." is in many senses
+disappointing, yet it is not devoid of merit, and contains several
+highly dramatic situations that have been well treated by the musician.
+The authors, Messrs. Détroyat and Silvestre, have not adhered entirely
+to Shakespeare. The action takes place at the time when Henry has begun
+to be struck with the charms of Anne Boleyn, who also has an admirer in
+Don Gomez, the Spanish ambassador. The divorce of the King from
+Katharine of Arragon is at hand, and the Pope's Legate having refused
+to sanction it, the King, amidst the acclamation of the people,
+proclaims the schism with the Roman Church. The last act is perhaps the
+best. Anne Boleyn is now Queen, and Katharine, who is dying, has in her
+possession a compromising letter from Anne to Don Gomez. Henry is
+devoured by jealousy, and comes, accompanied by Don Gomez, to endeavour
+to obtain possession of this document. Anne has also come to see if she
+can regain the letter. This leads to the capital situation in the opera.
+Henry, in order to excite the jealous and revengeful feelings of
+Katharine, speaks in the tenderest tones to Anne, whose eyes are fixed
+upon the note that Katharine has in her hands. At length Katharine,
+having prayed for strength to resist the temptation, throws the letter
+in the fire, and falls down dead.
+
+There is no denying the dramatic force of this situation, which has been
+treated by Saint-Saëns in a masterly manner. The splendid quartet which
+terminates the work, in which the different emotions of the four
+characters are depicted in accents as powerful as they are varied, may
+rank amongst his finest inspirations, and as one of the most stirring
+scenes in the entire range of modern opera.
+
+An interesting feature in "Henri VIII." is the partial employment of
+_leit-motiven_. Saint-Saëns, who at one time was looked upon as a
+disciple of Wagner, has taken pains to dispel this impression. And yet
+in the first work composed by him for the chief French operatic theatre,
+he set to work by making use of one of the Bayreuth master's favourite
+devices. He will probably urge that it is not so much Wagner himself
+that he has been combating, but the unreasoning enthusiasm of some of
+his thick-and-thin admirers. This may be so, but the fact remains, that
+Saint-Saëns has laid himself open to misconception, which might easily
+have been avoided had he displayed a less militant tendency in his
+criticisms. At any rate, he has deliberately adopted the system of
+representative themes in his "Henri VIII.," and if, whilst so doing, he
+has not abandoned the old operatic set forms, the innovation is a
+sufficiently important one to note. It is this attempt to reconcile such
+antagonistic elements that is held by some as constituting a weak point
+in this remarkable work. "From the beginning," writes a well-known
+critic, "we see the two forms of the opera and the lyrical drama in
+juxtaposition, and thus all unity of style is at once broken."
+
+The opinions of Saint-Saëns himself on the subject of dramatic music are
+interesting, as they explain the spirit of compromise that exists in all
+his works. "Henri VIII." was considered by some as foreshadowing a new
+departure in the composer's style. These were doomed to be disappointed,
+for the works that have succeeded it are not in any way more "advanced."
+Saint-Saëns has taken the trouble to write and explain his views on the
+subject, and from these it is highly unlikely that he will now depart.
+In a letter written to the editor of the _Carillon Théatral_, soon after
+the performance of his opera "Proserpine," Saint-Saëns expressed
+himself thus: "My theory of dramatic art is this: I believe the drama is
+progressing towards a synthesis of different elements, song,
+declamation, and symphony blending in an equilibrium which leaves the
+composer free to avail himself of all the resources of art, while it
+affords the spectator the gratification of every legitimate desire. It
+is this equilibrium which I seek, and which others will one day find.
+Both heart and head impel me to pursue this aim, and to this I must
+adhere. It is for this reason that I am disowned, now by those
+Wagnerites who despise the melodic style and the art of singing, now by
+those reactionaries who lay the entire stress on those elements, and
+consider declamation and symphony as mere accessories."
+
+The above definition of the "musical drama" is rational enough, and I do
+not see what even the most uncompromising Wagnerite could find to object
+in it. As to the allusion to "those Wagnerites who despise the melodic
+style," it would be interesting to know precisely to whom the composer
+refers. If there exist a few fanatics who imagine that melody can be
+banished with impunity, they are in absolute disaccord with Wagner
+himself, who wrote that "the one and only form of music is melody; no
+music is conceivable without melody, and both are absolutely
+inseparable." Mons. Imbert, in an article upon Saint-Saëns, has
+amusingly termed him "le Wagnérien sans le savoir."
+
+The truth of the matter is, that every composer nowadays is actuated by
+the same desire, namely, to make his music fit the subject he is
+illustrating as closely as possible. If the method adopted differs in
+any way, this must be ascribed to a variety of causes, the composer's
+temperament, his education, his nationality, and others. As to the
+interpolation of ballets and sundry _hors d'oeuvre_ introduced often
+apparently without rhyme or reason, that still find their way into
+operas, it must in justice to the composer be remembered that he has a
+number of conventionalities to fight against and prejudices to
+overcome. Every one has not got the prestige of a Wagner, and even he
+had to fight a fearfully uphill battle, and only reaped the full fruits
+of his labours at the end of his career.
+
+The taste of the public is little by little coming round to the "lyrical
+drama" as distinct from the opera, and composers are but following the
+tendency of the age. The transformation of style that has led Verdi to
+rise from "Trovatore" to "Otello" is there to attest it.
+
+The next opera--or shall we say "lyrical drama"?--composed by
+Saint-Saëns was "Proserpine," brought out at the ill-fated Opéra Comique
+in 1887, the same year during which the theatre was destined to be
+burned to the ground. Despite its title, this work has nothing in common
+with mythology. It is taken from an early work by the poet Vacquerie,
+published some fifty years ago.
+
+The action takes place in Italy during the sixteenth century.
+Proserpine, a courtesan, is in love with Sabatino, a young nobleman, who
+is engaged to be married to Angiola, the sister of his friend. After
+endeavouring vainly to entrap Angiola and her brother, assisted by
+Squarocca, a bandit, she seeks Sabatino, who is awaiting his bride. When
+Angiola enters, Proserpine hides behind some drapery. Maddened by
+jealousy at hearing the lovers interchange protestations of affection,
+she rushes forward and strikes Angiola with her stiletto. Sabatino then
+snatches the weapon from her hands and plunges it into her heart.
+
+This story was considered somewhat melodramatic in Paris, and the
+_dénouement_ has since been somewhat modified. A few alterations have
+been made in the score, and in its new form "Proserpine" will surely be
+performed sooner or later. There are some delightful numbers in this
+opera, which throughout bears the impress of the master's hand. I will
+especially draw attention to the closing scene of the second act, which
+is a perfect gem of delicate fancy and exquisite workmanship. The scene
+represents the interior of a convent, and a number of mendicants enter
+to receive alms. Their voices are accompanied by a melodic figure which
+is repeated in various guises until the fall of the curtain, without
+ever sounding monotonous in any degree, through the consummate art and
+skilful manipulation with which it is handled.
+
+With his next opera Saint-Saëns returned to the Grand Opéra, where
+"Ascanio" was produced in 1890. Benvenuto Cellini is the leading
+character in this work, but the composer discarded the great sculptor's
+name as his title, probably out of deference to the memory of Berlioz,
+whose first dramatic attempt bore that name. These scruples did not
+trouble Mons. Diaz, who curiously enough brought out an opera bearing
+that title during the same year at the Opéra Comique, where it met with
+no success. There has always been something of the mystifier in
+Saint-Saëns. He likes to go his own way, regardless of what may be
+expected of him or whether he satisfies the partisans of any particular
+style of music. Mons. Camille Bellaigue remarks that he was not much
+astonished that this work should have produced a feeling of surprise and
+even of disappointment. "L'oeuvre," he says, "que peut-être on
+attendait puissante et grandiose, n'est que touchante parfois, toujours
+intime et presque familière."
+
+This definition gives so good an idea of the general character of the
+opera that I do not hesitate to reproduce it here. The plot of "Ascanio"
+is rather complicated for a "lyrical drama," the numberless episodes
+that occur detracting from the continuity of the work. Saint-Saëns
+appears to have composed the music in a remarkably short space of time,
+less than a year. Those who take the trouble to study this interesting
+score, which has been aptly termed a musical mosaic, will appreciate the
+prodigious amount of labour involved. The composer has again employed
+representative themes, very much after the system he had previously
+adopted in his "Henri VIII." The score of "Ascanio" is a veritable
+monument of ingenuity, and if it does not produce an altogether
+satisfactory impression, the fault may be ascribed rather to the book
+than to the music.
+
+A curious incident in connection with the first performance of this
+opera was that the composer, doubtless anxious to seek perfect rest
+after his prolonged labours, and desirous of avoiding the fatigues
+consequent upon attending its production, took himself away and
+carefully omitted to leave his address behind. Weeks elapsed, and no
+news of him was forthcoming. Fanciful stories were concocted of how he
+had met with foul play. Telegrams were dispatched all the world over,
+with the result that he was authoritatively declared to have been seen
+in at least a dozen different places several hundred miles away one from
+the other. Finally, he was discovered, quite by chance, under an assumed
+name in the Canary Islands. A visitor staying in the same hotel, hearing
+some one playing the piano in a manner the reverse of amateurish, and
+having that morning read about the mysterious disappearance in the
+French papers, had the curiosity to go down and verify the suspicions
+that had occurred to him. He had no difficulty in identifying the
+composer, and in a very short time the news had spread all over the
+place. Saint-Saëns then had to pay the penalty of being a celebrity. He
+wrote thus to Mons. Louis Gallet, his friend and collaborator: "For the
+last three days, since I have been recognised, I lead an insupportable
+life. I do not have a moment to myself. I am scribbling you these lines
+whilst talking. If there is no common sense in what I say, do not be
+surprised."
+
+The last dramatic work produced by Saint-Saëns is "Phryné," a two-act
+comic opera, given at the Opéra Comique in the month of May of the
+present year (1893).
+
+It might have been hoped that a composer such as Saint-Saëns would have
+thought fit to devote his great gifts to the elaboration of a "musical
+comedy" that might have ranked side by side with Wagner's
+"Meistersinger" and Verdi's' "Falstaff." Not one of his countrymen is
+better qualified than he is for such a task. Perhaps he may undertake it
+later on. At any rate, he has not attempted anything of the kind in
+"Phryné," which is modelled upon an old pattern, includes spoken
+dialogue, and consists of a number of detached pieces, following the
+conventional practice associated with the Opéra Comique.
+
+In writing this graceful score Saint-Saëns has evidently aimed at
+simplicity. There are some charming numbers of a melodious nature in
+this little work, which also displays the composer's capacity of dealing
+with humorous situations to great advantage. Perhaps the best portion is
+the "Invocation to Venus," in which the means employed are of the
+simplest, whilst the results are eminently poetical and effective.
+"Phryné" has proved very successful in Paris. The title part has been
+interpreted by Miss Sybil Sanderson, whom the composer has gratified
+with a liberal allowance of _roulades_ and other vocal acrobatics.
+
+It now remains for me to allude to some of the other compositions of
+Saint-Saëns in various lines--and what line has he not attempted? That
+one who has achieved so great a reputation as an organist should also
+have distinguished himself as a composer of sacred music stands to
+reason. One of his most representative works of this kind is his
+oratorio "Le Déluge," which exhibits the peculiar characteristics of his
+style to an almost equal degree as "Samson et Dalila." Every one knows,
+or ought to know, the beautiful Prelude with the lovely violin solo, the
+commencement of which is suggestive of Bach, whilst the end is
+reminiscent of Gounod. I must also mention his noble "Requiem" and fine
+setting of the psalm "Coeli enarrant." The "Oratorio de Noël" is an
+early work, but contains several charming pages.
+
+To analyse in detail all the compositions of this indefatigable worker
+would take up a volume in itself. I must therefore be content with the
+bare mention of songs full of originality, such as the "Mélodies
+Persanes," pianoforte music like the "Menuet et Valse," "Six études,"
+and the three Mazourkas; violin music such as the three Concertos, the
+"Introduction et Rondo Capriccioso" so often played by Señor Sarasate,
+the Sonata, op. 75, for the same instrument; and violoncello music such
+as the characteristic "Suite," the admirable Sonata, op. 32, and the
+Concerto, which is a favourite with all 'cellists. Neither must I omit
+the masterly variations for two pianos on a theme of Beethoven, or the
+splendid pianoforte transcriptions from Bach. Several of these works may
+almost be said to rank as classics. Two important compositions remain to
+be noted, both of which were produced for the first time in England. The
+first of these is the picturesque cantata "La Lyre et la Harpe,"
+composed for the Birmingham Festival of 1879; and the second is the
+Symphony in C Minor, first produced by the Philharmonic Society in 1885.
+It seems strange indeed that a work so remarkable in every way as the
+last should not be given oftener. Saint-Saëns has not here written a
+symphony upon the usual model, but has endeavoured to produce something
+entirely unconventional, whilst keeping within certain limits, that
+enabled him to claim the title of symphony for a work which, although
+possessing many of the characteristics of the _genre_, yet in the matter
+of form differs much from the compositions of recognised masters. If the
+influence of Beethoven is not absent, neither is that of Liszt, and
+there is as much if not more of the "symphonic poem" in a work, that is
+unique in its way, than of the symphony proper. A curious detail to note
+is that in this work the organ and piano are added to the usual
+orchestra.
+
+Saint-Saëns is a very quick worker. The rapidity with which he is able
+to conceive and transcribe a work of large proportions is all the more
+remarkable for the reason that his writing never exhibits the slightest
+sign of that carelessness often engendered by undue haste. The following
+extract from Mons. Hugues Imbert's "Profils de Musiciens" will give an
+idea of this: "With Saint-Saëns the conception is rapid; he writes
+without pause or hesitation (_d'un seul jet_). Once the idea is chosen
+and defined, he immediately realises the development. He orchestrates
+with the greatest ease, whilst conversing, and almost without making any
+corrections. Scarcely does he find it necessary to have recourse to the
+piano in order to aid his inspiration. His opera 'Proserpine' was
+composed at Chaville, without the aid of any instrument. He writes a
+score or a symphony as he would pen a letter or an article, or as he
+would solve a problem. A number of instances are cited concerning his
+prodigious facility of creation; we will only recall the following: A
+few years ago he had promised to write an _opérette revue_ for the
+Cercle Volney, of which he is a member. A few days before the
+performance nothing had as yet arrived. Upon inquiry from Saint-Saëns
+himself it was discovered that he had totally forgotten his promise.
+'But,' said he, 'the evil can be repaired;' and in the space of two
+hours he wrote off twenty-one pages of full score."
+
+Some critics have found the music of Saint-Saëns devoid of feeling,
+cold and passionless. How it is possible to come to this conclusion
+after hearing pages such as the famous love duet in "Samson et Dalila,"
+or the quartet in "Henri VIII.," it is difficult to understand.
+
+And yet Mons. Arthur Pougin, the well-known critic, has not scrupled to
+pass the following judgment on Saint-Saëns in his article upon the
+composer, included in the Supplement to Fétis's "Biographie des
+Musiciens": "Le tempérament musical de Mons. Saint-Saëns est sec,
+nerveux, absolument dépourvu de tendresse, de sentiment et de passion."
+After this it again becomes evident that a great man is not necessarily
+a prophet in his own country. When he penned the above lines Mons.
+Arthur Pougin was presumably unacquainted with "Samson et Dalila."
+
+In the course of this incomplete sketch of one of the most remarkable
+artists of his time I have alluded to his polemics as a critic. A few
+years since, he collected some of his writings together, and published
+them in a volume entitled "Harmonie et Mélodie." In this book will be
+found various criticisms, many of which are as just as they are well
+expressed, but it is to be regretted that the author should occasionally
+have thought fit to mix up so-called "patriotic ideas" with his musical
+opinions.
+
+For many years Saint-Saëns used to be considered one of the ardent
+champions of Wagner. The moment, though, that the Bayreuth master's
+music seemed to obtain a firm hold upon the French public, through the
+medium of the weekly concerts given by Messrs. Lamoureux and Colonne,
+the French composer's zeal appeared to cool down, and the enthusiast
+gave way to the critic. Any one is of course entitled to air his
+opinions, and no one more so than a composer of such eminence as
+Saint-Saëns. The mistake was that he chose the wrong moment to publish
+his views, and thereby stirred up a controversy which would best have
+been avoided.
+
+In 1879 he recorded his impressions of the "Ring des Nibelungen" in a
+series of remarkable articles that are reproduced in the volume above
+mentioned. His opinion of this colossal work was summed up in these
+words: "From the height of the last act of the 'Götterdämmer[)u]ng,' the
+entire work appears, in its almost supernatural immensity, like the
+chain of the Alps seen from the summit of Mont Blanc."
+
+He terminates the preface of "Harmonie et Mélodie" by these words: "I
+admire the works of Richard Wagner profoundly, in spite of their
+eccentricities (_en dépit de leur bizarrerie_). They are superior and
+powerful, which suffices for me. But I have never belonged, I do not
+belong, and I never shall belong, to the Wagnerian religion!"
+
+This being the case, I am unable to see why the composer of "Henri
+VIII." should have taken so much pains to qualify his opinions. He
+admires Wagner, and it certainly would be odd if a composer of his value
+did not; but he is anxious to avoid being comprised amongst those
+fanatics, whose admiration of Wagner prevents their acknowledging the
+greatness of any other composer.
+
+It may here be noted that when the publisher Flaxland acquired the
+French copyright of "Lohengrin," the translation was at the author's
+request submitted to Saint-Saëns, who wrote, in the newspaper _La
+France_, that when "Lohengrin" was about to be produced in Paris, he, at
+the desire of the publisher and M. Charles Nuitter the translator,
+revised the French version and refused to participate in the _droits
+d'auteurs_.
+
+Amongst his many gifts Saint-Saëns possesses that of the poet, and has
+proved his capability of writing charming verses. I will quote the
+following satirical lines written by him after the production of Bizet's
+"Djamileh," the delightful little one-act work which has recently been
+revived with success on various operatic boards, the merits of which
+were totally unrecognised by the Parisians in 1872:
+
+    "'_Djamileh,' fille et fleur de l'Orient sacré,
+    D'une étrange guzla faisant vibrer la corde,
+    Chante, en s'accompagnant sur l'instrument nacré,
+    L'amour extravagant dont son âme déborde._
+
+    _Le bourgeois ruminant dans sa stalle serré,
+    Ventru, laid, à regret séparé de sa horde,
+    Entr'ouvre un oeil vitreux, mange un bonbon sucré,
+    Puis se rendort, croyant que l'orchestre s'accorde._
+
+    _Elle, dans les parfums de rose et de santal,
+    Poursuit son rêve d'or, d'azur et de crystal,
+    Dédaigneuse à jamais de la foule hébétée.
+    Et l'on voit, au travers des mauresques arceaux,
+    Ses cheveux dénoués tombant en noirs ruisseaux,
+    S'éloigner la Houri, perle, aux pourceaux jetée._"
+
+He has lately published a little volume of poems which he has entitled
+"Rimes Familières," from which I have extracted the lines addressed to
+Mme. Viardot.
+
+There is a great fund of humour in Saint-Saëns. This has shown itself in
+many of his works, and occasionally he has given full rein to his
+fanciful imagination by writing a burlesque set of pieces entitled "Le
+Carnaval des Animaux," and another time by composing a parody of
+Italian opera, which he called "Gabriella di Vergy." Is there not a vein
+of grim humour in the "Danse Macabre"?
+
+It is related that he once took part in an amateur performance of
+Offenbach's "Belle Hélène," and interpreted the character of Calchas! A
+detail to note: the composer of "Samson et Dalila" is still known as "ce
+jeune maître," although his birthday belongs to the year 1835. It is
+more than probable that he will keep this title to the end.
+
+Camille Saint-Saëns has retained all his freshness of inspiration, and
+there is no knowing into what paths his fancy may lead him. But whether
+he elects to add to the number of his symphonic poems, to produce some
+fresh example of chamber music, or to elaborate the score of a "lyrical
+drama," he may rest assured that his doings will be followed with deep
+attention on the part of all who take interest in music.
+
+[Illustration: _J. Massenet_ portrait, signed]
+
+
+
+
+JULES MASSENET
+
+
+In the year 1842 there lived near St. Etienne, in the department of the
+Loire, an ironmaster of the name of Massenet, an ex-superior officer of
+engineers, who had been twice married, and both of whose unions had been
+blessed in a manner apparently rare in France. In the year in question
+yet one more offspring was destined to be added to the already crowded
+quiverful. This child, who was named Jules, was the future composer of
+"Manon" and "Werther." It is needless to state that, alike to all great
+musicians, Massenet gave evidence of talent at an early age, to the
+extent that he was sent to the Conservatoire, where he rapidly
+distinguished himself.
+
+His family, who at that time resided in Paris, were, however, obliged,
+on account of his father's health, to leave the capital. It appears
+that young Massenet, tormented by the desire to resume studies that had
+been so brilliantly begun, thereupon made up his mind to quit the
+paternal roof, which was then situated in the town of Chambéry, in
+Savoy, and one day, without saying a word to any one, he undertook to
+walk all the way to Lyons. How he ever got there it is difficult to say,
+for he had apparently neglected to provide himself with ready cash,
+doubtless deeming this a superfluity and a needless encumbrance. Trifles
+such as these sit lightly on a mind of fourteen, and young Massenet
+succeeded somehow or other in reaching the great manufacturing centre;
+where he discovered the abode of a relative, and presented himself,
+tired and hungry, to his astonished gaze. Having explained the cause of
+his sudden appearance, the young truant was forthwith expedited back to
+his parents, who, seeing that it was useless to combat so decided a
+vocation, made up their minds to send him to Paris in order that he
+might continue his studies. Unfortunately, it is impossible to live
+upon air, and during the time when he was mastering the principles of
+his art the young neophyte was obliged to look for some occupation that
+would help him to keep body and soul together. This he was fortunate
+enough to find at the Théâtre Lyrique, where he obtained the privilege
+of presiding over the kettledrums at a salary of 65 francs a month. It
+was not precisely riches, but it sufficed to keep the wolf from the
+door. For six years did Massenet have the opportunity of venting the
+superfluity of his energies by striking the drums. In the meanwhile he
+was not idle, and the first prize for piano as well as the first prize
+for fugue were both successfully awarded to him. Finally, at the age of
+twenty-one he reached the goal of his ambition, obtained the "Grand Prix
+de Rome" through a cantata entitled "Rizzio," and departed for the
+Eternal City, where he remained for two years.
+
+Massenet has himself recorded his impressions of Rome in some
+interesting autobiographical notes published recently in the _Century_.
+
+"It was at Rome," he says, "that I began to live; there it was that
+during my happy walks with my comrades, painters or sculptors, and in
+our talks under the Villa Borghese or under the pines of the Villa
+Pamphili, I felt my first stirrings of admiration for Nature and for
+Art. What charming hours we spent in wandering through the museums of
+Naples and Florence! What tender, thoughtful emotions we felt in the
+dusky churches of Siena and Assisi! How thoroughly forgotten was Paris
+with its rushing crowds! Now I had ceased to be merely a musician; now I
+was much more than a musician. This ardour, this healthful fever still
+sustains me, for we musicians, like poets, must be the interpreters of
+true emotions. To feel, to make others feel--therein lies the whole
+secret."
+
+It is natural that with recollections such as these Massenet should
+consider a sojourn in Rome to be fraught with great advantage to young
+musicians. He believes that a residence there "may give birth to poets
+and artists, and may awaken sentiments that otherwise might remain
+unknown to those in whom they lie dormant."
+
+It was at the close of the year 1865 that he left Rome, and shortly
+after, a one-act comic opera from his pen, entitled "La Grande Tante,"
+was produced at the Opéra Comique, according to the regulations, which
+prescribe that every winner of the "Prix de Rome" should have a one-act
+work played at this theatre. Massenet's hour had not yet arrived. His
+"Poème d'Avril," one of his most delicate inspirations, had been refused
+by a publisher, and he found himself obliged to earn his livelihood by
+giving lessons.
+
+In 1869 he took part in the competition for the composition of an opera
+upon a libretto entitled "La Coupe du Roi de Thulé,"[25] but without
+success, the prize being awarded to Mons. Diaz,[26] whose work was
+subsequently brought out at the Opéra without creating any great
+sensation. This shows the value from an artistic point of view of these
+competitions.
+
+The Franco-German war came to interrupt Massenet in his labours, and
+like a good patriot he served his country on the ramparts of Paris.
+
+After matters had settled down he was able to again set to work. His
+next operatic venture was "Don César de Bazan," played at the Opéra
+Comique in 1872, concerning which it is not necessary to say much. A
+piquant little _entr'acte_ has survived, and is occasionally heard at
+concerts. A more important work was the music he composed to Leconte de
+Lisle's drama, "Les Erinnyes," which still ranks amongst his most
+remarkable productions.
+
+Massenet has been most successful in imparting a sort of antique
+colouring to his score. A selection of the music has found its way into
+the concert-room, and was heard at the Crystal Palace under the
+composer's direction some years ago. The best numbers are the beautiful
+invocation of Electra and the characteristic dances.
+
+The turning-point in the composer's career was at hand. He had written a
+sort of oratorio entitled "Marie Magdeleine," and having shown the score
+to Mme. Viardot, this great artist, who had been instrumental in
+furthering Gounod's _début_ as an operatic composer, was much struck by
+its merit, and determined to have it produced and sing in it herself.
+"Marie Magdeleine" was accordingly performed at the Odéon in 1873, and
+created a great stir in musical circles. This delicate and refined score
+reveals many of the special characteristics well known to those who
+admire the composer's music. It is very different from what we
+understand in England as an oratorio. The sensuous vein of melody and
+the sickly sentimentality which Massenet so often mistakes for true
+feeling are noticeable in many of its pages. "Marie Magdeleine" was just
+the sort of work to please a French audience of twenty years ago, whose
+acquaintance with Berlioz and Wagner was limited, and whose ideal was
+bounded by Gounod. It was the Bible doctored up in a manner suitable to
+the taste of impressionable Parisian ladies--utterly inadequate for the
+theme, at the same time very charming and effective. These words apply
+equally to "Eve," a work of the same nature that was produced two years
+later with equal success.
+
+It is but right to say that Massenet has not employed the title of
+"oratorio" for either of the above works. "Marie Magdeleine" is styled a
+sacred drama, and "Eve" a _mystère_. Concerning the first of these Mons.
+Arthur Pougin informs us that Massenet had not intended to adopt "the
+broad, noble, and pompous style of the oratorio. Painter and poet, he
+had endeavoured in this new and long-thought-out work, to introduce
+_rêverie_ and description; he further employed the accents of a
+veritably human passion, of a tenderness in some way terrestrial, which
+might have given rise to criticism had he let it be imagined that he
+intended to follow on the traces of Handel, Bach, or Mendelssohn."
+
+The feminine nature of Massenet's talent has often led him to choose
+frail members of the fair sex as heroines of his works, such as Mary
+Magdalen, Eve, Herodias, and Manon. He lacks depth of thought and
+strength to grapple successfully with Biblical subjects, and the absence
+of these is not atoned for by an artificiality of expression, and the
+too frequent employment of affected mannerisms. At the same time, there
+is a distinct element of poetry noticeable in all his works, and a
+peculiar sensuous charm is prominent in most of his compositions. These
+qualities are not to be despised. To them are to be added a
+richly-coloured and varied instrumentation, and an always interesting
+and often original harmonic treatment. Massenet's name was now well
+known to concert-goers, and was shortly to become so to that larger
+section of the community, the theatre-going public, through the
+production of his opera "Le Roi de Lahore." Previous to discussing the
+value of this work it will be well to mention the orchestral suites
+composed by him at different times, some of which occupy a permanent
+place in concert _répertoires_. Of these the most popular is entitled
+"Scènes Pittoresques," a set of four short movements, simple in
+structure, melodious, and well scored. There is not much in them, but
+although the material is scanty the workmanship is extremely clever, and
+the general effect decidedly pleasing. The "Scènes Dramatiques," after
+Shakespeare, the "Scènes Hongroises," and the "Scènes Alsaciennes" are
+interesting and replete with imagination and fancy.
+
+Perhaps the most remarkable of the composer's purely instrumental works
+is the overture to Racine's "Phèdre," a composition full of passion and
+feeling, well worked out and admirably orchestrated, which is fully
+entitled to rank amongst the best modern concert overtures. It is to be
+regretted that the composer has not produced more works of the same
+kind. There is a virility of accent and an avoidance of specific
+mannerisms that may often be sought for in vain in his other
+compositions.
+
+"Le Roi de Lahore," produced at the Opéra in 1877, obtained a great
+success, partly, perhaps, owing to the magnificence of the mounting, but
+also, it must be said, on account of the intrinsic value of the music. A
+spectacular opera in the fullest sense of the word, "Le Roi de Lahore"
+was a work eminently suited to a theatre such as the Grand Opéra, where
+the ballet, _mise-en-scène_, and other accessories rank on an equal
+footing with the music. It was produced on a grand scale, the ballet
+act, taking place in the Paradise of Indra, forming one of the most
+gorgeous spectacles possible.
+
+This act is perhaps the best from a musical point of view. In it
+Massenet has given full rein to his fancy, and has composed dance music
+of a really superior kind, which he has enriched with a piquant and
+effective instrumentation. "Le Roi de Lahore" remains perhaps the best
+work that Massenet has composed for this theatre. It is more spontaneous
+than either "Le Cid" or "Le Mage," and contains many portions of great
+excellence. Every one knows the suave _cantilena_ for baritone that
+Mons. Lassalle used to interpret in so incomparable a fashion. In his
+criticism of this work Mons. A. Jullien formulates the following opinion
+of Massenet and the present school of French composers: "They all know
+their work admirably, and treat the orchestra to perfection. They have
+more or less natural grace and tenderness, but they often lack power and
+originality. They make up for the first of these by the employment of
+noisy effects, and for the other by a search after novelty that
+occasionally amounts to eccentricity. Neither have they got sufficiently
+settled ideas: they try to reconcile the elements of different schools;
+they do not write any more _roulades_ or _points d'orgue_, but they
+allow singers to spread out their fine voices on final cadences; they
+understand the necessity of renovating and vivifying the opera, but they
+only dare to make timid attempts in this direction at long intervals,
+and return immediately to used-up formulas, to _ensembles_, to
+choruses, and to the most commonplace finales."
+
+There is a great deal of truth in these words; at the same time it is
+difficult to foresee an epoch when the "lyrical drama" will have
+attained that state of perfection as to be no more susceptible of
+improvement. The progress that has been effected in France during these
+last thirty years in the direction of a higher conception of the musical
+drama has been enormous. The ball has been set rolling by some of those
+composers who would perhaps now be anxious to arrest its course, but the
+impetus having been given, it has been kept going by the younger
+aspirants to operatic fame, and is not likely to stop.
+
+"Le Roi de Lahore" obtained a distinct success, which was repeated in a
+number of continental cities, including our own metropolis.
+
+Massenet visited England in 1878, and conducted a concert devoted to his
+own music at the Crystal Palace. The programme included extracts from
+"Le Roi de Lahore" and "Les Erinnyes." He also appeared at a concert
+given by Mme. Viard Louis at the St. James's Hall, on which occasion he
+directed the performance of his orchestral suite entitled "Scenes from
+Shakespeare."
+
+Massenet's reputation was now established upon a solid basis. On the
+death of F. Bazin he had succeeded him as one of the leading professors
+of the Conservatoire. He had also been elected a member of the
+Institute. His next work, a religious cantata entitled "La Vierge,"
+produced at the Opéra in 1880, was, however, coldly received. Massenet,
+who conducted the orchestra in person, was grievously disappointed at
+this, but set to work with renewed vigour at an opera entitled
+"Hérodiade," which was brought out with great success at Brussels in
+1881. This work has since been given in Paris, as well as in various
+continental towns, where it has been well received. The nature of the
+subject necessarily stands in the way of its being produced in London.
+Certain extracts, however, have been heard in our concert-rooms. The
+score of "Hérodiade" abounds in examples of that sensuous melody so
+characteristic of the composer. There is very little Biblical about it,
+and it is to be regretted that another and better subject was not hit
+upon than this parody of Holy Writ. Massenet's strains would probably
+have been equally appropriate, and the susceptibilities of those who
+look upon this sort of thing as a desecration of religion would have
+been respected.
+
+There is indeed a vast difference between taking a subject like "Samson
+et Dalila," against which none but the most strict could object, and
+turning St. John the Baptist into a commonplace operatic hero. If it
+were not for the libretto, "Hérodiade" ought to be heard in London, as
+it counts amongst its author's best works, and, despite certain
+weaknesses, occupies an honourable place in the ranks of modern operas.
+
+The following lines, written by Camille Saint-Saëns after the first
+performance of "Hérodiade" at Brussels, will be read with interest. I
+will not spoil the charm of the original words by attempting to
+translate them; "La qualité maîtresse de la musique du jeune maître est
+la fraîcheur, qualité si rare que M. Massenet me parait être le seul à
+la possèder. On dirait par moments qu'il n'en sent pas le prix, à le
+voir poursuivre, en apparence du moins, un idéal de force violente.
+N'est-ce donc rien que le parfum de la rose, la voix du rossignol et
+l'aile du papillon? Bien des gens trouveront que la rose, le rossignol
+et le papillon ne sont pas fort a plaindre, et qu'ils n'ont que faire de
+lutter avec le tigre et le mancenillier."
+
+We now arrive at the work through which Massenet is best known in this
+country, one which perhaps displays the peculiar nature of his talent to
+the greatest advantage. "Manon," that very fascinating musical setting
+of the Abbé Prévost's romance, was first played at the Opéra Comique in
+1884. For twelve years no new opera by Massenet had been produced at
+this theatre, and he had since then conquered celebrity as a dramatic
+composer and as an orchestral writer. The famous novel of the Abbé
+Prévost had already previously been utilised for operatic purposes by
+Auber, and has since been used as an opera text by the Italian composer
+Puccini. It furnished Massenet with a subject particularly suited to his
+muse.
+
+Apropos of Auber's setting, the following story is related:
+
+Auber did not enjoy the reputation of being a great reader. One day he
+received a visit from a friend, who found him at his writing-table. Upon
+inquiring what he was working at, Auber replied: "I am busy with the
+first act of my new opera."--"By whom is the book?"--"By
+Scribe."--"Might I ask its title and subject?"--"Manon Lescaut."--"Manon!
+that splendid masterpiece?"--"The romance; do you mean a romance?" asked
+Auber.--"Yes, certainly."--"Mon Dieu! I have never read that," said
+Auber.--"What! you write an opera on the subject of Manon, and have not
+read the story?"--"True; I have not got it in my library, for I have
+just been looking for it."--"Well, borrow it from Scribe."--"But I don't
+think Scribe has read it either," said Auber, "he may have glanced at it
+to get the situations, but Scribe never wastes his time if he can help
+it."
+
+Massenet's opera contains an innovation which has a certain importance
+and deserves to be noted. It is well known that the old-fashioned _opéra
+comique_ comprised spoken dialogue. The tendency of late years has been
+to abandon this illogical custom, and the ideas of most composers
+nowadays tend in this direction. Certain ingrained habits are hard to
+get rid of, and even now there are composers of eminence who either have
+not the courage or inclination to break with a custom so antagonistic to
+the principles of the lyrical drama.
+
+Massenet, a musician of compromise, imagined a method which he doubtless
+thought would give musical continuity to his work without departing
+absolutely from the customs of the theatre. This was to retain the
+spoken dialogue, but to accompany it with an orchestral commentary in
+keeping with the words. A similar method has been employed with success
+in dramas for which incidental music has been written. It is not a
+course that can be recommended for operatic purposes, although the
+effect in "Manon" is not unpleasing. The analogy existing between the
+stories of "Manon" and "La Traviata," or rather "La Dame aux Camélias,"
+is sufficiently striking. Several situations are almost identical. In
+both cases we have a heroine for whom it is difficult to feel much
+sympathy, a weak young man, and a heavy father given to singing
+long-winded _cantilenas_. The subject is essentially French, or rather
+Parisian, and the music of Massenet fits it like a glove. The composer's
+mannerisms seem less out of place in the mouth of Manon than they do in
+that of Mary Magdalen. Massenet is essentially a colourist, and even as
+he had succeeded in imparting an Eastern _cachet_ to his "Roi de
+Lahore," and giving a tinge of the antique to his music for "Les
+Erinnyes," so in "Manon" he has felicitously caught the spirit of the
+last century. This delicately perfumed score is in many places
+suggestive of the boudoir of a _petite maítresse_. There are plenty of
+accents of genuine passion noticeable in the course of the work, such as
+those in the great duet between Manon and Des Grieux; also in the fine
+monologue of the latter. It is in what might be termed operas _de demi
+caractère_ that Massenet excels, and he would do well in future to
+confine himself to this and eschew works of larger calibre, such as "Le
+Cid" and "Le Mage," the two latest operas that he has produced upon the
+stage of the Grand Opéra.
+
+"Manon" has been successful on the Continent, but curiously enough, does
+not appear to have taken much in London, despite the superb
+interpretation of the hero by M. Van Dyck. An English version was
+produced by the Carl Rosa Company in 1885, and it has remained in the
+_répertoire_.
+
+The year after the production of "Manon" Massenet reappeared as the
+musical delineator of another French classic. This time he sought
+inspiration from Corneille, undeterred by the failure of Gounod over
+"Polyeucte."
+
+"Le Cid" is one of the great dramatic poet's finest works, and one with
+which I will not do my readers the injustice to suppose them
+unacquainted. The music of this opera contains much that is excellent,
+but fails in many respects to do justice to the heroic subject. In his
+efforts to be powerful the composer is often merely noisy. The best
+portions are certain _hors d'oeuvre_, such as the delightfully
+characteristic ballet music. "Le Cid" has apparently proved to the taste
+of the _habitués_ of the Opéra, and has been successfully performed on
+the Continent.
+
+A work which I should from many points of view be disposed to prefer is
+"Esclarmonde," produced at the Opéra Comique in 1889, the year of the
+International Exhibition. In this opera Massenet has taken a step in
+advance as regards the musical form he has adopted. "Esclarmonde" is
+constructed more according to the lines of the modern "lyrical drama,"
+and the composer has made use of "representative themes" to a great
+extent. One of these indeed bears a certain affinity to a motive in the
+"Meistersinger." This apparent adherence to the principles of the
+Bayreuth master caused some waggishly disposed critic to allude to
+Massenet as "Mlle. Wagner." "Esclarmonde" is really a remarkable opera,
+and should be given in London. The story, which is taken from an old
+romance of chivalry, is a species of fairy tale and has this peculiarity
+about it that, reversing the ordinary order of things, it is the heroine
+who falls in love with the hero, who, it must be owned, does not seem
+inclined to repel her advances. The lady in question being gifted with
+magic powers, causes the object of her flame to be transported to an
+enchanted island, where she visits him every night without his being
+allowed to contemplate her features. The love duet between the two is
+one of the most passionate and voluptuous examples of amorous music
+that has been heard on the stage. A species of orchestral interlude,
+played whilst the lovers are gradually surrounded by the trees and
+boughs of the enchanted island, is remarkably expressive, impregnated as
+it is with a peculiar sensuousness of utterance and exuberance of
+passionate feeling. This perhaps is the finest page in an opera that
+must count as one of its author's best works. Mons. Adolphe Jullien,
+whom I have had occasion to quote more than once in the course of this
+volume, remarks that Massenet's great fault is that he alternately
+attempts every style and perseveres in none. Certain it is that "Le Cid"
+was a distinct falling off after "Manon," and that "Le Mage," produced
+at the Grand Opéra in 1891, was absolutely inferior to "Esclarmonde." It
+is of course impossible for any musician to command inspiration. Certain
+subjects have the power of appealing to a composer more than others.
+With Massenet, as I have previously remarked, these rather pertain to
+the _genre intime_.
+
+"Le Mage" is a spectacular opera upon a large scale, the action of which
+takes place in the time of Zoroaster.
+
+It furnished grand opportunities for the scenic artists to display their
+skill, but was admittedly a disappointment from a musical point of view.
+The composer was destined to take his _revanche_ with "Werther,"
+performed for the first time in Vienna on the 16th of February 1892. The
+composition of this work dates already some years back. It was in 1885,
+the master relates himself, when he had just terminated "Le Cid," that
+Mons. Hartmann, his publisher, suggested to him the idea of setting
+Goethe's story to music. Pleased with the notion, Massenet entered into
+communication on the subject with Messrs. Milliet and Blau, the authors
+of the libretto. The book having been supplied, Massenet set to work in
+the spring of 1885, and the opera was completed at the end of the winter
+of 1886.
+
+When he was asked for a new opera by the director of the Opéra Comique,
+to be played during the International Exhibition of 1889, the composer
+preferred to let him have "Esclarmonde," deeming this to be more fitted
+for the occasion.
+
+Having had to go to Vienna to superintend the rehearsals of "Manon," a
+proposition was made to produce his "Werther" at the Imperial Opera
+House.
+
+Massenet, in the course of a conversation published in the _Echo de
+Paris_, gives some interesting details concerning the administration of
+the two imperial theatres in Vienna.
+
+"Hierarchically, and in the first rank, Prince Hohenlohe, the direct
+representative of His Majesty, dominates. After him come first a high
+official personage bearing the title of General Intendant, and then in
+the third place the director, Mons. Jahn. The artists, including the
+ballet-dancers, are looked upon as accomplishing a service of State.
+Each day official carriages take them to the rehearsals. These take
+place from ten o'clock to half-past twelve, in the most absolute _huis
+clos_. In the evening equally, during the performance, no one is
+admitted either behind the scenes or in the boxes, and this from the
+point of view of the strictest morality. They play, sing, and dance
+without any stranger being allowed to be present. The archdukes
+themselves are not admitted."
+
+Massenet also gives an account of the trying ordeal he underwent when
+playing through his score for the first time before the director and all
+the artists. He was admitted into an immense and luxuriously furnished
+room, capable of containing over 200 people. "All the artists," he
+relates, "were seated there, grouped in a charming but imposing
+_ensemble_. At my entrance they all got up and bowed. The director
+approached me and said a few amiable and too flattering words of
+welcome. All this was assuming the intimidating aspect of an official
+reception. I felt much moved. With the exception of my two old
+interpreters, Mdlle. Renard and Vandyck, I knew no one. Meanwhile the
+director led me to the piano, on the desk of which my yet unpublished
+score was placed, open at the first page. I sat down on the stool and
+was about to strike the first chord.... At this moment I must tell you
+an intense feeling of emotion came over me.... My heart was beating as
+if it would burst.... In one second, with a really painful intensity, I
+felt the vivid notion of the artistic responsibility which I was
+incurring.... What a terrible game I was about to play.... This score of
+'Werther' was six years old.... I scarcely had it in my memory.... How
+many works by me had not been played since.... I was finding myself,
+alone, far from my country, representing by the force of circumstances
+French musical art.... On the other hand, I had full conscience of the
+undeserved honour that was being conferred on me.... Was I not in
+Vienna, the guest of the Emperor, invited at the expense of the State,
+and remembering that alone two masters before me--both above
+criticism--Verdi and Wagner, had been the objects of such a high and
+such a precious distinction?... All these thoughts suddenly came into
+my brain; tears rose to my eyes, and stupidly, like a weak woman, I
+began to weep. Then what kindness and delicate attention was shown all
+around me. 'Courage, courage,' was said to me from all sides. I made an
+immense effort, and still trembling with emotion I played through the
+entire score. This was in Vienna the first hearing of 'Werther.'"
+
+In Goethe's sadly pathetic story, Massenet has found a subject eminently
+suited to the peculiar nature of his talent. The idyllic charm of the
+sad tale has inspired him to write pages full of poetry and refinement.
+
+"Werther" was a distinct success in Vienna, and this success was
+repeated when the opera was produced in Paris at the Opéra Comique.
+Massenet has seemingly been desirous in this work of writing a "lyrical
+drama" rather than an ordinary opera. He has kept his music well within
+the bounds of a subject so simple yet so interesting and so human. We do
+not find set duets, choruses, or _ensembles_ in this delicate and
+artistic score, and we need not regret their absence.
+
+[Illustration: FACSIMILE OF AUTOGRAPH SCORE OF "WERTHER"]
+
+Long before Massenet's time, "Werther" had been set to music by Pugnani,
+musical director to the King of Sardinia. It was played at the Burg
+Theatre in Vienna in 1796. Pugnani's work was described as a symphony,
+which the composer sought to make as realistic as possible. On one
+occasion it was performed at Turin before a party of invited guests.
+Pugnani conducted in his shirt sleeves. At the moment when Werther dies,
+Pugnani pulled a pistol out of his pocket and fired it.
+
+Blangini also wrote a cantata upon the same subject, which he entitled
+"Werther's Swan Song, half an hour before his death." At that time
+Werther's Lotte (Frau von Kestner) was still living in Hanover, and she
+journeyed to Cassel on purpose to hear Blangini's work.
+
+A curious thing happened when Massenet's "Werther" was given at Weimar
+in 1892. Giessen, the Weimar tenor, was deputed to sing the title
+_rôle_. His real name happens to be Buff, and he is a grand-nephew of
+Lotte, whose name was also Buff. When the Weimar performance took place
+it was therefore discovered that Giessen had to make love to his own
+great-aunt. In the German version of the opera Goethe's text is
+faithfully followed. Both Lotte and Werther are drawn from life.
+
+A few days after the first performance of "Werther" at Vienna a ballet,
+entitled "Le Carillon," by the same composer, to a _scenario_ furnished
+by M. Van Dyck, was successfully produced upon the same boards. Massenet
+has another opera in readiness, which has not yet been presented to the
+public--"Thaïs," a lyrical drama in three acts, words by Louis Gallet.
+
+The composer of "Werther" is an indefatigable worker, and being in the
+full force of his maturity, may yet be counted upon to further enrich
+the operatic _répertoire_. Concerning his powers of work the following
+story is related: The director of one of the French operas, in speaking
+with the composer, said, "My dear Master, give me the secret of your
+abnormal creative ability. Every day you listen to a crowd of singers,
+you attend every rehearsal, and, besides, you are professor at the
+Conservatoire. When do you find time to work?" "When you are asleep,"
+replied Massenet, quickly. It is true that Massenet rises every day at
+five, and works incessantly until midday.
+
+In the Supplement to the "Biographie des Musiciens" of Fétis, edited by
+M. Arthur Pougin, published in 1880, mention is made of two "lyrical
+dramas," entitled "Robert de France" and "Les Girondins," upon which the
+composer was supposed to be engaged at the time. I am not aware whether
+these have been finished or not. Recently he has terminated the
+orchestration of Léo Delibes' "Kassya," left unfinished.
+
+Whatever the composer's defects may be (and who is free from them?),
+there can be no doubt that Massenet has indisputably a style of writing
+peculiar to himself, which is more than can be said of all of his
+"confrères." His individuality may not be so marked as that of Gounod,
+whose influence, by the way, can be traced in some of his compositions,
+but it is none the less existent, and has been reflected in the works of
+many of his pupils.
+
+Few musicians can touch him in the art of handling the orchestra. At the
+time when he was studying at the Conservatoire he astonished every one
+by the prodigious amount of work he got through, and the ease with which
+he was able to compose. This facility of production does not seem to
+have deserted him, and the danger lies, not in his composing too little,
+but in producing too much.
+
+Massenet's position is so well established that he can now afford to
+concentrate his mind upon his work without troubling himself as to
+whether or not it pleases the superficial portion of the public. What he
+now requires is a good subject and a well-written libretto. I trust he
+may find both.
+
+Although necessarily absorbed by his multifarious labours, Massenet
+finds time occasionally to attend to his social duties. A story is told
+of how one evening, when he was dining out, the mistress of the house
+insisted upon making him listen to her daughter's playing. At the end of
+the performance, upon being asked his opinion, Massenet gravely remarked
+that it was quite evident that the young lady had received a Christian
+education. "Why?" ejaculated the surprised parent. "Because she so
+scrupulously observes the precept of the evangelist--her right hand
+knoweth not what her left hand doeth."
+
+[Illustration: Ernest Reyer portrait, signed]
+
+
+
+
+ERNEST REYER
+
+
+"Nowadays, more than ever, musicians have the leisure to occupy
+themselves with other things than music."
+
+These bitter words, savouring of disappointed expectations, occur in the
+preface to the volume entitled _Notes de Musique_, written by Ernest
+Reyer and published in 1875.
+
+Since that time the author of the above lines has received a tardy
+compensation for a somewhat unaccountable neglect, and his operas
+"Sigurd" and "Salammbô" have achieved what promises to be a permanent
+success at the Paris Opera.
+
+Although the composer of these works is but little known in this
+country, yet he none the less occupies an honourable position in the
+front rank of modern musicians. His "Sigurd," which was given at Covent
+Garden some few years since, did not meet with the success due to its
+unquestionable merits.
+
+A man of strong convictions, imbued with a high ideal and averse to
+anything approaching the spirit of compromise, Ernest Reyer had to wait
+longer before receiving due recognition than if he had been disposed to
+pander to the taste of the public at the cost of his artistic
+principles. This he has never done but he has been satisfied to work
+quietly and wait patiently until his hour should arrive, careless of
+popularity, and content to devote his talents to the sole cause of art.
+Born on Dec. 1, 1823, at Marseilles, Ernest Reyer at the age of sixteen
+went to Algeria, where he spent some time, living with his uncle, who
+had an appointment in the province of Constantine.
+
+It may be that the early influences of the _milieu_ in which he was
+thrown may have had something to do with developing a tendency he
+exhibited later on of setting Oriental subjects to music. His first
+important work was an eastern symphonic ode, entitled "Le Sélam," the
+words of which were by Théophile Gautier, produced in 1850. This
+composition had the misfortune to come a little too late. Félicien
+David, in his "Désert," had already musically illustrated a subject in
+many ways similar, and the success of his work proved detrimental to
+that of his younger colleague.
+
+Many years later (in 1876), Ernest Reyer was destined, curiously enough,
+to succeed Félicien David as a member of the Institute.
+
+The _début_ of Reyer as a dramatic composer dates from the year 1854,
+when "Maître Wolfram," a one-act opera, was produced at the Opéra
+Comique. This was followed in 1858 by "Sacuntala," a ballet, at the
+Opéra; and in 1861 by "La Statue," at the Théâtre Lyrique. It was this
+last work which brought the composer's name in a prominent manner before
+the public. The distrust that existed at that period against all
+musicians holding so-called "advanced" ideas naturally affected Ernest
+Reyer, who was known to be an intimate friend of Berlioz, and to hold
+unorthodox views with regard to the nature of dramatic music. "Le Sélam"
+had come too late, "La Statue" arrived too soon. At a time when the
+beauties of "Tannhaüser" were unrecognised and this work had been hissed
+off the stage, when even Gounod's "Faust" was looked upon with
+suspicion, it is not surprising that a work exhibiting qualities of so
+serious a nature as "La Statue" should have met with only a partial
+success. At the same time the qualities abounding in this work were
+recognised by the press, and its author was by common consent classed
+among the most rising composers and looked upon as one from whom much
+was to be expected.
+
+"La Statue," in its original form, included spoken dialogue. On the
+occasion of its revival at the Opéra Comique in 1878, the composer set
+this to music, to the great advantage of his work, thereby insuring that
+continuity which nowadays is rightly regarded as essential in operas of
+serious import.
+
+The music to this work is impregnated with an indefinable Oriental
+colouring which imparts to it an undoubted measure of charm.
+
+To Félicien David must be accorded the credit of being perhaps the first
+to employ distinctively Eastern characteristics. It was doubtless this
+that helped to ensure the prodigious success that attended "Le Désert."
+Without in any way laying himself open to the charge of plagiarism,
+Reyer may be said to have followed in his footsteps with conspicuous
+success. Since then many composers have treated Oriental subjects, and
+have endeavoured to invest their music with the peculiar "cachet"
+associated with the East. Amongst these may be mentioned Bizet, in his
+"Pêcheurs de Perles" and "Djamileh," Rubinstein in "Feramors," Goldmark
+in "The Queen of Sheba," Saint-Saëns in "Samson et Dalila," Massenet in
+"Le Roi de Lahore," Bruneau in "Kérim," and Villiers Stanford in "The
+Veiled Prophet."
+
+Bizet considered "La Statue" as the most remarkable opera that had been
+given in France for twenty years. It is sad that this, in company with
+many other works of value, should never have been offered to the
+judgment of the British public.
+
+The composer's next operatic venture took place on German soil. It was
+at Baden-Baden, at that period in the prime of its glory and the chosen
+playground of Europe, that "Erostrate," a two act opera, was brought out
+in the summer of 1862.
+
+Nothing at that moment seemed to presage any strained relations between
+France and Germany. French tourists came in crowds to the gay
+watering-place and deposited their offerings with a light heart in the
+temple of chance presided over by Mons. Bénazet; that very same year a
+cantata, the words of which were by Méry and the music by Reyer, given
+at Baden-Baden, celebrated the praises of "The Rhine, symbol of peace."
+
+_Quantum mutatus ab illis._ The French element disappeared with the war
+of 1870, and the suppression of the tables has long since brought
+Baden-Baden down to the same level of respectability as many another
+"Kurort."
+
+Musical amateurs sojourning in the picturesque valley of the Grand Duchy
+of Baden at this epoch seem to have had a good time of it.
+
+Berlioz was in the habit of directing every year a grand festival at
+which were performed extracts from his orchestral works. Reyer states
+that each concert given by Berlioz used to cost a matter of 20,000
+francs to Mons. Bénazet the energetic head of the "Kurhaus." Certain it
+is that this enterprising director must have had strong musical
+proclivities, for it is to his initiative that the production of
+Berlioz's "Béatrice et Benédict" is due. This work served to inaugurate
+the opening of the new theatre at Baden. Two days later witnessed the
+first performance of Reyer's "Erostrate," which was shortly afterwards
+followed by another new work, "Nahel," by Henry Litolff. "Erostrate"
+seems to have pleased the cosmopolitan public of Baden better than it
+did Parisian amateurs when it was transferred to the Grand Opéra ten
+years later, where it was only accorded two representations. The
+composer was reproached at this time for having dedicated his score to
+the Queen of Prussia. As if it were possible for any one, in 1862, to
+foresee the course of events that were destined to happen in 1870.
+Patriotism occasionally seems to have the effect of deadening the
+intelligence.
+
+It certainly appears strange that after the favourable reception
+accorded to "La Statue" in 1861, Reyer should have been ostracised from
+the Paris theatres, if we except the two performances of "Erostrate" in
+1872, and the revivals of "Maître Wolfram" in 1873, and of "La Statue"
+in 1878, for a period of twenty-four years, when he made a triumphal
+reappearance at the Opéra with "Sigurd." This last opera had been
+performed the year before at Brussels.
+
+The Belgian capital seems to be a sort of refuge for those French
+composers who experience a difficulty in obtaining a hearing in their
+own country.
+
+It was at the Théâtre de la Monnaie that the following operas were
+first produced: Reyer's "Sigurd" and "Salammbô," Massenet's "Hérodiade,"
+the brothers Hillemacher's "St. Mégrin," Godard's "Jocelyn," and
+Chabrier's "Gwendoline." It was also there that some of Wagner's later
+music dramas were heard for the first time in French.
+
+"Sigurd" had been composed many years previous to its production on the
+stage, and fragments had frequently been introduced into the
+concert-room. I recollect myself hearing an important extract performed
+at one of the far-famed Conservatoire concerts, and the overture at one
+of Pasdeloup's concerts, in 1876. The subject of this opera is taken
+from the same source as Wagner's "Ring des Nibelungen."
+
+Sigurd and Siegfried are one and the same individual, and many of the
+incidents of the French composer's opera are identical with those that
+occur in the "Götterdammer[)u]ng." This is, of course, unfortunate, and
+although it has been pointed out that Reyer composed his work before the
+completion of the "Ring," yet he must have been aware that the German
+master was treating the same subject, considering that Wagner had
+published the poem of his four works as far back as 1853.
+Notwithstanding the reputation he had already achieved, endless
+difficulties had to be surmounted before Reyer was able to get his work
+performed. The nature of the subject frightened Mons. Halanzier, the
+then director of the Paris Opéra, who imagined that the barbarous
+sounding names of the leading characters might prove objectionable to
+the public. Who had ever heard of Sigurd, Hagen, Gunther, or Hilda? The
+last name seemed especially to act upon his nerves. "Why not call her
+Bilda?" he exclaimed. "Do I call you Balanzier?" answered Reyer. There
+was nothing for the luckless composer to do but wait for another
+opportunity, which happily occurred some years later.
+
+It is immensely to the French composer's credit that, in spite of
+inevitable comparisons, he should have been able to succeed as well as
+he has.
+
+"Sigurd" is full of dramatic power, and bears evidence of the constant
+endeavour of the composer to fit his music to the sense of the words,
+avoiding as much as possible any of those conventional effects so dear
+to the uneducated section of the public. His style has been described as
+proceeding from Gluck and Weber, whilst his admiration for Berlioz and
+Wagner reveals itself in the richness and variety of his
+instrumentation. This appreciation is perfectly correct, and although
+his operas may be criticised in some respects, they reveal a true
+artistic temperament both in their method and execution. It may be said
+with truth that Reyer's individuality is not of the most marked, that
+his melodies sometimes lack distinction, and that his inventive faculty
+is scarcely equal to his skill in making the most of his materials; but
+none will contest the true artistic feeling that presides over all his
+compositions, or deny him the possession of strongly pronounced
+convictions impelling him to do his utmost towards raising the standard
+of operatic art.
+
+After having been the first town to offer hospitality to "Sigurd,"
+Brussels was destined to have the _primeur_ of "Salammbô," the last
+opera that Reyer has composed, which was brought out in 1890 with great
+_éclat_, and produced later on in Paris, where it at once succeeded in
+establishing itself in the favour of the public. Perhaps of somewhat
+less sustained interest than "Sigurd," the music of "Salammbô" shows the
+same tendencies on the part of its composer to adhere to a strict
+interpretation of the drama, and contains many pages of great beauty.
+Those who have read Flaubert's powerful and imaginative work will
+probably consider it somewhat unsuited for the purposes of a "lyrical
+drama." It must be admitted, however, that the composer has found in it
+a subject well adapted to his artistic temperament, and that it has
+enabled him to produce a work which is an honour both to himself and to
+his country.
+
+The production of "Salammbô" in London is an event much to be desired,
+and a revival of "Sigurd" would also be of the greatest interest. Now
+that the British public are more familiarised with Wagner's "Nibelungen
+Ring" they would be able to draw interesting comparisons between the
+treatment of the same legend by the German master and the French
+composer.
+
+If Reyer has acquired a well deserved reputation in France as a
+composer, he is equally well known as a writer on music, and for many
+years has occupied the post of critic to the _Journal des Débats_,
+formerly held by Berlioz.
+
+The opinions advanced by Reyer have always been remarkable for sound
+common sense. An intimate friend and ardent admirer of Berlioz, he
+enjoys the credit of having been one of the first in France to recognise
+the genius of Wagner.
+
+The perfect honesty of his convictions is apparent to those who read his
+writings with care, and it may in passing be noted to his honour that
+when the course of time and increased acquaintance with his subject
+have caused him to modify any previously expressed opinions, he has
+never hesitated to say so. No one is infallible, but many pretend so to
+be.
+
+When travelling in Germany in 1864 Reyer, who was already a strong
+admirer of Wagner's earlier works, had occasion to run through the score
+of "Tristan," then still unperformed. The first impressions produced
+upon him by this most complicated of scores was not a favourable one,
+and Reyer in stating this avowed that his admiration for the German
+master would stop at "Lohengrin," until the beauties of the "Nibelungen
+Ring" should have been revealed to him.
+
+In 1884 when the first act of "Tristan" was given at one of Mons.
+Lamoureux's concerts, Reyer made amends for the appreciation somewhat
+hastily recorded by him twenty years previously by expressing his
+intense admiration for the wondrous beauties of this sublime work. "What
+a metamorphosis," he wrote, "had taken place in my musical faculties
+during twenty years! But also what a difference in the execution! It
+was the first time that I was hearing 'Tristan' with the orchestra."
+
+Reyer in his criticisms has always held up the banner of high art, and
+his writings will doubtless not have been without influence in
+determining the nature of the musical movement in France during these
+last few years. His admiration for Berlioz has not diminished, whilst
+his admiration for Wagner has increased. Apropos of the "Proserpine" of
+Saint-Saëns, he wrote: "We are practically all affected with Wagnerism,
+perhaps at different degrees; but we have drunk and we will drink at the
+same source, and the sole precaution for us to take is not to drown our
+own personality."
+
+This frank avowal may not be to the taste of all French composers, but
+it is none the less true.
+
+Ernest Reyer has almost entirely confined himself to operatic
+compositions. He is not a quick worker, and his operas all bear evidence
+of thought and an avoidance of claptrap effects.
+
+He is still a bachelor and has the appearance rather of a retired
+military officer than of the traditional musician. Reyer is
+_bibliothécaire_ of the Opéra, and inhabits a quiet little apartment on
+a fifth floor, where he is able to work undisturbed and meditate upon
+the trials and uncertainties of a composer's existence.
+
+[Illustration: Alfred Bruneau portrait, signed]
+
+
+
+
+ALFRED BRUNEAU
+
+
+In the month of November 1891, there was brought out at Covent Garden
+Theatre a work that had the effect of setting the musical world of
+London into a state of ferment. This was "Le Rêve," a musical rendering
+of Emile Zola's well-known romance, by the composer whose name heads
+this chapter. The absolute unconventionality of the music, the boldness
+and the novelty of the composer's method, took the public by surprise
+and led to many a discussion, at the end of which both antagonists and
+supporters remained unconvinced and, as is generally the case, retained
+their own opinions.
+
+It has always appeared to me to be idle to attempt to impose one's ideas
+upon the relative merits of a composition on those whose disposition is
+antagonistic to its due appreciation. There are many to whom the later
+works of Wagner appear as a senseless agglomeration of notes, devoid of
+meaning and destitute of feeling, a mere jumble of sound. These people
+are doubtless absolutely sincere in their convictions. Where is the
+argument that would cause them to change their minds? If no sympathetic
+current is generated between the music and the listener, it may be taken
+for granted that these are not meant one for another, and all the
+arguments in the world will not alter the fact. On the other hand there
+can be no doubt that increased familiarity often causes the reversal of
+a previously expressed opinion, one sometimes formulated in undue haste,
+and this is especially the case with a work such as "Le Rêve," the
+tendencies of which are so novel and the methods so uncompromising in
+their thoroughness.
+
+The composer has boldly flown in the face of recognised traditions and
+flung all compromise to the four winds. He has treated "Le Rêve"
+according to his own ideas, careless as to whether these should be
+agreeable to the vocalist, who looks upon an opera solely as the means
+of displaying his voice; to the average amateur, whose fondness for a
+good square tune of doubtful originality is as great as ever; or to the
+musical pedant who gauges the value of an art-work according to the
+theoretical ideas of a past generation.
+
+Art and literature have during the last few years been invaded by a
+strong current of realism. The marked tendency exhibited by the present
+generation of inquiring minutely into all matters and subjecting them to
+a searching process of analysis, has been pregnant in its results. The
+physiology of the mind appears to be the leading factor in the works of
+many of the lights of contemporary literature. This is discernible in
+the writings of poets like Swinburne and George Barlow, in the novels of
+Emile Zola and Alphonse Daudet, and in the studies of Tolstoï, to
+mention only a few. In music the same tendencies are apparent, and it
+is rather the inner motives of the action than its outward details that
+the serious operatic composer is tempted to depict.
+
+Bruneau exemplifies the latest phase of that evolution that has been
+taking place during recent years in the domain of dramatic music. It may
+be taken for granted that the theory enunciated by Gluck in his preface
+to "Alceste" more than a hundred years ago has now come to be
+universally adopted. This is, that "the true aim and object of dramatic
+music is to enhance the effect and situations of a poem, without
+interrupting the dramatic action or marring the effect by unnecessary
+ornamentation." It is this which forms the basis of Wagner's theories.
+There are, however, many other points of importance raised by the German
+master which practically amount to innovations. Of these none has
+perhaps a greater bearing on the construction of the "lyrical drama" of
+the future than the employment of _leit-motiven_, or representative
+themes.
+
+It has been argued that Wagner can scarcely claim to be the actual
+inventor of this device.
+
+To this it may be replied that Wagner's method differs essentially from
+that followed by any of his predecessors. The bare repetition of a
+phrase previously heard may be dramatically significant, but it only
+represents the Wagnerian idea in its most embryonic form, and has little
+in common with a system subject to which an entire opera is constructed
+upon a certain number of themes susceptible of being modified and
+transformed according to the sentiments expressed by the words. Whatever
+objections may be adduced against such a system if pushed to its
+furthest limits and adopted as rigorously as Wagner has in his later
+"music dramas," it must be conceded that it opens a large field to the
+composer and adds a powerful element of interest to the musical
+exposition of a plot.
+
+So far, French composers who have profited by Wagner's many innovations
+have shown themselves shy in following the master in this particular
+one. Some of them have, it is true, adopted it to a certain extent, and
+endeavoured to effect a compromise by trying at the same time to retain
+set pieces of the kind associated with the older forms of opera.
+Saint-Saëns in "Henri VIII." and "Ascanio," Massenet in "Esclarmonde,"
+to name only two, have exhibited a marked tendency in this direction. It
+has, however, been reserved for Alfred Bruneau to employ the Wagnerian
+plan in a more complete way than any French composer has yet done. I am
+not here venturing to express an opinion as to whether or not the total
+absence of set form in an opera is advisable. It is evidently quite
+possible to compose a "lyrical drama" on a different plan than one
+entailing the strict employment of representative themes. Art should
+comprise every method that is likely to add to its scope, and the use of
+_leit-motiven_ opens a vista of illimitable possibilities to the
+composer of the future. It is a powerful agent of dramatic expression,
+and one which requires musical ability of a very high order if it is to
+be employed in any profitable manner. When I mention Alfred Bruneau as
+being perhaps the first French composer who has applied the Wagnerian
+system so thoroughly in his "lyrical dramas," it must not be implied
+that he is in any way a servile imitator of the German master, and he
+must not be confounded with composers who, having no original ideas of
+their own, trade upon those of other people. As his friend and
+collaborator Mons. Louis Gallet remarks in his _Notes d'un Librettiste_,
+"Son criterium est tout personel." There is one point, for instance, in
+which he diverges entirely from Wagner. This is in his choice of
+subjects. Instead of searching for inspiration in the legendary lore so
+dear to the composer of "Tristan," Bruneau prefers to musically
+illustrate a story of modern life. His ideas upon the lyrical drama are
+best expressed in his own words, and I do not scruple to reproduce the
+following passage from a letter addressed to myself: "Je suis pour
+l'union aussi intime que possible de la musique et des paroles, et
+voudrais faire du théâtre vivant, humain et bref. J'aurais aussi
+l'ambition de traiter une suite de sujets essentiellement Français et
+modernes d'action comme de sentiments. C'est pourquoi, après 'Le Rêve,'
+d'un mysticisme bien Français je crois, viendra 'L'Attaque du moulin,'
+drame pris au coeur saignant de notre pays. Mais la suite n'est qu'un
+projet que je n'aurai peut-être jamais la force de mettre à exécution."
+
+It is the human element that predominates in Bruneau's compositions
+which constitutes so powerful a fascination to those who are in sympathy
+with his ideas. His music is not theatrical in the ordinary acceptation
+of the term but intensely dramatic, inasmuch as it aims at depicting the
+innermost details of the action, and describes in searching accents the
+varied emotions of the leading characters.
+
+He has been blamed for his disregard of the so-called rules of harmony,
+and for apparently revelling in the employment of discords, strange
+progressions, and harsh modulations. Let it be remembered that there is
+scarcely a composer of eminence who has not been subjected to the same
+reproach. To take a few of the most notable instances, it is only
+necessary to mention the cases of Schumann, Wagner, Berlioz, and Bizet.
+A name that may carry conviction even further is that of Beethoven. Is
+it not a fact that within the memory of some who are still amongst us,
+the "Choral Symphony" was stigmatised as the work of a genius whose
+powers were on the wane, and this mighty work was pronounced dull and
+incoherent?
+
+The question as to how far a composer may go in his search after novel
+effects, and what discords he may or may not employ, is one that cannot
+easily be answered. Where is the musician who will have the presumption
+to erect himself as the supreme arbiter upon so complex a question, and
+venture to say to the composer, "Thus far shalt thou go and no further?"
+
+Undoubtedly there must be rules of some kind, but these are intended for
+the student and are not meant to hamper the inspiration of the master.
+In order to explain my meaning I cannot do better than quote the
+following extract from the preface of Mr. Ebenezer Prout's admirable
+work on "Harmony,"[27] which conclusively disposes of the question:
+
+"The principle must surely be wrong which places the rules of an early
+stage of musical development above the inspirations of genius! Haydn,
+when asked according to what rules he had introduced a certain harmony,
+replied that 'The rules were all his very obedient humble servants;' and
+when we find that in our own time Wagner, or Brahms, or Dvórak, breaks
+some rule given in old text books, there is, to say the least, a very
+strong presumption, not that the composer is wrong, but that the rule
+needs modifying. In other words practice must precede theory. The
+inspired composer goes first, and invents new effects; it is the
+business of the theorist not to cavil at every novelty, but to follow
+modestly behind, and make his rules conform to the practice of the
+master."
+
+These are golden words, involving a precept that should be seriously
+taken to heart by those who are inclined to pass a hasty verdict upon
+works exhibiting tendencies of a novel nature. At the same time it does
+not follow that composers of inferior talent should be allowed a liberty
+which with them often degenerates into licence, and imagine that it is
+only necessary for them to stud their scores with consecutive fifths and
+octaves, and avoid any but the most out-of-the-way modulations in order
+at once to be ranked as men of genius. There is a vast amount of
+difference between the crude harmonies, obviously introduced for effect,
+that occur in the scores of some composers, and those employed with a
+due sense of dramatic fitness by a musician like Bruneau.
+
+The composer of "Le Rêve" was born on the 1st of March 1857. He is,
+therefore, at the present time in the full flush of his creative
+ability, and his powers of production have doubtless not yet reached
+their full maturity of expression. There is no knowing how far a
+musician of his calibre may not eventually go, or what works he may be
+destined to produce. Up to the present he has shown a wonderful amount
+of independence of thought, and his very exaggerations are the evident
+outcome of a consistent striving to attain an elevated ideal.
+
+Alfred Bruneau's musical studies were begun in a brilliant manner at the
+Paris Conservatoire, where he obtained the first prize for violoncello
+in 1876. He entered into the composition class, presided over by
+Massenet, and finally, in 1881, triumphantly carried off the "Prix de
+Rome." This was already a great step towards fame and fortune, although
+it has been proved over and over again that it leads to neither. Many an
+old winner of the "Prix de Rome" has, after a fruitless struggle, been
+compelled to give up the game and resign himself to a life of
+comparative obscurity. For an artist to remain true to his convictions
+and resist the temptations thrown in his way of obtaining an ephemeral
+popularity by pandering to the taste of the public, is not always so
+easy an achievement as it may appear. It was through the means of the
+concert-room that Alfred Bruneau's name first became known to the
+musical public of Paris. An "Ouverture Héroïque," a symphonic poem
+entitled "La Belle au bois dormant," and "Léda," styled a "poème
+antique;" these works were played at different times, and sufficed to
+stamp their author as a musician of undeniable capacity and distinct
+promise. "Penthésilée" is the name of a symphonic poem of great daring
+and originality for a solo voice and orchestra, which was only recently
+produced at one of Mons. Colonne's concerts. It is a musical
+interpretation of some wild and striking stanzas by the poet Catulle
+Mendès. Thoroughly independent in structure as it is in its workmanship,
+bold almost to excess, distinguished by a most unconventional harmonic
+treatment, this composition exhibits a masterly grip that irresistibly
+commands attention. The interest may be said to be mainly concentrated
+in the orchestra, the voice part being strictly declamatory.
+
+It is, however, through his conception of the "lyrical drama" that
+Bruneau especially asserts his individuality.
+
+"Kérim," his first stage work, brought out in 1887 at the Théâtre du
+Chateau d'Eau, provisionally given up to operatic performances, does not
+appear to have excited much attention, possibly owing to the inadequacy
+of the interpretation. In this work, the tendencies which are so
+accentuated in "Le Rêve" are already foreshadowed. There is but little
+in this interesting score that denotes the beginner, and "Kérim" is
+distinguished by qualities for which we may search in vain through the
+pages of many works that have acquired a greater popularity. For some
+reason hard to assign, operas dealing with Eastern subjects do not seem
+to appeal readily to the taste of the public, at any rate in England.
+And yet what delightful musical impressions are evoked by the
+recollection of works such as Goldmark's "Queen of Sheba," Cornelius'
+"Barber of Bagdad," Bizet's "Djamileh" and others! It may be remarked
+_en passant_ that the fact of the first of these works being practically
+unknown on this side of the channel scarcely redounds to our credit.
+
+From the very first page of "Kérim," it becomes evident that we are in
+the presence of a composer who has something new to say and who intends
+to say it whether or not it pleases the musical faculty or those who
+measure the value of a work according to a preconceived standard.
+
+In the matter of harmonic boldness Bruneau goes to very great lengths,
+and from this point of view alone the score of "Kérim" will prove highly
+interesting to musicians. The plan upon which he works is admirably
+logical. He commences by exposing some of his most important themes in
+their simplest guise, so that they may in a way impose themselves upon
+the attention of the listener. These are then subjected to various
+transformations according to the sense of the words they are intended to
+interpret, and are heard in different forms, either singly or jointly,
+being employed in combination when the composer has in view the
+expression of some complex sentiment. It is this system, which in a more
+embryonic form is apparent in "Kérim," that constitutes the constructive
+basis of "Le Rêve."
+
+The first of these works, which is termed an opera, but has more of the
+characteristics of the lyrical drama, treats of an Eastern legend.
+
+An emir of Beyrouth (nothing in common with Baireuth!), is in love with
+an unknown maiden who appears to him in his sleep and tells him that she
+will belong to him if he finds her some tears that are the outcome of a
+truly suffering heart. These will then be turned into pearls which he
+can offer her. The emir pursues his quest far and wide without success,
+and finally himself bursts into tears which are suddenly transformed
+into pearls. The object of his thoughts then appears and tells him that
+he has found what she required, and that the tears produced by genuine
+love have won her as his own.
+
+It can scarcely be said that the above story offers material of a
+particular interesting order. It has, however, been sufficient to
+furnish Bruneau with the opportunity of exercising his skill and
+displaying his fancy often to great advantage. Before taking leave of
+"Kérim" I may point out, for the benefit of those who might experience
+the curiosity of perusing this score, the monologue for tenor in the
+first act with its delightful accompaniment in canon, the effective
+treatment of some popular Oriental tunes, and specially the consistent
+working out of the representative themes. I must also mention the
+delicious "Adagietto," sung by the heroine in the last act, as an
+example of simple and pure melody.
+
+There are certain legends that require a long time before they are
+dispelled, and the accusation that for a considerable while hung over
+the heads of Wagner and Berlioz of being deficient in melodic power, has
+been levelled against many other composers. Bruneau has not escaped it,
+but he may console himself with the thought that he is in very good
+company. It is I think Liszt who invented the excellent definition of a
+species of melody "à plusieurs étages," which it is not given to every
+one to grasp.
+
+We now come to the work that has been instrumental in bringing the name
+of Bruneau to the front in a prominent manner. If "Le Rêve," which was
+first played at the Paris Opéra Comique in 1891, has given rise to much
+controversy, it has at any rate not been passed by in silence or damned
+with faint praise.
+
+The mysticism and poetical charm of Zola's book, so different to the
+majority of novels by the apostle of realism, has caused it to be widely
+appreciated even in circles where his romances are not usually admitted.
+Bruneau's desire originally had been to write a "lyrical drama" upon "La
+Faute de l'abbé Mouret." It was only when he found that Massenet had
+chosen the same subject that he was forced to give up the idea and turn
+his attention to "Le Rêve." I am not aware whether Massenet has
+abandoned his intention of turning "La Faute de l'abbé Mouret" into
+an opera or not. Now that composers appear bent upon introducing realism
+into their music, it is not impossible that even "L'Assommoir" may
+eventually serve as the groundwork of an operatic textbook. We trust
+that this will not be so. However realistic musicians may strive to be,
+they should not associate their muse with themes that are not
+susceptible of being idealised.
+
+[Illustration: FACSIMILE OF AUTOGRAPH SCORE OF "LE RÊVE"
+
+_Act I._]
+
+The desire nowadays of musically photographing, if I may employ a
+somewhat far-fetched comparison, certain types of humanity is excellent
+in its way. But it is as well in so doing to choose a period remote from
+ours, where no sense of incongruity can be produced through the
+appearance of operatic characters clad in the prosaic garb of the
+present day. The general characteristics of humanity have always been
+the same, and Wagner, with his marvellous poetical insight, knew well
+what he was about when he drew the subjects of his "music dramas" from
+mythical sources.
+
+In "Le Rêve" Bruneau has written a work remarkable in point of
+originality and sustained expression. His music must be either accepted
+in its entirety or rejected altogether. Upon those who appreciate its
+beauties it exercises an irresistible fascination. Bruneau is a
+psychologist, and he aims at musically describing the innermost feelings
+of the soul. He has also in "Le Rêve" proved himself to be an idealist.
+
+I will in a few words endeavour to sketch the subject-matter of this
+admirable work.
+
+Angélique is a young girl, the adopted child of a respectable old
+couple, embroiderers by trade. She is subject to hallucinations, and
+through constantly reading a book entitled "The Golden Legend," dealing
+with the lives of saints and martyrs, fancies she hears voices in the
+air, and dreams of the arrival of a prince who will come and carry her
+off. As the first scene closes, she imagines she sees the one she has
+been dreaming of, who turns out to be the son of the Bishop Jean
+d'Hautecoeur, still sorrowing for the wife he lost many years ago. It
+stands to reason that the two young people fall in love with one
+another, and that the course of their love, according to the usual
+precedent, does not run smooth. The bishop intends his son to become a
+priest and refuses to consent to his marriage, remaining deaf to his
+entreaties. Angélique thereupon pines away and is on the point of death,
+when her lover finally induces his father to give in, and save her by
+performing a miracle such as was accomplished by his ancestor, who cured
+the sufferers of a plague by kissing them on the forehead and using the
+words, "Si Dieu veut, je veux," which have since become the motto of his
+family. The Bishop yields and performs the miracle. The lovers are about
+to be united, but at the very porch of the church where they are to be
+married, Angélique hears voices in the air calling to her, she staggers,
+and dies. This last scene was omitted at Covent Garden.
+
+As I have previously remarked, "Le Rêve" is constructed entirely upon a
+number of representative themes. There is a practically complete absence
+of set pieces, the work running its course uninterruptedly without a
+break. Bruneau has in fact treated his setting of Zola's book in a form
+that might be best described as "speech in song" accompanied by an
+orchestral commentary. It is doubtful though whether the word
+"accompany" can be used at all in connection with his music, seeing that
+the most important part is allotted to the orchestra. The themes
+employed are most impressive, thoroughly characteristic, and well
+adapted for polyphonic treatment. There are certain scenes in which the
+melodic interest lies mainly in the voice parts, although the
+instrumental portion is invariably pregnant with suggestion, fragments
+of motives being blended together and worked in with consummate skill.
+Angélique's appeal to the Bishop is one of these, and is marked by
+genuine dramatic feeling. One of the most strikingly original scenes is
+the one comprising the Bishop's monologue. The poignant accents are
+admirably fitted to describe the emotions of one whose life has been
+blighted through the loss of the woman he loved, and whose determination
+to force his son into the priesthood is shaken by the affection he
+bears him.
+
+Pages such as these are sufficient in themselves to stamp their author
+as an artist of the first rank and a musician of genius.
+
+The chorus occupies but a small place in "Le Rêve," and the choristers
+are never seen upon the stage. A few bars for the sopranos, supposed to
+represent the voices in the air heard by Angélique, an "Ave verum," sung
+in the cathedral, and an old French hymn heard in the distance sung as a
+procession is passing underneath the windows, represent the choral
+numbers.
+
+At the commencement of the second scene we have a lively dance to an old
+French tune. In this place I think the effect would have been greatly
+enhanced by the adjunction of voices to the orchestra. This would have
+been æsthetically correct, as there is a certain incongruity in the fact
+of a number of young girls dancing and apparently enjoying themselves in
+silence.
+
+I would draw attention to the admirable delineation of the dear old
+embroiderers, as kindly a couple as could well be imagined, a creation
+that Dickens might well envy, whose characteristics have been musically
+transcribed by Bruneau in accents so suave and so touching.
+
+The composer of "Le Rêve" possesses the sense of contrast to a very high
+degree. Witness the manner in which he has set the following words when
+the Bishop describes how his motto, "Si Dieu veut, je veux!" came to be
+adopted by his family:
+
+        "_Pendant une peste cruelle,
+    Il pria tant que Dieu le fit vainqueur
+    Du terrible fléau.--Pour ramener la vie
+    Aux corps déjà glacés par l'agonie,
+        Il se penchait vers eux,
+    Les baisait sur la bouche et n'avait rien qu'à dire
+        Aux mourants: 'Si Dieu veut, je veux!'
+        On voyait les mourants sourire;
+    Car, dès qu'il les touchait des lèvres seulement,
+    Les malades étaient guéris soudainement._"[28]
+
+The part dealing with the description of the plague is accompanied by a
+strange and gruesome succession of chords, which gradually leads to a
+lovely melody typical of the miracle that is supposed to have been
+worked. Nothing can be more appropriate than the strains that accompany
+the above words to which they appear intimately allied.
+
+When "Le Rêve" was given at Covent Garden it was accorded a well-nigh
+perfect rendering. Mdlle. Simonnet realised the character of Angélique
+to the life, and imparted an infinity of charm to the music. The part of
+the Bishop furnished Mons. Bouvet with the opportunity of presenting an
+admirable character study. The remaining parts were exceptionally well
+performed by Mdme. Deschamps-Jéhin, and Messrs. Engel and Lorrain. A
+better _ensemble_ it would be difficult to imagine. The orchestra was
+conducted by Mons. Jéhin.
+
+Like so many other composers, Alfred Bruneau is also a musical critic,
+and has succeeded the late Victor Wilder in that capacity upon the _Gil
+Blas_.
+
+Victor Wilder was ever one of the strongest advocates of Wagner on the
+Parisian press, and it is to him that are due the excellent translations
+into French of the master's later music dramas.
+
+It may be interesting to my readers to peruse a specimen of Bruneau's
+writing, and I will therefore cite an extract from an article he lately
+wrote concerning the first performance of the "Walküre" in Paris, in
+which he lucidly defines the difference existing between the
+old-fashioned opera and the "lyrical drama." I must apologise if my
+translation fails to do justice to the original.
+
+"It is not only the independence of music (_l'indépendence des sons_)
+that we owe to Richard Wagner. Owing to his prodigious genius, the
+musical drama has entered into a new era, an era of true reason, of
+rigorous good sense and of perfect logic. No one nowadays is unaware of
+the profound dissimilarity existing between the 'lyrical drama' and the
+opera. In the one, the music unites itself intimately to the poetry in
+order to impart life, movement, passionate interest to a human action,
+the course of which must run uninterruptedly from the rising of the
+curtain to the last scene.
+
+"In the other, the music is divided into a number of pieces which are
+occasionally nothing but cumbersome _hors d'oeuvres_, the traditional
+form of which hampers the action of actors and choristers contrary to
+the most elementary scenic necessities.
+
+"In the one, the symphony comments upon the inward thoughts of the
+different characters, makes known the reasons that cause them to act,
+and whilst depicting their natures, magically evokes before our eyes the
+subtle and fabulous scenes dreamed of by our fancy.
+
+"In the other, with a singular docility, the orchestra submits itself to
+the slavery of the voice. Its function, which is absolutely secondary,
+consists in accompanying the voices, in playing _ritournelles_, in
+striking a few chords during which the recitatives are being declaimed,
+and in more or less harmoniously accompanying the entries and exits.
+
+"Alone the overture is reserved; and even this often serves but as a
+pretext for the composition of a piece of instrumental display rather
+than as a description of sentiments and facts.
+
+"In the one, the melody is infinite, as Richard Wagner has rightly
+expressed it; it goes and comes, moves from the voices to the orchestra,
+ever renewing itself in the freedom of its flight.
+
+"In the other, it appears only in certain places: if the vocal portion
+is melodious, the accompaniment is rudimentary and the traditional
+recitative endlessly intervening in the middle of the music in order to
+divide it into set forms, arbitrarily condemns melody to submit to
+wretched formulas and snatches away its wings."
+
+In the course of the same article, Bruneau expresses himself thus:
+
+"These are, however, terms imagined rather for the purpose of defending
+certain ideas than for designating certain works, as there exist in the
+classical form of opera masterpieces worthy of eternal and fervent
+admiration. One does not necessarily run down works such as 'Don Juan,'
+'Fidelio,' 'Iphigénie,' and so many others in desiring the
+rejuvenescence of an art that owes to these masterpieces its
+imperishable glory.
+
+"After Gluck, Mozart, Beethoven, Wagner, fresh innovators will come,
+who, respectful of the traditions of the past and eager for the
+conquests of the future, will still further enlarge the field of action
+of the musical drama."
+
+The above words may be taken in a measure as furnishing Bruneau's
+profession of faith as regards matters operatic. He has finished the
+score of a new "lyrical drama" entitled "L'Attaque du Moulin," founded
+upon a tale of Zola, which at the time I am writing has not yet been
+performed. It is to be produced shortly at the Paris Opéra Comique
+Theatre.
+
+I must not fail to allude to Bruneau's characteristic settings of
+Catulle Mendès' "Lieds de France," which are distinguished by an
+evidently studied simplicity of expression.
+
+Unless I am mistaken, it was the late Victor Wilder, his predecessor on
+the _Gil Blas_ who once alluded to the composer of "Le Rêve" as "the
+standard-bearer of the young French school," a qualification to which he
+is, in my humble estimation, well entitled.
+
+     NOTE.--Since this volume has gone to press, "L'Attaque du Moulin"
+     has been produced at the Paris Opéra Comique, with great success.
+
+
+
+
+SOME OTHER FRENCH COMPOSERS
+
+
+It may with truth be averred that France has never been so well provided
+with composers of talent as she is at the present time. Every year the
+far-famed Conservatoire turns out a number of young men whose musical
+knowledge is undeniable, and who are all of them filled with buoyant
+hopes of achieving distinction in the arena of fame. The musical
+progress that has been effected in France during the last thirty years
+is immense. This may be largely attributed to the initiative of
+Pasdeloup[29] the organiser and conductor of the celebrated concerts
+which were started at the Cirque d'Hiver in 1861, and to the zeal and
+talent of his successors Messrs. Lamoureux and Colonne. It is through
+the efforts of the above indefatigable _chefs d'orchestre_ that
+instrumental music of a high class has come to be generally appreciated
+in Paris. The famous Conservatoire concerts, it must be remembered,
+were, and are, only accessible to a few privileged individuals.
+
+Pasdeloup began his work by familiarising the Parisians with the
+symphonic works of Haydn, Mozart and Beethoven. Mendelssohn and Schumann
+followed, and the valiant _chef d'orchestre_ from time to time
+introduced the names of Berlioz and Wagner. The appearance of the latter
+on the programme generally foreshadowed a disturbance. Nowadays, when we
+witness the spectacle of large crowds listening in wrapt attention to
+some of the most complicated works of the great master at the concerts
+of Messrs. Lamoureux and Colonne, it seems difficult to realise the
+possibility of such turbulent scenes as I remember myself witnessing
+only a few years since at the Pasdeloup concerts. On one occasion a
+performance of the Prelude to "Lohengrin" produced a veritable
+disturbance, one section of the audience desiring to hear it over again
+in spite of the manifest opposition displayed by the major portion of
+the spectators. Pasdeloup adopted the sensible course of making an
+impromptu speech, in which he said that as many people wished to hear
+the Prelude once more he would repeat it at the end of the concert, when
+those who objected to it would be at liberty to retire. By thus severing
+the Gordian knot the clever _chef d'orchestre_ effectually disposed of
+the difficulty to the manifest disappointment of the anti-Wagnerites
+present.
+
+The members of the younger generation of French composers have had no
+cause to complain of any want of hospitality at the hands of either
+Pasdeloup or Messrs. Lamoureux[30] and Colonne,[31] and many a now
+well-known musician has won his spurs through their help.
+
+It would almost appear as if a veil which for a long period had
+obscured the vision of the musical section of the public had at length
+been removed. The genius of Berlioz and that of Wagner are now
+uncontested, unless it be by a few retrograde individuals whose opinions
+are not entitled to any weight, and the influence of these masters upon
+the modern French school has been both great and far-reaching. It is
+highly regrettable that the spirit of free trade is not acted upon to a
+greater extent in the matter of musical affairs. If this were the case
+we should be afforded more chances of becoming acquainted with the works
+of those members of the young, and if I may so term it, militant French
+school, which are not sufficiently known on this side of the channel.
+
+In like manner, our native composers might be given the opportunity of
+proving to the Parisians the fallacy of the notion, seemingly
+entertained abroad, that England is destitute of creative musical
+talent. Art has not, or ought not to have, any boundaries. That which
+is good deserves to be known and to survive; as for the rest, it
+matters not.
+
+In music, time seems to march with disconcerting rapidity. Composers who
+but a few years since were considered as hopelessly advanced in their
+ideas are now in danger of being left behind by their juniors.
+
+One of the most ardent champions of the new school of thought some years
+ago was Victorin Joncières, who enjoys a well-established reputation in
+Paris as composer and critic.
+
+Born in 1839, this artist is the author of several operas denoting
+aptitudes of no mean order, although devoid of any distinctive
+originality. Passing by such early works as "Sardanapale" (1867), and
+"Le dernier jour de Pompei" (1869), we come to "Dimitri," which contains
+several good numbers, "La Reine Berthe" (1878), and "Le Chevalier Jean"
+(1885). This last work has been played in Germany with success under the
+title of "Johann von Löthringen." "Dimitri" and "Le Chevalier Jean" may
+be looked upon as the composer's best operas.
+
+The influence of Wagner's earlier style is very apparent in these works.
+Mons. Joncières is also the author of an interesting "Symphonie
+Romantique." As a critic he has done much to aid the cause of Wagner in
+France, although not going to the length of some of the master's thick
+and thin admirers.
+
+A musician of a different type is Théodore Dubois, born in 1837. This
+composer, like his friend Camille Saint-Saëns, whom he succeeded as
+organist at the Madeleine, has written a great deal and attempted a
+variety of _genres_. Amongst his works it will be sufficient to mention
+the opera "Aben Hamet," the ballet "La Farandole," the concert overture
+"Frithjoff," "Paradise Lost," an oratorio which gained the prize offered
+by the city of Paris in 1878, and his setting of the "Seven Words of the
+Cross" (1867).
+
+Besides these, Théodore Dubois, who won the "Prix de Rome" in 1861, is
+the author of a number of orchestral works, piano music, and religious
+compositions which denote talent of an uncommon order and exhibit
+qualities that entitle him to occupy an important place amongst
+contemporary musicians.
+
+Another composer whose name is better known in England, and who has also
+achieved distinction as an organist, is Charles Marie Widor, born in
+1845, several of whose compositions have been heard at the Philharmonic
+and Crystal Palace Concerts. This composer has given proof of a
+considerable amount of versatility in his different contributions to
+orchestral and chamber music, also in his charming ballet "La
+Korrigane." His opera "Maître Ambros" did not meet with success. He has
+also written a quantity of excellent piano music and many songs. There
+is imagination and skill displayed in Widor's compositions, and much may
+yet be expected from him.
+
+If the name of Widor is known in England, the same may be said of
+Benjamin Godard, born in 1849, in whom we have one of the most prolific
+of the younger generation of French composers. Godard exhibits a decided
+individuality of his own. He is endowed with an extraordinary facility
+of production, and is, in fact, apt to err on the side of
+over-productivity, and to spread his talents over too large an area. His
+dramatic poem "Le Tasse," which won the prize offered by the city of
+Paris in 1879, is a work of considerable importance, revealing an
+undoubted personality.
+
+With his operas "Pedro de Zalamea," "Jocelyn," "Dante," Godard has been
+less successful. It is in works such as the "Concerto Romantique" for
+violin, the "Symphonie Légendaire," the piano trio, amongst others, that
+his talent finds its true expression. The composer of these works is in
+the full force of his powers, and it is not too much to state the belief
+that he has yet much to say. Godard is perhaps greater in small things
+than he is in large. There is an exquisite charm in some of his songs
+such as "Ninon," and "Te souviens tu," whilst many of his piano pieces
+have a savour all their own.
+
+Emile Paladhile, born in 1844, is the composer of the famous
+"Mandolinata," which has been warbled by every vocalist all the world
+over. This single melody has probably done more to render his name
+popular than all his other works put together. His opera "Patrie" has
+met with success in Paris. Amongst his other dramatic works may be
+mentioned "Le Passant," "L'Amour Africain," and "Suzanne."
+
+Some composers are doomed to wait a long while before an opportunity is
+offered them of obtaining a hearing. Such has not been the case with
+Gervais Bernard Salvayre, born in 1847, who has had several operas
+performed, without, however, so far scoring any great success.
+
+His first opera, "Le Bravo" played in 1877, was favourably received, but
+none of his later works, "Egmont," "Richard III.," or "La Dame de
+Monsoreaux," have succeeded in maintaining themselves in the
+_répertoire_. The second of these, unless I am mistaken, was first
+produced in St. Petersburg, and the last at the Paris Opéra, where it
+was a complete _fiasco_. This composer is also the author of a ballet
+entitled "La Fandango," a "Stabat Mater," and several other works,
+including a graceful "Air varié" for stringed instruments.
+
+As the dimensions of this volume are restricted, I am unable to do more
+than draw attention to some composers whose works would merit more than
+a cursory mention. Amongst these I may name the erudite
+Bourgault-Ducoudray, Lenepveu, whose opera "Velléda" was brought out in
+London some years ago with Mme. Patti in the principal part, Henri
+Maréchal, the brothers Hillemacher, joint composers of a remarkable
+opera founded on Dumas' "Henri III.," Wormser, author of "L'Enfant
+Prodigue," Diaz, Pierné, Pessard, Pfeiffer, Mdlle. Chaminade, Lefebvre,
+Véronge de la Nux, Cahen, and Messager. This last composer's name is
+well known in London, where his delightful opera "La Basoche" was
+successfully performed at the English Opera House, now given up to that
+form of art, the variety entertainment, so dear to the British public.
+
+The music he has lately composed to Loti's "Madame Chrysanthème" will
+surely add much to his reputation. It is full of refinement and charm.
+
+We now come to an interesting group of composers who are understood to
+represent musical ideas of a more "advanced" kind. Some of these are
+pupils of the late César Franck, and have been humorously designated as
+forming part of "La République Franckaise."
+
+It may here be said that the almost absolute ignorance existing in
+England as regards the compositions of so eminent a musician as César
+Franck does not redound to our credit. Surely it would be worth the
+while of our choral societies to produce a work so remarkable in every
+way as "Les Béatitudes," and a place might occasionally be found in our
+concert programmes for some example of his chamber music. His fine
+violin sonata was recently played at the St. James's Hall by Mme.
+Frickenhaus and Mons. Ortmans, and great credit is thereby due to both
+these artists, who have shown an example that might with advantage be
+followed.
+
+There exists a certain "Prélude, Choral et Fugue," for the piano,
+published by Messrs. Enoch, that I can confidently recommend to the
+notice of musicians, who will find therein the expression of a strong,
+deep, and noble talent.
+
+Vincent d'Indy, one of César Franck's best pupils, is equally little
+known in England, except by name. Born in 1852, this composer has
+produced a number of works, the value of which has caused him to be
+regarded as one of the most earnest and promising amongst the younger
+French musicians, as well as one of those who consider their art as
+sacred, and do not seek the suffrages of the masses, but are content
+with gaining the approval of a select few.
+
+The entire modern French school is strongly tinged with Wagnerism, but
+the essentially Teutonic nature of Brahms would seem to render his style
+absolutely uncongenial to a French mind. According to Mons. Hugues
+Imbert, the impression caused upon Vincent d'Indy by the perusal of
+Brahms' "Requiem," in 1873, was such that he forthwith started for
+Germany in order to become acquainted with the master. He first sought
+him in Vienna, then at Munich, and finally came across him at the
+Starnberger See, in Bavaria. The result of the long-desired interview
+does not seem to have been so satisfactory as it might have been, the
+German composer receiving the young enthusiast with a certain amount of
+reserve.
+
+The first work by Vincent d'Indy which was given in Paris was the
+overture to the "Piccolomini," which forms the second part of Schiller's
+trilogy of "Wallenstein." This took place in 1875. It was not until five
+years later that he terminated his symphony bearing the title of
+"Wallenstein," a composition conceived upon a large scale, displaying a
+marked capacity in the handling of the orchestra, and revealing
+symphonic aptitudes of a high order.
+
+Perhaps the most remarkable work that Vincent d'Indy has as yet produced
+is his dramatic legend "Le Chant de la Cloche," op. 18, the words of
+which are adapted from Schiller's well-known poem. This composition was
+awarded the prize offered by the city of Paris in 1886. The
+predominating influence in this work is that of Wagner. Perhaps somewhat
+unduly complicated in the matter of detail, the score is remarkable as
+an example of consummate workmanship and as an evidence of the lofty
+aspirations and elevated ideas held by its author. I must not omit to
+mention the Symphony in G for piano and orchestra, op. 25, which has the
+merit of decided originality in the matter of structure. It is divided
+into three parts, and is mainly constructed upon a French popular
+melody, which is subjected to a variety of transformations. So far, his
+only contribution to the stage consists in a one-act opera, entitled
+"Attendez moi sous l'Orme," played some ten or twelve years since at the
+Opéra Comique.
+
+Vincent d'Indy is essentially a symphonist, and the same may be said of
+Gabriel Fauré, whose talent and originality English audiences have
+occasionally had an opportunity of appreciating. The _habitués_ of the
+Monday Popular Concerts will not have forgotten a certain quartet played
+at these exclusive gatherings a year or two ago, and amateurs may
+recollect the brilliant violin sonata which Saint-Saëns introduced on
+the occasion of one of his last visits amongst us. Every violinist
+plays, or ought to play, his delicious "Berceuse."
+
+Fauré, who was born in 1845, has written works of high musical value,
+such as the quartet above mentioned, the violin concerto, op. 14, and
+the symphony in D minor, op. 40. Many admirable songs and a large number
+of pianoforte works are also due to his pen.
+
+Mons. Hugues Imbert commences his interesting notice of the composer,
+included in his "Profils de Musiciens," with the following words: "If
+there be a French musician who by temperament and taste has left the
+French school in order to approach the German symphonic school; if there
+be a composer who has the profoundest respect for his art, who loves it
+with his whole soul; if there be a man who despises self-advertisement,
+and is averse to all concessions in favour of the doubtful taste of the
+public, it is Gabriel Fauré."
+
+Whilst agreeing with the measure of praise allotted to the composer in
+the above lines, and recognising the influence of German music
+discernible in his works, I am of opinion that his nationality is
+perhaps more marked than his biographer would seem to imagine.
+
+The nature of Fauré's talent has been appreciated by Mons. Camille
+Benoit in these terms: "Fauré's talent has especially manifested itself
+in 'La Musique Intime,' that which one hears in an artist's salon or at
+a concert of chamber music, that which wants neither scenery nor
+orchestra. From all points of view, if I had to liken him to a
+contemporary foreign composer, it is to the Norwegian, Eduard Grieg,
+that I should compare him. That is to say, that in France, G. Fauré is
+the first in the special line he has chosen, and towards which his
+nature has impelled him."
+
+I now come to a composer who has only comparatively recently made a
+name. Emmanuel Chabrier was born in 1842, and commenced his musical
+career somewhat late in life. Always a musical enthusiast, and having
+found time to cultivate his favourite art as a pastime, he threw up an
+administrative appointment in 1879, and resolved to devote himself
+entirely to composition. Two years previously he had written an "opéra
+bouffe," entitled "L'Etoile," which was played at the Bouffes Parisiens.
+It was not, however, in this style that he was destined to shine. Very
+different is "Gwendoline," an opera performed for the first time in 1886
+at Brussels with great success, and which has since been given in
+Germany, notably at Carlsruhe and Munich, and is, I believe, shortly to
+be mounted in Paris. Highly imaginative and poetical, this work must
+undoubtedly rank amongst the best operas that have emanated from the
+brain of a French composer for many years. The intense admiration that
+Chabrier entertains towards Wagner has not obscured the individuality of
+his own musical ideas. Ernest Reyer wrote an extremely eulogistic
+article on this work, from which I will cite an extract:--"Je me trouve
+en présence d'une oeuvre extrêmement intéressante, renfermant des
+pages superbes et qui dans ses parties les moins saillantes, porte quand
+même la griffe puissante d'un compositeur admirablement doué."
+
+For some reason, which I do not pretend to fathom, Chabrier has
+introduced a popular Irish melody into his score!
+
+In "Le Roi Malgré Lui," played at the Opéra Comique in 1887, Chabrier
+has attempted a different style. This pleasing work is especially
+striking through the ingenuity of the orchestral treatment, which often
+redeems the occasional _banalité_ of its themes. It is altogether a
+delightful example of a modernised form of "opéra comique," and had
+reached its third representation when the luckless "Opéra Comique"
+Theatre was burnt to the ground. The orchestral rhapsody "España,"
+constructed upon Spanish melodies, brimful of _entrain_ and scored with
+a wonderful lightness of touch, has largely contributed to popularise
+the name of Chabrier in the concert room. There is both fancy and
+originality in the "Pièces Pittoresques" for piano, published by Messrs.
+Enoch in the Litolff edition. Chabrier is said to be at work upon an
+opera entitled "Briseis."
+
+I must not pass over in silence composers such as Arthur Coquard, Mdlle.
+Augusta Holmès, a lady of extraordinary talent, some say genius, Vidal,
+Chapuis, Hue, Camille Benoit, Marty, Henri Duparc, and Gustave
+Charpentier, one of the youngest and not the least gifted.
+
+With these few lines concerning some of the most remarkable amongst
+living French composers, I must take leave of my readers. That France
+will yet produce works destined to keep up and further enhance her
+prestige there can be no doubt. The essentially dramatic temperament of
+her composers will continue to assert itself, and it is highly unlikely
+that they will allow themselves to fall into the exaggerations of any
+particular system.
+
+If during the first half of the century the influence of Rossini has
+been predominant, that of Wagner has been at least equally so during the
+latter portion. In either case, French composers have taken as much from
+each master as would amalgamate with their individuality without
+abrogating that national element which is so recognisable in their
+productions.
+
+Truth of expression and dramatic characterisation are now universally
+sought for by operatic composers. Whether these are attained through the
+employment of one method or another matters but little. A composer is
+no more bound to construct an opera upon a number of representative
+themes than he is to reject all set forms. If his inspiration prompts
+him to compose in one particular style, by all means let him do so,
+provided he be sincere, and that his music bears the stamp of
+conviction. Musicians are apt to be too exclusive in their tastes. It
+should be possible to entertain preferences without necessarily
+condemning everything that does not come within the radius of one's
+ideas. The French school has, during this century, left its mark in an
+undeniable manner upon operatic history, and the versatility of its
+composers has over and over again been proved.
+
+Casting a cursory glance backwards, do we not find, side by side with a
+work of such severely classic proportions, noble aspirations, yet simple
+construction as Méhul's "Joseph," bright specimens of the "opéra
+comique," like Boïeldieu's "Dame Blanche," Hérold's "Pré aux Clercs,"
+Auber's "Fra Diavolo," and "Domino Noir"? The Grand Opéra stage is
+enriched by works so full of natural spontaneity as Auber's "Muette de
+Portici," and of dramatic power as Halévy's "La Juive." Later on,
+Berlioz revolutionises orchestral methods whilst raising the ideal
+previously aimed at, Gounod adds an elegiac note and an intensity of
+poetical feeling to the characteristics of his nation, and Bizet gives
+evidence of a genius unhappily too soon cut short, and prepares the way
+for the realistic operatic style now so much in vogue. "Faust,"
+"Mignon," "Carmen," "Manon," "Samson et Dalila," and other operas
+acquire a European fame, whilst the younger French composers are
+impatiently waiting for the opportunity to vie with their elders.
+
+In closing this little volume I must again express the consciousness I
+entertain of the inadequacy of my efforts to deal with a subject that
+would require several volumes to do it justice.
+
+If, however, I have succeeded, in addition to furnishing particulars of
+the lives of the most popular French composers, in drawing attention to
+the works of some who are less well-known than they deserve to be, my
+object will have been attained, and this little book will not have been
+written in vain.
+
+
+
+
+APPENDIX
+
+     LIST OF THE PRINCIPAL WORKS COMPOSED BY AMBROISE THOMAS, GOUNOD,
+     SAINT-SAËNS, MASSENET, REYER, AND BRUNEAU
+
+
+AMBROISE THOMAS
+
+_DRAMATIC WORKS_
+
+    1. "Le Double Échelle," opéra comique, 1 act. 1837.
+    2. "Le Perruquier de la Régence," op. com., 3 acts. 1838.
+    3. "La Gipsy," ballet, 2 acts. 1839.
+        (In collaboration with Benoist.)
+    4. "Le Panier fleuri," op. com., 1 act. 1839.
+    5. "Carline," op., 3 acts. 1840.
+    6. "Le Comte de Carmagnole," op., 2 acts. 1841.
+    7. "Le Guerillero," op., 2 acts. 1842.
+    8. "Angélique et Médor," op. com., 1 act. 1843.
+    9. "Mina," op. com., 3 acts. 1843.
+    10. "Betty," ballet, 2 acts. 1846.
+    11. "Le Caïd," op. com., 3 acts. 1849.
+    12. "Le Songe d'une Nuit d'Été," op. com., 3 acts. 1850.
+    13. "Raymond," op., 3 acts. 1851.
+    14. "La Tonelli," op., 2 acts. 1853.
+    15. "La Cour de Célimène," op. com., 2 acts. 1855.
+    16. "Psyché," op., 3 acts. 1857.
+    17. "Le Carnaval de Venise," op. com., 3 acts. 1857.
+    18. "Le Roman d'Elvire," op. com., 3 acts. 1860.
+    19. "Mignon," op., 3 acts. 1866.
+    20. "Hamlet," op., 5 acts. 1868.
+    21. "Gille et Gillotin," op. com., 1 act. 1874.
+    22. "Françoise de Rimini," op., 5 acts. 1882.
+    23. "La Tempête," ballet. 1889.
+
+
+_SACRED WORKS_
+
+    Requiem.
+    Messe Solennelle.
+    Marche Religieuse.
+    3 Motets.
+
+
+_MISCELLANEOUS WORKS_
+
+    "Hommage a Boïeldieu," cantata.
+    "Souvenirs d'Italie," 6 romances, pour chant et piano.
+    Quintet for strings.
+    Quartet for strings, op. 1.
+    Trio for piano, violin, or violoncello.
+    "Fantaisie," for piano or orchestra.
+    "Fantaisie sur un air écossais," for piano.
+    "Six caprices pour piano."
+    "Deux nocturnes."
+    "Rondeaux pour piano à quatre mains."
+    Choruses for male voices.
+    &c. &c.
+
+
+CHARLES GOUNOD
+
+_DRAMATIC WORKS_
+
+    1. "Sapho," op., 3 acts. 1851.
+    2. "La Nonne sanglante," op., 5 acts. 1854.
+    3. "Le Médecin Malgré Lui," op. com., 3 acts. 1858.
+    4. "Faust," op., 5 acts. 1859.
+    5. "Philémon et Baucis," op. com., 2 acts. 1860.
+        (Later enlarged to 3 acts.)
+    6. "La Colombe," op. com., 2 acts. 1860.
+    7. "La Reine de Saba," op., 5 acts. 1862.
+    8. "Mireille," op., 5 acts. 1864.
+    9. "Roméo et Juliette," op., 5 acts. 1867.
+    10. "Cinq Mars," op., 4 acts. 1877.
+    11. "Polyeucte," op., 5 acts. 1878.
+    12. "Le Tribut de Zamora," op., 4 acts. 1881.
+    "Georges Dandin," op. com. (unperformed).
+
+
+_SACRED WORKS_
+
+     Several Masses, of which the best known is the "Messe de Ste.
+     Cécile," 1855. Amongst the others may be mentioned the "Messe aux
+     Orphéonistes," 1852; "Messe du Sacré Coeur," 1876; "Messe de
+     "Pâques,"1885, and "Messe à la Mémoire de Jeanne d'Arc," 1887.
+
+"Tobie," oratorio. 1854.
+
+"The Redemption." 1882.
+
+"Mors et vita." 1885.
+
+"Hymne à St. Augustin." 1885.
+
+"De Profundis."
+
+"Te Deum."
+
+Also a quantity of motets, choruses, and other religious compositions.
+
+
+_VOCAL WORKS_
+
+     "1er. Recueil de 20 Mélodies." (Includes the "Ave Maria" on the
+     first prelude of Bach; "Venise," "Sérénade," "Le Vallon," "Chanson
+     du Printemps," "Jésus de Nazareth," "Le Soir," etc.).
+
+     "2ème. Recueil de 20 Mélodies." (Includes "Marguerite," "Medjé,"
+     "Envoi de Fleurs," "Au Printemps," "Ce que je suis sans toi,"
+     etc.).
+
+     "3ème. Recueil de 20 Mélodies." (Includes "La Pâquerette," "Où
+     voulez-vous aller?" "Le Ciel a visité la Terre," several extracts
+     from operas, etc.).
+
+     "4ème. Recueil de 20 Mélodies." (Includes "Le Banc de Pierre,"
+     "Le Nom de Marie," several extracts from operas, etc.).
+
+     A volume of 15 duets.
+
+     The above are published by Messrs. Choudens.
+
+     During his sojourn in England Gounod composed a large number of
+     songs, the best known of which are: "Maid of Athens," "The Fountain
+     mingles with the River," "Oh, that we two were Maying!" "The
+     Worker," "There is a green Hill far away," and "Biondina," a
+     collection of 20 songs to Italian words.
+
+
+_MISCELLANEOUS WORKS_
+
+    Music to the tragedy "Ulysse." 1852.
+    Music to "Les deux Reines." 1872.
+    Music to "Jeanne d'Arc." 1873.
+    Symphony No. 1, in D. 1854.
+    Symphony No. 2, in E flat. 1855.
+    Funeral March of a Marionette.
+    Saltarello.
+    Pianoforte music, Marches, etc.
+
+
+CAMILLE SAINT-SAËNS
+
+_DRAMATIC WORKS_
+
+    1. "La Princesse Jaune," op. com., 1 act. 1872.
+    2. "Le Timbre d'Argent," op., 3 acts. 1877.
+    3. "Samson et Dalila," Biblical op., 3 acts. 1877.
+    4. "Etienne Marcel," op., 4 acts. 1879.
+    5. "Henri VIII," op., 4 acts. 1881.
+    6. "Proserpine," op., 3 acts. 1887.
+    7. "Ascanio," op., 5 acts. 1890.
+    10. "Phryné," op. com., 2 acts. 1893.
+
+
+_SACRED WORKS_
+
+    Messe Solennelle, op. 4.
+    "Tantum ergo," chorus, op. 5.
+    "Oratorio de Noël," op. 12.
+    Psalm xviii., "Coeli enarrant," op. 42.
+    "Le Déluge," poème biblique, op. 45.
+    "Les Soldats de Gédéon," double chorus, op. 46.
+    Messe de Requiem, op. 54.
+
+
+_ORCHESTRAL WORKS_
+
+    Symphony in E flat, No. 1, op. 2.
+    Symphony in A minor, No. 2, op. 55.
+    Symphony in C minor, No. 3, op. 78.
+    Overture, "Spartacus."
+    "Le Rouet d'Omphale," symphonic poem, op. 31,
+    "Phaëton," symphonic poem, op. 39.
+    "Danse Macabre," symphonic poem, op. 40.
+    "La jeunesse d'Hercule," symphonic poem, op. 50.
+    "Orient et Occident," march for military band, op. 25.
+    "Marche héroïque," op. 34.
+    Suite (Prelude, Sarabande, Gavotte, Romance, Final), op. 49.
+    "Suite Algérienne," op. 60.
+    "Une Nuit à Lisbonne," barcarolle, op. 63.
+    "La Jota Aragonese," op. 64.
+    "Sarabande et Rigaudon," op. 93.
+
+
+_CONCERTOS AND WORKS FOR A SOLO INSTRUMENT WITH ORCHESTRA._
+
+    Concerto for the piano in D, No. 1, op. 17.
+    Concerto for the piano in G minor, No. 2, op. 22.
+    Concerto for the piano in E flat, No. 3, op. 29.
+    Concerto for the piano in C minor, No. 4, op. 44.
+    Rhapsodie d'Auvergne, piano & orchestra, op. 73.
+    "Africa," fantasia, piano & orchestra, op. 89.
+    Introduction et Rondo Capriccioso, violin & orchestra, op. 28.
+    Concerto for violin, No. 1.
+    Concerto for violin in C, No. 2, op. 58.
+    Concerto for violin in B minor, No. 3, op. 61.
+    Romance in D flat for violin or flute, op. 37.
+    Romance in C for violin, op. 48.
+    "Morceau de Concert," for violin, op. 62.
+    "Havanaise," for violin, op. 83.
+    "Tarantelle," for flute & clarionet, op. 6.
+    Concerto for violoncello, op. 33.
+    "Allegro appassionato," for violoncello, op. 43.
+
+
+_CHAMBER MUSIC_
+
+    Trio in F, piano, violin & violoncello, No. 1, op. 18.
+    Trio in E minor, piano, violin & violoncello, No. 2, op. 92.
+    Quartet in B flat, piano, violin, viola & violoncello, op. 41.
+    Septet for trumpet, two violins, viola, basso & piano, op. 65.
+    Suite for violoncello & piano, op. 16.
+    Sonata for violoncello & piano, op. 32.
+    Sonata in D minor, for violin & piano, op. 75.
+
+
+_PIANO MUSIC_
+
+    Six Bagatelles, op. 3.
+    1ère Mazourka, G minor, op. 21.
+    Gavotte, C minor, op. 23.
+    2ème Mazourka, G minor, op. 24.
+    Six Études, op. 52.
+    Menuet et valse, op. 56.
+    3ème Mazourka, B minor, op. 66.
+    Album of six pieces, op. 72.
+    "Souvenir d'Italie," op. 80.
+    "Les Cloches du Soir," op. 85.
+    Valse Canariote, op. 88.
+    Suite, op. 90.
+    Variations on a theme of Beethoven, for two pianos, op. 35.
+    "Wedding-cake," "caprice-valse" for piano and strings, op. 76.
+    Polonaise for two pianos, op. 77.
+    "Feuillet d'Album," for piano duet, op. 81.
+    "Pas redoublé," piano duet, op. 86.
+    Scherzo for two pianos, op. 87.
+
+
+_MISCELLANEOUS WORKS_
+
+    "La Lyre et la Harpe," ode, op. 57.
+    "Hymne à Victor Hugo," op. 69.
+    "La Fiancée du Timbalier," ballade, op. 82.
+    "Scène d'Horace," op. 10.
+    "3 Rhapsodies sur des Cantiques Bretons," for organ, op. 7.
+    "Bénédiction nuptiale," for organ, op. 9.
+    "Elévation ou Communion," for organ, op. 13.
+    "Romance," for horn & piano, op. 36.
+    "Berceuse," for piano & violin, op. 38.
+    Romance for violoncello & piano, op. 51.
+    2 Choruses, words by Victor Hugo, op. 53.
+    2 Choruses, op. 68.
+    2 Choruses for men's voices, op. 71.
+    Saltarelle, chorus, op. 74.
+    "Caprice" on Danish melodies, for flute.
+    Oboe, clarionet, and piano, op. 79.
+    "Les Guerriers," chorus for men's voices, op. 84.
+    "Chant Saphique," for violoncello & piano, op. 91.
+    Music to "Antigone."
+
+Also a number of piano transcriptions of Bach, Beethoven, &c. &c.
+
+The large majority of the compositions of Saint-Saëns are published by
+Messrs A. Durand & Fils.
+
+
+JULES MASSENET
+
+_DRAMATIC WORKS_
+
+    1. "La Grand'tante," op. com., 1 act. 1867.
+    2. "Don César de Bazan," op. com., 3 acts. 1872.
+    3. "Le Roi de Lahore," op., 5 acts. 1877.
+    4. "Hérodiade," op. 1881.
+    5. "Manon," op., 4 acts. 1884.
+    6. "Le Cid," op., 4 acts. 1885.
+    7. "Esclarmonde," op. 1889.
+    8. "Le Mage," op., 5 acts. 1891.
+    9. "Werther," op. 1892.
+    10. "Le Carillon," ballet. 1892.
+    11. "Thaïs," op. (as yet unperformed).
+
+
+_SACRED WORKS_
+
+    Requiem.
+    "Marie Magdeleine," drame sacré.
+    "Eve," mystère.
+    "La Vierge."
+
+
+_VOCAL WORKS_
+
+    "Poème d'Avril."
+    "Poème d'Octobre."
+    "Poème pastoral."
+    "Poème du Souvenir."
+    "Poème d'Hiver."
+    "Chants intimes."
+    "Vingt Mélodies."
+
+(These include "Elégie," "A Colombine," "Nuit d'Espagne," "Sérénade du
+Passant," &c.) &c. &c.
+
+
+_MISCELLANEOUS WORKS_
+
+    "Mlle. de Montpensier," cantata}
+    "David Rizzio," cantata        } early works.
+    "Paix et Liberté," cantate officielle. 1867.
+    "Narcisse," idylle antique.
+    Music to Leconte de Lisle's tragedy, "Les Erinnyes."
+    Music to Victorien Sardou's piece, "Le Crocodile."
+    "Pompeia," four symphonic pieces for orchestra.
+    Concert Overture.
+    Overture to Racine's "Phèdre."
+    First Orchestral Suite.
+    Second    "       "     "Scènes Hongroises."
+    Third     "       "
+    Fourth    "       "     "Scènes Pittoresques."
+    Fifth     "       "     "Scènes Dramatiques" (after Shakespeare).
+    Sixth     "       "     "Scènes Alsaciennes."
+    Sarabande Espagnole, for small orchestra.
+    "Lamento" to the memory of Georges Bizet.
+    Introduction and variations for strings, flute, oboe,
+      clarionet, horn and bassoon.
+    "Scenes de Bal," for piano.
+    Improvisations, for piano.
+    "Le Roman d'Arlequin," pantomime enfantine.
+    &c. &c. &c.
+
+
+ERNEST REYER
+
+_PRINCIPAL WORKS_
+
+    "Le Sélam," ode symphonique. 1850.
+    "Maître Wolfram," op., 1 act. 1854.
+    "Sacountala," ballet. 1858.
+    "La Statue," op. com., 3 acts. 1861.
+    "Erostrate," op., 2 acts. 1862.
+    "Sigurd," op., 4 acts. 1884
+    "Salammbô," op., 5 acts. 1890.
+
+
+ALFRED BRUNEAU
+
+_DRAMATIC WORKS_
+
+    "Kérim," opera, 3 acts. 1887.
+    "Le Rêve," lyrical drama, 4 acts. 1891.
+    "L'Attaque du Moulin," lyrical drama, 4 acts. 1893.
+
+
+_MISCELLANEOUS WORKS_
+
+    Ouverture héroïque.
+    "Léda," poème antique.
+    "Penthésilée," poème symphonique.
+    "La Belle au Bois dormant," poème symphonique.
+    "Lieds de France," album of songs.
+
+
+_Printed by_ BALLANTYNE, HANSON & CO. _London & Edinburgh._
+
+
+FOOTNOTES:
+
+[1] Published by Messrs. Augener.
+
+[2] Berlioz was born in 1803, Liszt in 1811, and Wagner in 1813.
+
+[3] Lesueur, born 1763, died 1837; composer of "Les Bardes," and other
+operas.
+
+[4] Kalkbrenner, born 1788, died 1849; celebrated pianist.
+
+[5] Barbereau, born 1799, died 1879.
+
+[6] "Gesammelte Schriften."
+
+[7] This admirable artist was later on destined to create Bizet's
+"Carmen."
+
+[8] The original of Meyerbeer's "Dinorah."
+
+[9] Hanslick, Edward. Born 1825. The well-known critic and writer on
+music. Strongly antagonistic to Wagner and his school. Author of "Das
+Musikalische Schöne," etc.
+
+[10] "Histoire de l'Instrumentation."
+
+[11] Preface to the "Choix de Chorals de Bach, annotés par Ch. Gounod."
+Published by Messrs. Choudens.
+
+[12] Augier, Emile. Celebrated dramatist. Author of "L'Aventurière," "Le
+Manage d'Olympe," "Lions et Renards," etc.
+
+[13] Zimmermann, born 1775, died 1853.
+
+[14] Scudo, P. Born 1806. Died 1864.
+
+[15] The above details are taken from "The Lyrical Drama," by H.
+Sutherland Edwards. (W. H. Allen & Co.)
+
+[16] Lickl; b. 1769, d. 1843. Spohr; b. 1784, d. 1859. Seyfried; b.
+1776, d. 1841. Bishop, Sir H.; b. 1786, d. 1855. Lindpaintner; b. 1791,
+d. 1856. Mdlle. Bertin; b. 1805, d. 1877. Rietz, J.; b. 1812, d. 1877.
+Gordigiani; b. 1806, d. 1860.
+
+[17] Radziwill; b. 1775, d. 1833. Litolff, Henry; b. 1819, d. 1891.
+Pierson, H.; b. 1815, d. 1873. Lassen, E.; b. 1830.
+
+[18] Dalayrac; b. 1753, d. 1809. Steibelt; b. 1764, d. 1823. Zingarelli;
+b. 1752, d. 1837. Vaccai; b. 1791, d. 1849. Bellini; b. 1802, d. 1835.
+Marchetti; b. 1831. Marquis d'Ivry; b. 1829.
+
+[19] B. 1811; d. 1870.
+
+[20] Victor Sieg, b. 1837.
+
+[21] "Lettres Intimes."
+
+[22] Lefébure Wély, b. 1817; d. 1870.
+
+[23] See last chapter.
+
+[24] Since these lines were written, a solitary performance of "Samson
+et Dalila," in concert form, has taken place at Covent Garden Theatre
+during Mr. Farley Sinkins's season of Promenade Concerts, under somewhat
+untoward circumstances.
+
+[25] Massenet has introduced some of the music of this work into "Le Roi
+de Lahore."
+
+[26] Diaz; b. 1837.
+
+[27] Published by Messrs. Augener.
+
+[28] A special word of praise must here be accorded to Mons. Louis
+Gallet, the author of the book, whose version of Zola's romance is
+eminently poetical.
+
+[29] Jules Pasdeloup, born 1819, died 1887.
+
+[30] Lamoureux, b. 1834.
+
+[31] Colonne, b. 1838.
+
+
+
+
+
+
+End of Project Gutenberg's Masters of French Music, by Arthur Hervey
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