The Great Composers. No. XV. Gluck (Continued) Author(s): Christoph Willibald Gluck and Joseph Bennett Source: The Musical Times and Singing Class Circular, Vol. 26, No. 506 (Apr. 1, 1885), pp. 196-199

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This content downloaded from 128.235.251.160 on Sun, 08 Mar 2015 22:27:51 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-APRIL 196 I, i885. members were those I heard discoursing solemn dinavian aforesaid, there seems to be no lack of music in the streets of the city during the small musical talent in the Mormon ranks. I was espe- hours of Christmas morning. A theatre is also one cially struck with the sopranos, tne quality of whose of the appendages of the Mormon Church. Here tone, and the fervour of whose style, suggested the the young people who have formed themselves into existence of a considerable Welsh element-the dramatic associations make public appearances; more readily because Wales sends to Utah a among the performers being some called by names large number of converts. It is clear that the conspicuous in the short and stormyrecord of those Latter-Day Saints devote a proper amount of atten- who followed the Prophet of Nauvoo. The most im- tion to music, regarded as an element in public portant musical society is that which forms the worship. The fine Tabernacle organ of sixty stops Choir of the Tabernacle. It numbers about one affords,in itself, a proof of this. It was built entirely hundred and fiftyvoices, and has been fairly well by Utah mechanics, under the superintendance of trained for work making but a moderate demand Mr. Joseph Ridges, all the material not available on upon executive power. I attended the Tabernacle the spot being brought in waggons from the railway service on one occasion, and had then an opportunity terminus, then many hundred miles away, on the of estimating its capacity, under the favourable con- other side of the great plains. The instrument,which ditions affordedby a building which, through chance has three manuals and a powerful pedal organ, is of or otherwise, has solved the problem of acoustics in noble proportions,and contains many excellent stops. a large place. The Tabernacle has room for near It is now, for repair and extension, in the hands of upon io,ooo people, and is elliptical in form, with Mr. Johnson, a Scandinavian immigrant, who has low walls fromwhich springs a roof unsupported by himself built a fine two-manual organ in the Mormon pillars, and somewhat resembling the inside of the Assembly Hall. I am indebted to Mr. Johnson foran longitudinal section of an egg-shell. At one of the opportunityof trying both these instruments,and I curving ends, rising from the level of the floor to regard both as instances of victoryover the difficulties a considerable height, is a capacious platformfor the presented by a remote and isolated spot where no officers of the Church, behind whom, and on either skilled labour, save that of the builder himself, could side, are the singers, the huge organ liftingits vast be obtained. In the present work of enlarging the mass in rear of, and above all. Round the building, Tabernacle instrumentI found Mr. Johnson assisted save as just described, runs a deep gallery, and by nobody save a young man, son of President seats cover the ample area. It is a literal fact Taylor. that, when the building is empty, a person stand- My space is now exhausted, if not my theme. ing at one end can hear a pin drop at the other. Going from details to deductions, I arrive at no other This was demonstrated to me again and again, conclusion than that America, notwithstanding a the impact of the little bit of metal against the bad start in Church music, and various present draw- floor being distinctly audible. It follows that a backs, is cn the right path and making progress. preacher need not speak above a conversational in order all pitch to be heard over the place. Even THE GREAT COMPOSERS the feeble voice of the aged President, John Taylor, BENNETT. travels to every ear. From this it is easy to imagine BY JOSEPH the effectof the great organ, and the resonant tones No. XV.-GLUCK (continuedfrom page 573, Vol. 25). of singers whose vocal powers are kept in strength AT this period (1778) it became a question of Gluck's and vigour by bracing mountain air. The Mormon settlement in Paris, where he had previously been no service is, musically speaking and otherwise, of the more than a visitor. He evidently desired to remove plainest character, resembling that of an English thither from Vienna. This we learn from a letter dissenting chapel. A curious feature is the almost addressed by him to M. Guillard, his librettistat the absolute dumbness of the congregation. Theydo not moment:- sing, the whole duty of vocal praise being delegated " So manage as that the Queen shall demand me to the choir, and they make no responses to the only for an indefinitetime-for some years-in order extemporaneous prayers; only when some eloquent that I may gracefully get away from here; but this orator-and there are many among the Mormons-- must be done without loss of time, because I will no dwells passionately upon their persecutions and fore- longer travel in winter, I would start at the beginning " tells an ultimate triumph, a loud "1Amen rings of September, and I must know a couple of months in throughthe building. The hymnsare sung to tunes of advance so as to sell my furniture and arrange my an old-fashionedtype, such as may be foundin Rippon's affairs." English collection of sixty or seventy years ago, and This matter remained unsettled in July, since we in almost every popular American collection of the find the master writing as follows to the Abb6 present day. Even tunes which necessitate repeated Arnaud :- lines, and those containing passages of imitation,are " You are quite right, Monsieur, I cannot finish not discarded from Mormon use; their spirited and my two operas at Vienna. I must be near the poets, sometimes rather rollicking strains being delivered as we do not understand each other very well. I with every appearance of real enjoyment. The expect to leave here in September if M. de Vismes choir, as a rule, goes right through the hymn,what- can obtain the Empress's permission for me to go ever the number of its verses, while the huge congre- to Paris. Without that I cannot start, the reasons gation, turninga sea of faces full upon the performers, you may learn from M. le Bailly." sit and quietly listen. Sometimes, as on the occasion Gluck's reference to a misunderstanding with his of my visit, music of a more complex character is poets as one reason for hastening to Paris should not attempted. The anthem I heard, for example, con- be passed over here. He was the most fastidious of tained a short solo, very well delivered by a young composers in this regard, and would not abate one jot Scandinavian professional, to the accompaniment of a of the principles upon which he had determined as small orchestra as well as the organ. By this time the the essential basis of musical drama. Thus the Mormons have amongst them again a young musician letter to M. Guillard above quoted contains a mass (son of the late Brigham Young) who has been trained of detail regarding the libretto of " Iphigenie en at our own Royal Academy of Music, and will doubt- Tauride." From it we gather that he made his less make a conspicuous feature in the Tabernacle librettist a mere hack, and also that he was invariably services. But, quite apart from him and the Scan- right on the points concerning which he took his

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collaborateurto task. But can it be that Gluck some- who met him with apologies and excuses. True, times prepared his music firstand had words written Gluck's work was actually in rehearsal, but the to it ? If not, how are we to read the subjoined manager's hand had been forced; the Queen had paragraph ? given her orders; que voulez vous! In vain Piccinni "As regards the words for which I now ask, I remonstrated,and urged Devisme to keep his plighted must have a verse of ten syllable lines, and be word. All his arguments were met by pleading royal careful to put a long and sonorous syllable in the command, and the poor composer retired in despair. places which I have marked. Let your last verse, This did not prevent him, however, from showing the moreover, be sombre and solemn, if you would have libretto to Ginguene, who pronounced it a stupid it in accord with my music." rhapsody, and only after hard persuasion undertook Interpreted by ordinary rules, this passage cer- its amendment; the composer having resolved to tainly reads as though the composer sometimes ran persevere rather than waste the labour already ex- ahead of the poet in true Rossinian fashion. pended. Meanwhile Gluck's rehearsals went bravely Having, as we must assume, obtained permission on, he superintending all in his earnest, not to say fromthe Empress, Gluck arrived in Paris in Novem- vociferous, manner. Some one present on a more ber, bringing with him the score of " Iphig6nie in than usually noisy occasion asked a Piccinnist what Tauride." The genesis of this work deserves par- he thought of the marvellous music. The partisan ticular attention. It appears that Devisme, the answered: " Admirable. I findonly one little fault. Director of the Opera, conceived the idea of obtain- Every time that Gluck, striking the floor with his ing a lyric drama on the same subject fromeach of cane, cries 'pianissimo !' he ought to say to the the two great rivals forthe admiration of Paris. As orchestra ' tapagissimo!' ' a stroke of business this could not be surpassed, but " Iphigenie en Tauride " was produced at the Opera it demanded no small measure of diplomatic tact, on May 18, 1779, and achieved a great success, not- and even at the outset the manager met with a withstanding that, in some respects, it stood quite check. When made acquainted with the project hors ligne; being destitute of a love motive, and and offered Guillard's book, Gluck would neither having only one ballet, itself proper to the action of listen to the one nor accept the other. He was not the piece. Marie Antoinettewas present, and led the going to risk the success of his career upon a formal applause. As a matter of course, the Piccinnists encounter the issue of which might be decided by were furious, not only because of Gluck's good incompetent or partial judges. For some time he fortune,but on account of the treatmenttheir master remained in this frame of mind, and even promised had received. Thus war broke out more furiously the libretto to Gretry. Devisme, however, managed than ever, the first shot being fired from Piccinni's in the end to conquer his objections, and it may be side in the form of a pamphlet, Entretienssur l'itat that Gluck was allured in some measure by the actuel de l'Opmra en Paris, written by an architect secret hope of so outshining his rival as to set at named Coqueau. It would be of little use closely to rest all question of their opposing claims. At this follow here the ups and downs of the strife; enough change of mind Gr6try was much annoyed; even that both the masters held aloof from active partici- going so far as to accuse Gluck of cruelly playing pation in a squabble which they assuredly regretted. fast and loose with his desires. Assured of the We are tempted, however, to take note of one of German master's co-operation, Devisme proceeded the charges bandied to and fro by hot-headed to negotiate with Piccinni. In his Notice sur la vie et partisans, because it deals with a matter always les ouvragesde Nicolas Piccinni, Ginguen6 has preserved interesting. It was said against Gluck by Coqueau a report of the conversation which took place:-- that the air " Amour, viens rendre a mon Ame," in D. Here is an excellent librettowhich I propose you the French version of "Orph6e," had been stolen should set to music. It is " Iphigenie en Tauride." from the Italian composer, Bertoni. It will be M. Gluck is composing another, and an impartial remembered that on a former occasion the master public will decide between you. We shall see, as in had encountered and refuted a similar accusation. Italy, two masters writing the same work; it is a Gluck's friends met the charge with spirit by chal- plan which I desire to introduce into France. lenging Coqueau, through the Journal de Paris, to pro- P. But, Monsieur, for that it is necessary that the duce Bertoni's air and also the date of his score. In poem should be the same. reply,the accuser had the air engraved and scattered D. It is not quite the same poem, but the subject over Paris, accompanied by the following commen- and plan are identical. tary : P. You are not ignorant, Monsieur, of the intrigues " I. The air ' So'che dal ciel' has forten years been and even hatreds which exist against me, without in the hands of amateurs of the capital, and I have reason on my part. Should the "Iphig6nie en seen several Italian copies; that is to say, copies Tauride " of M. Gluck be firstheard there would be written in Italy. It has been sung at several no chance for mine. concerts, public and private, both before and after D. I give you my word that your work shall be the production of 'Orph6e,' under the eyes of M. produced before his. Give me yours, in turn, that Gluck, and always in the name of Bertoni. On you will speak of this to nobody, not even to your these occasions Gluck made no protest against most intimate friends. In this you are yourself con- plagiarism. 2. The air is not in the scores of the cerned, for,if this affair is to produce the effect I Italian 'Orfeo,' engraved in London, Vienna, and anticipate, there must be not the least of it. elsewhere, while the first representations of suspicion " during Go to work in all confidence. My own judgment and 'Orph6e in France there was a public rumour to the opinion of many excellent connoisseurs assure the effect that the air had been composed by M. me that the book is an excellent one. Begin upon Gluck in Paris for M. Gros." it immediately. Count upon the pledge I have given The Yournal de Paris promptly gave currency to as to the performance of your opera before Gluck's; an anonymous reply. Here it is: I await yours as to the secrecy required. " It requires so little talent, some say, and so little Piccinni went to work accordingly with closed merit to write airs like that which ends the first act mouth, and had finished two acts when disquieting of the French 'Orph6e' that Chevalier Gluck is news reached him. Gluck's " Iphigenie in Tauride," not tempted to challenge the article in your journal said rumour, is to be produced forthwith. In great which has the temerity to assign it to Bertoni. distress the deceived master hurried to Devisme, However, as the truthought to be spoken, you should

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know, Messieurs, that M. le Chevalier Gluck com- to music. I findit admits of grand effects,but doubt- posed that air for the coronation of the Emperor, less you do not know that henceforthI write no more and that it was sung at Frankfort on that solemn operas, and that I have finished my career. My age occasion by M. Totzi; that later it was inserted in and the disgust I experienced lately at Paris in the his opera, 'Arist6e,' performed at Parma on the matter of my 'Narcisse,' have made it impossible occasion of the Infant's marriage, for which he had for me to compose another." been called from Vienna, and that it was sung in Meanwhile, the authorities of the Academie Royale Parma by Madame Girelli. Would it not have been thought to appease Gluck by reviving " Echo et curious and amusing, Messieurs, had M. le Chevalier Narcisse," with certain emendations of the poem. Gluck produced at Parma, as his own, an air by It was proposed, moreover, to take the bdton from Bertoni already known to all Italy ? For the rest, Francceur and give it to some one more capable. if it is true that this air may be found in a work of Francceur naturally appealed to the composer, who Bertoni, let any one examine the score of his ' Orf6o' replied in the subjoined terms:- and he will be fullyconvinced that it is not M. le " I am very sorry for the trouble between you and Chevalier Gluck who has copied Bertoni." M. le Bailli du Roullet on account of one of my works Meanwhile, Coqueau, whose honour and veracity -it seems I am never to be freefrom the squabbles of were no less at stake in this quarrel than Gluck's, the Paris Opera, neitherwhen I am near nor far away. wrote to Bertoni for corroboration. The Italian The other day I received a French paper, in which it musician replied in terms as follows:- was said that I am opposed to Mdlle. Beaumenil " I am much surprised at the question put to me in playing the r61leof Echo in the same opera. I am no your letter, and I have no desire to compromise longer astonished at having so many enemies in Paris myself in a musical quarrel which, judging by the when so many lies are invented for me. All this warmth you display, may come to be of importance. abates whatever desire I may have had to return to I beg you to allow me to answer simply that the air Paris, for I hate like death all such annoyances. I beg 'So' che dal ciel' was composed by me at Turin for you to excuse me if I leave those concerned at the the Signora Girelli, I forgetin what year; I cannot Opera to decide your complaint against M. Bailli, even say whether I wrote it for my 'Iphig6nie en especially as I am not in Paris. If I were master Tauride,' as you assure me; I believe, rather, that it you would have cause to complain of nobody, for I belongs to my' Tancredi,' but this has nothing to have always thought much of your musical talents, do with the question whether it belongs to me. That and the constant friendship which you have shown. it is mine I must and do avow, with all the truth of I hope that justice will be done you, and peace soon an honourable man, full of respect for the works of re-established." great masters, but full of affectionfor his own." Gluck's friendsmustered in strength at the revival Triumphant Coqueau straightway sent Bertoni's of " Narcisse," and applauded the music demonstra- letter to the Journal de Paris, with a note declaring tively; but the public would not sympathise. At that only Gluck's denial of its assertions could destroy the second performance the receipts dropped to its effect. But this attemptto force the master's mouth 2,500 livres; at the thirdto 1,500, and, of course, the utterly failed. He remained obstinately silent, and work was soon again withdrawn. This did not tend allowed judgment to go by default. In all probability to bring its composer back to Paris, at the risk of he had no real defence to make, and it is not less hastening to a crisis his augmenting infirmities,nor likely that the singer, Gros, could have told a story, did Gluck, we may well believe, find much consola- had he chosen, incriminatinghimself as the instigator tion in the misfortune that happened to Piccinni's of the petty theft. Gros wanted a bravura air, " Iphig6nie," when, after much squabbling, that work perhaps, and here was one to hand. Voila tout! was produced on the Acad6mie stage (Jan. 23, 1781). Our master's next opera for the Acad6mie Royale The Italian composer deserved nothing but pity. was " Echo et Narcisse," but the engagement did In the very crisis of his struggle for supremacy a not conclude until after some haggling about the drunken artist ruined all. Let M. Desnoiresterres price. Gluck, in fact, put up his terms. He re- tell the story :- " ceived 12,ooo crowns for Iphig6nie en Tauride," "The curtain rose; the opera began. Piccinni and wanted 20,000 for the new work. Eventually he awaits in lively anxiety the entrance of Iphiginie came down to 14,000, and then the bargain was in the first scene. She appears; but what is the " struck. " Echo et Narcisse proved a disappoint- matter with her ? Her features are changed; her ment, the house, at the second representation, being eyes have a haggard expression, her legs are hardly half empty, and still more desolate at the third. able to sustain her. Is it the presentimentof Orestes' How the Piccinnists rejoiced to hear this good news ! misery and the perils he will have to face? Is it They triumphed, in sneers and mock condolences, all Diana which thus agitates her priestess ? If it were along the line. But, as usual, Marie Antoinette stood so the poor composer, pale, alarmed, would not Gluck's friend; appointing him music master to the follow, with such marked anxiety, every gesture of Children of France-an officethat would necessarily the cantatrice. Already he had no doubt of his mis- fix him in proximity to the Court. This, however, fortune- Iphiginie was drunk! Thanks to the could not console the deeply-mortified composer, priestesses and to one who was badly recompensed who, fromthe height of " Iphig6nie en Tauride," had for his services, she was kept upright,and managed fallen very low. He even frettedso much as to bring to get through the act, to the astonishment of the on a serious illness. " On Friday last," announced house. On going off she plunged her face in a basin the Journal de Paris, " M. le Chevalier Gluck was of water, which revived her and brought back her attacked by a serious illness, the symptoms of which self-possession, but not her harmonious timbreand were so alarming that his friends feared for his life. her pure, enchanting diction. She followed her rolc Although still suffering, he is absolutely out of to the end without making a wrong entry or losing a danger." On recovering, the master quitted Paris bar, and without singing false, but with a veiled for Vienna, where we find him writing as follows accent, a look clouded by the vapours of half- (Nov. 30, 1779) to Gersin, who had sent a libretto:- dissipated intoxication; a monotony of tone and " I am touched by the honour you have done me gesture about which no mistake could be made. in sending the plan of a tragedy which I might set In an instant the joke went from box to box: 'This is not Iphighnie in Tauride, but Iphig6nie in * On thispoint Bertoniwas correct. Champagne.'"

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Of course, the Gluckists heightened this misadven- August, in which he offered,for 2o,ooo livres, a new ture to the measure of a catastrophe; being, in their work, " Les Danaides," engaging to bring it with turn, accused by Piccinni's friends of having con- him in October. The price was an obstacle at first, spired to bring it about. " Knowing the Bacchanalian but matters were going on swimmingly when the weakness of Mdlle. la Guerre, who played the chief fact came out that another hand than Gluck's had rble, they invited her to a grand banquet, and made been engaged upon the opera. Forthwith M. le her drink so much wine that the poor lyric Princess Bailli du Roullet was requested to inform Gluck became incapacitated." Piccinni went home fromthe that the Committee of Direction, having learned Opera " with death in his soul." It was all very well that only the firsttwo acts of " Les Danaides " were for the King to shut up the offendingartist in prison by him, could not count upon the success of the work -where, by the way, she again drank more wine as though there were no joint authorship. Hence they than was good for her-this could not redeem the were justified in offeringno more than io,ooo livres past. Nor could Mdlle. la Guerre herself, when for the work, with the understanding that, should its liberated and in her right mind, make recompense, first representations prove successful, they would though she tried, singing and acting divinely,besides cheerfullypay the balance. In January, 1783, Gluck throwing all possible significance into the lines:-- replied that, the state of his health preventing him O fatal day! how vainly do I wish fromjourneying to Paris, " Les Danaides " would be life it not reckon'd be! That in my may taken charge of and directed by Salieri, under which It came, however, as a potent balm to Piccinni's circumstances he would lower his price to 12,ooo wound that, when Gluck's "Iphigenie " was revived, livres. Naturally the Committee at once divined that and that of the Italian master played three days after, Salieri had aided Gluck in the composition. They the firstdrew 2,740 livres, the second 3,538. Later, answered that respect for Gluck alone had induced it is true, Gluck made up lost headway, his " Iphi- them to derange their programme and announce genie" fairly remaining mistress of the field. As " Les Danaides," that the same motive could not late as May, 1781, the German master cherished his apply to Salieri, and therefore that they would not resentment against Paris, and maintained his resolve undertake to bring out the work until, following the never to return. On that date he wrote: usual course, it had been examined and approved. " Do not believe the rumours going about with This would have ended the transaction with a less regard to my proximate return to Paris. Till persevering man than the German Orpheus, who superior orders compel, I will never go to that city, proceeded to assail the Committee at a very unless the French agree as to the kind of music they weak point --that is to say, he obtained the want. That flighty people, after having received French Ambassador's influence and active inter- me in the most flattering manner, appear to be ference. The Count de Mercy-Argenteau even went disgusted with all my operas, which do not now so far as to assert that not only were the firsttwo attract the crowd as formerly. And look at the acts from Gluck's pen, but that the master had dic- 'Seigneur ben6faisant' which now engages their tated the remainder to Salieri, adding an assurance attention ! They would, it appears, return to their fromthe Emperor of his Imperial consent to Gluck's pont-neufs. Well, let them." absence from Vienna for the requisite rehearsals. In June, 1781, the Opera took fire during a per- Upon this the Committee gave in, and Easter, 1783 formance of Gluck's "Alceste," and was burnt to was appointed for the production of the new opera. the ground. Pending its re-erection, the company During the rehearsals of " Les Danaides," the judg- gave concerts at the Tuileries, where a comical ment of connoisseurs was much divided; but the episode in the Gluck-Piccinni struggle took place. composer's friends stifled such fears as they felt,, An Italian air by Gluck being in the programme, and resolved to applaud everything. The first Piccinni's friends retired from the hall, in order, as performance was not wanting in untoward events. they magnanimously said, not to interfere with the The Revolution was already casting its shadow enjoyment of the opposite party. The Gluckists before, and Gluck's constant friend, Marie Antoi- applauded the air furiously, whereupon, to their nette, once the Parisian idol, had a comparatively utter discomfiture,it came out that for Gluck's piece cold reception on entering her box, all the en- one by Jomelli had been substituted. The laugh thusiasm of the assembly being reserved for De went round now on the other side. Suffren,who had gained some advantage' over the When the Opera re-opened at the little TheAtre English in India. Nevertheless, "Les Danaides," des Menus-Plaisirs, " Echo et Narcisse "was revived despite some very unusual horrors, achieved a great for a third time, and at last with some success. success. The public, we are told, were drunk with There was consolation for Gluck in this, but more, it. Now came a grand surprise. Writing fromVienna perhaps, in the fact that his rivals, even Piccinni to M. le Bailli du Roullet, who forwarded the letterto himself, to some extent adopted his musical method. the Journal de Paris, Gluck said:" I beg you, my A passage in Grimm's Corresfondancelitteraire has a friend,to have printed in the Journal de Paris the bearing on this point :- declaration which I ought to make and do now make " " The zealots for Gluck, those enemies so unjust -that the music of " Les Danaides is entirely by and discouraging to the talent of his rival, are the Salieri, and that I have done no more than give the greatest partisans of (Piccinni's) ' Didon,' and pre- advice he was willing to accept." Was this letter a tend that Piccinni has turned Gluckist. .. . We do forgery? We shall presently see. not disguise the fact that M. Piccinni has worked (To be continued.) more at the recitative of this opera, or that he has put into it more purpose, more variety, and, above all, more of the accent of passion and feeling. His A NEW CONCERT HALL FOR LONDON. airs, always melodious and well constructed, have IT will be remembered that a few months ago a gained in truth and present an energy of expression of discussion arose concerning the paucity of orchestral which his detractors did not believe him capable." concerts in London, and utterance was given to a As the year 1782 went on rumours spread of general desire for an increase in their number. This Gluck's intended return to Paris. It was even said led to expressions of opinion fromthose well qualified that he would bring with him a new opera. There to judge that, under existing conditions, orchestral was some reason for the report, a letter from the concerts could scarcely be made remunerative. In master being received at the Op6ra about the end of other words, that the limited accommodation in

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