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The Great Composers. No. XIV. Meyerbeer (Continued) Author(S): Giacomo Meyerbeer and Joseph Bennett Source: the Musical Times and Singing Class Circular, Vol

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The Great Composers. No. XIV. Meyerbeer (Continued) Author(S): Giacomo Meyerbeer and Joseph Bennett Source: the Musical Times and Singing Class Circular, Vol The Great Composers. No. XIV. Meyerbeer (Continued) Author(s): Giacomo Meyerbeer and Joseph Bennett Source: The Musical Times and Singing Class Circular, Vol. 25, No. 494 (Apr. 1, 1884), pp. 196- 199 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3359256 . Accessed: 01/02/2015 19:18 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 128.235.251.160 on Sun, 1 Feb 2015 19:18:36 PM All use subject to JSTOR Terms and Conditions 196 THE MUSICAL TIMES.-APRIL I, I884.. drawing in halves. Lastly, in the song " Jerusalem, His dread of fiasco was almost a monomania, and thou shalt no more," will be seen an interesting we shall see by and by how many years he kept employment of the bassoons to add an independent " L'Africaine " in his desk because no artist satisfied middle part to the harmony of the strings. the conditions of executive efficiency imposed by Handel's next choral work, " Parnasso in Festa " great, ifnotexaggerated, prudence. Meyerbeer was cer- (1734), was largely, though not entirely, taken from tainlymost fortunateat the Grand Op6ra in the matter " Athalia." There is but little to say about the score. of his interpreters. He could not have been better On p. 56 the song " Nel spiegar " (Through the land," suited had he bribed Nature and Art to do their very in "Athalia") bears the indication "Flauto ou best on his behalf. Habeneck presided in the orches- Trav. I, 2," showing that the old " Fluite-'-bec " was tra-Habeneck, the fortunate chief who produced not yet entirely disused. We have already seen " Le Comte Ory " and " Guillaume Tell" for Rossini, other proofsof this in the scores of "Tamerlano" and " Masaniello " for Auber, " Robert " and " Les " Rodelinda." But the most curious thing in the Huguenots" for Meyerbeer, and " La Juive" for orchestration of the "Parnasso in Festa" is the Halevy. Upon the stage were Mdlle. Falcon, opening chorus of the second part. This is the first Nourrit,and Levasseur; the trio of whom Meyerbeer chorus of " Athalia," "The rising world," with was wont to say, " we shall never see the like again "; fresh words and the addition of a part for the drums. while in the Director the master found one who The key of the piece is G minor. No trumpets are appreciated his vast designs and spared neither used, and the drums appear quite superfluous. This cost nor trouble to work them out. Never did an is the only instance I have found in all Handel's works opera appear under better auspices than " Les of a drum part writtenin G and D. Huguenots." It was " born in the purple," and fate (To be continued.) and circumstances stood around its cradle wreathed in smiles. We need not refute the idea that happy conditions alone its success. " Les THE GREAT COMPOSERS. explain Hugue- nots " lives now, fiftyyears, or nearly, after its pro- BY JOSEPH BENNETT. duction, but we who, with English eyes, witness it No. XIV.-MEYERBEER (continued from page 138). as given on an Italian stage can formno notion of IN view of the splendid triumph which " Les the charm it had for Frenchmen in 1836. It satisfied Huguenots " secured for the composer of " Robert their conception of what an opera should be. le Diable," attention may fitly be drawn to some Thoroughly eclectic, it combined the variety of forms passages in a letter written by Meyerbeer as far and effectswhich a German fur sang would never back as 1823. At that time the master was follow- seek, with the largeness of style and close attention ing up his Italian successes, and, after his shrewd to detail such as an Italian would never give. Then manner, looking out for artists best able to further its grandiose character, its originality, pomp, and the end he had in view. Thus he crossed the path passion, all shown with,so to speak, the limelight on of Levasseur, who was himself " preluding" in Italy. them, charmed a people whose genius forthe theatre Meyerbeer at once discerned the French singer's finds expression in all they do. capacity, and the letter now in question is chiefly Naturally, the severer school of musicians objected taken up with remarks concerning a prospective to Meyerbeer's gorgeous, or, as they preferredto call engagement. This disposed of, Meyerbeer goes on them, meretricious, creations, and some of its mem- to say:-- bers carried resentment to absurd lengths. We " I am much flattered by that passage of your already know what Mendelssohn thoughtof his fellow letter in which you speak of the favourable opinion Hebrew, but here comes in an amusing anecdote Hiller-also the Director of the French Op&ra is good enough to narrated by Ferdinand a Jew:-:*- entertain regarding my feeble talents. You ask if " Mendelssohn was often told that he was very writing for the French stage would have, for me, like the composer of' Robert,' and at first sight his no attractions. I assure you that I should more figure and general appearance did perhaps give some glory in the power and honour of composing for the ground forthe idea, especially as they wore their hair French Opera than for all the Italian theatres- in the same style. I sometimes teased Mendelssohn to the chief of which I have already given works. about it, to his great annoyance, and at last one Where, save in Paris, shall one find the immense morning he appeared with his hair absolutely cropt. resources which the French Opera offersto an artist The affair excited much amusement in our set, who desires to write really dramatic music ? Here, especially when Meyerbeer heard of it, but he took one absolutely lacks operatic poems, and the public it with his usual invincible good nature and in the care for only one kind of music. At Paris, there are nicest way." excellent poems, and I know that your public receive Looking at Meyerbeer's French development from all kinds of music without distinction, so long as a point of view diametrically opposed to that taken genius presents them. Hence, a field for the com- up by the classicists, Wagner professed to feel even poser much vaster than in Italy. Perhaps you ask a greater repulsion. He attacked Meyerbeer, as why, if I think thus, I have not sought to write for everybody knows, with exceeding bitterness-intensi- Paris. The fact is that I am told French opera is fled, no doubt, by the fact of having received favours a difficultfield; that one has usually to wait many at his hands-and it may be fitting to give the sub- years before a hearing comes, and hence I am afraid. stance of Wagner's argument at this point. In I must say, also, that I have been drawn away from " Opern und Drama," the Bayreuth master declares this point in Italy, where I am at present much sought the secret of Meyerbeer's music to be "effect"- after; although, I confess, this is more owing to the using the English word, not the German "Wirkung," excessive indulgence of the public than to my small because he takes " effect" to mean "result talent." without' motive." He distinctly asserts that These remarks are of interest, not only because " Meyerbeer's music does, in fact, produce on they show at what an early period Meyerbeer had in those who are able to enjoy it a result with- view the scene of his greatest triumphs, but because out a motive." The writer then continues, in they were addressed to one of the artists who became language so involved that even an accomplished closely identifiedwith his successes, and were written German scholar like Mr. J. V. Bridgeman can hardly under circumstances pointing to the careful way in which the master took failure. * precautions against Mendelssohn, Letters and Recollections, pp. 23-4. This content downloaded from 128.235.251.160 on Sun, 1 Feb 2015 19:18:36 PM All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-APRIL I, 1884. I97 make it intelligible : " This miracle was only possible to represent his capability in the light of boundless for the most external kind of music, that is to say, power, Meyerbeer " reduced the said power, which is for a power of expression which (in opera) has, from in truth nmostrich, to the most beggarly poverty, in the earliest period, being endeavouring to render which Meyerbeer's operatic music now appears to itself more and more unworthy of expression, and us." It would be interesting, but beyond our pro- proved that it had fullyattained this independence by vince now, to enquire how far these remarks recoil debasing the subject of the expression-which subject upon Wagner himself, as we have him in his latest alone imparted to the latter being, proportion,and manifestations. In some respects they are unjust to justification-to such a depth of moral as well as Meyerbeer, whose restless striving aftereffect sprang artistic nothingness that the subject itself could from no artistic vanity.
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