The Great Composers. No. XV. Gluck (Continued) Author(s): Christoph Willibald Gluck and Joseph Bennett Source: The Musical Times and Singing Class Circular, Vol. 25, No. 500 (Oct. 1, 1884), pp. 569-573

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This content downloaded from 204.235.148.92 on Tue, 22 Dec 2015 01:23:51 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-OCTOBER I, 1884. 569 employment. In his treatmentof those parts of poserwho otherwise, perhaps, would have stoodaloof. the story where action takes place, he followsthe Amongthese was the Abbe Arnaud,a famousand methodadopted in " Colomba"; subordinatingevery- influentiallitterateur of the time,who passed, also, thing to dramatic expression. Here, however,we as a musicalcritic. Arnaudpublished a long detailed have but an advance upon the plan followedby notice of the in the Gazettede litterature,and, Mendelssohnin correspondingparts of "Elijah." at that particular juncture, did the cause of Gluck's For the rest,there is no variancefrom the usual rule reformsno small amount of good. It was not for of developed movementsin accepted form. As a him, however,to enter into the very heart of the result,we have an interestingcombination of modern master'smethod, simply because no connoisseurof the deviceand classic method;the modern element being daycould conceive, much less understand,the extreme forthe most part associatedwith dramatic features, to which Gluck's ideas were carried. Some notion of but not exclusivelyso, since the Prologue,a con- thatextreme can be gatheredfrom a documentwritten tralto solo, is based upon the Leitmotivwhich by Corancez,the friendwho was the meansof intro- representsunconquerable love. In distributingthe ducingGluck to Rousseau. Corancez,though a man voices of his characters, Mr. Mackenzie makes of taste and feeling,was not a musician,and on that the Sulamite a ; the Beloved a ; account,perhaps, the Germanmaster talked to him Solomona ; the Elder a bass; and the freely,answering questions with a readiness by no First Womana . All the soloistsare well means his usual characteristic. One day Corancez provided with music; the largest share of work observedthat in "Iphig6nie,"when Agamemnon first fallingnaturally to the soprano. The contraltoairs sangthe line, " Jen'ob6ira point a cet ordreinhumain," are specially effective;while those for the tenor, he dweltupon the "je," but subsequentlypassed the baritone,and bass are all moreor less importantand wordwithout such emphasis. Questionedas to this, graceful. A featureof the Oratorio,indeed, is the Gluckanswered:- admirable balance preservedby the composer in "I had a strongreason to put a long note on the dealing with the great divisions of his executive 'je' as firstpronounced by Agamemnon,and also to force. Althoughthe solo vocalistshave muchto do, avoid doing so whenever the word was repeated. the task ofthe chorusand orchestrais scarcelyless Observethat this Prince stands between two most weightyor less prominent. It may even be thatthe powerfulopposing forces-nature and religion. He choristersengaged will complain of too heavy a yieldsto nature,but beforepronouncing the terrible burden. Choral movementsin great variety are word of disobedience against the gods he hesitates. frequent;and at the close of the second Part,where My long note marks his hesitation,but, the word the processionof the Ark takes place, no less than once uttered,let him repeat it as oftenas he may, fifty-fourconsecutive pages of the pianofortescore there is no longercause for hesitation; and a long are taken up by a stringof concertedpieces. We note wouldsimply be a faultin prosody." ventureto say thatMr. Mackenzie will be praisedfor Again,Corancez demanded why the piece in which the admirableresource he has shownin dischargingthe anger of Achillesis expressedthrilled him to the a most exactingduty. Some of the choruses are core, although when singing it himself he was undoubtedlydifficult, but, as a rule,they are gratefulconscious of nothingbut a melodyagreeable to the to sing, and so distinguishedby varied meritsas ear. Gluck replied :- never to become monotonousand, consequently, " You will seek in vain amongthe notesthat make wearisome. The orchestrais throughouttreated in a tune forany characterproper to certainpassions. the mostapproved modern fashion, playing a part in It does not exist. The composerhas the resourceof the drama by meansof its "representativethemes," harmony, but even that is insufficient. In the piece and being mostly distinctiveand conspicuous in of whichyou speak, mymagic consistsin the nature accompaniment. It has two movementsto itself-- of the precedingair and its accompaniment. You one describinga " Spring Morningon Lebanon," a have heard for some time nothing but the tender softlyflowing Adagio tranquillo; the other,entitled regrets of Ithiginie and her adieux to Achilles; the " Sleep," being a beautiful Larghetto continued flutes and the lugubrious tone of the horns there play into and all through the Sulamite's dream, the the principal part. It is not marvellous if your events of which are seen, so to speak, throughreposeful ears, struck suddenly by the sharp sound of its translucent veil. The Oratorio contains no all the military instruments together, cause within regular fugue,that formbeing obviouslyunfitted you an extraordinarymovement-one which, in truth, forthe subject,but contrapuntalwriting abounds, in it was my duty to bring about, but which, neverthe- quantitymore than sufficientto satisfythe scientificless, owes its principal force to a physical effect." ear, and in abilitymore than able to please it. We Other questions and answers might be cited, but believethat the melodiesof the workshow a marked the foregoing serve to show the vast amount of advance upon anythingyet done by Mr. Mackenzie. thought and the great faculty of taking pains which They are, many of them,fully developed, well sus- Gluck brought to the exercise of his art. He sought tained,and thoroughlyvocal. As forthe handlingof the accents of nature, and held everythingsubordinate the ensembles,it will be found,we have notthe smallest to perfectedand true expression. All this was, of doubt,that Mr. Mackenzie has reacheda very high course, lost upon a section of the public who could standard,and showsthe masterfulnessof a master. see nothinggood in whatwas new. Gluck's critics We have now advancedall the pointsdemanded in rejectedhis melodyas no melodyat all because it a preliminarynotice, and leave till afterthe per- lackedthe ornamentsand " passages" to whichthey formanceat Norwich, on the i6th inst.,the full had been accustomed. Another grievance was the analysis deservedby a work of the noblestpurpose absence of dance music in the usual formof sarabande, and highestachievement. , &c. At that time it was the fashion to conclude an opera with a brilliant display of saltatory THE GREAT COMPOSERS art, and one can easily imagine the disappointment of the Vestris worshippers on finding that their idol BY JOSEPH BENNETT. had nothingto do. As forVestris himself, he went, No. XV.-GLUCK (continuedfrom page 515). both in sorrow and in anger, to remonstrate with SUccEss never lacks friends, and the and Gluck the of his offence the great " upon enormity against growing favour shown to " Iphig6nie en Aulide by establishedproprieties. Vainlydid the masterpoint the Parisians brought many to the side of the com- out to the dancer that he could hardly introduce

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pirouettes into a sombre Greek tragedy. Vestris Op6ra as an opera-ballet. The master thought insisted: " I must have my chaconne." nothing of such a trifle,but his enemies saw in it a " A chaconne !" retorted Gluck, " do you suppose great deal, and loud was the outcry against the work the Greeks knew of such a thing ? " on the score of faults quite needless to recapitulate "They had no chaconne !" exclaimed Vestris, " so here. That it had faults seems evident since Abb6 much the worse for them!" Arnaud, Gluck's foremostchampion, said in reference The prosperous run of " Iphigenie " was ended by to it : " Hercules wielded the club better than he the death of Louis XV., an event which closed the handled the distaff." theatres from May ii till June 13, and Gluck then The master had, at this time, plenty of work in addressed himselfto the task of bringingout Moline's hand. He had undertaken to prepare " " for French version of " Orfeo," under the title " Orph6e performance in French, and also to write a couple et Eurydice." This work, coming after the success of on the subjects of " " and " ." of " Iphigenie," excited the greatest possible interest. Soon, however, his equanimity was sorely disturbed Thousands were unavailingly eager to attend the by an event which foreshadowed what he could not rehearsals, and we are told that the composer was as have anticipated, namely, the Gluck-Piccinni war. much an attraction as his music. Even the high The directors of the Opera, for some reason or other, nobility thought themselves honoured by doing the charged Piccinni also to compose a " Roland," and, master little acts of service, such as handing him his on learning this, the German master so far lost his surtout,his cane, or his wig-Gluck always conducted temper as to destroy what had been completed of his the rehearsals in his night-cap. On his part, the own work. In the followingletter, addressed to the composer kept his head frombeing turned by so much Bailli du Roullet, we shall see a little into his mind homage. He went everywhere in society, making on the point: himself as agreeable as possible, and carefully, by " I have received your letter of January 15, in personal address, fanning the flame of his own popu- which you press me to go on working at ' Roland.' larity. A few lines in the Memoirs of Mdme. de That is not possible, because, when I learned that Genlis enable us to see him at this work. The lady the administration of the Opera, who knew I was was at the time a social power, owing to her relations engaged upon 'Roland,' had given the same task tc with the Duc d'Orleans, and Gluck had, no doubt, a M. Piccinni, I burnt all that I had already done, shrewd appreciation of the fact. Mdme. de Genlis which, perhaps, was not worth much, and, in that writes:-" Gluck came twice a week with Monsigny, case, the public should be obliged to M. Marmontel M. de Monville, and Jarnovitz,the celebrated violinist, for keeping fromthem bad music. Besides, I am no to make music at my house. He made me sing all longer a man disposed to enter into competition. his beautiful airs, and play upon the harp his over- M. Piccinni would have the advantage of me, for, tures, among others that of 'Iphigdnie,' which I as well as his personal merit, which is undoubtedly love to enthusiasm." In carrying out his social very great, he would have that of novelty. . . . I am policy the master was not very particular as to the sure that a certain politician of my acquaintance repute of those with whom he associated. He was will dine and sup three quarters of Paris in order often found in the salon of the notorious Duchess of to make proselytes, and that Marmontel, who Kingston, who " received him with all the regard due knows how to tell stories, will hold forth to the to his immortal talents," and parted from him at the whole kingdom about the exclusive merits of Signor last with keen regret. Piccinni." "Orphee " was produced on August 2 with the In this way did Gluck meet the first onset of the greatest success, the audience, it is said, being moved storm that was soon to rage round him, and the to tears by the beauty and pathos of the music-which echoes of which we hear whenever a French chronicle the composer, by the way, had considerably altered of the period is opened. But the composer did not and touched up for the French version. Among allow his anger to stop business altogether. In the the illustrious persons present was Jean Jacques letter from which we have just quoted he expresses Rousseau, whose feelings on the occasion are not his willingness to proceed with " Armide," on certain strange to the readers of his " (Euvres conditions, imperious enough in their way:- Completes," " where a single scene is discussed through eight I must have at least two months in Paris to pages. Rousseau declared that the possibility of prepare my artists; I must have power to order as two hours' enjoyment such as he had experienced many rehearsals as I think proper; no r61lemust be made life worth living, and when some one, in his understudied, and an opera must always be held presence, reproached Gluck for wanting melody, he ready in case a performershould be unable to appear. exclaimed, " I find that melody comes from him These are my stipulations, without which I shall through every pore." Gluck was now at the apex of keep ' Armide' to myself. I have so written the good fortune. Marie Antoinette settled upon him a music as that it will not grow old very soon." pension of 6,ooo livres, with 6,000 more for every With reference to understudying, and Gluck's new work represented; and even the royal lock- strong objection against it, a passage fromRousseau's smith, her husband, having attended a revival of " Nouvelle H6loise " will show that the composer had " Iphig6nie," was moved out of his habitual dulness reason on his side:-" All the r6les are doubled or to write, " I was delighted yesterday with the opera tripled; that is to say, there are always one or two, of' Iphigenie en Aulide' of Chevalier Gluck, which I subaltern actors ready to replace the principal per- heard in Paris. The Queen, Madame, and my two former,and paid to do nothing till it pleases him to brothers were enchanted like myself. It is a work of do nothing in his turn-a state of things never slow the greatest beauty. I expressed my satisfaction to to arrive. After a few representations,the principal the composer after the performance, and will send artists, who are important personages, no longer him a present to show how I regard his person and honour the public with theirpresence; they abandon talents." the stage to their substitutes, and to the substitutes During this sojourn in Paris, Gluck attempted a of their substitutes. The same money is always somewhat unworthy task-he prepared for perfor- taken at the doors, but the same performance is not mance, in connection with the visit of the Archduke always given in return." Gluck was undoubtedly right Maximilian, a slight comic opera "Le Poirier ou in firmlyputting down his foot on a state of things l'Arbre enchant6." He also wrote, at this time, barely equalled by the worst modern development of "Cythdre assieg~," which was brought out at the the " star" system.

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The French version of " Alceste " was produced on " Alceste"'' made its way surely to the public heart, April 23, 1776, in presence of the composer's royal at first hardened against it, and a threatened with- friend, Marie Antoinette, and, of course, all the quid- drawal of the opera called forth energetic remon- nuncs of Paris. It failed almost absolutely, and the strances. Away in Vienna, Gluck received news of story goes that Gluck, in a state of distraction,rushed all this with immense satisfaction, and was moved into the lobby to gain the street, but ran against his to address his interpreters in a letter of thanks, friend, the Abb6 Arnaud. " ' Alceste' has fallen!" saying :- exclaimed the master, and the happy reply was, " I am told that you performthe opera of 'Alceste' " Yes, fallen from heaven." Gluck would not believe with astonishing perfection,bringing to it extraordi- that the misfortune arose from any defect in the nary zeal. I cannot tell you what pleasure this mark work. Speaking one day to Corancez, he said: of your friendshipgives me, but I beg you to rest "'Alceste' simply does not please just now, and assured that I shall lose no opportunityof showing while it is new. It has not had time. I affirm,how- my gratitude. Meanwhile, dear friends and com- ever, that it will please 200 years hence, if the rades, accept my very best thanks." French language does not change, and my reason is The master soon returned to Paris, and assisted that I have laid its foundations in nature, which at the thirty-eighthrepresentation of " Alceste," his never submits to fashion." On the other hand, let bust, purchased by subscription, having meanwhile us give Rousseau's criticism upon the Italian version been placed in the foyer of the Opera. He was now, of the same work, a criticism written after studying indeed, Gluck the Conqueror. When " Alceste" the score so rudely fetched away by the composer:- wore itself out, no work fromany other pen could be "I know no opera where the passions are less tolerated, and "' Iphigenie en Aulide " again occu- varied than in 'Alceste.' Everything there turns pied the stage. It was not the composer's fault upon two feelings-affliction and fear, and these, that some of his friends had more zeal than discre- prolonged throughout, must have given incredible tion, among them Suard and the Abbe Arnaud, who trouble to the musician in avoiding a most lament- between them owned the Journal de Paris. In that able monotony. In general, the greater the warmth paper appeared, one eventfulday, a little paragraph of situations and expressions, the more rapidly they which lighted up the flames of a controversynot soon should pass, else the force of the emotionwill diminish to be extinguished. Here it is:- among the audience. . . . It results fromthis defect "Do you know," said someone yesterday, in the that the interest, instead of increasing by degrees amphitheatre of the Op6ra, "that Chevalier Gluck with the progress of the opera, cools as the dinou- arrives immediately with the music of ' Armide' and ment is approached, which is cold, flat, and nearly ' Roland' in his portfolio? " "Of ' Roland'!" ex- laughable in its simplicity." claimed one of his neighbours; " M. Piccinni is at this In the midst of the trouble caused by the hostile moment setting it to music ! " " So much the better," reception of his " Alceste," Gluck was struck heavily replied the other, " we shall have an Orlando and an by the death of his beloved niece, the accomplished Orlandino. It is well known that these two poems young lady whom Dr. Burney speaks of having seen are much esteemed in Italy." and admired. She had accompanied her uncle to The sting of this paragraph lies in its tail, the word Paris, and gone largely into society with him, every- " Orlandino " being a reference to some burlesque where creating a very favourable impression. One verses by one Teofilo Folingo, described as a " mac- who met her in Paris, says: "She was extremely caroni poet." It is not surprising that the friends of delicate, almost ethereal, but the tone of her voice Piccinni keenly resented the affrontoffered to their penetrated to the soul." Another adds: " Her voice hero by Gluck's injudicious partisans. A contempo- was but a breath, but the breath of the soul, and rary author (Abbe Morellet), thus describes a scene never did a singer, even a prima donna, no matter of which took place in the salon of Madame Necker, what gifts, cause in the hearer such touching and wife of Louis XVIth's once popular minister:- profound emotions." Gluck and his accomplished " We arrived at the house and found Suard there. niece left the French capital for Vienna, at the end Marmontel stepped forward,and addressing Madame of February, 1775, stopping en route at Strasburg, Necker, said: 'What think you, Madame, of the where the young lady fairly conquered Klopstock, stupid and wicked jest which they have had the who called her " The enchantress of the Holy Roman cowardice to utter against Piccinni, a man whose empire as well as of the profane French Kingdom." works are attacked beforethey are known, and whom Returning to Paris for " Alceste," the composer was they try to injure while he is doing his best to please, unaccompanied by his niece, whom he was never a stranger, father of a family, who needs work to again to see. A violent attack of small-pox carried sustain his children. Only scoundrels would be the poor girl off in the bloom of her youth the guilty-' Madame Necker, knowing who were guilty, very day before her uncle's opera was produced. and myself tried in vain to calm him; he became Distracted with grief Madame Gluck fled to Paris hotter than ever." that she might mingle her tears with those of her Abb6 Arnaud, no doubt, chuckled with satisfaction husband, who felt his loss most bitterly. "'The on learning that his shaft had gone home. He had sorrow of the German Orpheus," says M. Desnoires- no special desire to hurt Piccinni, but through him terres, "was without bounds. He loved his niece struck at Marmontel who, in his Essai sur les Rivolu- passionately, and gave way to agonising complaints; tionsde la musiqueen France had struck at Gluck. It alarming his friendsby the violence of his emotion." is curious to see, looking back upon the controversy Gluck could not remain in the French capital after thus begun, what a resemblance it bears to an this. Its gay life became a burden to him, and, artistic dispute much nearer our own time, particu- longing to visit the grave of his lost one, he set out larly as regards fierceness. Writing to Garrick, for Vienna, arrivingthere in the middle of September. Madame Riccoboni said: "They tear each other's No sooner had the composer gone than the eyes here, for or against Gluck," and like combatants authorities at the Oper.a began cutting and trimming in a melie,each doughtywarrior singled out a foeman "Alceste," to make it suit public taste. Gossec was worthyof his steel. Suard engaged La Harpe, and the musician chosen for this doubtful task, and by Marmontel encountered the Abbe Arnaud, while a him an air was interpolated, as well as other changes host of minor personages added to the din. Literary effected. Circumstances scarcely called for this in- men, as a rule, were on the side of Piccinni, who terferencewith the work. In Paris, as in Vienna, thus had an advantage in the Press, although it was

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said that the two proprietors of the Journal de Paris Armide in love,' I shall answer, 'Monsieur, I will made noise enough for ten. At any rate, Arnaud not alarm the ear of M. de la Harpe; I will not and Suard knew something of the subject, upon imitate nature but embellish her; instead of making which many who took part in the controversy were Armide cry out, I desire that she shall enchant you.' profoundlyignorant. Let us cite an example from Should he insist and observe that Sophocles, in the the higher ranks of society. In her Souvenirs de finestof his tragedies, dared present (Edipus to the Felicie, Madame de Genlis writes:- Athenians with blood-stained eyes, and that the " I am sorry to hear the Chevalier de Chastelux, declamation by which were expressed the eloquent who has not the least notion of music, declaim in complaints of that unfortunate king had, without so extravagant a manner against ' Alceste' and doubt, the accent of keen suffering,I should still 'Iphig6nie,' contending that Gluck is a barbarian. answer that M. de la Harpe desires not to hear the The other day in presence of many witnesses, he cry of a man who suffers. Have I not well grasped, tried to get up a dispute with the Marquis de Monsieur, the spirit of the doctrine laid down in your Clermont, who is a good musician. 'My friend,'said observations ? " the Marquis, 'I will sing an air and if you can Judgingfrom the above extract,Gluck was well able correctly beat the measure, I will argue with you as to take his own part in controversy. He may have much as you like about Gluck and Piccinni.' The felt,however, that it did not become an artist to enter Chevalier was prudent enough to decline this em- the lists of controversy on the subject of his own barrassing proposition, much doubting the correct- works. At any rate, he publicly called upon an ness of his ear, and it is this delicate organ which anonymous writer,who had championed him before, cannot endure the uncouth music of ' Iphigenie.' " to draw sword again in the same cause:- There were plenty of Chevaliers among the jour- " It would seem that these gentlemen (the journal- nalists, who wielded their pens with no less energy ists) are more happy when writing about other and perseverance because they really could not dis- matters,for, if I may judge by the reception that the tinguish the essential differencesbetween the severe public have kindly given to my works, the public music of the German and the ornate strains of the set no great store by their phrases or their opinion. Italian. But what thinkyou, Monsieur, of the new attack made Meanwhile, the rehearsals of "Armide " went upon me by one of them-M. de la Harpe? He is steadily on, and that work was produced Sep- an amusing doctor this M. de la Harpe; he speaks of tember 23, 1777. As might have been expected, its music in a manner which would make all the choir- reception was "mixed." Certain numbers evoked boys in Europe shrug their shoulders, and he says applause, but the bulk of the opera was heard in ' I will,' and he talks about 'my doctrine.' ' Et frigidsilence. Now came the turn of the Piccinnists, pueri nasum rhinocerotis habent.' Have you not a and they did not neglect the opportunity,reinforced little word to say, Monsieur, you who once defended as they were by the admirers of Lulli, they having me against him so successfully. Ah ! I pray you, if taken offenceat Gluck's choice of a subject which their my music has given you the smallest pleasure, put favourite master had treated. La Harpe, especially, yourselfin a position to prove to friendlyconno;sseurs selected his keenest weapon, and thus lectured Gluck in Germany and Italy that, among the literary men magisterially :- of France, there are some who, when speaking of art, " In 'Armide,' which is a good poem but a bad know at least what they say." opera, you seek to establish the reign of your nmelopfe, Giving an ear to this appeal, the anonymous one sustained by your choruses and your orchestra. I came down upon La Harpe like a thunderbolt. La admire your choruses and the resources of your Harpe replied with the adroitness of a practised pen, harmony. I would that your melopiewere less lavish and so the wordy war went on. But there was no and more adapted to the French language, that it mutual enmityin the hearts of Gluck and Piccinni, were less abrupt and less noisy; above all, I would and when Berton, the director of the Opera, sought that there were airs. For I love music that is sung, to bring them together at the supper table, he and verse that one remembers." apparently found the task by no means difficult.The Stung by this lofty tone, Gluck replied in a two composers met, embraced, and sat peacefully furiouslyironical letter, which the Journal de Paris by each other's side. Presently Gluck, who took his was delighted to publish. Here is an extract from wine with freedom,entered into the demonstratively it:- affectionate state sometimes brought about by the " I am confounded at seeing that you have learned " flowing bowl," and, in the fulness of his heart, he more of my art in a few hours of reflectionthan I began making embarrassing remarks to Piccinni who have practised it for fortyyears. You prove to about the people whose favour they both enjoyed. me, Monsieur, that to speak of everything it is only " The French are good fellows," he said, " but I can't needful to be a man of letters. I agree with you help laughing at them. They want us to make songs that, of all my operas, ' Orph6e ' is the only support- for them, although they don't know how to sing. able one; I sincerely ask heaven to pardon me for My dear friend, you are famous all over Europe having deafened my auditors in the other operas, You study only your glory; but when you make whose worthlessness the number of their representa- good music for these people, how much furtherare tions and the applause of the public do not prevent you advanced? Believe me, one should think of me from seeing. Of this I am so convinced that I money here and nothing else." Piccinni, in a state of shall re-write them, and, as you love tender music, extreme uncomfortableness, sensibly replied : " You I will put into the mouth of furious Achilles a song yourself proved that it is possible, at the same have. so sweet and touching that everybodyshall be moved time, to study both glory and fortune." Out of his to tears. Then, the r6le of Armide will no longer be cups, the German was as discreet, perhaps even more a monotonous and fatiguingclamour; Medea will no wary, than the Italian. It is said that they once met longer be a sorceress but an enchantress, and in in society, when the talk ran upon operas. " How her despair she will sing you a song so regular, so many have you written,M. le Chevalier ?" said some- periodic, and, at the same time, so tender, that the one to Gluck. " Not many" was the answer, "rather most lackadaisical petitemaitresse shall hear it without more than twenty,I think, and I did not compose the least disturbance of her nerves. Should some that small number without much study and effort." evil genius say to me, 'Monsieur, take care that " For my part," observed Piccinni, " I have written Armide in a passion does not express herself like more than a hundred, and they have not given me

This content downloaded from 204.235.148.92 on Tue, 22 Dec 2015 01:23:51 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-OCTOBER I, 1884. 573 much trouble." Watching his opportunity,Gluck chance that Schumannfound the greatSymphony in whisperedin Piccinni's ear: " You are wrongto say C in 1838; and it was aftermuch trouble and research that,my dear friend." Of course Berton's supper that other treasureswere discovered about thirty did not end the war. It broughttogether men who yearslater by Sir GeorgeGrove. And there is still had no quarrelthemselves, and were onlya cause of another name we would mention,that of Hector strifeto others. The otherswere not there. Berlioz. The revival of his music is, however,an be event of such recent occurrencethat we need not (To continued.) enter into detail about it. When one hears how masterpieceshave thuslain formany a longyear un- HEINRICH MARSCHNER. noticedand unknown,one is disposedto imaginethat S. SHEDLOCK, B.A. perhaps hostile time has subdued other geniuses BY J. whoseworks be discovered some other ON the wondrousrock of ice on which the may yet by lay wandereramongst the tombs, or bysome enthusiastic Temple of Fame the poet viewed inscriptionsof searcherafter hidden treasures. It is not difficult variousnames: to how Bach, Schubertand Berlioz came to The explain greaterpart by hostiletime subdued. sufferneglect. Their aim in writingwas not merely Sixty-sixyears ago a young composer sent the to gratifythe tastes and fancies of their contem- score of an opera to Weber, then Capellmeisterat poraries; and so, whenthey died, they were mourned Dresden. The workso pleased himthat he decided by the few who appreciatedthem, and forgottenor to produceit, and, afterlong delay, Marschner(for ignoredby the manywho failedto understandthem. this was the name of the young musician)received The performanceof the " Passion " music by a com- in 1820 a letterfrom Weber informinghim that his parativelysmall choral society,and the accidental opera "Heinrich IV und d'Aubign6" had been visit of Schumannto Ferdinand Schubertwere of successfullygiven at Dresden,and accompanyingthe coursethe immediate causes ofthe Bach and Schubert letterwas an honorariumof io ducats. Three years revivals-and forthis the names of Mendelssohnand laterwe findMarschner appointed joint Capellmeister Schumann must ever be heldin honour-yetwe believe withWeber and Morlacchiof the German and Italian thatwith the spread of musical knowledgeand the opera at Dresden. On Weber's death in 1826 he increased interestin the lives and labours of the resignedhis post and wentto Leipzig. Here in 1828 greatmusicians resulting therefrom, the losttreasures he producedthe "Vampyr." Greatwas the success would anyhowhave been recoveredand the com- of the work: it went the round of the principal posers have had fit,though tardy honourspaid to German theatres,was performedat the Lyceum them. Theatre,London, in 1829,and but forsome hitchin But whatabout authorsand theirworks being for- the arrangements,would have been givenat Paris in gottenfor ever? To say of any writerwho once the followingyear. Then we have the productionof acquired fame-for of such onlyare we speaking- "Hans Heiling" at Berlin and at Leipzig, a work thathis reputationhas vanishednever more to return generallyregarded as his best. But " hostiletime " is, no doubt,a seriousmatter; but surelyworks which has subdued that name which once was so full of have no depthof thought cannot take root; theygrow promise: seldom is it to be foundon any Concert quicklyinto favour,but as quicklyfade and wither programme. At Hanover, for so many years the away. We could point to operas, oratorios,sym- scene of his labours(he was appointedCourt Capell- phonies,and sonatas writtenwithin the last twenty meisterthere in 1831 and retainedthis post till his yearswhich flourished for a timeand yet,to all appear- death, December14, i861), three of his operas, the ances,are dead forevermore; but it willbe moredis- " Vampyr,"the "Templer," and " Hans Heiling,"are creet,and, at thesame time,more profitable, to speak still given,and also in otherparts of Germany; but of eventswhich happened, as theysay in storybooks, in England and France his name is all but ignored. " a longtime ago." Look at thepopularity of Hasse's At one of the RichterConcerts last season the over- operas in the I8th century,and at the brilliantrecep- ture to "Hans Heiling" was performed,and then tion of his "Artaserse" in London. Look at the surprisewas expressedby Mr. C. A. Barry in the successes of Dittersdorfand Salieri at Vienna,and analytical programme-bookthat so little should be thinkof Gluck, who leftthe city in disgustat the knownor heard of a composerwho had writtenso receptiongiven to his "Orf6o" and "Alceste," and much and whose reputationat one time was so of Mozart,who foundin the author of "Tarare " a considerable. We do not knowthe exact numberof formidablerival. These men owed success to the his publishedworks, but a set of six songsbears the fact that they wroteon a level with the epoch in Opus number191. Some of his part-songsfor male whichthey lived; theirobject was to please andamuse. voices (and ofthese he wrotea greatquantity) are to Their operas certainlyshowed talent, tact, and taste, be heardoccasionally in Germany, but his instrumental but possessed no lastingmerit; and theyhave passed music may be describedas completelyoverlooked. away like the men and womenwho listenedto, and There are two ways in which a writerand his applauded them. Does anyone believe in theirre- worksmay be forgotten:for a timeor forever. For vival? The verysuccess whichthey obtained speaks manyyears most of Bach's manuscriptslay untouched against them. As theirauthors sowed, so did they and unheeded; more especially was this the case reap; they wrotefor their day and generation,and with the vocal ones. When Mendelssohnrevived posteritytakes no noticeof works not addressed to it. the Passion musicin 1829,it had not been heardfor Marschnerappears to us a composerwhose aims well-nigha century.The " WohltemperirteClavier," and aspirationswere not of the highest. F6tis tells now as much known and, in its way, admired as us thatthe successes of Rossinimade himresolve to Beethoven'ssonatas, was not published till half a give a freecourse to melody,and to attachless value centuryafter the composer'sdeath. We are soon to harmonicand contrapuntalcomplications. And about to celebratethe 2oothanniversary of the birth again, thatin his opera entitled" Der Holzdieb" he of the mightymaster, and yetof the treasureswhich aimed " at a styleof music less severe than that of he bequeathedto posterity many are stillunpublished. the dramas of the Germanstage thenin vogue,but Then passingon to the nineteenthcentury we call to more vigorousthan that of simple oFerettas." If mind the great contemporaryof Beethoven-viz., those statementsbe true-and we mustconfess that Franz Schubert. For yearssome of his finestworks a studyof his best knownworks leads us to believe were hidden away in a cupboard. It was quite by them-then, perhaps, we shall not be wrong in

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