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The Great Composers. No. XII. Rossini (Continued) Author(S): Gioacchino Rossini and Joseph Bennett Source: the Musical Times and Singing Class Circular, Vol

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The Great Composers. No. XII. Rossini (Continued) Author(S): Gioacchino Rossini and Joseph Bennett Source: the Musical Times and Singing Class Circular, Vol The Great Composers. No. XII. Rossini (Continued) Author(s): Gioacchino Rossini and Joseph Bennett Source: The Musical Times and Singing Class Circular, Vol. 23, No. 478 (Dec. 1, 1882), pp. 649- 652 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3358381 . Accessed: 14/12/2014 05:57 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, 14 Dec 2014 05:57:19 AM All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-DECEMBER I, 1882. 649 copied as the more exact informationgiven by these wrongly, the clefs have been changed in several authorities. places, and the parts have been inverted, so that the Seeing that Martin Gerbert's works are less for highest became the lowest," &c. Nevertheless, F6tis those who read than those that write history, it may does not hesitate to state that " the publication of this not be inadvisable to inquire what these latter say collection may be considered as one of the greatest about them. Hawkins got Gerbert's " De cantu et services which have been rendered to art. " Cousse- musica sacra " when he had already printed the fifth maker, in his new series of medieval writers, as well volume of his history (published in 1776), and conse- as in " Les Harmonistes des XIIe et XIIIe Siecles," quently could not take advantage of it. But, in men- and in" L'Art harmonique aux XIIe etXIIIe Siecles," tioning this fact in the preliminary discourse, he expresses himself even more eulogistically. In the praises the " great learning, judgment, and candour" last-mentioned work he says of Gerbert's collection evinced by the author of this " most valuable work," that it " has opened a new era in the history of the and felicitates himself on findinghis " sentiments on art, in enabling the learned to study it in the original the subject, particularly on the church composers sources." and the corruptions of the church style, confirmed And if we now visit the place where the works by the testimony of so able a writer." Burney was which have been such precious gifts to historical more fortunate than Hawkins, for, as the second inquirers were planned, composed and printed,where volume of his history did not appear till 1782, he had Martin Gerbert lived-learning, teaching, praying, the benefitof Gerbert's " De cantu et musica sacra," meditating,and governing-for more than fiftyyears, although the " Scriptores ecclesiastici de musica what do we see? The Government secularised, the sacra potissimum " came too late also for him. monastery occupied by operatives and State officials, Burney mentions Gerbert in his historyonly cn passant, the church despoiled of its splendour. At first, in and withoutnoteworthy comment; to learn something 1802, the territoryof St. Blaise was to be given to of the relation in which they stood to each other we the Knights of St. John in compensation for losses must go to Vol. II., pp.317-319 of " The Present State sustained; but finally,in 1805, it was, by the Treaty of Music in Germany, the Netherlands, and United of Pressburg, divided between Baden and Wiirtem- Provinces." Forkel gives one an idea how Gerbert's berg. Two years later, on June 25, 1807, a decree contributions to the history of music were appre- was issued suppressing the monastery, whence the ciated by those who at that time were workers in the monks had already in the preceding year departed. same field. After expressing in the preface to his They stayed till 18o8 at the Abbey of Pyrhnon the Ens, history (Vol. I., 1788) his indebtedness to Hawkins and then settled at St. Paul's, in Carinthia. In this and Burney, he proceeds: " But most welcome of all way the monastery became disposable formanufactur- was to me the considerable collection of writings ing and officialpurposes. The time was also deemed which the prince-abbot of St. Blaise published in opportune for stripping the church of its most pre- 1784, and by which he enabled also the musical cious ornaments; not only were the marble columns historian who could not undertake long journeys in which supported the cupola removed and the organ search of unprinted materials to make himself carried offto Carlsruhe, but even the copper roofwas thoroughly acquainted with the nature of the art as taken down. To make bad worse, a firebroke out in far as this is possible without practical examples." 1874, and totally destroyed the noble edifice-which, Forkel's sentiments show themselves still more indeed, was subsequently rebuilt, and still serves as distinctly in his " Allgemeine Literatur der Musik " the parish church, but which is now less like its former (1792), which, " as a testimony of his veneration self than ever. In short, the picture is a sad one, we and gratitude," he dedicates " to the most reverend turn from it willingly, not, however, without a sigh. Prince Martin, Abbot of St. Blaise, &c., author Sic transit gloria mundi. of the excellent work ' De cantu et musica sacra,' and editor of the musical writers of the middle ages, whereby musical literature has been so much THE GREAT COMPOSERS enriched." In the course of time historians began BENNETT. to temper their praise of the learned monk with BY JOSEPH criticism. The noblest kind of criticism was that No. XII.-ROSSINI (continued from page 594). of Coussemaker, who complemented and continued THE year 1819 was a busy one with Rossini. Hav- Gerbert's collection of mediaeval writers on music by ing produced at Naples his " Ermione," the cantata the publication of more than sixty additional treatises " Parthenope," and a second cantata in honour of (" Scriptorum de musica medii aevi novam seriem a the Austrian emperor's visit, as well as the pasticcio Gerberta alteram collegit nuncque primum edidit E. " Eduardo e Christina" at Venice, he turned his de Coussemaker, 1867-1876"). F6tis, although not attention to the works of Sir Walter Scott, hoping backward in recognising in " De cantu et musica for a subject among the tales, romances and poems sacra " curious details on the medimevalnotation, which were then entrancing Europe. His choice fell origin of mensurable music, and instruments,espe- upon " The Lady ofthe Lake," and in a verylittle while cially the organ, yet regrets that Gerbert's special Tottola was ready with the libretto of " La Donna musical knowledge was not more extensive and his del Lago." Rossini was moved by his fresh and reasoning in many parts of the book rather that of a poetical theme to unwonted efforts,some critics going scholar than that of a musician. Still severer strictures so far as to say that " La Donna del Lago " is the the Belgian historian gives vent to with regard to the Italian " Tell." However this may be, it is certain " Scriptores ecclesiastici," a collection into which he that the master here drew more fullyupon his re- thinks were admittedsome treatises devoid of interest, sources, and enlarged very materially the scope of and others incorrectlycopied or copied fromincorrect his expression. The work must now be considered manuscripts. The article "Franco" (" Biographie as out of date, if not unworthyof present hearing, yet universelle des Musiciens") contains a most wither- it is worthwhile to repeat what a contemporarycritic, ing criticism of Gerbert; F6tis going even the length M. Azevedo, has said of it. If we believe the follow- of saying, "In truth, it seems that Gerbert did not ing testimony,then we must also hold that the world understand what he was transcribing. With regard is neglecting a treasure indeed:- to the examples in musical notation, the evil is much " There is not in the repertoryof Rossini, and con- more grave, for many examples do not correspond sequently in the entire musical art, a marvel that can at all with the text, or the music has been placed equitably be placed above the firstact of ' La Donna This content downloaded from 128.235.251.160 on Sun, 14 Dec 2014 05:57:19 AM All use subject to JSTOR Terms and Conditions 650 THE MUSICAL TIMES.-DECEMBER I, 1882. del Lago.' There all is genius. What can one rank, places in the parterre. One of these gentlemen, at in effect,before the scene of the lake, ' O matutini the firstsound of the trumpets,began imitating with albori,' where the true poetry of a tranquil country his cane the noise of a galloping horse. The public painted in sound is only equalled by the expression of seized the idea, and in an instant the parterre was the heroine's tendermelancholy ? or beforethe superb full of fifteenhundred schoolboys doing the same and pathetic air ' O quante lagrime,' with its synco- thing with all their might." Stendhal adds of Rossini, pations, which are like sobs ? or the chorus, so fresh "il se trouva mal," and Azevedo interprets the and characteristic, ' Inibaca donzelli' ? or the all- remark as "fainting," apparently in order to deny powerful finale ? In this finale Rossini has shown in it on the master's own authority,but, as he well says, an astonishing manner that the most difficultcombi- " one might faint for less without being accused of nations cannot affect his inexhaustible inspiration.
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