The Great Composers. No. XIII. Cherubini (Concluded) Author(s): Luigi Cherubini and Joseph Bennett Source: The Musical Times and Singing Class Circular, Vol. 25, No. 491 (Jan. 1, 1884), pp. 13-16 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3356898 Accessed: 09-11-2015 19:13 UTC

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This content downloaded from 142.66.3.42 on Mon, 09 Nov 2015 19:13:30 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-JANUARY I, I884. 13

an archoeological point of view; but those who cry bass (tastosolo) with the basses of the orchestra. The out against all additional accompaniments either do choruses are mostly accompanied by strings, oboes not know or do not choose to remember that what and bassoons, to which is added the organ in oratorios they are clamouring for is unattainable. In the and the harpsichord in operas. The oboes usually firstplace, one would require two harpsichords, with double either the violins or the treble voices in unison, two good players, able to fill up Handel's harmonies though we shall find places where they have inde- as the composer did himself,sometimes without even pendent parts giving fuller harmony; the bassoons a figuredbass to guide them. Where are they to be generally play with the violoncellos, sometimes with found? And even supposing them found, what the bass voices; and occasionally they double the guarantee can we possibly have that the filling-up violas, if these instruments have an important part. is the same which Handel used ? Besides, the only The horns and trumpetsare not treated in the modern harpsichord now obtainable would probably be at style, but have mostly melodic passages, which fre- least a hundred years old, and the tone would be no quently lie very high, as is also the case with Bach's more like that of a new instrument than would be horn and trumpet parts. The drums are only ex- that of a piano of the same age if played in a concert- ceptionally used for solo effects, or for dramatic room; while the substitution of a modern piano for colouring; usually they play with the trumpets in the harpsichord would not realise Handel's effectin the t[zttis. the least. And how will the old harpsichords mix It will probably surprise many of my readers when with our modern instruments? To come to another I say that there are few modern effectsof orchestra- point: suppose the number of oboes to be increased tion which have not been at some time or other so as to have one-third as many as there are violins, anticipated by Handel, or of which the germ at least we still do not realise Handel's effects; for the oboe may not be found in his scores ; yet this is the simple of the last century (as is shown by Dr. Stone, in his truth. The contrasts of the differentdepartments article "Oboe," in Grove's Dictionary) was played of the orchestra-strings, reeds, and brass-the with a differentkind of reed fromthat now used, and effectsof sustained wind harmonies against moving possessed a quality of tone more like that of the strings, the combinations of solo instrumentswith musette played by itinerant Tyrolese musicians than the voice, the use of sordini and of the pizzicato for like that of the modern oboe. Four of our oboes the strings: we find them all-less frequently, no against twelve violins will not reproduce Handel's doubt, than in modern scores, but to a degree that effectat all accurately. Again, what shall we do for proves Handel's perfect mastery of the orchestra of the two organs prescribed in the score of " Israel," his day. Had he lived a century later, he would to say nothing of the teorba and arciliuto wanted for have been in instrumentationthe rival of Berlioz and " Esther " and " Athalia," or of other instruments Wagner. used by Handel which are as extinct as the dodo ? In my next paper I propose to commence the It is no more possible to reproduce the orchestra of examination of Handel's scores, taking them as far Handel precisely than that of the ancient Greeks and as possible in chronological order, so as to trace Romans; and those who object to a certain amount better the gradual enlargement of orchestral of modernisation of his scores must be content to go resources by his genius. without hearing his music at all. (To be continued.) I have digressed somewhat from my course, but the remarks on the impossibility of giving one of Handel's works exactly as he gave it himself seemed THE GREAT COMPOSERS. a natural to the statement corollary (which requires BENNETT. no proof beyond an examination of the scores) that BY JOSEPH his orchestra was fundamentally differentfrom that No. XIII.--CHERUBINI (concluded from page 654). of our day. And this brings me to my next point-- IT is now time to speak of the compositions which that his system of treating the orchestra also differed Cherubini gave to the world in his last years-that is widely from that of modern composers. With the to say, between 1830, when the choir of the Chapel exception of the clarinet, ophicleide, tuba, and some Royal and his office connected therewith were sup- of the percussion instruments (such as the triangle), pressed, and 1839 when he ceased to write. During all the instrumentsof an ordinary modern score may that period, the master, as may be supposed, was be found in Handel's works, besides many not now several times tempted to resume work in connection employed. But, of all these, only strings, oboes, and with the lyric stage. M. Pixerecourt, author of the bassoons are used frequently; the flutes, horns, drama, " Les Mines de Pologne," from which the trumpets, and drums are reserved for special effects; libretto of " Faniska" was taken, had previously sometimes they are only in one or two numbers of a sought Cherubini's help in an adaptation of the work work. When they appear, they are treated in such for the Opera Comique. The composer consented, a way as to show that the composer thoroughly but found, on looking at the score, that it could not understood their capabilities, and that the modera- be made to suit a French audience, and the project tion in their introduction was the result of system. consequently fell through. Indeed his zeal foropera The songs are sometimes accompanied only by had abated, in presence of increasing love for the basses and a harpsichord-the simplest form of music of the Church. It was, therefore, with no Handel's scoring; sometimes to these are added great hope of success that Scribe and M61esville violins in unison, not unfrequently doubled by the approached him on the subject of his opera, " Kou- oboes, especially in the symphonies; sometimes the kourgi," written in 1793, and never produced. string quartet is used for accompaniment, occa- M. Pougin gives a very clear account of the trans- sionally without, though more frequently with, the action that ensued, and his words may be quoted with harpsichord. These are the most frequent com- advantage:- binations in solo music; though as we proceed " Why was the work never brought out ? That is to examine the scores we shall find many songs what no one to-day can tell. One thing, however, is in which important solo parts are given to the certain: The libretto was supplied by Duveyrier, wind. The score of " Saul" proves beyond a doubt father of the ingenious and fertile dramatic author that in accompanying songs the organ was not used at who made himself known under the name of M6les- all-except, of course, in the rare cases in which it ville, and who, wishing to derive some profitfrom the is treated as an obbligato instrumentand to play the paternal prose, suggested to Scribe, his usual literary

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colleague, the idea of joining him in re-arranging the holding out his helmet to the passers by. 'Ali Baba' book of' Koukourgi,' which no longer suited the taste is one of those fossilised operas which a director of the day, and of making the public acquainted with only accepts when they are thrust down his throat Cherubini's music. The two authors called upon the by illustrious old age, and for fear of being declared composer, and explained to him their desire, which he a vandal, the director had to pass it off for a chef seems to have agreed to without much pressure. As d'ceuvre,and with a loss of fiftyto sixty thousand is invariably the case under such circumstances, francs. But the public, who were not bound by the they were to follow almost exactly the original same considerations as M. Vdron, yawned so much course of the story, so that the situations might be and so widely, under Ali Baba's very nose, that real reproduced, and the sense of the music and the form hissing would have spoken less eloquently. The of the numbers not changed. But, as is also invari- public condemned without appeal, and executed ably the case, changes and modifications cropped up pitilessly those forty thieves who had not stolen in the course of the work, and the musician was anything." bound to have his share of them. Thus Cherubini The same writer tells us-we may accept the was obliged to write a large number of new pieces. statement or not-that Cherubini laid all the blame Then 'Koukourgi' was in three acts only, while of failure on the chorus, remarking " With such ' Ali Baba'-such were the new title and subject miserable choristers as those of the Opera no success adopted-was in four, with a prologue; moreover, is possible. I could never make one of my forty the work was remodelled, and first destined for the thieves sing, or even march, in time." Mendelssohn, Opera Comique, was eventually taken to the Opdra, as readers of his letters may recollect, criticised the and naturally subjected to fresh modifications and music of the piece with his usual freedom, declaring important alterations. It was not, consequently, till that, though " enchanted " with many parts, he could after the lapse of several years that it could possibly not accept Cherubini's new-fangled orchestration, in be brought out." which it seemed " as if the instrumentswere nothing F6tis states that the work thus laboriously put and the effect everything. . .. As if it were the together was " almost entirely new " and that the audience who had skins of parchment instead of the manuscript ran to no less than a thousand pages. drums." On the other hand, a writer in the Nieder- " He adds, with great truth and force: " It is some- sheincischeMulsik Zeitung said: Cherubini was seventy- thing marvellous that a master whose first composi- three years of age, but both his head and his heart tions are dated 1773 should have been able to write had remained young, and his latest dramatic pro- with the spirit of youth, sixty years afterwards, an duction displayed, in conjunction with the maturest immense musical work; modifyhis talent with rare knowledge and the most beautiful form,the loveliest facility, without ceasing to be himself; findfresh and blossoms of profound feeling and youthful passion. brilliant ideas, when only experience and learning That the work did not retain its place in the reper- were expected from him, and light upon accents of tory was not astonishing in the case of a public in- love and passion in a septuagenarian heart." We toxicated by the perfumes arising from the flowery have seen that the work was carried to the Opera, path which Rossini and his imitators had forced the but it must not be supposed that the authorities of opera to take." This was not the only mark of the grand theatre were very anxious to have it. Dr. German appreciation. " Ali Baba," produced in " V6ron, the then director,accepted" Ali Baba against Paris, July 22, 1833, was performed in Berlin, his own judgment, entirely out of respect for an illus- February 27, 1835, " withgreat success." Thenceforth trious old composer. Nor does it appear that the old master wrote no more forthe stage. Cherubini himself cherished very sanguine hopes. It has been stated in an earlier chapter that We learn from Hal6vy that, though he attended the Cherubini diversified his labours, when about fifty rehearsals-and at times made his presence very much years of age, by writing a string Quartet in E flat. felt there-he ran away fromthe performance,going We now findhim, nearly a quarter of a centurylater, to Versailles, and, watch in hand, letting his fancy returningwith almost youthful zest to that form of follow what was at the moment being done in Paris. composition, which, no doubt, he found better suited " At five-and-twentyminutes past eleven ' Ali Baba' to his years than the more exciting labour of operas was over by his watch, which, he said, went very and masses. " It occupies and amuses me," he said well and kept Opera time. He retired to bed, slept to Ferdinand Hiller, "for I have not the least pre- soundly, returned to Paris only after having received tension in the matter." About the value of this a re-assuring despatch, and never went to see this music connoisseurs differ greatly. For example, opera, of which he never spoke again, except to Professor Macfarren, having before him the Quartet observe "It is too old to live long. It was forty in E flat (1814) and that in C (1829), founded on when it came into the world." Readers of the Cherubini's London Symphony, writes in the " Im- Memoirs of Berlioz may remember that, according perial Dictionary " as follows: " Their merit entitles to his own account, that excellent hater of Cherubini them to no distinction, and it is scarcely to be sup- greatly distinguished himself by offeringan increas- posed that his several subsequent works of the same ing number of francs for an idea, and it must be class which have not been printed can possess any said in some sort of justification that the Parisians greater interest,since these prove the author's entire generally had no great opinion of " Ali Baba." It want of feeling for the style, and aptitude forthe form was played four times, set aside fortwo months while of,instrumental chamber music." On the other hand, Nourrit took his holidays, reproduced on that artist's Hiller describes the Quartet as "full of delicacy return, and soon finally withdrawn. Mr. Bellasis and piquancy," which indeed it is; Schumann speaks quotes from Boigne's " Petits Memoires de l'Op6ra" of it as " full of life," and adds that the Finale a rather amusing account of its first night's recep- sparkles " like a diamond when you shake it;" while tion:- Fbtis remarks of all the Quartets: "These com- "In 'Ali Baba' everything was wearisome and positions are of a very high order. Cherubini has soporific-poem, music, and ballet; the airs of which here a style of his own, as in all his works. He were, however, composed by Hal6vy. Those fas- imitates neither the manner of Haydn, nor that of tidious fortythieves had better have rested eternally Mozart; nor that of Beethoven." Between Professor in their jars and in the works of Galland. Cherubini Macfarren and the majority opposed to him, we shall demanding hospitality at the Op6ra for ' Ali Baba' not pretend to decide; but simply express a modest has the same effect with me as would Belisarius opinion that Cherubini's instrumental works for the

This content downloaded from 142.66.3.42 on Mon, 09 Nov 2015 19:13:30 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-JANUARY I, 1884. 15 chamber are not only interesting, as, bearing his and very differentto the by no means flattering name, they must needs be, but a distinct and valuable portrait biographers have been pleased to draw of addition to the repertoryof their class, because so him." How many distinguished artists used to visit full of fresh and charming individuality. The re- the old man thus revealed to us as happy and lovable vival of the old master's regard for this form of in his home! At times might have been met there music seems to have been due to the eminent Boi6~dieu and his wife, Carafa, Berton, Bordogni, the violinist, Baillot, who introduced the Quartet in E singing-master, and his wife, Madame Rigault; flat at one of his Quartet parties with much ap- Narderman, the harpist, Zimmermann, the pianist; plause. Then, as we have seen, Cherubini founded Viotti, Kalkbrenner, Heller, Chopin, Thalberg, a second upon the symphony, written in London, Rossini, and a host of others. These-Viotti excepted, and subsequently composed four others, three of for Cherubini could never forget the affair of the which, it appears, still remain in manuscript. Opera direction-were admitted into the inner circle, Concerning the Quartet in C, Schumann says: "A and made free of the house. Most welcome of all, few dry bars, the work of the intellect alone, there perhaps, to the quiet self-contained Cherubini was are, as in most of Cherubini's works, but even in boisterous expansive Rossini-les extremesse touchent. these there is always something interesting in the " He who brought with him life, movement, and passage, some ingenious contrivance or imitation, gaiety; he whose beaming and sonorous laugh, and something to think about. There is most spirit in meridional fluency of speech, together with his the Scherzo and last movement, which are both full vibrating and re-echoing voice, came to disturb with of wonderful life. The Adagio has a striking indi- a sort of violence the ordinarily discreet echoes of vidual A minor character, something romantic and the always calm and half-silent household was Provengalish. After hearing it several times its Rossini-Rossini, then in all the prime of age and charms grow, and it closes in such a manner as to health, jocose by nature and by taste, always indulg- make you begin listening again, though knowing that ing in raillery and banter; an inexhaustible narrator the end is near at hand." The master's last chamber of good stories, never at a loss for anecdotes and composition was a Quintet, written in 1836. Of this piquant tales; a man who appeared unable to look at Ferdinand Hiller tells us: anything seriously; who had always a bit of sly " When I left Paris in 1836, Cherubini was writing malice to slip into the conversation, and whom two a Quintet for stringed instruments,and told me with men only, Cherubini and Boialdieu, could induce to perfect simplicity that he intended to write half-a- speak of art in a reasonable manner, and without dozen more. . . . The Quintet was executed in his laughing at people." This great, fulllife must indeed own room, when he was seventy-eight, and greatly have come into the house like a whirlwind, making surprised the artists of Paris." everything whirl and dance in rhythm with itself. F6tis adds to this:- When Rossini entered at the door, quietness flew out " In the winter of 1838, Cherubini invited to his at the window. "Tranquillity was impossible. He house a few artists, and had performed for them the set every one off with his good-humoured sarcasm Quintet he had just finished. They all experienced and rollicking high spirits ! " But when Rossini was the liveliest emotion at the work,the author of which not there, order prevailed. " The ladies talked was then seventy-eight years old. Even if we grant among themselves. Sometimes the company played that this great age was not entirelywithout influence at cards: bouillot, all-fours, or whist, Cherubini on the impression produced, it is no less true that willingly taking a hand, especially at whist, of which every one perceived in the work a freshness of ideas he was particularly fond; sometimes, also, he would which, it might have been thought, could scarcely play backgammon, either with Salvador or Gide. On belong to an old man on the brink of the grave. other occasions, when Boialdieu and Cic6ri were there, Cherubini's hand trembled when tracing these last he would join them. All three then began drawing, emanations of his talent, but his mind had preserved and all three being very clever, produced some charm- all its clearness and all its vigour." ing things. Sometimes, again, it happened that Following the Quintet came a few solfeggi, and Cherubini, leaving his wife to look after his guests, when Cherubini, in 1839, had written an arietta for would retire a little to work. He used to seat himself an album, the old man's work was done; the pen at the table placed against his old Erard piano, and dropped for ever from his tired fingers,and the few there, with a quantity of music paper under his hand, years of life remaining belonged to his family and absorbed and abstracted in his inspiration, he would friends alone. write a piece of music without a single erasure or Respectful interest and admiration naturally desire correction, and afterwards carefully put it away in to follow him into his home, and happily we are not one of his portfolios. It mattered nothing to him left to imagine what sort of a place it was, and how its that twenty persons went on talking, laughing, master bore himself amid relatives and friends. It and arguing; provided they did not sing, it was need not be pointed out, after what has already been immaterial to him what they did." said as to Cherubini's personal character, that he was Into this haven of rest and enjoyment Cherubini no surly misanthrope, shutting himself up and grow- retired, when his work in the world was done, ling like a bear in his den. On the contrary, "the and there he awaited the angel of Death. He grim Florentine" never pulled his latch string in was prepared forthe coming of the good spirit,which against artists, colleagues, and friends. However ap- Gothic fancy has so horriblymisrepresented in more parently stern and unsympathetic in his official rela- than one way. He had, for example, got ready his tions, at home and in the social circle he was genial own "Requiem," moved thereto by a somewhat and even gay. Under his roof, if we may believe singular circumstance. When his pupil, Boialdieu, M. Pougin, " There prevailed an affectionate neigh- died in 1834, it was intended to perform the bourly feeling, a charming familiarity, and an inter- " Requiem " in C minor as the funeral service. course entirely free fromrestraint, revealing a new This purpose, however, could not be carried out. and unknown Cherubini-a Cherubini who had lost The then Archbishop of Paris, like Cardinal Manning all his ruggedness; smiling because he had thrown amongst ourselves, had a very strong objection to offthe last trace of his officialpositions; attentive to the presence of females in church choirs, and as the every one, and ready to enter into friendlyconversa- work just named could not be given without women's tions-in a word, quite another Cherubini to the one voices, there was no alternative but to withdraw it. we have always been shown up to the present time, Cherubini naturally felt a little annoyed at this. He

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loved Boieldieu much-" J'ai perdu un ami, un puted glory of his art." Another English writercom- freire! " he exclaimed at the grave-and the perform- pared the master's death to " the extinguishment of ance of his music on the last occasion when honour the sacred fireupon an altar, which overspreads the could be directly paid, would have been a consolation whole temple with a sudden gloom, and leaves but in grief. The master seems then to have looked the sweet odour of the incense, which shall burn no forward and anticipated some such difficultyon the more." After saying that it would be idle grief to occasion of his own obsequies. He is reported to lament for one who lived so long and nobly, the same have said: " I shall do one for myself which will writerwent on: " Still, one cannot help an emotion play them (the priests) a good turn, and to which almost amounting to awe, when we learn that such there will be no objection." Thus originated the a man has passed away from among us; when we are " Requiem " in D minor, for male voices in three brought to contemplate the rational miracle of a parts-one of the severest, noblest, and most impres- human mind which, for more than seventy years, has sive things in the whole repertoryof church music. continually poured forth its beautiful imaginings in The old master did not keep his work by him, as countless variety. When we but surmise how rich sacred to the purpose forwhich he primarilyintended and vast the reminiscences and associations of such it. According to Mr. Bellasis, the " Dies Ire " was a mind must be, mingling as it has done with all the performedat a Conservatoire concert, in March, 1837, brightest and best of its kindred nature during three- and, a year later, the whole Mass was given under quarters of a century; and when we are forcedto know the same auspices. Previously to this Mendelssohn that such a man and such a mind, and such a treasury had heard of it, with perfect faith in its worth, for of golden tokens are henceforthto be themselves but we find him writing to the directors of the Lower a memory." On the other side of the Channel the Rhine Festival, in January, 1838, as thus: " With deceased composer's pupil, Adolphe Adam, lifted up regard to the second day, I may firstenquire whether an eloquent voice and said: "That name shall be you intend to apply to Cherubini for his grand immortal, that glory will not perish, for, though 'Requiem'; it must be translated (!) and is entirely Cherubini may cease to be numbered among the first for men's voices; but as it will only last an hour, of composers, where is the master who has produced even less, that would not much matter, and, accord- such scholars ? The excellence of his system is best ing to the universal verdict, it is a splendid work." proved by the diversity of talent developed in those The events of Cherubini's life between the compo- who have enjoyed the advantage of his admirable sition of the Quintet-in effect his last work-and lessons. To each he gave an individuality, but to the day when he passed away were naturally few. all, that unaffectedpurity of style of which his own Moscheles tells of a visit to him in 1839, and of the works furnishsuch beautiful examples, and which it " aged composer saying that with the exception of is delightfulto see reflected in the compositions of the Directorship at the Conservatoire, he had nothing the musical generation he has created." more to do with music; he couldn't write another Cherubini's funeral was worthyof so great a man. note; he wasn't strong enough to hear and enjoy The body, after lying in state in the great hall of the musical impressions." In 1841 Cherubini sat for his Conservatoire, was escorted to the Church of St. portrait to Ingres, and the result was the well-known Roch by a procession of over three thousand persons picture, half literal, half allegorical, wherein the in some way or other connected with the musical art. master appears in his ordinary dress, while Poly- The cort6ge was preceded by two regiments ot hymnia, in classic attire, stretches her hand over her infantryin compliment to the rank of the deceased votary. In February, 1842, the old man voluntarily as a Commander of the Legion, a band of sixty-five put an end to his long connection with the great instrumentsplaying the Dead March writtenby him school he had helped to found in the stormy days of forthe funeral of General Hoche, and the pall being the Revolution. Failing health made it impossible borne by Auber, Hal6vy, Ingres, and Raoul-Rochette. for him to discharge the duties of his high office,and In the church the "Requiem " formale voices was per- so strict a disciplinarian was not likelyto sanction in formedby the artists of the Opera, the Italian Opera, himself, for whatever reason, the neglect he had and the Opera Comique, and, at its conclusion, the never allowed in others. So he sent in his resignation honoured remains were carried to Pare la Chaise. and insisted on its acceptance, refusing point-blank The grave was dug near those of Gre6try and to avail himself of "unlimited leave of absence." On Boi8ldieu, and standing above it Raoul-Rochette, this, King Louis Philippe, neververyready at generous Lafont, Halkvy, and a pupil of the Conservatoire and graceful acts, woke up to a perception of what eulogised the deceased and bade him farewell, a was fitting,and bestowed upon Cherubini the Com- great crowd listening unaffected by a downpour of mander's Cross of the Legion of Honour-a dignity hail. So, with fittingrites, passed from the world never before awarded to a musician. The master a great and remarkable man, whose fame will outlive enjoyed it but a little while. He rapidly became all changes of taste, because the principles his works weaker, and on March 12, 1842, while his family and exemplifyare the eternal principles of true art. friends,among whom was the faithful Hal6vy, stood around his bed, he peacefully fell asleep, in the eighty-second year of his age. RUBINSTEIN'S "SULAMITH." Cherubini's death, though naturally looked for, made a profoundimpression in musical Europe. The IT is remarkable that the idyllic story of the master had lived so long and filled so great a place, Hebrew poem known as "The Song of Songs" that he was instinctively regarded almost as an should have escaped, till lately, the notice of those institution. His departure created a void that nothing who hunt after untouched Biblical subjects formusic. seemed able to fill,and from all quarters came the Almost every other narrative in the Sacred Writings tribute of grief and respectful sympathy. In one came long ago under observation, and now very few English journal it was said: "Cherubini is no more ! indeed remain, but no one appears to have thought The founderof the French Conservatoire,the instruc- of the sweetest among them all. This may be tor of a thousand eminent musicians, the composer explained, perhaps, by the obscurity of the text, of innumerable undying productions, who for more regarded as that of a drama, and by the fact that than fortyyears has been loved by those who knew the elucidation it has received frommodern Hebraic him personally, and admired by all Europe, who has scholars is yet knownto few. Even more noteworthy, outlived all rivals, and sustained the highest undis- perhaps, is it that after such prolonged neglect the

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