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The Great Composers. No. XIII. Cherubini (Concluded) Author(S): Luigi Cherubini and Joseph Bennett Source: the Musical Times and Singing Class Circular, Vol

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The Great Composers. No. XIII. Cherubini (Concluded) Author(S): Luigi Cherubini and Joseph Bennett Source: the Musical Times and Singing Class Circular, Vol 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 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 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 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 14 THE MUSICAL TIMES.-JANUARY I, 1884. 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.
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