Jules Massenet Author(s): M. D. Calvocoressi Source: The Musical Times, Vol. 53, No. 835 (Sep. 1, 1912), pp. 565-566 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/907620 Accessed: 22-06-2017 20:07 UTC 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]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times This content downloaded from 198.199.32.254 on Thu, 22 Jun 2017 20:07:18 UTC All use subject to http://about.jstor.org/terms THE MUSICAL TIMES.-SEPTEMBER I, I912. 565 vituperator Frangois Bazin.tf Since then, and until the end of his life, honours, fame and fortune ChZ fusical &imes came to him in profusion. The absolute failure of AND SINGING- CLASS CIRCULAR. a comparatively great quantity of his works passed SEPTEMBER I, 1912. unperceived under the favour of several radiant and protracted triumphs, the most memorable of which are those of 'Manon' (Paris, Opera-Comique, 1884), 'Werther' (Vienna, 1892; Paris, Opera- JULES MASSENET. Comique, 1893), and 'Thais' (Paris, Opdra, 1894). By M.-D. CALVOCORESSI. ' Esclarmonde,' which, when produced in 1889 at By the death of Jules": Massenet, thewhich Opera-Comique, had a very satisfactory run of occurred on August 14, France loses her performances, most has never since been revived. popular and, besides Dr. Saint-Saans, most famous Massenet has certainly been one of the most composer-a composer on whose actual merits,prolific of French composers. He has written no perhaps, exacting critics do not agree, but less whose than twenty-four operas or opera-comiques career may well be described as an almost (three of which, 'Panurge,' 'Amadis,' and uninterrupted series of successes. 'Cleopitre,' are as yet unknown, but, we are told, Jules Massenet was born, May 12, 1842, atare ready for publication), incidental music for Montaud, then a suburb of Saint-Etienne, the several plays, pianoforte pieces, a great quantity of great manufacturing city of the centre of songs, choruses, and a few specimens of church- France-the youngest of twenty-one children. music. Besides 'Marie-Magdeleine,' he has His biographers relate many more or less romantic composed the oratorios 'Eve' (1875), ' La Vierge ' anecdotes showing his early propensity for music; (188o), 'La Terre Promise' (1900), and the lyric telling us, for instance, how his keen desire to scenes, 'Narcisse' (1878), and 'Biblis' (1887). study the art impelled him to escape from home His instrumental music is neither very abundant with the intention of going to Paris and the hope nor very pregnant, consisting chiefly of picturesque of finding there the suitable teacher whom he had suites and other minor works. He never attempted vainly sought for in Saint-Etienne. His father, to deal with the more earnest types of instrumental a manufacturer ruined by the Revolution of forms except once, and this attempt (a Pianoforte 1848, left Montaud for Paris, and there the concerto written in 1903) was pronounced a failure boy became, in 1851, a pupil of the Conservatoire, even by his most enthusiastic devotees. studying the pianoforte in Laurent's class and The last opera of his performed during his winning the first prize in 1859. He began to learn lifetime, 'Roma' (Paris, Opera, 19I1), is also an harmony with Bazin in 1853; but after this master isolated and not particularly felicitous attempt (a poor musician and poor teacher) had discouraged towards classical severity and grandeur. him, he became a pupil of Reber. In 186o he 'Massenet's prolonged and widespread success,' entered Ambroise Thomas's class of composition, says Mr. Fuller Maitland in 'Grove's Dictionary,' and in 1863 he won the first prize for fugue and'is one of the puzzling phenomena of modern the Grand Prix de Rome. His first works were musical history. While those who look a little principally songs and short pianoforte-pieces, below the surface find his music inexpressibly orchestral suites of facile and unpretentious monotonous,style, a casual hearers are surprised by his short opera-comique in one act, 'La Grand Tante'superficial versatility . few of the real lovers of (produced in Paris, 1867), and a 'Requiem' music will expect any of his works to remain among the compositions that keep their popularity (unpublished). In i868 he made the acquaintance after the death of the author.' of the publisher, Georges Hartmann, who from the very outset had faith in him and greatly assisted Harsh as it may appear, I believe this verdict to him during the first stages of his career. be a sound one. The chief idiosyncrasy of Massenet, as a man and as an artist, was an Massenet's first ambitious work, the opdra-comique in four acts, 'Don Cesar de Bazan' (Paris, 1872), overwhelming desire to court success. His object was an absolute failure. But in 1873 the young was to seduce; and from the time when he found composer scored two decisive successes with the that his music proved effective and became incidental music to Leconte de Lisle's tragedy, popular he carefully avoided changing his manner. 'Les Erynnies,' and with the dramatic oratorio, The characteristic melody '" la Massenet,' graceful 'Marie-Magdeleine,' both of which were performed and elegant enough, but almost stereotyped, runs at the Theatre de l'Odeon. As early as 1876 throughhe all his scores, doing duty for Manon and was decorated with the Legion d'Honneur. InThais alike, for Roman Vestal or for gay Spanish 1877, 'Le Roi de Lahore,' one of his best operatic lady, for dreamy German maiden and for haughty scores (although comparatively little known), princess of yore. His early scores are, for the was produced at the Paris Opera; the following greater part, his best, with the one exception of the year he was elected professor of composition very at pleasing and chaste 'Jongleur de N6tre-Dame' the Paris Conservatoire and member of the (1902). Later, and for the plain reason that he Institut, thus succeeding his former teacher never andattempted to renovate his style, he sank into sheer mannerism. Indeed, one can but marvel that * In spite of the composer's known antipathy to the name Jules, so we gifted a musician,who lacked neither individuality think it best to use the name by which he was widely known. He preferred to be called ' M. Massenet' simply. + At that election, Dr. Saint-Saens was his unsuccessful competitor. This content downloaded from 198.199.32.254 on Thu, 22 Jun 2017 20:07:18 UTC All use subject to http://about.jstor.org/terms 566 THE MUSICAL TIMES.-SEPTEMBER I, 1912. nor skill, should have so utterly 'THE succeeded MUSIC MAKERS,' in BY EDWARD throwing away his gifts. Success spoiled him. As ELGAR. M. Claude Debussy once humorously remarked, 'he fell a victim to the butterfly-play Elgar'sof fascinating new work, 'The Music Makers'-a lady admirers.' Hence the monotony setting of forworks contralto in solo, chorus and orchestra, of the greater part of which he seduldusly Arthur resorts O'Shaughnessy's to * poem 'We are the his favourite never-failing devices. Music Hence, Makers'-is also, interesting and welcome not the 'superficial versatility.' For only if forthe the actual fine musical expression that abounds progress of musical art during the pastin it, butforty for certainyears very effective innovations in left Massenet unmoved (and indeed the he matter has of taken structure. no part in the evolution of modern The music), 'motif' of theO'Shaughnessy's poem is the idea success of certain works appears to thathave the influenced poets-the music makers and dreamers- him not inconsiderably, inducing arehim really to attemptthe creators and inspirers of men and a number of changes in manner if their not deeds, in style. and the true makers of history and of Thus, at a time when Wagner's humandramas societies. were Their dreams and their visions becoming the order of the day arein the Paris, foreshadowings he of what the rest of mankind wrote 'Esclarmonde,' in which theare predestinedexample toof work out in endless conflict: 'Lohengrin' is easily traceable. The to-daypopularity is the realisation of of a dream of the Italian 'veristic' opera helps to account generations for past; theto-morrow will bring into being appearance in i894 of 'La Navarraise,' the dream of and to-day: in 1897 of 'Sapho'; and Humperdinck's We' Hinsel are the music makers, und Gretel' seems to have prompted him And to we write are the dreamers of dreams, 'Cendrillon' (I899). Wandering by lone sea-breakers, And sitting by desolate streams;- The earnest ideals, the thirst for progress World-losers that and world-forsakers, are inseparable from genius remained unknown On whom tothe pale moon gleams: him. He directed his ambitions towards a less Yet we are the movers and shakers distant goal. He wrote for his time, and his time Of the world for ever, it seems. has repaid his labours well, as appears from Cities the and empires, and the death of empires, are history of his life and deeds. Avoiding arduoustheir work: Nineveh was built with their sighing, roads, well satisfied with what was within his and grasp, Babel with their mirth: he remained untormented by doubt or by longing.