Part 20

Méhul began his dramatic work by writing three operas (“Psyché et l’Amour,” “Anacréon” and “Lausus et Lydie”) merely for the sake of practice. He was testing his wings before flight. He made his debut before the public with “Euphrosine et Coradin” in 1790 and achieved a brilliant success, though his first opera was “Cora et Alonzo,” which was produced later and met with only a moderately favorable reception. He was now in the full tide of musical activity, and opera after opera came from his prolific genius. “Stratonice” followed “Euphrosine,” and by many was considered his masterpiece, especially for the fine treatment of the ’cello parts, which instrument he had specially studied, and for the general excellence of the orchestration as well as its dramatic strength, in which quality he showed his close study of Gluck. The revolutionary period which now ensued was not favorable to the opera, and as if in sympathy with the depressing character of the time, Méhul brought forward such works as “Doria,” “Horatius Cocles,” “La Caverne,” and others, which did not add to his reputation. There were others, however, that proved an exception to the rule. “Le jeune Henri” for instance, was hissed because it introduced a royal personage, but the overture, with its lively and picturesque representation of the chase, was demanded several times over at the close of the performance. The overtures to both “Adrien” and “Ariodant” were also general favorites, as well as the romanzas in the latter. It was about this time (1799) that Méhul had his first encounter with some of the French critics, particularly Geoffroy, a well-known writer, who declared that he could not write in any other than a severe and heavy style. Shortly afterwards the opera of “Irato,” written in the Italian style, appeared anonymously. After its first performance the journalist wrote: “This is the way in which Méhul should compose.” The composer had his revenge on declaring himself the author and followed it up with another opera, “Une Folie,” in which his critic was satirized. Soon afterwards, however, he lapsed into the serious style. In 1806 he produced “Uthal,” in which he made the daring innovation, at the suggestion of Napoleon it is said, of doing away with the violins entirely and filling their places with the violas, as better adapted to the sombre Ossianic character of the composition. The result was so depressing that Grétry, who was present at the first performance, made the remark: “I would give a louis to hear the sound of a chanterelle, or the E string of the violin.” Undismayed by the reception of “Uthal,” Méhul followed it up with “Joanna,” “Hélène,” “Les Amazones” and “Gabrielle d’Estrées,” all written in the same serious style, showing high scholarship in counterpoint, but lacking in those light and elegant graces of composition which were so popular with the French. His activity was great during this period. Between 1791 and 1807 he wrote no less than twenty-four operas, besides six symphonies; music to poems of Chénier, Arnault and Sontanes, composed in honor of the Republican fêtes at which Napoleon presided, among them the “Chant du Départ,” “Chant de Victoire” and “Chant de Retour”; choruses to the tragedy of “Timoleon”; the incidental music to “Oedipus” and the drama of “The Hussites”; four ballets, “Le Jugement de Paris” (1793), “La Dansomanie” (1800), “Le Retour d’Ulyss” (1807), and “Persée et Andromède” (1810); besides many operettas and smaller works. He had enjoyed the favor of Napoleon to such an extent that upon the death of Paisiello he was offered the position of chapelmaster. Méhul, who was a devoted friend of Cherubini, was anxious that the latter should share the office with him, but Napoleon, who was incensed at a sharp reply Cherubini had made him in Vienna, sent word back to Méhul: “What I want is a chapelmaster who will make music and not noise,” and at once nominated M. Sueux to the position. Méhul was not without his honors, however, having been appointed a member of the Institute in 1795, and of the Legion of Honor in 1802.

In 1807 he achieved the crowning success of his career. “Joseph,” written on a Biblical subject, was produced and spread his fame all over France and Germany. Though not often heard in this country, it still remains a great favorite to-day among the Germans by its dignity, nobility and elevated style. It made ample compensation for his many failures and regained for him all the advantages he had lost. After 1810 he wrote but little, “Le Prince Troubadour” (1813) and “L’Oriflamme” (1814), written with Berton, Kreutzer and Paer, being his most important works.

[Illustration:

MÉHUL

From a portrait in Clément’s “Les Musiciens Célèbres.” ]

Méhul made his parting bow to the public with the opera of “La Journée aux Aventures,” which was produced in 1817 with considerable success. The same year closed his earthly labors. He had been in ill health for some time, and shortly after the production of his last opera he went, upon the advice of friends, to the south of France, where he had a residence, hoping thereby to regain his strength. His ailment, consumption, however, had so weakened his constitution that the change was fruitless. Moreover, he was homesick for Paris. In writing to a friend he mournfully says: “I have broken up all my habits. I am deprived of all my old friends, I am alone at the end of the world, surrounded by people whose language I can scarcely understand—and all this sacrifice to obtain a little more sun. The air which best agrees with me is that which I breathe among you.” He returned to Paris, warmly welcomed by his friends and the public. He made one, and only one more visit to the opera. He was soon stricken down in his last illness and died Oct. 18, 1817, in his fifty-fourth year, universally lamented both in France and Germany, for, like his pupil Hérold, he was as much of a favorite in the latter country as in the former. In fact neither of these composers was appreciated to the full extent of his ability in France, at least until after death, a neglect which was not confined to them, however: Berlioz shared the same fate. More than one French composer indeed has made his greatest success in Germany. Tributes of respect and admiration were shown to his memory in both countries. His funeral was attended by a great concourse of persons, and the pupils of the Conservatory with which he had been identified so many years, covered his grave with flowers. On the day of his interment memorial services were held in many places in Germany and France at which public addresses were made. Méhul married a daughter of Dr. Gastoldi, but having no children adopted his nephew, M. Daussoigne, a young musician of excellent promise. His posthumous opera, “Valentine de Milan,” was finished by the nephew and was performed in 1822, upon which occasion the composer’s bust was publicly crowned. The popular success, indeed, which he achieved as a composer, was unquestionably expedited by his high character as a man. His uprightness and natural tenderness had commended him to all the pupils of the Conservatory, and his strong affections did the same service for him with his friends. His generosity and benevolence were proverbial. The utter absence of jealousy in his disposition especially commended him to musicians. He had a particular abhorrence of intrigue and of those small rivalries which were abundant at that time, and which sometimes developed into great wars, as has already been hinted at in the reference to the famous struggle between the factions of Gluck and Piccini, which not only enrolled musicians, composers and opera-goers in opposing ranks, but even brought courtiers, the nobility and members of the royal family into fierce antagonism. In the midst of all this small turbulence Méhul had carried himself with even poise, working for the best interest of his art and always true to its canons, though he made many tentative innovations when fortune frowned upon him. At a time of more than ordinary dissipation and immorality, he maintained the highest moral principles and a sterling manhood. It was but natural, therefore, that such a man should have been mourned sincerely, and it may have added to public admiration that he had reached his high distinction by his own efforts, rising from rude and obscure beginnings to the summit of European fame.

Méhul was the legitimate successor of Gluck. It was that composer’s “Iphigénie,” as we have seen, that first caught his fancy, fired his ambition and directed his attention to dramatic composition. It was owing to Gluck himself, who at once recognized the ability of the young musician, that his feet were set in the right path, and it was to his advice and instruction—the instruction of a friend rather than of a teacher—that he owed his discovery and appreciation of the dramatic quality of music. Other composers, among them Cherubini, had a certain influence upon him, but Gluck was the all in all of his system, the source of his inspiration and the dominant element of his methods of treatment. He clung to dramatic truth with as much tenacity as did the great author of “Orpheus” and the “Iphigénias” and strove with the same earnestness to make his music a close and perspicuous illustration of the text, and to keep it elevated in style. Meanwhile his own nature was assisting him. Style and character are closely related, and Méhul’s music is a reflection of his own personal traits, namely, refinement of sentiment, seriousness and earnestness of presence, strong religious tendencies as shown in the opera—or shall we not call it oratorio—of “Joseph,” and nobility of character as shown in all his dramatic work. His style is always elevated, though at times he made the effort to unite light and graceful melodies of the effervescent and short-lived sort which find so much favor on the French stage. He was not successful in these, however. He was more at home in passion and pathos, in strong, broad motives, rich harmony and ingenious and elaborate accompaniments. In a word, his standards, like those of Gluck, in whose steps he followed so closely, were classical and of the highest romantic type. At times he was daring and ingenious in his innovations, as in “Ariodant,” where four horns and three ’cellos carry on an animated conversation; in “Phrosine et Mélidore,” where four horns have a full part in the score; and in “Uthal,” where the violas are substituted for the violins, as already has been mentioned. These, however, were only experiments, though they serve to show his originality of conception as well as his curious scholarship—a scholarship all the more remarkable when the poverty of his early training is considered. And yet he did more than almost any other of his contemporaries to elevate the Opera Comique, and has come down in musical history as one of the principal founders of the modern French School.

[Illustration:

Fac-simile musical manuscript by Méhul, from Cherubini’s collection.

Méhul’s name, in upper left-hand corner, was written by Cherubini. ]

Méhul’s activity was almost incessant. He has left forty operas, of which the following are the more important: “Alonzo et Cora” and “Euphrosine et Coradin” (1790); “Stratonice” (1792); “Le jeune Sage et le vieux Fou” (1793); “Horatius Cocles,” “Arminius,” “Phrosine et Mélidore” and “Scipion” (1794); “La Caverne,” “Tancrède et Chlorinde” and “Sesostris” (1795); “Le jeune Henri” and “Doria” (1797); “Adrien” and “Ariodant” (1799); “Epicure” (with Cherubini) and “Bion” (1800); “L’Irato” (1801); “Une Folie,” “Le Trésor Supposé,” “Joanne” and “L’Heureux malgré lui” (1802); “Helena” and “Le Baiser et la Quittance,” with Kreutzer, Boieldieu and Nicolo (1803); “Uthal,” “Les deux Aveugles de Tolède” and “Gabrielle d’Estrées” (1806); “Joseph” (1807); “Les Amazones” (1811); “Le Prince Troubadour” (1813); “L’Oriflamme” with Berton, Kreutzer and Paer, (1814); “Le Journée aux Aventures” (1816); and the posthumous opera, “Valentine de Milan,” finished by his nephew, M. Daussoigne, and first performed in 1822. Besides these dramatic works he has left four ballets, several symphonies, songs, operettas and incidental dramatic music to which reference has been made in the body of this article. Méhul’s literary ability, though never specially cultivated, was of a surprising kind, considering his early disadvantages. He has left two reports which have been greatly admired,—one upon the future state of music in France and the other upon the labors of the pupils in the Conservatory. Taken all in all, he was one of the most earnest, high-minded, conscientious and thoroughly artistic composers France has produced. He carried on the great work of Gluck and is one of the important links in the evolution of music which led up to Richard Wagner and his music-dramas.

[Illustration: Geo. P. Upton]

[Illustration:

LOUIS JOSEPH FERDINAND HÉROLD

_Reproduction of Hérold’s best known portrait, drawn from life on stone by his friend L. Dupré with the epigraph_ “_Virtute non ambitu, laurum meruit._” ]

[Illustration: [Fleuron]]

LOUIS JOSEPH FERDINAND HÉROLD

Louis Joseph Ferdinand Hérold, who played a conspicuous part in the elevation and enrichment of the opera comique, though now principally known by only two of his many operas, “Zampa” and “Le Pré aux Clercs,” was born at Paris, Jan. 28, 1791. His father, François Joseph, an Alsatian by birth, was a musician of more than ordinary ability. He had been a pupil of Philip Emmanuel Bach, was a professor of the piano, and also composed music for that instrument. Little is known of the mother except that she sympathized with her son’s talent, which displayed itself at a very tender age, for in his sixth year the precocious boy was writing little pieces for the piano. Upon the advice of Grétry, the composer, whom the parents consulted, he was sent to the Institution Hix, where he had his first lessons in music. He made such rapid progress that in 1806, the year in which his father died, he was encouraged by Fétis and other competent critics to make music his profession. He entered the Conservatory in the same year as a member of the piano class of Louis Adam, his godfather, and won his first honor by taking the piano prize in 1810. He subsequently extended his curriculum, studying harmony with Catel, the violin with Kreutzer, and composition with Méhul, who years afterward said of him on his deathbed: “I can die now that I know I leave a musician to France.” The success which marked his career in the Conservatory is indicated by his securing the Prix de Rome in 1812 with his cantata, “Mlle. de la Vallière.” The coveted honor opened wide the doors of music to him with the added advantages of foreign travel. The next two years were spent by the young musician in Italy, during which period there was a notable change in his style of composition. His first works were a hymn for four voices, two symphonies in C and D, and three quartets in D, C and G minor. The quality of these works, which are now treasured in the Conservatory, gives ample promise that he would have been a successful instrumental composer, but circumstances ordered otherwise. During his stay in Naples he was attached to the court of Queen Caroline as pianist, and to please her majesty he devoted himself to dramatic composition with an enthusiasm which soon aroused an ambition to excel in this class of writing. His aspirations were still further heightened by the success of his first dramatic work, “La Jeunesse de Henri V,” produced in 1815, and to the opera he now devoted himself with an industry that never flagged. Well schooled and practiced as he might have been in instrumental writing, it evidently had limitations which were not agreeable to a composer of strong emotions, vivid imagination and distinctly dramatic tendencies.

Hérold returned to Paris shortly after the successful production of his first opera, stopping en route in Vienna, where he made many musical acquaintances. Arrived at the French capital he at once made his arrangements for an active and busy season of writing for the stage. His first concern was to find a libretto adapted to his purpose, and it was while engaged in this difficult search that good fortune came to him in the request of Boieldieu that he would write the last half of an opera upon which he was then engaged, “Charles de France,” and which was brought forward in June, 1816. Collaboration of this kind was far from being uncommon at that period, particularly in France. He not only wrote “Charles de France” with Boieldieu, but “Vendome en Espagne” with Auber, and “L’Auberge d’Auray” with Carafa, while in “La Marquise de Brinvilliers” no less than nine composers of prominence were represented—Hérold, Auber, Batton, Berton, Blangini, Boieldieu, Carafa, Cherubini and Paër. The rage for collaboration also spread to literature and has been continued even into our time by Erckmann-Chatrian. The results of such work are more tolerable however in literature than in music, where unity of style is one of the essentials. His association with Boieldieu was of special advantage in introducing him to the theatrical world of writers, and he soon was at no loss to find libretti, good, bad and indifferent, many of them, it must be confessed, of the last two sorts. His first opera after the Boieldieu collaboration was “Les Rosières,” in three acts, (1817), which proved to be a success. Flushed with the prestige of this work the young composer immediately set about another, and before the year closed had finished “La Clochette,” which not only was successful, but as its fresh and taking airs caught the popular fancy, at once made him a favorite in the gay city. His industry now became prodigious. He was seized with the very demon of work and while in this mood he eagerly accepted everything that was offered him in the way of a libretto as affording a new outlet for his musical activity. The result was detrimental. Year after year he produced operas for the stage, some of which had but one or two hearings, while others were vigorously hissed, not on account of the music, but by reason of the weakness and commonplaceness of the stories and their utter lack of dramatic merit. Among such operas were “Le premier Venu” (1818); “Les Troqueurs” (1819); “L’Auteur mort et vivant” (1820); “Lasthénie” (1823); and “Le Lapin Blanc” (1825). Now and then, however, an opera was produced which made compensation for so many failures, and among these was “Le Muletier” (1823), which was highly esteemed, especially by those whose opinions were of value. In fact Hérold had no idle moments. During all of this period, and for two or three years later (1820–29), he was actively connected with the stage. In 1820 he accepted the position of piano accompanist for the Italian Opera and held it for seven years. In 1821 he was dispatched to Italy with a commission to engage artists, and from 1827 to 1829 was chorus master at the Académie de Musique. All this was practical experience of a valuable kind in the accessories and environments of his profession, and undoubtedly contributed many of the elements which led up to his ultimate success as an operatic composer by giving him a knowledge of the details of the stage, the habits and peculiarities of singers, and the limitations of the dramatic art which are so essential to the complete equipment of the composer. During a portion of this period he turned to other forms of composition. In 1827, he devoted himself to ballets. Of these, “Astolphe et Joconde,” “La Sonnambule,” “La Fille mal gardée,” “La Belle au bois dormant” and “Sylvie” are the most conspicuous. All of them are characterized by the same graceful and romantic style which is to be found so often in his operas. During this same period he wrote a voluminous amount of piano music, such as sonatas, caprices, rondos, fantasies, divertissements and variations, the most notable being a sonata in A flat, the “L’Amante disperato” sonata, the Rondo Dramatique, the “Pulcinella” caprice, variations on “Au clair de la lune,” “Marlbrook,” an arrangement of the “Moses in Egypt” of Rossini, whose music largely influenced his style, and incidental music to the drama of “Missolonghi,” which was produced at the Odeon. A letter written by his friend Chanlieu refers to this period. In speaking of the failure of some of his operas, M. Chanlieu says: “How many times in our solitary walks he lamented lost time and forced inaction! Disgust mastered him and made itself felt even in his piano music which, with the exception of two or three other works, was a species of current money to which he attached no value. It was, however, at that time that he wrote his fantasias on themes by Rossini, which had a great sale and at which he was the first to laugh. The spirit of youth still sustained him; he was gay and vivacious in private, but in public morose and caustic.” Rossini not alone influenced his musical style. It was through his courteous and kindly offices that Hérold received the decoration of the Legion of Honor, Rossini going so far even as to refuse it for himself unless it were also awarded to his friend.

[Illustration:

BUST OF HÉROLD.

Reproduction of a proof before letters of an etching. ]