Part 13

Spontini began his Paris career by giving singing lessons, and in order to bring himself before the public he produced at the _Italien_ (Feb. 11, 1804) his opera "La Finta Filosofa." This performance, which was honored by the presence of the First Consul and Josephine, was a great success for the young composer, whom the newspapers announced as a pupil of Cimarosa. Afterwards he succeeded in forcing the doors of the _Opéra Comique_ with "La Petite maison," which was very badly received by reason of the poem, and was played only three times. It must be said that the new-comer had against him not only the French musicians, professors and pupils of the Conservatoire, opposed to the invasion of Italian music, but also the Italian composers who had succeeded in making a place for themselves in France, like Della Maria and Nicolo, and who had no intention of giving up the place to this unexpected rival. The failure of "La Petite maison" did not prevent Spontini from being chosen by Jouy to set to music a poem entitled "La Vestale," and about the same time he received from the hands of Dieulafoi a new libretto in one act, "Milton." This work was played at the _Opéra Comique_, Nov. 27, 1804, and brought Spontini into notice, for the breadth of certain motives, the touching simplicity of some of the melodies, fixed upon him the serious attention of the public, and gave a foretaste of the transformation which was to take place in the young composer.

He afterwards experienced another failure at the _Opéra Comique_ with "Le Pot de fleurs" (March 12, 1805), but this failure did not make much impression, for people remembered only "Milton."

Moreover, Spontini was engaged upon the work which was to gain for him immortality. He had found in Jouy's poem the opportunity for developing all his qualities of breadth, boldness, and dramatic sentiment, which he had vainly sought to bring out in his Italian operas, or in his little French operettas. But it was not enough to have written a masterpiece like "La Vestale," it must also be performed. Spontini, favored with the protection of Josephine, had composed a cantata in honor of the conqueror of Austerlitz, "l'Eccelsa Gara," sung at the Imperial Theatre on Feb. 8, 1806. The Emperor in return had signed the order for the preparation and _mise en scène_ of "La Vestale," and the rehearsals were begun. But the new opera was withdrawn in favor of a certain ballet, "Ulysses," by Milon and Persuis; then the decorations which had been painted for "La Vestale" were destroyed by a storm. Finally Napoleon, who never encouraged Spontini, although he was credited with remarks complimentary to the latter, decided to bring out first the "Triomphe de Trajan," a grand opera written in his honor by Esménard, with music by Lesueur, Persuis, and Kreutzer, and though this opera had proved a great success, thanks to its rich _mise en scène_, and had left a free field to Spontini, there was talk of again postponing "La Vestale" in favor of Lesueur's opera, "La Mort d'Adam." Jouy and Spontini probably would have expostulated in vain, but that Lesueur's music, happily for them, was not ready at the necessary moment. Then they were obliged to make all haste with the rehearsals and bring out "La Vestale," Dec. 15, 1807. The composer was only thirty-seven years old, when at this auspicious moment he stepped into the position left vacant by the death of Gluck and the departure of his successor Salieri.

This work gave to the ancient lyric tragedy an unexpected life, warmth, and elevation, and made Spontini absolute master of the theatre. One of the decennial prizes instituted by Napoleon was awarded to him, notwithstanding the redoubtable competition of Lesueur's "Bardes," the opera preferred by the Emperor. Méhul, Gossec, and Grétry, the three members of the Académie des Beaux Arts who rendered this verdict, gave evidence of a commendable independence. Spontini, having dedicated his score to the Empress Josephine, immediately set about composing a new work on a poem which Jouy had just sent him, "Ferdinand Cortez," and this was performed at the _Opéra_, Nov. 28, 1809. This work was fairly successful, thanks to the music, and in spite of the weakness of the poem, which was so badly put together that subsequently Jouy was obliged to reverse the order of the acts, in order to improve them dramatically. Yet the general feeling was that this score, notwithstanding its striking beauties, had not the inspiration, the unity of effect, which had been appreciated so much in "La Vestale," and it always remained a work of secondary importance in the opinion of the musical public. These two successes singularly developed the natural importance and vanity of Spontini, who never doubted his own genius, and who even at the opening of his career showed an extraordinary confidence and spirit; but a less favorable period was in store for him. He married the daughter of the celebrated piano manufacturer, Jean Baptiste Erard, and in 1810 the privilege of the direction of the _Théâtre Italien_ was given to him, but in consequence of administrative dissensions he was soon supplanted, after having made known to the Parisians, in 1811, Mozart's "Don Giovanni." Three years later he wanted his privilege returned to him by the royal government, but it was refused, being granted to Mme. Catalani associated with Paër.

The ancient _protégé_ of the Empress was a little neglected under the Restoration. Nevertheless he composed an "occasional" opera, "Pélage ou le Roi et la Paix" (April 23, 1814); June 21, he brought out a mediocre opera ballet, "Les Dieux Rivaux," on the occasion of the marriage of the Duc de Berry (Persuis, Berton, and Kreutzer had also collaborated for one); he brought about in 1817 a brilliant revival of "Ferdinand Cortez," remodelled throughout; finally he gave, on the 20th of December, 1819, his opera of "Olympia," which showed here and there the hand of the great composer, but which was in every respect inferior to "La Vestale" and "Cortez." It was a complete failure in Paris, but in 1821 the work, having been rewritten to a great extent, was given in Berlin with great _éclat_. This was a double triumph for Spontini, it being his revenge on Paris and his crowning success in the German states. For a long time, indeed, the king of Prussia, Frederick William III., had cherished the most sincere admiration for him. In 1814 he demanded of him several pieces for the music of his guard, and after hearing, in 1818, the remodelled "Ferdinand Cortez," he desired to attach this great musician to his court. Spontini was not satisfied with the title of royal capellmeister, and notwithstanding the opposition of the Count of Brühl, intendant of the royal theatre, he obtained, by contract signed in August, 1819, the position of general director of music, at a salary of 10,000 Prussian thalers (about $7,000). He went to Berlin, therefore, and occupied this important post from 1820 to 1840, exercising a considerable influence on all that pertained to musical art in Prussia, elevating the standard of education for the artists, and composing numerous cantatas or works for special occasions which his court duties required him to write. He also brought out two new works at the Berlin Opera House: in 1821, the opera ballet "Nurmahal," taken from Moore's poem "Lalla Rookh"; in 1825, "Alcidor"; and in 1827 he wrote the grand romantic opera "Agnes von Hohenstaufen," the first act of which had been played ten years before at a royal _fête_. All these productions added nothing to his glory, and have fallen into oblivion.

The performance of "Agnes" called forth a very violent criticism from Rellstab, the representative of all Spontini's enemies in Germany, and who had just been made editor of the "Vossische Zeitung." Indeed, when Spontini arrived in Berlin to assume his duties, he soon saw in league against him all the German musicians and composers, over whose heads he had stepped.

Though generous and obliging, his pride was deeply hurt by these hostilities, and he could not conceal deep irritation at the cavillings of his enemies, to which he gave a sharp retort. He had caused to be suppressed a pamphlet in which Rellstab had accused him of withholding from the stage, or else playing with an evident intention of ruining them, the works of composers whom he had reason to fear; he had brought about Rellstab's arrest and detention for several months for a spiteful article in which the critic expressed doubt that the composer of "Nurmahal," "Alcidor," and "Agnes" was the same as the composer of "La Vestale" and "Cortez." But Rellstab responded with violent satires published at Mayence, in which Spontini, without being named, was easily recognizable by his personal peculiarities of manner and speech, which were cleverly depicted. Finally, as the natural result of Rellstab's imprisonment, the entire party of which he was the mouthpiece redoubled its spiteful attacks against Spontini.

Thenceforth the latter, feeling himself more and more an object of attack, began to cherish the project of returning to France. His absence had calmed all the jealousies which his colossal self-love had excited against him, and in one of the long vacations which he spent in Italy or France during his twenty years' service in Prussia, there had been talk of his writing for the Paris _Opéra_ a grand work, "Les Athéniennes," in place of the opera "Louis IX.," which Louis XVIII. had previously wished him to compose, and the first ideas of which he had put on paper. At length, in 1838, the Académie des Beaux Arts nominated him, unhesitatingly, in Paër's place, provided he would return and settle in Paris. His protector, King Frederick William III., died in August, 1840; but even if this event had not taken place, Spontini would not have accepted a third engagement of ten years with the royal house of Prussia. The new king would have preferred to retain him, but the disgust which Spontini felt at the open hostility of the intendant of the royal theatre, and also the promise which he had made to his colleagues of the Institute of France, decided him to refuse these overtures. He left Berlin in July, 1842, under conditions very painful to his self-love, but advantageous to his purse, since the king provided that he should retain all his honorary titles and receive an annual pension of about $3,200.

On his return to Paris, after a certain time passed in Italy, he sought to have his old operas revived, but he, who had dubbed as barbarous all the music which had taken root at the _Opèra_ in his absence, encountered only animosity, and was unable to carry out his plans. On the other hand, his "Vestale" had achieved great success in Denmark; some fragments of it were sung and much applauded at Cologne in 1847; and Spontini, ennobled by the king of Denmark, made Conte de San Andrea by the Pope, was gloriously received by the king of Prussia when he returned as a visitor to the capital. Such were the last gratifications of self-love which this great composer experienced; and although France had not much more to offer him, he always returned to that country, and chose Paris above all other places for his home.

At last, when his memory and hearing began to fail, he felt that the beautiful climate of his native country might restore his health, and he left Paris in 1850 to return to the Roman States. He was received at Jesi with honors which are by custom reserved for sovereigns. Then he wished to visit once more his native town, Majolati. He had been there several months, when one day, while suffering from a very bad cold, he insisted on going to mass, in spite of the earnest remonstrances of his wife. There he took more cold, fever set in, and the illustrious composer died on the 24th of January, 1851, at the age of seventy-seven.

Spontini's operas no longer hold an important rank, and yet his name always commands respect, thanks to the beautiful bits which are still admired in "Ferdinand Cortez" and in "La Vestale." Assuredly, Spontini was no innovator such as was Gluck. He was content, without revolutionizing lyric tragedy, to give it more dramatic animation and masters as bold and as little mindful of conventionalities as were Berlioz and Wagner have professed a real admiration for Spontini.

This artist, in spite of the changes which music underwent during his lifetime, was so thoroughly convinced of the superiority of his conceptions of the noble art, that one could not but feel a respect for him and for his best qualities. The march and the prayer in "Olympia," the scene of the revolt in "Ferdinand Cortez," best of all, the grand _finale_ of "La Vestale," rest upon motives so expressive, and appeal so strongly to the emotions, that one cannot do otherwise than admire them. It was Spontini's misfortune never to find another poem which suited his genius so well as "La Vestale." "Olympia" bears evidence of a singular indecision and of repeated modifications, in the midst of which the composer's idea and intention vaguely float. In fact, Spontini constantly made changes in his scores, pasting alteration over alteration until almost every page resembled a patchwork or mosaic. "Ferdinand Cortez" contains some rare beauties as regards melody, expression, and dramatic effect, but these beauties are exceptional; "La Vestale" alone was a true masterpiece.

In this opera we must consider especially the high inspiration which breathes through it, the powerful emotions which it reveals, and not pause at Spontini's somewhat embarrassed formulas and mediocre methods. What tenderness in the first duo of Licinius and Cinna, _Unis par l'amitiè_; what anguish in the supplication of Julia, _Oh! des infortunès dèesse tutèlaire_; what passion in the air _Impitoyable dieux_, and what sweet resignation in the cavatina, _Les Dieux prendront pitiè_..! The last song, _Adieu mes tendres sœurs_, is as sadly expressive as the hymn _Fille du ciel_ is full of religious sentiment, and this series of magnificent pages is crowned by that imposing _finale_ of the second act, which was at that time a work of genius. And yet, when "La Vestale" was revived at the _Opéra_ in 1854, three years after Spontini's death, it was played only eight times, making a total of 213 performances in Paris. When "Ferdinand Cortez" was played again in 1840, it lived through only six performances, making a total of 248 in Paris. After all, Spontini, with his great melodic qualities and rare dramatic instinct, only continued in the path which Gluck had laid out, and was in no sense an innovator. Thus he exercised no influence on musicians who followed him, while he stood by and saw powerful rivals revolutionize musical art and reform the public taste.

He raged and stormed when people talked to him of the "fashion"; but here he was helpless, for musical taste had totally changed in twenty years. While he was still in Prussia, he proposed to the administration of the _Opéra_ to go to Paris and direct a revival of "Ferdinand Cortez," with the denouement as he had arranged it for Berlin, and, after a suit gained at first, then lost, against the director of the _Opéra_, Duponchel, to prevent him from playing that opera again in its original form, he was obliged to submit to the pitiful and fatal revival of 1840. But if he had gained his point, he would have found himself confronted with entirely new preferences on the part of the public, for since his departure there had been a complete revolution at the _Opéra_, under the influence of Rossini and Meyerbeer. "William Tell," "Robert le Diable," and "The Huguenots," not to mention "La Muette de Portici," coming one year before "William Tell," had struck a fatal blow at ancient lyric tragedy. The public, weary of antique heroes, of Greeks and of Romans, desired something a little less formal, more animated and real. They wanted dramas concerning times more nearly approaching their own, and therefore more interesting to them. The music also had completely changed in character; it allowed of a much richer instrumentation, a search after picturesque or historic color, a variety in the melody and dramatic expression which had never occurred to Spontini.

And yet, after this revolution was an accepted fact, Spontini, quite blinded by his phenomenal self-love, delivered himself of the following sentiments to Richard Wagner, when the two composers met at Dresden in 1844: "After Gluck, it is I who have made a grand revolution with 'La Vestale'; I have introduced the augmentation of the sixth in harmony, and the big drum in the orchestra. With 'Cortez' I have taken a step forward; I have taken three steps with 'Olympia,' and a hundred with 'Agnes von Hohenstaufen.' After that I might have composed 'The Athenians,' an excellent poem, but I have renounced it, despairing of excelling myself. Now how do you imagine that it is possible for anybody to invent anything new when I, Spontini, realize that I am unable to surpass my greater works? And furthermore it is very evident that since 'La Vestale,' not a note of music has been written that has not been stolen from me." Was it possible to show a greater blindness in the face of such works as "William Tell" and "The Huguenots," or to give a more erroneous estimate of himself, ranging his works in the exact inverse order of their worth? Poor Spontini, who was so unfortunate as to outlive his glory, and see "unworthy rivals" all about him, bearing off the laurels!

LUIGI CHERUBINI

The full name of this illustrious master is Luigi Carlo Zanobi Salvatore Maria Cherubini. He was born in Florence, on the 14th of September, 1760. From his earliest youth it was intended that he should follow the musical profession, and the first instruction he received was imparted to him by his father, Bartolomeo, who filled the position of musical accompanist at the Teatra della Pergola. Under his direction, the boy soon became proficient in playing from figured bass, and with the help of Bartolomeo Felici, the best teacher of counterpoint in all Tuscany at that time, he acquired a knowledge of the principles of composition. He received lessons in singing and in organ and piano playing; in short, all his musical gifts were developed with such surprising rapidity that at the age of thirteen he composed his first mass, which was performed in church and very favorably received. Cantatas, short dramatic compositions, two more masses, and an oratorio followed in swift succession. It now became Cherubini's ardent wish to visit the important musical centres in Italy, and to enjoy the instruction of the most famous masters. His father's very limited resources being insufficient for the gratification of this desire, a stipend was granted him for the purpose by the Grand Duke Leopold. In 1778, Cherubini betook himself to Giuseppi Sarti, in Bologna, and, on the master's removal to Milan, a year afterward, followed him to that city. Sarti's methods of teaching were those of the old school; that is to say, he regarded the contrapuntal style of composition of the sixteenth century as the foundation of all true art, and exacted complete mastery of its principles from all his pupils. Yet it argued no inconsistency on Sarti's part that he also devoted himself zealously to dramatic composition, a field in which his success was not less marked than in that of church music. To these two forms of art the Italians confined themselves in Sarti's time; for their instrumental music, which served as a model for all Europe until the first half of the eighteenth century, was in a state of almost complete decay. It was chiefly owing to the teaching of Sarti, that Cherubini became the greatest contrapuntist of his time, and excelled even Mozart in purity and severity of style. His famous _Credo_ for eight voices, _a cappella_, one of the most marvellous artistic achievements of any age, was worked out in part under Sarti's eye. In connection with this style of composition, Cherubini continued to labor diligently in the line of operatic music. Sarti adopted the commendable practice of inserting in his own operas certain airs composed by his most talented pupils, thus affording his young disciples an opportunity of becoming practically acquainted with operatic effects, yet shielding them from the discouraging severity of public criticism. After completing his preparatory studies in this way, Cherubini ventured for the first time to step forward with an entire opera of his own composition. It was called "Quinto Fabio," and was brought out in Alexandria, through Sarti's influence. "Armida" and "Messenzio," performed in Florence, also "Adriano in Siria," produced at Livorno, followed in 1782, but these works seem to have made no permanent impression upon the public. Nevertheless Cherubini's earnest, profound, and eminently artistic nature was revealed in them to an extent that astonished his countrymen, who were accustomed to music of a lighter and more pleasing character, such as the operatic compositions of the Neapolitan and Venetian school. A certain degree of admiration was accorded him, and he was occasionally honored with flattering appellations, as for example "Il Cherubino" (the cherub); but none the less the fact remains that neither the earlier nor the later works of the musician found true appreciation in his native land.

Sarti, meantime, strove without ceasing to secure the advancement of his pupil, and procured for him in 1784 the position of composer at the Haymarket Theatre in London. After Handel's death, Italian music had quickly regained its old place in the popular esteem in England. During the three years of Cherubini's residence in London, he wrote the operas "La Finta Principessa" and "Giulio Sabino," the first of which was received with much applause, while the latter proved a complete failure. Wounded by this want of success, Cherubini repaired to Paris in 1786, and, after one more visit to London in 1787, he took up his permanent residence in the French metropolis. He had found there a true friend in Viotti, the famous violin virtuoso, and with his assistance gained admission to the upper circles of society, even receiving the honor of an introduction to Queen Marie Antoinette. An event of great importance in deciding the direction of his artistic faculties was his attendance at the so-called _Concert de la Loge Olympique_, where he heard for the first time a symphony of Haydn's, probably one of a series of six, composed in 1786, by especial command of the society. A new world was suddenly opened to Cherubini by this magnificently rendered work. From this hour he began to feel the influence of German instrumental music, and Haydn, in particular, remained to the end of his life the object of his highest veneration.