Part 14

While on the way from Italy to England the musician promised, when he had discharged his obligations in London, to compose an opera for the Royal Theatre in Turin. In 1788 he fulfilled his promise by the production of "Iphigenia in Aulis." This opera was given during the carnival season in Turin, where it was enthusiastically received, and was also performed in other Italian theatres. It was the last work which he wrote for the stage of his fatherland. The impressions produced upon him by the French opera, the works of Gluck, and Haydn's orchestral music had filled his mind with new ideals. Before his visit to Turin, he had already begun to compose the music of "Démophon," an operatic poem by Marmontel, and he now proceeded with the work. This, his first French opera, was performed in the _Academie royale de musique_ on the 2d of September, 1788, but proved only a partial success,--a fact which was due partly to the character of the piece, partly to unfavorable external influences. Before Cherubini was commissioned to undertake the composition for the poem, it had been intrusted to Johann Christoph Vogel of Nuremberg, an imitator of Gluck, but he advanced so slowly with his task that Marmontel became impatient. Vogel had resided in Paris since 1776 and had won many friends for himself through his opera "La Toison d'Or," which appeared in the year 1786. On the 26th of June, 1788, he died, while still in the prime of life, and, as the completed score of "Démophon" was found among his papers, the wish was expressed by many that his composition should be performed before Cherubini's. This, however, did not happen, and a feeling of dissatisfaction existed in consequence. The overture, which was played in February, 1789, at a concert of the _Loge Olympique_, was received with unusual favor, and gave rise to disparaging comments upon Cherubini's work. But Vogel's opera, taken as a whole, could lay as little claim to permanent success as that of his rival, though it was more frequently put upon the stage.

In this same year of 1789, Cherubini first found definite employment in Paris. Here Léonard, the _coiffeur_ of the queen, had obtained permission, through the good offices of her Majesty, to organize an Italian opera. Viotti collected in Italy a number of superior singers, who at first gave their performances in the Tuileries and afterwards in a newly erected theatre in the Rue Feydeau. Cherubini was invited to become musical director of the enterprise, and entered upon the work with youthful ardor. His extraordinary talents, his exactness and inexorable firmness, accomplished the desired result, that of securing performances uniformly of the highest order. The works presented to a delighted public were those of the most famous Italian composers of the day, Guglielmi, Gazzaniga, Paisiello, Cimarosa, and others. Cherubini himself composed a considerable number of detached arias, which were inserted in the operas of the before-mentioned masters, and served to heighten their charm. For the concerts of the _Loge Olympique_, in which the queen showed the liveliest interest, he wrote in the course of the first year the cantatas "Amphion" and "Circe." He also began an opera, "Marguerite d'Anjou," which was to be brought out at the Tuileries theatre, but its completion was hindered by the progress of the French Revolution, the terrors of which, in 1792, entirely put an end to Italian opera in Paris. Viotti fled to England, and his singers were dispersed. Cherubini sought to escape the incalculable dangers to which every one who had been connected with the royal court was then exposed, by living in the greatest seclusion, and associating only with a very small circle of intimate friends. In addition to his musical studies, he began to occupy himself with the natural sciences, botany in particular possessing great attractions for him. Yet he could not wholly avoid coming in contact with the forces at work in the Revolution, and was obliged to enter the National Guard, in whose service he guarded the prisons and escorted the condemned to the scaffold. On one occasion his own life stood in danger. A troop of _sansculottes_ marched roaring through the streets, looking for musicians to accompany their songs, and among others, they pounced upon Cherubini, who refused to assist them. The crowd assumed a threatening attitude, whereupon a friend pressed a violin into his hand and took position with him at the head of the procession. In his youth Cherubini had learned a little violin playing for his own pleasure, and this slight knowledge now proved his salvation. He was obliged to wander about all day with the rioters, and when they halted in a desolate spot, the musicians took their places upon some barrels and played down to their vile audience. It was amid all the terrors and excitement of this wild period that Cherubini composed his opera "Lodoiska," the work which decided his position in the artistic world. Within a short time a company of French singers had been performing in alternation with an Italian troupe at the _Théâtre Feydeau_, and here the opera was produced for the first time. Its success was so pronounced that during the following year no less than two hundred repetitions of the work were demanded in Paris, and its fame soon spread in every direction. In this composition the new ideal which Cherubini had cherished for so many years was happily realized.

A second opera, "Koukourgi," had been nearly completed in the year 1793. But the overthrow of the monarchy on the 10th of August, 1792, and the confused condition of public affairs at this juncture, took away all prospect of its immediate production. In the mean time the composer had left Paris and was residing in Normandy with a family of his acquaintance. When he returned, in 1794, he brought with him the completed score of the opera "Elisa." It was brought out on the 13th of December, 1794, in the _Théâtre Feydeau_, but was less successful than "Lodoiska." During the next few years there was a considerable falling off in Cherubini's activity as a composer, owing to his appointment as teacher of counterpoint in the _Conservatoire de Musique_, just established, in which he became also one of the inspectors of the institution. Exact and conscientious by nature even to the point of pedantry, the musician devoted himself with unflagging energy to the duties of his office, yet occasionally returned with fresh ardor to operatic composition. In 1737 appeared "Medée," his most powerful dramatic work; in 1800, "Les Deux Journées" (Water-Carrier), the most admired and effective of all. Between the two stand the lesser operas, "L'Hôtellerie Portugaise" (1798) and "La Punition" (1799). A number of short vocal compositions belonging to this same period show that Cherubini was obliged to contribute his quota to the French Revolution. Among them are "Hymne à la Fraternité" (22d September, 1793), "Hymne du Panthéon," "Chant pour le dix Août," the ode on the 18th Fructidor and others. The most important and almost the last work of this kind was the beautiful music composed in memoriam of the noble Gen. Hoche, which was performed in public on the 1st of October, 1797.

There was an element of harshness and defiance in Cherubini's character, which rendered it impossible for him to bend to the will of others, and he never modified his severe criticisms of art and artists in conversing with the loftiest personages. In the presence of Napoleon, whether as First Consul or as the all-powerful Emperor of France, it was impossible for him to dissimulate, and he excited the displeasure of the potentate by speaking disparagingly of Zingarelli, one of his favorite composers. Paisiello, on the other hand, who was equally a favorite of Napoleon, Cherubini was willing to tolerate. Yet on one occasion, when the Emperor, who had no comprehension of the earnestness and refinement of Cherubini's style, was, as usual, extolling the two much-admired artists, and characterized our musician's orchestral accompaniments as overladen with ornament, he is said to have received the reply, "You love the music which does not prevent you from thinking of the affairs of state." This remark was probably never forgiven; certain it is that during Napoleon's reign, Cherubini never attained the eminence which he so richly deserved, but for twenty years was obliged to content himself with his position at the Conservatory which afforded him barely sufficient means for his own support and that of his family. Paisiello, meantime, obtained a remunerative appointment as director of a musical organization established by Napoleon, in 1802. When the jealousy of the Paris musicians caused him to forsake his post in disgust, the Emperor wished that Zingarelli should be his successor. The latter declining, the choice now fell upon Méhul, who, out of regard for Cherubini, also refused to accept. The place, however, was eventually given to Lesueur. This proved a trying experience to Cherubini, and had an injurious effect upon his mental and physical condition. The failure of his musically charming but dramatically uninteresting opera "Anacréon" could only increase the bitterness of his disappointment. It was therefore with pleasure that he accepted an invitation to Vienna, for the sake of producing there some of his earlier operas, and of composing a new one exclusively for the Austrian capital. He reached the city in July, and the warmth of his reception, the love and admiration shown him by Haydn and Beethoven, both of whom he held in the highest veneration, made up to him for much that he had previously suffered. Before the production of his new opera, "Faniska," on the 25th of February, 1806, he listened to a performance of "Fidelio." Cherubini admired the greatness of Beethoven, but was less powerfully attracted by him than by Haydn, a fact for which the former's peculiar personality might very well account. With respect to the opera he criticised in it, as was very natural for an Italian, the lack of vocal style, and also found fault with the great C major overture on account of its abrupt modulations. Beethoven, on his part, had great respect for Cherubini as an artist, as is not only attested by many of his utterances, but distinctly seen in his compositions. If "Fidelio" shows a resemblance to any other operas whatever, it is to those of Cherubini, and this master's influence is also perceptible here and there in Beethoven's Fourth Symphony in B flat major, written in 1806.

Meantime, during the composer's absence from Paris, the war between France and Austria had broken out, but was speedily terminated by Napoleon's victory at Austerlitz on the 2d of December, 1805. After this event, the conqueror took up his residence at Schönbrunn, near Vienna, and, learning that Cherubini was at that time living in the capital, commanded him to direct his musical _soirées_, twelve in number, paid him a considerable sum of money for his services, and manifested unusual friendliness in every way. On one occasion, however, the conversation unfortunately fell upon "Faniska," which Napoleon had not yet heard. "It would not please you, sire," said Cherubini, remembering his former discussions with the Emperor. "Why not?" the latter inquired. "The orchestral accompaniment is too overladen," was Cherubini's curt reply. It will be seen that if Napoleon forgot nothing, Cherubini was not behind him in this respect. But the power was in the hands of the Emperor, and this the master was made to realize afresh after his return to Paris on the first of April. A recurrence of his old feelings of discontent, and an affection of the nervous system which often excited the gravest apprehensions of his family and friends, now ensued. The number of compositions belonging to the next few years is very small. In 1806 he finished the _Credo_ for eight voices which he began in Bologna, while under Sarti's instruction. An unproductive season followed, continuing till the autumn of 1808, during which nothing of importance came from his pen. Other stars rose in the firmament, and he lost the place he had occupied for fifteen years as the greatest living operatic composer. In Spontini, whose "Vestale" appeared in 1807, was seen a composer who understood better than Cherubini the art of reflecting the splendors of imperialism in musical strains. The latter now seemed ready to abandon composition altogether, and devoted himself more zealously than ever to his botanical studies or beguiled the time with the singular occupation of making all sorts of strange drawings by combining in various way the figures found upon playing cards. Ferdinand Hiller, who saw these drawings, describes them as fantastic groups or scenes,--dancers with red jerkins, wrestlers in scarlet caps, buildings, and miniature landscapes with all sorts of wonderful foliage. The cards were laid lengthwise or sidewise, used separately or united, and larger or smaller portions of the spots were erased, the whole thing being a remarkable mixture of invention and calculation. These pictures the artist had framed and hung upon the walls of his room.

In Paris, at this period, there lived a Monsieur de Caraman, Prince of Chimay, a great lover of music and very friendly to Cherubini, whom he invited to spend the summer of 1808 on his estate in Belgium, hoping that the quiet of rural life might restore the musician's failing strength. Cherubini accepted the invitation, and Auber, at that time his pupil, accompanied him to Chimay. The inhabitants of the place, having heard of the celebrated composer's arrival at the castle, sent a deputation to entreat him to compose them an ode to be sung on St. Cecilia's day. Cherubini, with harsh abruptness, refused to comply with the request. But soon afterwards the occupants of the castle saw him going about in a meditative mood, and then to set himself quietly and industriously to work. After another brief interval he called Auber to the piano, and showed him a recently completed _Kyrie_. When this had been sung through in the presence of his astonished and delighted friends, Cherubini wrote the _Gloria_, and presented both compositions to the highly elated townspeople, who gave them as satisfactory a public performance as possible, considering the very limited amount of talent at their command. This was the beginning of the celebrated F major mass for three-part chorus and orchestra. On his return to Paris, Cherubini completed the work, and in March, 1809, it was performed for the first time in the Prince's _salon_ by a select chorus and orchestra, before an audience of invited guests. In thus returning, a mature artist, to the field of his youthful endeavors, the composer was destined to exhibit his genius in its finest and most permanent qualities. The F major mass inaugurated a new order of church music, just as a new operatic style was created by "Lodoiska"; and if other opera composers came after him who followed different ideals and obscured his fame, it is an undeniable fact that the Catholic Church music of the nineteenth century can show us nothing worthy to stand by the side of Cherubini's works. He has here remained the unequalled master.

In running over the list of his compositions it is easy to see that from this time on he produced less and less of the dramatic order. In the year 1809 appeared the charming one-act Italian opera, "Pimmalione," which was performed at the Tuileries in the presence of Napoleon and the art-loving Empress Josephine. The name of the composer had not been communicated to the Emperor, who was profoundly stirred by the music; but when he learned that it was written by Cherubini, he manifested more astonishment than pleasure. Notwithstanding this, he sent the musician a handsome sum of money, and commissioned him to compose a festal ode on the occasion of his marriage to the Archduchess Marie Louise of Austria. Another one-act opera, with a French text, "Le Crescendo," was brought out in the Feydeau Theatre on the 1st of September, 1810. In 1813 there followed a work for the Grand Opera, where Cherubini had first presented his "Démophon" and "Anacréon" twenty-five years before. The new opera, however, was not well received, and a period of twenty years now elapsed before the production of another. In 1833 a remodelling of the old "Koukourgi," under the title of "Ali Baba," was given to the public. It deserves our admiration as the work of a septuagenarian, but is wholly ineffective from an artistic point of view.

The last period in the long life of the master is that of his great sacred compositions, and begins in the year 1808. No less than eight masses, two requiems, and a very large number of minor pieces make up the rich array. The great D minor mass appeared in 1811, the C major in 1816, the coronation masses in G major and A major in 1819 and 1825. The celebrated C minor requiem was composed in 1816, and rendered for the first time in the Church of St. Denis on the anniversary of the death of Louis XVI. The second requiem attracts special attention for the following reasons: It is written in D minor, for male voices only. Cherubini wrote it in 1836, being then seventy-six years old. On the occasion of the funeral of Boieldieu in 1834, the C minor requiem had been sung; but as female voices were here called into requisition, the Archbishop of Paris requested that the work should not be used again for a similar purpose, the singing of women being prohibited by the church. It was Cherubini's wish that no controversy on this point should arise at the time of his own decease, and he therefore wrote a work in which alto and soprano voices were entirely omitted. In this connection another composition should be mentioned, which does not strictly belong to the sacred music, but is more nearly related to the eleven secular cantatas in Italian style produced by Cherubini. It was, however, employed for a funeral service, and is the well-known "Chant pour la mort de Joseph Haydn," written for three solo voices and orchestra. This work is full of deep feeling and of wonderful beauties of tone. One of its leading ideas accords with a melody from the "Creation," and the whole work is certainly to be regarded as a heartfelt tribute of admiration offered by Cherubini to the great German master. The work was performed at the Paris _Conservatoire_ in the winter of 1810, the death of Haydn having occurred in the preceding year. Cherubini, however, inscribed it in the list of his works under the date 1805, and it is not yet known whether it was composed in consequence of a false report of Haydn's death or was originally a song of praise dedicated to the Viennese composer in the year when the two musicians first met, and subsequently converted into a lament.

While Cherubini had shown in his youth a certain interest in the composition of church music, and in mature years had turned his attention for a long time in other directions, he had not thus far occupied himself with German chamber music and the symphony. But in his last creative period he entered upon this domain. In 1814 he composed his first, and, for a considerable interval, only string quartet. In the following year he wrote for the Philharmonic Society in London a concert overture in G major and a symphony in D major, the latter being the sole work of its class he ever gave to the world. In 1829 he finished a second string quartet in C major, for which he made a rearrangement of his symphony, including a new _adagio_. The third quartet in D minor, a very spirited production, was completed on the 31st of July, 1834, and three more works of the same kind followed it before the autumn of 1837, as also another string quintet.

The musician's financial affairs now began to take a more favorable turn. After the restoration of the Bourbons the _Conservatoire_ was temporarily closed but reopened somewhat later, under the title "École royale de chant et de déclamation," when Cherubini resumed his old place as teacher of counterpoint. Moreover, in 1816 the king made him director of the royal band, an office which he magnanimously shared with Lesueur. It was for this organization, to which were attached the most distinguished singers and instrumentalists, whose performances were extolled as unsurpassed, that Cherubini wrote the most of his greater and lesser sacred compositions. The brevity of the service at which the chapel choir was required to assist is seen in the character of the compositions themselves. The music, like the service, being necessarily short, masses such as those in F major and D minor were not available. Cherubini was obliged to condense his ideas as much as possible, but the external pressure at this time, far from injuring his style, served only to increase its effectiveness. It was often the case, moreover, that only a single portion of the mass was celebrated in musical form, which accounts for the great number of _Kyrie_ and other fragmentary compositions found among his works.