Great Italian and French composers

Front matter

ety

MAR 10

‘GREAT ITALIAN AND FRENCH

Contents

PAGE PaLkSTRINA ‘ i ‘ . F ‘ 7 Picernt, PAISIELLO, AND CIMAROSA ‘ . 17 Rossinr . og . , Lie : - 48 DonizETTI AND BELLINI : - ° . 85 VERDI : : ‘ . ‘ ° ~ 104 CHERUBINI. AND HIS PREDECESSORS . ° ° 120 Ménvt, Spontini, AND HaLEvy . : : Pee Wi) BorELpDIEU AND AUBER . a ° Z . 195 MEYERBEER ‘ ° ° . - 205 Gounop anp THOMAS ° ° “ ° 228

BrEruioz . ° ® e a ry - 255 a) "ems TRY eee eR ae ee | vet ee Ee

’ bd i f * ' Ve uy ve 8 - .

II

TueE melodious and fascinating style, soon to give birth to the characteristic genius of the opera, was as yet unborn, though dormant. In Rome, the chief seat of the Belgian art, the exclusive study of technical skill had frozen music to a mere formula. The Gregorian chant had become so overladen with mere embellishments as to make the prescribed church-form difficult of recognition in its borrowed garb, for it had become a mere jumble of sound. Musicians, indeed, carried their profanation so far as to take secular melodies as the themes for masses and motetts. These were often called by their profane titles. So the name of a love-sonnet or a drinking-song would sometimes be attached to a miserere. The council of Trent, in 1562, cut at these evils with sweeping axe, and the solemn - anathemas of the church fathers roused the creative powers of the subject of this sketch, who raised his art to an independent national existence, and made it rank with sculpture and painting, which had already reached their zenith in Leonardo Da Vinci, Raphael, Correggio, Titian, and Michel Angelo. Henceforth Italian music was to be a vigorous, fruitful stock.

Giovanni Perluigui Aloisio da Palestrina was born at Palestrina, the ancient Preeneste, in 1524.* The memorials of his childhood are scanty. We know but little except that his parents were poor peasants, and that he learned the rudiments of literature and music as a choir-singer, a startingpoint so common in the lives of great composers. In 1540 he went to Rome and studied in the school of Goudimel, a stern Huguenot Fleming,

Our composer, as was common with artists and scholars in those days, took the name of his natal town, and by this he is known to fame. Old documents also give him the old Latin name of the town with the personal ending.

PALESTRINA. 11 tolerated in the papal capital on account of his superior science and method of teaching, and afterward murdered at Lyons on the day of the Paris massacre. Palestrina grasped the essential doctrines of the school without adopting its mannerisms. At the age of thirty he published his first compositions, and dedicated them to the reigning pontiff, Julius III. In the formation of his style, which moved with such easy, original grace within the old prescribed rules, he learned much from the personal influence and advice of Orlando di Lasso, his warm friend and constant companion during these earlier days.

Several of his compositions, written at this time, are still performed in Rome on Good Friday, and Goethe and Mendelssohn have left their eloquent tributes to the impression made on them by music alike simple and sublime. The pope was highly pleased with Palestrina’s noble music, and appointed him one of the papal choristers, then regarded as a great honor. But beyond Rome the new light of music was but little known. The Council of Trent, in their first indignation at the abuse of church music, had resolved to abolish everything but the simple Gregorian chants, but the remonstrances of the Kmperor Ferdinand and the Roman cardinals stayed _ the austere fiat. The final decision was made to rest on a new composition of Palestrina, who was permitted to demonstrate that the higher forms of musical art were consistent with the solemnities of church worship.

All eyes were directed to the young musician, for the very existence of his art was at stake. The motto of his first mass, “Iumina oculos meos,” shows the pious enthusiasm with which he undertook his labors. Instead of one, he composed three six-part masses. The third of these excited such admiration that the pope exclaimed in raptures, “ It is John who gives us here in this earthly Jerusalem a foretaste of that new song which the holy Apostle John realized in the heayenly Jerusalem in his prophetic trance.” This is now known as the “mass of Pope Marcel,” in honor of a former patron of Palestrina.

A new pope, Paul IV., on ascending the pontifical throne, carried He desire of reforming abuses to fanaticism. He insisted on all the papal choristers being clerical. Palestrina had married early in life a Roman lady, of whom all we know is that her name was Lucretia. Four children had blessed the union, and the composer’s domestic happiness became a bar to his temporal preferment. With two others he was dismissed from the chapel because he was a layman, and a trifling pension allowed him. Two months afterward, though, he was appointed cliapel-master of St. John Lateran. His works now succeeded each other rapidly, and different collections of his masses were dedicated to the crowned heads of —

PALESTRINA. fe a

Europe. In 1571 he was appointed chapel-master of the Vatican, and Pope Gregory XIII. gave special charge of the reform of sacred music to Palestrina.

The death of the composer’s wife, whom he idolized, in 1580, was a blow from which he never recovered. In his latter days he was afflicted with great poverty, for the positions he held were always more honorable than lucrative. Mental depression and physical weakness burdened the last few years of his pious and gentle life, and he died after a lingering and severe illness. The register of the pontifical chapel contains this entry : “ February 2, 1594. This morning died the most excellent musician, Signor Giovanni Palestrina, our dear companion and maestro di capella of St. Peter’s church, whither his funeral was attended not only by all the musicians of Rome, but by an infinite concourse of people, when his own ‘ Libera me, Domine’ was sung by the whole college.”

Such are the simple and meagre records of the life of the composer, who carved and laid the foundation of the superstructure of Italian music; who, viewed in connection with his times and their limitations, must be regarded as one of the great creative minds in his art ; who shares with Sebastian Bach the glory of having built an imperishable base for the labors of his successors.

ITI.

Patestrina left a great mass of compositions, all glowing with the fire of genius, only part of which have been published. His simple life was devoted to musical labor, and passed without romance, diversion, or excitement. His works are marked by utter absence of contrast and color. Without dramatic movement, they are full of melody and majesty, a majesty serene, unruffled by the slightest suggestion of human passion. Voices are now and then used for individual expression, but either in unison or harmony. As im all great church music, the chorus is the key of the work. The general judgment of musicians agrees that repose and enjoyment are more characteristic of this music than that of any other master. The choir of the Sistine chapel, by the inheritance of long-cherished tradition, is the most perfect exponent of the Palestrina music. During the annual performance of the “Improperie” and “ Lamentations,” the altar and walls are despoiled of their pictures and ornaments, and everything is draped in black. The cardinals dressed in serge, no incense, no candles: the whole scene is a striking picture of trouble and desolation. ‘The faithful come in two by two and bow before the cross, while the sad music reverberates through the chapel arches. This powerful appeal to the imagination, of course, lends greater power to the musi-

PALESTRINA. 15 cal effect. But all minds who have felt the lift and beauty of these compositions have acknowledged how far they soar above words and creeds, and the picturesque framework of a liturgy.

Mendelssohn, in a letter to Zelter on the Palestrina music as heard in the Sistine chapel, says that nothing could exceed the effect of the blend. ing of the voices, the prolonged tones gradually merging from one note and chord to another, softly swelling, decreasing, at last dying out. “They understand,” he writes, “how to bring out and place each trait in the most delicate light, without giving it undue prominence ; one chord gently melts into another. The ceremony at the same time is solemn and imposing ; deep silence prevails in the chapel, only broken by the reéchoing Greek ‘holy,’ sung with unvarying sweetness and expression.” ‘The composer Paér was so impressed with the wonderful beauty of the music and the performance, that he exclaimed, “ This is indeed divine music, such as I have long sought for, and my imagination was never able to realize, but which, I knew, must exist.”

Palestrina’s versatility and genius enabled him te lift ecclesiastical music out of the rigidity and frivolity characterizing on either hand the opposing ranks of those that preceded him, and to embody the religious spirit in works of the highest art. He transposed the ecclesiastical melody (canto fermo) from the tenor to the soprano (thus rendering it more intelligible to the ear), and created that glorious thing choir song, with its refined harmony, that noble music of which his works are the models, and the papal chair the oracle. No individual preéminence is ever allowed to disturb and weaken the ideal atmosphere of the whole work. However Palestrina’s successors have aimed to imitate his effects, they have, with the exception of Cherubini, failed for. the most part ; for every peculiar genus of art is the result of innate genuine inspiration, and the spontaneous growth of the age which produces it. As a parent of musical form he was the protagonist of Italian music, both sacred and secular, and left an admirable model, which even the new school of opera so soon to rise found it necessary to follow in the construction of harmony. The splendid and often licentious music of the theatre built its most worthy effects on the work of the pious composer, who lived, labored, and died in an atmosphere of almost anchorite sanctity.

The great disciples of his school, Nannini and Allegri, continued his work, and the splendid “‘ Miserere ” of the latter was regarded as such an inestimable treasure that no copy of it was allowed to go out of the Sistine chapel, till the infant prodigy, Wolfgang Mozart, wrote it out from the memory of a single hearing.

ee =

PICCINI, PAISIELLO, AND CIMAROSA.

I.

Music, as speaking the language of feeling, emotion, and passion, found its first full expansion in the operaticform. There had been attempts to represent drama with chorus, founded on the ancient Greek drama, but it was soon discovered that . dialogue and monologue could not be embodied in choral forms without involving an utter absurdity. The spirit of the renaissance had freed poetry, statuary, and painting, from the monopolizing claims of the church. Music, which had become a well equipped and developed science, could not long rest ina similar servitude. Though it is not the aim of the author to discuss operatic history, a brief survey ot the progress of opera from its birth cannot be omitted.

The oldest of the entertainments which ripened into Italian opera belongs to the last years of the fifteenth century, and was the work of the brilliant Politian, known as one of the revivalists of Greek learning attached to the court of Cosmo de’ Medici and his son Lorenzo. This was the musical drama of “ Orfeo.” ‘The story was written in Latin, and sung in music principally choral, though a few solo phrases were given to the principal characters. It was performed at Rome with great magnificence, and Vasari tells us that Peruzzi, the decorator of the papal theatre, painted such scenery for it that even the great Titian was so struck with the wraisemblance of the work that he was not satisfied until he had touched the canvas to be sure of its not being in relief. We may fancy indeed that the scenery was one great attraction of the representation. In spite of spasmodic encouragement by the more liberally mind- © ed pontiffs, the general weight of church influence was against the new musical tendency, and the most skilled composers were at first afraid to devote their talents to further its growth.

What musicians did not dare undertake out of dread of the thunderbolts of the church, a company of Uiterati at Florence commenced in 1580, The primary purpose was the revival of Greek . art, including music. This association, in conjunction with the Medicean Academy, laid down the rule that distinct individuality of expression in music was to be sought for. As results, quickly came musical drama with recitative (modern form of the Greek chorus) and solo melody for characteristic parts of the legend or story. Out of this beginning swiftly grew the opera. Composers in the new form sprung up in various parts of Italy, though Naples, Venice, and Florence continued to be its centres.

Between 1637 and 1700, there were performed three hundred operas at Venice alone. An account of the performance of “ Berenice,” composed by Domenico Freschi, at Padua, in 1680, dwarfs all our present ideas of spectacular splendor. In this opera there were choruses of a hundred virgins and a hundred soldiers ; a hundred horsemen in steel armor ; a hundred performers on trumpets, cornets, sackbuts, drums, flutes, and other instruments, on horseback and on foot; two lions led by two Turks, and two elephants led by two Indians; Berenice’s triumphal car drawn by four horses, and six other cars with spoils and prisoners, drawn by twelve horses. Among the scenes in the first act was a vast plain with two triumphal arches ; another with pavilions and tents; a square prepared for the entrance of the triumphal procession, and a forest for the chase. In the second act there were the royal apartments of Berenice’s temple of vengeance, a spacious court with view of the prison and a covered way with long lines of chariots. In the third act there were the royal dressing-room, the stables with a hundred live horses, porticoes adorned with tapestry, and a great palace in the perspective. In the course of the piece there were representations of the hunting of the boar, the stag, and the lions. The whole concluded with a huge globé descending from the skies, and dividing itself in lesser globes of fire on which stood allegorical figures of fame, honor, nobility, virtue, and glory. The theatrical manager had princes and nobles for bankers and assistants, and they lavished their treasures of art and money to make such spectacles as the modern stagemen of London and Paris cannot approach,

In Evelyn’s diary there is an entry describing opera at Venice in 1645. “This night, having with my lord Bruce taken our places before, we . went to the opera, where comedies and other plays are represented in recitative musiq by the most excellent musicians, vocal and instrumental, with variety of scenes painted and contrived with no lesse art of perspective, and machines for flying in the aire, and other wonderful motions ; taken together it is one of the most magnificent and expensive diversions the wit of man can invent. The history was Hercules in Lydia. The sceanes changed thirteen times. The famous voices, Anna Rencia, a Roman and reputed the best treble of women ; but there was a Eunuch who in my opinion surpassed her ; also a Genoise that in my judgment sung an incomparable base. They held us by the eyes and ears till two o’clock 7’ the morning.” Again he writes of the carnival of 1646: “The comedians have liberty and the operas are open; witty pasquils are thrown about, and the mountebanks have their stages at every corner. The diversion which chiefly took me up was three noble operas, where were most excellent voices and music, the most celebrated of which was the famous and beautiful Anna Rencia, whom we invited to a fish dinner after four daies in Lent, when they had given over at the theatre.” Old Evelyn then narrates how he and his noble friend took the lovely diner out on a junketing, and got shot at with blunderbusses from the gondola of an infuriated rival.

Opera progressed toward a fixed status with a swiftness hardly paralleled in the history of any art. The soil was rich and fully prepared for the growth, and the fecund root, once planted, shot into a luxuriant beauty and symmetry, which nothing could check. The Church wisely gave up its opposition, and henceforth there was nothing to impede the progress of a product which spread and naturalized itself in England, France, and Germany. ‘The inventive genius of Monteverde, Carissimi, Scarlatti (the friend and rival of Handel), Durante, and Leonardo Leo, perfected the forms of the opera nearly as we have them to-day. A line of brilliant composers in the school of Durante and Leo brings us down through Pergolesi, Derni, Terradiglias, Jomelli, Traetta, Ciccio di Majo, Galuppi, and Giuglielmi, to the most distinguished of the early Italian composers, Niccolo Piccini, who, mostly forgotten in his works, is principally known to modern fame as the rival of the mighty Gluck in that art controversy which shook Paris into such bitter factions. Yet, overshadowed as Piccini was in the greatness of his rival, there can be no question of his desert as the most brilliant ornament and exponent of the early operatic school. No greater honor could have been paid to him than that he should have been chosen as their champion by the Jtalianissimi of his day in the battle royal with such a giant as Gluck, an honor richly deserved by a composer distinguished by multiplicity and beauty of ideas, dramatic insight, and ardent conviction.

Il.

Niccoto Piccrn1, who was not less than fifty years of age when he left Naples for the purpose of outrivaling Gluck, was born at Bari, in the kingdom of Naples, in 1728. His father, also a musician, had destined him for holy orders, but Nature made him an artist. His great delight even as a little child was playing on the harpsichord, which he quickly learned. One day the bishop of Bari heard him playing and was amazed at the power of the little virtwoso. “ By all means, send him to a conservatory of music,” he said to the elder Piccini. “If the vocation of the priesthood brings trials and sacrifices, a musical career is not less beset with obstacles. Music demands great perseverance and incessant labor. It exposes one to many chagrins and toils.”

By the advice of the shrewd prelate, the precocious boy was placed at the school of St. Onofrio at the age of fourteen. At first confided to the care of an inferior professor, he revolted from | the arid teachings of a mere human machine. Obeying the dictates of his daring fancy, though hardly acquainted with the rudiments of composition, he determined to compose a mass. The news got abroad that the little Niccolo was working on a grand mass, and the great Leo, the chief of the conservatory, sent for the trembling culprit.

“You have written a mass?” he commenced.

“Excuse me, sir, I could not help it,” said the timid boy.

“Let me see it.”

Niccolo brought him the score and all the orchestral parts, and Leo immediately went to the concert-room, assembled the orchestra, and gave them the parts. The boy was ordered to take his place in front and conduct the performance, which he went through with great agitation.

“{T pardon you this time,” said the grave maestro, at the end; “but, if you do such a thing again, I will punish you in such a manner that you will remember it as long as you live. Instead of studying the principles of your art, you give yourself up to all the wildness of your imagination ; and, when you have tutored your ill-regulated ideas into something like shape, you produce what you call a mass, and no doubt think you have produced a masterpiece.”

When the boy burst into tears at this rebuke, Leo clasped him in his arms, told him he had great talent, and after that took him under his special instruction. Leo was succeeded by Durante, who also loved Piccini, and looked forward to a future greatness for him. He was wont to say the others were his pupils, but Piccini was his son. After twelve years spent in the conservatory, Piccini commenced an opera. The director of the principal Neapolitan theatre said to Prince Vintimille, who introduced the young musician, that ~ his work was sure to be a failure.

“‘How much can you lose by his opera,” the prince replied, “supposing it be a perfect fiasco?” ‘The manager named the sum.

“There is the money, then,” replied Piccini’s generous patron, handing him a purse. “If the ‘“Dorme Despetose’” (the name of the opera) should fail, you may keep the money, but otherwise return it to me.”

The friends of Lagroscino, the favorite composer of the day, were enraged when they heard that the next new work was to be from an obscure youth, and they determined to hiss the performance. So great, however, was the delight of the public with the freshness and beauty of Piccini’s music, that even those who came to condemn remained to applaud. The reputation of the composer went on increasing until he became the foremost name of musical Italy, for his fertility of production was remarkable ; and he gave the theatres a brilliant succession of comic and serious works. In 1758 he produced at Rome his “« Alessandro nell’ Indie,” whose success surpassed all that had preceded it, and two years later a still finer masterpiece, “ La Buona Figluola,” written to a text furnished by the poet Goldoni, and founded on the story of Richardson’s “ Pamela.” This opera was produced at every playhouse on the Italian peninsula in the course of a few years.

A pleasant mot by the Duke of Brunswick is worth preserving in this connection. Piccini had married a beautiful singer named Vicenza Sibilla, and his home was very happy. One day the German prince visited Piccini, and found him rocking the cradle of his youngest child, while the eldest was tugging at the paternal coat-tails. The mother, being en déshabille, ran away at the sight of astranger. ‘The duke excused himself for his want of ceremony, and added, “I am delighted to see so great a man living in such simplicity, and that the author of ‘ La Bonne Fille’ is such a good father.” Piccini’s placid and pleasant life was destined, however, to pass into stormy waters.

His sway over the stage and the popular preference continued until 1773, when a clique of envious rivals at Rome brought about his first disaster. The composer was greatly disheartened, and took to his bed, for he was ill alike in mind and body. The turning-point in his career had we and he was to enter into an arena which taxed his powers in a contest such as he had not yet dreamed of. His operas having been heard and admired in France, their great reputation inspired the royal favorite, Mme. du Barry, with the hope of finding a successful competitor to the great German composer, patronized by Marie Antoinette. Accordingly, Piccini was of- — fered an indemnity of six thousand frances, and a residence in the hotel of the Neapolitan ambassador. When the Italian arrived in Paris, Gluck was in full sway, the idol of the court and public, and about to produce his “ Armide.”

Piccini was immediately commissioned to write a new opera, and he applied to the brilliant Marmontel for a libretto. The poet rearranged one of Quinault’s tragedies, “ Roland,” and Piccini undertook the difficult task of composing music to words in a language as yet unknown to him. Marmontel was his unwearied tutor, and he writes in his “Memoirs” of his pleasant yet arduous task : “ Line by line, word by word, I had everything to explain ; and, when he had laid hold of the meaning of a passage, I recited it to him, marking the accent, the prosody, and the cadence of the verses. He listened eagerly, and I had the satisfaction to know that what he heard was carefully noted. His delicate ear seized so readily the accent of the language and the measure of the poetry, that in his music he never mistook them. It was an inexpressible pleasure to me to

PICCINI, PAISIELLO, AND CIMAROSA. Q27 see him practice before my eyes an art of which before I had no idea. His harmony was in his mind. He wrote his airs with the utmost rapidity, and when he had traced its designs, he filled up all the parts of the score, distributing the traits of harmony and melody, just as a skillful painter would distribute on his canvas the colors, lights, and shadows of his picture. When all this was done, he opened his harpsichord, which he had been using as his writing-table ; and then I heard an air, a duet, a chorus, complete in all its parts, with a truth of expression, an intelligence, a unity of design, a magic in the harmony, which delighted both my ear and my feelings.”

Piccini’s arrival in Paris had been kept a close secret while he was working on the new opera, but Abbé du Rollet ferreted it out, and acquainted Gluck, which piece of news the great German took with philosophical disdain. Indeed, he attended the rehearsal of “ Roland ;” and when his rival, in despair over his ignorance of French and the stupidity of the orchestra, threw down the baton in despair, Gluck took it up, and by his magnetic authority brought order out of chaos and restored tranquillity, a help as much, probably, the fruit of condescension and contempt as of generosity.

Still Gluck was not easy in mind over this intrigue of his enemies, and wrote a bitter letter, which was made public, and aggravated the war of public feeling. Epigrams and accusations flew back and forth like hailstones.*

“Do you know that the Chevalier (Gluck’s title) has an Armida and Orlando in his portfolio?” said Abbé Arnaud to a Piccinist.

* But Piccini is also at work on an Orlando,” was the retort.

“So much the better,” returned the abbé, “for then we shall have an Orlando and also an- Orlandino,” was the keen answer.

The public attention was stimulated by the war of pamphlets, lampoons, and newspaper articles. Many of the great literati were Piccinists, among them Marmontel, La Harpe, D’Alembert, etc. Suard du Rollet and Jean Jacques Rousseau fought in the opposite ranks. Although the nation was trembling on the verge of revolution, and the French had just lost their hold on the East Indies; though Mirabeau was thundering in the tribune, and Jacobin clubs were commencing their baleful work, soon to’ drench Paris in blood, all factions and discords were forgotten. The question was no longer, “Is he a Jansenist, a Molinist, an Encyclopedist, a philosopher, a free-thinker?” One question only was thought of: “Is he a Gluckist or Piccinist?” and on the answer often depended the peace of families and the cement of long-established friendships.

Piccini’s opera was a brilliant success with the

* See article on Gluck in “ Great German Composers,”

fickle Parisians, though the Gluckists sneered at itas pretty concert music. The retort was that Gluck had no gift of melody, though they admitted he had the advantage over his rival of making more noise. The poor Italian was so much distressed by the fierce contest that he and his family were in despair on the night of the first representation. He could only say to his weeping wife and son: “Come, my children, this is unreasonable. Remember that we are not among savages ; we are living with the politest and kindest nation in Europe. If they do not like me as a musician, they will at all events respect me as a man and a stranger.” To do justice to Piccini, a mild and timid man, he never took part in the controversy, and always spoke of his opponent with profound respect and admiration.

Tit,

- Marre AntTornettE, whom Mme. du Barry and her clique looked on as Piccini’s enemy, astonished both cabals by appointing Piccini her singing-master, an unprofitable honor, for he received no pay, and was obliged to give costly copies of his compositions to the royal family, He might have quoted from the Latin poet in regard to this favor from Marie Antoinette, whose faction in music, among other names, was known as the Greek party, “ Zimeo Danaos et dona feyentes.”** Beaumarchais, the brilliant author of “Figaro,” had found the same inconvenience when acting as court teacher to the daughters of Louis XV. The French kings were parsimonious except when lavishing money on their vices.

The action of the dauphiness, however, paved the way for a reconciliation between Piccini and Gluck. Berton, the manager of the opera, gave a - luxurious banquet, and the musicians, side by side, pledged each other in libations of champagne. Gluck got confidential in his cups. “ These French,” he said, “are good enough people, but they make me laugh. They want us to write songs for them, and they can’t sing.” In fact the quarrel was not between the musicians but their adherents. In his own heart Piccini knew his inferiority to Gluck.