Great Italian and French Composers by George T. Ferris

Author:George T. Ferris
Language: eng
Format: epub, pdf
Tags: history, composer, composers, italy, france, rossini, verdi, berlioz, cherubini
ISBN: 9781781665237
Publisher: Andrews UK Limited 2012
Published: 2012-06-13T00:00:00+00:00

MÉHUL, SPONTINI, AND HALÉVY.

I.

The influence of Gluck was not confined to Cherubini, but was hardly less manifest in molding the style and conceptions of Méhul and Spontini,* who held prominent places in the history of the French opera.

* It is a little singular that some of the most

distinguished names in the annals of French music were

foreigners. Thus Gluck was a German, as also was Meyerbeer,

while Cherubini and Spontini were Italians.

Henri Etienne Méhul was the son of a French soldier stationed at the Givet barracks, where he was born June 24, 1763. His early love of music secured for him instructions from the blind organist of the Franciscan church at that garrison town, under whom he made astonishing progress. He soon found he had outstripped the attainments of his teacher, and contrived to place himself under the tuition of the celebrated Wilhelm Hemser, who was organist at a neighboring monastery. Here Méhul spent a number of happy and useful years, studying composition with Hemser and literature with the kind monks, who hoped to persuade their young charge to devote himself to ecclesiastical life.

Méhul's advent in Paris, whither he went at the age of sixteen, soon opened his eyes to his true vocation, that of a dramatic composer. The excitement over the contest between Gluck and Piccini was then at its height, and the youthful musician was not long in espousing the side of Gluck with enthusiasm. He made the acquaintance of Gluck accidentally, the great ehevalier interposing one night to prevent his being ejected from the theatre, into one of whose boxes Méhul had slipped without buying a ticket. Thence forward the youth had free access to the opera, and the friendship and tuition of one of the master minds of the age.

An opera, "Cora et Alonzo," had been composed at the age of twenty and accepted at the opera; but it was not till 1790 that he got a hearing in the comic opera of "Euphrasque et Coradin," composed under the direction of Gluck. This work was brilliantly successful, and "Stratonice," which anpeared two years afterward, established his reputation. The French critics describe both these early works as being equally admirable in melody, orchestral accompaniment, and dramatic effect. The stormiest year of the revolution was not favorable to operatic composition, and Méhul wrote but little music except pieces for republican festivities, much to his own disgust, for he was by no means a warm friend of the republic.

In 1797 he produced his "Le Jeune Henri," which nearly caused a riot in the theatre. The story displeased the republican audience, who hissed and hooted till the turmoil compelled the fall of the curtain. They insisted, however, on the overture, which is one of great beauty, being performed over and over again, a compliment which has rarely been accorded to any composer. Méhul's appointment as inspector and professor in the newly organized Conservatory, at the same time with Cherubini, left him but little leisure for musical composition; but he found time to

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