Great Musical Composers Part 25

Critics wedded to the strict German school of music never forgave Meyerbeer for his dereliction from the spirit and influences of his nation, and the prominence which he gave to melodramatic effects and spectacular show in his operas. Not without some show of reason, they cite this fact as proof of poverty of musical invention. Mendelssohn, who was habitually generous in his judgment, wrote to the poet Immermann from Paris of "Robert le Diable"--"The subject is of the romantic order; _i.e._, the devil appears in it (which suffices the Parisians for romance and imagination). Nevertheless, it is very bad, and, were it not for two brilliant seduction scenes, there would not even be effect.... The opera does not please me; it is devoid of sentiment and feeling.... People admire the music, but where there is no warmth and truth, I cannot even form a standard of criticism."

Schluter, the historian of music, speaks even more bitterly of Meyerbeer's irreverence and theatric sensationalism--"'Les Huguenots'

and the far weaker production 'Le Prophete' are, we think, all the more reprehensible (nowadays especially, when too much stress is laid on the subject of a work, and consequently on the libretto of an opera), because the Jew has in these pieces ruthlessly dragged before the footlights two of the darkest pictures in the annals of Catholicism, nor has he scrupled to bring high ma.s.s and chorale on the boards."

Wagner, the last of the great German composers, cannot find words too scathing and bitter to mark his condemnation of Meyerbeer. Perhaps his extreme aversion finds its psychological reason in the circ.u.mstance that his own early efforts were in the sphere of Meyerbeer and Halevy, and from his present point of view he looks back with disgust on what he regards as the sins of his youth. The fairest of the German estimates of the composer, who not only cast aside the national spirit and methods, but offended his countrymen by devoting himself to the French stage, is that of Vischer, an eminent writer on aesthetics--"Notwithstanding the composer's remarkable talent for musical drama, his operas contain sometimes too much, sometimes too little--too much in the subject-matter, external adornment, and effective 'situations'--too little in the absence of poetry, ideality, and sentiment (which are essential to a work of art), as well as in the unnatural and constrained combinations of the plot."

But despite the fact that Meyerbeer's operas contain such strange scenes as phantom nuns dancing, girls bathing, sunrise, skating, gunpowder explosions, a king playing the flute, and the prima donna leading a goat, dramatic music owes to him new accents of genuine pathos and an addition to its resources of rendering pa.s.sionate emotions. Though much that is merely showy and meretricious there come frequent bursts of genuine musical power and energy, which give him a high and unmistakable rank, though he has had less permanent influence in moulding and directing the development of musical art than any other composer who has had so large a place in the annals of his time.

The last twelve years of Meyerbeer's life were spent, with the exception of brief residences in Germany and Italy, in Paris, the city of his adoption, where all who were distinguished in art and letters paid their court to him. When he was seized with his fatal illness he was hard at work on "L'Africaine," for which Scribe had also furnished the libretto. His heart was set on its completion, and his daily prayer was that his life might be spared to finish it. But it was not to be. He died May 2, 1864. The same morning Rossini called to inquire after the health of the sick man, equally his friend and rival. When he heard the sad news he sank into a fit of profound despondency and grief, from which he did not soon recover. All Paris mourned with him, and even Germany forgot its critical dislike to join in regret at the loss of one who, with all his defects, was so great an artist and so good a man.

Meyerbeer seems to have been greatly afraid of being buried alive. In his pocket-book after his death was found a paper giving directions that small bells should be attached to his hands and feet, and that his body should be carefully watched for four days, after which it should be sent to Berlin to be interred by the side of his mother, to whom he had been most tenderly attached.

The composer was the intimate friend of most of the celebrities of his time in art and literature. Victor Hugo, Lamartine, George Sand, Balzac, Alfred de Musset, Delacroix, Jules Janin, and Theophile Gautier were his familiar intimates; and the reunions between these and other gifted men, who then made Paris so intellectually brilliant, are charmingly described by Liszt and Moscheles. Meyerbeer's correspondence, which was extensive, deserves publication, as it displays marked literary faculty, and is full of bright sympathetic thought, vigorous criticism, and playful fancy. The following letter to Jules Janin, written from Berlin a few years before his death, gives some pleasant insight into his character:--

"Your last letter was addressed to me at Konigsberg; but I was in Berlin working--working away like a young man, despite my seventy years, which somehow certain people, with a peculiar generosity, try to put upon me. As I am not at Konigsberg, where I am to arrange for the Court concert for the eighteenth of this month, I have now leisure to answer your letter, and will immediately confess to you how greatly I was disappointed that you were so little interested in Rameau; and yet Rameau was always the bright star of your French opera, as well as your master in the music. He remained to you after Lulli, and it was he who prepared the way for the Chevalier Gluck: therefore his family have a right to expect a.s.sistance from the Parisians, who on several occasions have cared for the descendants of Racine and the grandchildren of the great Corneille. If I had been in Paris, I certainly would have given two hundred francs for a seat; and I take this opportunity to beg you to hand that sum to the poor family, who cannot fail to be unhappy in their disappointment. At the same time I send you a power of attorney for M. Guyot, by which I renounce all claims to the parts of my operas which may be represented at the benefit for the celebrated and unfortunate Rameau family.

Why will you not come to Konigsberg at the festival? Why, in other words, are you not in Berlin? What splendid music we have in preparation! As to myself, it is not only a source of pleasure to me, but I feel it a duty, in the position I hold, to compose a grand march, to be performed at Konigsberg while the royal procession pa.s.ses from the castle into the church, where the ceremony of crowning is to take place. I will even compose a hymn, to be executed on the day that our king and master returns to his good Berlin.

Besides, I have promised to write an overture for the great concert of the four nations, which the directors of the London exhibition intend to give at the opening of the same, next spring, in the Crystal Palace. All this keeps me back: it has robbed me of my autumn, and will also take a good part of next spring; but with the help of G.o.d, dear friend, I hope we shall see each other again next year, free from all cares, in the charming little town of Spa, listening to the babbling of its waters and the rustling of its old grey oaks.

"Truly your friend,

"Meyerbeer."

IV.

Meyerbeer's operas are so intricate in their elements, and travel so far out of the beaten track of precedent and rule, that it is difficult to clearly describe their characteristics in a few words.

His original flow of melody could not have been very rich, for none of his tunes have become household words, and his excessive use of that element of opera which has nothing to do with music, as in the case of Wagner, can have but one explanation. It is in the treatment of the orchestra that he has added most largely to the genuine treasures of music. His command of colour in tone-painting and power of dramatic suggestion have rarely been equalled, and never surpa.s.sed. His genius for musical rhythm is the most marked element in his power. This is specially noticeable in his dance music, which is very bold, brilliant, and voluptuous. The vivacity and grace of the ballets in his operas save more than one act which otherwise would be insufferably heavy and tedious. It is not too much to say that the most spontaneous side of his creative fancy is found in these affluent, vigorous, and stirring measures.

Meyerbeer appears always to have been uncertain of himself and his work. There was little of that masterly prevision of effect in his mind which is one of the attributes of the higher imagination. His operas, though most elaborately constructed, were often entirely modified and changed in rehearsal, and some of the finest scenes, both in the dramatic and musical sense, were the outcome of some happy accidental suggestion at the very last moment. "Robert," "Les Huguenots," "Le Prophete," in the forms we have them, are quite different from those in which they were first cast. These operas have therefore been called "the most magnificent patchwork in the history of art," though this is a harsh phrasing of the fact, which somewhat outrides justice. Certain it is, however, that Meyerbeer was largely indebted to the chapter of accidents.

The testimony of Dr. Veron, who was manager of the Grand Opera during the most of the composer's brilliant career, is of great interest, as ill.u.s.trating this trait of Meyerbeer's composition. He tells us in his _Memoires_, before alluded to, that "Robert" was made and remade before its final production. The ghastly but effective colour of the resuscitation scene in the graveyard of the ruined convent was a change wrought by a stage manager, who was disgusted with the chorus of simpering women in the original. This led Meyerbeer to compose the weird ballet music which is such a characteristic feature of "Robert le Diable." So, too, we are told on the same authority, the fourth act of "Les Huguenots," which is the most powerful single act in Meyerbeer's operas, owes its present shape to Nourrit, the most intellectual and creative tenor singer of whom we have record. It was originally designed that the St. Bartholomew ma.s.sacre should be organised by Queen Marguerite, but Nourrit pointed out that the interest centering in the heroine, Valentine, as an involuntary and horrified witness, would be impaired by the predominance of another female character. So the plot was largely reconstructed, and fresh music written. Another still more striking attraction was the addition of the great duet with which the act now closes--a duet which critics have cited as an evidence of unequalled power, coming as it does at the very heels of such an astounding chorus as "The Blessing of the Swords." Nourrit felt that the parting of the two lovers at such a time and place demanded such an outburst and confession as would be wrung from them by the agony of the situation. Meyerbeer acted on the suggestion with such felicity and force as to make it the crowning beauty of the work. Similar changes are understood to have been made in "Le Prophete" by advice of Nourrit, whose poetical insight seems to have been unerring. It was left to Duprez, Nourrit's successor, however, to be the first exponent of John of Leyden.

These instances suffice to show how uncertain and how unequal was the grasp of Meyerbeer's genius, and to explain in part why he was so p.r.o.ne to gorgeous effects, aside from that tendency of the Israelitish nature which delights in show and glitter. We see something in it akin to the trick of the rhetorician, who seeks to hide poverty of thought under glittering phrases. Yet Meyerbeer rose to occasions with a force that was something gigantic. Once his work was clearly defined in a mind not powerfully creative, he expressed it in music with such vigour, energy, and warmth of colour as cannot be easily surpa.s.sed.

With this composer there was but little spontaneous flow of musical thought, clothing itself in forms of unconscious and perfect beauty, as in the case of Mozart, Beethoven, Cherubini, Rossini, and others who could be cited. The const.i.tution of his mind demanded some external power to bring forth the gush of musical energy.

The operas of Meyerbeer may be best described as highly artistic and finished mosaic work, containing much that is precious with much that is false. There are parts of all his operas which cannot be surpa.s.sed for beauty of music, dramatic energy, and fascination of effect. In addition, the strength and richness of his orchestration, which contains original strokes not found in other composers, give him a lasting claim on the admiration of the lovers of music. No other composer has united so many glaring defects with such splendid power; and were it not that Meyerbeer strained his ingenuity to tax the resources of the singer in every possible way, not even the mechanical difficulty of producing these operas in a fashion commensurate with their plan would prevent their taking a high place among popular operas.

_GOUNOD._

I.

Moscheles, one of the severe cla.s.sical pianists of the German school, writes as follows, in 1861, in a letter to a friend--"In Gounod I hail a real composer. I have heard his 'Faust' both at Leipsic and Dresden, and am charmed with that refined, piquant music. Critics may rave if they like against the mutilation of Goethe's masterpiece; the opera is sure to attract, for it is a fresh, interesting work, with a copious flow of melody and lovely instrumentation."

Henry Chorley in his _Thirty Years' Musical Recollections_, writing of the year 1851, says--"To a few hearers, since then grown into a European public, neither the warmest welcome nor the most bleak indifference could alter the conviction that among the composers who have appeared during the last twenty-five years, M. Gounod was the most promising one, as showing the greatest combination of sterling science, beauty of idea, freshness of fancy, and individuality. Before a note of 'Sappho' was written, certain sacred Roman Catholic compositions and some exquisite settings of French verse had made it clear to some of the acutest judges and profoundest musicians living, that in him at last something true and new had come--may I not say, the most poetical of French musicians that has till now written?" The same genial and acute critic, in further discussing the envy, jealousy, and prejudice that Gounod awakened in certain musical quarters, writes in still more decided strains--"The fact has to be swallowed and digested that already the composer of 'Sappho,' the choruses to 'Ulysse,' 'Le Medecin malgre lui,' 'Faust,' 'Philemon et Baucis,' a superb Cecilian ma.s.s, two excellent symphonies, and half a hundred songs and romances, which may be ranged not far from Schubert's and above any others existing in France, is one of the very few individuals left to whom musical Europe is now looking for its pleasure." Surely it is enough praise for a great musician that, in the domain of opera, church music, symphony, and song, he has risen above all others of his time in one direction, and in all been surpa.s.sed by none.

It was not till "Faust" was produced that Gounod's genius evinced its highest capacity. For nineteen years the exquisite melodies of this great work have rung in the ears of civilisation without losing one whit of the power with which they first fascinated the lovers of music. The verdict which the aged Moscheles pa.s.sed in his Leipsic home--Moscheles, the friend of Beethoven, Weber, Schumann, and Mendelssohn; which was re-echoed by the patriarchal Rossini, who came from his Pa.s.sy retirement to offer his congratulations; which Auber took up again, as with tears of joy in his eyes he led Gounod, the ex-pupil of the Conservatory, through the halls wherein had been laid the foundation of his musical skill--that verdict has been affirmed over and over again by the world. For in "Faust" we recognise not only some of the most n.o.ble music ever written, but a highly dramatic expression of spiritual truth. It is hardly a question that Gounod has succeeded in an unrivalled degree in expressing the characters and symbolisms of "Mephistopheles," "Faust," and "Gretchen" in music not merely beautiful, but spiritual, humorous, subtile, and voluptuous, accordingly as the varied meanings of Goethe's masterpiece demand.

Visitors at Paris, while the American civil war was at its height, might frequently have observed at the beautiful Theatre Lyrique, afterwards burned by the Vandals of the Commune, a noticeable-looking man, of blonde complexion and tawny beard, clear-cut features, and large, bright, almost sombre-looking eyes. As the opera of "Faust"

progresses, his features eloquently express his varying emotions, now of approval, now of annoyance at different parts of the performance.

M. Gounod is criticising the interpretation of the great opera, which suddenly lifted him into fame as perhaps the most imaginative and creative of late composers.

An aggressive disposition, an energy and faith that accepted no rebuffs, and the power of "toiling terribly," had enabled Gounod to battle his way into the front rank. Unlike Rossini and Auber, he disdained social recreation, and was so rarely seen in the fashionable quarters of Paris and London that only an occasional musical announcement kept him before the eyes of the public. Gounod seems to have devoted himself to the strict sphere of his art-life with an exclusive devotion quite foreign to the general temperament of the musician, into which something luxurious and pleasure-loving is so apt to enter. This composer, standing in the very front rank of his fellows, has injected into the veins of the French school to which he belongs a seriousness, depth, and imaginative vigour, which prove to us how much he is indebted to German inspiration and German models.

CHARLES GOUNOD, born in Paris, June 17, 1818, betrayed so much pa.s.sion for music during tender years, that his father gave him every opportunity to gratify and improve this marked bias. He studied under Reicha and Le Sueur, and finally under Halevy, completing under the latter the preparation which fitted him for entrance into the Conservatory. The talents he displayed there were such as to fix on him the attention of his most distinguished masters. He carried off the second prize at nineteen, and at twenty-one received the grand prize for musical composition awarded by the French Inst.i.tute. His first published work was a ma.s.s performed at the Church of St.

Eustache, which, while not specially successful, was sufficiently encouraging to both the young composer and his friends.

Gounod now proceeded to Rome, where there seems to have been some inclination on his part to study for holy orders. But music was not destined to be cheated of so gifted a votary. In 1841 he wrote a second ma.s.s, which was so well thought of in the papal capital as to gain for the young composer the appointment of an honorary chapel-master for life. This recognition of his genius settled his final conviction that music was his true life-work, though the religious sentiment, or rather a sympathy with mysticism, is strikingly apparent in all of his compositions. The next goal in the composer's art pilgrimage was the music-loving city of Vienna, the home of Haydn, Mozart, Beethoven, and Schubert, though its people waited till the last three great geniuses were dead before it accorded them the loving homage which they have since so freely rendered. The reception given by the capricious Viennese to a requiem and a Lenten ma.s.s (for as yet Gounod only thought of sacred music as his vocation) was not such as to encourage a residence. Paris, the queen of the world, towards which every French exile ever looks with longing eyes, seemed to beckon him back; so at the age of twenty-five he turned his steps again to his beloved Lutetia. His education was finished; he had completed his "Wanderjahre;" and he was eager to enter on the serious work of life.

He was appointed chapel-master at the Church of Foreign Missions, in which office he remained for six years, in the meanwhile marrying a charming woman, the daughter of Herr Zimmermann, the celebrated theologian and orator. In 1849 he composed his third ma.s.s, which made a powerful impression on musicians and critics, though Gounod's ambition, which seems to have been powerfully stimulated by his marriage, began to realise that it was in the field of lyric drama only that his powers would find their full development. He had been an ardent student in literature and art as well as in music; his style had been formed on the most n.o.ble and serious German models, and his tastes, awakened into full activity, carried him with great zeal into the loftier field of operatic composition.

The dominating influence of Gluck, so potent in shaping the tastes and methods of the more serious French composers, a.s.serted itself from the beginning in the work of Gounod, and no modern composer has been so brilliant and effective a disciple in carrying out the formulas of that great master. More free, flexible, and melodious than Spontini and Halevy, measuring his work by a conception of art more lofty and ideal than that of Meyerbeer, and in creative power and originality by far their superior, Gounod's genius, as shown in the one opera of "Faust," suffices to stamp his great mastership.

But he had many years of struggle yet before this end was to be achieved. His early lyric compositions fell dead. Score after score was rejected by the managers. No one cared to hazard the risk of producing an opera by this unknown composer. His first essay was a pastoral opera, "Philemon and Baucis," and it did not escape from the ma.n.u.script for many a long year, though it has in more recent times been received by critical German audiences with great applause. A catalogue of Gounod's failures would have no significance except as showing that his industry and energy were not relaxed by public neglect. His first decided encouragement came in 1851, when "Sappho"

was produced at the French Opera through the influence of Madame Pauline Viardot, the sister of Malibran, who had a generous belief in the composer's future, and such a position in the musical world of Paris as to make her requests almost mandatory. This opera, based on the fine poem of Emile Augier, was well received, and cheered Gounod's heart to make fresh efforts. In 1852 he composed the choruses for Poussard's cla.s.sical tragedy of "Ulysse," performed at the Theatre Francais. The growing recognition of the world was evidenced in his appointment as director of the Normal Singing School of Paris, the primary school of the Conservatory. In 1854 a five-act opera, with a libretto from the legend of the "Bleeding Nun," was completed and produced, and Gounod was further gratified to see that musical authorities were willing to grant him a distinct place in the ranks of art, though as yet not a very high one.

For years Gounod's serious and elevated mind had been pondering on Goethe's great poem as the subject of an opera, and there is reason to conjecture that parts of it were composed and arranged, if not fully elaborated, long prior to its final crystallisation. But he was not yet quite ready to enter seriously on the composition of the masterpiece. He must still try his hand on lesser themes. Occasional pieces for the orchestra or choruses strengthened his hold on these important elements of lyric composition, and in 1858 he produced "Le Medecin malgre lui," based on Moliere's comedy, afterwards performed as an English opera under the t.i.tle of "The Mock Doctor." Gounod's genius seems to have had no affinity for the graceful and sparkling measures of comic music, and his attempt to rival Rossini and Auber in the field where they were pre-eminent was decidedly unsuccessful, though the opera contained much fine music.

II.

The year of his triumph had at last arrived. He had waited and toiled for years over "Faust," and it was now ready to flash on the world with an electric brightness that was to make his name instantly famous. One day saw him an obscure, third-rate composer, the next one of the brilliant names in art. "Faust," first performed 19th March 1859, fairly took the world by storm. Gounod's warmest friends were amazed by the beauty of the masterpiece, in which exquisite melody, great orchestration, and a dramatic pa.s.sion never surpa.s.sed in operatic art, were combined with a scientific skill and precision which would vie with that of the great masters of harmony. Carvalho, the manager of the Theatre Lyrique, had predicted that the work would have a magnificent reception by the art world, and lavished on it every stage resource. Madame Miolan-Carvalho, his brilliant wife, one of the leading sopranos of the day, sang the role of the heroine, though five years afterwards she was succeeded by Nilsson, who invested the part with a poetry and tenderness which have never been quite equalled.

"Faust" was received at Berlin, Vienna, Milan, St. Petersburg, and London, with an enthusiasm not less than that which greeted its Parisian debut. The clamour of dispute between the different schools was for the moment hushed in the delight with which the musical critics and public of universal Europe listened to the magical measures of an opera which to cla.s.sical chasteness and severity of form and elevation of motive united such dramatic pa.s.sion, richness of melody, and warmth of orchestral colour. From that day to the present "Faust" has retained its place as not only the greatest but the most popular of modern operas. The proof of the composer's skill and sense of symmetry in the composition of "Faust" is shown in the fact that each part is so nearly necessary to the work, that but few "cuts" can be made in presentation without essentially marring the beauty of the work; and it is therefore given with close faithfulness to the author's score.

After the immense success of "Faust," the doors of the Academy were opened wide to Gounod. On February 28, 1862, the "Reine de Saba" was produced, but was only a _succes d'estime_, the libretto by Gerard de Nerval not being fitted for a lyric tragedy.[S] Many numbers of this fine work, however, are still favourites on concert programmes, and it has been given in English under the name of "Irene." Gounod's love of romantic themes, and the interest in France which Lamartine's glowing eulogies had excited about "Mireio," the beautiful national poem of the Provencal, M. Frederic Mistral, led the former to compose an opera on a libretto from this work, which was given at the Theatre Lyrique, March 19, 1864, under the name of "Mireille." The music, however, was rather descriptive and lyric than dramatic, as befitted this lovely ideal of early French provincial life; and in spite of its containing some of the most captivating airs ever written, and the fine interpretation of the heroine by Miolan-Carvalho, it was accepted with reservations. It has since become more popular in its three-act form to which it was abridged. It is a tribute to the essential beauty of Gounod's music that, however unsuccessful as operas certain of his works have been, they have all contributed charming _morceaux_ for the enjoyment of concert audiences. Not only did the airs of "Mireille"

become public favourites, but its overture is frequently given as a distinct orchestral work.

The opera of "La Colombe," known in English as "The Pet Dove,"

followed in 1866; and the next year was produced the five-act opera of "Romeo et Juliette," of which the princ.i.p.al part was again taken by Madame Miolan-Carvalho. The favourite pieces in this work, which is a highly poetic rendering of Shakespeare's romantic tragedy, are the song of _Queen Mab_, the garden duet, a short chorus in the second act, and the duel scene in the third act. For some occult reason, "Romeo et Juliette," though recognised as a work of exceptional beauty and merit, and still occasionally performed, has no permanent hold on the operatic public of to-day.

The evils that fell on France from the German war and the horrors of the Commune drove Gounod to reside in London, unlike Auber, who resolutely refused to forsake the city of his love, in spite of the suffering and privation which he foresaw, and which were the indirect cause of the veteran composer's death. Gounod remained several years in England, and lived a retired life, seemingly as if he shrank from public notice and disdained public applause. His princ.i.p.al appearances were at the Philharmonic, the Crystal Palace, and at Mrs. Weldon's concerts, where he directed the performances of his own compositions.

The circ.u.mstances of his London residence seem to have cast a cloud over Gounod's life and to have strangely unsettled his mind. Patriotic grief probably had something to do with this at the outset. But even more than this as a source of permanent irritation may be reckoned the spell cast over Gounod's mind by a beautiful adventuress, who was ambitious to attain social and musical recognition through the _eclat_ of the great composer's friendship. Though newspaper report may be credited with swelling and distorting the naked facts, enough appears to be known to make it sure that the evil genius of Gounod's London life was a woman, who traded recklessly with her own reputation and the French composer's fame.

However untoward the surroundings of Gounod, his genius did not lie altogether dormant during this period of friction and fretfulness, conditions so repressive to the best imaginative work. He composed several ma.s.ses and other church music; a "Stabat Mater" with orchestra; the oratorio of "Tobie"; "Gallia," a lamentation for France; incidental music for Legouve's tragedy of "Les Deux Reines,"

and for Jules Barbier's "Jeanne d'Arc;" a large number of songs and romances, both sacred and secular, such as "Nazareth," and "There is a Green Hill;" and orchestral works, "Salterello in A," and the "Funeral March of a Marionette."

At last he broke loose from the bonds of Delilah, and, remembering that he had been elected to fill the place of Clap.i.s.son in the Inst.i.tute, he returned to Paris in 1876 to resume the position which his genius so richly deserved. On the 5th of March of the following year his "Cinq-Mars" was brought out at the Theatre de l'Opera Comique; but it showed the traces of the haste and carelessness with which it was written, and therefore commanded little more than a respectful hearing. His last opera, "Polyeucte," produced at the Grand Opera, October 7, 1878, though credited with much beautiful music, and n.o.bly orchestrated, is not regarded by the French critics as likely to add anything to the reputation of the composer of "Faust." Gounod, now at the age of sixty, if we judge him by the prolonged fertility of so many of the great composers, may be regarded as not having largely pa.s.sed the prime of his powers. The world still has a right to expect much from his genius. Conceded even by his opponents to be a great musician and a thorough master of the orchestra, more generous critics in the main agree to rank Gounod as the most remarkable contemporary composer, with the possible exception of Richard Wagner. The distinctive trait of his dramatic conceptions seems to be an imagination hovering between sensuous images and mystic dreams.

Originally inspired by the severe Greek sculpture of Gluck's music, he has applied that master's laws in the creation of tone-pictures full of voluptuous colour, but yet solemnised at times by an exaltation which recalls the time when as a youth he thought of the spiritual dignity of priesthood. The use he makes of his religious reminiscences is familiarly ill.u.s.trated in "Faust." The contrast between two opposing principles is marked in all of Gounod's dramatic works, and in "Faust" this struggle of "a soul which invades mysticism and which still seeks to express voluptuousness" not only colours the music with a novel fascination, but amounts to an interesting psychological problem.

FOOTNOTE:

[S] It has been a matter of frequent comment by the ablest musical critics that many n.o.ble operas, now never heard, would have retained their place in the repertoires of modern dramatic music, had it not been for the utter rubbish to which the music has been set.