Masters of French Music Part 2

CHARLES GOUNOD

To be the composer of "Faust" is in itself sufficient to establish a claim upon the sympathy and grat.i.tude of many thousands, as well as to enjoy the indisputable right of occupying a niche by the side of the greatest and most original composers of the century.

There are but few creative musicians whose individuality is so striking that it leaves its impress, not only upon their own productions, but upon those of their contemporaries. Their genius is reflected, their mode of thought copied, and even their mannerisms are reproduced by numberless admirers and conscious or unconscious imitators.

As it was with Mendelssohn, Schumann, and Wagner, so it has been with Gounod. A higher tribute of praise it is indeed impossible to offer.

The French master has himself defined in a few words the indebtedness of every composer to his predecessors, and the difference existing between that which is communicable and that which is individual.

"The individuality of genius consists," he says, "according to the beautiful and profound expression of an ancient writer, in saying in a new way things that are not new: 'Nove non nova.' The influence of the masters is a veritable paternity: wishing to do without them is as foolish as to expect to become a father without ever having been a son.

Thus the life which is transmitted from father to son, leaves absolutely intact all that in the son const.i.tutes personality. In this way is it with regard to the tradition of the masters, which is the transmission of life in its impersonal sense: it is this which const.i.tutes the doctrine which the genius of St. Thomas Aquinas admirably defines as the science of life."[11]

With some masters the personality above alluded to shows itself earlier than usual, as in the case both of Mendelssohn and Gounod.

There exists a point of contact between these two composers, so entirely dissimilar one from another in every way, which it may be well to point out. This is in respect to the nature of the influence they have exercised over other composers, which consists not so much in the adoption of any special mode of thought or art principle, but is exemplified by the servile imitation of specific mannerisms. Less far-reaching and wide-spread than that of Wagner, the influence of the above masters has also been less beneficial, for the reason that it has been more objective than subjective, and has shown itself rather in the outward details of many a composition than through its inward conception. The likeness has been more in the cut of the garment than in the material thereof. This may be accounted for by the fact that both Mendelssohn and Gounod are mannerists in the highest sense of the word, and their favourite methods of expression being easy to imitate, have been repeated by others _ad nauseam_, until they have begun to pall; whereas Wagner has opened a vast expanse, beyond which stretches an illimitable horizon, whither the composer of the future will be able to seek fresh sources of inspiration. His art, which has been described by some as typically Teutonic, is in reality universal, because it reposes upon the immutable principles of truth and logic, and is applicable to all nations, amongst which it has imperceptibly struck root and become acclimatised, perhaps nowhere more so than in the country of the composer with whom I am now dealing.

Two elements have in their turn exercised their sway over Gounod, and both have helped to impart, either separately or jointly, to his music certain of those characteristics familiar to all who have studied his works--religion and love. The mysticism and sensuous tenderness that pervade his compositions, whether sacred or secular, are evidently the reflex of a mind imbued with lofty aspirations, swayed at one moment by worldly tendencies, but returning with renewed intensity towards the pursuit of the ideal. Something of the same spirit may be discerned in the musical personality of another great artist, and both Liszt and Gounod exhibit in their widely different works the dual ascendancy of divine and human love.

"Das Ewig Weibliche zieht uns hinan," the words with which Goethe terminates the second part of his "Faust," are singularly applicable to the composer whose greatest work is founded upon the immortal poet's tragedy, and who has been especially successful in his treatment of the sentimental portions thereof.

The sensuous nature of his music is noticeable even in his religious compositions, of which it does not const.i.tute the least charm.

The future composer of "Faust" was born in Paris on the 17th of June 1818.

From his earliest age he displayed exceptional musical apt.i.tudes, and showed signs of an undoubted vocation for the career in which he was destined so conspicuously to shine. In her "Life of Gounod" Mdlle. de Bovet relates the following anecdotes of his childhood: "At the age of two, in the gardens of Pa.s.sy, where he was taken for exercise, he would say, 'That dog barks in Sol,' and the neighbours used to call him _Le pet.i.t musicien_. He likes to repeat what he said one day in that far distant childhood. He had been listening to the different cries of the street vendors, 'Oh!' he exclaimed suddenly, 'that woman cries out a Do that weeps.' The two notes with which she hawked her carrots and cabbages actually formed the minor third--C, E flat. The baby, scarcely out of his leading-strings, already felt the mournful character of this combination."

When about seven years of age he was taken to hear Weber's "Freischutz,"

or rather the mutilated version of this masterpiece by Castil-Blaze known under the name of "Robin des Bois." The impression produced upon his youthful mind by Weber's beautiful melodies appears to have been very great. A few years later, when a schoolboy, he heard Rossini's "Otello" interpreted by Malibran and Rubini, and the Italian "maestro's"

florid strains seem to have struck him in an equal degree. His enthusiasm, however, reached its highest pitch when he became acquainted with "Don Giovanni." He has ever since been an ardent devotee at the shrine of Mozart, and of late years his admiration for the master's music seems, if anything, to have increased.

Having had the misfortune to lose his father at an early age, he was brought up under the care of his mother. His first studies in composition were pursued under Reicha, one of the most celebrated theorists of the time; and having completed his general education at the college of St. Louis, he entered the cla.s.ses of the Conservatoire in 1836, receiving instruction in counterpoint from Halevy, and in composition from Lesueur. In 1839 he obtained the "Grand prix de Rome,"

and soon afterwards left for Italy. During his sojourn in Rome Gounod devoted himself largely to the study of religious music, and spent a great portion of his time in perusing the works of Palestrina and Bach.

Whilst residing at the famous Villa Medicis he made the acquaintance of f.a.n.n.y Hensel, the sister of Mendelssohn, in whose correspondence may be found several interesting details concerning the future composer of "Faust."

In a letter dated April 23, 1840, she writes: "Gounod has a pa.s.sion for music; it is a pleasure to have such a listener. My little Venetian air delights him; he has also a predilection for the Romance in B Minor composed here at Rome, for the duet of Felix, his 'Capriccio' in A minor, and especially for the concerto of Bach, which he has made me play more than ten times over." Later on, in another letter, she writes as follows: "On Sat.u.r.day evening I played to my guests, and performed, amongst other things, the Concerto of Bach; although they know it by heart, their enthusiasm goes 'crescendo.' They pressed and kissed my hands, especially Gounod, who is extraordinarily expansive; he always finds himself short of expressions when he wishes to convey to me the influence I exercise over him, and how happy my presence makes him. Our two Frenchmen form a perfect contrast: Bousquet's nature is calm and correct, Gounod's is pa.s.sionate and romantic to excess. Our German music produces upon him the effect of a bomb bursting inside a house."

In June 1840 f.a.n.n.y Hensel and her husband left for Naples. The following extract from a letter is interesting, as showing to what extent, even at that early period, Gounod had become imbued with religious ideas: "Bousquet confided to us on the way his fears concerning the religious exaltation of Gounod since he had come under the ascendancy of the Pere Lacordaire ... whose eloquence had already during the previous winter grouped around him a number of young men. Gounod, whose character is weak and whose nature is impressionable, was at once gained over by Lacordaire's stirring words; he has just become a member of the a.s.sociation ent.i.tled 'John the Evangelist,' exclusively composed of young artists who pursue the regeneration of humanity through the means of art. The a.s.sociation contains a large number of young men belonging to the best Roman families; several amongst these have abandoned their career in order to enter into holy orders. Bousquet's impression is that Gounod is also on the point of exchanging music for the priest's garb."

In 1843 we find Gounod in Vienna, where a "Requiem" of his composition attracted some attention. On his return to Paris he vainly endeavoured to find a publisher for some songs he had composed while at Rome. When we hear that these included "Le Vallon," "Le Soir," "Jesus de Nazareth,"

and "Le Printemps"--that is to say, some of the most beautiful inspirations that have emanated from his brain--it becomes difficult to account for the obtuseness of the publishers.

Discouraged in this quarter, Gounod devoted his attention once more to religious music, and accepted the post of organist to the chapel of the "Missions Etrangeres." He even entertained the idea of entering into holy orders. Happily this was not to be. The name of Gounod was becoming known in musical circles, and through the influence of Mme. Viardot, the celebrated singer, sister of Malibran, the young composer was commissioned to write the music of an opera to a book by Emile Augier,[12] for the "Academie Nationale." This, his first contribution to the lyric stage, was "Sapho," which was brought out in 1851, without, however, achieving much more than a _succes d'estime_. It was revived in a curtailed form seven years later, and finally, remodelled and enlarged, was reproduced in 1884. Notwithstanding its failure to attract the public, "Sapho" commanded the approbation of many competent judges, amongst whom we find no less a musician than Berlioz, who thus expressed himself upon the composer's merits: "M. Gounod is a young musician endowed with precious qualities, whose tendencies are n.o.ble and elevated, and whom one should encourage and honour, all the more so as our musical epoch is so corrupt."

"Sapho" is by no means the worst opera Gounod has composed, though unequal as a whole. The original version remains the best.

The year after the production of "Sapho" Gounod married a daughter of Zimmermann,[13] a well-known musician and professor.

His next venture was at the Theatre Francais, for which he wrote incidental music to "Ulysse," a tragedy by Ponsard. A detail to note is that the orchestra was conducted by Offenbach. Although the music to this was universally praised, it did not suffice to save the piece from dire failure. "La Nonne Sanglante," a five-act opera, founded upon a novel by Monk Lewis, produced in 1854, was even less successful than "Sapho." At the same time, the press was sufficiently favourable, and Gounod's reputation, though awaiting its final consecration, was at any rate on the increase. It is as well to mention here the success achieved in London of some religious compositions of Gounod's at a concert given in 1851, which called forth an enthusiastic article in the _Athenaeum_.

The year 1855 witnessed the production of one of the master's most individual works, the "Messe de Ste. Cecile," the popularity of which has remained unabated on both sides of the Channel, and which furnishes perhaps the most typical example of his genius in this particular line.

Mons. Pagnerre, Gounod's biographer, very rightly considers this as occupying the same position in regard to his religious as "Faust" does to his dramatic works.

For years Gounod had cherished the desire of setting Goethe's "Faust" to music, and in 1855 he mentioned the subject to the librettists Michel Carre and Jules Barbier, who immediately set to work and provided the required text. Circ.u.mstances, however, combined to prevent him from completing his work, and Mons. Carvalho, then director of the Theatre Lyrique, having suggested something of a lighter description, Gounod interrupted his labours, and in five months completed the score of "Le Medecin Malgre Lui," an operatic version of Moliere's comedy, which was performed for the first time on January 15, 1858. This little opera is a perfect gem of delicate fancy and refined humour. It affords a proof of what can be achieved with limited means by a true artist, and how burlesque situations are susceptible of being treated without a suspicion of vulgarity or triviality. Berlioz well defined its true worth when he wrote: "Everything in this comic opera is pretty, piquant, fresh, spontaneous; there is not a note too much nor a note too little."

It has frequently been performed in England under the t.i.tle of "The Mock Doctor."

We now approach the culminating point in the composer's career. The score of "Faust" was almost finished in October 1857, and Gounod was said to be at work upon a grand opera ent.i.tled "Ivan the Terrible,"

which was never completed, or at all events never played. The composer utilised several portions thereof in other operas: the celebrated soldier's march in "Faust" was originally composed for the above work.

"Faust" was first performed at the Theatre Lyrique on the 19th of March 1859, with the following cast: Faust, Barbot; Mephistopheles, Balanque; Valentin, Reynald; Siebel, Mdlle. Faivre; Marguerite, Mme. Carvalho. It was transferred to the Grand Opera in 1869, with certain alterations, including new ballet music for the fifth act, when it was interpreted by Colin, a young tenor of great talent and promise, who was destined to die prematurely not long after; Faure, unsurpa.s.sed as Mephistopheles; Devoyod, Mdlle. Mauduit, and Mme. Nilsson, the best of Marguerites.

The success of "Faust" did not for some time a.s.sume anything like the proportions it was destined to attain later on, and the following extracts from some of the criticisms of the day may not be uninteresting. Berlioz was on the whole distinctly favourable to his young rival's work, and his appreciation, coming from one who had himself sought for inspiration from the same source, acquires thereby additional importance. According to him, the most remarkable portion of the score is the monologue of Marguerite at her window, which closes the third act. In this it is probable that many will now agree.

Scudo,[14] the once famous critic of the _Revue des Deux Mondes_, was less favourable than Berlioz, although he admitted the work to be thoroughly distinguished; "but," he added, "the musician has not seized the vast conception of the German poet; he has not sufficiently succeeded in appropriating unto himself the epic force of Goethe, to render any new attempt impossible." In this, Scudo was perhaps not altogether wrong. As, however, he always showed himself the uncompromising opponent of Berlioz, Wagner, and the newer school of musical thought, his judgment loses some of its weight, and it is not surprising that he should have p.r.o.nounced the soldier's march to be a masterpiece, whilst failing to recognise the beauty of the garden scene.

Strangely enough, neither Berlioz nor Scudo, judging the work from such different standpoints, were in any way impressed by the musical beauties or dramatic force of the prison scene. Jouvin, the critic of the _Figaro_, whilst praising the second and fourth acts, thought the third monotonous and lengthy. On the other hand, the critic of the _Ill.u.s.tration_ considered this as the finest. Scudo having died in 1864, he was succeeded on the _Revue des Deux Mondes_ by Blaze de Bury, who proved even more hostile to Gounod than his predecessor.

"Faust" was first performed in London under Col. Mapleson's _regime_, in 1864, with the following cast: Mme. t.i.tiens, Marguerite; Mme. Trebelli, Siebel; Giuglini, Faust; Ga.s.sier, Mephistopheles; Santley, Valentine.

Signor Arditi was the conductor.

Later on, during the same season, it was given at Covent Garden and interpreted as follows: Mme. Miolan-Carvalho, Marguerite; Mme. Nantier Didier, Siebel; Tamberlik, Faust; Faure, Mephistopheles; Graziani, Valentine.

Since then, the number of singers who have appeared in this unique work has been very great. There probably does not exist a _prima donna_ who has not enacted the part of Marguerite; and "Faust" has usurped the place formerly occupied by "La Sonnambula" as the _debutante's_ opera.

In his amusing Memoirs, Colonel Mapleson gives an entertaining account of the production of "Faust" in London.

Finding that there appeared to be a lack of public interest in the new work, discernible through the fact that only 30 worth of seats had been disposed of for the first night, he adopted the bold and singular course of distributing the tickets for the first three performances far and wide, and giving out that the house was sold out. He then put an advertis.e.m.e.nt in the _Times_, stating that, "in consequence of a death in the family, two stalls for the first representation of 'Faust,' the opera that had excited so much interest that all places for the first three representations had been bought up, could be had at 25_s._ each."

The success of this stratagem appears to have been complete. Public curiosity was aroused, and the triumphant career of "Faust" in this country was begun.

The success "Faust" has achieved all the world over is probably unprecedented in operatic annals.

Gounod is said to have got only 40 for the English rights, and he was deemed lucky to get even that.

It would appear to be an impossibility for a composer to succeed in pleasing every one, and although perhaps "Faust" possesses this gift as much as any other operatic work, yet it is not surprising that it should have been criticised adversely from many varied points of view. That it should have proved distasteful to Wagner is but natural, considering the fact that the "libretto" must have seemed to the German master a desecration of Goethe's poem, even as much as the book of "Guillaume Tell" was a parody of Schiller's play.

Amongst the most singular appreciations of "Faust" is that emitted by Blaze de Bury, who qualifies it as an "Italian" opera!

As a contrast to this, several others have commented upon the composer's German tendencies, and the names of Mendelssohn and Schumann have been freely mentioned as furnishing the source of his inspiration. In point of fact, "Faust" is neither German nor Italian, but French, essentially French in its melody, essentially French in its harmony. The few unmistakable reminiscences of Mendelssohn do not detract from this any more than does the undoubted influence in many places of Meyerbeer. Of Schumann I can find but few if any traces. On the other hand, the work bears the stamp throughout of Gounod's own individuality. It is not an occasional reminiscence or a pa.s.sing thought that suffices to cla.s.s a work as belonging to any special school, but rather its general characteristics. Those who want a typical German Faust must go to Schumann, whilst those who prefer Goethe as seen through Italian spectacles can apply to Boto. As regards the essentially Gallic interpretations of Berlioz and Gounod there can be no question.

Probably no legend has ever been turned to such account by poet, dramatist, and musician as that of "Faust." The fascination of the story, whether looked at in its philosophical or purely romantic aspect has proved irresistible to many generations. The original Faust appears to be a mythical personage, who in some form or another has figured in the folk-lore of all nations, and is not to be confounded with Faust, or Fust, the printer. An individual of this name is mentioned by Melancthon in his "Table Talk" as having been a professor of magic at Cracow, and a great traveller, who had startled the inhabitants of Venice by flying through the air. The Reformer pleasantly alludes to this person as "Turp.i.s.sima bestia et cloaca multorum diabolorum." The existence of this Faust at Cracow is further corroborated by Wierns in 1588, a year later than the publication of the earliest version of the Faust legend by Spiess. It is upon this last that Marlowe founded his "Dr. Faustus,"

which was brought out in the following year. The long narrative of the story by Widman appeared in 1599. In all these versions the character of Marguerite is absent. It was reserved for Goethe to evolve this beautiful conception from his brain.[15]

Since the appearance of the great German poet's masterwork, the subject, as treated by him, has been utilised in various manners by numberless musicians. It would perhaps not be uninteresting to cast a glance at some of these. The following composers had preceded Gounod in making use of "Faust" as an opera text: Lickl (1815), Strauss (1814), Spohr (1814), Seyfried (1820), Beancourt (1827), Sir Henry Bishop (1825), Lindpaintner (1831), Mdlle. Berlin (1831), Rietz (1837), and Gordigiani (1837).[16]

What has become of all these works? _Chi lo sa?_ The only one that has in any way survived is that by Spohr, extracts from which are still occasionally heard in the concert-room. Boto's "Mefistofele" belongs of course to a subsequent period. It redounds greatly to the credit of the Italian composer that he should have succeeded in imposing a new operatic setting of Goethe's poem when this was so intimately a.s.sociated in most people's minds with the music of Gounod.

Although strangely unequal, "Mefistofele" is nevertheless in many ways a highly remarkable work, particularly as marking a departure from the usual methods peculiar to Italian composers, and aiming at a higher ideal. It has born fruit. Boto is a poet as well as a musician, and in his operatic adaptation of "Faust" he has evidently striven to depart as little as possible from Goethe's plan. This is of course commendable.

Unfortunately, the result has not been altogether satisfactory, for in endeavouring to compress the two "Fausts" of Goethe into one work, the Italian composer has been compelled to make a selection from the different situations occurring in the original, and has only succeeded in presenting a succession of scenes strung together apparently without rhyme or reason. A proper sub-t.i.tle for "Mefistofele" would be, "A selection of scenes from the two Fausts of Goethe, operatically treated by A. Boto." Certainly the librettists of Gounod's opera have shown but scant regard for Goethe's intentions, but they have at any rate concocted a story with a well-regulated and dramatically logical plot.