The Works of Honore de Balzac Part 52

"The whole world now rises in arms against the reprobate. This _finale_ may be criticised for its resemblance to that of _Don Giovanni_; but there is this immense difference: in Isabella we have the expression of the n.o.blest faith, a true love that will save Robert, for he scornfully rejects the infernal powers bestowed on him, while Don Giovanni persists in his unbelief. Moreover, that particular fault is common to every composer who has written a _finale_ since Mozart. The _finale_ to _Don Giovanni_ is one of those cla.s.sic forms that are invented once for all.

"At last religion wins the day, uplifting the voice that governs worlds, that invites all sorrow to come for consolation, all repentance to be forgiven and helped.

"The whole house was stirred by the chorus:

"Malheureux ou coupables, Hatez-vous d'accourir!

"In the terrific tumult of raving pa.s.sions, the holy Voice would have been unheard; but at this critical moment it sounds like thunder; the divine Catholic Church rises glorious in light. And here I was amazed to find that after such lavish use of harmonic treasure, the composer had come upon a new vein with the splendid chorus: '_Gloire a la Providence_' in the manner of Handel.

"Robert rushes on with his heartrending cry: '_Si je pouvais prier!_' and Bertram, driven by the infernal decree, pursues his son, and makes a last effort. Alice has called up the vision of the Mother, and now comes the grand trio to which the whole opera has led up: the triumph of the soul over matter, of the Spirit of Good over the Spirit of Evil. The strains of piety prevail over the chorus of h.e.l.l, and happiness appears glorious; but here the music is weaker. I only saw a cathedral instead of hearing a concert of angels in bliss, and a divine prayer consecrating the union of Robert and Isabella. We ought not to have been left oppressed by the spells of h.e.l.l; we ought to emerge with hope in our heart.

"I, as musician and a Catholic, wanted another prayer like that in _Mose_.

I should have liked to see how Germany would contend with Italy, what Meyerbeer could do in rivalry with Rossini.

"However, in spite of this trifling blemish, the writer cannot say that after five hours of such solid music, a Parisian prefers a bit of ribbon to a musical masterpiece. You heard how the work was applauded; it will go through five hundred performances! If the French really understand that music----"

"It is because it expresses ideas," the Count put in.

"No; it is because it sets forth in a definite shape a picture of the struggle in which so many perish, and because every individual life is implicated in it through memory. Ah! I, hapless wretch, should have been too happy to hear the sound of those heavenly voices I have so often dreamed of."

Hereupon Gambara fell into a musical day-dream, improvising the most lovely melodious and harmonious _cavatina_ that Andrea would ever hear on earth; a divine strain divinely performed on a theme as exquisite as that of _O filii et filiae_, but graced with additions such as none but the loftiest musical genius could devise.

The Count sat lost in keen admiration; the clouds cleared away, the blue sky opened, figures of angels appeared lifting the veil that hid the sanctuary, and the light of heaven poured down.

There was a sudden silence.

The Count, surprised at the cessation of the music, looked at Gambara, who, with fixed gaze, in the att.i.tude of a visionary, murmured the word: "G.o.d!"

Andrea waited till the composer had descended from the enchanted realm to which he had soared on the many-hued wings of inspiration, intending to show him the truth by the light he himself would bring down with him.

"Well," said he, pouring him out another b.u.mper of wine and clinking gla.s.ses with him, "this German has, you see, written a sublime opera without troubling himself with theories, while those musicians who write grammars of harmony may, like literary critics, be atrocious composers."

"Then you do not like my music?"

"I do not say so. But if, instead of carrying musical principles to an extreme--which takes you too far--you would simply try to arouse our feelings, you would be better understood, unless indeed you have mistaken your vocation. You are a great poet."

"What," cried Gambara, "are twenty-five years of study all in vain? Am I to learn the imperfect language of men when I have the key to the heavenly tongue? Oh, if you are right,--I should die."

"No, no. You are great and strong; you would begin life again, and I would support you. We would show the world the n.o.ble and rare alliance of a rich man and an artist in perfect sympathy and understanding."

"Do you mean it?" asked Gambara, struck with amazement.

"As I have told you, you are a poet more than a musician."

"A poet, a poet! It is better than nothing. But tell me truly, which do you esteem most highly, Mozart or Homer?"

"I admire them equally."

"On your honor?"

"On my honor."

"H'm! Once more. What do you think of Meyerbeer and Byron?"

"You have measured them by naming them together."

The Count's carriage was in waiting. The composer and his n.o.ble physician ran downstairs, and in a few minutes they were with Marianna.

As they went in, Gambara threw himself into his wife's arms, but she drew back a step and turned away her head; the husband also drew back and beamed on the Count.

"Oh, monsieur!" said Gambara in a husky voice, "you might have left me my illusions." He hung his head, and then fell.

"What have you done to him? He is dead drunk!" cried Marianna, looking down at her husband with a mingled expression of pity and disgust.

The Count, with the help of his servant, picked up Gambara and laid him on his bed.

Then Andrea left, his heart exultant with horrible gladness.

The Count let the usual hour for calling slip past next day, for he began to fear lest he had duped himself and had made this humble couple pay too dear for their improved circ.u.mstances and added wisdom, since their peace was destroyed for ever.

At last Giardini came to him with a note from Marianna.

"Come," she wrote, "the mischief is not so great as you so cruelly meant it to be."

"Excellenza," said the cook, while Andrea was making ready, "you treated us splendidly last evening. But apart from the wine, which was excellent, your steward did not put anything on the table that was worthy to set before a true epicure. You will not deny, I suppose, that the dish I sent up to you on the day when you did me the honor to sit down at my board, contained the quintessence of all those that disgraced your magnificent service of plate?

And when I awoke this morning I remembered the promise you once made me of a place as _chef_. Henceforth I consider myself as a member of your household."

"I thought of the same thing a few days ago," replied Andrea. "I mentioned you to the secretary of the Austrian Emba.s.sy, and you have permission to recross the Alps as soon as you please. I have a castle in Croatia which I rarely visit. There you may combine the offices of gatekeeper, butler, and steward, with two hundred crowns a year. Your wife will have as much for doing all the rest of the work. You may make all the experiments you please _in anima vili_, that is to say on the stomach of my va.s.sals. Here is a cheque for your traveling expenses."

Giardini kissed the Count's hand after the Neapolitan fashion.

"Excellenza," said he, "I accept the cheque, but beg to decline the place.

It would dishonor me to give up my art by losing the opinion of the most perfect epicures, who are certainly to be found in Paris."

When Andrea arrived at Gambara's lodgings, the musician rose to welcome him.

"My generous friend," said he, with the utmost frankness, "you either took advantage, last evening, of the weakness of my brain to make a fool of me, or else your brain is no more capable of standing the test of the heady liquors of our native Latium, than mine is. I will a.s.sume this latter hypothesis; I would rather doubt your digestion than your heart. Be this as it may, henceforth I drink no more wine--for ever. The abuse of good liquor last evening led me into much guilty folly. When I remember that I very nearly----" He gave a glance of terror at Marianna. "As to the wretched opera you took me to hear, I have thought it over, and it is, after all, music written on ordinary lines, a mountain of piled-up notes, _verba et voces_. It is but the dregs of the nectar I can drink in deep draughts as I reproduce the heavenly music that I hear! It is a patchwork of airs of which I could trace the origin. The pa.s.sage, '_Gloire a la Providence_' is too much like a bit of Handel; the chorus of knights is closely related to the Scotch air in _La Dame Blanche_; in short, if this opera is a success, it is because the music is borrowed from everybody's--so it ought to be popular.

"I will say good-bye to you, my dear friend. I have had some ideas seething in my brain since the morning that only wait to soar up to G.o.d on the wings of song, but I wished to see you. Good-bye; I must ask forgiveness of the Muse. We shall meet at dinner to-night--but no wine; at any rate, none for me. I am firmly resolved----"

"I give him up!" cried Andrea, flushing red.

"And you restore my sense of conscience," said Marianna. "I dared not appeal to it! My friend, my friend, it is no fault of ours; he does not want to be cured."

Six years after this, in January 1837, such artists as were so unlucky as to damage their wind or stringed instruments, generally took them to the Rue Froid-Manteau, to a squalid and horrible house, where, on the fifth floor, dwelt an old Italian named Gambara.

For five years past he had been left to himself, deserted by his wife; he had gone through many misfortunes. An instrument on which he had relied to make his fortune, and which he called a _Panharmonicon_, had been sold by order of the Court on the public square, Place du Chatelet, together with a cartload of music paper scrawled with notes. The day after the sale, these scores had served in the market to wrap up b.u.t.ter, fish, and fruit.