"NOWADAYS, more than ever, musicians have the leisure to occupy themselves with other things than music."
These bitter words, savouring of disappointed expectations, occur in the preface to the volume entitled Notes de Musique, written by Ernest Reyer and published in 1875.
Since that time the author of the above lines has received a tardy compensation for a somewhat unaccountable neglect, and his operas "Sigurd" and "Salammbô" have achieved what promises to be a permanent success at the Paris Opera.
Although the composer of these works is but little known in this country, yet he none the less occupies an honourable position in the front rank of modern musicians. His "Sigurd," which was given at Covent Garden some few years since, did not meet with the success due to its unquestionable merits.
A man of strong convictions, imbued with a high ideal and averse to anything approaching the spirit of compromise, Ernest Reyer had to wait longer before receiving due recognition than if he had been disposed to pander to the taste of the public at the cost of his artistic principles. This he has never done but he has been satisfied to work quietly and wait patiently until his hour should arrive, careless of popularity, and content to devote his talents to the sole cause of art. Born on Dec. 1, 1823, at Marseilles, Ernest Reyer at the age of sixteen went to Algeria, where he spent some time, living with his uncle, who had an appointment in the province of Constantine.
It may be that the early influences of the milieu in which he was thrown may have had something to do with developing a tendency he exhibited later on of setting Oriental subjects to music. His first important work was an eastern symphonic ode, entitled "Le Sélam," the words of which were by Théophile Gautier, produced in 1850. This composition had the misfortune to come a little too late. Félicien David, in his "Désert," had already musically illustrated a subject in many ways similar, and the success of his work proved detrimental to that of his younger colleague.
Many years later (in 1876), Ernest Reyer was destined, curiously enough, to succeed Félicien David as a member of the Institute.
The début of Reyer as a dramatic composer dates from the year 1854, when "Maître Wolfram," a one-act opera, was produced at the Opéra Comique. This was followed in 1858 by "Sacuntala," a ballet, at the Opéra; and in 1861 by "La Statue," at the Théâtre Lyrique. It was this last work which brought the composer's name in a prominent manner before the public. The distrust that existed at that period against all musicians holding so-called "advanced" ideas naturally affected Ernest Reyer, who was known to be an intimate friend of Berlioz, and to hold unorthodox views with regard to the nature of dramatic music. "Le Sélam" had come too late, "La Statue" arrived too soon. At a time when the beauties of "Tannhaüser" were unrecognised and this work had been hissed off the stage, when even Gounod's "Faust" was looked upon with suspicion, it is not surprising that a work exhibiting qualities of so serious a nature as "La Statue" should have met with only a partial success. At the same time the qualities abounding in this work were recognised by the press, and its author was by common consent classed among the most rising composers and looked upon as one from whom much was to be expected.
"La Statue," in its original form, included spoken dialogue. On the occasion of its revival at the Opéra Comique in 1878, the composer set this to music, to the great advantage of his work, thereby insuring that continuity which nowadays is rightly regarded as essential in operas of serious import.
The music to this work is impregnated with an indefinable Oriental colouring which imparts to it an undoubted measure of charm.