Masters of French Music

by Arthur Hervey

"Sigurd" had been composed many years previous to its production on the stage, and fragments had frequently been introduced into the concert-room. I recollect myself hearing an important extract performed at one of the far-famed Conservatoire concerts, and the overture at one of Pasdeloup's concerts, in 1876. The subject of this opera is taken from the same source as Wagner's "Ring des Nibelungen."

Sigurd and Siegfried are one and the same individual, and many of the incidents of the French composer's opera are identical with those that occur in the "Götterdammerŭng." This is, of course, unfortunate, and although it has been pointed out that Reyer composed his work before the completion of the "Ring," yet he must have been aware that the German master was treating the same subject, considering that Wagner had published the poem of his four works as far back as 1853. Notwithstanding the reputation he had already achieved, endless difficulties had to be surmounted before Reyer was able to get his work performed. The nature of the subject frightened Mons. Halanzier, the then director of the Paris Opéra, who imagined that the barbarous sounding names of the leading characters might prove objectionable to the public. Who had ever heard of Sigurd, Hagen, Gunther, or Hilda? The last name seemed especially to act upon his nerves. "Why not call her Bilda?" he exclaimed. "Do I call you Balanzier?" answered Reyer. There was nothing for the luckless composer to do but wait for another opportunity, which happily occurred some years later.

It is immensely to the French composer's credit that, in spite of inevitable comparisons, he should have been able to succeed as well as he has.

"Sigurd" is full of dramatic power, and bears evidence of the constant endeavour of the composer to fit his music to the sense of the words, avoiding as much as possible any of those conventional effects so dear to the uneducated section of the public. His style has been described as proceeding from Gluck and Weber, whilst his admiration for Berlioz and Wagner reveals itself in the richness and variety of his instrumentation. This appreciation is perfectly correct, and although his operas may be criticised in some respects, they reveal a true artistic temperament both in their method and execution. It may be said with truth that Reyer's individuality is not of the most marked, that his melodies sometimes lack distinction, and that his inventive faculty is scarcely equal to his skill in making the most of his materials; but none will contest the true artistic feeling that presides over all his compositions, or deny him the possession of strongly pronounced convictions impelling him to do his utmost towards raising the standard of operatic art.

After having been the first town to offer hospitality to "Sigurd," Brussels was destined to have the primeur of "Salammbô," the last opera that Reyer has composed, which was brought out in 1890 with great éclat, and produced later on in Paris, where it at once succeeded in establishing itself in the favour of the public. Perhaps of somewhat less sustained interest than "Sigurd," the music of "Salammbô" shows the same tendencies on the part of its composer to adhere to a strict interpretation of the drama, and contains many pages of great beauty. Those who have read Flaubert's powerful and imaginative work will probably consider it somewhat unsuited for the purposes of a "lyrical drama." It must be admitted, however, that the composer has found in it a subject well adapted to his artistic temperament, and that it has enabled him to produce a work which is an honour both to himself and to his country.

The production of "Salammbô" in London is an event much to be desired, and a revival of "Sigurd" would also be of the greatest interest. Now that the British public are more familiarised with Wagner's "Nibelungen Ring" they would be able to draw interesting comparisons between the treatment of the same legend by the German master and the French composer.

If Reyer has acquired a well deserved reputation in France as a composer, he is equally well known as a writer on music, and for many years has occupied the post of critic to the Journal des Débats, formerly held by Berlioz.

The opinions advanced by Reyer have always been remarkable for sound common sense. An intimate friend and ardent admirer of Berlioz, he enjoys the credit of having been one of the first in France to recognise the genius of Wagner.

The perfect honesty of his convictions is apparent to those who read his writings with care, and it may in passing be noted to his honour that when the course of time and increased acquaintance with his subject have caused him to modify any previously expressed opinions, he has never hesitated to say so. No one is infallible, but many pretend so to be.

When travelling in Germany in 1864 Reyer, who was already a strong admirer of Wagner's earlier works, had occasion to run through the score of "Tristan," then still unperformed. The first impressions produced upon him by this most complicated of scores was not a favourable one, and Reyer in stating this avowed that his admiration for the German master would stop at "Lohengrin," until the beauties of the "Nibelungen Ring" should have been revealed to him.