Re-embarking for Hamburgh, the disappointed artist travelled through Germany, and again reached Paris, the scene of his first triumphs. Here he was appointed Professor of the Violin at the Conservatory, and played with renewed success at the Feydean Concerts;—but, with a continued disposition for travelling, he went soon after to Madrid. Boccherini, then established in that city, entered into friendship with him, and scored several of his concertos for him.
In 1800, Rode returned to Paris, and was at once nominated Solo Violin to the private band of Bonaparte, Chief Consul. His fame and his excellence were by this time alike matured. He was invited to St. Petersburg in 1803, receiving the appointment of First Violin to the Emperor’s band, with the sole duty of playing at the Court Concerts, and at those given in the Imperial Theatre. After five years thus passed with high credit, he returned to Paris, and gave what was professedly his last public concert. Great was the disappointment, however, among the discerning Parisian Amateurs, at finding that a great change had come over the spirit of his performance—that he had no longer at command the brilliancy and fire which had marked him for one of Viotti’s own, but that a premature decay seemed to be upon him, although the purity of tone, the taste, the elegant style of bowing, were yet remaining. This exhibition appears to have had a chilling effect upon the artist himself, who, for a long time afterwards, was heard by his friends alone. In this latter way, his quartett-playing, accompanied by Baillot and Lamarre, created real gratification.
His love of fame, meanwhile, did not decline with the powers which had formerly attended and balanced it. He undertook a further course of travel in 1811, and went through Austria, Hungary, Styria, Bohemia, Bavaria, and Switzerland. In 1814, he was resident at Berlin, whence he returned to his native Bordeaux. He could not yet reconcile his mind, however, to the relinquishment of a career which his abated energies forbade him to continue. It was reserved for another (and a most mortifying) visit to Paris, to convince him that the hope of shining was now but a morbid feeling within him. He quitted that scene in a state of grievous and irrecoverable depression. The wanderer came back to his home, only to languish onwards to his grave. Towards the close of 1829, a paralytic stroke affected both his body and his intellect. In this state he lingered nearly twelve months, and died in November, 1830.
Monsieur Fétis has recently referred[49], with a just exultation, to the days wherein the triple force of Rode, Kreutzer, and Baillot, threw its lustre over the French School of Violin-players. He characterizes the talent of Rode as subtle, delicate, brilliant, and frequently suggestive, in its effects, of the great master who had called it forth. “There are few living,” he observes, “who have heard that admirable talent in all its beauty, as it was displayed at the concerts of the Rue Feydeau, and at those of the Opera; but the artists who have enjoyed that pleasure, will never forget the model of perfection which then astonished them.”
As a writer for his instrument (it has been remarked), Rode merits a distinguished place. His musical education, as regards the principles of composition, had been neglected, so that he was at first obliged to derive from his friends the accompaniments to his Concertos; but his melodies are remarkable for sweetness; the plans of his compositions are well conceived; and he is not without originality. His Concertos are well known and admired, wherever the violin is played. Paganini has performed them at his concerts. His quartetts—which, are, in fact, brilliant solos for the first violin, accompanied by a second violin, tenor and bass—have also had great success, especially when his own skilful hand lent its aid to their execution.
Ten Concertos,—four Quartetts for two violins, tenor and bass,—three Airs with variations, for a full orchestra, and the same arranged as quartetts—three sets of violin Duetts—and a share in the compilation of the celebrated “Méthode d’Instruction,” adopted for the violin-students at the French Conservatory—are the principal labours of this master. He also wrote some detached pieces, as Andantes, Rondos, &c.
Rodolphe Kreutzer, the son of a German musician in the service of the King of France, was born at Versailles, in 1767, and, in consequence of his French birth-place and career, is claimed with superior right by the French School, although something of German intermixture, besides that of the blood, must be distinguished in the early lessons he received on his instrument, both from his father, and from a far more important preceptor, Anthony Stamitz.—Under the latter, his advancement was so rapid as to induce his début, at the age of thirteen, at the Concert Spirituel, where he performed a concerto, either of his own, or his master’s composition, as has been variously represented. From that time to the age of twenty, his compositions for the violin became frequent, though rather directed by innate genius than by the prescriptive rules of composition, of which he had acquired very little. His desires extended meanwhile towards the condition of a theatrical Composer, in which object he was assisted by the patronage of the Queen, Marie Antoinette, as well as by the appointment he received, in 1790, of First Violin at the Opéra Comique. Of his Lodoiska, and other achievements in operatic music, it is needless here to treat: but it may be noted as a curious fact, that his neglect of the study of harmony continued till after he had been the composer of at least three successful operas. He seemed to write by instinct; and his custom, while composing, was to walk about his room, singing his melodies, and playing on his violin, till he found an accompaniment which pleased him. When afterwards appointed a Professor at the newly-established Conservatoire, he fancied that to be a learned contrapuntist was necessary to the performance of his duties, and so entered, somewhat too late in life, on a course of study which had little other effect than to cripple his imagination. As a Professor, however, he is distinguished by the number of excellent pupils whom he has produced. His mode of instruction was signalized by the enthusiasm and confidence he instilled into his scholars. An energy that shrank from no difficulties, lived in the master, and was reflected in his disciples, who became distinguished, in general, for a brilliant execution.
Kreutzer made a tour, in 1798, through the north of Italy and Germany, and returned to Paris by the way of Hamburg and Holland, giving concerts in all the principal cities. After this, he wielded his instrument in the immediate service of Napoleon; and, on Rode’s departure for Russia, he succeeded him as Solo Violin at the Opera; which situation he exchanged, in 1810, for that of Chef d’Orchestre. Fourteen years afterwards, decorated with the insignia of the Legion of Honour, he changed his post to that of general Director of the Music at the Opera; and, after this accumulation of credit, he retired in 1826. Declining health led him to Geneva, where he died, in January, 1831.
Kreutzer’s compositions, independently of those for the stage (which exceed thirty in number), consist of two “sinfonie concertanti” for two violins—one sinfonia for violin and violoncello concertante—upwards of fifty concertos, duetts, trios and quartetts—five sets of sonatas for violin and bass—eight sets of studios and capriccios—and several airs with variations. The compilation of the Violin-system for the Conservatory was also in part effected by him.
Charles Philippe Lafont, one of the most excellent of recently living violinists, was born at Paris, where the beauties of his execution long continued to draw numerous audiences to the concerts he was in the habit of giving. His first lessons in the art were received from his uncle, Bertheaume. After having, successively, Berton, and Navoigille the elder, as masters in composition, and acquiring, by unaided study, a knowledge of singing, he travelled with his uncle, who procured him occasions for exhibiting his various powers in the principal cities of Europe. Returning to France in 1794, he first appeared at Paris as a vocalist; but was most admired as a violin performer, in which character he shone at the Opera concerts, and the Salle Olympique. He completed his studies under Kreutzer and Rode—to the latter of whom, in the sweet qualities of his style, he mainly inclined. His next journey was to Petersburg, where he resided several years, as the Emperor’s First Violin. In 1805 or 1806, he returned to his native city; and was appointed leader at the King’s Chapel.