In 1806, he had become distinguished for that happy organization which specially qualified him for the direction of a concert-orchestra. At this period, it was the practice, for the violinists who had obtained a first prize at the concerts of the Conservatoire, alternately to direct the concerts of that school for a year. But the superior capabilities of Habeneck for this undertaking soon became so evident, that he remained in possession of the appointment till the temporary close of the Conservatory in 1815, after the entry of the allied armies into Paris. It was in these concerts that he caused to be played, for the first time, Beethoven’s First Symphony (in C). At a later period, when he was charged with the direction of the sacred concerts at the Opera, he continued to make the works of this great artist known to the few enlightened amateurs who came to hear them. But it was, especially, when a new Concert Society was organized at the Conservatory, in 1828, that these grand compositions excited the liveliest enthusiasm by the warmth and energy which M. Habeneck was able to impress upon the execution of them.
Appointed director of the Opera in 1821, Habeneck discharged the functions of that office until 1824. At this period, the Viscount of Rochefoucault changed the administration of that theatre; but, in order to indemnify M. Habeneck, he created for him the place of Inspector-General of the Conservatoire, which he never filled, and a third violin class; and caused Kreutzer to retire, in order to give to M. Habeneck his post of chef-d’orchestre to the Opera. After the revolution of 1830, M. Habeneck added to these appointments that of first violin in the King’s band. His best pupils at the Conservatory were M. Cavillon and M. Allard.
M. Tolbecque is one of the artists who have acquired reputation in France. In the season of 1831, he visited England, and performed at the Philharmonic Concert; since which time, he has become familiarized among us, with a reputation that stands higher for solidity than for brilliancy. M. Tolbecque has a younger brother, who is also a violinist of some skill, and is known in England.
Prosper Sainton, whose talents have been advantageously known to British audiences for several seasons past, was born at Boulogne, in 1814, being the son of a merchant in that town. His parents, who were no votaries of music, gave him an education that looked towards the law. His maternal grandfather, however, discerning something of the youth’s real bias, gave him some initiatory musical notions, and then succeeded, though with difficulty, in obtaining the paternal consent that his grandson should be provided, at college, with an instructor for the violin. Opposing fears represented that such an indulgence would wholly turn aside the pupil from his severer studies. Notwithstanding these prognostications, he gained an eminent position in his class, and was afterwards admitted Bachelor of Letters, with the fullest credit.
In 1830, the period at which young Sainton passed his examination for the University, the Revolution of July burst forth, and proved nearly the ruin of his father (then President of the Tribunal of Commerce at Toulouse), who became deeply involved in the commercial crisis that ensued. In spite of this disaster, he was anxious that his son should still maintain the jurisprudential complexion of his studies; but filial respect could not always hold in suppression the tendencies of struggling nature—and the son’s vocation for music became more and more manifest. The notion of entering, one day, the Paris Conservatory, had taken root in his mind. A permission to repair to the capital for legal purposes, led to the fulfilment of the cherished vision. In the trustful idea of being able, by his progress in a new direction, to furnish ground for a reversal of the paternal decree, he entered, with a beating heart, within the resonant walls of the Conservatoire. There, received, in 1832, into Monsieur Habeneck’s class, he commenced the only career that could satisfy his long-baffled inclination. For the first year, indeed, he managed to pursue his law-course, along with the very dissimilar course prescribed at the Conservatory;—but, after that vain trial of a somewhat Mezentian process, he surrendered himself entirely to his passion for the violin, and declined all further concern with Justinian and the Pandects. The dry was thus exchanged for the delectable—hard fact, for tender feeling. Law, by this arrangement, had one reluctant follower the less—and Music, one loving disciple the more.
Fortified with a potent plea—that of the second prize, which he obtained in 1833—the young aspirant succeeded in reconciling his father to his engagement in the artistic arena; and then, with powers fully emancipated, his progress was rapid, and the following year brought him to the attainment of the first prize.
The débût of Sainton in Paris was of a most encouraging success; but, without waiting to construct a fixed reputation there, he quitted the capital, to enter on a course of professional travel, to which mode of life, a youthful imagination, unshaded by experience, was lending the usual irresistible attractions. The result, however, shewed no disheartening contrast with hopes thus sanguine; for he met with favour everywhere. After visiting Italy, Germany, Russia, Sweden, Denmark and Spain, he returned to the place of his nativity, to share with parents, of whom he was then become the sole support, the fruits of his persevering labours.
In 1844, after the decease of his mother, Sainton made his first appearance in London, where his reception at the concerts of the Philharmonic Society was such as to induce his return in the year following;—since which time, he has only quitted our shores to add one more country to his travelling list—namely, Holland,—where new successes, crowned with presents from Royalty, gladdened his career. His residence in England has been followed by various appointments—those of Violin-Professor at the Royal Academy of Music, Leader at the Italian Opera and at the Philharmonic, and (in 1848) Conductor and Violin Solo-player in Her Majesty’s State Band.
Monsieur Sainton’s works for the violin, to the present time, comprise:—1. A Fantasia in A.—2. An Air with Variations, in D.—3. A Capriccio, with Piano Accompaniment.—4. A Concert Waltz.—5. A Concerto in A, Op. 9.—6. An Italian Thema, with Variations, Op. 10.—7. A Fantasia on Lindpaintner’s “Standard-Bearer.”—8. Fantasia on Lucrezia Borgia.—9. Souvenirs from the “Figlia del Reggimento.”—10. Air with Variations, in G.—11. Concerto in D minor.—12. Concerted Solo in E major.
Under the French School, as most nearly assimilating with it in character, may be included the able artists who, in recent days, have contributed to the honour of Belgium. At the head of these, stand De Beriot and Vieuxtemps;—of whom, as well as of their compatriot, Artot, some account shall here be introduced.