Famous composers and their works, Vol. 2

by Unknown

This house of Vogler's was patriarchal; the life there was very austere, very much occupied, and the time of the pupils was exclusively devoted to severe study and practice of the art. In the morning, after the regular exercises, the master gave his class an oral lesson in counterpoint. Then, giving them for treatment any musical subject, sacred or profane, a psalm, motet, kyrie, ode, dramatic scene, he demanded of them a severe composition. In the evening, all being assembled in the presence of the master, the compositions were performed, after which each work was analyzed theoretically, commented on, criticised, estimated, not only by the professor, but again by all the pupils, so that each of them, after having been judged, became in his turn the judge of his own attempts and those of his rivals. It cannot be denied that this was an excellent system of education, and one calculated to foster in the minds of the pupils reflection and the sentiment of criticism. On a Sunday the whole household went to the cathedral, which contained two organs; Vogler played one of them, while each of his pupils, in turn, took his place at the other, after the fashion of a kind of academic tourney, in which each endeavored to develop in a happy and artistic manner the subject improvised and set forth by the master.

It was during his residence at the Abbé Vogler's house that Meyerbeer wrote, for the purpose of forming his hand, a great number of pieces of sacred music, which he always refused to make known to the public. It was at this period also that he composed an oratorio, Gott und die Natur, which was his first piece publicly performed. He had been two years at Darmstadt, when Vogler, wishing to give his pupils a rest, and to fortify their minds by the contemplation of the beauties of nature, closed his school and undertook with them an excursion through Germany. It was just before his departure on this expedition that Meyerbeer had obtained a performance of his oratorio, which resulted in the grand duke of Hesse conferring on him the title of composer to the court. This oratorio was brought out at Berlin a short time after, May 8, 1811, in a concert given by Weber at the Royal Theatre, where the solos were sung by Eunike, Grell and Frl. Schmalz.

MEYERBEER IN HIS EIGHTH YEAR.

From large lithograph Memorial published at the time of his death.

This portion commemorates his first appearance in Berlin, where he was praised for his smooth performance of Mozart's Concertos.

This was the starting point of Meyerbeer's active career. We shall soon see him make his appearance as composer and virtuoso at the same time (for Meyerbeer was an exceptional pianist), then promptly abandon his success as a performer in order to give himself up without reserve to composition, with the theatre for his objective point. He was eager for glory and aimed at a great reputation, feeling himself equal to any effort for reaching his end; it is this which explains the hesitations and evasions of his youth. Desirous of meeting success, withal patient, persevering and gifted with an energy which nothing could baffle, he sought it in all possible ways, but, whatever his critics may say, without ever sacrificing his convictions, and while always preserving for his art, as well as for the public, the most complete, the most absolute respect. His first works performed in Germany, written in a somewhat scholastic form, perhaps a little pedantic, did not succeed according to his desire, because Germany at that time, like Italy herself, was under the spell of Rossini's music. He accordingly betook himself to Italy, and there wrote several operas in which he forced himself to adopt the style and methods of that master. It was this that brought down upon him the reproaches of Weber, irritated to see him, a German, deny the national genius, and submit, like so many others, to the influence of the author of the Barber of Seville. But in spite of the criticisms of his friend, Meyerbeer, who had seen his works received with favor in Italy, continued his career in that country, where he trained his hand and prepared the evolution which was to free his genius and direct him to France, there to write his incomparable masterpieces. For Meyerbeer, like Gluck before him, gave to France alone the full measure of his worth; like Gluck, it is to France that he owes his greatest triumphs and the best part of his glory; like Gluck, he lived to see his Italian operas laid aside and well-nigh forgotten, whereas his French operas made the tour of civilized lands, and are still played on all the stages of the world.

CARICATURE BUST OF MEYERBEER, BY DANTAN.

From the Carnavalet Museum, Paris.