HÉROLD’S TOMB IN PÈRE LA CHAISE, PARIS.
The peculiarities of Hérold’s style which distinguished him from the other operatic composers of his period were the freshness and originality of his ideas, the grace and refinement of his conceptions, which are displayed to special advantage in his ballets, the variety of his melodies, and the highly emotional and imaginative character of the man himself. He was the legitimate successor of Boieldieu and reflected his romantic moods, and it will be remembered coöperated with him in his first work after his return to Paris from Italy. With these purely subjective qualities he combined an instrumentation that is always rich in color and dramatic in effect, an intimate knowledge of the stage and its resources, and a superior degree of literary taste and culture, though the latter distinction did not always save him from accepting commonplace and sometimes worthless libretti. The reason for this is probably to be found in his prodigious activity, which induced him to accept such poor books in the hope that his music would excuse them, rather than spend his time in idleness. Though possessed of undoubted originality if not of actual inspiration, he was greatly influenced by the works of the composers, though in no sense can he be considered a copyist. During his Italian visit he was much impressed with Paisiello. In a letter to his mother about the year 1815 he says: “I have fallen into one error here—that of neglecting M. Paisiello.... I can say that I study much the music of Paisiello and find it delicious.” The Italian influences did not last long however. Upon his return to Paris he was devoted to the music of Méhul, with whom he had studied in the Conservatory. Rossini influenced him greatly for a time and how far he had studied Mozart is shown in “Zampa,” which was constructed upon the lines of “Don Juan.” In this connection, M. Scudo, in his criticism of “Zampa,” makes the following pertinent remarks: “The side of this work that stands open to criticism is, as nearly always with Hérold, confusion of styles. The austere and sober phrase of Méhul is found in company with Italian bravura. The chansonette disperses with its importunate cockcrow all the phantoms worked from the supernatural. Mozart, Méhul, Weber, Rossini, Auber, how many more?—may be found in the hybrid formation of this superb monster. Under the mobile structure of that orchestra, so full of presentiments and mysteries, you distinguish Weber. Those duets, those Venetian colored finales, conceived, worked with the vigorous authority of a master, speak to you of Rossini, while here and there the small details, the grace, the spirit, the lively and piquant features murmur in your ears the names of Boieldieu and Auber.” His own thoughts which he committed to paper, however, and which were found among his documents after his death, will give a clue to his style and to his ideas of what constituted artistic excellence. Among many other things he says: “Melodies must come from the soul to reach the soul of the auditors.” “Try to find a just medium between the vague music of Sacchini and the vigor of Gluck. Think often of Mozart and his beautiful airs de mouvement.” “Lean always to the side of melodies free from platitude.” “In all arts, and particularly in music for some time past, people are skilful in finishing and polishing without reflecting how much more important is a good general design.” “Of melody as much as possible.” “Declaim with truth and strength.” “Find themes which bring tears.” “‘Great sorrows are silent’ observed Seneca. Thus Hero seeing the floating corpse of Leander held her peace. He who goes to the Opera only to hear the music had better frequent the concert-room. The musical tragedian ought above all to sing but ever in agreement with the situation.” And then, as if to answer the comments of some of his critics: “Why not use several styles in a great work? A chief priest can sing in the ancient manner, the others in the modern.” “Church music ought to pray for those who listen to it, as said Salieri.” M. Gustave Chouquet, the keeper of the Museum of the Paris Conservatory, has well summed up the characteristics of Hérold in his analysis of “Zampa”: “In a word we recognize in ‘Zampa’ the hand of a master, who to the spirit of Italian music unites the depth of the German and the elegance of the French School.”
The principal works of Hérold include twenty-two operas, one cantata, five ballets, three sonatas, three string quartets, two symphonies, seven caprices, seventeen rondos and divertissements, seven fantasies and three variations. Of the operas the following have been the most successful: “La jeunesse de Henri V.” (1815); “Charles de France” (1816); “Les Rosières” (1817); “La Clochette” (1817); “Le Muletier” (1823); “Vendome en Espagne” (1823); “Marie” (1826); “L’lllusion” (1829); “Zampa” (1831); “La Médecine sans Médecin” (1832) and “Le Pré aux Clercs” (1832). Though none of these works can be called familiar in this country, it can hardly be doubted that the two operas “Zampa” and “Le Pré aux Clercs,” which saved the Opera Comique, and which paved the way for Ambroise Thomas, Bizet, Massenet and the modern French school, would repay revival and achieve fresh popularity.
Fac-simile musical manuscript written by Hérold.
Fac-simile autograph letter from Hérold to his mother.
