Great Musical Composers Part 27

In 1838 Berlioz completed his "Benvenuto Cellini," his only attempt at opera since "Les Francs Juges," and, wonderful to say, managed to get it done at the opera, though the director, Duponchel, laughed at him as a lunatic, and the whole company already regarded the work as d.a.m.ned in advance. The result was a most disastrous and _eclatant_ failure, and it would have crushed any man whose moral backbone was not forged of thrice-tempered steel. With all these back-sets Hector Berlioz was not without encouragement. The brilliant Franz Liszt, one of the musical idols of the age, had bowed before him and called him master, the great musical protagonist. Spontini, one of the most successful composers of the time, held him in affectionate admiration, and always bade him be of good cheer. Paganini, the greatest of violinists, had hailed him as equal to Beethoven.

On the night of the failure of "Benvenuto Cellini," a strange-looking man with dishevelled black hair and eyes of piercing brilliancy had forced his way around into the green-room, and, seeking out Berlioz, had fallen on his knees before him and kissed his hand pa.s.sionately.

Then he threw his arms around him and hailed the astonished composer as the master-spirit of the age in terms of glowing eulogium. The next morning, while Berlioz was in bed, there was a tap at the door, and Paganini's son, Achille, entered with a note, saying his father was sick, or he would have come to pay his respects in person. On opening the note Berlioz found a most complimentary letter, and a more substantial evidence of admiration, a check on Baron Rothschild for twenty thousand francs! Paganini also gave Berlioz a commission to write a concerto for his Stradivarius viola, which resulted in a grand symphony, "Harold en Italie," founded on Byron's "Childe Harold," but still more an inspiration of his own Italian adventures, which had had a strong flavour of personal if they lacked artistic interest.

The generous gift of Paganini raised Berlioz from the slough of necessity so far that he could give his whole time to music. Instantly he set about his "Romeo and Juliet" symphony, which will always remain one of his masterpieces--a beautifully chiselled work, from the hands of one inspired by grat.i.tude, unfettered imagination, and the sense of blessed repose. Our composer's first musical journey was an extensive tour in Germany in 1841, of which he gives charming memorials in his letters to Liszt, Heine, Ernst, and others. His reception was as generous and sympathetic as it had been cold and scornful in France.

Everywhere he was honoured and praised as one of the great men of the age. Mendelssohn exchanged _batons_ with him at Leipsic, notwithstanding the former only half understood this stalwart Berserker of music. Spohr called him one of the greatest artists living, though his own direct ant.i.thesis, and Schumann wrote glowingly in the _Neue Zeitschrift_--"For myself, Berlioz is as clear as the blue sky above. I really think there is a new time in music coming."

Berlioz wrote joyfully to Heine--"I came to Germany as the men of ancient Greece went to the oracle at Delphi, and the response has been in the highest degree encouraging." But his Germanic laurels did him no good in France. The Parisians would have none of him except as a writer of _feuilletons_, who pleased them by the vigour with which he handled the knout, and tickled the levity of the million, who laughed while they saw the half-dozen or more victims flayed by merciless satire. Berlioz wept tears of blood because he had to do such executioner's work, but did it none the less vigorously for all that.

The composer made another musical journey in Austria and Hungary in 1844-45, where he was again received with the most enthusiastic praise and pleasure. It was in Hungary, especially, that the warmth of his audiences overran all bounds. One night, at Pesth, where he played the "Rackoczy Indule," an orchestral setting of the martial hymn of the Magyar race, the people were worked into a positive frenzy, and they would have flung themselves before him that he might walk over their prostrate bodies. Vienna, Pesth, and Prague led the way, and the other cities followed in the wake of an enthusiasm which has been accorded to not many artists. The French heard these stories with amazement, for they could not understand how this musical demiG.o.d could be the same as he who was little better than a witty buffoon. During this absence Berlioz wrote the greater portion of his "d.a.m.nation de Faust,"

and, as he had made some money, he obeyed the strong instinct which always ruled him, the hope of winning the suffrages of his own countrymen.

An eminent French critic claims that this great work, of which we shall speak further on, contains that which Gounod's "Faust"

lacks--insight into the spiritual significance of Goethe's drama.

Berlioz exhausted all his resources in producing it at the Opera Comique in 1846, but again he was disappointed by its falling still-born on the public interest. Berlioz was utterly ruined, and he fled from France in the dead of winter as from a pestilence.

The genius of this great man was recognised in Holland, Russia, Austria, and Germany, but among his own countrymen, for the most part, his name was a laughing-stock and a bye-word. He offended the pedants and the formalists by his daring originality, he had secured the hate of rival musicians by the vigour and keenness of his criticisms.

Berlioz was in the very heat of the artistic controversy between the cla.s.sicists and romanticists, and was a.s.sociated with Victor Hugo, Alexandre Dumas, Delacroix, Liszt, Chopin, and others, in fighting that acrimonious art-battle. While he did not stand formally with the ranks, he yet secured a still more bitter portion of hostility from their powerful opponents, for, to opposition in principle, Berlioz united a caustic and vigorous mode of expression. His name was a target for the wits. "A physician who plays on the guitar and fancies himself a composer," was the scoff of malignant gossips. The journals poured on him a flood of abuse without stint. French malignity is the most venomous and unscrupulous in the world, and Berlioz was selected as a choice victim for its most vigorous exercise, none the less willingly that he had shown so much skill and zest in impaling the victims of his own artistic and personal dislike.

V.

To continue the record of Berlioz's life in consecutive narrative would be without significance, for it contains but little for many years except the same indomitable battle against circ.u.mstance and enmity, never yielding an inch, and always keeping his eyes bent on his own lofty ideal. In all of art history is there no more masterful heroic struggle than Berlioz waged for thirty-five years, firm in his belief that some time, if not during his own life, his principles would be triumphant, and his name ranked among the immortals. But what of the meanwhile? This problem Berlioz solved, in his later as in earlier years, by doing the distasteful work of the literary scrub.

But never did he cease composing; though no one would then have his works, his clear eye perceived the coming time when his genius would not be denied, when an apotheosis should comfort his spirit wandering in Hades.

Among Berlioz's later works was an opera of which he had composed both words and music, consisting of two parts, "The Taking of Troy," and "The Trojans at Carthage," the latter of which at last secured a few representations at a minor theatre in 1863. The plan of this work required that it should be carried out under the most perfect conditions. "In order," says Berlioz, "to properly produce such a work as 'Les Trojans,' I must be absolute master of the theatre, as of the orchestra in directing a symphony. I must have the good-will of all, be obeyed by all, from prima-donna to scene-s.h.i.+fter. A lyrical theatre, as I conceive it, is a great instrument of music, which, if I am to play, must be placed unreservedly in my hands." Wagner found a King of Bavaria to help him carry out a similar colossal scheme at Bayreuth, but ill luck followed a man no less great through life. His grand "Trojans" was mutilated, tinkered, patched, and belittled, to suit the Theatre Lyrique. It was a butchery of the work, but still it yielded the composer enough to justify his retirement from the _Journal des Debats_, after thirty years of slavery.

Berlioz was now sixty years old, a lonely man, frail in body, embittered in soul by the terrible sense of failure. His wife, with whom he had lived on terms of alienation, was dead; his only son far away, cruising on a man-of-war. His courage and ambition were gone. To one who remarked that his music belonged to the future, he replied that he doubted if it ever belonged to the past. His life seemed to have been a mistake, so utterly had he failed to impress himself on the public. Yet there were times when audiences felt themselves moved by the power of his music out of the ruts of preconceived opinion into a prophecy of his coming greatness. There is an interesting anecdote told by a French writer:--

"Some years ago M. Pasdeloup gave the _septuor_ from the 'Trojans' at a benefit concert. The best places were occupied by the people of the world, but the _elite intelligente_ were ranged upon the highest seats of the Cirque. The programme was superb, and those who were there neither for Fas.h.i.+on's nor Charity's sake, but for love of what was best in art, were enthusiastic in view of all those masterpieces. The worthless overture of the 'Prophete,' disfiguring this fine _ensemble_, had been hissed by some students of the Conservatoire, and, accustomed as I was to the blindness of the general public, knowing its implacable prejudices, I trembled for the fate of the magnificent _septuor_ about to follow. My fears were strangely ill-founded; no sooner had ceased this hymn of infinite love and peace, than these same students, and the whole a.s.semblage with them, burst into such a tempest of applause as I never heard before. Berlioz was hidden in the further ranks, and, the instant he was discovered, the work was forgotten for the man; his name flew from mouth to mouth, and four thousand people were standing upright, with their arms stretched towards him. Chance had placed me near him, and never shall I forget the scene. That name, apparently ignored by the crowd, it had learned all at once, and was repeating as that of one of its heroes.

Overcome as by the strongest emotion of his life, his head upon his breast, he listened to this tumultuous cry of 'Vive Berlioz!' and when, on looking up, he saw all eyes upon him and all arms extended towards him, he could not withstand the sight; he trembled, tried to smile, and broke into sobbing."

Berlioz's supremacy in the field of orchestral composition, his knowledge of technique, his novel combination, his insight into the resources of instruments, his skill in grouping, his rich sense of colour, are incontestably without a parallel, except by Beethoven and Wagner. He describes his own method of study as follows:--

"I carried with me to the opera the score of whatever work was on the bill, and read during the performance. In this way I began to familiarise myself with orchestral methods, and to learn the voice and quality of the various instruments, if not their range and mechanism.

By this attentive comparison of the effect with the means employed to produce it, I found the hidden link uniting musical expression to the special art of instrumentation. The study of Beethoven, Weber, and Spontini, the impartial examination both of the _customs_ of orchestration and of _unusual_ forms and combinations, the visits I made to _virtuosi_, the trials I led them to make upon their respective instruments, and a little instinct, did for me the rest."

The princ.i.p.al symphonies of Berlioz are works of colossal character and richness of treatment, some of them requiring several orchestras.

Contrasting with these are such marvels of delicacy as "Queen Mab," of which it has been said that the "confessions of roses and the complaints of violets were noisy in comparison." A man of magnificent genius and knowledge, he was but little understood during his life, and it was only when his uneasy spirit was at rest that the world recognised his greatness. Paris, that stoned him when he was living, now listens to his grand music with enthusiasm. Hector Berlioz to the last never lost faith in himself, though this man of genius, in his much suffering from depression and melancholy, gave good witness to the truth of Goethe's lines:--

"Who never ate with tears his bread, Nor, weeping through the night's long hours, Lay restlessly tossing on his bed-- He knows ye not, ye heavenly Powers."

A man utterly without reticence, who, Gallic fas.h.i.+on, would shout his wrongs and sufferings to the uttermost ends of the earth, yet without a smack of Gallic posing and affectation, Berlioz talks much about himself, and dares to estimate himself boldly. There was no small vanity about this colossal spirit. He speaks of himself with outspoken frankness, as he would discuss another. We cannot do better than to quote one of these self-measurements:--"My style is in general very daring, but it has not the slightest tendency to destroy any of the constructive elements of art. On the contrary, I seek to increase the number of these elements. I have never dreamed, as has foolishly been supposed in France, of writing music without melody. That school exists to-day in Germany, and I have a horror of it. It is easy for any one to convince himself that, without confining myself to taking a very short melody for a theme, as the very greatest masters have, I have always taken care to invest my compositions with a real wealth of melody. The value of these melodies, their distinction, their novelty, and charm, can be very well contested; it is not for me to appraise them. But to deny their existence is either bad faith or stupidity; only as these melodies are often of very large dimensions, infantile and short-sighted minds do not clearly distinguish their form; or else they are wedded to other secondary melodies which veil their outlines from those same infantile minds; or, upon the whole, these melodies are so dissimilar to the little waggeries that the musical _plebs_ call melodies that they cannot make up their minds to give the same name to both. The dominant qualities of my music are pa.s.sionate expression, internal fire, rhythmic animation, and unexpected changes."

Heinrich Heine, the German poet, who was Berlioz's friend, called him a "colossal nightingale, a lark of eagle-size, such as they tell us existed in the primeval world." The poet goes on to say--"Berlioz's music, in general, has in it something primeval if not antediluvian to my mind; it makes me think of gigantic species of extinct animals, of fabulous empires full of fabulous sins, of heaped-up impossibilities; his magical accents call to our minds Babylon, the hanging gardens, the wonders of Nineveh, the daring edifices of Mizraim, as we see them in the pictures of the Englishman Martin." Shortly after the publication of "Lutetia," in which this bold characterisation was expressed, the first performance of Berlioz's "Enfance du Christ" was given, and the poet, who was on his sick-bed, wrote a penitential letter to his friend for not having given him justice. "I hear on all sides," he says, "that you have just plucked a nosegay of the sweetest melodious flowers, and that your oratorio is throughout a masterpiece of _navete_. I shall never forgive myself for having been so unjust to a friend."

Berlioz died at the age of sixty-five. His funeral services were held at the Church of the Trinity, a few days after those of Rossini. The discourse at the grave was p.r.o.nounced by Gounod, and many eloquent things were said of him, among them a quotation of the epitaph of Marshal Trivulce, "_Hic tandem quiescit qui nunquam quievit_" (Here he is quiet, at last, who never was quiet before). Soon after his death appeared his _Memoires_, and his bones had hardly got cold when the performance of his music at the Conservatoire, the Cirque, and the Chatelet began to be heard with the most hearty enthusiasm.

VI.

Theophile Gautier says that no one will deny to Berlioz a great character, though, the world being given to controversies, it may be argued whether or not he was a great genius. The world of to-day has but one opinion on both these questions. The force of Berlioz's character was phenomenal. His vitality was so pa.s.sionate and active that brain and nerve quivered with it, and made him reach out towards experience at every facet of his nature. Quietude was torture, rest a sin, for this daring temperament. His eager and subtile intelligence pierced every sham, and his imagination knew no bounds to its sweep, oftentimes even disdaining the bounds of art in its audacity and impatience. This big, virile nature, thwarted and embittered by opposition, became hardened into violent self-a.s.sertion; this naturally resolute will settled back into fierce obstinacy; this fine nature, sensitive and sincere, got torn and ragged with pa.s.sion under the stress of his unfortunate life. But, at one breath of true sympathy how quickly the n.o.bility of the man a.s.serted itself! All his cynicism and hatred melted away, and left only sweetness, truth, and genial kindness.

When Berlioz entered on his studies, he had reached an age at which Mozart, Schubert, Mendelssohn, Rossini, and others, had already done some of the best work of their lives. Yet it took only a few years to achieve a development that produced such a great work as the "Symphonie Fantastique," the prototype of modern programme music.

From first to last it was the ambition of Berlioz to widen the domain of his art. He strove to attain a more intimate connection between instrumental music and poetry in the portrayal of intense pa.s.sions, and the suggestion of well-defined dramatic situations. In spite of the fact that he frequently overshot his mark, it does not make his works one whit less astonis.h.i.+ng. An uncompromising champion of what has been dubbed "programme" music, he thought it legitimate to force the imagination of the hearer to dwell on exterior scenes during the progress of the music, and to distress the mind in its attempt to find an exact relation between the text and the music. The most perfect specimens of the works of Berlioz, however, are those in which the music speaks for itself, such as the "Scene aux Champs," and the "Marche au Supplice," in the "Symphonie Fantastique," the "Marche des Pelerins," in "Harold;" the overtures to "King Lear," "Benvenuto Cellini," "Carnaval Romain," "Le Corsaire," "Les Francs Juges," etc.

As a master of the orchestra, no one has been the equal of Berlioz in the whole history of music, not even Beethoven or Wagner. He treats the orchestra with the absolute daring and mastery exercised by Paganini over the violin, and by Liszt over the piano. No one has showed so deep an insight into the individuality of each instrument, its resources, the extent to which its capabilities could be carried.

Between the phrase and the instrument, or group of instruments, the equality is perfect; and independent of this power, made up equally of instinct and knowledge, this composer shows a sense of orchestral colour in combining single instruments so as to form groups, or in the combination of several separate groups of instruments by which he has produced the most novel and beautiful effects--effects not found in other composers. The originality and variety of his rhythms, the perfection of his instrumentation, have never been disputed even by his opponents. In many of his works, especially those of a religious character, there is a Cyclopean bigness of instrumental means used, entirely beyond parallel in art. Like the t.i.tans of old, he would scale the very heavens in his daring. In one of his works he does not hesitate to use three orchestras, three choruses (all of full dimensions), four organs, and a triple quartet. The conceptions of Berlioz were so grandiose that he sometimes disdained detail, and the result was that more than one of his compositions have rugged grandeur at the expense of symmetry and balance of form.

Yet, when he chose, Berlioz could write the most exquisite and dainty lyrics possible. What could be more exquisitely tender than many of his songs and romances, and various of the airs and choral pieces from "Beatrice et Benedict," from "Nuits d'ete," "Irlande," and from "L'Enfance du Christ?"

Berlioz in his entirety, as man and composer, was a most extraordinary being, to whom the ordinary scale of measure can hardly be applied.

Though he founded no new school, he pushed to a fuller development the possibilities to which Beethoven reached out in the Ninth Symphony. He was the great _virtuoso_ on the orchestra, and on this Briarean instrument he played with the most amazing skill. Others have surpa.s.sed him in the richness of the musical substance out of which their tone-pictures are woven, in symmetry of form, in finish of detail; but no one has ever equalled him in that absolute mastery over instruments, by which a hundred become as plastic and flexible as one, and are made to embody every phase of the composer's thought with that warmth of colour and precision of form long believed to be necessarily confined to the sister arts.

[Decoration]

APPENDIX.

CHRONOLOGICAL TABLE.

1520-1594 _Palestrina._ 1633-1687 _Lulli._ 1658-1695 _Purcell._ 1659-1725 _A. Scarlatti._ 1685-1750 _J. S. Bach._ 1685-1759 _Handel._ 1710-1736 _Pergolesi._ 1714-1787 _Gluck._ 1728-1800 _Piccini._ 1732-1809 _Haydn._ 1741-1816 _Paisiello._ 1741-1813 _Gretry._ 1749-1801 _Cimarosa._ 1756-1791 _Mozart._ 1760-1842 _Cherubini._ 1763-1817 _Mehul._ 1770-1827 _Beethoven._ 1774-1851 _Spontini._ 1775-1834 _Boeldieu._ 1782-1871 _Auber._ 1786-1826 _Weber._ 1791-1864 _Meyerbeer._ 1792-1868 _Rossini._ 1797-1828 _Schubert._ 1798-1848 _Donizetti._ 1799-1862 _Halevy._ 1802-1835 _Bellini._ 1803-1869 _Berlioz._ 1809-1847 _Mendelssohn._ 1809-1849 _Chopin._ 1810-1856 _Schumann._ 1813-1883 _Wagner._ 1813 _Verdi._ 1818 _Gounod._

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LIFE OF LONGFELLOW. By Professor ERIC S. ROBERTSON.

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