GAETANO DONIZETTI

TOMB OF BELLINI IN THE CATHEDRAL AT CATANIA.

Bellini was of an attractive, though not handsome, person, his face lacking strength. He belonged to the blond Italian type, and his portraits suggest almost any other European nationality as much as his own; his figure was slender and elastic; his general effect was rather that of an idealist than a practical man. His temper was generally even, his love of humor and word-play easily stirred, and his movements easy and elegant. He had his moods of despondency, and his friends remembered after his death how some sombre incidents had apparently impressed him gloomily in the last year of his life. His characteristics made him especially welcome in female society, but it may be doubted whether any woman ever really loved him well, or whether he was ever much attracted by any after his unsuccessful affair at Naples. In his profession he made friends always, and almost no enemies, for he neither felt nor provoked comparisons or jealousies. The regard he inspired was well founded, and the mourning his death caused was sincere.

The genius of Bellini was original and decided. Although he was impressionable, he was independent, and this was the source of his weakness as well as of his strength. For while not blind to the faults and deficiencies of his compositions, he was so firm in his knowledge of their peculiar merits that the criticisms he accepted as just could not move him to alter his methods, so that, as has already been said, his growth in art was rather a natural progression than the result of cultivation.

He entered the Conservatory at a fortunate moment, and he fell into good hands. From Tritto, Bellini got the conventional part of his education, while from Zingarelli, who was both enthusiastic and classical, a noble composer and a strong scientist, he received, on the one hand, sharp, wholesome criticism, and on the other, an ardent impulse. Most of his fellow-pupils were mediocrities, and none have been eminent except the brothers Ricci, best known by their "Crispino e la Comare," and Carlo Conti, whose many operas have had great currency in Italy.

The disposition of Bellini was primarily toward what could be musically expressed by the human voice, and all who heard his compositions were convinced that the world had received a rich new gift. Rossini was now great in fame and influence, and the brilliant vocalists of the time were revelling in his florid airs. Bellini, realizing that even the theatre demanded melody more than anything else, and feeling sure that a source of it was waking up within him, was either astute or ingenious enough not to attempt to follow the example of Rossini. He gave his melodies no less extension, but he first simplified them, and then broadened and fortified them in some situations, while in others he softened and sweetened them. He could not command pathos, profound grief, terror, menace, or tragic grandeur. Sentiment, not emotion, was his chief characteristic; but in "Norma" he rose to dignity and maintained calmness, while in "I Puritani" he became noble and strenuous. In "Il Pirata" and in "I Capuletti ed i Montecchi" there were not infrequently boldness and vigor, as the excerpts which are still heard occasionally show. In "Beatrice di Tenda" his weakest airs are found, and in "La Sonnambula" his suavity, tenderness, and appealing purity are most felt.

He had a sufficient perception of character to distinguish his personages in song, and he appreciated the capacity of each voice for which he wrote, so that his music is singable by vocalists of moderate ability, and yet is advantageous for consummate artists. The best of executants will find scope in "La Sonnambula," while the dramatically strong can have full range in "Norma" and "I Puritani." Yet his melodies sometimes are almost mawkishly sweet, and his recitatives are generally fragmentary and inexpressive, while it is only in the last two or three operas, and in "I Puritani" especially, that the vocal harmony has much variety or ingenuity. Oddly enough, while studied for human voices, many of his best melodies flow as easily and effectively from instruments, especially those of wood or brass, and the effect of the best of them depends mostly upon the enthusiasm, the emphasis, or thebel cantoof the singers.

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The instrumental portions of his operas betray in every page his ignorance, his weakness, and his indifference. His overtures are generally such only in name, a superficial arrangement of two or three principal themes, and his accompaniments rarely are more than bald and formal supports to the voice. The same general manner pervades them; the upper strings play broken arpeggios while the lower ones give a sustained harmony, to which the wind instruments contribute some color of tone, but which they seldom diversify with figure or comment of their own. It is to be observed that the score of "I Puritani," written under the influence of music in Paris, is richer and more expressive than any which preceded it, and gave the promise which was never to be fulfilled.

Bellini had the advantage of early acceptance in theatres difficult of access, of the friendship of great contemporary musicians, handsome pecuniary emolument, and the co-operation of some of the greatest vocalists the world has known.

H M TICKNOR

BILLINI

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GAETANO DONIZETTIReproduction of a lithograph portrait by V. Roscioni of Vincenzo.

GAETANO DONIZETTI

Reproduction of a lithograph portrait by V. Roscioni of Vincenzo.

GENIUS is no less remarkable for the manner of its appearance in the world than for the subsequent manifestations of the power. At times it seems to be the natural result of a cumulation of influences, and yet again it can be traced to no source or cause. Bellini descended from at least two generations of musicians; but his contemporary, Gaetano Donizetti, the subject of this sketch, had no family prototype and left no heritage in art to any child.

His father, Andrea Donizetti, is not known to have been born in Bergamo, but in that small city of North Italy he was occupied at first as a weaver. Desirous of bettering himself sufficiently to marry Domenica Nava, he obtained a modest position in the localMonte di Pietà, settled down to his routine employment and became the father of four sons. One of these, Gaetano,—born November 29, 1797,—was so bright, so alert and so evidently talented that the father began to hope and plan that he might be able to educate him for a lawyer, so that his professional position might give the family a higher social standing and perhaps add something to its narrow income. But so soon as the child was far enough advanced beyond elementary studies to have intelligent preferences, he began to show a predilection for the arts, which was so far indulged as to allow him to study drawing, architecture and literature. This did not satisfy the boy's cravings, however, and he plucked up courage to ask his father to have him taught music. He was so earnest and so confident that, in spite of the disappointment which this strong disposition caused, his father consented and cast about him to see how he could best provide the instruction.

The conditions could not have been more propitious. There had come to Bergamo in 1788 a young Bavarian named Johann Simon Mayer, for the purpose of studying music under the eminent guidance of Lenzi and Bertoni. When his own studies were completed he opened a school for twelve pupils, eight of whom were to be trained as sopranos and contraltos, to replace in the churches the men who had sung those parts hitherto, while the other four were to be taught the violin and the violoncello. All were obliged to study harmony and the art of accompanying, other capable teachers—among them Capuzzi, who had learned the violin under the famous Tartini—adding their instruction to Mayer's.

Into this little conservatory Donizetti entered in 1806. He was so fortunate as to enlist at once the interest of Mayer, who was already beginning to get a European fame because of his wisdom, solidity and learning. The lad's talent seemed so remarkable, his elasticity of disposition and his earnest determination so unusual for his years, that the master took special pains in developing him. Even at this early age, Donizetti showed marked imitative and dramatic ability, and such clearness of insight and exposition as made him at once an example and an aid to his slower or duller companions. By the time he was ten years old he had advanced so much in the right direction as to have made his mark in solo contralto music and to be appointedrepetitore—or preparatory teacher—in the classes both of singing and of the violin, as well as to be taken by Mayer as his special pupil in harmony.

Naturally enough, the boy tried his hand at composition, but his master wisely made no account of these efforts until they had brought forth something really commendable for its ideas and their treatment. All the while new branches of study were suggested, in all of which Donizetti made commendable progress, learning to appreciate the classic masters of Italy and Germany, to play passing well upon the pianoforte, the organ, the flute and the double-bass, beside making constant progress as a singer, although it is said that his exactitudeand grace were more noticeable than any fulness or strength of tone. Besides those professional studies, he was taught history, mythology, Latin and rhetoric, so that when in time he devoted himself to theatrical composition, he was well equipped. His special bent was shown, not only in his arranging a little stage for juvenile performances in which his part was always well done, but also in his attempting a tenor part in a real theatre; but failing in this, he gave up any hopes of becoming a professional vocalist and decided to devote himself to composition.

CARICATURE OF DONIZETTI.From the Paris "Panthéon Charivarique."

CARICATURE OF DONIZETTI.

From the Paris "Panthéon Charivarique."

By 1815 Mayer concluded that Donizetti ought to have other training than Bergamo could give and therefore sent him to Bologna, a city still prominent for its understanding and love of the arts, in order that he might study fugue and counterpoint under Mattei, who had recently brought out Rossini and other worthy pupils and could strengthen this youth where he was weak. Thither Donizetti went, furnished with letters and introductions, one of the most profitable of which was to Giovanni Ricordi of Milan, founder of the famous music-publishing house of that name.

It appears that Donizetti remained as a member of the Philharmonic Lyceum of Bologna until sometime in 1818, and that he made such good use of his opportunities as to obtain extra lessons from Mattei and to write things which the library of the school still preserves with respect. They are mostly for full orchestra and solo voices and several of them had public presentment.

His formal studies ended, Donizetti returned to Bergamo, where he kept at work training his memory and his quickness of mind and hand, and writing string quartets after the style of such masters as Haydn, Mozart and Beethoven. A variety of compositions for the voice, mostly ecclesiastical, and for the piano were published by him, but no request was yet made to him for any theatrical music, at which he was much disappointed. It was indeed a difficult period for a new writer; the stage was not yet weary of the operas of Cimarosa, Paisiello, Zingarelli, Paër and Mayer, while the few opportunities of which a new comer might hope to avail himself were scarcely more than sufficed for the genius of Rossini and of Bellini. Any attempt to rival in his own field either of these would necessarily have been fatal, and Donizetti was prudent enough to create an independent style for himself while maintaining, like them, that the melody of human voices was of the first value in the lyric drama.

At last his moment came and he began his course with "Enrico di Borgogna," described as a "semi-serious" opera and successfully produced at Venice in the autumn of 1818. Being asked to supply something for the next season, he provided for the winter of 1819-20 a comic opera called "Il Faleogname di Livonia," which was also well received. After getting this well under way he went to Mantua with "Le Nozze in Villa," which he had finished about the same time but which made a failure.

Long and serious schooling had wrought their proper effect on Donizetti, and he set himself to analyze the causes of his success and unsuccess, and allowed two years to pass before he was ready to try again. He indeed went to Rome in the autumn of 1821, but it was not until winter that he produced "Zoraide di Granata," which was immediately and greatly successful, demonstrating that his life and talent ought to be consecrated to operatic composition.

GAETANO DONIZETTI.Reproduction of a portrait in Clément's "Les Musiciens Célèbres."

GAETANO DONIZETTI.

Reproduction of a portrait in Clément's "Les Musiciens Célèbres."

One danger threatened him, however. Bergamo was under the Austrian domination and he was liable to do military duty. Unless the fear of this could be conjured away, he could not write with a free spirit, nor could he marry the woman he loved, Virginia Vasselli, because her father would not consent so long as his future was in doubt. Strong protestations were addressed to the Austrian ambassador in Rome, Mayer used his best efforts, an additional pretext was found in some slight physical defect, and Donizetti was relieved from the anxious peril. He could now pursue his art untrammeled, could form his domestic life as he desired and could unite himself with sympathetic friends. This independence, added to his natural activity, soon showed its effects in the further production of three operas in that same year, of which two were given in Naples—"La Zingara," a comic opera at the Nuovo, and "La Lettera Anonima," really a musical farce, at the Fondo—and "Chiara e Serafina" or "I Pirati," at the Scala, in Milan.

No sooner was it understood that Donizetti was free and ready to write, than commissions were sent him from all the chief theatres of Italy. Rossini, Bellini, Pacini and Mercadante were all in a certain sense his rivals, and their names were often bulletined with his in the prospectuses of one or another season. But his genius preserved its individuality, and the charm of his music was so great that from this time forward the years were few in which only one or two operas were written by him, while during many twelvemonths he completed fourand even five operas. Some of these were short, it is true, limited even to a single act, while others again are chronicled as mere farces in the records of the time; so, too, several seasons passed before he rose beyond the humorous disposition which had showed itself in mimicry and simple buffoonery during his school years and attempted a strictly serious or even a romantic subject.

Therefore, although he was constantly writing for such important houses as the San Carlo, the Nuovo and the Fondo, in Naples; the Valle, in Rome; the Carlo Felice, in Genoa; and later for the Scala and the Carcano, in Milan; the catalogue of these works presents an array of names unfamiliar to any but systematic students of musical literature. There are indications, here and there, that his reading of books was wider than that of some of his contemporaries and that there was springing up in him a preference for historical subjects, as well as that interest in the novels of Walter Scott which ultimately became almost a passion with him. "La Regina de Golconda," "Jeanne di Calais," "Il Castello di Kenilworth," "Francesca di Foix," "Imelda dei Lambertazzi" and "Anna Bolena" are titles which appear between 1828 and 1831, while it is recorded that he composed in 1830 an oratorio about the deluge.

Returning for a moment, it is to be noted that in 1822 he was in Naples, making studies in the Conservatory whose librarian, Sigismondi, objected intensely to the new style which had come in with Rossini, and it was only by some ingenious device that Donizetti obtained the scores he was so anxious to peruse. Wherever he went he was handsomely received and greatly applauded. In 1826 he had special honor from the Queen of Naples, and the celebrated manager Barbaja ordered a number of operas for his various theatres and made him director of the Nuovo for two years. During this period he wrote various isolated airs, eminent among which is a setting of Dante's "Count Ugolino's Lament," written for the basso Lablache. Like other composers of the time, Donizetti may be said to have had no fixed residence. If he had a commission from any city, he established himself there temporarily, to be in close and intelligent relationship with the manager, the artists and the public whom he was to please. It was near the close of 1830 that the first work of his which holds a present place, "Anna Bolena," was sung at the Carcano, having been put in rehearsal within four weeks after its beginning. This was adjudged so great a work that Mayer wrote concerning it that "at last the French had to confess that Italy had another composer beside Rossini." Close upon this serious opera came "L'Elisire d'Amore," which still stands beside Rossini's "Cenerentola," a splendidly gay illustration of the best Italianbuffowriting.

In 1833 "Parisina" introduced him to the Pergola, in Florence, and in the autumn of that year Rome received with great satisfaction "Torquato Tasso," which the author dedicated to Bergamo, Sorrento and Rome.

In spite of its fecundity, the genius of Donizetti strengthened with its exercise, and after comparatively brief intervals, occupied with less important works, there appeared those great compositions which will always remain magnificent examplars of Italian opera in the nineteenth century. In 1834, the Scala, despairing because Mercadante, smitten with opthalmia, could not fulfil his engagement, turned to Donizetti, who taking the libretto which Romani had prepared for his friend, completed upon it in twenty-five days, "Lucrezia Borgia," a lyric tragedy which the musicians of all the world know. In 1834 came "Maria Stuarda;" in 1835, "Gemma di Vergy," "Marino Faliero," and the perennially interesting "Lucia di Lammermoor;" in 1836, "Belisario," "Betly" and "L'Assedio di Calais."

In the meantime Donizetti had been going up and down the peninsula, visiting particularly Naples because he had hopes of becoming Zingarelli's successor as professor of counterpoint, for which post his education, severer, and his taste, simpler than Rossini's, seemed to fit him. He had visited Paris in 1833, where "Marino Faliero" had a splendid reception. It was in May, 1837, that the anticipated death of the venerable Zingarelli took place, and Donizetti was named directorpro tem. of the Conservatory. In July of this same year his wife died suddenly after fourteen years of happy wedlock. This was a heavy blow for him, and his sorrowing heart found some relief in that pathetic and sombre melody, "Ella è Morta," which he dedicated to her memory. But his engagements left him no time for pure grief and he continued to write, though less frequently, for a couple of years.

MONUMENT TO DONIZETTI IN THE CATHEDRAL AT BERGAMO.Executed by the sculptor Vincenzo Vela. Erected in 1855 by his brothers Giuseppe and Francesco

MONUMENT TO DONIZETTI IN THE CATHEDRAL AT BERGAMO.

Executed by the sculptor Vincenzo Vela. Erected in 1855 by his brothers Giuseppe and Francesco

But Paris was constantly reclaiming him, and in 1840 "La Fille du Régiment"—"created" to a French text—made its brilliant entrance at the Opéra Comique, and public, press and court bestowed upon its author all their honors. Already resident in Paris for some two years, Donizetti saw that it was best for him to remain there, not only because there was more money to be made, but also because there was more to learn and to be inspired by. He began to modify his native fun according to the lighter humor of France, and during the next three years he composed "La Favorite," "Linda di Chamounix" and "Don Pasquale," besides such graver things as "Les Martyrs," (known in Italian as "Il Poliuto"), "Maria di Rohan," "Dom Sebastien," "Maria Padilla" and "Adelia," even the few which were written to Italian texts for Milan, Rome and Vienna, being sent out from Paris.

DONIZETTI.Bust by Dantan in the Carnavalet Museum, Paris.

DONIZETTI.

Bust by Dantan in the Carnavalet Museum, Paris.

In 1840 he visited Switzerland for his health and crossed the frontier to Milan and Bergamo, where his townsfolk drew his carriage home after a festival performance at the theatre. But if he had hoped to be called on to Naples for the position which had been virtually promised him, he was disappointed, for Mercadante about this time received the appointment, and Donizetti soon returned to Paris and his work. Other brief visits to Italy and to Germany were made during this epoch, and among many honorary tributes came some from the Sultan of Turkey and Pope Gregory XVI. In Vienna, whither he went early in 1842 to direct his "Linda," he had also great honor, and was named royalKapellmeisterand director of the opera, with anhonorariumof four thousand florins and without the obligation of permanent residence.

The next few years were divided between Paris and Vienna, and his operas passed out of Europe across the Atlantic and even reached Constantinople and Calcutta. Men distinguished in art, science and letters became his friends, and his income was constantly augmenting. But early in 1845 he was found one morning senseless upon his bedroom floor in Paris, and from that hour dated the dreadful decay of mind and body which ended at last in death on April 8, 1848, after several years passed in private lunatic asylums. His sensitive and susceptible nature, excited and worn by his eager and exhausting industry, and perhaps by some irregularities of life, had given warnings in intense headaches, and bewildering depressions, against which he had nerved himself with a destructive strain. The dreary imbecility of these later years made death welcome, when at last it came to him in Bergamo, whither he had been removed in the care of a nephew and his physician in the autumn of 1847. Bergamo gave him a noble funeral and assigned him a tomb in the cathedral beside that of his master, Mayer, who had died three years before, and in 1855 his brothers Giuseppe and Francesco erected a stately monument made by Vincenzo Vela.

Fac-simile musical manuscript written by Donizetti.

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Donizetti's life fell all within the most brilliant and inspiring period of Italian opera, touching the earlier great at its beginning, running parallel with other distinguished men and overlapping the rise of Verdi, Ricci and the elder writers of the present time. All things considered, it does not seem as if his talent could have been turned to better account, although his astonishing facility made him often take the quickest rather than the best way to reach his ends. But he had been so well grounded in the departments which Bellini avoided, and had pursued so much serious study, that although he was sometimes superficial he was never trivial, and the outlines of his scoring were correct even when they were badly filled. His own skill with instruments and his knowledge of vocalism were of immense advantage; because, being above all things a melodist, he could adapt his airs perfectly to their singers or to the instruments which were to carry them in accompaniment. His reading and his taste ledhim to select strong, sympathetic subjects, preferably historical or romantic, and his dramatic disposition enabled him to make his scenes expressive and captivating. He was fortunate and unusual in his ability to treat appropriately both humorous and serious subjects, and his melodies are eminent for their true sentiment no less than for their variety and the purely musical quality which makes them interesting and beautiful whether they be sung or played. His accompaniments are often thin and conventional arrays of simple chords, but when he is at his best they are full, rich in harmony and tone-color and enlightened by significant figures. Yet he understood so well the purpose of the lyric drama that his scores are never heavy with ostentatious counterpoint or intricate polyphony. That he was capable of dignity and forcefulness, his graver and less familiar works illustrate, and the praise bestowed upon his string quartets when they were played in Paris, in 1856, proved that he was equal to composition upon classic lines had it been demanded of him.

Besides his sixty-six operas, most of which have been named above, he wrote many overtures, some large church pieces, many albums of songs in various languages, of which none are unworthy of preservation, beside a multitude of ephemeral things of which none remain but few and scattered traces.

All the greatest vocalists of the first half of the century sang for him, and the rosters of the opera-houses for which he wrote, repeat the names of Catalani, Cecconi, Méric-Lalande, Tosi, Pasta, Grisi, Ungher, Borghesi, Dorus-Gras and Stolz among the women, and of Fioravanti, Donzelli, Busti, Rubini, Tamburini, Lablache, Verger, Winter, Donzelli, Negrini, Salvi, Duprez, Derivis, Levasseur, Wartel, Coletti, Baroilhet, Ronconi and Rovere among the men. His life, therefore, was active, honorable, prosperous and happy; and in reviewing it one finds little to regret except that it was not ended by a sudden, instead of a gradual, death.

GASPARO LUIGI PACIFICO SPONTINIReproduction of a lithograph portrait by Maurin.

GASPARO LUIGI PACIFICO SPONTINI

Reproduction of a lithograph portrait by Maurin.

ALTHOUGH Italian by birth, the author of "La Vestale" was, in his life work, almost a Frenchman, and, like other celebrated composers, reflected a share of his glory upon his adopted country.

Gasparo Luigi Pacifico Spontini was born at Majolati, Nov. 14, 1774; he was intended by his parents for the priesthood, and was accordingly placed under the care of a paternal uncle, dean of the Church of Santa Maria del Piano at Jesi. He had much trouble in overcoming the opposition of his family, and particularly of his uncle, to his musical education, but the dean was obliged to yield at last, and consented to the little Gasparo studying music in his spare moments, first with the singer Ciaffolati and the organist Menghini, then with Bartoli, director of music at Jesi, and Bonnami, director of music at Masaccio. In 1791, Spontini was ready to enter the conservatoryla Pietà dei Turchiniat Naples, where he made such rapid progress under the direction of Sala and Tritta, that he soon received the title ofmaestrino, or tutor. One fine day (he was then twenty-two years old) he fled from the conservatory and hastened to Rome, where he brought out a very pleasing little opera, "Le Puntigli delle donne." Between that time and 1802 he brought out at Rome, Naples, and Venice fifteen operas, which established his early fame. The best known of those early operas is "Gli amanti in cimento," sung at Rome in 1801. But the young musician dreamed of greater triumphs, and in 1803 he left Italy for France, where his genius was destined to be developed in a very marked fashion.

Spontini began his Paris career by giving singing lessons, and in order to bring himself before the public he produced at theItalien(Feb. 11, 1804) his opera "La Finta Filosofa." This performance, which was honored by the presence of the First Consul and Josephine, was a great success for the young composer, whom the newspapers announced as a pupil of Cimarosa. Afterwards he succeeded in forcing the doors of theOpéra Comiquewith "La Petite maison," which was very badly received by reason of the poem, and was played only three times. It must be said that the new-comer had against him not only the French musicians, professors and pupils of the Conservatoire, opposed to the invasion of Italian music, but also the Italian composers who had succeeded in making a place for themselves in France, like Della Maria and Nicolo, and who had no intention of giving up the place to this unexpected rival. The failure of "La Petite maison" did not prevent Spontini from being chosen by Jouy to set to music a poem entitled "La Vestale," and about the same time he received from the hands of Dieulafoi a new libretto in one act, "Milton." This work was played at theOpéra Comique, Nov. 27, 1804, and brought Spontini into notice, for the breadth of certain motives, the touching simplicity of some of the melodies, fixed upon him the serious attention of the public, and gave a foretaste of the transformation which was to take place in the young composer.

He afterwards experienced another failure at theOpéra Comiquewith "Le Pot de fleurs" (March 12, 1805), but this failure did not make much impression, for people remembered only "Milton."

Moreover, Spontini was engaged upon the work which was to gain for him immortality. He had found in Jouy's poem the opportunity for developing all his qualities of breadth, boldness, and dramatic sentiment, which he had vainly sought to bring out in his Italian operas, or in his little French operettas. But it was not enough to have written a masterpiece like "La Vestale," it must also be performed. Spontini, favored with the protection of Josephine, had composed a cantata in honor of the conqueror of Austerlitz, "l'Eccelsa Gara," sung at the Imperial Theatre on Feb. 8, 1806. The Emperorin return had signed the order for the preparation andmise en scèneof "La Vestale," and the rehearsals were begun. But the new opera was withdrawn in favor of a certain ballet, "Ulysses," by Milon and Persuis; then the decorations which had been painted for "La Vestale" were destroyed by a storm. Finally Napoleon, who never encouraged Spontini, although he was credited with remarks complimentary to the latter, decided to bring out first the "Triomphe de Trajan," a grand opera written in his honor by Esménard, with music by Lesueur, Persuis, and Kreutzer, and though this opera had proved a great success, thanks to its richmise en scène, and had left a free field to Spontini, there was talk of again postponing "La Vestale" in favor of Lesueur's opera, "La Mort d'Adam." Jouy and Spontini probably would have expostulated in vain, but that Lesueur's music, happily for them, was not ready at the necessary moment. Then they were obliged to make all haste with the rehearsals and bring out "La Vestale," Dec. 15, 1807. The composer was only thirty-seven years old, when at this auspicious moment he stepped into the position left vacant by the death of Gluck and the departure of his successor Salieri.

G. SPONTINI.Reproduction of a portrait by Vincent.

G. SPONTINI.

Reproduction of a portrait by Vincent.

This work gave to the ancient lyric tragedy an unexpected life, warmth, and elevation, and made Spontini absolute master of the theatre. One of the decennial prizes instituted by Napoleon was awarded to him, notwithstanding the redoubtable competition of Lesueur's "Bardes," the opera preferred by the Emperor. Méhul, Gossec, and Grétry, the three members of the Académie des Beaux Arts who rendered this verdict, gave evidence of a commendable independence. Spontini, having dedicated his score to the Empress Josephine, immediately set about composing a new work on a poem which Jouy had just sent him, "Ferdinand Cortez," and this was performed at theOpéra, Nov. 28, 1809. This work was fairly successful, thanks to the music, and in spite of the weakness of the poem, which was so badly put together that subsequently Jouy was obliged to reverse the order of the acts, in order to improve them dramatically. Yet the general feeling was that this score, notwithstanding its striking beauties, had not the inspiration, the unity of effect, which had been appreciated so much in "La Vestale," and it always remained a work of secondary importance in the opinion of the musical public. These two successes singularly developed the natural importance and vanity of Spontini, who never doubted his own genius, and who even at the opening of his career showed an extraordinary confidence and spirit; but a less favorable period was in store for him. He married the daughter of the celebrated piano manufacturer, Jean Baptiste Erard, and in 1810 the privilege of the direction of theThéâtre Italienwas given to him, but in consequence of administrative dissensions he was soon supplanted, after having made known to the Parisians, in 1811,Mozart's "Don Giovanni." Three years later he wanted his privilege returned to him by the royal government, but it was refused, being granted to Mme. Catalani associated with Paër.

SPONTINI.Reproduced from a portrait engraved after a painting by Jean Guérin, made shortly after the first representation of "La Vestale."

SPONTINI.

Reproduced from a portrait engraved after a painting by Jean Guérin, made shortly after the first representation of "La Vestale."

The ancientprotégéof the Empress was a little neglected under the Restoration. Nevertheless he composed an "occasional" opera, "Pélage ou le Roi et la Paix" (April 23, 1814); June 21, he brought out a mediocre opera ballet, "Les Dieux Rivaux," on the occasion of the marriage of the Duc de Berry (Persuis, Berton, and Kreutzer had also collaborated for one); he brought about in 1817 a brilliant revival of "Ferdinand Cortez," remodelled throughout; finally he gave, on the 20th of December, 1819, his opera of "Olympia," which showed here and there the hand of the great composer, but which was in every respect inferior to "La Vestale" and "Cortez." It was a complete failure in Paris, but in 1821 the work, having been rewritten to a great extent, was given in Berlin with greatéclat. This was a double triumph for Spontini, it being his revenge on Paris and his crowning success in the German states. For a long time, indeed, the king of Prussia, Frederick William III., had cherished the most sincere admiration for him. In 1814 he demanded of him several pieces for the music of his guard, and after hearing, in 1818, the remodelled "Ferdinand Cortez," he desired to attach this great musician to his court. Spontini was not satisfied with the title of royal capellmeister, and notwithstanding the opposition of the Count of Brühl, intendant of the royal theatre, he obtained, by contract signed in August, 1819, the position of general director of music, at a salary of 10,000 Prussian thalers (about $7,000). He went to Berlin, therefore, and occupied this important post from 1820 to 1840, exercising a considerable influence on all that pertained to musical art in Prussia, elevating the standard of education for the artists, and composing numerous cantatas or works forspecial occasions which his court duties required him to write. He also brought out two new works at the Berlin Opera House: in 1821, the opera ballet "Nurmahal," taken from Moore's poem "Lalla Rookh"; in 1825, "Alcidor"; and in 1827 he wrote the grand romantic opera "Agnes von Hohenstaufen," the first act of which had been played ten years before at a royalfête. All these productions added nothing to his glory, and have fallen into oblivion.

The performance of "Agnes" called forth a very violent criticism from Rellstab, the representative of all Spontini's enemies in Germany, and who had just been made editor of the "Vossische Zeitung." Indeed, when Spontini arrived in Berlin to assume his duties, he soon saw in league against him all the German musicians and composers, over whose heads he had stepped.

Though generous and obliging, his pride was deeply hurt by these hostilities, and he could not conceal deep irritation at the cavillings of his enemies, to which he gave a sharp retort. He had caused to be suppressed a pamphlet in which Rellstab had accused him of withholding from the stage, or else playing with an evident intention of ruining them, the works of composers whom he had reason to fear; he had brought about Rellstab's arrest and detention for several months for a spiteful article in which the critic expressed doubt that the composer of "Nurmahal," "Alcidor," and "Agnes" was the same as the composer of "La Vestale" and "Cortez." But Rellstab responded with violent satires published at Mayence, in which Spontini, without being named, was easily recognizable by his personal peculiarities of manner and speech, which were cleverly depicted. Finally, as the natural result of Rellstab's imprisonment, the entire party of which he was the mouthpiece redoubled its spiteful attacks against Spontini.

Thenceforth the latter, feeling himself more and more an object of attack, began to cherish the project of returning to France. His absence had calmed all the jealousies which his colossal self-love had excited against him, and in one of the long vacations which he spent in Italy or France during his twenty years' service in Prussia, there had been talk of his writing for the ParisOpéraa grand work, "Les Athéniennes," in place of the opera "Louis IX.," which Louis XVIII. had previously wished him to compose, and the first ideas of which he had put on paper. At length, in 1838, the Académie des Beaux Arts nominated him, unhesitatingly, in Paër's place, provided he would return and settle in Paris. His protector, King Frederick William III., died in August, 1840; but even if this event had not taken place, Spontini would not have accepted a third engagement of ten years with the royal house of Prussia. The new king would have preferred to retain him, but the disgust which Spontini felt at the open hostility of the intendant of the royal theatre, and also the promise which he had made to his colleagues of the Institute of France, decided him to refuse these overtures. He left Berlin in July, 1842, under conditions very painful to his self-love, but advantageous to his purse, since the king provided that he should retain all his honorary titles and receive an annual pension of about $3,200.

On his return to Paris, after a certain time passed in Italy, he sought to have his old operas revived, but he, who had dubbed as barbarous all the music which had taken root at theOpèrain his absence, encountered only animosity, and was unable to carry out his plans. On the other hand, his "Vestale" had achieved great success in Denmark; some fragments of it were sung and much applauded at Cologne in 1847; and Spontini, ennobled by the king of Denmark, made Conte de San Andrea by the Pope, was gloriously received by the king of Prussia when he returned as a visitor to the capital. Such were the last gratifications of self-love which this great composer experienced; and although France had not much more to offer him, he always returned to that country, and chose Paris above all other places for his home.

At last, when his memory and hearing began to fail, he felt that the beautiful climate of his native country might restore his health, and he left Paris in 1850 to return to the Roman States. He was received at Jesi with honors which are by custom reserved for sovereigns. Then he wished to visit once more his native town, Majolati. He had been there several months, when one day, while suffering from a very bad cold, he insisted on going to mass, in spite of the earnest remonstrances of his wife. There he took more cold, fever set in, and the illustrious composer died on the 24th of January, 1851, at the age of seventy-seven.

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Fac-simile autograph letter and musical manuscript written by Spontini.

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Spontini's operas no longer hold an important rank, and yet his name always commands respect, thanks to the beautiful bits which are still admired in "Ferdinand Cortez" and in "La Vestale." Assuredly, Spontini was no innovator such as was Gluck. He was content, without revolutionizing lyric tragedy, to give it more dramatic animation and masters as bold and as little mindful of conventionalities as were Berlioz and Wagner have professed a real admiration for Spontini.

BUST OF SPONTINI BY DANTAN.From the Carnavalet Museum, Paris.

BUST OF SPONTINI BY DANTAN.

From the Carnavalet Museum, Paris.

This artist, in spite of the changes which music underwent during his lifetime, was so thoroughly convinced of the superiority of his conceptions of the noble art, that one could not but feel a respect for him and for his best qualities. The march and the prayer in "Olympia," the scene of the revolt in "Ferdinand Cortez," best of all, the grandfinaleof "La Vestale," rest upon motives so expressive, and appeal so strongly to the emotions, that one cannot do otherwise than admire them. It was Spontini's misfortune never to find another poem which suited his genius so well as "La Vestale." "Olympia" bears evidence of a singular indecision and of repeated modifications, in the midst of which the composer's idea and intention vaguely float. In fact, Spontini constantly made changes in his scores, pasting alteration over alteration until almost every page resembled a patchwork or mosaic. "Ferdinand Cortez" contains some rare beauties as regards melody, expression, and dramatic effect, but these beauties are exceptional; "La Vestale" alone was a true masterpiece.

In this opera we must consider especially the high inspiration which breathes through it, the powerful emotions which it reveals, and not pause at Spontini's somewhat embarrassed formulas and mediocre methods. What tenderness in the first duo of Licinius and Cinna,Unis par l'amitiè; what anguish in the supplication of Julia,Oh! des infortunès dèesse tutèlaire; what passion in the airImpitoyable dieux, and what sweet resignation in the cavatina,Les Dieux prendront pitiè..! The last song,Adieu mes tendres sœurs, is as sadly expressive as the hymnFille du cielis full of religious sentiment, and this series of magnificent pages is crowned by that imposingfinaleof the second act, which was at that time a work of genius. And yet, when "La Vestale" was revived at theOpérain 1854, three years after Spontini's death, it was played only eight times, making a total of 213 performances in Paris. When "Ferdinand Cortez" was played again in 1840, it lived through only six performances, making a total of 248 in Paris. After all, Spontini, with his great melodic qualities and rare dramatic instinct, only continued in the path which Gluck had laid out, and was in no sense an innovator. Thus he exercised no influence on musicians who followed him, while he stood by and saw powerful rivals revolutionize musical art and reform the public taste.

He raged and stormed when people talked to him of the "fashion"; but here he was helpless, for musical taste had totally changed in twenty years. While he was still in Prussia, he proposed to the administration of theOpérato go to Paris and direct a revival of "Ferdinand Cortez," with the denouement as he had arranged it for Berlin, and, after a suit gained at first, then lost, against the director of theOpéra, Duponchel, to prevent him from playing that opera again in its original form, he was obliged to submit to the pitiful and fatal revival of 1840. But if he had gained his point, he would have found himself confronted with entirely new preferences on the part of the public, for since his departure there had been a complete revolution at theOpéra, under the influence of Rossini and Meyerbeer. "William Tell," "Robert le Diable," and "The Huguenots," not to mention "La Muette de Portici," coming one year before "William Tell," had struck a fatal blow at ancient lyric tragedy. The public, weary of antique heroes, of Greeks and of Romans, desired something a little less formal, more animated and real. They wanted dramas concerning times more nearly approaching their own, and therefore more interesting to them. The music also had completely changed in character; it allowed of a much richer instrumentation, a search after picturesque or historic color, a variety in the melody and dramatic expression which had never occurred to Spontini.

And yet, after this revolution was an accepted fact, Spontini, quite blinded by his phenomenal self-love, delivered himself of the following sentiments to Richard Wagner, when the two composers met at Dresden in 1844: "After Gluck, it is I who have made a grand revolution with 'La Vestale'; I have introduced the augmentation of the sixth in harmony, and the big drum in the orchestra. With 'Cortez' I have taken a step forward; I have taken three steps with 'Olympia,' and a hundred with 'Agnes von Hohenstaufen.' After that I might have composed 'The Athenians,' an excellent poem, but I have renounced it, despairing of excelling myself. Now how do you imagine that it is possible for anybody to invent anything new when I, Spontini, realize that I am unable to surpass my greater works? And furthermore it is very evident that since 'La Vestale,' not a note of music has been written that has not been stolen from me." Was it possible to show a greater blindness in the face of such works as "William Tell" and "The Huguenots," or to give a more erroneous estimate of himself, ranging his works in the exact inverse order of their worth? Poor Spontini, who was so unfortunate as to outlive his glory, and see "unworthy rivals" all about him, bearing off the laurels!

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