The form adopted by Saint-Saëns in his second concerto, op. 25, is sufficiently novel. Its first movement is labelled "Andante sostenuto," and commences with a long introduction for the piano, somewhat in the style of Bach. The passionate melody which succeeds to this, and may be considered as the principal theme of the movement, is, however, quite modern incharacter. The delightful "Scherzo" and inspiriting "Finale," are slightly suggestive of both Weber and Mendelssohn, whilst bearing the distinctive mark of their composer's personality. In his fourth concerto in C minor, op. 44, Saint-Saëns has departed still further from the usual model. This work is divided into two sections, which include five changes in the "tempo." A noticeable feature in the concerto is the reintroduction in the last movement of themes previously heard in the first, thus producing a sense of homogeneity.
The fourth concerto is the most ambitious work of the kind that Saint-Saëns has written. It is also the best. A few years since, the composer attempted the experiment of performing all four works in succession at a concert given at the St. James's Hall.
Saint-Saëns did not make hisdébutas an operatic composer until he had reached the age of thirty-seven, and then only with a one-act opéra-comique, entitled "La Princesse Jeaune," produced at the Opéra Comique Theatre in1872. This curious little work, the scene of which is laid in China, was not well received and speedily disappeared from the bills. The overture is delightfully quaint, and is occasionally heard at concerts. Now that one-act works are coming into vogue, this delicate little score might well be reproduced.
The reputation acquired by Saint-Saëns as a symphonist, and what is known in France as "un musicien savant," had been sufficient to cause any pretension on his part to aspire to the fame of a dramatic composer to be looked upon with suspicion. Added to this, he had the reputation of harbouring feelings of admiration for Wagner, which at that time was quite enough to prevent a manager from producing his works.
An opera entitled "Le Timbre d'Argent," not to be confounded with Vasseur's operetta "La Timbale d'Argent," was written before the war of 1870, and was destined for the Opéra Comique Theatre. It was, however, not brought out until 1877, when it was played at theThéâtre Lyrique under the direction of Mons. A. Vizentini.
The influence of Gounod is very apparent in this work, and Bizet even found therein certain affinities with Auber which I confess myself unable to discover. One thing certain is, that this opera has but little in common with Wagner. "Le Timbre d'Argent" reveals the hand of the practised musician, but is very unequal as a whole, and does not occupy an important place in the composer's dramatic outfit. A point to note in this opera is the superiority of the orchestral treatment and general workmanship over the melodies, many of which border upon the commonplace.
The same year that "Le Timbre d'Argent" was produced in Paris, the Grand Ducal Theatre of Weimar announced the first performance of a new opera by Saint-Saëns, entitled "Samson et Dalila."
As many consider this the composer's finest dramatic work, and as it is only comparatively recently that its beauties have cometo be generally recognised, and that it has been incorporated into therépertoireof the Paris Opera, a short account of the genesis of this remarkable composition may not be out of place, the more so as if will accentuate the difficulties that appear to beset composers and stand in the way of works of the highest merit.
"Samson et Dalila" was begun by Saint-Saëns before the year of the Franco-German war.
The second act was tried over in private, when the part of Samson was sung by the ill-fated painter, Henri Regnault, who was destined to be killed a year later, during the war. The "Marche Heroïque," composed by Saint-Saëns, is dedicated to the memory of the unfortunate artist.
The score of "Samson et Dalila" was terminated towards 1872, and a performance of the second act was given by Madame Viardot at her country-house at Croissy two years later. On this occasion the gifted hostess undertook the part of Dalila, and all who can remember her incomparable method of singing will agreethat she must have been an admirable interpretress of the passionate accents allotted by Saint-Saëns to the heroine of his opera.
The influence of this admirable artist upon French music has been very great. In a volume of verses recently published Saint-Saëns thus apostrophises her:
"Gloire de la Musique et de la Tragédie;Muse qu'un laurier d'or couronna tant de fois,Oserai-je parler de vous, lorsque ma voixAu langage des vers follement s'étudie?Les poëtes par Apollon vainqueurOnt seuls assez de fleurs pour en faire une gerbeDigne de ce génie éclatant et superbeQui pour l'éternité vous a faite leur sœur.Du culte du beau chant prêtresse vénérée,Ne laissez pas crouler son autel précieux,Vous qui l'avez reçu comme un dépôt des cieux,Vous qui du souvenir êtes la préférée!Ah! comment oublier l'implacable FidésDe l'amour maternel endurant le supplice,Orphée en pleurs qui pour revoir son EurydiceEnhardi par Éros pénétre dans l'Hades!Grande comme la Lyre et vibrante comme elle,Vous avez eu dans l'Art un éclat nonpareil.Vision trop rapide, hélas! que nul soleilDans l'avenir jamais ne nous rendra plus belle!"
In 1875 the first act of "Samson et Dalila" was given in its entirety in Paris at one of Mons. Colonne's concerts.
It was, however, not until the second of December 1877 that "Samson et Dalila" was brought out upon the stage. Liszt, ever anxious to further the progress of art, had been struck by the merits of the work, and undertook to have it mounted at Weimar, where some twenty-five years earlier he had been instrumental in producing "Lohengrin" for the first time on any stage.
Musicians of the calibre of Liszt are indeed rare, and it is right to tender a passing tribute to the absolute disinterestedness of this great man, who never lost an opportunity of helping a brother artist. Having been brought out on German soil for the first time, a fact which the composer should remember when indulging inthose patriotic ebullitions that of late years have so frequently appeared from his pen, "Samson et Dalila" was played at Hamburg in 1883 with Frau Sucher in the principal part.
It was not until 1890 that the opera was given in France, Rouen being the first town in which it was played. During that year it was produced in Paris at the Eden Theatre under the same manager. On this occasion the principal parts were interpreted by Mme. Rosine Bloch and Mons. Talazac, both of whom have recently died.
Lyons, Marseilles, and Aix-les-Bains followed in 1891, and the next year "Samson et Dalila" was given at Toulouse, Bordeaux, Montpellier, Nantes, Nice, Florence, Monte Carlo, Geneva, and Dijon, receiving its final consecration by being produced on a grand scale at the Paris Opera House, having thus occupied a period of twenty years in reaching its goal. It has since then been played in other continental towns. London still remains, and upon this I should like to say a word. The fact of "Samson etDalila" being taken from a Biblical source has been accepted as a reason for its non-production in our metropolis. That a work of the most serious import should thus be excluded from our stage when productions of the most futile description are passed without demur, is another example of the contradictions that exist in our pharisaical country.
Not so long ago an operetta was licensed in which ministers of religion were held up to ridicule, and jokes were freely made concerning matters that must by a great portion of the audience have been held sacred, and yet nothing was said. But should some manager think of producing an episode culled from the Old Testament, and treated in a strictly serious and even reverent manner, the British conscience, that article of home manufacture of which Englishmen are so proud, is at once up in arms. We cannot support too many music-halls or give too much encouragement to those bastard specimens of operatic music known as "original" (?) comic operas, but our feelings ofpropriety revolt against anything like the stage treatment of works founded upon Biblical subjects. Let us be consistent whilst we are about it. If it is wrong to introduce Samson, Dalila, the Queen of Sheba, Joseph, Moses, or other Biblical personages upon the stage, it is surely worse to sanction the performance of operas or dramas in which scenes are introduced representing the interior of churches, or religious ceremonies of any description! Worse than all is the performance of pieces calculated to throw ridicule upon ministers of religion. To see respectable audiences sitting complacently gazing at a popular actor personifying a clergyman dancing in apas de quatrewith his chapel in the background, and to think that some of these very individuals may possibly be numbered amongst those who object to Sunday concerts, is indeed more than strange.
In the meanwhile as this state of things exists, and the musical public is debarred from hearing a work like "Samson et Dalila" on the stage, it may be wondered that no one seems tohave been struck with the idea of producing it in oratorio form in the concert-room. It is not creditable that England should remain the only nation where "Samson et Dalila" has not been given.[24]
The prejudice existing against the employment of Biblical subjects for operatic purposes is unfortunate, as the fund of material is apparently exhaustless. The story of Samson and Dalila has furnished Saint-Saëns with a plot such as he has since sought for in vain in the pages of English and French history. The less complicated the story, the better it is fitted for operatic treatment. Wagner has exposed his reasons at length concerning the superiority of a legendary over a historical subject. Saint-Saëns is unfortunately not of this way of thinking. Of later years the bias of his mind has been rather tending towards historical subjects.
"Samson et Dalila" may be considered not only as one of the master's best operas, perhaps even as the very best, but as one of the finest dramatic works produced by any French composer during the last five-and-twenty or thirty years.
A work like this cannot be otherwise than the spontaneous outcome of a composer's feelings, untrammelled by outward considerations. The varied influences that are noticeable in the musical style of Saint-Saëns, and to which I have already made allusion, are perhaps more marked in this work than in any of his other operas. In the first act the choruses sung by the captive Hebrews breathe the spirit of Bach and Handel, and are conceived rather in the oratorio style. As a strong contrast to these we have the dainty chorus of the priestesses of Dagon and their characteristic dance, the fascinating trio in which Dalila endeavours to cast her spell over Samson, and the lovely air, "Printemps qui commence," which terminates the act and which has been sung by everycontralto. Samson's spirited appeal to arms must also be mentioned. The second act commences with Dalila's invocation to love, praying for aid in her design to ensnare Samson. The lengthy duet between the heroine and the high priest is eminently dramatic, and the following duet between her and Samson may be ranked amongst the finest love scenes ever written. It contains a beautiful phrase sung by the temptress when endeavouring to inveigle her victim, which is reproduced later on in an admirably suggestive manner by the orchestra, and reappears in the third act, transformed into a mocking theme, when Dalila is scoffing at her victim in chains and deprived of his sight. The third and last act contains a touching prayer for Samson, bewailing his lost sight, some admirable ballet music, in which the composer has made effective use of the Eastern scale, and a masterly scene depicting the revelries of the Philistines, culminating in the destruction of the temple by Samson. So ends this beautiful score, the merits of which are so transparentand yet have remained so long unrecognised.
FACSIMILE OF AUTOGRAPH SCORE OF "SAMSON ET DALILA"FACSIMILE OF AUTOGRAPH SCORE OF "SAMSON ET DALILA"
In "Samson et Dalila" Saint-Saëns had made use of representative themes, and although he has done so in a sufficiently discreet fashion, avoiding anything approaching to Wagnerian polyphony, the fact deserves to be noted as affording, perhaps, the first instance in which the system has been rigorously followed by a French composer. There can be no doubt but that the device contributes to a great extent in securing that unity which is so much sought for nowadays in dramatic works. Another point to be noted is the suppression of detached numbers, the opera being divided into scenes that are logically developed.
The instrumentation of "Samson et Dalila" is rich and varied, yet never unduly complicated. Saint-Saëns knows how to distribute his effects with unerring certainty, and his work is a model of orchestral skill. The opera is scored for a very full orchestra, of which it may be interesting to give the composition. In addition to thestrings and usual wood wind, he employs a third flute, acor anglais, a bass clarinet, a double bassoon, four horns, two trumpets, two cornets, three trombones, a bass tuba, two ophicleides, two harps, three kettledrums, agrosse caisse, cymbals, a triangle, aglockenspiel,crotales, castagnettes made of wood and iron, atambour de basque, and a tamtam.
These constitute a powerful engine of sound, which is made subservient to the composer's will, and reproduces his thoughts with unimpeachable exactitude.
"Samson et Dalila" perhaps remains the dramatic masterpiece of Saint-Saëns. His other operas may be equally remarkable in point of style and more elaborate in the matter of detail, but they often lack that apparent spontaneity which constitutes not the least charm of the Biblical work, and, although containing much that is admirable, are perhaps less inspired. Saint-Saëns could not write an uninteresting work if he chose, and musicians will find much to admire in his later operas. In "Samson etDalila" he has succeeded in compelling the admiration of both musicians and the public at large, perhaps for the very reason that when he wrote it he did not attempt to please either, but was content to follow the bent of his inspiration withoutarrière penséeof any sort.
"Etienne Marcel," the composer's next opera, produced at Lyons in 1879, has not received the amount of attention due to its merits. The defects in this work arise from a certain want of unity, consequent upon the obvious desire of the composer to reconcile the conflicting elements of the old and the new schools. Putting such considerations aside, there can be no doubt as to the general effectiveness of the music. The subject deals with a stirring episode of French history. If in treating it the composer has not discarded the older forms associated with the "grand opéra" style, he has imparted a modern colouring to his score which goes far to redeem any shortcomings in this respect. He has been particularly happy in his treatment of the scenes of popular life that abound in this opera.There is a freshness and an irresistibleentrainin the ballet music, which is deliciously scored and abounds in charming details. The presence of a waltz in an opera, the action of which is laid in the fourteenth century, may cause some surprise, but it does not do to be over-particular in such matters, and much may be forgiven when the result is so pleasing.
A few years ago it was quite on the cards that "Etienne Marcel" should be performed at Covent Garden, with Mme. Patti in the principal character. The greatprima donnahad taken a strong fancy to the music, and expressed a desire to sing it. Unfortunately circumstances occurred which induced thedivato change her mind, and to display her vocalisation in an opera of little musical worth, which has long since disappeared from therépertoire.
If would be a thousand pities if an opera containing so much that is excellent should be allowed to suffer perpetual neglect, and it may be hoped that some day we may be afforded the chance of hearing it in England.
The great moment in the dramatic career of Saint-Saëns was now at hand—that psychological moment so long desired and eagerly anticipated by every French aspirant to operatic fame. The doors of the Opera, thatsanctum sanctorum, was at length to be opened to him. After the comparative failure of such works as Gounod's "Tribut de Zamora," and Ambroise Thomas' "Françoise de Rimini," the prestige of the French school wanted looking after, and some fresh blood was required to renew it. That a composer such as Saint-Saëns should be obliged to go to Weimar and Lyons in order to get played seemed an anomaly, and the author of "Samson et Dalila" was at last, and not too soon, commissioned to write a work for the leading operatic stage of Paris.
Great expectations had been formed concerning the opera that so consummate a musician, and one holding such high artistic notions, would produce. It was held that a composer so well endowed would prove to be the one,par excellence, destined to free the French operatic stage fromthe bondage of "routine," and be the standard-bearer of French progressive art. These anticipations were destined to be only partly realised. Leaving French history for the nonce, Saint-Saëns found in the life of our much-married monarch a subject congenial to his muse, and "Henri VIII." was produced with success in March 1883. If this opera is ever to be performed in England certain alterations will have to be made, as the inclusion of a Scotch ballet danced at Richmond might tend to ridicule.
It must be admitted that if the book of "Henri VIII." is in many senses disappointing, yet it is not devoid of merit, and contains several highly dramatic situations that have been well treated by the musician. The authors, Messrs. Détroyat and Silvestre, have not adhered entirely to Shakespeare. The action takes place at the time when Henry has begun to be struck with the charms of Anne Boleyn, who also has an admirer in Don Gomez, the Spanish ambassador. The divorce of the King from Katharine of Arragon is at hand, andthe Pope's Legate having refused to sanction it, the King, amidst the acclamation of the people, proclaims the schism with the Roman Church. The last act is perhaps the best. Anne Boleyn is now Queen, and Katharine, who is dying, has in her possession a compromising letter from Anne to Don Gomez. Henry is devoured by jealousy, and comes, accompanied by Don Gomez, to endeavour to obtain possession of this document. Anne has also come to see if she can regain the letter. This leads to the capital situation in the opera. Henry, in order to excite the jealous and revengeful feelings of Katharine, speaks in the tenderest tones to Anne, whose eyes are fixed upon the note that Katharine has in her hands. At length Katharine, having prayed for strength to resist the temptation, throws the letter in the fire, and falls down dead.
There is no denying the dramatic force of this situation, which has been treated by Saint-Saëns in a masterly manner. The splendid quartet which terminates the work, in which the differentemotions of the four characters are depicted in accents as powerful as they are varied, may rank amongst his finest inspirations, and as one of the most stirring scenes in the entire range of modern opera.
An interesting feature in "Henri VIII." is the partial employment ofleit-motiven. Saint-Saëns, who at one time was looked upon as a disciple of Wagner, has taken pains to dispel this impression. And yet in the first work composed by him for the chief French operatic theatre, he set to work by making use of one of the Bayreuth master's favourite devices. He will probably urge that it is not so much Wagner himself that he has been combating, but the unreasoning enthusiasm of some of his thick-and-thin admirers. This may be so, but the fact remains, that Saint-Saëns has laid himself open to misconception, which might easily have been avoided had he displayed a less militant tendency in his criticisms. At any rate, he has deliberately adopted the system of representative themes in his "Henri VIII.," and if,whilst so doing, he has not abandoned the old operatic set forms, the innovation is a sufficiently important one to note. It is this attempt to reconcile such antagonistic elements that is held by some as constituting a weak point in this remarkable work. "From the beginning," writes a well-known critic, "we see the two forms of the opera and the lyrical drama in juxtaposition, and thus all unity of style is at once broken."
The opinions of Saint-Saëns himself on the subject of dramatic music are interesting, as they explain the spirit of compromise that exists in all his works. "Henri VIII." was considered by some as foreshadowing a new departure in the composer's style. These were doomed to be disappointed, for the works that have succeeded it are not in any way more "advanced." Saint-Saëns has taken the trouble to write and explain his views on the subject, and from these it is highly unlikely that he will now depart. In a letter written to the editor of theCarillon Théatral, soon after the performance of his opera "Proserpine,"Saint-Saëns expressed himself thus: "My theory of dramatic art is this: I believe the drama is progressing towards a synthesis of different elements, song, declamation, and symphony blending in an equilibrium which leaves the composer free to avail himself of all the resources of art, while it affords the spectator the gratification of every legitimate desire. It is this equilibrium which I seek, and which others will one day find. Both heart and head impel me to pursue this aim, and to this I must adhere. It is for this reason that I am disowned, now by those Wagnerites who despise the melodic style and the art of singing, now by those reactionaries who lay the entire stress on those elements, and consider declamation and symphony as mere accessories."
The above definition of the "musical drama" is rational enough, and I do not see what even the most uncompromising Wagnerite could find to object in it. As to the allusion to "those Wagnerites who despise the melodic style," it would be interesting to know precisely to whomthe composer refers. If there exist a few fanatics who imagine that melody can be banished with impunity, they are in absolute disaccord with Wagner himself, who wrote that "the one and only form of music is melody; no music is conceivable without melody, and both are absolutely inseparable." Mons. Imbert, in an article upon Saint-Saëns, has amusingly termed him "le Wagnérien sans le savoir."
The truth of the matter is, that every composer nowadays is actuated by the same desire, namely, to make his music fit the subject he is illustrating as closely as possible. If the method adopted differs in any way, this must be ascribed to a variety of causes, the composer's temperament, his education, his nationality, and others. As to the interpolation of ballets and sundryhors d'œuvreintroduced often apparently without rhyme or reason, that still find their way into operas, it must in justice to the composer be remembered that he has a number of conventionalities to fight against and prejudices toovercome. Every one has not got the prestige of a Wagner, and even he had to fight a fearfully uphill battle, and only reaped the full fruits of his labours at the end of his career.
The taste of the public is little by little coming round to the "lyrical drama" as distinct from the opera, and composers are but following the tendency of the age. The transformation of style that has led Verdi to rise from "Trovatore" to "Otello" is there to attest it.
The next opera—or shall we say "lyrical drama"?—composed by Saint-Saëns was "Proserpine," brought out at the ill-fated Opéra Comique in 1887, the same year during which the theatre was destined to be burned to the ground. Despite its title, this work has nothing in common with mythology. It is taken from an early work by the poet Vacquerie, published some fifty years ago.
The action takes place in Italy during the sixteenth century. Proserpine, a courtesan, is in love with Sabatino, a young nobleman, who is engaged to be married to Angiola, the sisterof his friend. After endeavouring vainly to entrap Angiola and her brother, assisted by Squarocca, a bandit, she seeks Sabatino, who is awaiting his bride. When Angiola enters, Proserpine hides behind some drapery. Maddened by jealousy at hearing the lovers interchange protestations of affection, she rushes forward and strikes Angiola with her stiletto. Sabatino then snatches the weapon from her hands and plunges it into her heart.
This story was considered somewhat melodramatic in Paris, and thedénouementhas since been somewhat modified. A few alterations have been made in the score, and in its new form "Proserpine" will surely be performed sooner or later. There are some delightful numbers in this opera, which throughout bears the impress of the master's hand. I will especially draw attention to the closing scene of the second act, which is a perfect gem of delicate fancy and exquisite workmanship. The scene represents the interior of a convent, and anumber of mendicants enter to receive alms. Their voices are accompanied by a melodic figure which is repeated in various guises until the fall of the curtain, without ever sounding monotonous in any degree, through the consummate art and skilful manipulation with which it is handled.
With his next opera Saint-Saëns returned to the Grand Opéra, where "Ascanio" was produced in 1890. Benvenuto Cellini is the leading character in this work, but the composer discarded the great sculptor's name as his title, probably out of deference to the memory of Berlioz, whose first dramatic attempt bore that name. These scruples did not trouble Mons. Diaz, who curiously enough brought out an opera bearing that title during the same year at the Opéra Comique, where it met with no success. There has always been something of the mystifier in Saint-Saëns. He likes to go his own way, regardless of what may be expected of him or whether he satisfies the partisans of any particular style of music. Mons. CamilleBellaigue remarks that he was not much astonished that this work should have produced a feeling of surprise and even of disappointment. "L'œuvre," he says, "que peut-être on attendait puissante et grandiose, n'est que touchante parfois, toujours intime et presque familière."
This definition gives so good an idea of the general character of the opera that I do not hesitate to reproduce it here. The plot of "Ascanio" is rather complicated for a "lyrical drama," the numberless episodes that occur detracting from the continuity of the work. Saint-Saëns appears to have composed the music in a remarkably short space of time, less than a year. Those who take the trouble to study this interesting score, which has been aptly termed a musical mosaic, will appreciate the prodigious amount of labour involved. The composer has again employed representative themes, very much after the system he had previously adopted in his "Henri VIII." The score of "Ascanio" is a veritable monument of ingenuity, and if it does not produce analtogether satisfactory impression, the fault may be ascribed rather to the book than to the music.
A curious incident in connection with the first performance of this opera was that the composer, doubtless anxious to seek perfect rest after his prolonged labours, and desirous of avoiding the fatigues consequent upon attending its production, took himself away and carefully omitted to leave his address behind. Weeks elapsed, and no news of him was forthcoming. Fanciful stories were concocted of how he had met with foul play. Telegrams were dispatched all the world over, with the result that he was authoritatively declared to have been seen in at least a dozen different places several hundred miles away one from the other. Finally, he was discovered, quite by chance, under an assumed name in the Canary Islands. A visitor staying in the same hotel, hearing some one playing the piano in a manner the reverse of amateurish, and having that morning read about the mysterious disappearance in theFrench papers, had the curiosity to go down and verify the suspicions that had occurred to him. He had no difficulty in identifying the composer, and in a very short time the news had spread all over the place. Saint-Saëns then had to pay the penalty of being a celebrity. He wrote thus to Mons. Louis Gallet, his friend and collaborator: "For the last three days, since I have been recognised, I lead an insupportable life. I do not have a moment to myself. I am scribbling you these lines whilst talking. If there is no common sense in what I say, do not be surprised."
The last dramatic work produced by Saint-Saëns is "Phryné," a two-act comic opera, given at the Opéra Comique in the month of May of the present year (1893).
It might have been hoped that a composer such as Saint-Saëns would have thought fit to devote his great gifts to the elaboration of a "musical comedy" that might have ranked side by side with Wagner's "Meistersinger" and Verdi's' "Falstaff." Not one of his countrymenis better qualified than he is for such a task. Perhaps he may undertake it later on. At any rate, he has not attempted anything of the kind in "Phryné," which is modelled upon an old pattern, includes spoken dialogue, and consists of a number of detached pieces, following the conventional practice associated with the Opéra Comique.
In writing this graceful score Saint-Saëns has evidently aimed at simplicity. There are some charming numbers of a melodious nature in this little work, which also displays the composer's capacity of dealing with humorous situations to great advantage. Perhaps the best portion is the "Invocation to Venus," in which the means employed are of the simplest, whilst the results are eminently poetical and effective. "Phryné" has proved very successful in Paris. The title part has been interpreted by Miss Sybil Sanderson, whom the composer has gratified with a liberal allowance ofrouladesand other vocal acrobatics.
It now remains for me to allude to someof the other compositions of Saint-Saëns in various lines—and what line has he not attempted? That one who has achieved so great a reputation as an organist should also have distinguished himself as a composer of sacred music stands to reason. One of his most representative works of this kind is his oratorio "Le Déluge," which exhibits the peculiar characteristics of his style to an almost equal degree as "Samson et Dalila." Every one knows, or ought to know, the beautiful Prelude with the lovely violin solo, the commencement of which is suggestive of Bach, whilst the end is reminiscent of Gounod. I must also mention his noble "Requiem" and fine setting of the psalm "Cœli enarrant." The "Oratorio de Noël" is an early work, but contains several charming pages.
To analyse in detail all the compositions of this indefatigable worker would take up a volume in itself. I must therefore be content with the bare mention of songs full of originality, such as the "Mélodies Persanes," pianofortemusic like the "Menuet et Valse," "Six études," and the three Mazourkas; violin music such as the three Concertos, the "Introduction et Rondo Capriccioso" so often played by Señor Sarasate, the Sonata, op. 75, for the same instrument; and violoncello music such as the characteristic "Suite," the admirable Sonata, op. 32, and the Concerto, which is a favourite with all 'cellists. Neither must I omit the masterly variations for two pianos on a theme of Beethoven, or the splendid pianoforte transcriptions from Bach. Several of these works may almost be said to rank as classics. Two important compositions remain to be noted, both of which were produced for the first time in England. The first of these is the picturesque cantata "La Lyre et la Harpe," composed for the Birmingham Festival of 1879; and the second is the Symphony in C Minor, first produced by the Philharmonic Society in 1885. It seems strange indeed that a work so remarkable in every way as the last should not be given oftener. Saint-Saëns has not here written a symphony upon the usual model, buthas endeavoured to produce something entirely unconventional, whilst keeping within certain limits, that enabled him to claim the title of symphony for a work which, although possessing many of the characteristics of thegenre, yet in the matter of form differs much from the compositions of recognised masters. If the influence of Beethoven is not absent, neither is that of Liszt, and there is as much if not more of the "symphonic poem" in a work, that is unique in its way, than of the symphony proper. A curious detail to note is that in this work the organ and piano are added to the usual orchestra.
Saint-Saëns is a very quick worker. The rapidity with which he is able to conceive and transcribe a work of large proportions is all the more remarkable for the reason that his writing never exhibits the slightest sign of that carelessness often engendered by undue haste. The following extract from Mons. Hugues Imbert's "Profils de Musiciens" will give an idea of this: "With Saint-Saëns the conception is rapid; hewrites without pause or hesitation (d'un seul jet). Once the idea is chosen and defined, he immediately realises the development. He orchestrates with the greatest ease, whilst conversing, and almost without making any corrections. Scarcely does he find it necessary to have recourse to the piano in order to aid his inspiration. His opera 'Proserpine' was composed at Chaville, without the aid of any instrument. He writes a score or a symphony as he would pen a letter or an article, or as he would solve a problem. A number of instances are cited concerning his prodigious facility of creation; we will only recall the following: A few years ago he had promised to write anopérette revuefor the Cercle Volney, of which he is a member. A few days before the performance nothing had as yet arrived. Upon inquiry from Saint-Saëns himself it was discovered that he had totally forgotten his promise. 'But,' said he, 'the evil can be repaired;' and in the space of two hours he wrote off twenty-one pages of full score."
Some critics have found the music of Saint-Saëns devoid of feeling, cold and passionless. How it is possible to come to this conclusion after hearing pages such as the famous love duet in "Samson et Dalila," or the quartet in "Henri VIII.," it is difficult to understand.
And yet Mons. Arthur Pougin, the well-known critic, has not scrupled to pass the following judgment on Saint-Saëns in his article upon the composer, included in the Supplement to Fétis's "Biographie des Musiciens": "Le tempérament musical de Mons. Saint-Saëns est sec, nerveux, absolument dépourvu de tendresse, de sentiment et de passion." After this it again becomes evident that a great man is not necessarily a prophet in his own country. When he penned the above lines Mons. Arthur Pougin was presumably unacquainted with "Samson et Dalila."
In the course of this incomplete sketch of one of the most remarkable artists of his time I have alluded to his polemics as a critic. A few years since, he collected some of his writings together, and published them in a volumeentitled "Harmonie et Mélodie." In this book will be found various criticisms, many of which are as just as they are well expressed, but it is to be regretted that the author should occasionally have thought fit to mix up so-called "patriotic ideas" with his musical opinions.
For many years Saint-Saëns used to be considered one of the ardent champions of Wagner. The moment, though, that the Bayreuth master's music seemed to obtain a firm hold upon the French public, through the medium of the weekly concerts given by Messrs. Lamoureux and Colonne, the French composer's zeal appeared to cool down, and the enthusiast gave way to the critic. Any one is of course entitled to air his opinions, and no one more so than a composer of such eminence as Saint-Saëns. The mistake was that he chose the wrong moment to publish his views, and thereby stirred up a controversy which would best have been avoided.
In 1879 he recorded his impressions of the"Ring des Nibelungen" in a series of remarkable articles that are reproduced in the volume above mentioned. His opinion of this colossal work was summed up in these words: "From the height of the last act of the 'Götterdämmerŭng,' the entire work appears, in its almost supernatural immensity, like the chain of the Alps seen from the summit of Mont Blanc."
He terminates the preface of "Harmonie et Mélodie" by these words: "I admire the works of Richard Wagner profoundly, in spite of their eccentricities (en dépit de leur bizarrerie). They are superior and powerful, which suffices for me. But I have never belonged, I do not belong, and I never shall belong, to the Wagnerian religion!"
This being the case, I am unable to see why the composer of "Henri VIII." should have taken so much pains to qualify his opinions. He admires Wagner, and it certainly would be odd if a composer of his value did not;but he is anxious to avoid being comprised amongst those fanatics, whose admiration of Wagner prevents their acknowledging the greatness of any other composer.
It may here be noted that when the publisher Flaxland acquired the French copyright of "Lohengrin," the translation was at the author's request submitted to Saint-Saëns, who wrote, in the newspaperLa France, that when "Lohengrin" was about to be produced in Paris, he, at the desire of the publisher and M. Charles Nuitter the translator, revised the French version and refused to participate in thedroits d'auteurs.
Amongst his many gifts Saint-Saëns possesses that of the poet, and has proved his capability of writing charming verses. I will quote the following satirical lines written by him after the production of Bizet's "Djamileh," the delightful little one-act work which has recently been revived with success on various operatic boards, the merits of which were totally unrecognised by the Parisians in 1872:
"'Djamileh,' fille et fleur de l'Orient sacré,D'une étrange guzla faisant vibrer la corde,Chante, en s'accompagnant sur l'instrument nacré,L'amour extravagant dont son âme déborde.Le bourgeois ruminant dans sa stalle serré,Ventru, laid, à regret séparé de sa horde,Entr'ouvre un œil vitreux, mange un bonbon sucré,Puis se rendort, croyant que l'orchestre s'accorde.Elle, dans les parfums de rose et de santal,Poursuit son rêve d'or, d'azur et de crystal,Dédaigneuse à jamais de la foule hébétée.Et l'on voit, au travers des mauresques arceaux,Ses cheveux dénoués tombant en noirs ruisseaux,S'éloigner la Houri, perle, aux pourceaux jetée."
He has lately published a little volume of poems which he has entitled "Rimes Familières," from which I have extracted the lines addressed to Mme. Viardot.
There is a great fund of humour in Saint-Saëns. This has shown itself in many of his works, and occasionally he has given full rein to his fanciful imagination by writing a burlesque set of pieces entitled "Le Carnaval des Animaux," and another time by composinga parody of Italian opera, which he called "Gabriella di Vergy." Is there not a vein of grim humour in the "Danse Macabre"?
It is related that he once took part in an amateur performance of Offenbach's "Belle Hélène," and interpreted the character of Calchas! A detail to note: the composer of "Samson et Dalila" is still known as "ce jeune maître," although his birthday belongs to the year 1835. It is more than probable that he will keep this title to the end.
Camille Saint-Saëns has retained all his freshness of inspiration, and there is no knowing into what paths his fancy may lead him. But whether he elects to add to the number of his symphonic poems, to produce some fresh example of chamber music, or to elaborate the score of a "lyrical drama," he may rest assured that his doings will be followed with deep attention on the part of all who take interest in music.
J. Massenet portrait, signedsignature
INthe year 1842 there lived near St. Etienne, in the department of the Loire, an ironmaster of the name of Massenet, an ex-superior officer of engineers, who had been twice married, and both of whose unions had been blessed in a manner apparently rare in France. In the year in question yet one more offspring was destined to be added to the already crowded quiverful. This child, who was named Jules, was the future composer of "Manon" and "Werther." It is needless to state that, alike to all great musicians, Massenet gave evidence of talent at an early age, to the extent that he was sent to the Conservatoire, where he rapidly distinguished himself.
His family, who at that time resided in Paris, were, however, obliged, on account of his father'shealth, to leave the capital. It appears that young Massenet, tormented by the desire to resume studies that had been so brilliantly begun, thereupon made up his mind to quit the paternal roof, which was then situated in the town of Chambéry, in Savoy, and one day, without saying a word to any one, he undertook to walk all the way to Lyons. How he ever got there it is difficult to say, for he had apparently neglected to provide himself with ready cash, doubtless deeming this a superfluity and a needless encumbrance. Trifles such as these sit lightly on a mind of fourteen, and young Massenet succeeded somehow or other in reaching the great manufacturing centre; where he discovered the abode of a relative, and presented himself, tired and hungry, to his astonished gaze. Having explained the cause of his sudden appearance, the young truant was forthwith expedited back to his parents, who, seeing that it was useless to combat so decided a vocation, made up their minds to send him to Paris in order that he mightcontinue his studies. Unfortunately, it is impossible to live upon air, and during the time when he was mastering the principles of his art the young neophyte was obliged to look for some occupation that would help him to keep body and soul together. This he was fortunate enough to find at the Théâtre Lyrique, where he obtained the privilege of presiding over the kettledrums at a salary of 65 francs a month. It was not precisely riches, but it sufficed to keep the wolf from the door. For six years did Massenet have the opportunity of venting the superfluity of his energies by striking the drums. In the meanwhile he was not idle, and the first prize for piano as well as the first prize for fugue were both successfully awarded to him. Finally, at the age of twenty-one he reached the goal of his ambition, obtained the "Grand Prix de Rome" through a cantata entitled "Rizzio," and departed for the Eternal City, where he remained for two years.
Massenet has himself recorded his impressions of Rome in some interesting autobiographicalnotes published recently in theCentury.
"It was at Rome," he says, "that I began to live; there it was that during my happy walks with my comrades, painters or sculptors, and in our talks under the Villa Borghese or under the pines of the Villa Pamphili, I felt my first stirrings of admiration for Nature and for Art. What charming hours we spent in wandering through the museums of Naples and Florence! What tender, thoughtful emotions we felt in the dusky churches of Siena and Assisi! How thoroughly forgotten was Paris with its rushing crowds! Now I had ceased to be merely a musician; now I was much more than a musician. This ardour, this healthful fever still sustains me, for we musicians, like poets, must be the interpreters of true emotions. To feel, to make others feel—therein lies the whole secret."
It is natural that with recollections such as these Massenet should consider a sojourn in Rome to be fraught with great advantage to young musicians. He believes that a residencethere "may give birth to poets and artists, and may awaken sentiments that otherwise might remain unknown to those in whom they lie dormant."
It was at the close of the year 1865 that he left Rome, and shortly after, a one-act comic opera from his pen, entitled "La Grande Tante," was produced at the Opéra Comique, according to the regulations, which prescribe that every winner of the "Prix de Rome" should have a one-act work played at this theatre. Massenet's hour had not yet arrived. His "Poème d'Avril," one of his most delicate inspirations, had been refused by a publisher, and he found himself obliged to earn his livelihood by giving lessons.
In 1869 he took part in the competition for the composition of an opera upon a libretto entitled "La Coupe du Roi de Thulé,"[25]but without success, the prize being awarded to Mons. Diaz,[26]whose work was subsequentlybrought out at the Opéra without creating any great sensation. This shows the value from an artistic point of view of these competitions.
The Franco-German war came to interrupt Massenet in his labours, and like a good patriot he served his country on the ramparts of Paris.
After matters had settled down he was able to again set to work. His next operatic venture was "Don César de Bazan," played at the Opéra Comique in 1872, concerning which it is not necessary to say much. A piquant littleentr'actehas survived, and is occasionally heard at concerts. A more important work was the music he composed to Leconte de Lisle's drama, "Les Erinnyes," which still ranks amongst his most remarkable productions.
Massenet has been most successful in imparting a sort of antique colouring to his score. A selection of the music has found its way into the concert-room, and was heard at the Crystal Palace under the composer's direction some years ago. The best numbers are the beautifulinvocation of Electra and the characteristic dances.
The turning-point in the composer's career was at hand. He had written a sort of oratorio entitled "Marie Magdeleine," and having shown the score to Mme. Viardot, this great artist, who had been instrumental in furthering Gounod'sdébutas an operatic composer, was much struck by its merit, and determined to have it produced and sing in it herself. "Marie Magdeleine" was accordingly performed at the Odéon in 1873, and created a great stir in musical circles. This delicate and refined score reveals many of the special characteristics well known to those who admire the composer's music. It is very different from what we understand in England as an oratorio. The sensuous vein of melody and the sickly sentimentality which Massenet so often mistakes for true feeling are noticeable in many of its pages. "Marie Magdeleine" was just the sort of work to please a French audience of twenty years ago, whose acquaintance with Berlioz and Wagner was limited, and whoseideal was bounded by Gounod. It was the Bible doctored up in a manner suitable to the taste of impressionable Parisian ladies—utterly inadequate for the theme, at the same time very charming and effective. These words apply equally to "Eve," a work of the same nature that was produced two years later with equal success.
It is but right to say that Massenet has not employed the title of "oratorio" for either of the above works. "Marie Magdeleine" is styled a sacred drama, and "Eve" amystère. Concerning the first of these Mons. Arthur Pougin informs us that Massenet had not intended to adopt "the broad, noble, and pompous style of the oratorio. Painter and poet, he had endeavoured in this new and long-thought-out work, to introducerêverieand description; he further employed the accents of a veritably human passion, of a tenderness in some way terrestrial, which might have given rise to criticism had he let it be imagined that he intended to follow on the traces of Handel, Bach, or Mendelssohn."
The feminine nature of Massenet's talent has often led him to choose frail members of the fair sex as heroines of his works, such as Mary Magdalen, Eve, Herodias, and Manon. He lacks depth of thought and strength to grapple successfully with Biblical subjects, and the absence of these is not atoned for by an artificiality of expression, and the too frequent employment of affected mannerisms. At the same time, there is a distinct element of poetry noticeable in all his works, and a peculiar sensuous charm is prominent in most of his compositions. These qualities are not to be despised. To them are to be added a richly-coloured and varied instrumentation, and an always interesting and often original harmonic treatment. Massenet's name was now well known to concert-goers, and was shortly to become so to that larger section of the community, the theatre-going public, through the production of his opera "Le Roi de Lahore." Previous to discussing the value of this work it will be well to mention the orchestral suites composed by himat different times, some of which occupy a permanent place in concertrépertoires. Of these the most popular is entitled "Scènes Pittoresques," a set of four short movements, simple in structure, melodious, and well scored. There is not much in them, but although the material is scanty the workmanship is extremely clever, and the general effect decidedly pleasing. The "Scènes Dramatiques," after Shakespeare, the "Scènes Hongroises," and the "Scènes Alsaciennes" are interesting and replete with imagination and fancy.
Perhaps the most remarkable of the composer's purely instrumental works is the overture to Racine's "Phèdre," a composition full of passion and feeling, well worked out and admirably orchestrated, which is fully entitled to rank amongst the best modern concert overtures. It is to be regretted that the composer has not produced more works of the same kind. There is a virility of accent and an avoidance of specific mannerisms that may often be sought for in vain in his other compositions.
"Le Roi de Lahore," produced at the Opéra in 1877, obtained a great success, partly, perhaps, owing to the magnificence of the mounting, but also, it must be said, on account of the intrinsic value of the music. A spectacular opera in the fullest sense of the word, "Le Roi de Lahore" was a work eminently suited to a theatre such as the Grand Opéra, where the ballet,mise-en-scène, and other accessories rank on an equal footing with the music. It was produced on a grand scale, the ballet act, taking place in the Paradise of Indra, forming one of the most gorgeous spectacles possible.
This act is perhaps the best from a musical point of view. In it Massenet has given full rein to his fancy, and has composed dance music of a really superior kind, which he has enriched with a piquant and effective instrumentation. "Le Roi de Lahore" remains perhaps the best work that Massenet has composed for this theatre. It is more spontaneous than either "Le Cid" or "Le Mage," andcontains many portions of great excellence. Every one knows the suavecantilenafor baritone that Mons. Lassalle used to interpret in so incomparable a fashion. In his criticism of this work Mons. A. Jullien formulates the following opinion of Massenet and the present school of French composers: "They all know their work admirably, and treat the orchestra to perfection. They have more or less natural grace and tenderness, but they often lack power and originality. They make up for the first of these by the employment of noisy effects, and for the other by a search after novelty that occasionally amounts to eccentricity. Neither have they got sufficiently settled ideas: they try to reconcile the elements of different schools; they do not write any morerouladesorpoints d'orgue, but they allow singers to spread out their fine voices on final cadences; they understand the necessity of renovating and vivifying the opera, but they only dare to make timid attempts in this direction at long intervals, and return immediately to used-up formulas, toensembles, to choruses, and to the most commonplace finales."
There is a great deal of truth in these words; at the same time it is difficult to foresee an epoch when the "lyrical drama" will have attained that state of perfection as to be no more susceptible of improvement. The progress that has been effected in France during these last thirty years in the direction of a higher conception of the musical drama has been enormous. The ball has been set rolling by some of those composers who would perhaps now be anxious to arrest its course, but the impetus having been given, it has been kept going by the younger aspirants to operatic fame, and is not likely to stop.
"Le Roi de Lahore" obtained a distinct success, which was repeated in a number of continental cities, including our own metropolis.
Massenet visited England in 1878, and conducted a concert devoted to his own music at the Crystal Palace. The programme included extracts from "Le Roi de Lahore" and "LesErinnyes." He also appeared at a concert given by Mme. Viard Louis at the St. James's Hall, on which occasion he directed the performance of his orchestral suite entitled "Scenes from Shakespeare."
Massenet's reputation was now established upon a solid basis. On the death of F. Bazin he had succeeded him as one of the leading professors of the Conservatoire. He had also been elected a member of the Institute. His next work, a religious cantata entitled "La Vierge," produced at the Opéra in 1880, was, however, coldly received. Massenet, who conducted the orchestra in person, was grievously disappointed at this, but set to work with renewed vigour at an opera entitled "Hérodiade," which was brought out with great success at Brussels in 1881. This work has since been given in Paris, as well as in various continental towns, where it has been well received. The nature of the subject necessarily stands in the way of its being produced in London. Certain extracts, however, have been heard in our concert-rooms.The score of "Hérodiade" abounds in examples of that sensuous melody so characteristic of the composer. There is very little Biblical about it, and it is to be regretted that another and better subject was not hit upon than this parody of Holy Writ. Massenet's strains would probably have been equally appropriate, and the susceptibilities of those who look upon this sort of thing as a desecration of religion would have been respected.
There is indeed a vast difference between taking a subject like "Samson et Dalila," against which none but the most strict could object, and turning St. John the Baptist into a commonplace operatic hero. If it were not for the libretto, "Hérodiade" ought to be heard in London, as it counts amongst its author's best works, and, despite certain weaknesses, occupies an honourable place in the ranks of modern operas.
The following lines, written by Camille Saint-Saëns after the first performance of "Hérodiade" at Brussels, will be read with interest.I will not spoil the charm of the original words by attempting to translate them; "La qualité maîtresse de la musique du jeune maître est la fraîcheur, qualité si rare que M. Massenet me parait être le seul à la possèder. On dirait par moments qu'il n'en sent pas le prix, à le voir poursuivre, en apparence du moins, un idéal de force violente. N'est-ce donc rien que le parfum de la rose, la voix du rossignol et l'aile du papillon? Bien des gens trouveront que la rose, le rossignol et le papillon ne sont pas fort a plaindre, et qu'ils n'ont que faire de lutter avec le tigre et le mancenillier."
We now arrive at the work through which Massenet is best known in this country, one which perhaps displays the peculiar nature of his talent to the greatest advantage. "Manon," that very fascinating musical setting of the Abbé Prévost's romance, was first played at the Opéra Comique in 1884. For twelve years no new opera by Massenet had been produced at this theatre, and he had since then conquered celebrity as a dramatic composer and as anorchestral writer. The famous novel of the Abbé Prévost had already previously been utilised for operatic purposes by Auber, and has since been used as an opera text by the Italian composer Puccini. It furnished Massenet with a subject particularly suited to his muse.
Apropos of Auber's setting, the following story is related:
Auber did not enjoy the reputation of being a great reader. One day he received a visit from a friend, who found him at his writing-table. Upon inquiring what he was working at, Auber replied: "I am busy with the first act of my new opera."—"By whom is the book?"—"By Scribe."—"Might I ask its title and subject?"—"Manon Lescaut."—"Manon! that splendid masterpiece?"—"The romance; do you mean a romance?" asked Auber.—"Yes, certainly."—"Mon Dieu! I have never read that," said Auber.—"What! you write an opera on the subject of Manon, and have not read the story?"—"True; I have not got it in my library,for I have just been looking for it."—"Well, borrow it from Scribe."—"But I don't think Scribe has read it either," said Auber, "he may have glanced at it to get the situations, but Scribe never wastes his time if he can help it."
Massenet's opera contains an innovation which has a certain importance and deserves to be noted. It is well known that the old-fashionedopéra comiquecomprised spoken dialogue. The tendency of late years has been to abandon this illogical custom, and the ideas of most composers nowadays tend in this direction. Certain ingrained habits are hard to get rid of, and even now there are composers of eminence who either have not the courage or inclination to break with a custom so antagonistic to the principles of the lyrical drama.
Massenet, a musician of compromise, imagined a method which he doubtless thought would give musical continuity to his work without departing absolutely from the customs of the theatre. This was to retain the spokendialogue, but to accompany it with an orchestral commentary in keeping with the words. A similar method has been employed with success in dramas for which incidental music has been written. It is not a course that can be recommended for operatic purposes, although the effect in "Manon" is not unpleasing. The analogy existing between the stories of "Manon" and "La Traviata," or rather "La Dame aux Camélias," is sufficiently striking. Several situations are almost identical. In both cases we have a heroine for whom it is difficult to feel much sympathy, a weak young man, and a heavy father given to singing long-windedcantilenas. The subject is essentially French, or rather Parisian, and the music of Massenet fits it like a glove. The composer's mannerisms seem less out of place in the mouth of Manon than they do in that of Mary Magdalen. Massenet is essentially a colourist, and even as he had succeeded in imparting an Easterncachetto his "Roi de Lahore," and giving a tinge of the antique to his music for "LesErinnyes," so in "Manon" he has felicitously caught the spirit of the last century. This delicately perfumed score is in many places suggestive of the boudoir of apetite maítresse. There are plenty of accents of genuine passion noticeable in the course of the work, such as those in the great duet between Manon and Des Grieux; also in the fine monologue of the latter. It is in what might be termed operasde demi caractèrethat Massenet excels, and he would do well in future to confine himself to this and eschew works of larger calibre, such as "Le Cid" and "Le Mage," the two latest operas that he has produced upon the stage of the Grand Opéra.
"Manon" has been successful on the Continent, but curiously enough, does not appear to have taken much in London, despite the superb interpretation of the hero by M. Van Dyck. An English version was produced by the Carl Rosa Company in 1885, and it has remained in therépertoire.
The year after the production of "Manon"Massenet reappeared as the musical delineator of another French classic. This time he sought inspiration from Corneille, undeterred by the failure of Gounod over "Polyeucte."
"Le Cid" is one of the great dramatic poet's finest works, and one with which I will not do my readers the injustice to suppose them unacquainted. The music of this opera contains much that is excellent, but fails in many respects to do justice to the heroic subject. In his efforts to be powerful the composer is often merely noisy. The best portions are certainhors d'œuvre, such as the delightfully characteristic ballet music. "Le Cid" has apparently proved to the taste of thehabituésof the Opéra, and has been successfully performed on the Continent.
A work which I should from many points of view be disposed to prefer is "Esclarmonde," produced at the Opéra Comique in 1889, the year of the International Exhibition. In this opera Massenet has taken a step in advance as regards the musical form he has adopted."Esclarmonde" is constructed more according to the lines of the modern "lyrical drama," and the composer has made use of "representative themes" to a great extent. One of these indeed bears a certain affinity to a motive in the "Meistersinger." This apparent adherence to the principles of the Bayreuth master caused some waggishly disposed critic to allude to Massenet as "Mlle. Wagner." "Esclarmonde" is really a remarkable opera, and should be given in London. The story, which is taken from an old romance of chivalry, is a species of fairy tale and has this peculiarity about it that, reversing the ordinary order of things, it is the heroine who falls in love with the hero, who, it must be owned, does not seem inclined to repel her advances. The lady in question being gifted with magic powers, causes the object of her flame to be transported to an enchanted island, where she visits him every night without his being allowed to contemplate her features. The love duet between the two is one of the most passionate and voluptuous examples ofamorous music that has been heard on the stage. A species of orchestral interlude, played whilst the lovers are gradually surrounded by the trees and boughs of the enchanted island, is remarkably expressive, impregnated as it is with a peculiar sensuousness of utterance and exuberance of passionate feeling. This perhaps is the finest page in an opera that must count as one of its author's best works. Mons. Adolphe Jullien, whom I have had occasion to quote more than once in the course of this volume, remarks that Massenet's great fault is that he alternately attempts every style and perseveres in none. Certain it is that "Le Cid" was a distinct falling off after "Manon," and that "Le Mage," produced at the Grand Opéra in 1891, was absolutely inferior to "Esclarmonde." It is of course impossible for any musician to command inspiration. Certain subjects have the power of appealing to a composer more than others. With Massenet, as I have previously remarked, these rather pertain to thegenre intime.
"Le Mage" is a spectacular opera upon a large scale, the action of which takes place in the time of Zoroaster.
It furnished grand opportunities for the scenic artists to display their skill, but was admittedly a disappointment from a musical point of view. The composer was destined to take hisrevanchewith "Werther," performed for the first time in Vienna on the 16th of February 1892. The composition of this work dates already some years back. It was in 1885, the master relates himself, when he had just terminated "Le Cid," that Mons. Hartmann, his publisher, suggested to him the idea of setting Goethe's story to music. Pleased with the notion, Massenet entered into communication on the subject with Messrs. Milliet and Blau, the authors of the libretto. The book having been supplied, Massenet set to work in the spring of 1885, and the opera was completed at the end of the winter of 1886.
When he was asked for a new opera by the director of the Opéra Comique, to be playedduring the International Exhibition of 1889, the composer preferred to let him have "Esclarmonde," deeming this to be more fitted for the occasion.
Having had to go to Vienna to superintend the rehearsals of "Manon," a proposition was made to produce his "Werther" at the Imperial Opera House.
Massenet, in the course of a conversation published in theEcho de Paris, gives some interesting details concerning the administration of the two imperial theatres in Vienna.
"Hierarchically, and in the first rank, Prince Hohenlohe, the direct representative of His Majesty, dominates. After him come first a high official personage bearing the title of General Intendant, and then in the third place the director, Mons. Jahn. The artists, including the ballet-dancers, are looked upon as accomplishing a service of State. Each day official carriages take them to the rehearsals. These take place from ten o'clock to half-past twelve, in the most absolutehuis clos. In theevening equally, during the performance, no one is admitted either behind the scenes or in the boxes, and this from the point of view of the strictest morality. They play, sing, and dance without any stranger being allowed to be present. The archdukes themselves are not admitted."
Massenet also gives an account of the trying ordeal he underwent when playing through his score for the first time before the director and all the artists. He was admitted into an immense and luxuriously furnished room, capable of containing over 200 people. "All the artists," he relates, "were seated there, grouped in a charming but imposingensemble. At my entrance they all got up and bowed. The director approached me and said a few amiable and too flattering words of welcome. All this was assuming the intimidating aspect of an official reception. I felt much moved. With the exception of my two old interpreters, Mdlle. Renard and Vandyck, I knew no one. Meanwhile the director led me to the piano, onthe desk of which my yet unpublished score was placed, open at the first page. I sat down on the stool and was about to strike the first chord.... At this moment I must tell you an intense feeling of emotion came over me.... My heart was beating as if it would burst.... In one second, with a really painful intensity, I felt the vivid notion of the artistic responsibility which I was incurring.... What a terrible game I was about to play.... This score of 'Werther' was six years old.... I scarcely had it in my memory.... How many works by me had not been played since.... I was finding myself, alone, far from my country, representing by the force of circumstances French musical art.... On the other hand, I had full conscience of the undeserved honour that was being conferred on me.... Was I not in Vienna, the guest of the Emperor, invited at the expense of the State, and remembering that alone two masters before me—both above criticism—Verdi and Wagner, had been the objects of such a high and such aprecious distinction?... All these thoughts suddenly came into my brain; tears rose to my eyes, and stupidly, like a weak woman, I began to weep. Then what kindness and delicate attention was shown all around me. 'Courage, courage,' was said to me from all sides. I made an immense effort, and still trembling with emotion I played through the entire score. This was in Vienna the first hearing of 'Werther.'"
In Goethe's sadly pathetic story, Massenet has found a subject eminently suited to the peculiar nature of his talent. The idyllic charm of the sad tale has inspired him to write pages full of poetry and refinement.
"Werther" was a distinct success in Vienna, and this success was repeated when the opera was produced in Paris at the Opéra Comique. Massenet has seemingly been desirous in this work of writing a "lyrical drama" rather than an ordinary opera. He has kept his music well within the bounds of a subject so simple yet so interesting and so human. We do not find setduets, choruses, orensemblesin this delicate and artistic score, and we need not regret their absence.
FACSIMILE OF AUTOGRAPH SCORE OF "WERTHER"FACSIMILE OF AUTOGRAPH SCORE OF "WERTHER"
Long before Massenet's time, "Werther" had been set to music by Pugnani, musical director to the King of Sardinia. It was played at the Burg Theatre in Vienna in 1796. Pugnani's work was described as a symphony, which the composer sought to make as realistic as possible. On one occasion it was performed at Turin before a party of invited guests. Pugnani conducted in his shirt sleeves. At the moment when Werther dies, Pugnani pulled a pistol out of his pocket and fired it.
Blangini also wrote a cantata upon the same subject, which he entitled "Werther's Swan Song, half an hour before his death." At that time Werther's Lotte (Frau von Kestner) was still living in Hanover, and she journeyed to Cassel on purpose to hear Blangini's work.
A curious thing happened when Massenet's "Werther" was given at Weimar in 1892. Giessen, the Weimar tenor, was deputed to singthe titlerôle. His real name happens to be Buff, and he is a grand-nephew of Lotte, whose name was also Buff. When the Weimar performance took place it was therefore discovered that Giessen had to make love to his own great-aunt. In the German version of the opera Goethe's text is faithfully followed. Both Lotte and Werther are drawn from life.
A few days after the first performance of "Werther" at Vienna a ballet, entitled "Le Carillon," by the same composer, to ascenariofurnished by M. Van Dyck, was successfully produced upon the same boards. Massenet has another opera in readiness, which has not yet been presented to the public—"Thaïs," a lyrical drama in three acts, words by Louis Gallet.
The composer of "Werther" is an indefatigable worker, and being in the full force of his maturity, may yet be counted upon to further enrich the operaticrépertoire. Concerning his powers of work the following story is related: The director of one of the French operas, inspeaking with the composer, said, "My dear Master, give me the secret of your abnormal creative ability. Every day you listen to a crowd of singers, you attend every rehearsal, and, besides, you are professor at the Conservatoire. When do you find time to work?" "When you are asleep," replied Massenet, quickly. It is true that Massenet rises every day at five, and works incessantly until midday.
In the Supplement to the "Biographie des Musiciens" of Fétis, edited by M. Arthur Pougin, published in 1880, mention is made of two "lyrical dramas," entitled "Robert de France" and "Les Girondins," upon which the composer was supposed to be engaged at the time. I am not aware whether these have been finished or not. Recently he has terminated the orchestration of Léo Delibes' "Kassya," left unfinished.
Whatever the composer's defects may be (and who is free from them?), there can be no doubt that Massenet has indisputably a style of writing peculiar to himself, which is more thancan be said of all of his "confrères." His individuality may not be so marked as that of Gounod, whose influence, by the way, can be traced in some of his compositions, but it is none the less existent, and has been reflected in the works of many of his pupils.
Few musicians can touch him in the art of handling the orchestra. At the time when he was studying at the Conservatoire he astonished every one by the prodigious amount of work he got through, and the ease with which he was able to compose. This facility of production does not seem to have deserted him, and the danger lies, not in his composing too little, but in producing too much.