SOME FAMOUS PUPILS.
(1842-1848.)
The remaining six years which Señor Garcia spent in Paris before
migrating to London were important for the musical world.
We have seen how at this point in his career he was able to claim as
pupils a trio of world-renowned singers--Maria Malibran, Pauline
Viardot, and Jenny Lind. During the period between 1842 and 1848 this
number was greatly increased, for there passed through his hands a
series of artists whose successes were a tribute to their master's
method and powers of teaching, and to his right to be acknowledged by
all the world as the foremost _maestro di canto_ of his age. Henriette
Nissen, Catherine Hayes, Mathilde Marchesi, Johanna Wagner, Julius
Stockhausen, Barbot, Bussine, and Battaille,--these are the principal
ones.
Even if his career had ended in '48, instead of being continued in
England with no less triumphant results, he could well have claimed to
have brought out a greater number of famous artists than any other
teacher: only certainly he never _would_ have claimed it, for he was
ever the most modest of men, the most reticent on the subject of his
own powers.
And now to say something concerning the career of the pupils whose names
have been set down above.
Henriette Nissen (afterwards Mme. Siegfried Salomon) had commenced her
vocal studies with Garcia in 1839, at the same time learning the piano
under Chopin, and had made immense progress in her singing during the
two years preceding the arrival of Jenny Lind. Being a favourite with
the maestro, and a Swede by birth, it is not surprising that Garcia
hastened to introduce her to Mdlle. Lind, and that she became her most
intimate friend at this period. For the following details I am again
indebted to Canon Holland:--
"The two would frequently sing together, and before long a feeling
of generous rivalry sprang up between them, which must have been of
infinite advantage to both. Mdlle. Lind makes frequent mention of
her fellow-pupil in letters written during this period. 'I go to
see her pretty often, and we sing together. She has a beautiful
voice. In future we are going to have music together at Herr
Blumm's.'"
These meetings at his house became quite an institution. Herr Blumm was
a Swedish gentleman of kindliest disposition and infinite _bonhomie_,
who held the appointment of "Chancelier" to the Swedish legation in the
Rue d'Anjou; and he bestowed on the two young friends innumerable acts
of courtesy and kindness during their study with Garcia.
"I am going to Herr Blumm's," she wrote again, "where Mdlle. Nissen is
waiting for us, with an old relation of hers, and we four are going
somewhere into the country for the day. She is a very sweet girl. The
divine song draws us to each other."
A charming episode is recounted as having happened at the Christmas of
1841. When the festival drew near, Jenny Lind's heart was torn by
yearnings for home.
"Ah! who will light the Christmas tree for my mother?" she wrote. "No
one, no one! She has no child who can bring her the least pleasure. If
you knew how she is ever before me! How constantly she is in my
thoughts! How she gives me courage to work! How I love her, as I never
loved before!"
In the midst of this cruel burst of home-sickness, good Mdlle. du Puget,
in whose house she was staying, bethought her of an expedient, and the
result was seen in the following letter:--
"Christmas Eve passed off better than I expected, for Mdlle. du
Puget went to fetch the dear sweet Nissen, and all of a sudden, as
I was standing in my room alone, she came creeping in to me. We
sang duets together,--but my thoughts strayed homewards."
It was beautiful, as time progressed, to note the utter absence of
jealousy which characterised this rare artistic friendship between two
young students, each of whom had a reputation to ensure, and a name to
render famous.
In the beginning of 1842, Garcia considered Mdlle. Nissen sufficiently
advanced to make her appearance, and in April her _début_ was made at
the Italian Opera as Adalgisa in "Norma," this being followed by an
immediate engagement for three years under the same management,
commencing at a salary of from three to four hundred pounds for the
first year. At the conclusion of this she toured Italy, Russia, Norway,
Sweden, and England till 1849, when she appeared at Leipsic, and in the
following years sang at most of the Gewandhaus concerts there, while in
Berlin she almost rivalled Jenny Lind in popularity.
In the summer of 1842, the year of Nissen's _début_, Catherine Hayes
came from Ireland, by the advice of Lablache, to place herself under
Garcia, being at the time seventeen years of age. After four years'
study she made her _début_ at Marseilles in "I Puritani." Next year she
appeared at Vienna, and in the following seasons sang in various parts
of the Continent with success.
Her London _début_ was made in 1849, and during that season she appeared
at Covent Garden in the _rôles_ of Lucia, Linda, and Amina. She soon
became one of the most popular vocalists of her day in England, showing
herself to be possessed of remarkable power, while her chief forte lay
in the rendering of ballads.
The year 1844 saw the advent of three interesting pupils, the names of
all curiously enough beginning with the same initial letter,--Barbot,
Battaille, and Bussine.
Joseph Barbot came to Garcia at the Conservatoire at the age of twenty,
and soon proved himself to be possessed of a remarkably fine tenor
voice. At the completion of his training he was engaged at the Grand
Opera, but soon left it for Italy, where he sang with great success.
Perhaps the most noteworthy event of his career took place on March 19,
1859, for on that date he created the title part at the first
performance of Gounod's "Faust" at the Théâtre Lyrique; while sixteen
years later he was appointed to a professorship at the Conservatoire as
successor to Mme. Viardot.
Charles Battaille appears to have commenced earning his livelihood as a
doctor of medicine, the while he carried on his vocal studies. When he
had brought these to a close he gave up his practice, and accepted an
engagement as basso at the Opéra Comique. Here he remained for ten
years, till an affliction of the larynx caused his retirement. From that
time on he devoted his life to teaching, having already, in 1851, been
appointed professor at the Conservatoire. In 1861 he published the first
portion of a voluminous treatise entitled 'L'Enseignement du Chant,'
containing some important results of his physiological study. His
principal claim to fame, however, is the fact that he was chosen by
Meyerbeer to create the bass _rôle_ in "L'Etoile du Nord," while he won
special renown in the "Seraglio," of Mozart.
As to Bussine, he was connected for some time with the Opéra Comique,
and left it for an engagement as principal tenor at the Grand Opera in
Paris. Moreover, he gave much time to teaching, one of his best known
pupils being Duc.
The year 1845 saw the advent of one who ultimately became Garcia's
greatest pupil in the field of teaching--Mathilde Marchesi, or, as she
was at that time, Mdlle. Graumann.
Her father had been a wealthy merchant, but in 1843 he lost his fortune,
and his daughter, being at this time seventeen years old, decided to
adopt the musical profession. She went in the first place to study in
Vienna, but in 1845 came to Paris to place herself under Garcia, who
soon discovered in his new student a remarkable aptitude for teaching.
Of her own recollections of studying under the maestro, Madame Marchesi
has sent me the following details, some of which have already been
narrated in her interesting book of reminiscences, published under the
title, 'Marchesi and Music':--
"I need scarcely mention how the maestro's clear, intelligent, and
thorough method furthered my artistic efforts. His ideas on the
female voice and its development were a revelation to me, and they
were the foundation of my future career. With Nicolai and
Mendelssohn I had only studied classical music; now Garcia
initiated me into the style of the Italian school, as at that time
a florid execution was the principal aim of all good singers. The
compositions of Rossini, Bellini, and Donizetti were the chief
objects of study, and I was obliged, therefore, to work away at
countless scales, arpeggios, &c., and, what was worse still, with
the metronome, which sometimes rendered me almost desperate.
"Besides Garcia, Bordogni and Banderali were also justly
celebrated at this time, but he alone had made a thorough study of
anatomy and physiology.
"All the maestro's pupils were enthusiastic about him, and
patiently submitted to the necessity of waiting sometimes for hours
in the anteroom, as he permitted no one to assist at his lessons.
When at length the anxiously awaited moment had, as we thought,
arrived, he often sent us home with the remark, 'I am tired,
children; I will see you to-morrow.' Whenever this occurred we were
terribly disappointed, but this wonderfully gifted man's next
lesson made us soon oblivious of the previous day's deprivation.
"In the spring of 1847 Garcia fell from his horse and broke his
right arm, which accident prevented him for a time from continuing
his lessons. He therefore intrusted me with a number of his private
pupils. I was very much flattered with this mark of distinction and
the confidence thus placed in me, and as he had on various
occasions already confided many of his beginners to me, I was not
afraid of the responsibility, more especially as I was always able
to go to him for advice in difficult cases."
Four years after Mdlle. Graumann had commenced her studies with the
maestro, she followed him to London, and soon obtained high standing as
a mezzo-soprano concert singer. In 1852 her marriage took place, and two
years later she accepted the post of professor at the Vienna
Conservatoire. From the first her attempts at carrying on the Garcia
traditions of "Bel canto" singing met with the crown of success, and
during the succeeding years Mme. Marchesi turned out such pupils as
Ilma de Murska, Fricci, and Kraus, to bring fresh fame to the already
glorious banner of Manuel Garcia. 1861 saw her removal to Paris, where
pupils came from all parts, while about this time her text-book, 'École
du Chant,' was published.
In 1865 Mme. Marchesi went to teach at the Cologne Conservatoire, where
Antoinette Sterling came to her for a few lessons; while three years
later she returned to Vienna to resume her post at the Conservatoire.
This was resigned in 1878, but she continued to teach there for a time,
after which she returned to Paris, and took up her work there again.
In addition to those already mentioned, her pupils have included Suzanne
Adams, d'Angri, Calvé, Ada Crossley, Eames, Evangeline Florence, Frau
Gerster, Blanche Marchesi, Melba, Emma Nevada, Sybil Sanderson, Francis
Saville, and Tremelli. Truly a wonderful record to add to the list of
exponents of Manuel Garcia's method.
In 1847 an important pupil was coming to Señor Garcia's studio--one who
was destined to do great things hereafter. This was Johanna Wagner, the
niece of Richard Wagner. Her musical ability already began to make
itself noticeable at the age of five, when her father and uncle were
residing at Würzburg; for she used to sing everything she heard, and the
composer in after years would often laugh as he quoted these childish
versions.
In 1844, when Johanna was in her seventeenth year, her uncle obtained an
engagement for her at the Royal Opera in Dresden, where he was
preparing for the first performance of "Rienzi." Though of but tender
years she had such success as Agathe in the "Freischütz," that she was
engaged for three years by the management, and created Elisabeth in
"Tannhäuser."
On October 21, 1845, fifteen months later, the King of Saxony, who had
taken the greatest interest in her progress, sent her to France to study
under Garcia. She arrived at the beginning of February, accompanied by
her father, who had hitherto been her only instructor. Thanks to the
assistance which she received from Garcia during her stay in Paris, she
quickly made her mark.
On her return she went to Hamburg, creating Fides in the German version,
and taking part in the first performance there of the "Prophète." In
1850 she left for Berlin, where she was permanently engaged by the
management of the Royal Opera House. Whilst there Fräulein Wagner was a
great favourite with the royal family, and frequently sang in private
for Frederick William IV. and his Queen, being generally accompanied by
Meyerbeer.
In 1856 the prima donna appeared in London at Her Majesty's Opera House
in "Tancredi," "Lucrezia Borgia," and as Romeo. In 1859 she married Herr
Jackmann; two years later she lost her voice suddenly, and started on a
second career as an actress, in which she made her name no less surely
than as a singer. In this, Johanna Wagner resembled Geneviève Ward, for
that famous tragédienne only entered upon a career of acting after
having sung in opera under the name of Ginevra Guerrabella. With her,
too, it was owing to loss of voice in consequence of overstrain that
the change of career was adopted.
The training of Johanna Wagner by Garcia raises an interesting point in
connection with German singing. Richard Wagner was so delighted upon
hearing the improvement in his niece's voice on her return from Paris,
that he wrote the maestro a letter full of the warmest recognition of
the progress which she had made under his tuition.
But the gratitude did not end here: over twenty-five years later there
came a very signal proof of the extent to which he had been impressed
with Garcia's powers, for, when he was making the arrangements for the
first Bayreuth Festival, he wrote to his old friend, asking whether he
would undertake the training of the singers who were to take part in it.
Garcia was so busy with his teaching in London at this time that he was
unable to accept the offer; but the mere fact that he was asked to do
this is a very material answer to those who would have it that Wagner's
music is not supposed to be treated according to the Italian ideals, but
should be rendered in the style of _Sprechgesang_, which has been a
current German cry.
After the publication of his 'Mémoire sur la Voix,' Señor Garcia had
continued to labour incessantly in perfecting his method, and in 1847
(the year in which Jenny Lind made her triumphant _début_ in London as
Alice in "Roberto," took the town by storm, and earned the name of the
"Swedish Nightingale") this culminated in the publication of what is
without question the most valuable contribution to the books upon the
study of singing. It was issued in two parts, under the title of
'Traité complet de l'Art du Chant,' and was dedicated to King Oscar I.
of Sweden, as a tribute to the nationality of the greatest of the
maestro's pupils.
The work was translated into various languages, and thereby gained a
world-wide reputation. The 'Traité' was acknowledged on all sides to be
invaluable, and it laid the foundations of all important subsequent
investigations into the emission of the voice.
As to Garcia's treatment of his pupils, he exhibited ever the most
untiring patience. The infinite pains he took with them never failed to
win their affection as well as their admiration, and this undoubtedly
contributed in some considerable degree to the progress which they made
under his care. A story has been told by Jourdan, which gives a good
illustration of the great master's care of his pupils.
One day, being upset and ruffled at some remarks made upon his singing
by the maestro, Jourdan left the class in a temper, and did not return
for the next lesson. Garcia, noticing his absence, went to his lodging,
a small room on the fifth floor, and took the young student by the ear,
saying, "Come along, _méchant garçon_, come and have your lesson."
And now we come to 1848, the year in which Manuel Garcia terminated his
residence in Paris.
He did so in consequence of the Revolution, which flared up on February
24, and finally resulted in the flight of Louis Philippe. It was during
these disturbances that the maestro was sought out by Julius
Stockhausen, a lad of twenty-two, who was eventually to become one of
Germany's greatest teachers and singers. Of this period Herr Stockhausen
sent me some reminiscences, and in reproducing them there is a pathetic
interest, owing to the fact that two days after their arrival from
Germany the lieder-singer passed away in his eighty-first year.
"I first made the acquaintance of the maestro," writes Herr
Stockhausen, "in 1848. The year had begun with much unrest, and on
February 24 the Revolution broke out. Owing to the absence of the
friend under whose roof I was residing at the time, I was obliged
to enter the National Guard as a substitute. As such I presented
myself before the maestro in full uniform. He received me very
kindly, for a relation of mine, Frau Reiter, who had already been
studying with him, had spoken a few words of recommendation on my
behalf.
"What struck me most at the first meeting were the steadiness of
his glance, the swiftness of his movement, and the rhythm of his
tread. He was a man of middle age--forty-three years old, his
manner alert, his voice possessing a friendly ring. When I timidly
inquired his terms he replied, 'Combien voulez-vous me donner? je
n'ai plus d'élèves; ils ont tous fui la révolution.' But, honoured
master, you have just been trying a tenor who has a powerful voice.
'True; but he has no ear,' replied Garcia. 'When I asked him what
his occupation was, he replied, 'Je suis tourneur.' 'Eh bien,' I
answered, 'tournez, tournez encore; pas d'oreille, pas de
chanteur!'
"My position as a member of the National Guard and a son of
artistic parents seemed to interest the maestro, and he asked me
only ten francs a lesson. After a few days studies were commenced,
and I used to attend in my regimentals. Unhappily, however, the
hardships of bivouacking on those cold winter nights proved very
pernicious for my young voice, so that after a few weeks I found
myself obliged to cease lessons temporarily. For six weeks I
struggled against catarrh and sore throat; but at the beginning of
May there came a happy change.
"On the 26th of the same month I received an invitation from Basle
to sing in Mendelssohn's 'Elijah.' Garcia raised no objections to
my attempting the task, and went through the difficult passages
with me very carefully, showing me further how I might commit the
title-_rôle_ to memory in a short time without overtiring the
voice. When in due course I sang the Elijah in Basle, the audience
had no idea how my voice had suffered during those weeks of
military hardship and discipline in Paris."
Such is the characteristic description which Julius Stockhausen gave of
his first months under Garcia.