The edict which had sent Viotti from England was revoked in 1801, and
he returned with commercial aspirations, for he entered into the wine
trade. It could not be said of him, as of another well-known composer,
who attempted to conduct a business in the vending of sweet sounds and
the juice of the grape simultaneously, that he composed his wines and
imported his music; for Viotti seems to have laid music entirely aside
for the nonce, and we have no reason to suspect that his port and sherry
were not of the best. Attention to business did not keep him from losing
a large share of his fortune, however, in this mercantile venture, and
for a while he was so completely lost in the London Babel as to have
passed out of sight and mind of his old admirers. The French singer,
Garat, tells an amusing story of his discovery of Viotti in London, when
none of his Continental friends knew what had become of him.
In the very zenith of his powers and height of his reputation, the
founder of a violin school which remains celebrated to this day, Viotti
had quitted Paris suddenly, and since his departure no one had received,
either directly or indirectly, any news of him. According to Garat, some
vague indications led him to believe that the celebrated violinist
had taken up his residence in London, but, for a long time after his
(Garat's) arrival in the metropolis, all his attempts to find him were
fruitless. At last, one morning he went to a large export house for
wine. It had a spacious courtyard, filled with numbers of large barrels,
among which it was not easy to move toward the office or counting-house.
On entering the latter, the first person who met his gaze was Viotti
himself. Viotti was surrounded by a legion of employees, and so absorbed
in business that he did not notice Garat. At last he raised his head,
and, recognizing his old friend, seized him by the hand, and led him
into an adjoining room, where he gave him a hearty welcome. Garat could
not believe his senses, and stood motionless with surprise.
"I see you are astonished at the metamorphosis," said Viotti; "it is
certainly _drôle_--unexpected; but what _could_ you expect? At Paris
I was looked upon as a ruined man, lost to all my friends; it was
necessary to do something to get a living, and here I am, making my
fortune!"
"But," interrupted Garat, "have you taken into consideration all the
drawbacks and annoyances of a profession to which you were not brought
up, and which must be opposed to your tastes?"
"I perceive," continued Viotti, "that you share the error which so many
indulge in. Commercial enterprise is generally considered a most prosaic
undertaking, but it has, nevertheless, its seductions, its prestige, its
poetical side. I assure you no musician, no poet, ever had an existence
more full of interesting and exciting incidents than those which cause
the heart of the merchant to throb. His imagination, stimulated by
success, carries him forward to new conquests; his clients increase, his
fortune augments, the finest dreams of ambition are ever before him."
"But art!" again interrupted his friend; "the art of which you are one
of the finest representatives--you can not have entirely abandoned it?"
"Art will lose nothing," rejoined Viotti, "and you will find that I
can conciliate two things without interfering with either, though you
doubtless consider them irreconcilable. We will continue this subject
another time; at present I must leave you; I have some pressing business
to transact this afternoon. But come and dine with me at six o'clock,
and be sure you do not disappoint me."
Garat, who relates this conversation, tells us that at the appointed
time he returned to the house. All the barrels and wagons that had
encumbered the courtyard were cleared away, and in their place were
coroneted carriages, with footmen and servants. A lackey in brilliant
livery conducted the visitor to the drawing-room on the first floor.
The apartments were magnificently furnished, and glittered with
mirrors, candelabra, gilt ornaments, and the most quaint and costly
_bric-à-brac_. Viotti received his guests at the head of the staircase,
no longer the plodding man of business, but the courtly, high-bred
gentleman. Garat's amazement was still further increased when he heard
the names of the other guests, all distinguished men. After an admirably
cooked dinner, there was still more admirable music, and Viotti proved
to the satisfaction of his French friend that he was still the same
great artist who had formerly delighted his listeners in Paris.
The wine business turned out so badly for our violinist that he was fain
to return to his old and legitimate profession. Through the intervention
of powerful friends in Paris, he was appointed director of the Grand
Opéra, but he became discontented in a very onerous and irritating
position, and was retired at his own request with a pension. An
interesting letter from the great Italian composer Rossini, who was then
first trying his fortune in the French metropolis, written to Viotti
in 1821, is pleasant proof of the estimate placed on his talents and
influence:
"Most esteemed Sir: You will be surprised at receiving a letter from an
individual who has not the honor of your personal acquaintance, but I
profit by the liberality of feeling existing among artists to address
these lines to you through my friend Hérold, from whom I have learned
with the greatest satisfaction the high, and, I fear, somewhat
undeserved opinion you have of me. The oratorio of 'Moïse,' composed by
me three years ago, appears to our mutual friend susceptible of dramatic
adaptation to French words; and I, who have the greatest reliance on
Hérold's taste and on his friendship for me, desire nothing more than to
render the entire work as perfect as possible, by composing new airs in
a more religious style than those which it at present contains, and
by endeavoring to the best of my power that the result shall neither
disgrace the composer of the partition, nor you, its patron and
protector. If M. Viotti, with his great celebrity, will consent to
be the Mecænas of my name, he may be assured of the gratitude of his
devoted servant,
"Gioacchino Rossini.
"P.S.--In a month's time I will forward you the alterations of the drama
'Moïse,' in order that you may judge if they are conformable to the
operatic style. Should they not be so, you will have the kindness to
suggest any others better adapted to the purpose."