From a lithograph portrait loaned by the British Museum.
]
Méhul began his dramatic work by writing three operas (“Psyché et
l’Amour,” “Anacréon” and “Lausus et Lydie”) merely for the sake of
practice. He was testing his wings before flight. He made his debut
before the public with “Euphrosine et Coradin” in 1790 and achieved a
brilliant success, though his first opera was “Cora et Alonzo,” which
was produced later and met with only a moderately favorable reception.
He was now in the full tide of musical activity, and opera after opera
came from his prolific genius. “Stratonice” followed “Euphrosine,” and
by many was considered his masterpiece, especially for the fine
treatment of the ’cello parts, which instrument he had specially
studied, and for the general excellence of the orchestration as well as
its dramatic strength, in which quality he showed his close study of
Gluck. The revolutionary period which now ensued was not favorable to
the opera, and as if in sympathy with the depressing character of the
time, Méhul brought forward such works as “Doria,” “Horatius Cocles,”
“La Caverne,” and others, which did not add to his reputation. There
were others, however, that proved an exception to the rule. “Le jeune
Henri” for instance, was hissed because it introduced a royal personage,
but the overture, with its lively and picturesque representation of the
chase, was demanded several times over at the close of the performance.
The overtures to both “Adrien” and “Ariodant” were also general
favorites, as well as the romanzas in the latter. It was about this time
(1799) that Méhul had his first encounter with some of the French
critics, particularly Geoffroy, a well-known writer, who declared that
he could not write in any other than a severe and heavy style. Shortly
afterwards the opera of “Irato,” written in the Italian style, appeared
anonymously. After its first performance the journalist wrote: “This is
the way in which Méhul should compose.” The composer had his revenge on
declaring himself the author and followed it up with another opera, “Une
Folie,” in which his critic was satirized. Soon afterwards, however, he
lapsed into the serious style. In 1806 he produced “Uthal,” in which he
made the daring innovation, at the suggestion of Napoleon it is said, of
doing away with the violins entirely and filling their places with the
violas, as better adapted to the sombre Ossianic character of the
composition. The result was so depressing that Grétry, who was present
at the first performance, made the remark: “I would give a louis to hear
the sound of a chanterelle, or the E string of the violin.” Undismayed
by the reception of “Uthal,” Méhul followed it up with “Joanna,”
“Hélène,” “Les Amazones” and “Gabrielle d’Estrées,” all written in the
same serious style, showing high scholarship in counterpoint, but
lacking in those light and elegant graces of composition which were so
popular with the French. His activity was great during this period.
Between 1791 and 1807 he wrote no less than twenty-four operas, besides
six symphonies; music to poems of Chénier, Arnault and Sontanes,
composed in honor of the Republican fêtes at which Napoleon presided,
among them the “Chant du Départ,” “Chant de Victoire” and “Chant de
Retour”; choruses to the tragedy of “Timoleon”; the incidental music to
“Oedipus” and the drama of “The Hussites”; four ballets, “Le Jugement de
Paris” (1793), “La Dansomanie” (1800), “Le Retour d’Ulyss” (1807), and
“Persée et Andromède” (1810); besides many operettas and smaller works.
He had enjoyed the favor of Napoleon to such an extent that upon the
death of Paisiello he was offered the position of chapelmaster. Méhul,
who was a devoted friend of Cherubini, was anxious that the latter
should share the office with him, but Napoleon, who was incensed at a
sharp reply Cherubini had made him in Vienna, sent word back to Méhul:
“What I want is a chapelmaster who will make music and not noise,” and
at once nominated M. Sueux to the position. Méhul was not without his
honors, however, having been appointed a member of the Institute in
1795, and of the Legion of Honor in 1802.
In 1807 he achieved the crowning success of his career. “Joseph,”
written on a Biblical subject, was produced and spread his fame all over
France and Germany. Though not often heard in this country, it still
remains a great favorite to-day among the Germans by its dignity,
nobility and elevated style. It made ample compensation for his many
failures and regained for him all the advantages he had lost. After 1810
he wrote but little, “Le Prince Troubadour” (1813) and “L’Oriflamme”
(1814), written with Berton, Kreutzer and Paer, being his most important
works.
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