Reproduction of a French lithograph portrait by Francis—published in
1827.
]
On his return to Paris he felt a reawakening of his passion for Miss
Smithson, who had been temporarily forgotten and patronizingly dubbed
“the Smithson girl,” while his heart was interested elsewhere. At the
time of his setting out for Rome, he had thoughts for none but the young
and attractive pianiste, Marie Moke, whom he had known through his
friend Ferdinand Hiller; to her he had shown some attention, finally
declaring to her his uncontrollable passion.
This young lady had coolly married Camille Pleyel—a name which she was
to make famous as a virtuoso—while her mad lover, her pretended fiancé,
was in Italy.
He made haste, as soon as he got back to Paris, to organize a concert
for the purpose of performing in honor of Miss Smithson, the _Fantastic
Symphony_, and on that day (Dec. 9, 1832) he experienced a double
triumph, since this masterpiece, which she believed to be inspired by
herself, deeply touched the tragedienne and won her heart for Berlioz.
Little did she suspect that this composition had been written with a
view to stigmatize her, at the time when Berlioz was madly in love with
Mademoiselle Moke, and that before going to Rome he had it played in
honor of Mademoiselle Moke, as it was now being given in Miss Smithson’s
honor. Meanwhile, the families of the two lovers made just opposition to
their fine projects for the future; but Berlioz and his fiancée taking
the lead, strove their utmost to overcome these obstacles, and to tie
the indissoluble bond which was to render them equally miserable.
During all these negotiations the English Theatre of Paris was obliged
to close its doors, and Miss Smithson, who had assumed direction of it,
found herself without resources, not having enough to pay the debts of
the enterprise. To make matters worse, she broke her leg while getting
out of a carriage, in which she was going about to organize a benefit
concert. While she was confined to the house by her accident, Berlioz
had the customary “respectful summons” to make to her family, and as
soon as she was well he married her; “she was mine,” he said, “and I
bade defiance to every thing!” The young household was not rolling in
wealth; the wife had nothing but her debts, and the husband had but
three hundred francs which a friend had lent him. No matter, even a sad
life is not without its sunshine. Berlioz was obliged to have recourse
to his pen, and began to write for the newspapers through sheer
necessity, a thing which he had hitherto done through love of
controversy and in self-defence.
His first appearance in literature was made in 1829 in the
_Correspondent_, with a pretty well developed article on Beethoven, whom
the artists and amateurs of Paris were just beginning to know, thanks to
Habeneck and his _Société des Concerts_ at the Conservatoire. He also
furnished some articles to the _Revue Européenne_ and the _Courrier de
l’Europe_; finally, that influential paper, the _Gazette musicale de
Paris_, which in 1881 ended a glorious career of forty-seven years,
espoused Berlioz’s cause, and worked faithfully for his success. Shortly
after, in 1835 he allied himself with the _Journal des Débats_ as
musical critic, a post which he held for thirty years, finding in its
proprietors, MM. Bertin, staunch friends and protectors. Besides giving
him a comfortable living, Berlioz’s articles served him at first in
establishing relations with the press, as much as they injured him later
by exciting bitter jealousy and enmity.
It was in the midst of financial difficulties that Berlioz wrote the
symphony _Harold in Italy_, inspired no doubt by his own excursions in
the vicinity of Rome. In this he introduced a viola part for Paganini,
but the part was too much subordinated to the orchestra to suit the
great violinist, who desired a veritable concerto with a simple
orchestral accompaniment; fortunately Berlioz did not give heed to this
demand. The performance of _Harold_ (Nov. 23, 1834) made Berlioz known
to connoisseurs, and soon after M. de Gasparin, Minister of the
Interior, ordered of him a Requiem for the anniversary service of the
victims, not of the Revolution of 1830, but of the Fieschi outrage. This
_Requiem_ did not reach its destination, but was performed at the
celebrated service in the church of the _Invalides_, Dec. 5, 1837, for
the French soldiers and General Danrémont, killed at the siege of
Constantine.
Fortune seemed at last to smile on the persistent efforts of the young
composer, when a failure came to overturn his fond hopes. His opera
_Benvenuto Cellini_, written on a poem by Léon de Nailly and Auguste
Barbier, was performed at the _Opéra_ Sept. 10, 1838; it was well
sustained by Mmes. Stolz and Dorus-Gras, but badly rendered by Duprez,
and disappeared from the bills after three performances, the celebrated
tenor not wishing to appear in a work in which he was quite eclipsed by
the two prima donnas. Berlioz, in order to recover from the effect of
this failure, organized two Conservatoire concerts, thinking that the
performance of the _Fantastic Symphony_ would recompense him for the
loss of his rights at the _Opéra_. The first concert barely covered
expenses, but the second had a memorable result. Scarcely was the
symphony ended when a man jumped upon the platform, and kissed the hands
of the stupefied composer. The next day Berlioz received a letter in
which, as a token of admiration, he was asked to accept a sum of twenty
thousand francs, and this letter was signed by the enthusiastic listener
of the evening before, Nicolo Paganini. This sum—whether it was, as some
think, a secret manifestation of Bertin’s liberality, or whether it was
really given by Paganini for the purpose of defending himself in the
eyes of the Parisians against an accusation of avarice—made Berlioz easy
in his finances for some little time, and enabled him to work with an
unperturbed mind. He profited by the first hours of leisure which he had
found since his return, and wrote first his symphony with solos and
choruses, _Romeo and Juliet_, which he dedicated to his official
benefactor and which was first heard Nov. 24, 1839, and then the grand
_Funeral and Triumphal Symphony_, performed at the inauguration of the
column of July in 1840. He also wrote, about this time, a number of
songs or choral compositions, and the brilliant overture _Le Carnival
Romain_.
[Illustration: