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," pianoforte music 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, but has 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 the _genre_, 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; he writes
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 an _opérette revue_ for 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 volume entitled "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 'Götterdämmer[)u]ng,' 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 newspaper _La
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 the _droits
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 oeil 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 composing a 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.
[Illustration: _J. Massenet_ portrait, signed]
JULES MASSENET
In the 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's health, 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
might continue 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 autobiographical notes published recently in the _Century_.
"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 residence there "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
subsequently brought 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 little _entr'acte_ has 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 beautiful
invocation 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's _début_ as 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 whose ideal 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" a _mystère_. 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 introduce
_rêverie_ and 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 him at different times, some of which occupy a permanent
place in concert _répertoires_. 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," and contains many portions of great
excellence. Every one knows the suave _cantilena_ for 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 more _roulades_ or _points 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, to _ensembles_, 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 "Les Erinnyes." 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."