The great composer known under the name of Meyerbeer, and who occupied
one of the most important places in the history of musical art in the
nineteenth century, was in reality christened Jacob Liebmann Beer, his
Christian name being afterward Italianized into Giacomo. He was born at
Berlin, according to some authorities on Sept. 5th, according to others
on Sept. 23, 1791. His father, who was a Hebrew, and one of the richest
bankers of Prussia, had three other sons, William, Michael and Henry,
all of whom were distinguished men, although their notoriety has been
eclipsed by the glory of him who is known to the world as Meyerbeer.
William Beer, indeed, who succeeded his father as banker, was at the same
time a remarkable astronomer. He became the collaborator of Maedler for
his scientific works, and published a chart of the moon which won for him
an important prize from the Berlin Academy of Sciences; he died March 27,
1850. Michael Beer, who was born in 1800 and died when only thirty-three,
acquired considerable renown as a dramatic poet by his various works,
_Clytemnestra_, _les Fiancés d'Aragon_, _le Paria_, and especially
_Struensée_, his masterpiece, which afterwards received a new lustre in
being set to music by his brother the composer. To return to the latter,
while he was still quite a child, one of his uncles, named Meyer, who had
always had a great affection for him, died, leaving him his whole fortune
on condition that he should add to his name that of Meyer, whence resulted
the name Meyerbeer, under which the composer has always been known.
From his earliest years, Meyerbeer showed an exceptional bent for music.
His father, far from opposing this tendency, rather encouraged him in it,
and gave him an excellent piano teacher, Ignace Lauska, who had been a
pupil of Clementi. The child made such rapid progress that he was able to
appear at a public concert in Berlin, October 14, 1800, at which he made a
great success. He appeared again in 1803 and 1804 with the same success,
and it was then that the Abbé Vogler, whose disciple he became later on,
hearing him improvise with a rare facility, predicted that he would one
day be a great musician. Two or three years later, Meyerbeer had occasion
to play before Clementi, who was staying for some time in Berlin, on his
way back from Saint Petersburg, and the master was so charmed with the
lad's talent that he consented to give him lessons during his sojourn in
that city.
At this period, and without having given any attention to theoretic study,
Meyerbeer already occupied himself with composition. Guided alone by his
instinct and his natural taste, he wrote numerous songs and piano pieces,
so that his father resolved to give him a master in composition, and fixed
his choice on Bernard Anselme Weber, then leader of the orchestra at the
Berlin Opera. But this artist, very distinguished in his way, and who
could give excellent advice on dramatic style, instrumentation, etc., was
not himself sufficiently versed in the science of counterpoint and fugue
to be able to guide a pupil in this difficult study. Moreover, he showed
himself too easily satisfied with Meyerbeer's efforts. One day when the
latter brought him a fugue, he could not conceal his admiration, and,
regarding it as a masterpiece, thought he would send it to the celebrated
Abbé Vogler, who had been his own teacher, hoping thereby to prove to
him that he, Weber, was able to form good pupils. For several weeks they
anxiously awaited the Abbé's response, which arrived at length in the
form of a bulky package. On opening it, they found that the contents
were divided into three parts. The first constituted a sort of practical
treatise on the fugue, written by Vogler's own hand, and in which all
the rules for this kind of composition were set forth in a precise and
succinct manner. The second part, which was called _The Scholar's Fugue_,
reproduced that of Meyerbeer, analyzed step by step throughout its
development, with remarks which proved super-abundantly that it was far
from being good. The third part, entitled _The Master's Fugue_, was that
which Vogler had constructed on Meyerbeer's theme, analyzed in all its
details and in its _ensemble_, with an explanation of the reasons which
justified its general form and all the incidents.
Meyerbeer was greatly impressed by the theories set forth by Vogler. He
immediately put himself to work again and wrote a new fugue of eight
parts, according to this master's principles, which he sent directly to
Vogler at Darmstadt, his place of residence. The latter replied at once,
expressing his satisfaction, and the confidence which this new work gave
him in his future as an artist, and inviting him to come to Darmstadt; "I
will receive you like a son," said he, "and you shall slake your thirst at
the very sources of musical knowledge." Meyerbeer, delighted at this kind
invitation, easily obtained from his father the necessary permission, and
was soon on his way to Darmstadt.
The school of the Abbé Vogler was celebrated at that time throughout
Germany, and this master, who had studied in Italy with Vallotti and
Martini, was considered one of the first theoreticians of his time. One
thing is certain, and that is, that he turned out excellent pupils,
of whom some won great renown, and others became more or less famous.
Among these were Knecht and Ritter, who themselves became remarkable
theoreticians; the composers who were formed by the lessons and counsels
of Vogler were Winter, Gänsbacher and the two immortal artists Carl Maria
von Weber and Meyerbeer. It was at Vogler's house that these last two met
for the first time, and formed a friendship which was broken only by the
death of Weber. In after years Weber deplored the Italian tendencies of
Meyerbeer, who, in the first days of his career, threw his whole being
into the imitation of Rossini's style, but in spite of this divergence of
artistic views the affection which these two friends felt for one another
was never altered nor disturbed for a single instant.
Indeed, all the pupils who lived at the Abbé Vogler's house entertained
pleasant and affectionate relations toward each other, and a touching
respect and profound tenderness for their excellent master. One proof of
this, among many others, is the fact that after Weber's death a cantata
was found among his papers, bearing the following inscription: "Cantata
written by Weber for Vogler's birthday, and set to music by Meyerbeer and
Gänsbacher." In fact, Weber, who was a very ready verse-maker, had written
the words of this cantata, while Meyerbeer had composed the music of the
choruses and a trio, and Gänsbacher had been charged with that of the
_soli_. It is probable also that the cantata was sung by the pupils of the
school.
This house of Vogler's was patriarchal; the life there was very austere,
very much occupied, and the time of the pupils was exclusively devoted to
severe study and practice of the art. In the morning, after the regular
exercises, the master gave his class an oral lesson in counterpoint.
Then, giving them for treatment any musical subject, sacred or profane,
a psalm, motet, _kyrie_, ode, dramatic scene, he demanded of them a
severe composition. In the evening, all being assembled in the presence
of the master, the compositions were performed, after which each work was
analyzed theoretically, commented on, criticised, estimated, not only by
the professor, but again by all the pupils, so that each of them, after
having been judged, became in his turn the judge of his own attempts and
those of his rivals. It cannot be denied that this was an excellent system
of education, and one calculated to foster in the minds of the pupils
reflection and the sentiment of criticism. On a Sunday the whole household
went to the cathedral, which contained two organs; Vogler played one of
them, while each of his pupils, in turn, took his place at the other,
after the fashion of a kind of academic tourney, in which each endeavored
to develop in a happy and artistic manner the subject improvised and set
forth by the master.
It was during his residence at the Abbé Vogler's house that Meyerbeer
wrote, for the purpose of forming his hand, a great number of pieces of
sacred music, which he always refused to make known to the public. It was
at this period also that he composed an oratorio, _Gott und die Natur_,
which was his first piece publicly performed. He had been two years at
Darmstadt, when Vogler, wishing to give his pupils a rest, and to fortify
their minds by the contemplation of the beauties of nature, closed his
school and undertook with them an excursion through Germany. It was just
before his departure on this expedition that Meyerbeer had obtained a
performance of his oratorio, which resulted in the grand duke of Hesse
conferring on him the title of composer to the court. This oratorio was
brought out at Berlin a short time after, May 8, 1811, in a concert given
by Weber at the Royal Theatre, where the solos were sung by Eunike, Grell
and Frl. Schmalz.
[Illustration: MEYERBEER IN HIS EIGHTH YEAR.
From large lithograph Memorial published at the time of his death.
This portion commemorates his first appearance in Berlin, where he was
praised for his smooth performance of Mozart's Concertos.]
This was the starting point of Meyerbeer's active career. We shall soon
see him make his appearance as composer and virtuoso at the same time (for
Meyerbeer was an exceptional pianist), then promptly abandon his success
as a performer in order to give himself up without reserve to composition,
with the theatre for his objective point. He was eager for glory and aimed
at a great reputation, feeling himself equal to any effort for reaching
his end; it is this which explains the hesitations and evasions of his
youth. Desirous of meeting success, withal patient, persevering and gifted
with an energy which nothing could baffle, he sought it in all possible
ways, but, whatever his critics may say, without ever sacrificing his
convictions, and while always preserving for his art, as well as for the
public, the most complete, the most absolute respect. His first works
performed in Germany, written in a somewhat scholastic form, perhaps a
little pedantic, did not succeed according to his desire, because Germany
at that time, like Italy herself, was under the spell of Rossini's music.
He accordingly betook himself to Italy, and there wrote several operas in
which he forced himself to adopt the style and methods of that master. It
was this that brought down upon him the reproaches of Weber, irritated
to see him, a German, deny the national genius, and submit, like so many
others, to the influence of the author of the _Barber of Seville_. But
in spite of the criticisms of his friend, Meyerbeer, who had seen his
works received with favor in Italy, continued his career in that country,
where he trained his hand and prepared the evolution which was to free
his genius and direct him to France, there to write his incomparable
masterpieces. For Meyerbeer, like Gluck before him, gave to France alone
the full measure of his worth; like Gluck, it is to France that he owes
his greatest triumphs and the best part of his glory; like Gluck, he lived
to see his Italian operas laid aside and well-nigh forgotten, whereas his
French operas made the tour of civilized lands, and are still played on
all the stages of the world.
[Illustration: CARICATURE BUST OF MEYERBEER, BY DANTAN.