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CHERUBINI:
MEMORIALS ILLUSTRATIVE OF HIS LIFE.
LONDON :
ROBSON AND SONS, PRINTERS, PANCRAS ROAD, N.W

AET. 81
from INGRES, 1842.
a Chevubius
CHERUBINI:
Memorials
ILLUSTRATIVE OF HIS LIFE,
BY. EDWARD BELLASIS,
BARRISTER-AT-LAW.
LONDON: BURNS AND OATES,
Portman Street and Paternoster Row.
1874.
PREFACE.
THE idea of undertaking this work was suggested
to me by the circumstance that the information
hitherto published about Cherubini lies for the
most part scattered in pamphlets, periodicals, and
dictionaries. My main object, therefore, has been to
bring together the facts of his life. I hope that in
quoting from the various criticisms that have been
from time to time made upon the composer's pro-
ductions, as well as in venturing to express some
opinions of my own, chiefly where others have not
spoken, I have adopted a course that will commend
itself to the judgment of my musical readers. They
must not expect to find in the present memoir that
fulness of description and that scieútific treatment
in detail which are essential to any thoroughly ade-
quate review of compositions so elaborate and mag-
nificent as are those of Cherubini. I may add, that
where I am not strictly biographical it has been my
aim to be brief, the continuity of the narrative being
Preface.
necessarily more or less interrupted by the discus-
sion of Operas and Masses.
I proceed to subjoin in chronological order a list
of my principal authorities:
L. Cherubini. Published by E. W. Fritzsch, Leipsic, in 12mo.
Containing a lengthened critique on Les Deux Journées, and
forwarded to me as the anonymous work entitled Luigi Cheru-
bini : Seine Kurze Biografie und ästhetische Darstellung seiner
Werke. (Erfurt, 1809, in 8vo, by T. E. F. Arnold, who died in
1812.) I have therefore referred to the work published at Leipsic
as Arnold's, but I have since seen the Kurze Biografie in time to
correct in this place my mistaken references to the latter work,
which contains notices of the Medea, Elisa, Les Deux Journées,
Lodoïska, Anacréon, Faniska, and the Cintura d'Armida.
Choron and Fayolle's Dictionnaire Historique des Musiciens.
1810-11-17, Paris. The information concerning Cherubini in this
work was funished by the composer himself.
Biographie des Hommes vivants. 1816-17, Paris. With a
notice of Cherubini signed A.
Biographie Nouvelle des Contemporains. Paris, 1821-22.
The Harmonicon for 1825. London. Containing a notice,
and list of Cherubini's operas, &c.
Dictionnaire de la Conversation. 1834, Paris. With a notice
of Cherubini by Castil-Blaze.
Biographie Universelle et Portative des Contemporains. 1834,
Paris.
Encyclopédie des Gens clu Monde. 1835, Paris. With a notice
of Cherubini by Edme François Antoine Miel, of the Institute.
Louis de Loménie's Contemporains Illustres, which contains a
notice of Cherubini identical, I believe, with that published sepa-
rately by the author under the title of Cherubini, par un Hommo
de Rien. 1841, Paris, in 12mo.
Miel's Notice sur la vie et les Ouvrages de Cherubini. 1842,
versel for August 24th, 25th, and 29th, 1842, the author afterwards
consenting to its publication in a separate form at the request of
a number of artistes, who had heard him deliver it as a lecture.
It also forms part of a history of French art, closing a chapter
on the Conservatoire.
Preface.
vii
Charles Place's Essai sur la composition Musicale. Biographie
et Ancilyse Phrénologique de Cheruvini, avec notes et plan cranio-
scopique. 1842, Paris, in 8vo. This was read at the séance of the
Phrenological Society of Paris on the 27th May 1842. Place was
a phrenological doctor, exiled at Brussels after the Coup d'Etat
of 1851, and is so taken up with his examination of Cherubini's
craniumi that he leaves little room for his biography, which, he
informs us, is in great measure derived from that of M. Adam, in
the journal La France Musicale, while, for several communica-
tions, he is indebted to MM. A. Gourdin, Boieldieu the younger,
and Pilati.
Luigi Picchianti's Notizie sulla Vita e sulle opere di Luigi
Cherubini. 1843, Milano, and 1844, Firenze. This is, perhaps,
the most trustworthy account of our composer. The author, the
celebrated guitarist, says, in his advertisement, that he obtained
his facts from lives issued, in France and Italy, during the life-
time, and after the death of Cherubini, through persons con-
nected with the composer's family; and, also, by means of per-
sonal investigations at Florence.
Cherubini's Notice des Manuscrits Autographes de la Musique
composée par feu M.L.C.Z.S. Cherubini, ex-surintendant de la
Musique du Roi, Directeur du Conservatoire de Musique, Com-
mandeur de l'Ordre Royale de la Legion d'Honneur, Membre de
l'Institut de France, etc. etc. etc.; Catalogue Général par ordre
chronologique des ouvrages composés par moi Marie-Louis-Charles-
Zenobia-Salvador-Cherubini, né à Florence le 14 Septembre de
l'année 1760. 1843, Paris, 8vo. Edited by Bottée de Toulmon,
librarian of the Conservatoire, and published with the sanction of
Cherubini's family, who were about to dispose of the composer's
manuscripts. Here we have a faithful record, by Cherubini him-
self, of nearly all his compositions, dating from 1773 to 1841. A
supplement is added of works not in the catalogue, of duplicate
MSS. mostly in the composer's own handwriting, and of copies by
Place endeavours to show that the organs of veneration, affec-
tion, courage, breadth, melody, order, firmness, construction, esteem
of oneself, &c. were strongly developed in Cherubini; those of colour,
form, language, destructiveness, love of country, &c. less so; whilst
there was an almost total absence of idealism, justice, and benevo-
lence !
2 This name is spelt · Zanobi' in the certificates of birth and bap-
tism independently procured by Picchianti and Gamucci.
yili
Preface.
him of works of various composers. Following upon the men-
tion of many pieces are notes by their author, the worth of which,
as of the whole catalogue, must be great to any biographer, of
Cherubini.
Michaud's Biographie Universelle Ancienne et Moderne. Paris,
18:14. Contains a notice of Cherubini, and list of his chief works,
by J. A. de Lafage, of the Institute.
Halévy's Etudes sur la Vie et les Travaux de Cherubini. Paris,
of which I have seen large extracts only, principally in Pougin's
notice of Halévy. Halévy's work first appeared in the Moniteur
des Arts, of the 230 and 30th of March, and the 18th of May
1845, under the title of Etudes sur Cherubini. Halévy, who
divides Cherubini's life into four unequal parts, never lived to
complete his work. M. Léon Halévy remarks that this is the
less to be regretted, since, while the first portion throws a vivid
light on the least-knovi piase of Cherubini's life, viz. his early
career in his native country, the other intended parts, in giving
the later facts, would only have been telling us what we already
know. Still Pougin tells us that, for his part, he deplores not hav-
ing the disciple's opinion on the great works of the master. 'It
is certain,' says he,' that the pages of Halévy which we possess,
touching Cherubini, are precious in more than one l'espect; ..
they are an eloquent pleading in favour of the master's genius,
which was at times misunderstood.'
Castil-Blaze's Théâtres Lyriques de Paris. L'Académie Im-
périale de Musique. Histoire Littéraire, musicale, chorégraphique
... de 1645 à 1855. 2 vols., Paris, 1855, in 8vo.
M. Girod, S.J., De la Musique Religieuse. 1855, Namur, in 8vo;
the last chapter of which is devoted to Cherubini.
Nouvelle Biographie Générale. 1856, Paris. With a notice of
Cherubini by Dieudonné Denne-Baron, at the end of which is
mentioned, as an authority, Raoul Rochette's Notice sur la Vie et
les Ouvrages de Cherubini, which is nothing less than the “ éloge’
of Cherubini delivered at the Institute.
Adolphe Adam's Derniers Souvenirs d'un Musicien. 1859,
Paris, in 12mo; containing a sketch of Cherubini.
Elvart's Histoire de la Société des Concerts. Paris, 1860.
Dieudonné Denne-Baron's Mémoires Historiques d'un Musicien.
Cherubini, sa Vie, ses Travaux, leur Influence sur l'Art. 1862, Paris,
in 8vo. To some extent taken from Miel.
The Musical world for 1862, London; which contains the
f
Preface.
most important account in English of Cherubini, being princi-
pally a translation from the German, by Mr. J. V. Bridgeman,
of a notice in the Niederrheinische-Musik-Zeitung
Theodore Nisard's Notice of Cherubini. 1867, Paris, Le Mans,
in 4to.
Fétis' Biographie Universelle cles Musiciens. 1867, Paris, in
Svo, 8 vols. Much of the notice of Cherubini in this well-known
work is to be found in some previous 'études, published by
Fétis.
Clément's Musiciens Célèbres. 1868, Paris, in 8vo. With a
portrait and notice of Cherubini.
Baldassarre Gamucci's Intorno alla Vita ed alle Opere di Luigi
Cherubini, Fiorentino, ed al monumento ad esso innalzato in Santa
Croce. Cenni biografici. 1869, Firenze, in 8vo. Gamucci was
a pupil of Picchianti, and gives us a minute account of the raising
of the monument to Cherubini at Florence.
Berlioz's Mémoires. 1870, Paris.
In the course of the narrative, reference is made
to more recent notices of Cherubini, and to other
various works from which I have been able to gather
interesting facts and observations. From some
writings, however, I have received such special as-
sistance as seems to call for corresponding acknow-
ledgment-I refer gratefully to the late Henry F.
Chorley's Modern German Music, Professor Ella's Musi-
cal Sketches, the Letters of Mendelssohn, the Life of
Moscheles, the Autobiography of Spohr, and the Monthly
Musical Record.
In the collection of funeral orations by members
of the French Institute two speeches of Cherubini
have been found, one of which has been partly given
in English in Mainzer's Musical Times. Some hitherto
Preface.
unpublished letters of Cherubini have been also in-
serted, as to which my only regret is that they are
not more numerous and important. It is, however,
obvious that anything like a collection of Cheru-
bini's letters, if ever published at all, should emanate
from France.
In conclusion, I desire to thank those friends who
have not only encouraged me in my task, but have
supplied me with some information which I could
not otherwise have obtained.
CONTENTS.
PART I. THEATRICAL MUSIC.
1760–1808.
CHAPTER I.
1760-1780.
PAGE
Cherubini's birth and parentage—He is taught music by his father,
and, subsequently, by the two Felicis–His early compositions
-He is placed under Bizzarri and Castrucci-Receives a pen-
sion from Leopold II., Grand-Duke of Tuscany, to study under
Sarti at Bologna-Sarti's method of teaching—Cherubini has
to compose anthems in Palestrina's style—He inserts airs in
Sarti's operas-Removes with his master to Milan, and inter-
mits his regular studies . . . . . . . . 3
CHAPTER II.
1780-1788.
Il Quinto Fabio, Cherubini's first opera, produced at Alessandria,
and followed by Armida at Florence, ddriano at Leghorn, Il
Messenzio at Florence, Quinto Fabio at Rome, Lo Sposo di
Tre at Venice, L'Idalide at Florence, and L' Alessandro at
Mantua-He goes to London and brings out La Finta Prin-
cipessa and Giulio Sabino — Is introduced to the Prince of
Wales—Visits Paris—Is presented by Viotti to Queen Marie
Antoinette-Returns to England-Proceeds to Turin-Pro-
duces Ifigenia-Leaves Italy for good, and finally settles in
Paris
. . . . . .
16
Contents.
CHAPTER III.
1788-1791.
PAGE
Cherubini's and Vogel's Démophons-Marmontel's libretto-The
Loge Olympique-Circe--The Bouffons-Cherubini is made
Director of Italian Opera at the Tuileries-Inserts pieces of
his own in the works put on the stage-His trials during the
Revolution-He is forced to leave the Tuileries-Cherubini's
and Kreutzer's Lodoïskas . . . . . . . 31
CHAPTER IV.
1791-1795.
The theatres at Paris-Flight of Viotti and the Bouffons-Cheru-
bini takes refuge at La Chartreuse de Gaillon, in Normandy
-La Liberté et la Palinodie à Nice-Kourkourgi—Lesueur
and Cherubini-La Caverne-Death of Cherubini's father-
Elisa-Foundation of the Conservatoire-Cherubini appointed
one of the inspectors . . . . . . . . 61
CHAPTER V.
1795-1797.
Solfeggi--Cherubini's pupils—His republican hymns-Founda-
tion of the Institute-Cherubini's marriage-Notice of his
children-The Medea . . . . .
. . .
75
CHAPTER VI.
1797-1800.
Napoleon and Cherubini-Their mutual antagonism-L'Hôtellerie
Portugaise-La Punition—The pasticcio La Prisonnière, by
Boieldieu and Cherubini--The latter becomes one of the jury
for examining works for the Grand Opera--Les Deux Journées
--Opinions on the opera—The Escapes, by Attwood . . 102
CHAPTER VII.
1800-1805.
The pasticcio Epicure, by Méhul and Cherubini–Visit to Chartres
--Napoleon again-Establishment of a Consular chapel-Pai-
Contents.
PAGE
siello made chapel-master- Anacréon— The overture - The
ballet of Achille à Scyros—Cherubini visits Vienna with his
wife and youngest daughter-Sees Haydn-Brings out Lodo-
iska and Les Deux Journées–Napoleon makes his entry into
Vienna, and Cherubini conducts concerts for him there and at
Schönbrunn-Commercial speculation of Steibelt and Cheru-
bini-Napoleon leaves for Paris . . . . . . 130
CHAPTER VIII.
1805-1808.
Beethoven's Fidelio and Cherubini's Faniska-Cherubini's rela-
tions with Beethoven and Hummel-His parting with Haydn
-Returns to Paris-Spontini's La Vestale-Méhul's Joseph
-Cherubini's canons-He becomes ill, and goes for his health
to the Castle of Chimay, in Belgium .
. 149
PART II. ECCLESIASTICAL MUSIC.
1808-1842.
CH ᎪᏢᎢ Ꭼ Ꭱ Ꮖ.
1808-1809.
Repose at Chimay-Origin of the Mass in T-Performance of
the Kyrie and Gloria on St. Cecilia's Day—The whole work
executed on Cherubini's return to Paris at the Hôtel du
Babylon-The later school of Church music . .
. 173
CHAPTER II.
1809-1811.
Pimmalione at the Tuileries–Napoleon-Le Chant sur le mort de
Haydn-Ode for the Emperor's marriage-Litanies for Prince
Esterhazy-Le Crescendo—The second Mass in D minor-Its
construction and character. .
. . 191
xiv
Contents.
CHAPTER III.
1811-1816.
PAGD
Cherubini's Les Abencérages—The pasticcios Bayard à Mezières
and L'Oriflamme-He visits London a second time, and com-
poses for the Philharmonic Society - Returns to Paris -
Honours received on the restoration of the Bourbons-Becomes
the king's chapel-master on the death of Martini—The Mass
in C-_Requiem in C minor . . . . .
. 206
• CHAPTER IV.
1816-1822.
The Iste Dies and Regina Coeli— The Hymn to Bacchus—The
Coronation Mass in G-Spohr in Paris : his intercourse with
Cherubini-Moscheles—Blanche de Provence for the Duke of
Bordeaux's baptism at Notre Dame-Its performance at the
Court Theatre-Cantata at the Hôtel de Ville-Resignation of
Perne as Director of the Conservatoire-Cherubini appointed
in his stead His rule-His character.. . .
. 235
CHAPTER V.
1822-1825.
The Pensionnat-The Société des Concerts—Their origin-Cheru-
bini's coöperation–The smaller concerts—The Inclina Domine
-Beethoven's Mass in D, and letter to Cherubini-Cherubini
and Liszt-The Coronation Mass in A, at Rheims, for the
crowning of Charles X. . . . . . . . 275
CHAPTER VI.
1825-1830.
Cherubini and Mendelssohn-Berlioz enters the Conservatoire-
Antagonism between him and Cherubini-Their first interview
and subsequent relations-- O Salutaris for Boieldieu's mar-
riage-Cherubini's quartets-Baillot and the one in E flat-
Abolition of the King's chapel .
. . . 296
CHAPTER VII.
1830-1836.
Cherubini at Catel's funeral—The pasticcio La Marquise de Brin-
villiers—Choron, Reicha, Ali Baba, Cherubini's last opera
Contents.
хү
PAGE
Intended visit to Italy–At Boieldieu's funeral–Treatise on
Counterpoint and Fugue—The second Requiem in D minor,
Cherubini's last Mass. . . .
.
.
. 322
CHAPTER VIII.
1836-1842.
Portrait-M. Turcas-Death of Cherubini His obsequies--
Honours paid to his memory—Monument at Florence-Con-
clusion. · · · · · ·
· 353
1
A CHRONOLOGICAL CATALOGUE OF CHERUBINI'S WORKS .
APPENDIX
· · · · · · ·
INDEX . . . . . . . . . .
.
·
.
. 379
· 414
. 417
✓
CORRIGENDA.
Page 5, line 7 from top, for Adolph read Adolphe.
· 11, , 18 , „ Austria » Germany.
„ 22, , 15 , ,, depende , dipende.
, 24, note
» Twin Italy.
, 64, line 23
10th of August read anniversary
of the 10th of August.
389, note (Catalogue) „ 207 read 210.
✓
✓
23
r
PART I.
THEATRICAL MUSIC.
1760–1808.
CHAPTER 1.
1760–1780.
Cherubini's birth and parentage-He is taught music by his father,
and, subsequently, by the two Felicis--His early compositions-
He is placed under Bizzarri and Castrucci—Receives a pension
from Leopold II., Grand-Duke of Tuscany, to study under Sarti at
Bologna--Sarti's method of teaching–Cherubini has to compose
anthems in Palestrina's style--He inserts airs in Sarti's operas-
Removes with his master to Milan, and intermits his regular
studies.
LUIGI CARLO ZANOBI SALVADORE MARIA CHERUBINI,
the last and noblest Roman in the purely classical
style of art'ı —'the most accomplished musician, if
not the greatest genius, of the nineteenth century'2
—was born at Florence, in the early morning of the
14th day of September 1760—one year and a half
after Handel's death, when Mozart was a child of
four years, and ten years before the birth of Beet-
hoven. On the following day he was baptised at
the Basilica of St. John the Baptist. Such are the
dates of birth and baptism as recorded by the official
certificates from Florence. Cherubini, therefore, was
right in the date of his birth as he himself inserted
1 Baillot. ? Oulibischoff. 3 See Appendix I.
Memorials of Cherubini.
it on the title-page of his catalogue; and wrong in
the date, September the 8th, which he sent to Cho-
ron, in 1809, for the latter's Dictionnaire Historique.
Cherubini's error has naturally misled his biogra-
phers. In 1834, Castil-Blaze invented a solution of
the problem. The 8th of September was the day of
birth; the 14th that of baptism. This postponement
of baptism, so unusual in Italy, was accounted for
by Cherubini's extreme weakliness, his life being de-
spaired of, a circumstance which would be a reason
for hastening the ceremony. Miel-not in 1835, but in
1842—adopts Castil-Blaze's theory. Picchianti says
that many of the biographers followed Gervasoni, a
Milanese professor, who, according to Gamucci, ori-
ginated the error, which was corrected by the Rivista
Musicale of Florence appealing to the registers. Pic-
chianti further states that he himself corrected
Miel's error by adding a note, among others, to the
translation in the number of the Rivista for April the
11th, 1842, of a life of Cherubini that originally ap-
peared in the Revue et Gazette de Paris for the 11th of
March 1842. In 1842, Picchianti cleared up the diffi-
culty, as he tells us, by paying a franc for copies of two
certificates; yet Denne-Baron, in 1862, gives us the
wrong date, as well as Castil-Blaze's theory, and
adds that Cherubini corrected the mistake of the
catalogue date in some notes which the composer
Cherubini's Parents.
left behind him! Nisard cannot explain to what
notes Denne-Baron alludes; nor, it is to be feared,
any one else. All that we know is, that the cata-
logue date is correct, in conformity with the certifi-
cate of birth. Lafage also informs us that the 14th
is an error. Arnold, writing in 1809, Place in 1842,
Adolphe Adam in 1859, Clément in 1868, and many
others, give the wrong date. Fétis, writing in 1867,
twenty-five years after Picchianti's correction, men-
one. In his Lexicon der Tonkünstler, Gerber is four
years wrong, assigning Cherubini's birth to the year
1764.
Cherubini's father, Bartolomeo Cherubini, son of
Mark Cherubini, was maëstro al clavicembalo, or harpsi-
chord accompanist at the Pergola Theatre, Florence,
and lived in a modest cottage on the Via Fiesolana,
in the quarter of San Pier Maggiore, which bears on
its door the street number of 22, and formerly had
the district number of 6886. The name of Cheru-
bini's mother was Verdiana; she was the daughter
of one Philippo Bosi. Both of his parents were by
birth Florentines, and he himself was the tenth child
out of a family of twelve, all of whom he survived.
From his earliest childhood he is said to have shown
a quick and superior intelligence; but nothing spe-
T
.
6
Memorials of Cherubini.
that whether he distinguished discords from his
cradle, or sang beautifully at the age of three, can-
not be clearly ascertained. In the notice at the head
of his catalogue, he says : « J'ai commencé à ap-
prendre la musique à six ans;. et la composition à
neuf ans; la première m'a été apprise par Barthé-
lemi Cherubini, mon père, professeur de musique;
mes deux premiers maîtres de la seconde furent Bar-
thélemi Felici et Alexandre Felici; son fils. Après
leur mort, j'eus pour maîtres Pierre Bizzarri et Jo-
seph Castrucci. Vers l'année 1777 ou 1778, j'obtins
une pension du Grand-Duc Léopold pour continuer
mes études, et me perfectionner sous le célèbre Jo-
seph Sarti, avec lequel j'ai travaillé pendant trois ou
quatre ans. C'est par les conseils et les leçons de
ce grand maître que je me suis formé dans le contre-
point, et dans la musique dramatique. Etant auprès
de lui, il me faisait composer pour m'exercer, et le
soulager dans ses travaux, tous les airs des seconds
rôles dans les opéras qu'il composait. Ces morceaux,
qui n'ont point paru sous mon nom, ne se trouvent
point dans le présent catalogue, et je n'en possède
aucun; ils se trouvent épars dans les différentes par-
titions de mon maître. Fétis, Clément, and others
say that Cherubini learnt music from his father
m
LS
4 The Musical World, in translating this notice, omits this sentence.
Vide vol. xl.
His early Musical Instruction.
before he was six. Cherubini does not say so. Re-
marking on Cherubini's uncertainty as to the year
in which he went to Bologna, Fétis adds, in opposi-
tion to many of the biographers, that Cherubini really
left for that city towards the end of 1777. A little
further on, he says that our composer obtained his pen-
sion in 1778.5 If so, the latter year would seem more
likely to be the one in which Cherubini went to Bo-
logna. Moreover, all his works up to 1778, exclu-
sively, are marked in the catalogue · Florence;' and
in a note to the section for 1778 (not 1777) he says,
At this time I was at Bologna
In his musical teaching, Bartolomeo Cherubini,
according to Picchianti, was much attached to old
forms, and a rigid observer of the ancient scholastic
discipline. Yet, in spite of any disadvantages thence
accruing, young Cherubini was able in three years,
from the age of six to that of nine, to acquire a fair
knowledge of solfeggi and accompaniment of figured
basses, as well as of playing the harpsichord; and
it is also recorded how that he found at home a
wretched old violin, and amused himself with scrap-
ing on it, until one evening at the Pergola Theatre,
a violinist being absent from the orchestra, Cheru-
bini quietly took his place, and played the part
throughout so well, that all that Nardino, the con-
5 Biog. Univ. vol. ii. p. 204.
Memorials of Cherubini.
ductor, had to find fault with was a certain timidity
and hesitation, only natural at first under the cir-
cumstances. In the mean time Cherubini did not
neglect the higher studies of mathematics and lan-
his age, in his musical studies, he was placed by his
father under “old Felici,' so called to distinguish him
from his son Alessandro, also an artist of merit. Old
Felici's works were a model of clearness and inge-
nuity; he himself was deemed the best Tuscan pro-
fessor of his dạy, while his school enjoyed no mean
reputation. At this time,' observes, however, Pic-
chianti, 'the art of counterpoint was lost in a multi-
tude of rules and observations, each of which, being
drawn from particular cases, and not from general
principles, gave rise to a thousand exceptions. To
master all these rules, and their innumerable limita-
tions, long and wearisome labour had to be under-
gone. Thus we can appreciate Cherubini's rapid
intelligence, which in four years under the Felicis
could master, in boyhood, those contrapuntal studies
in which it was not given to every one to succeed,
though he employed double the time. But this,'
continues Picchianti, “is not the only point worth
commending in Cherubini; there is one still more
worthy of consideration, viz. that he knew through
a just criterion—through his genius and exquisite
Juvenile Compositions.
leven
taste-how to draw from those dry exercises the
greatest profit which a composer can derive from
his studies, i.e. how to form his artistic individuality,
And, in fact, besides the elegant and original forms,
the clearness and purity of style, always employed
by him even in his most trifling and least important
pieces, there ever appeared something of an antique
cast, whence he derives an absolute specialty, which
may be considered as the most precious result of his
early scholastic studies.6
After frequenting Felici's school for four years,
Cherubini began to compose. In 1773, heading his
catalogue, comes a mass, the performance of which ex-
cited some interest,—and this so pleased his father
that the latter often adopted it for his own use,—and
then an intermezzo for a théâtre de société in Flo-
rence. These works were followed, in 1774, by a
second mass; a cantata, La Pubblica Felicità, executed
in a side chapel of the Duomo, on occasion of a fête
in honour of the Grand-Duke; and a psalm. In 1775
come a third mass, a psalm, an intermezzo entitled
Il Giuocatore, and a Magnificat; in 1776, two La-
mentations of Jeremiah, a Miserere, a rondeau, a duet,
and an aria buffa ; in 1777, a motet, an oratorio, the
name of which is not known, but which was executed
in St. Peter's Church, Florence, and a Te Deum.
6 Picchianti, p. 14.
10.
Memorials of Cherubini.
These works are here mentioned, not for the sake
of inserting in the narrative a catalogue, which comes
better in an appendix, but because they distinctly
form what may be called Cherubini's juvenile works.
Picchianti tells us that the Florentine composer's
force of intellect might be seen in his early works.
As regards many of them, we must take his word for
it, since in the catalogue they have the cross before
them, signifying the loss of the Ms. Cherubini con-
cealed with great care all his works written when
he was thirteen'; but when he was dead, his pupil
Halévy could not resist the desire of perusing them.
He did so: he glanced at these timid essays, and
tells us, “In going over them, I understood how it
was from a sort of self-respect and caution as to
his first works that he withdrew them from all eyes.
Everything there announced the intelligent child,
brought up in a good school, reared on good pre-
cepts; but there was nothing to indicate the genius
which was to reveal itself later on.
A composer in Italy, first learns to sing himself
before writing for the voice, and Cherubini now pro-
ceeded to acquire the art under Bizzarri. But Che-
rubini's lessons in singing had not the effect of induc-
ing him in his compositions to show much mercy to the
voice. Eventually he took to singing bass, and often
spared neither soprano nor contralto. From Bizzarri
Cherubini under Sarti.
II
he went to Castrucci, under whom he mastered the
organ, and harpsichord. His progress was rapid.
His compositions pleased both the public and the
connoisseur. He was pointed at in the streets of
Florence as a prodigy, but no flattery could turn his
head. He wanted to travel through Italy, so as to
perfect himself in his art, and become personally
known to musicians -- a wish which his father's
friends advised should be acceded. to.
Lafage says, that from information which he
obtained at Florence, he believes that Cherubini
travelled with one Disma Ugolini ; although, he
adds, the latter is not mentioned among Cherubini's
masters. What the other biographers tell us is that
Bartolomeo Cherubini had no means of maintaining
away from home a lad between fifteen and sixteen
years of age. Peter Leopold II., Grand-Duke of
Tuscany, and afterwards Emperor of Austria, had, y
however, noticed young Cherubini, and admired his
talent; and now offered, at his own expense, to
send him to study at Bologna. This. Leopold did
the more willingly on hearing that Cherubini was
the son of poor but respectable parents. Such was
the generosity that enabled Cherubini to seek out
the great Giuseppe Sarti de Faënza, whose reputa-
tion at this time throughout Italy was immense, by
whom he was cordially welcomed, and who on ex-
al
1 2
Mernorials of Cherubini.
amining him, perceived that he needed but practice
to be able to compose dramatic music. Cherubini's
quickness of intelligence soon made him the favour-
ite pupil of all. Under Sarti, Cherubini had to aban-
don Leo and Durante for Palestrina; of whom Sarti
was an enthusiastic disciple, but for whom, says
Girod, Cherubini bad little liking. Indeed, it was
not till after many years that the latter realised
how important to all composers of church-music
was the study of Palestrina. Of course, he now
obeyed his master in everything, even writing
twenty anthems in the style of the old Roman
composer. Sarti had a great notion about the
ideal style in music, as Palestrina had before him,
and, to further this among his pupils, made them
imitate him in composing at night in a large unfurn-
ished room, with a lamp suspended from the ceiling,
that shed only a glimmering light; though how this
could also avail for teaching dramatic music does
not appear. Another feature in Sarti's teaching was
writing out works of the old composers, a practice
which Cherubini kept up throughout his life, leaving
at his death 3166 pages of Ms. of this nature.
Sarti soon reposed such confidence in Cherubini's
ability as to allow him to practise himself in dra-
matic music by writing the secondary airs, or in-
terpolating recitatives, in Le Sirol, Achille in Sciro,
Cherubini under Sarti.
13
wa
Giulio Sabino, and other operas, which were repre-
sented under their author's direction, with the as-
sistance of Cherubini, at Bologna, Venice, Florence,
Milan, and Turin. Sarti often made his pupils com-
pose thus in his operas, so that they obtained expe-
rience in writing for the public, and under cover of
their master's name, gained an applause which was
as encouraging as it was useful. These scores,
says Denne-Baron, contain a crowd of beauties by
Cherubini. The insertion of these airs, however,
was the beginning of a custom which became ha-
bitual with Cherubini up to 1792, viz. of putting
music of his own into the Italian operas and pas-
ticcios of Paisiello and his school; thus many fine
pieces became allied to works that no longer live.
If a work proved too heavy for the public taste,
Cherubini had to make it light, but if a work cannot
stand by itself on its own merits, the sooner it falls,
perhaps, the better.
In 1779, Fioroni, chapel-master of Milan Cathe-
dral, died, and Sarti, being chosen for the vacant
post, moved with Cherubini to Milan, where, in the
following year, the latter wrote his sonata for two
organs, and intermitted, some say ended, his regular
studies, which, in the course of eleven years, had
now succeeded in making him, at the age of nine-
teen, one of the most learned musicians of Italy.
14
Memorials of Cherubini.
For years had he worked on, before there were short
roads to proficiency, to acquire that thorough know-
ledge of music, which he, if any one, possessed. Yet
it is rather his industry than the length of his studies
which is remarkable, for an Italian musical education
in the middle of the eighteenth century was natur-
ally a slow process. Eleven years would not be
necessary at the present day for a clever pupil to
gain all the knowledge that Cherubini acquired in
that time. Fétis reckons that, what with the method
of analysis, and with progressive exercises, half that
time would now be sufficient. The same writer ob-
serves that the method of analysis has always been
unknown in the musical schools of Italy. The mas-
ters furnished the pupil with model compositions,
but they could not explain the origin of, or the
reasons for, the rules which they prescribed. To
the questions and objections of their pupils,' says
Fétis, “they knew but one reply: the authority of
the school. ..... Taught by them Cherubini was
only able to acquire, after long practice, his mar-
vellous knowledge of all the points relating to forms
of style, tonality, rhythm, and modulation. Himself
a perfect master, when it came to showing by an
example the application of a precept, he could hardly
ever find an explanation of the precept itself. Woe
to the pupil who did not understand him by a half-
18
Italian Method of Teaching.
15
word, for the whole word rarely came. This diffi-
culty of speech concerning matters with which he
was so familiar became painful to him: it put him
in a bad humour with the pupil who occasioned him
this embarrassment." In fact, in teaching, neither
Cherubini nor his masters could explain why this
or that was so; all they knew was that it ought
to be so, a knowledge which satisfied them, if not
their pupils.
· Biog. Univ, vol. ii. p. 263,
CHAPTER II.
1780–1788.
Il Quinto Fabio, Cherubini's first opera, produced at Alessandria, and
followed by Armida at Florence, Adriano at Leghorn, Il Mes-
senzio at Florence, Quinto Fabio at Rome, Lo Sposo di Tre at
Venice, L'Idalide at Florence, and L'Alessandro at Mantua-He
goes to London and brings out La Finta Principessa and Giulio
Sabino—Is introduced to the Prince of Wales Visits Paris—Is
presented by Viotti to Queen Marie AntoinetteReturns to England
--Proceeds to Twin—Produces Ifigenia-Leaves Italy for good,
and finally settles in Paris.
IN 1780, Sarti procured for Cherubini a commission
. to write an opera at Alessandria della Paglia, where,
at the autumnal fair, he brought out Il Quinto Fabio, in
mon premier opéra, j'avais alors dix-neuf ans accom-
plis. Fétis, and the Niederrheinische-Musik- Zeitung
see a mistake here, thinking that dix-neuf' ought
to be vingt, but unless it can be shown (which has
not been so much as attempted) that Quinto Fabio
was produced on or after the 14th of September
1780, Cherubini may be right. His twentieth year
would not be completed till that date. Il Quinto Fabio
had no particular success, and Cherubini returned to
Milan, to write five airs for an opera given there, as
Arnida-Adriano.
17
well as a motet for Marchesi, a celebrated singer,
and another entitled "Nemo gaudeat for two choirs
and two organs. From Milan' be proceeded to
Venice, where he was to have written another
opėra; but on his arrival found that the manager
who had engaged him had become bankrupt, For-
tunately for Cherubini two nuinbers only of the in-
tended work bad been composed. He now returned
to Florence, and in 1782 produced there Armida, a
three-act opera, which was given during the carnival
at the Pergola. Cherubini's powerful style, his stu-
died and complicated hærmonies as displayed in his
operas, were not to the taste of the Italians, who
were only accustomed to light melodies and simple
accompaniments. People were afraid of him, for the
evidence of originality displayed in his compositions
might do considerable harm to their beloved canti-
lenas and fioriture.1
In the spring, closely following upon Armida,
another three-act opera, Adriano in Siria, appeared
from him, performed at the opening of a new con-
cert-hall at Leghorn, to which an air was added for
Crescentini, who sang in the work. Fétis, in his
account of Crescentini, says that that vocalist sang
in Cherubini's Artaserse. Cherubini wrote no opera
of that name; Fétis means Adriano in Siria ; and the
1 Ignaz Arnold, p. 6. 2 Biog. Univ. vol. ii. p. 390.
18
Memorials of Cherubini.
judgment of the people of Leghorn was, that the
music was 'too learned. Returning to Florence,
Cherubini wrote ten nocturns, six of which, curi-
ously enough, were first printed in London, in 1786,
with a dedication, in Italian, to Signor Corsi, a Flo-
rentine nobleman, Marquis of Caiazzo, Lord of Du-
genta, Millazzano, and Raiano of Castelle, and Cham-
berlain to the Grand Duke and Duchess of Tuscany,
which runs as follows: 'In case this slight work of
mine, which I take the liberty of offering to you,
should possess sufficient merit to be kindly received
by your generous mind, and, further, to meet with
sincere approval from your most refined taste, I shall
have reason to flatter myself that it may appear not
wholly unpleasing in the eyes of the public, which
knows too well your mastery of the fine arts, espe-
cially of music, not to conform its judgment to
yours. But howsoever it may, please you, noble sir,
to judge me, I shall at least have the satisfaction
afforded me by my work of a favourable opportunity
for showing you, so far as I can, the sincere and
most just esteem which I entertain for the amiable
qualities that render you very dear to all, and at the
same time be able, in the face of the world, to glory
in being, with all the respect which I profess, your
devoted servant, L. CHERUBINI. Such was the
dedicatory style of the period.
Il Messenzio.
19
Some solo pieces were also set to verses of Tasso
and Marino, and another three-act opera, Il Messenzio,
given with success on the 8th of September. Two
duets remind us that Cherubini was known at this
early period to our countryman, Lord Cowper,
for whom he wrote them, with accompaniment for
two cors d'amour,' otherwise called “amorshorn,'
and “amorschall—a kind of horn, invented about
1760, by Kölbal, a Russian musician, the improve-
ments in which consisted of valves, and a semicir-
cular cover upon the opening. This idea of a valve-
horn was not pursued further, because the 'iven-
tions-hörnes' (sic), introduced shortly afterwards,
were a step towards the end obtained in the ventil-
hörner. The above-mentioned nobleman must have
been George Nassau Clavering, third Earl Cowper,
who appears to have lived many years in Italy, and to
have been a great lover of music. He is represented,
in a picture by Zoffany (exhibited at South Kensing-
ton in 1867), as listening with evident enjoyment to
a musical performance by members of his family, one
of whom, a lady, plays the harpsichord, while his
father-in-law, Mr. Gore, leads or accompanies on the
violoncello. An air for Babini, the singer, in a pas-
ticcio called Semiramide, and performed at Florence,
closes the list of Cherubini’s noteworthy works in
3 Musical World, 1862, p. 500.
we
20
Memorials of Cherubini.
1782—with the single exception of 1816, the busiest
year for him as a composer. In January 1783, he
tells us that he composed at Rome a second Quinto
Fabio, which was brought out there at the Argentina
Theatre. This does not favour Fétis' notion, that this
Quinto Fabio was merely an improved version of the
first one; nor Arnold's statement, that Quinto Fabio
was “repeated' in Rome.. Denne-Baron says that
Cherubini, after his engagement at Rome, returned
to. Florence to give L' Idalide there, and then went
to Venice for Lo Sposo di Tre; but L'Idalide was not
brought out till after Lo Sposo. Quinto Fabio was
now followed by the canon or madrigal of "Ninfa
Crudele,' which owed its origin to the jealousy of
several learned musicians, who were foolish enough
to doubt whether Cherubini could solve a musical
problem. This, however, at their request, he did,
and so well that, as we are told, the piece assured
to Cherubini the reputation of being one of the first
harmonists of his time. Some say that Cherubini
wrote ‘Ninfa Crudele on his way to Florence from
Venice, or after arriving there from Venice; in both
cases after the production of Lo Sposo di Tre; but it
U
opera; hence it may be concluded that it was com-
posed at Florence, before Lo Sposo di Tre and the
visit to Venice. Lo Sposo di Tre, Marito di Nessuna, a
Cherubini and the Venetians.
21
two-act opera-buffa, was represented in the autumn
at St. Samuel's Theatre, Venice. The Venetians
thought highly of Cherubini, and the Indice Teatrale
for 1784 advised them to call him “il cherubino,' add-
ing, "Toccante meno al suo nome, dalla dolcezza de'
suoi canti,' less as in any allusion to his name than
because of the sweetness of his songs. But Clément
says that the Venetians called him "il cherubino,' in
allusion to his handsome face and frizzly hair, more
than to the angelic grace of his songs;' and goes on
to say, 'We have known charming portraits of Che-
rubini when young; his features were delicate and
pleasing. Later on, intense application, the habit
of study, and, it must be said, the cares of strife,
profoundly modified the expression of his counte-
nance.4
'From Venice, Cherubini, in 1784, nade his last
journey to Florence. A patched-up oratorio, made
up of sundry pieces out of his operas, with a new
tenor air and two choruses, was there performed for
the benefit of the Jesuits at their church in Florence.
So we are told; but the Jesuits.could not exist as
such between 1769 and 1814. Perhaps they were
allowed to live together at Florence as secular
priests. I have also been informed that Cherubini
was their chapel-master at Naples and Palermo; but
* Musiciens Célèbres, 12. 249.
22
Memorials of Cherubini.
when could he, busy as he was, have found time
to be practically such? Perhaps it was merely an
honorary post in each case. No biographer men-
tions Cherubini's visit at any time either to Naples
or Palermo. The oratorio was quickly followed by
two operas, L' Idalide, the last work that Cherubini
wrote for his native city, and which was given with
success at the Pergola; and L' Alessandro nell' Indie,
represented during the spring fair at Mantua. He
wrote also, says Arnold, the comic opera of I Viag-
giatori Felici. Perhaps this was the title of the
unfinished comic opera begun at Venice in 1781.
Arnold is the only authority for Cherubini having
written any such work. Moreover, when he men-
tions thé quartet Cara da voi depende,' which was
inserted in Anfossi’s I Viaggiatori Felici, he again calls
that work Cherubini's, which leads me to suppose his
whole statement an error.5
From Mantua, Cherubini went to Milan to see
Sarti again, to whom he ascribed whatever successes
he had achieved, and under whom, according to
Denne-Baron, he once more placed himself, writing
excellent fragments of religious music, which are to
be found among Sarti's works, but not in Cherubini's
catalogue. That Cherubini rejoined Sarti whenever
he could do so is asserted by one or two biographers,
5 Arnold, pp. 6, 11.
Invitation to London.
23
and may be believed. Thus we have the positive
assertions of Castil-Blaze and Miel, that Cherubini
had not broken with Sarti when producing his first
opera-a statement which is supported by the fact
of Cherubini returning to Milan after Quinto Fabio
had been brought out, though studies, during such
snatch visits as he may have made, must have been
prosecuted but desultorily. Both Cherubini and
Sarti at this time simultaneously quitted Italy, Sarti
proceeding to Russia. By means of the latter's con-
nection with England, where his operas at this period
found acceptance, and thanks also to the reputation
our composer had acquired, Cherubini received an
invitation to visit London professionally. "I left
for London,' he says, ' about the autumn of this year
(1784). On his way thither he passed through Turin,
and received a visit from the committee of the Royal
Theatre, who asked him to write an opera for them,
which he promised to do as soon as his engagement
in England was over.
Passing through Paris, where the excitement of
the late contest between Glück and Piccinni had
scarcely calmed down, he there made the acquaint-
ance of Viotti, one of the best friends whom he ever
had, and with whom he kept up a correspondence while
in England. Some say that this acquaintance sprang
up a little later, on Cherubini's second visit to Paris.
24
Memorials of Cherubini.
On arriving in London as composer for the Italian
Theatre, Cherubini assisted at the Handel Commer
moration in Westminster Abbey, in July 1784; and
after writing four pieces for a pasticcio entitled IL
Demetrio, and two more pieces as a.contribution to
some opera, all of which, sung by Babini and Czes-
centini, were well received, he brought out La Finta
Principessa, an opera in two acts, at the Haymarket,
with applause.
The state of music in England at this time was,
apparently, not very reassuring. Handel kad been
dead some twenty-five years; and while he had nobly
striven to hold his own against Buononcini and the
Italians in his operas, and beaten them off the field
in his oratorios, yet his influence quickly declined
after his death ; and though at last people bethought
themselves of a Handel Commemoration, it was left
to more recent times to set a just store on many of
his grandest inspirations. Italian music, when Han-
del was no more, continued to flourish in England
as though it had never known defeat, just as it did
in Paris when Glück left. No doubt Paisiello and
Cimarosa were far better than Buononcini and Por-
pora; but native talent was not encouraged by the
o I give this on Mr. G. Grove's authority (An. Progr. Overt. Medea),
though Cherubini, as we have seen (p. 23), writes that he left Furin
about the autumn.
Italy
Giulio Sabino.
25
preëminence of Italian opera any more than it is at
the present-day.
In 1786, Cherubini inserted six airs into Paisiello's
Il Marchese Tulipano, besides others; and Lafage thus
remarks upon them: "The greatest praise that can be
giver to these pieces is to say that the pieces inter-
polated sustained without any loss the vicinity of the
admirable melodies of Paisiello. ::Cherubini became
also, it is said, director of a Philharmonic :society, and
superintended the representation of various works of
Cimarosa and Paisiello. According to Picchianti, he
was king's musician for-two years; but Dr. Burney
only mentions him as nominal compaser for the year
1787. His reputation admitted him to the society
of the Prince of Wales, afterwards George IV., who
was delighted with his talent and agreeable :voice.
The prince was fond of singing, and Cherubini sang
at the royal amateur's réunions, as well as at those
of William, fourth Duke of Queensberry, who had a
particular affection for our-composer,
Of the second work produced at the Haymarket,
the libretto of which was by Metastasio, and in which,
accordịpg to the Harmonicon, Marchesi made his Lon-
don début-Dr. Burney? remarks: - His opera of Giulio
Sabino was murdered in its birth, for want of the
necessary support of the capital singers in the prin-
? History of Music, ed. 1789, vol. iv. p. 527.
26
Memorials of Cherubini.
cipal parts. Babini, the tenor, being elevated to first
man, and the Ferraresi to first woman, were circum-
stances not likely to prejudice the public in favour
of the composer.' Cherubini was much annoyed at
the failure of his serious opera, and writes: 'I quitted
England about the period of the month of July in
this year (1786); I came to Paris,' — accompanied
by the singer Babini, — 'and established myself
there.' Still he had not yet finished with England.
The theatrical season for 1786 being over, he took
his holiday, and crossed over to the Continent. :
At Paris he now composed the cantata Amphion,
written for the “Loge Olympique,' but nëver per-
formed. He had meant, eventually, to rejoin his
family in Italy, but being strongly urged by Viotti
to remain at Paris, and persuaded into the belief
that artists had there a higher position and a better
field for action, he gave up his first idea. Viotti
presented him to Queen Marie Antoinette, who
wished to hear some of our composer's music at the
concerts which she gave at Versailles, and who was
struck by his superior manner and bearing. Speak-
ing of Cherubini about this time, Halévy says: “It
was a happy era for him, for success flattered him.
He had then seen twenty-eight years. A portrait,
painted a little after this period, shows him to us
graceful and studious in his person, gifted with a
Cherubini in Paris.
27
noble and expressive countenance, and with a per-
suasive air. The world liked him, and he liked the
world. He was for a moment all the rage, and be
came a lion. After the presentation to the Queen,
Viotti introduced Cherubini to the highest society
of the capital; to Madame de Polignac, Madame
D’Etioles, Madame de Richelieu, and so to those
bright assemblies where Garat and Azevedo sang;
to Florian the author, on whose romance of Estella
Cherubini, in 1787, wrote eighteen romanzas; to
the Abbé Morellet, the brilliant Piccinist; and, lastly,
to Marmontel, with whom he first became acquainted
at Morellet's house, and who gave him his poem of
Démophon to set to music. Viotti, further, intro-
duced him into the Société Academique des Enfans
d'Apollon,' an association for concerts, founded in
1741, which, I believe, still exists. Especially, and
above all the other associations to which he ulti-
mately belonged, did Cherubini prize in his heart,
when Viotti was no more, his membership in that
society, as reminding him of the kindness of his
truest friend of all, in days that had long gone by.
At one of the Concerts des Amateurs' he heard a
symphony of Haydn, which pleased him so much
that on the same evening he began to study that
his own power. “He learned from Haydn how to
28
Memorials of Cherubini.
ic
combine depth with lightness, grace with power,
jest with earnestness, toying with dignity:"8
The vacation being over, Cherubini returned to
England to fulfil his engagement as king's musician
for 1787.9 Dr.: Bumey says: "Cherubini, the nomi-
pal.composer in thisyear (1787) at the opera, was-a
young man of genius, who had no opportunity while
he was here of displaying his abilities, but previous
to his arrival he had frequently been noticed in his
own country, where he is now travelling fast to the
Temple of Fame. ;6;On the 13th of January 1787,'
adds Dr. Burney, “was first performed a comic opera
called Giannina e Bernardoni, originally-composed by
Cimarosa, but in which many songs were now intro-
duced of Cherubini. Paisiello's Gli Schiavi per amore
was also-brought out. .
On returning to Paris, Cherubini took up his
abode-with:Viotti, and for more than three years the
8 Arnold, p. 10.
9 De Lomenie and the Nouvelle Biographie Générale mention
distinctiy Cherubini's return to England in 1787. Deme-Baron speaks
of Cherubini's return from London to Paris in that year, and Nisard
confronts him, saying: 'For this circumstance to be exact the illus-
trious composer must have already come to the French capital.' Well,
in any case, he had come once before to Paris, while passing through
to England for the first time; Castil-Blaze's speaking of Cherubini's
several visits to Paris while in England implies a return to‘England.
The eighteen romanzas, too, apart from Dr. Burney's testimony, are
significant of Cherubini having been busy in England in 1787, being
the only compositions, in the catalogue, for that year.
Ifigenia.
29
two friends lived' ander the same roof: Cherubini
now bethought him of his promise- at Turin; so; at
the carnival of 1788, he went there and composed
and produced his brilliant three-acť opera of Ifigenia
in Aulide, the last work he wrote in Italy:10 - The suc-
cess of the cpera was so great that Marchesi, the
celebrated singer, made choice of it for singing in,
during the autumn season, at La Scala, Milan, where
he made no little effect with the air “A voi torno
Sponde amate.' Ifigenia was also performed at
Florence and Parma; and always, if we are to be-
lieve the journals of the day, with success. We
may be glad that it was so, and that Cherubini left
Italy for good and all, in sunshine. Yet, although
he had nearly reached the number of years allotted
to Schubert, he had hitherto done little or nothing
really great. Had he died at this period he might
now be a rather obscure name in Fétis immense
dictionary. His genius, like that of Glück, deve-
loped slowly. A short life would have been fatal to
the renown of both. Yet, in the last opera written
for Italy by Cherubini, Halévy detects something
auguring future greatness. "This opera,' he says,
• differs in style from Cherubini's preceding works.
10 De Lomenie supposes that Ifigenia was brought out at Turin
before Cherubini went to London a second time in 1787, but the
catalogue would have set him right on this point.
30
an
ew
He is already more nervous; there peeps out, I
know not exactly how much of force and virility, of
which the Italian musicians of his day did not know,
or did not seek the secret. It is the dawn of
a new day. Cherubini was preparing himself for
the combat. Glück had accustomed France to the
sublime energy of his masterpieces. Mozart had
just written Le Nozze di Figaro and Don Giovanni.
He must not lag behind; he must not be conquered;
in that career which he was about to dare to enter,
he met two giants. Like the athlete who descends
into the arena, he anointed his limbs; he girded his
· loins, like the warrior who goes forth to fight.'
Cherubini returned definitively to Paris, where
he lived and died, where he was to influence, as the
author of Alcestis had done before him, the taste of
ạ people, and pass through a brilliant, if somewhat
chequered career.
CHAPTER III.
1788–1791.
Cherubini's and Vogel's Démophons—Marmontel's libretto—The Loge
Olympique-Circe–The Bouffons—Cherubini is made Director of
Italian Opera at the Tuileries—Inserts pieces of his own in the
works put on the stage His trials during the Revolution—He is
forced to leave the Tuileries-Cherubini's and Kreutzer's Lo-
doiskas.
WHEN Cherubini arrived in Paris from Turin in 1788,
two operas called Démophon were close upon com-
pletion, one by Vogel, the other by Cherubini him-
self, who had begun to work on Marmontel's story
while in England. Vogel was already known to the
public as the composer of the Toison d'Or, and had
previously been offered Marmontel's libretto, but,
being a dilatory man, had kept the managers of
the opera waiting two years without finishing the
music, for which reason the poem was given to Che-
rubini. Vogel, in all probability, now transferred
what music he had already written for Marmontel's
Démophon to a libretto on a similar subject by Des-
riaux. His great fault was his preferring to fill his
wine-glass to keeping his engagements; that was
all. But on the 28th of June 1788 he died, it'may
operas had been written for the Royal Academy of
Music, but, wisely enough, were not brought out at
the same time.. Lays, the singer, wished Vogel's :
Démophon" to come first, but Cherubini contrived to.
obtain for his opera: the priority of performance.
This preference excited some enmity against Chess
rubini, so that when Vogel's work did appear it was
cried up with much energy. Desriaux's libretto was
better than Marmontel's, who had followed Metas-
tasio too servilely, and brought in the two pairs of
lovers, always so essential, says Castil - Blaze, in
Italian opera. He adds: “There was then a mania
at the Opera for doubling these lovers, and for bring-
ing forward two works in succession, composed on
one given subject. By this means a saving was
made in cloth, and the make-up of a collection of
costumes; and the same decorations served for both
dramas. Cherubini's Démophon first appeared De-
cember 5th, 1788, conducted by the composer himself;
that of Vogel not till the 22d of September 1789.
Neither was successful, though Vogel's overture
became popular. Cherubini's overture, which be-
gins in C minor, then goes into the key of G, then
returns to the original key, and concludes in C
major, is a vigorous composition, and would be
Démophon.
an effective piece for our concerts. Nearly all the
subsequent overtures of Cherubini are familiar to us;
but this, which may be called the first of his known
ones in order of time, has never, I think, been given
in England.'
Of Démophon itself Fétis observes: "It produced
little effect, and the public received it with coldness.
It is a curious subject for historical study to compare
the score of this opera with Ifigenia, which Cherubini
had written at Turin at the beginning of the same
year (1788). In this latter score melody abounds,
and among several pieces full of charm you remark
a trio of the greatest beauty. Démophon, on the
other hand, offers us nothing but a dryness in the airs,
a number of faults as regards rhythm and symmetry
of phrasing, and, what is worse than all, a languid
monotony in the general tone of the work. There is
nothing remarkable even in the harmony; and you
regret to recognise in this feeble production the
labour of a man who soon afterwards came to be
justly thought a great master. Whence did an
embarrassment that so cramped Cherubini's genius
arise? It was clearly produced by the requirements
of the French stage, hitherto unknown to the com-
poser, and which he had not yet had time to study;
besides the exigencies of an unmusical language,
which did not afford him the cadenced rhythms of
34
.
his native tongue---rhythms so favourable to the
forms of melody. The constraint and anticipation
of these difficulties become everywhere apparent in
Démophon, and talent exerted under such unfavour-
able circumstances could only bring forth what is
second-rate. From time to time you perceive the
beginning of a felicitous melody-for instance, in
the air, “Faut-il enfin que je déclare?" and in this one,
“ Au plaisir de voir tant de charmes," &c.; but the de-
testable sham lyric verses of Marmontel soon come
to dissipate the melodious essence that seemed will-
ing to exhale itself. Poor Cherubini did not know
what to do with these verses of every dimension,
which sometimes forced him to make his phrase of
five measures, and at other times allowed him only.
one of two, or made him increase the value of the
musical time, so as to make two measures with one.
The composition of this opera must have been for
him a prolonged torture.'1
Picchianti observes, that in Démophon Cherubini
' exhibited a more elaborate workmanship, more
grandeur of form, and so suddenly perfected his
style, that he rose above the ordinary and popular
intelligence of the time. And only to those,' he
adds, 'who thoroughly understood him was it given
to foresee what a brilliant future for the French
· Biog. Univ. vol. ii. p. 265.
Démophon.
wer
lyric stage the new composer was preparing; so
great were the masculine beauties that appeared in
this Spartan; but these, from some other cause,
were not thought sufficient to compensate for the
want of colour and dramatic interest-faults per-
vading the whole opera, and which are to be as-
signed more to the poet than to the musician. He
continues : 'Among various pieces, the chorus, “Ah!
vous rendez la vie," especially, by the merit of the
as-

Allegretto.
-- 3-
-
-
-
-
-
-
A
Cor
grazia.
-
-
1st Sop.
2nd Sop.

food
ta
Ah! vous ren - dez
vie,
à
la
des
vie,
mères,
Ab! vous ren - dez
-
-
-
Alue
L
sempre pp e legg.
heefC.
instrumentation, the texture of the vocal portion,
and the robustness of the style, might have been
called, when it appeared, a conception of a new crea-
tion, the announcement of a new school.' Fétis has
36
Memorials of Cherubini.
LET
Was T
expressed himself in almost identical terms. The
chorus for men's voices, “Le plus beau sang,' may
also be mentioned. There was certainly a great
merit,' says Halévy, “in the instrumentation in Dé-
mophon ; there were beautiful choruses. Already in
this work the composer was laying the foundations
of a new school and a new style. But these quali-
ties could not be appreciated by the public; and
then inspiration was wanting. I could have wished
Cherubini had been counselled not to break away
brusquely and entirely from his beautiful Italian
school. Again he says: "All hitherto had gone
well. Fortune came before the young composer.
The world, the poet, the theatre, seconded his dear-
est wishes. Marmontel had handed him the poem
for the opera ; it was a Démophon. Everything
smiled on Cherubini; everything henceforth seemed
likely to succeed with him. In fact, everything did
succeed — except Démophon. Halévy goes on to
deplore that Cherubini took Marmontel as his li-
brettist. "I regret,' he exclaims, 'that Cherubini, on
arriving in Paris, should have fallen into the hands
of Morellet and Marmontel. I could have wished
that his good genius had applied to Sedaine. The
aged author of Richard Cour de Lion would have
understood what the young artist, a stranger, rest-
less in the road he had to follow, wanted. He would
Démophon.
37
have made him a good drama, a very musical one,
in which Cherubini would have found noble and
grand inspirations. He would not have thus failed
in the éclat of his début, and we should have had one
beautiful work the more. That had occurred to
Cherubini which happens to a traveller who, thrown
into the heart of a great city with which he is not
acquainted, asks his way from great lords and the
like-men only accustomed to go out in carriages.
With the best faith in the world, they give him false
directions, and lead him astray. An honest bour-
geois, who plods the streets on foot, would be worth
a hundred times as much. Cherubini's first French
opera, however, brought him into much notice, and
some drawing-rooms even ventured at applause.
Among the small fry of Italian composers, the tra-
gedy of Démophon must have fallen like a bombshell.
Such a work, at once scientific and noisy, was some-
thing perfectly new; and what must have been the
disgust of Marmontel? He was a Piccinnist. Clearly
he had not caught hold of the right man to con-
tinue Piccinni's school; and had he known the re-
mark of a wag who had just heard his new lyric
production, he would have been no better pleased :
• Si des mots font un opéra, Démophon est un opéra.'
For the present, Cherubini determined to write no
more tragic music.
·
Memorials of Cherubini.
38
The concerts of the Loge Olympique, for which
Cherubini wrote the cantatas Amphion and Circe,
were, at this time, patronised by Queen Marie An-
toinette, who granted the Loge an apartment for its
performances at the Tuileries. Here, in 1789, Ma-
dame Todi, the rival of Mara, sang the scena, “Sa-
rete alfin contenti,' written expressly for her by
Cherubini. Miel calls Circe one of the masterpieces
of the French lyric drama. He seems to mean Che-
rubini's work; but he is surely thinking of Rous-
seau's cantata of that name. But if Cherubini put
to music the work of Rousseau, it is to be hoped
that he was fully equal to the occasion; for unless
a composer were thoroughly in the vein, it would
be no easy matter to set the following verses, to be
found in Rousseau's libretto :
Sa voix redoutable .
Trouble les Enfers :
Un bruit formidable
Gronde dans les airs.
Une voile effroyable
Couvre l'univers :
La terre tremblante
Frémit de terreur;
L'onde turbulente
Mugit de fureur :
La lune sanglante
Recule d'horreur !"2
In 1789 Léonard, perfumer to the Queen, and a
2 Framery and Ginguene's "Musique' in the Encyclopédie Métho-
dique.
The Bouffons.
39
man of great wealth, obtained, through her influ-
ence, a license to open a theatre for Italian opera,
and thereupon sent Viotti to Italy to obtain the best
singers. Viotti returned, after having engaged Vi-
ganoni, Mandini, Mengozzi, Revedino, the fine actor
Raffanelli, and Mesdames Morichelli and Banti. Ma-
dame Baletti, already in Paris, was also engaged.
For the latter, who made her debut at one of the
Concerts Spirituels in the November of 1788, Cheru-
mentioned by De Toulmon in his supplement to
Cherubini's Catalogue. “Her voice,' says Fétis, 'was
sweet, her vocalisation perfect, her expression touch-
ing. The whole company was placed under the
patronage of Monsieur, Comte de Provence, after-
wards King Louis XVIII. The Théâtre de Monsieur
was temporarily opened in the hall of the Tuileries
on the 26th January 1789; and the “Troupe de Mon-
sieur,' or the 'Bouffons,' as they were more generally
called, began a series of such performances of the best
operas of Cimarosa and his school as could not be
excelled in any other part of Europe. Fétis says:
“The troupe made its debut in a kind of booth, which
was called “Le Théâtre de la Foire St. Germain,"?
forgetting that it was not till afterwards that they
removed thither. Elsewhere he speaks differently:
Cette compagnie débuta en 1789 aux Tuileries; thus
40
Memorials of Cherubini.
confirming Halévy's statement, which is my authority,
and contradicting his own. Cherubini had been
made director of the company, and had the deli-
cate duty to discharge of assigning the parts to the
singers, and arranging the works for representa-
tion; and so untiring was his zeal, so much did he
exert himself in his new undertaking, that his friends
feared for his health. He strictly required from
others the same exactitude which he practised him-
self, and often lost patience and became severe, says
Picchianti, if any of the singers were deficient in
attention at rehearsal, or in ability in their respective
parts. The Harmonicon remarks, on the other hand :
• He had the happy art of gaining over the singers
to his views by a suavity of manner and a concilia-
tory mode of address, not always possessed by one
of his talent and profession. Cherubini sometimes,
but Mestrino generally, led in the orchestra ; and
the latter, dying in the September of 1790, was suc-
ceeded by Puppo the violinist. To bring out further
the talent of the singers, Cherubini inserted thirty-
seven airs in the Italian operas which he put on the
stage, all of which excited on their appearance ge-
neral attention, and among them must be noticed
the trio, 'Son tre, sei, nove,' in Cimarosa's Italiana
in Londra; the quartet, “Non ti fidar,' in Gazzaniga's
3 See Biog. Univ. vol. č. p. 265, and vol. viü. p. 362.
His Airs in the Italian Operas.
Don Giovanni; the superb quartet, -Cara da voi di-
pende,' which was much applauded, in Anfossi's Viag-
giatori Felici; and the nine airs in Paisiello's La Moli-
nara; these last were greatly admired by King Louis
XVI., who attended some of the performances :
1789. Paisiello's La Molinara, nine pieces contributed.
1789. Guglielmi’s La Pastorella Nobile, one piece, represented Dec. 12.
1790. Paisiello's La Grotta di Trofonio, two pieces.
1790. Desaugier's (?) Les Deux Jumeaux, two ditto.
1790. Paisiello's La Frascatana, two ditto.
1790. Anfossi's I Viaggiatori Felici, three ditto.
1790. Cimarosa's L’Italiana in Londra, six ditto.
1791. Paisiello's Il Tamburo Notturno, two ditto.
1791. Martini's Il Burbero di Buoncore, one piece, represented Feb. 22.
1791. Gazzaniga's Le Vendemmie, one ditto.
1791. Paisiello's La Pazza d'Amore, one ditto.
1792. Gazzaniga's Il Don Giovanni Tenario, one ditto.
1792. Martini's La Cosa Rard, one ditto..
1792. Basili's (?) La Locandiera, five pieces.
It has been remarked,' says Lafage, that at this
period Cherubini had two distinct styles, one of
which was allied to Paisiello and Cimarosa by the
grace, elegance, and purity of the melodic forms;
the other, which attached itself to the school of
Glück and Mozart, more harmonic than melodious,
rich in instrumental details. This manner was, as
M. Fétis says, the then unappreciated type of a new
school, destined to change all the forms of art. Che-
rubini's popularity, however, was owing to his first
style. “The Italian melody,' observes Picchianti, 'had
always a great many admirers among persons of
Memorials of Cherubini.
.
education and good taste; and Cherubini, by his
beautiful compositions, the grace of his songs, and
the delightful manner of his pianoforte playing, was
everywhere welcomed and admired. Not, however,
till the ‘Bouffons' left Paris was Cherubini freed from
Italian influences, and left to follow his own bent.
In 1790 he began an opera-Marguerite d'Anjour
for Louis XVI., at the Tuileries; but the march of
the Revolution stopped its progress, and he retired
for a short time to Breuilpont in Normandy, return-
ing to Paris shortly before the King's dreadful journey
from Versailles.
When the Revolution broke out, Cherubini's hopes
became almost as clouded as those of the monarchy.
Hitherto his connection had distinctly been with the
aristocracy, and now they were fleeing in all direc-
tions or mounting the scaffold. His livelihood be-
came precarious, and he suffered in many ways,
especially during the first five years of anarchy.
Forced to live in seclusion, he passed his time in
- studying music, the, physical sciences, drawing, and
botany, and, wisely enough, limited his circle of ac-
quaintances to a few trustworthy friends, musicians
like himself. His having learnt the violin when a
child was the means of saving his life in the hour of
danger. To stir out of doors was more or less of a
risk, because numerous and reckless mobs paraded
His Troubles during the Revolution.
43
the streets night and day. Once, during an occasion
of more than ordinary excitement, Cherubini fell into
the hands of a band of sansculottes, who were roving
about the city seeking musicians to conduct their
chants. To them it was a special satisfaction to com-
pel the talent that had formerly delighted royalty
and nobility to administer now to their own gratifi-
cation. On Cherubinifirmly refusing to lead them,
a low murmur ran through the crowd, and the fatal
words, The Royalist! the Royalist! resounded on
all sides. At this critical juncture, one of Cherubini's
friends, a kidnapped musician too, seeing his immi-
nent danger, thrust a violin into his unwilling hands,
and succeeded in persuading him to head the mob.
The whole day these two musicians accompanied the
hoarse and overpowering yells of that revolutionary
assemblage; and when at last a halt was made in a
public square, where a banquet took place, Cherubini
and his friend had to mount some empty barrels and
play till the feasting was over.
Another annoyance for Cherubini was his enrol-
ment as a member of the National Guard, which
entailed the custody of prisoners, and escorting them
to the scaffold. He would gladly have quitted such
scenes of horror; but there were difficulties in the
way. In the first place, he was engaged as leader
of the Italian Theatre till 1792 ; secondly, it was no
44
Memorials of Cherubini.
easy task to elude the vigilance of officials in any
attempt at escape from French territory; thirdly,
the value of French notes, reduced in France to a
fifteenth of their proper value, was almost nominal
in other countries, and of gold Cherubini had little;
lastly, he had promised his hand to Cécile, the beau-
tiful and accomplished daughter of Signor Tourette,
a musician of the old Chapelle Royale, and husband
of one of the ladies-in-waiting to the Princesses Ade-
laide, and Victoria, aunts to the king.
When Louis XVI. arrived in Paris from Versailles,
the 'Bouffons' had to leave their quarters in the Tuil-
eries, and take refuge in the Nicolet Hall, near the
fair of St. Germain, until Léonard's new opera-house
was ready for them in the Rue Feydeau. This ex-
plains the Catalogue, where Cherubini, speaking first
of the Théâtre des Tuileries as the place where the
Italian operas were brought out (which was no other
than the hall of the Tuileries, otherwise called
though never by Cherubini — the “Théâtre de Mon-
sieur'), subsequently alludes to the · Théâtre de la
Foire St. Germain.'
A French company now joined the Italian troupe,
already strengthened by the acquisition of Garat;
and on the opening of the Théâtre Feydeau, the first
work performed there was Persuis' Nuit Espagnole;
the second was Cherubini’s Lodoïska, which our com-
Lodoïska.
45
poser had been preparing a long time, and which was
applause. We are now afforded the unusual spec-
tacle of an Italian upsetting the popularity of Italian
operas. The mio-tesoro style was ill-fitted for stirring
times. For about 1789, as in politics, so in music
and literature, a new spirit was rising. The dramas
of Racine and the operas of Lulli were much akin
to one another; and the genius of Schiller had its
counterpart in that of a Beethoven. We can easily
understand,' observes Oulibischeff, 'how Mozart's
popularity must have thrown the Italian masters of
the transition period into the background. But
there was another rival element still more terrible
and destructive to them, viz. the contemporaneous
rise of the true dramatic music of the nineteenth
century, the music founded by the great masters
of the French school, Cherubini, Méhul, and Spon-
tini. What could composers who continued to work
Lodoïska, Les Deux Journées, Faniska, Joseph, and Die
Vestalin, whicb. Europe received with enthusiasm,
and in which it recognised itself? .... If, on the
one hand, Glück's calm and plastic grandeur, and,
on the other, the tender and voluptuous charm of
the melodies of Pinini and Zacchini, had suited the
circumstances of a state of society sunk in luxury,
46
Memorials of Cherubini.
and nourished with classical exhibitions, this could
not satisfy a society shaken to the very foundations
of its faith and organisation. The whole of the
dramatic music of the eighteenth century must na-
turally have appeared cold and languid to men
whose minds were profoundly moved with troubles
and wars; and even at the present day the word
"languor” will, perhaps, best express generally that
which no longer touches us in the operas of the last
century, without excepting even those of Mozart him-
self. What we require for the pictures of dramatic
music is larger frames, including more figures, more
passionate and moving song, more sharply marked
rhythms, greater fulness in the vocal masses, and
more sonorous brilliancy in the instrumentation. All
these qualities are to be found in Lodoïska and Les
Deux Journées, and Cherubini may be regarded not
only as the founder of modern French opera, but also
as that musician who, after Mozart, has exerted the
greatest influence on the general tendency of the art.
An Italian by birth and the excellence of his educa-
tion, which was conducted by Sarti, the great teacher
of composition,—a German by his musical sympathies,
as well as by the variety and profundity of his know-
ledge--and a Frenchman by the school and prin-
ciples to which we owe his finest, dramatic works,-
Cherubini strikes me as being the most accomplished
Lodoïska.
47
musician, if not the greatest genius, of the nineteenth
century.4
* Doubtless it is true,' says the Niederrheinische-
Musik-Zeitung, that Cherubini's services as the re-
former of French, or modern, opera are appreciated,
especially in Germany, but by no means sufficiently
so; because they date from the same period as
Mozart's transformation of opera, which came more
directly under the notice of the Germans. People
still talked and wrote a great deal about Glück, and
the principles which he laid down for the musical .
drama, but meanwhile they forgot that Cherubini
effected just as much as Glück, in the blending of
the music with the poetry, and the characteristic re-
presentation of the dramatic situation, though with
far greater richness of musical fancy, because he em-
ployed in his harmonic combinations a much richer
store of instrumental resources and knowledge, and
raised the music above the nervous interpretation of
the words without sacrificing the psychical truth of
expression in the melody. At the same time he de-
veloped the received forms, and created, especially
for the so-called concerted pieces, perfectly new ones,
distinguished for a scope never before known, and
for an amount of work previously unattempted.
Such a finale as that in Lodoïska, and that in Les
4 Musical World for 1862.
48
Memorials of Cherubini.
ILL
Deux Journées, was without parallel upon the French
operatic stage; and if Spontini subsequently sur-
passed Cherubini in these grand points, he enjoyed
the advantages of Mozart's example, which he could
follow, while it was impossible that Cherubini could
have known anything about Mozart's masterpieces
when composing Lodoäska, Elisa, Medea, and Les
Deux Journées.'
The historical proofs of this last statement are
satisfactory as regards Lodoäska. Mozart's Figaro
was first brought out on the 28th of April 1786;
his Don Juan on the 4th of November 1787; the
Zauberflöte on the 30th of September 1791. An
unsuccessful attempt was made to introduce the
Figaro at Paris on the 20th of March 1793. The
libretto was absurdly translated by Notaris, and the
music was ill-executed. On the fifth night the piece
was withdrawn. Figaro, therefore, was not known
to France at all till after Lodoïska had appeared.
The Zauberflöte came out after Lodoïska, and a man-
gled version of Don Juan was given at Paris in
1805, after all Cherubini's operatic masterpieces had
appeared. Its first performance there in its en-
tirety was not till 1811. But there is no doubt,'
observes Fétis, “that Cherubini followed his own
inspirations in the new style which he introduced
into France; a comparison of his style with that
49
of his illustrious predecessor proves it to demon-
stration.'
“Two men of genius, observes a critic, "Glück
and Grétry, had formed the taste of the public, in
being faithful to the accents of nature. The idea of
reconciling this taste, founded on strict truth, with
the seductive charm of the Italian forms, to which the
French were beginning to be sensible, suggested to
Cherubini a system of lyric drama capable of satisfy-
ing this double condition. All, however, had not been
accomplished in Cherubini. The career of Glück,
says Grétry, 'could be followed out more easily than
mine; we also see Méhul, Cherubini, and Lesueur
more vigorous than Glück; for it is in the spring-
time of their life that they are carrying on what.
Glück only discovered after a fifty years' experience.
What will come after them? In thought I see a
charming being endowed with melodious instinct,
replete above all, both head and heart, with musical
ideas, yet not daring to infringe dramatic rules,
known nowadays to all musicians.4
Lastly M. Dannreuther remarks: - All that can by
any possibility be accomplished in the musical drama
from the musician's specific point of view, and with-
out taking the poet into consideration, was accom-
plished by Glück's successors, Cherubini, Méhul, and
4 Grétry's Mémoires, vol. ii. p. 43.
50
Memorials of Cherubini.
the musical forms to the utmost; they maintained
the traditional arrangement of the aria ; they ren-
dered the recitative, and the connecting links be-
tween it and the aria, more expressive; and, what
is of especial importance, they allotted the execution
of the airs to more than one person, according to
dramatic necessities, so that the character of mono-
logue, hitherto essential to all operas, was got rid
of. Of course duetti and terzetti had been in use
long before their time, but the fact that they ren-
dered these, which had formerly been mere slight
modifications of the solo aria, subservient to the
higher purpose of dramatic musical ensemble,--this
was the progress which those great men realised ;)
“and it would be difficult," remarks Wagner, " to
answer them, if they now perchance came amongst
us, and asked in what respect we had improved on
their mode of musical procedure." Cherubini and his
friends had allowed the poet to develop his art in
the exact ratio of their own increase of musical free-
dom and strength; but with them also he never rose
1
5 This is, doubtless, true in the main, but it may be questioned
whether Handel's trio, 'The flocks shall leave their mountains,' and the
chorus, 'Wretched Lovers,' in Acis and Galatea, have ever been sur-
passed for dramatic force and contrast.
Richard Wagner; his Tendencies and Theories, p. 28.
Lodoïska.
51
rubini anticipated many of Wagner's innovations.
To mention but one instance—if not in Lodoïska, at
any rate in Les Deux Journées—we find indicated
Wagner's device of giving certain set musical phrases
to each character, by this means individualising it.
Thus I remember an observation of Castil-Blaze to
the effect, that he knew that Armand was concealed
in Mikeli's water-cart, through the playing of a flute.
Lodoïska originated in France what has been
called musique d'effet, which found numberless fol-
lowers, but notably in Méhul, Steibelt, Lesueur, Ber-
ton, Boieldieu, Auber, Meyerbeer, and Rossini; but,
says the Niederrheinische-Musik-Zeitung, speaking of
Cherubini, 'we must not hold him responsible for the
direction which "effect-music" pursued, especially in
our own time, through the instrumentality of Meyer-
beer. No, nor for the din of cymbal and gong of
Rossini; that padding which is surely the worst
musique d'effet possible. What effect-music really was,
the Niederrheinische-Musik-Zeitung tells us in one sen-
tence: “While Cherubini carried out, in the melody,
the fundamental law of dramatic truth, the agree-
ment of the music with the situations in the drama,
and their poetic expression, as laid down by Glück,
he exhibited greater depth of intention, fuller and
bolder harmony, and a style of instrumentation
which, by its richness, and the characteristic employ-
2012
52
Memorials of Cherubini.
ment of the wind instruments especially, in con-
formity with the peculiar quality of their sound,
introduced the orchestra in a brilliant manner, not
only as the foundation for the vocal portion, but
also as its necessary adjunct, and its equal in bring-
ing about the theatrical effect as a whole.'
Lodoïska cast the old Italian operas into that shade
of oblivion from which, with a few exceptions, they
have never since emerged. But there was another
cause which of itself would have been fatal to their
permanent hold of the stage-the composer's defec-
tive musical education. Thus while Cherubini went
through a thorough training, we have had in melan-
choly contrast to him even the gifted Rossini of our
own day ignorant of double counterpoint, and de-
claring that he wanted no more lessons. And so,
though the old struggle, which was going on in Han-
del's time, still continues; though the musical world
is yet divided into two camps; though there are still
Glückists and Piccinnists, lovers of German, lovers
of Italian music, Italy is no longer, as once she was,
the home of classical music. And she now consoles
herself for the loss of such a distinction, by the re-
flection that classical music is but another name for
what is dull. If Palestrina and Pergolesi could rise
up again, they would not concur in that judgment.
As there had been two Démophons that came out
Lodoiska.
53
almost simultaneously, so were there two Lodoïskas.
That of Kreutzer, partially known in the ballroom,
appeared on the 1st of August 1791 at the Théâtre
Favart; that of Cherubini at the Théâtre Feydeau
nearly a month earlier, on the 18th of July, with
Madame Scio as prima donna; and thus about a
month after the flight of the king and his arrest at
Varennes. “Lodoïska,” observes F. IV. N., a critic
(who speaks of the overture, in the Quarterly Musical
Magazine), “ has to contend with disadvantage against
the showy and beautiful overture to that opera by
Kreutzer, which all the amateurs have been accus-
tomed to applaud; but yet, in many respects, it must
be owned, comes out from the contest with credit
and reputation. There is something of mannerism
in the second movement of this piece, compared with
the second movement of Anacreon--not in the notes,
but in the style of the passage—but which may be
excused from the peculiar novel effect. Good modu-
lations are to be found in the movement to which
I allude, particularly the passage begun in A minor,
after repeated in A major; and that part where å
succession of chords begins upon D, in which the
composer has altered the usually received rules for
accent, by placing it for bars in succession upon the
second part of the bar. Our author's tact appears
to lie in that ingenious distribution of particular
54
Memorials of Cherubini.
detached passages to the several instruments he
employs, which so much distinguished the great
Mozart; and to write these with a perfect knowledge
of the effects which the mechanical capacity of each
is found to produce will be acknowledged as a
considerable difficulty by all those who attempt the
task.
The subject of the libretto, somewhat similar to
those of Fidelio and Grétry's Cour de Lion combined,
was taken from a romance of Faiblas by Fillette
Loraux. The plot is briefly this: Lodoïska is im-
prisoned in the castle of a tyrant, Dourlinski, who
endeavours in vain to obtain her acceptance of his
hand. Her lover Floreski gains admittance to the
castle, and, under the pretence of being her brother,
comes to claim her on the part of her mother. Flo-
reski, having obtained Dourlinski's leave to stay the
night previous to his return to Warsaw, is subse-
quently discovered attempting to effect Lodoïska's
escape by giving the guards drugged wine. At this
point, however, the castle is stormed by Titzikan,
the leader of the Tartars, and Lodoïska is rescued.
The success of Lodoïska was immense, the whole
audience (such is the tradition) going through the
somewhat wearisome process of rising to their feet
and applauding each successive piece. One journal,
after speaking of the triumphs of the decorators and
Lodoïska.
55
machinists, all of whom were demanded at the end of
the performance, adds: “We also called for the author
of the music. It is Monsieur Cherubini, a young artist
known by several works that have already placed him
in the first rank of composers. If we have a reproach
to utter about the music of this work, it is this: it is
too beautiful; and this is a real reproach. All the
pieces, worked out with infinite care, and all equally
worked out, do not give the listener time to breathe;
by being forced to admire, you end by being fatigued
with this too-continued beauty; you would prefer
from time to time simpler pieces, on which to take
your repose. You understand that it is difficult for
us to single out for remark the best pieces, where
there is not one that is not superb. We distinguish,
however, the two pieces that closed the second act,
not perhaps as being more beautiful than the rest,
but because they offer more contrast.
The two pieces here alluded to are in the famous
finale of the second act, where Floreski and his ser-
vant Varbel are going to drug the guards. Floreski is
afraid, since the guards are watching him attentively.
* Ils ont tous les regards sur nous,' he exclaims. Var-
bel adds: “La chose est claire. The first guard whis-
pers, "L'un est maître, l'autre est valet;' the second,
"Je pense moi que c'est un traitre;' the third, “Si
j'en juge par l'apparence, ils me semblent fort in-
56
Memorials of Cherubini.
b
quiets. Nothing can be more masterly than the
music, which, without being disjointed, has to bring
out all the different 'asides. The guards are now
asked to retire a little; the drug is mixed with the
wine, and the guards are invited to drink. The in-
strumentation here assumes a most brilliant cha-
racter. The guards cannot resist an offer of wine,
and sing Bon, bon,' even when they hảve fallen
down with giddiness. At this instant the grand
climax is reached by the appearance of Dourlinski,
exclaiming "Traitres ! Floreski replies, Tyran!
'Frémis,’ shouts Dourlinski, while the chorus come
in, warning Floreski of' tourmens les plus affreux.'
Among the other numbers may be noticed the duet
between Titzikan and Floreski, before their fight in
the first act, when they do not know each other as
friends; the chorus of Tartars, “Jurons; the bril-
liant polonaise, which opens with the violins, and

Violin 1.
Violin 2.
Z.SOAS

preludes Varbel's celebrated air, Souvent près
d'une belle;' Floreski following in a more subdued
Lodoïska.
57 .
strain, since he is sad at the loss of Lodoïska. In
the second act there is the duet between Lodoïska
and Dourlinski, “A ces traits je connois ta rage,' sub-
sequently altered by Cherubini; the scena where
Dourlinski orders Lodoïska to be separated from her
attendant Lysinka, and where the chorus come in sotto
voce, sympathising with Lodoïska, and entreating
Dourlinski ‘Laissez-lui ce foible recours,' and where,
when the tyrant orders Lysinka to be forcibly sepa-
rated from her mistress, they sing sorrowfully, 'Fear
his anger;' and lastly, Varbel's air, “Rien n'égale sa
Це
e ---
barbarie,' with a brilliant accompaniment given only
to the violins (themselves accompanied by the other
instruments), which precedes the finale of the second
act already noticed.
In the third act, Lodoïska, after hearing from
Dourlinski that Floreski is captured, sings the beau-
tiful air, Tournez sur moi votre colère. Then we
have the highly effective scene where Floreski be-
gins the air, “Quoi t’unir à ce barbare,' and is fol-
lowed by Lodoïska, both subsequently singing to-
gether, Oui, jurons de mourir ensemble,' while the
enraged Dourlinski exclaims, “Outrage! The finale
begins just where Dourlinski's poniard is turned
aside by Titzikan from Floreski, and is preluded by
58
Memorials of Cherubini.
a long symphony, occupying sixteen pages of the
score. Floreski calls upon the apparently lifeless
Lodoïska, and she answers, “Ah je respire.' To
the prisoner Dourlinski's question as to what ran-
som is required for him, Titzikan’s replies, Cap-
tivity; and here the Poles and Tartars join in with
0
a cursory and necessarily inadequate notice of this
great work, of which Clément well observes : ‘On
trouve dans tout l'ouvrage un style noble et soutenu,
des masses admirables et profondes, des modulations
riches et variées, qui l'empêchent de viellir.'
In one year Lodoïska was performed two hundred
times, and at short intervals two hundred more
representations took place. Yet, in spite of these
facts, some persons have asserted that its success
was impeded by Kreutzer's Lodoïska. Cherubini, in-
deed, did not escape opposition. Some said, “He
enchains the actor to the orchestra. He and his
followers were stigmatised as the mathematical
composers, because they worked out their ideas oh
a principle, carefully and systematically. It will
be better, however, to let those opponents who de-
preciated Cherubini's operas speak for themselves;
and the following observations, written in Che-
rubini's lifetime, will perhaps answer the purpose:
“He (Cherubini) excited enthusiasm by his mag-
Lodoïska.
59
nificent quartet, “Cara da voi dipende,” in the
Viaggiatori Felici; and yet he has not become worthy
of being placed beside the Paisiellos, the Guglielmis,
and the Cimarosas, his contemporaries; for, though
often directing the orchestra of this theatre (de
Monsieur), he never dared to risk there any whole
opera in his own style-not even one of those which
he had composed in Italy. Since it is easier to pro-
duce harmonies and noise, effects of purely theo-
retical calculation, than to create song, M. Cherubini,
renouncing the Italian method, which requires ima-
gination and fecundity, allies himself to the German
manner, in substituting for an expressive melody the
noisy and often unnatural effects of instrumental
profusion. The success and vogue which his opera
of Lodoïska obtained in 1791 at the Feydeau Theatre
made an epoch in that style of which it would be
possible to regard him as the inventor, had not Méhul
already made use of it (?), but with more reserve,
taste, and felicity. It was at that time thought the
proper thing to prefer the learned Lodoiska of the
Feydeau to that of M. Kreutzer at the Favart The-
atre, which was more interesting and less pretentious.
This last, however, since the union of the two the-
atres, has kept the stage; the other has disappeared
? There is every evidence to show that Cherubini, in writing the
operas of Dénophon and Lodoïska, opened the way for Méhul, Lesueur,
and Spontini.' Clément, Dictionnaire Lyrique, p. 406.
бо
Memorials of Cherubini.
De
from the répertoire even before the musical revolution
effected in France by Della Maria. ... The other works
of M. Cherubini, in spite of the ephemeral success of
some of them-in spite of the scientific merit which
dilettanti can recognise in various portions of his com-
positions are nearly forgotten nowadays; they lack
essentially verve, variety, and originality(?). Les
Deux Journées is an exception--the only one of his
operas which will perhaps survive him the only one
which, since 1800, has remained in the répertoire."
Much of this is very like the old charges which
were urged against Glück, Mozart, Beethoven, and
Weber; in fact, against every innovator. Cherubini
was more fortunate than they; opposition to him,
in 1791, was vain. The tide had for the moment
completely turned against the Italian composers.
Lodoiska, it has been said, came to console people for
Mozart's premature death, and marks the commence-
ment of the brightest era in the annals of French
opera.
8 Biog. Univ. et Port. 1834.
CHAPTER IV.
1791–1795.
The theatres at Paris-Flight of Viotti and the Bouffons-Cherubini
takes refuge at La Chartreuse de Gaillon, in Normandy- La
Liberté et la Palinodie à Nice-Kourkourgi—Lesueur and Cheru-
bini-La Caverne-Death of Cherubini's father-Elisa–Founda-
tion of the Conservatoire-Cherubini appointed one of the inspec-
tors.
THE number and variety of works produced at
Paris between 1790 and 1800 is astonishing. For
order, authority, and religion that decade was ter-
rible; for music it was glorious. At this time twenty-
five theatres, as the following list will show, existed
in Paris, many of them time-honoured buildings,
where a century and more before had been heard
the quiet music of Lulli and the stronger strains of
Rameau :
1. Opéra National (Grand Opera), at the Porte St. Martin, which has
changed its name so often, according to the different govern-
ments that succeeded each other in France, at one time being
called Théâtre des Arts, at another time Théâtre de la Répub-
lique et des Arts, Théâtre Impérial de l'Opéra, Académie Impć-
riale, Académie Royale, &c.
2. Théâtre Français, at this period Théâtre de la République, at the
Palais Royale.
3. Another Théâtre Français, at this time Théâtre de la Nation, at
the Odéon.
4. Opéra Comique National, at the Salle Favart.
62
Memorials of Cherubini.
:
5. Théâtre Feydeau.
6. Théâtre de la Montagne, or Montansier, at the Palais Royale.
7. Théâtre National, Rue Richelieu.
8. Théâtre du Marais.
9. Théâtre des Amis de la Patrie, at the Salle Louvois.
10. Théâtre du Lycée des Arts, Rue St. Honoré.
11. Théâtre de l'Ambigu Comique, Boulevard du Temple.
12. Théâtre du Vaudeville, Rue de Chartres.
13. Théâtre des Variétés Amusantes, Boulevard du Temple.
14. Théâtre de la Gaîté, Boulevard du Temple.
15. Théâtre des Délassements Comiques, Boulevard du Temple.
16. Théâtre Patriotique, Boulevard du Temple.
17. Théâtre sans Prétention, Boulevard du Temple.
18. Théâtre Molière, Rue St. Martin.
19. Théâtre de la Cité.
20. Théâtre Lyrique et Comique, afterwards des Jeunes Artistes, at
the corner of the Boulevard and Rue de Lancry.
21. Théâtre de Sans-Culottes.
22. Théâtre de la Rue St. Antoine.
23. Théâtre de Doyen, Rue de Nazareth.
24. Théâtre des Jeunes Elèves, Rue Dauphine.
25. Théâtre des Victoires Nationales, Rue du Bac.
uine.
During the Republic, Consulate, and Empire, the
number of theatres never rose higher than forty-four.
In 1807 there were thirty-three; an imperial decree
reduced them to eight. At the Restoration there
were fourteen theatres, and in 1847 thirty-three.
At the period which we are now considering Che-
rubini was installed with Viotti and the famous
Troupe de Monsieur at the Feydeau Theatre. Méhul
reigned supreme at the Favart Theatre.2 The veteran
1 Aicard's Patria, p. 2350.
2 It has been remarked by Arnold how strange it is that so few of
the operatic masterpieces of Cherubini and Méhul, the leaders in opera
'at Paris, were brought out for the first time at the great theatres.
La Palinodie à Nice.
63
Grétry, belonging to the old order of things, and fol-
lowing in the new movement which had been set in
motion against the Italians; the venerable Gossec,
Monsigny, and Philidor; Steibelt, who should be
better known; Boieldieu, then beginning to be known,
and the persevering Dalayrac—all these aided in
making bright the Parisian musical world. The year
1792, however, witnessed the departure of the Troupe
de Monsieur now thoroughly alarmed at the turn
political events were taking, and the disheartened
Viotti fled to England.3
The crisis came in 1793; the storm burst in all
its fury, and when the king mounted the scaffold
Cherubini had already taken refuge at La Chartreuse
de Gaillon, near Rouen, once a Carthusian monastery,
but at this time the country residence of his friend
Louis, an architect, whose wife was a good musician
and composed dramatic music. Here, living in tran-
quillity and safety, he wrote his pieces called La
Liberté, et la Palinodie à Nice, canzoni di Metastasio,
of which the Quarterly Musical Review observes :
These duets of one of the most able of our
modern composers are in the same style as those of
Clari, Steffani, and Handel, but have little to mark
them as the work of a modern composer. The
characteristics are the same in each movement, viz.
3 Vide here Michaud's Biog. Univ. vol. i. p. 97.
64
Memorials of Cherubini.
in the answers and imitations between the parts, and
in the modulations and frequent use of chromatics.
The melodies are generally of a grave and sedate
character, those in the triple time being frequently
elegant. The slow movements are, perhaps, the
best, and these have frequently much tenderness and
pathos. We may name the first and eighth as in-
stances. The ninth is a very liappy adaptation of
the words, but requiring great delicacy of execution.
Indeed, the duets are not easy. We consider, then,
these compositions in the light of antidotes to the
disorders of the modern school, and capable of giving
such a training to the mind as will prepare it for the
relish of the beauties of that severe but true style in
which passion, not surprise, is the object. They re-
quire, and therefore will lead to, musical knowledge
and judgment; but their graceful elegance will very
soon reconcile even a vitiated appetite to the ad-
miration of their true beauties.'
The three-act opera of Kourkourgi, composed at
this period, 1793, would have been ready for repre-
sentation in 1794, but it could not be executed owing
anniversary of the
to the disorders of the, ibth of August, and thus the
overture was never written, nor the last part of the
finale. The opera, thrust aside into a portfolio, was
long afterwards brought out again and to some ex-
tent incorporated in Ali Baba, and, according to Place,
C
.
Kourkourgi.
65
in Faniska. All that I have been able to ascertain
about the libretto is that it was a very poor one, by
Duveyrier Mélesville the elder, and that Kourkourgi,
the hero, was a mandarin, a miser, and a coward.
Cherubini's visit to Normandy suggests the men-
tion of his first recorded connection with Lesueur.
In 1793 the latter was in trouble with his opera of
La Caverne. Rehearsing it at the Feydeau Theatre,
he experienced all kinds of ill-will and annoyance on
the part of the artists in the orchestra, who styled
him “Monsieur l'Abbé,' because, previous to 1789, he
had worn the ecclesiastical collar at Notre Dame
when chapel-master there. Shy novice as he was,
he feared to estrange both singers and instrumen-
talists by making any observations at the rehearsal,
and only dared to address compliments. Besides,
Lesueur being a bad conductor, the performance,
taking everything together, could not have gone
worse. Cherubini, who was present, said: “You
know how to compose music well, but not how to
execute it well;' and there and then he took the
bâton, and led a repetition of the work, with immense
success, crowning his proceedings by hissing the
actors during the three representations of the work
that followed. Further, on going into Normandy
he had La Caverne put upon the boards at Rouen,
without telling Lesueur, and its success there was as
66
Memorials of Cherubini.
great as it had been at the rehearsal. Such was
· Cherubini's elaborate revenge on the singers at Paris,
and his vindication of his friend's talent.
In relating the above circumstances, in his His-
toire de la Société des Concerts, Elwart says that
they took place after Cherubini's recent success
with Les Deux Journeés ;' if so, in or after 1800. But
La Caverne appeared in 1793, when the incidents at
the rehearsal are by several other writers said to
have taken place, and when we know for certain
that Cherubini paid a visit to Normandy.
It was at Chartreuse de Gaillon that the news of
his father's death reached Cherubini. The funeral
expenses necessitated the sale, at Florence, of a little
cottage, poorly furnished, which had belonged to the
Cherubinis. His paternal inheritance, therefore, only
where he had been born, the rent of which, added to
other sums of money, &c., for a long time sufficed to
support one of his younger sisters till her death, when
the property reverted to the generous brother. But
Cherubini, having fallen into want himself, had at
last to part with even this small estate. It was
when suffering under this blow from the news of his
father's death that he wrote the two-act opera of
Elisa, with words by St. Cyr.
Cherubini returned to Paris in 1794, and on the
Elisa.
67
13th of December in the same year Elisa appeared
at the Feydeau Theatre, with Madame Scio as Elisa.
The general judgment on the work was, that it was
“too learned, too German,' which, in the opinion of
many, was really a compliment. I proceed to give
a short sketch of the dramatic action in Elisa.
In both the first and second acts the scene is the
same, representing a part of the Mont St. Bernard
Pass. After the beautiful ovei čure, now rarely it
ever performed in England, the scene opens with
· the celebrated introduction, where the Prior of the
monastery and his attendant monks, bearing lanterns
and pickaxes, are seen searching in the early morning
for any travellers lost in the snow. This picturesque
Andante con moto.
1

>
Violin 1.
Stac. Violin 2.
Viole.
38
Celli.

movement begins with the strings alone. Then soon
68
Memorials of Cherubini.
succeeds, in striking contrast, a dramatic passage,
which, it may be presumed, Denne-Baron chiefly had
in his mind when, speaking of the present introduc-
A
ta
Violin 2.

BISIT
TIM
M
Viole.
Corni in G.
Celli
.

Flute l. 1
Flute 2.
fi
HIP
Vicl l.
Clarineti 1 8.2.
tion, he said, “This music makes me shiver.' Subse-
Elisa.
69
quently the chorus come in, but only as an accom-
paniment to the violins in the first subject, and ex-
claiming, 'O ciel, daigne exaucer nos voeux;' and on
the entry of the second subject, 'S'il est au fond de ces
abîmes quelques malheureuses victimes des frimats,
des vents désastreux;' and finally, on the repetition
of the first subject, 'Daigne exaucer nos voeux. No-
thing can exceed the force and reality of this chorus,
which, written in 1794, has an originality that is un-
mistakable. We are next introduced to Florindo, the
hero of the piece, and his servant Germain. Florindo
sings the fine air (Larghetto, *), 'Lieux sauvages,
tristes climats. To this succeeds a recitative,
· L'horreur sombre de ce glacier.' Scenes 3 and 4:
Michel the letter-carrier comes by. There is a letter
for Florindo, in which he is informed that Elisa has
been betrothed to his rival, Sarti. In a long and
impassioned scena Florindo gives vent to his feel-
ings of sorrow and despair. Sc. 5: the Prior enters,
and seeing Florindo in such distress of mind, endea-
vours to console him. Here there is a duet, in which
the Prior entreats Florindo to come to the hospice,
as night is coming on; while Florindo is not to be
consoled or persuaded. The effect of this dramatic
piece is heightened by the bell of the monastery be-
ginning to toll. Here, as Denne-Baron observes,
“the celebrated master has shown all that he pos-
a
non
70
Memorials of Cherubini.
sessed of harmonic resources, and his uncommon
skill in uniting modulations. The horns sound G
in octaves on the first and third
A beats in every bar to the end of
the piece, and the bell tolls with
the horns. Meanwhile dusk has set in; and all the
time the Prior is singing, ‘Vous entendez la cloche qui
rappelle les voyageurs;' and the scene ends by his
persuading Florindo to accompany him. Scene 6:
Elisa and Laura, her seryant, appear with a guide.
Elisa faints with fatigue. The attendants of the
hospice are at hand, and she is carried off thither;
and so ends the first act, of which Miel observes :
C'est peut-être ce que la scène a du plus pathé-
tique.'
The second act, which, it is generally said, is in
no way to be compared with the first, opens with a
chorus of Savoyards exclaiming, “Vive la France !
and · Partons, allons pour Paris;' and allusion is evid-
ently intended to the passage of the French over
the Mont St. Bernard. All this is disenchantment.
Scene 2: the Prior and Elisa converse. The latter
discovers from him that Florindo is at the hospice.
Here Elisa sings an expressive cantabile air (*): "Je
vais revoir tout ce que j'aime.' In the third scene
Germain enters, and Elisa asks him what has become
of Florindo. Germain replies that Florindo left a let-
Elisa.
71
me
:
ter that morning, saying that, having been betrayed,
he knows how to die. A grand trio (#), Il veut périr,
now succeeds, in which dismay at last gives way to
blank speechless despair. The voices of Elisa, Laura,
and the Prior die away; the instruments also, the
violas alone showing any sign of life up to the close.
Scenes 4 and 5: a storm; lightning; Florindo is seen
descending the path, followed by Michel. The tem-
pest redoubles its fury; a bridge over which they
had crossed gives way. Scene 6: Elisa hurries in with
Laura, and approaches the precipice. She sees Flo-
rindo: “Grands dieux (sic), c'est Florindo. Florindo
replies, most unheroically: “Sauve-moi. An ava-
lanche now hastens the dénouement, and Florindo
is lost to sight. A chorus above, and one below in
the chasm, answer each other. Florindo is disco-
vered buried in the snow, and appears. The usual
raptures are succeeded by a general chorus.
Such is a brief sketch of Elisa, with a libretto by
no means worthy of the music. If it is really such
a poem that has banished so beautiful a work from
the stage, it affords but another out of the many
illustrations of the truth that the doggerel of a li-
brettist can damn an opera from the first. But,
putting aside the libretto, we see that, whereas the
prevailing character of Cherubini's operas is intel-
lectual rather than emotional beauty, Elisa is an ex-
72
Memorials of Cherubini.
ception to the rule, for it touches the heart. In his
attempt to unite the Italian melody with the solid
harmonies of the German school, he had not yet left
that sweet melody so completely as he did in his
next opera. Composed under the sorrow of bereave-
ment, Elisa, were it not for Les Deux Journées, would
be unique for its tenderness among Cherubini's
operas.
It was in 1795 that the Paris Conservatoire was
founded. After the 14th of July 1789, Sarrette, cap-
tain on the staff of the National Guard at Paris, had
collected together forty-five musicians, as a nucleus
for the performance of the music of the Guard. In
the May of 1790, the municipality took this body
under their charge, and raised the number of musicians
to seventy. On the 9th of June in the same year, a de-
cree was issued for the formation of an Ecole gratuite
de Musique de la Garde Nationale. By his zeal, Sar-
rette came more immediately under the notice of the
government; and on the 8th of November 1793 (18th
Brumaire, an 2) a decree of the Convention created
an Institut National de Musique, consisting of 115
artists and 600 students, for the purpose of 'cele-
brating musically the national festivals. The place
for the Institute was situated in the Rue St. Joseph,
the site being now occupied by baths. By a law of
the 16th Thermidor, an 3 (August 3, 1795), the Na-
Foundation of the Conservatoire.
73
tional Convention suppressed the Musique de la Garde
Nationale. The same day, however, on the report
of one Joseph Chenier, measures were taken for
founding a Conservatoire of Music, which at length
resulted in its establishment on the 25th of October
1795. Sarrette was appointed director, with five in-
spectors, Lesueur, Grétry, Gossec, Méhul, and Cheru-
bini, the three latter teaching counterpoint. The
classes were opened for students a little more than
a year afterwards, on the 30th of October 1796. The
Conservatoire engaged correspondents abroad, such
as Salieri and Haydn at Vienna, Paisiello at Naples,
Winter at Munich, and Zingarelli at Rome. A spe-
cial commission, consisting of Berton, Catel, Cheru-
bini, Eler, Framery, Gossec, Lacépède, Langlé, Le-
sueur, Martini, Méhul, Provy, Rey, and Rodolphe, was
ultimately appointed for compiling a treatise on
harmony for the school, and assembled on the 2d
Nivose, an 9 (22d December 1801). Several meet-
ings having been dedicated to the consideration of
various systems of harmony, the commission finally
agreed to accept that of Catel on the 10th Ventose
(29th February 1802). Méhul 'reported progress,"
and the resolutions passed by the Conservatoire de
Musique with respect to the adoption .of Catel's
Treatise on Harmony were drawn up and signed by
Sarrette as president. Prizes were eventually given
74
Memorials of Cherubini.
purposes of study at the expense of the state. In
1806, a separate department of 'declamation' was
formed, composed of eighteen of the most talented
pupils, twelve being men and six women; and for
each man there was a gift of 1000 francs, and for
each woman 900 francs. Such an institution as the
Conservatoire soon brought out a number of distin-
guished instrumentalists and vocalists.
CHAPTER V.
1795–1797.
Solfeggi—Cherubini's pupils—His republican hymns—Foundation of
the Institute-Cherubini's marriage-Notice of his children-The
Medea.
In the year of his appointment as an inspector of the
Conservatoire Cherubini commenced writing solfeggi,
the manuscripts of which are now in the Conserva-
toire Library. His labours as a teacher also now be-
gan, and he who had been the assiduous pupil of
Sarti ultimately became the master of Kuhn, Tariot,
Auber, Berton, Baillot, Batton, Carafa, Leborne, Ha-
lévy, Boieldieu, and Zimmermann, to more than one
of whom he imparted that nobility of style so pecu-
liarly his own. Of these, Batton in 1817 carried off
the grand prix for composition, given by the Institute.
Halévy, for five years Cherubini's pupil, took it in
1819, and Leborne in 1820. Cherubini made his
pupils do what he had done himself under Sarti, viz.
copy out, at times, works by other composers; for
he said that although such works might be mediocre,
yet they served this purpose, 'pour apprendre d'eux
à ne pas donner dans le travers.'
Fétis denies that Boieldieu ever was Cherubini's
pupil, but Halévy writes : 'Boieldieu went and placed
76
Memorials of Cherubini.
himself under Cherubini's direction, ... and asked
him the secret of rendering the musical idea more
copious, the thought more complete, the form more
living and salient. The disciple, worthy of the mas-
ter, returned strengthened and animated with a more
powerful inspiration; the beautiful works which he
has written since are a testimony to that.' This was
shortly after the production of the Calife, and when
Boieldieu had gone through few studies in his art.
Cherubini being now a government official, we
can see how it was that he came to write some of
his eight republican hymns. Though the composi-
tion of these does not begin to date, as Cherubini
states, from 1795, but from 1792, yet three of them
were written after the year of his appointment as
one of the inspectors of the Conservatoire ; while
Denne-Baron states that as early as the June of 1794
Cherubini was called to fulfil official functions as
professor at the Ecole de Musique de la Garde
Nationale. This was the time for patriotic songs,
and Cherubini, forced by straitened circumstances
to accept more than one civic post, could hardly
avoid writing something for the Mountain. Clément
deems the composition of the republican hymns far
more excusable in a foreigner like Cherubini, who
had no special tie binding him to the French
1 Notice sur A. Adam, p. 15.
Republican Hymns.
monarchy, than in his French fellow composers; but
when, according to the Moniteur of the 26th of
January 1796, De Loménie finds Cherubini, 'the an-
cient protégé of Marie Antoinette, presiding at a
musical party to celebrate the anniversary of the
death of Louis XVI. and directing the execution of a
chorus, in which may be heard “the oath of hatred
to royalty,' such proceeding is less defensible. But
is the tale true? Of his eight republican compo-
sitions Cherubini says, "These pieces, of each of which
I have not the exact date, were composed at different
periods of the revolution, counting from this year
(1795) up to the year 1798. Clément, who tells us
more about these hymns than Cherubini himself,
omits the “Hymn to the Pantheon,' which Cherubini
mentions first in his catalogue, and marks as pub-
lished. The Ode for the 10th of August 1792, the
words by Lebrun of the Institute, made some stir,
and has called forth from Clément the following re-
marks: The expression of the most violent pas-
sions in the text contrasts with the harmonious
charm of this composition. The accompaniment is
formed by clarinets, horns, and bassoons, which play
during the burden of the song an interesting march.
The Hymn to Fraternity (the words by Th. Dés-
orgues) was sung in the gardens of the Tuileries on the
1st Vendémiaire, an 2 (Sept. 22d, 1793). Then we
78
Memorials of Cherubini.
have the 'Ode on the 18th Fructidor,' the day of the
conspiracy of the poniards; the “Salpêtre Républi-
cain,' sung in Pluviose, an 2 (Jan. 1794), at the fête
for the opening of the works for the extraction of
saltpetre. The ‘Hymn and Funeral March for the
Death of General Hoche' (the words by M. J. Chenier)
was sung in the Champ de Mars on the 10th Vendé-
miaire, an 6 (Oct. 1st, 1797), in the state funeral cele-
brated in honour of that distinguished soldier :
Du haut de la voûte éternelle,
Jeune héros, reçois nos pleurs !'
· This composition,' says Clément, 'which the key of
G minor renders so mournful, has every beauty. It
was subsequently represented at the Grand Opéra as
a one-act piece, under the title of Pompe Funèbre,
with additional instrumentation, on the 11th of
October 1797, and, according to Arnold, in 1798.
Then comes the "Hymn for the Fête de la Jeunesse’
on the 10th Germinal, an 6 (March 30th, 1798); and
lastly, the “Hymn for the Fête de la Reconnaissance'
on the 10th Prairial, an 6 (May 29th, 1798). Clément
remarks that the accompaniment of the latter is
treated in the most melodious manner. It is curious
that in the face of these eight republican hymns
the Niederrheinische-Musik-Zeitung should assert, that
although ... the change produced in men's ideas by
the revolution exerted a deep influence on his (Che-
Foundation of the Institute.
79
rubini's) style, it is a characteristic fact that the
patriotic enthusiasm, which at that period seized
even upon musicians, and impelled them to compose
revolutionary songs, &c., did not affect Cherubini.
He wrote nothing of the kind; while, after Rouget
de Lisle’s “Chant de l'Armée du Rhin” (the “Marseil-
laise'), Méhul composed “Le Chant du Départ,” “Le
Chant de Victoire,” and “Le Chant de Retour;"
Gossec, "La Ronde du Camp," the “Hymn to Reason,"
the “Hymn for the Festival of the Supreme Being;"
Gaveaux, “ Le Reveil du Peuple," &c. Castil-Blaze
in his Académie mentions a “Hymne funèbre sur la
Mort du Général Joubert' (the words by Chaussard),
and a “Hymne à la Victoire' (the words by Flins), as
compositions of Cherubini, which were performed on
the stage at the Opéra National (as well as the
‘Hymne à la Fraternité,' and the Ode sur le 18
Fructidor), but Cherubini makes no mention of these
two hymns. There was, as we see above, a Chant
de Victoire' by Méhul.
On the 25th of October 1795 the Institute was
founded, and the three places assigned to musicians
were bestowed on Méhul, Gossec, and Grétry; thus ex-
cluding Cherubini, who, however, was an Italian, and
so could hardly be placed before three famous French
composers. In 1816, Louis XVIII. increased to six
80
Memorials of Cherubini.
It was in 1795 that Cherubini married Cécile Tour-
ette, already mentioned, who was a faithful com-
panion to him through life, and bore him three
children—a son and two daughters : Salvador, an
died just before the late war between France and
Germany; Victoire, the elder daughter, who married
M. Turcas, military commissary of Paris ; Zénobie,
the younger daughter, who married the celebrated
artist Hippolyte Rossellini. A granddaughter of Che-
rubini married M. Duret, a sculptor and member of
the Institute. Madame Cherubini died at Neuilly on
the 1st of July 1864.
Il Perruchiero is mentioned by the writer in the
Niederrheinische-Musik-Zeitung as appearing in 1796,
and which he supposes to be an old intermezzo of
Cherubini's arranged for the stage. There is no
mention of this work in the catalogue.
Lodoïska had been somewhat gay. After a three
years' interval appeared Elisa, a work of a graver
cast. Before the composition of these works there
had been a struggle going on in Cherubini's mind
between two styles. A perfect education, a natural
bias, made him lean towards what was strictly classi-
cal. As an Italian he might feel some patriotic
love for the popular music of his native land. But
he might suspect the fate of the Italian music of that
Medee.
81
age, and he therefore chose the path which Glück
had taken, and into which Beethoven was hurry-
ing. The profound solemnity of a true dramatic
school was to be attained by him in the delineation
of a tragedy. Lodoïska and Elisa were but steps on to
the Medea, the severest of all Cherubini's works, and
where, among his operas, he is most in earnest.
Alas that the librettist should not have done his
duty! Had Hoffman written a proper book, Medea
would now perhaps be everywhere known. A few
the whole sad story in an awful and pathetic manner.
Mark the breadth, the momentum of the opening,
the rolling as it were of the tide of human passion.
duegro.

Biobase
LEHEL
II FIO TO
MTOTO

What a contrast to this subject is the second
82
Memorials of Cherubini.
motivo, so simple and unobtrusive, yet so full of
po Violin 2.
Violin 1.

.
$c.
Fagotti. P
Viole. ..
lein
i
1
feeling, with its pendant a little further on where
the emotion would seem to swell with the intensity
Viol. 1.4 sf p

tys
Viol. 2.
Viola.
Celli. S2
Bussi.
I keep
Rubia
Rhe
Sve.....
of grief, and then that sorrowful passage, with its
haunting melody for the violins, until the silence of

Viol. 1.
Stacc.
Viol. 2.-36 Viola.
Stacc.
ole 0--929
S5-63
Bassi. jo?
Bassi.'
settled despair has come, broken only by the sobs of
the instruments !
Modée.
83
83
Flute.
Vior, 1. pe
Flute.
9-6

Ob. o
e Vip
eli ppo
&c.
p Cello. p.
232-
pp
pro-
But I am speaking of an incomparable poem
known to most lovers of classical music. Mr. George
Grove says of it: The intention of the overture-
doubtless designed to reflect the story, though quite
independent of the opera itself-every hearer may
best interpret for himself. Though a most effective
composition, and as an orchestral piece of music full
of beauties, it appears to the writer to belong more
to the region of pure music—of the overtures to the
Zauberflöte and Cosi fan Tutti — than to those more
romantic and picturesque compositions of which
Beethoven gave the world the earliest examples
in his Coriolan and Leonora, and which Mendelssohn
continued in the Hebrides and Melusina, and other
grand and delightful compositions of this class. With
all its power and skill, Cherubini's mind was too con-
servative and classical to permit of his entering on
this path in the orchestra. But his overtures are so
pure, so free from everything petty or commonplace,
and so abounding in beauty, that while listening
ET
on-
Memorials of Cherubini2.
.
to them one may well be pardoned for forgetting
that any school of music ever existed but that of
which they form so bright and enduring an orna-
ment.
And now I hope to be excused for indulging in
rather a long quotation. The admirable criticism of
the late Mr. Chorley on the Medea says all that I
could wish to say, and better than I could express it
in my own words.
In 1844 the repertoire of the Frankfort theatre was
tolerably rich and wide, including such works as the
Unterbrochene Opferfest of Winter, the Fernand Cortez
of Spontini, and (greatest rarity of all) the Medea
of Cherubini. Though that fine composer, by birth
Italian, has always been more thoroughly relished
as a composer in Germany than in his native coun-
try, or in the city of his adoption, Paris ;-though
his Les Deux Journées still keeps the stage there (an
opera of which it seems impossible to procure a
hearing in England), his greatest tragical drama
in music can hardly be said to exist anywhere. It
was only retained on the Frankfort list. possibly for
the purpose of maintaining the dignified and classi-
cal character of the theatre. Seldom were the dig-
nity and classicality of Medea, I suspect, allowed a
2 I have ventured to add a few simple musical illustrations.
3 This was written in 1854.
Medee.
85
chance of vindicating themselves to the sprightly
audience of men of business and passing tourists
that attends the Frankfort theatre. And the per-
formance of the opera, that I heard in August 1844,
was notoriously a piece of complaisance on the part
of Herr Guhr, then the musical director, to Dr. Men-
delssohn; being in this respect, too, worthy of com-
memoration among the pleasant illustrations of ar-
tistic intercourse and courtesy in Germany. I believe
that no musician or amateur, who then heard Cheru-
bini's Medea for the first time, left the Frankfort
theatre without enthusiastic admiration of the music,
and without deep regret that an opera so sublime
should so soon have passed into the rank of those
poems written in a dead language, which, though
from time to time disinterred and interpreted for
the benefit of the scholar, have no longer a popular
existence or acceptance. The music to Medea, in
obedience to the arrangement of the drama, is sin-
gular in construction. The opera might be objected
to as one too largely made up of solos and duets,
were it not for the ingenuity with which the chorus
is employed, to heighten and work up several of the
movements, so as to conceal the monotony which
else must have resulted from such a general want
of complication. After the wild and fiery overture
86
Memorials of Cherubini.
concerts, the music commences with a chorus of the
female attendants of Dirce, on a gracefully delicate
motivo, and deliciously instrumented—the viole di-
vided, and the bassoons supporting the second vio-
lins in the airy triplets with which they bear up and
connect, as it were, the disjecta membra of a subject
thus broken:
This is followed by an air of parade for the chosen
bride of Jason, which, though brilliantly and buoy-
antly accompanied, is not effective, owing to the
dryness and insufficient interest of the vocal part.4
Allegro.
LULU
Hola Ada Hora
"The Grand March-which introduces Creon (the
basso), Jason (the tenor), and the full chorus --- is
4 This is surely deemed one of the beautiful airs in the work ?
· Medée.
87
one of Cherubini's stateliest marches, almost ap-
proaching the stateliness of Handel.

Staccato.
“Its dignity and vigour will be best appreciated by
comparing it with such a classical march as that by
Spontini in La Vestale. The solo of Jason addressed
to Dirce is weak: what composer is there, indeed,
who has been able to make the false lover in opera
interesting? There are few things, however, finer
in music of any age than the following solo, with
chorus and principal voices, in which Creon invokes
a blessing on the coming nuptials. Here, again, the
orchestral portion is rich and sonorous in no com-
mon degree; having that well-nourished substance
in its tenor, or central part, which the modern race
of effect-mongers too largely disdain ; rising and
swelling into a serene and noble grandeur, befitting
a prayer, which was supposed to reach the divinities
of Olympus on their thrones of“ eternal tranquillity.”
This solo offers almost the last moment of repose
and happiness which is to be found in the opera.
The next scene abruptly introduces the Colchian
88
Memorials of Cherubini.
sorceress, to upbraid and threaten, and in turn to be
warned and menaced by Creon, who fancies that he
has power strong enough to drive the evil influence
forth. This is done in a piece of declamatory music
so full of force and judicial terror, that any mortal
woman must quail before it, were she even among
queens imperious as Athalia's self. Not so, however,
Medea, the sorceress -sovereign. She allows the
storm to break on her head, but it does not bow or
bend her. Retaining Jason when the rest are gone,
she endeavours once again to cast her enchantments
round him; at first by the tale of her sorrow. Her air
in F major : _virtually the sortita of the prima donna,
and a fine specimen of Cherubini's cantabile style-
has still its singularities. The abrupt cry, not to
call it jerk, on the word “ingrat!" which finishes
many of the phrases, and which unexpectedly starts
out simultaneously with the last notes of the closing
In-grat,
sympb.ony, falls on English ears as one of those bit-
by-bit settings of single words, which, however spe-
cious, are so false in point of art, whenever, as here,
they interfere with the general spirit of the compo-
sition.
Medée.
89
Larghetto.
da Hola Hota thela
to
In-grat,
in-grat, in-grat.
“But were this blemish fifty times as great as it
is, it would be forgiven and forgotten for the sake
of the duet (in E minor) betwixt Medea and Jason,
“Perfides ennemis,” which closes the first act—one
of the most highly wrought and thoroughly sus-
tained explosions of passion existing in opera. The
vocal parts are in the most forceful declamatory
style, grand and simple, generally broken; yet,
where relief is needed, subsiding into large con-
tinuous phrases, as on the first introduction of the
words,
MEDEA.
O Fa - ta - le toi - son,
The orchestra is treated with a fire, an amplitude, an
ever-increasing animation and interest, the remem-
90
Memorials of Cherubini.
brance of which arrests the breath. The scene may
be, perhaps, too long for the possibility of its being
adequately supported by the pair who are in dia-
logue; but who can wonder if the composer, con-
scious of such riches of resource, was seduced into
excess ? On considering it without reference to this
practical difficulty, admiration is unbounded; and
even with the faltering, exhausted Medea and Jason
before us, whom the Frankfort theatre afforded, the
ear was so borne along, and the attention was so
fascinated by that wondrous and brilliant orchestra,
as to be incapable for the moment of cavil, question,
or regret. The close of this first act of Medea is, I
repeat, one of the marvels of music; almost in opera
what one of Lear's great scenes is in tragedy. After
such a scene, it was impossible to raise the excite-
ment higher— difficult even to recommence. But
the force and fervour of Cherubini throughout his
Medea are remarkable. The instrumental introduc-
tion to the second act has an importance and a cha-
racter which at once compel the ear to listen; and
after three short scenes of spoken dialogue comes
the first of two further duets, in which Medea en-
treats from Creon permission to tarry a while longer.
To this some variety is given by fragments of dia-
logue and chorus being skilfully inwrought with an
excellent courage; heightening the probability of the
Medée.
go
effect, and animating the scene. Next succeeds an
arietta for Neris, the attendant of Medea, deliciously
scored, yet felt to be an interruption rather than a
repose—a fruitless lull in the storm, which is driving
on with its current of wreck and ruin, however mu-
sically necessary to give the principal singer a mo-
ment's breathing-time. Then comes the last duet
between Medea and Jason, in which the tempest
breaks out with a yet wilder fury than before. In
this will be observed one of the earliest and finest.
specimens of the tremolando-that expedient since
so vulgarised by misuse—here called into play to
picture the fever of wretchedness, suspense, dismay,
in the deserted Medea, and of cowardly shrinking in
her false lover. As a whole, however, this duet can
in no respect be said to surpass the duet of the first
act, as was demanded by the sentiment and the
situation. We are now at the grand bridal scene,
which sets a seal on the wretched woman's agony,
The important portion of this is the religious march
and chorus, to which the procession moves, since the
central slow movement, or concerted piece, intro-
duced according to canonical usage, is weak, save
at the moment of interruption, when Medea’s ejacu-
lation (this, strangely enough, is spoken, the or-
chestra alone giving the sinister contrast required),
“Ecoutez aussi ma voix, 0 Hyménée !"
92
Memorials of Cherubini.
0
NY
un poco pile moto.
reminds us that there is present at the banquet a
Fury, who has come thither unbidden. But the
march is worthy of all honour and study.
Tempo di marcia.

077

bodo
W00011
8C.
All that is known and conjectured of the Greek
modes was obviously familiar to Cherubini, as must
B-
629
be felt in the unisonal choral hymn, “Fils de Bac-
chus,” and in the ordinance of the instrumental strain
which moves in antiphony, contrast, and lastly in
Medée.
93
support of it. Those who are curious in the matter
will find much interest in comparing this movement
with the Greek religious marches of Glück. In them
the sentiment of beauty is far stronger and sweeter.
Cherubini is comparatively antique, remote, in some
measure cold. I have heard this ingeniously ac-
counted for on the hypothesis that the trouble in
the rite caused by the presence of Medea had en-
tered his mind; that he wished to paint the bridal
torches dimmed, and the garlands withered, and the
flutes and recorders turned to unconscious wailing,
by the spell of her ill-boding presence. But to me
this is a far-fetched solution-a theory made after
the fact. These impressions of coming gloom and
from Medea's self, but not mingle with it; or, if the
voices of the singers should be afraid, on seeing that
pale witness of their praise and prayer, the hymn
itself should have no fear. A right conception of
the moment would vividly contrast the jubilation of
the people and the pent-up wrath of the avenger,
not fuse them together. But this again, as Sir Tho-
mas Browne says, “is philosophy;" and the rationale
of the character of this music I imagine to lie in no
5 Greek art,' says Halévy, 'seems to be seated in the study-
rooms of Méhul and Cherubini, as well as in the studios of David'
(Derniers Souvenirs, p. 212).
94.
Memorials of Cherubini.
such subtle distinctions and conception as the above
considerations embrace, so much as in the individual
nature of Cherubini, to which sweetness, as distin-
guished from dryness, seems to have been sparingly
given. The impression of beauty produced by his
works is, comparatively speaking, faint and rare; in
Glück's operas it is everywhere. Yet the scene is,
to the close of the act, of very high quality; and the
final burst with which Medea rushes to the altar, and
snatches thence a blazing brand, besides being dra-
matically fine, as carrying expectation forward, makes
another of those declamatory moments of which this
great part is only too full. When I saw it on the
stage, it brought back to me those lines from Barry
Cornwall's poem to Pasta :
"Now thou art like some winged thing that cries
There still remains the consummation of Medea's
vengeance, the triumph of her power, which tramples
beneath its feet her own remorse, in its fiendish reso-
lution to immolate and to destroy. This would seem
its composer. The “death and wild despair” with
which it is filled are “lengthened out” with a ven-
geance. The storm-prelude with which it opens
one of the finest storms in music which exist, Beet-
hoven's Pastoral Symphony not forgotten-has almost
Medee.
95
LU
the development of a grand overture, occupying
twenty pages of the score. From the time that
Medea appears on the scene, in the midst of this
tumult of the elements, she is never again allowed
to quit the stage. The remainder of the opera con-
sists of two scenas for her, both on the grandest
scale; the first with her children, the second as the
triumphant Nemesis, dealing destruction round her.
To point out all the noble passages with which these
tremendous scenes are filled, and the manner in
which the composer's inspiration was always present
to himself, always equal to the moment, is not pos-
sible. The examples of declamatory music which
they contain are only exceeded by Glück, inasmuch
as he could render force as violent and frenzy as
tempestuous, with a larger admixture of beauty.
But, on the other hand, the instrumental portion has
a verve, a variety, and a might which, at the period
when Glück wrote, were undiscovered. There is
nothing in Beethoven's Fidelio worthier of close
study and fervent admiration. One hundred years
hence it will remain to be as new as the organ-
music of Bach, as the choral fugues of Handel, as
the melodies of Mozart are now. Perhaps then it
may be, like them, resorted to as a frequent object
of delight, comparison, and instruction. The prac-
ticability of the work may then be laid out of con-
LLL
96
Memorials of Cherubini.
sideration, and the countless examples it contains
of skill, grandeur, and freedom of vigour may be
relished and considered as they deserve.
“Such being a few among the excellences of this
noble work—the one classical opera of more recent
date than Glück's in which the grandeur of Glück
is approached-the universal in difference, if not posi-
tive oblivion, into which it has fallen, is worth con-
sidering with reference to its cause. It cannot be
said that Medea has passed from the stage, because
of the world's resolution to have no more Grecian
stories. Long after it had vanished thence, Simone
Mayer's weaker music on the same fable, ill-arranged
enough, drew crowds to every opera-house in Eu-
rope, to see the Colchian Queen and Sorceress pre-
sented by Pasta. More lately still have we seen the
life of old French classical tragedy asserted by Ma-
demoiselle Rachel. Nay, to take the strongest and
most conclusive instance possible, can it be for-
gotten how, when a translation of the Antigone was
played a few years since in a London theatre, for
the sole purpose of introducing Mendelssohn's cho-
ruses to the tragedy, which were then a novelty
though the music failed to please, owing to ineffi-
cient execution, the drama attracted delighted
crowds, night after night, to witness its representa-
tion? For every genuine creation of which a rea-
rus
Medée.
97
sonably good interpretation is possible, there is
always, I firmly and increasingly believe, a public
to be found—a public willing to allow for the taste
of an olden time, to be patient with some tedious-
ness, to show humility in accepting that which is
strange. But Cherubini's Medea hardly comes within
the circle of works thus described. It is an opera of
which the fair execution (as we now understand
the word) is hardly possible. I have never seen or
to command the tragical requisites for the part of
Medea, had physical power to execute Cherubini's
music,—with the exception of Madame Stöckl Heine-
fetter, and, possibly, Mademoiselle Cruvelli. I am
told by old German opera-goers that this Medea was
one of Madame Milder's grand parts; but no one-
not even Madame Schröder Devrient in her best day
-seems precisely to have replaced Madame Milder.6
Even before the tremendous third act commenced, the
zealous young lady (Fräulein Neuther) to whom the
part was allotted at Frankfort sank into a state of
utter impotent weariness, which, however justifiable,
was totally fatal to the closing portion of the tragedy.
From this, there is no deliverance by strong will —
none by the most exquisite musical culture. Once in
What would Mr. Chorley have said had he heard Malle. Tietjens
in the part?
98
Memorials of Cherubini.
a century may come a Catalani, with a voice, as it
were, of adamant and gold-of everything that is
most enduring and precious-capable of undergoing
the strain and fatigue of such a long display of un-
measured emotion; but after Catalani's compass and
lungs are found, we must then ask for Pasta's gran-
deur of expression, and delicacy of reading, and :
statuesque sublimity of attitude, and withering scorn,
and fearful vengeance, and maternal remorse, ere
the creation of the musician can be rightly filled
up.
The charming songstress and capital actress to
whom the part of Medea was confided on the pro-
duction of that work at the Opéra Comique in Paris,
in 1797—Madame Scio— died in the prime of her
glory of a pulmonary affection, which, it has been
said, was exasperated, if not brought on, by her
singing in this very opera. It must be further owned
that the entire part is written most ungraciously for
the voice—that besides its merciless length and de-
mand upon the energies, it perpetually claims quali-
ties which are not vocal;—in this how different it is
from the music of Handel, of Glück, of Mozart, of all
the great Germans, in short, who have thoroughly
understood the means which they have had to em-
ploy, and who have known that greatness bends to
its materials-does not break them! That a man
Medée.
99
2T
.
COM
who, like Cherubini, was born in Italy, and who had
commenced his career not merely by patching Italian
operas, but by composing in the modish Italian style,
should have ever arrived at so murderous a dis-
regard of his singers, seems at first sight curious.
Yet his is not a solitary phenomenon. A like, cruelty
to the voices (though less in its degree) may be
complained of in Spontini's operas. The want of
sweetness in the nature of the artist, which uni-
versal testimony ascribes to Cherubini, may have
caused this want of concession and charm in his
music; and if it rendered himself moody, sarcastic,
unsympathising with the young and harsh among
his contemporaries, it has done him the greater
wrong of interposing a fatal barrier betwixt his great
and magnificent ideas, and the world that is in no
wise averse. to anything great or magnificent. It
was sad, on leaving the Frankfort opera-house-
after an evening so signally to be marked with a
white stone in the calendar of holidays—to be satis-
fied that there were few reasonable chances of ever
hearing Cherubini's Medea again, and fewer chances
still of ever hearing it executed in anything like ac-
cordance with the power and poetry of the com-
W
reas
ces
er
poser.??
It has been performed several times in England.
7 DIodern German Music, vol. ii. p. 222.
100
Memorials of Cherubini.
The last performance was on the 3d December in
1870 at Covent Garden. Malle. Tietjens was ad-
mirable as Medea, otherwise the performance was
not satisfactory. In Germany, Herr Lachner has put
the dialogue to, recitative, and Moscheles wrote
shortly before his own death: 'It was a great under-
taking, but I have at last realised my desire to hear
Cherubini's Medea with Franz Lachner's Recitatives;
but the intense interest with which I followed every
note was too much for me. 8
The first representation of Medée took place at
the theatre Feydeau on the 13th of March 1797, and
a journal called the Censeur made the following re-
mark on it: 'Cherubini's music is often melodious,
and sometimes manly, but you find reminiscences
and imitations of Méhul's manner. To this Méhul
himself replied: 'O censor," he said, “you do not
know this great artist. But I, who know him, and
who admire him because I know him well,—I say, and
can prove to all Europe that the inimitable author
of Démophon, of Lodoiska, of Elisa, and of the Medea,
has never had need of imitating in order to be by
turns elegant or full of feeling, graceful or tragic--to
be, in a word, this Cherubini that some persons would
accuse of being an imitator, but whom, unfortunately,
• The Life of Moscheles, adapted from the German by A. D. Cole-
ridge, Esq., end of vol. ü.
Medée.
101
they do not fail to imitate on every possible occasion.
This artist, justly celebrated, can find one censor to
attack him; but he will have for defenders, all who
admire him, that is to say, all those who are made
for feeling and appreciating grand talent.'
On the 17th of April 1800, the Medea with trans-
lated text by Herklotz, was performed at Berlin
with Mme. Schick as Medea. In 1814, Mme. Milder-
Hauptmann undertook the part in Vienna. The
opera was a favourite with Schubert. M. Clément
tells us that on asking Auber what his opinion was
of Medea he received the curt answer, “C'est la mu-
sique bien faite. For more than a year Cherubini now
comparatively rested from composition, as though
exhausted with the effort of producing the grandest
of all his operas.
CHAPTER VI.
1797--1800.
Napoleon and Cherubini — Their mutual antagonism-L'Hôtellerie
Portugaise-La Punition—The pasticcio La Prisonnière, by Boiel-
dieu and Cherubini—The latter becomes one of the jury for exam-
ining works for the Grand Opera-Les Deux Journées-Opinions
on the opera-The Escapes, by Attwood.
BEFORE Napoleon became First Consul, he had been
on familiar terms with Cherubini. One evening, when
an opera of Cherubini was being performed, and
he and Napoleon were present in the same box,
Napoleon turned to Cherubini and said: 'My dear
Cherubini, you are certainly an excellent musician;
but really your music is so noisy and complicated,
that I can make nothing of it;' to which Cherubini
replied: "My dear general, you are certainly an ex-
cellent soldier; but, in regard to music, you must
excuse me if I don't think it necessary to adapt my
compositions to your comprehension. This is said
to have been the beginning of their estrangement.
The biographers state that if Napoleon wanted
Cherubini, he had always to go in search of him,
Napoleon and Cherubini.
103
the composer showing his indifference to the con-
queror by never taking the initiative and seeking
out Napoleon.
In 1797, Napoleon returned from Italy and di-
rected the musical taste of the capital by his admira-
tion of the Italian composers to the depreciation of
the German. He had brought with him from Italy
and wished it to be performed. He accordingly
sent it to the Conservatoire. Sarrette, the director,
thought this occasion a good opportunity for letting
Napoleon hear something really first-rate as well as
Paisiello's poor march; and also for showing him
what the newly-founded Conservatoire could do in
the way of a performance, and the progress made by
the students. Accordingly, Cherubini's hymn and
funeral march for the death of General Hoche were
settled upon for performance on the 28th of Decem-
ber, before the Conservatoire, Napoleon, and his
ministers. Every one about Napoleon highly praised
it. But, whether vexed at a performance which, it
is said, did not go off well, or at another hero besides
himself being praised, or at the originality of the music
which had so little in common with Paisiello, Napo-
leon came up to Cherubini after the concert, and with-
out saying a word about the latter's work, launched
forth into exaggerated praises of Paisiello, whom he
104
Memorials of Cherubini.
styled the best composer of the age; and in order to
deprive Cherubini of taking the honour of a second
place among living composers, asserted that, after
Paisiello, Zingarelli was the only one who knew how
to compose beautiful music, whereupon Cherubini
replied disdainfully, “Passe encore pour Paisiello,
mais Zingarelli!' This said in a low tone somewhat
startled Napoleon, and it seems likely that he did not
forget Cherubini's reply. Picchianti says that Cheru-
bini did not reply to Napoleon at all, but on this
point nearly all the biographers are against him. In
the account of the above performance, before Napo-
leon, Fétis first of all says: "General Bonaparte on
returning from his brilliant campaign in Italy, asked
the Conservatoire to play before him a very poor
march composed for him by Paisiello. Advantage
was taken of this circumstance for letting him hear
a cantata and funeral march, written by Cherubini
for the obsequies of General Hoche. Whether the
hero was displeased at another military glory being
sung before him; whether he was hurt, that they
had not confined themselves to what he had desired
to hear, he showed ill-temper. Compare this with
his statement in another place: 'In 1797, General
Bonaparte put to competition the composition of a
funeral march on occasion of the death of General
Hoche; Paisiello and Cherubini each sent the piece
Napoleon and Cherubini.
105
demanded. This latter version agrees with Arnold
as to Cherubini's work, and with Lafage, who says
that Cherubini and Paisiello each sent in a march, and
that Napoleon, against the opinion of those around
him, gave the preference to Paisiello's. Napoleon,
after this, continues Lafage, wished to hear Pai-
siello's march again at a smaller concert, and it was
at this second performance that Cherubini's funeral
march for General Hoche was performed. It is, pro-
bably, the first of these two occasions to which El-
wart alludes, when he says that Napoleon heard at
the Conservatoire laudatory pieces on himself, by
Lesueur, Méhul, and Cherubini, and that when the
General made critical remarks on the latter's work,
Cherubini replied, "Général, lorsque vous faites un
plan de bataille vous ne consultez que votre génie.'
If there were two performances, the conflicting state-
ments can easily be adjusted. The only difficulty is
that Cherubini mentions composing no march in
honour of Napoleon. This, however, is pretty clearly
a mistake of Elwart.
On the eve of Napoleon's departure for Egypt in
the beginning of the summer of 1798, he happened
to be with Cherubini, and at once began bestowing
high praises on the Italian composers, adding, as well,
1 Biog. Univ. vol. ü. p. 266, vol. vi. p. 464.
2 Michaud's Biog. Univ. vol. i. p. 97.
106
Memorials of Cherubini.
some strange remarks on Cherubini's own works,
whereupon the latter indignantly replied: "Citizen-
general, occupy yourself with battles and victories,
and allow me to treat according to my own talent
an art of which you know nothing.' Napoleon was
at that time only a military chief, and turned away.
A year and a half later, when he had become First
Consul, such words would have been dangerous; yet
Cherubini, as we shall see, had some collisions 'with
Napoleon even when the republic and equality had
passed away.
In 1798, he wrote the one-act opera of L'Hớtellerie
Portugaise (the libretto by Aignan), which appeared
at the Feydeau Theatre on the 25th of July. This
little work is now only remembered for a trio, “Que
faire ô ciel, and the gay overture which, though
less elevated and artistic than the other great over-
tures of Cherubini, is yet a pleasing composition.
One of the finest parts is the introduction, which is
extremely quaint and mysterious—something too,
perhaps, in the manner of Spohr. Yet any one ac-
quainted with Cherubini would hardly mistake it.
After a few grand chords, reminding us of some old
ecclesiastical chant, this subject enters softly, given
out in a low register by the first violins, and subse-
quently rising in the scale as one by one the instru-
ments join in :
L'Hôtellerie Portugaise.
107
Larghetto
Violin 1.
1980
Soupes
Love
t'ivlin 2.
It is, doubtless, this portion to which Lafage al-
ludes when he speaks of the counterpoint in the
present overture founded upon Les Folies d'Espagne,
whatever work that may be. “It is impossible to im-
agine,' he says, “anything where the artifices of
science have been employed with more taste, grace,
and felicity. The allegro, on the other hand, is com-
posed of a number of themes, the effect of which is
a certain patchiness rarely seen in Cherubini's works.
No one liked the very poor libretto, and in 1803 it
was performed in Vienna with as little applause as
it met with afterwards in Berlin. The words were
altogether unworthy of the music.
On the 23d of February 1799, Cherubini brought
out another one-act opera, La Punition (the libretto
by Desfaucherets), at the Feydeau Theatre, and
wrote La Prisonnière, in conjunction with Boieldieu,
which was performed on the 12th of September 1799,
at the Montansier Theatre. This one-act comedy in
prose by Jouy, Longchamps, and St. Just, with
3 Arnold.
108
Memorials of Cherubini.
ariettas interspersed, had no success. Picchianti
errs in saying that Boieldieu and Cherubini worked
together both in La Punition and La Prisonnière.
The first was the composition of Cherubini solely.
In 1799, Cherubini became one of the Jury de
Lecture de l'Opéra,' and continued an effective mem-
ber of the jury established in 1808 for the examina-
tion of works presented to the Grand Opera, as also
a member, up to April 1824, of the “Conseil littéraire
et musicale, remodelled in 1816, and reëstablished
soon afterwards under the title of Jury for the Ex-
amination of Musical Works.
On the 16th of January 1800 (8th Nivose, an 8),
Les Deux Journées, known as the Wasserträger in
Germany, Cherubini's masterpiece in opera, was le-
presented for the first time at the Feydeau Theatre,
before all the connoisseurs of Paris, with the follow-
ing cast:
Armand, président à mortier du Parlement de
Paris . . . . . . . . Citoyen Gaveaux.
Constance, épouse d'Armand . . . . Madame Scio.
Mikeli, Savoyard d'origine établi à Paris, por-
teur d'eau . . . . . . . Citoyen Juliet.
Daniel, son père vieillard infirme . . . Citoyen Platel.
Antonio, fils de Mikeli, garçon de ferme au
village de Gonesse .
. . . Citoyen Jausserand.
Marcelina, fille de Mikeli et sæur d'Antonio . Malle. Rosette (ga-
vaudan).
Sémos, riche fermier de Gonesse . . . Citoyen Prévost.
Angelina, fille unique de Sémos, accordée avec
Antonio . . . . . . Malle. Desmares.
Les Deux Fournées.
109
Premier Commandant, 1 des TroupesItaliennes / Citoyen Dessaules.
Deuxième Commandant, S à la solde de Mazarin i Citoyen Georget.
Un Officier des Gardes, personnage muet . .
Premier Soldat Italien . . . . . Citoyen Darcourt.
Deuxième Soldat Italien . . . . . Citoyen Garnier.
Une sentinelle. Habitans de Gonesse. Gardes et soldats.
La scène se passe à Paris pendant les deux premiers actes et pen-
dant le troisième dans le village de Gonesse en l'année 1647.
every number. Two hundred representations did
not satiate the enthusiasm of the Parisians. In Ger-
many, and especially at Berlin and Frankfort, it was
hailed with acclamation. Riehl calls this opera
"emotion dramatised. The melody is charming, yet
united with all the highest contrapuntal science,
while the richness of the instrumentation may be
compared to the colouring of a Paul Veronese. As
Arnold says of it, “It always creates fresh interest. ..
Certainly it is perhaps one of the best of the class of
semi-serious opera that ever was written. The sub-
ject is interesting, the treatment good, and the music
incomparable.' Some of Cherubini's friends wished
the author to dedicate the score to Haydn, but with
characteristic modesty he replied, "No, as yet I have
written nothing worthy of such a master. The work
was dedicated to Gossec, and printed, we are told,
escapes of the persecuted Count Armand, who is be-
friended by the water-carrier, form the groundwork
of the plot.
110
Memorials of Cherubini.
*Bouilly,' says Picchianti, 'was the author of the
libretto, suggested by the generous action of a water-
carrier towards a magistrate who was related to the
author. The spirit of this dramatic conception per-
fectly suited the feeling and the tendencies of the
public at that time, since, after witnessing so many
acts of cruelty, they felt the need for returning to
the pleasures of kindness and sensibility of heart.
The libretto was so well devised, and so interesting,
that Goethe considered it a true model in the style
of comic opera. The musical composition, too, pre-
sented so many particular beauties, such great per-
fection, that from that time it took its rank as a
classical work. And in Germany the work was re-
ceived with such admiration that the most famous
composers did not hesitate to study it, and Beethoven
especially, who always used to keep it ready at hand
on his table. The old systems of the time in which
the dramas used to be composed almost exclusively
of airs were beginning to be destroyed, whilst in this
opera, with the exception of a duet and a canzonet,
the whole was composed of concerted pieces and
choruses, in a new style, full of vigour and charm.
The ensemble of the harmony and the instrumenta-
tion is disposed and conducted in such a masterly
manner, and with such a spontaneousness, force, and
clearn.ess, that it need not fear comparison with the
compositions of the present day, when errors and
Les Deux Fournées.
III
negligence often remain concealed under the noise
of an orchestra that deafens the audience. Among
the grandest musical conceptions is counted the mag-
nificent finale of the first act, which possesses a truth
of dramatic expression, and an entrancing variety
of appropriate colour, which it seems impossible to
surpass. The same may be said of the second act,
especially for the rhythmical movements of the in-
struments, so happily suited to the situation in the
drama, as for instance when the two officers pro-
nounce the words, “ Exécutez les ordres du célèbre
Mazarin;" a kind of plain chant worked out in the
form of a march, and supported by chords of a re-
ligious character, seems to recall the grave func-
tions of the Cardinal minister. There is also some-
thing singularly mysterious and fascinating in the
movements of the violas at the moment of the
count's escape. Lastly, the chorus that is united
with the brilliant march presents, on account of
the originality of the invention, the conduct, and
exquisite taste of the harmony, a true musical beauty.
Almost the whole of the third act is composed of
choruses, and is not inferior to the rest of the opera;
the refrains that alternate with the recitatives seem
beautifully worked out. When the sublime transi-
tion that is found on the words “ céleste providence"
was heard for the first time in the finale of the first
I I2
Memorials of Cherubini.
act, the enthusiasm of the public knew no bounds,
and the acclamations resounded throughout the
theatre. As soon as the curtain fell, the pupils of
the Conservatoire, moved by the love and admira-
tion which they felt for their master, scaled the
orchestra and congratulated him with transports of
joy. And Grétry himself, who had been wont to
love no other music but his own, having put him-
self at the head of the chief composers who hap-
pened to be then in Paris (viz. Martini, D’Alayrac,
Gossec, Lesueur, and Méhul), went with then, as
soon as the opera was over, to congratulate Cheru-
bini. So much for Picchianti, and what says Denne-
Baron? “The finale of the second act of Lodoïska
was a production without example on the French
stage. That of Les Deux Journées, in which the
composer elevates himself to the highest degree of
dramatic expression, by ingenious combinations of
the happiest song, sustained by all the brilliancy of
the orchestra, remains one of the models of its class.
You admire the marvellous art with which, in making
use of the effects of instrumentation, he gives to each
situation the tone and cast suited to it. He then
instances examples of this from the opera of Elisa,
and I have already quoted his words apropos of
that work. He proceeds to say: 'In the new system
which Cherubini brought in, his melodies, grave and
Les Deux Journées.
113
severe in Medea, lively and piquant in the Portuguese
Inn, naïve and touching in the Deux Journées, were
always perfectly suited to the subject, and written
within the compass of the human voice (?). In the
orchestra he assigned a part to each instrument, as
to a personage who has his own language and accent,
at times establishing between them intelligent dia-
logues, or combining their different tones in harmo-
nious groups, as far as to unite then in energetic
masses. In short, everywhere, on the stage as in the
orchestra, amplitude and power of development, and
agreeably to the necessities of the drama, delicacy
and elegance in the outlines, vigour in the ensemble,
effect as a whole, and ever purity and elevation of
style, nobility in the choice of ideas, and sagacious
and judicious disposition of all the parts.
Spohr, in his autobiography, says: “I recollect
when the Deux Journées was performed for the first
time, how, intoxicated with delight and the power-
ful impression that the work had made on me, I
asked on that very evening to have the score given
to me, and sat over it the whole night, and that it
was that opera chiefly that gave me the first impulse
to composition. Now hear Weber: Les Deux Jour-
nées was his favourite opera; and he writes from
Munich, in a letter to a friend, dated June 30th, 1812 :
- Fancy my delight when I beheld lying upon the
114
Memorials of Cherubini.
table of the hotel the playbill with the magic name
Armand. I was the first person in the theatre, and
planted myself in the middle of the pit, where I
waited most anxiously for the tones which I knew
beforehand would again elevate and inspire me. I
think I may boldly assert that Les Deux Journées is
a really dramatic and classical work. Everything
is calculated so as to produce the greatest effect;
all the various pieces are so much in their proper
place, that you can neither omit one nor make any
addition to them. The opera displays a pleasing
richness of melody, vigorous declamation, and all-
striking truth in the treatment of the situations, ever
new, ever heard and retained with pleasure. Trum-
pets have been introduced in the overture, and I
think they might produce a good effect in the al-
legro; but in the introductory adagio, the single
blasts on the horn alone are indisputably better in
the last all-powerful crescendo, more effective, and
more appropriate to lead up to the grand climax,
especially if the trumpets do not come in before the
E major. A part of the duet between Armand and
Constance was excellently given, but the commence-
ment completely spoilt. I was most disagreeably sur-
prised by an attempt to improve the composition in
the finale. One of the most heavenly passages was,
for reasons which to me are perfectly incomprehen-
Les Deux Journées.
115
YA
an
sible, deprived of all, its effect. After the quarrel of
the water-carrier with Marcelline, whose opposition
'makes him angry, and when she bursts into tears,
the fortissimo ought to be followed by a clarinet
quite alone, which should play the melody till first the
bassoon and then the violoncello take it up, while
the brother, consoling and supplicating his sister,
begins to sing. This invariably produces the great-
est effect. Here not only did the oboe play it, but
an accompaniment had been added! The very
difficult choruses in the second act went admirably,
They were sung and played with precision and fire.
Indeed, the second act was more rounded and spi-
rited than the first. In the third act I had again
occasion to regret some beautiful passages which
had been left out, especially the two or three words
pronounced by the farmer's daughter, “Ah, Antonio
does not return;" by the omission of which the mu-
sical passages clash with a total absence of plan.
If I have chattered, my dear friend, so much about
this opera, remember that we can never say enough
of such masterpieces, and so ardent a lover of art
as myself can count upon your indulgence.?!
4 Mendelssohn, writing to his father describing a performance of
Les Deux Journées, 'speaks of the enthusiasm of the audience as ex-
treme, as well as of his own pleasure as surpassing anything he had
ever experienced before in a theatre. Monthly Musical Record, 1872.
Writing to Devrient from Dusseldorf, February 5th, 1834, he says,
116
Memorials of Cherubini.
So great, remarks Gamucci, care the beauties
which the genius and science of Cherubini have
scattered over this score, that to enumerate them
one after another, and pass them in review, you
would want a whole volume.5
Lastly, Schlüter says of the opera : “The music is
perfect, being equally distinguished for tenderness
and expressiveness, and for noble simplicity and purity
of form.6 Criticism seems almost disarmed in speak-
ing of Les Deux Journées. No subsequent opera had
such success in Paris. Henceforth Cherubini became
more and more careless about making his music tally
with the poem. No wonder; given wretched libret-
tos, he could not but despise them; but a libretto has.
great power over the fate of an opera, often burying
it in a half oblivion, or causing its total banishment
from the stage.
Cherubini's operas have been accused of want of
We are now rehearsing the Wasserträger, and every note calls to
my mind Edouard Devrient; for it is just as if written expressly for
you. Tell me why you have never sung it. Is it because he has a son
who gets married ? In that case, I quote Rokko. Oris the music out
of fashion ? Jesting apart, you should think over the part and adapt
it, of course retranslating it for performance; get up the choruses and
action, and take the credit of having done a good thing. The first
three bars of the overture are worth more than your entire répertoire,
Prince Riguet included in the bargain. Why, you must remain in the
opera, if only for the sake of having a piece of fun such as this every
once and a while, and of letting others share in it' (Devrient's Recol-
lections of Mendelssohn, p. 171).
5 Gamucci, p. 24.
. 6 History of Music.'
Les Deux Journées.
117
ULU
melody, to which charge Fétis replies as follows:
* There is a copiousness of melody in Cherubini, espe-
cially in the Deux Journées; but such is the richness
of the accompanying harmony, and the brilliant
colouring of the instrumentation considering the pe-
riod when the work appeared; such, above all, was
the inability of the leaders of the public taste to ap-
preciate at that time the combination of all these
beauties, that the merit of the melody was not appre-
ciated at its just value; this merit was lost sight of
beneath all those things for which the French pos-
sessed no intelligence. He continues: • The same
critics and the same biographers, who hardly know
what they are talking about, assert that the author
of Elisa and Medea wants originality, while origin-
ality is precisely one of the most remarkable qualities
of the melodies that have been cited (viz. the duet
in the Epicure, the grand scena in Pimmalione, the
air « Suspendez à ce mur," in the Abencérages, that of
Anacréon, “ Jeunes filles," and the chorus "Dors, noble
enfant," in Blanche de Provence); since, although full
of charm, the forms are absolutely new
The writer in the Niederrheinische-Musik-Zeitung,
after saying that 'in nothing that Cherubini wrote
do we come across aught that is not noble, far less
upon aught that is low -- the noblest feeling per-
vades his style'-adds, “mere sensuous charm in his
118
Memorials of Cherubini.
melodies he despises. The melodies frequently flow
on in astonishing simplicity, but are mostly sustained
by artistic harmonies, in the combinations of which
he equals the greatest composers. The musical ideas
and motivi, moreover, are characterised by wonder-
ful sharpness; nothing is vague or obscure ; every-
thing is clear, distinct, and firmly drawn.'
Fétis adds to what I have already quoted from
him above: “There is a fault which can be remarked
upon in Cherubini's dramatic works with more jus-
tice, and which has, more than any other thing, stood
in the way of their success : I mean a certain ab-
sence of scenic instinct, which makes itself conspi-
cuous in the most beautiful works of his genius.
Almost always the first inspiration is happy; but
Cherubini, too much prone to develop his idea by
the merit of an admirable workmanship, forgets the
requirements of the action; the scene extends under
his hand; music alone preoccupies the musician, and
the situations become tedious. If you examine with
care all the full scores of Cherubini, you will see that
· all, more or less, reproduce this fault,'
To many it may seem that poor librettos are the
real cause of any defects in Cherubini's operas. Thus
the Medea, with a bad book, is at times dry and
heavy, while the Deux Journées, with a poem of which
Goethe and Mendelssohn approved, is faultless. Miel,
CU
Les Deux Journées.
119
in speaking of the strange fact that nearly all the
operas of Cherubini have disappeared from the
stage, admits the bad librettos, but adds: “The true
cause of this abandonment was a mediocre execution,
which ill suited compositions so full and crowded.'
He concludes with what all will agree to: "For con-
noisseurs attached to their studies, all these scores
(of Cherubini) are objects of a sustained, or rather
increasing admiration. The difficulty, however, of
performing any work nowadays is little or no-
thing. All the appliances of the orchestra have been
wrought to perfection, and the human voice can be
trained to attack anything. There is reason to be-
lieve that Cherubini's operas will make their way.
At any rate, if they do not, it will be the fault neither
of orchestra nor of singer.
The following criticism on the overture to Les
Deux Journées, signed “F. W. H.,' appeared in the
Quarterly Musical Magazine : 'In the first movement
there are some peculiarly felicitous passages, such
as the first six bars; at the seventh bar, where
the basses take a solo passage leading down to C
natural; and the passage marked crescendo poco a poco,
leading into the allegro. There are some uncom-
mon modulations, brought about with simplicity, from
A minor to G with one sharp; at the twenty-sixth
bar of this movement from B to D (by the seventh
I 20
Memorials of Cherubini.
upon A); and towards the end, where the ostave
passage occurs, beginning upon B; He has managed
the conclusion very ably, by accelerating the time
(marked più stretto) upon that passage, which was
heard in the first instance in allegro-a mode of
producing effect in which I perceive he has been
imitated by other composers. There is a great por-
tion of musical colouring observed throughout Les
Deux Journées, to which the natural brilliance of the
key in which it is set (E sharp) in no slight degree
contributes.
Professor Ella has lately said of the overture, "It
is thoroughly independent of any motivi in the opera,
and is one of his best and most original. To my
mind, there is no more striking effect of powerful
imagination, suggestive of the darkest imagery of
tragic incidents, than the whole of the introduction.
After the opening, slow lovely eadences of serene
Andante molto sostenuto.
.
ffpp Violin 1.

I
Violin 2:-
pap papo
Repeato
Cellot
Cello. Viola.
#
11
Basso, e
placid harmony, come the double basses, in a grand
Les Deux Journées.
121
figure of a yague character, reposing on a deep pedal
&c.
F
A
!
Celli e bassi,
note. How touching are the bewailing short melodio
phrases, so tenderly expressed, with the penetrating
chord of the augmented fifth in its simple structure !
Violin 1.1

JE
/
Violin 2:
Viola.
The mysterious tremoto of the violins, the wailing
effect of the flutes, the tragic responses of the basses,
SC

LAUTI.
Овов.
CLARINETTI.
FAGOTTI.
VIOLA.
1st VIOLIN.
2nd VIOLIN.
CELLI.
BABSI.
and the terrific utterance of the horns on the fifth of.
Cornz in E.
the dominant, until the grand climax of the allegro,
I 22
Memorials of Cherubini.
are in the highest degree suggestive, and have served
Weber and Mendelssohn to good purpose. I have
dwelt upon these details because they form in com-
bination one of the most powerfully-grand creations
of a poetical mind. The rest of the overture, of a
highly imaginative description, symmetrical, varied
in effects, with subjects in bold contrast, is not easy,
and demands a vigorous execution. As the chief
incidents of the drama are neither tragic nor very
impassioned, but rather of a sentimental, pastoral
character, I am inclined to think that this grand
heroic inspiration was not, as is usually the case,
suggested by the libretto of the drama.
There is one part of the introduction which I may
here venture to notice. I allude to the mournful
passage which occurs three times before the begin-
ning of that climax announced to us by the tremolo
of the violins and violas:
T

life
the
LOLIN
VIOLIN 2.
VIOLA
OTLLO.
Lecture on Les Deux Journées at the London Institution.
Les Deux Journées.
123
And in the allegro what a contrast to the opening in
its burst of triumph, what a rhythm and melody!
The overtures of Lodoïska, Les Deux Journées,
Faniska, and Medea, to which we must add Méhul's
Chasse du Jeune Henri, are models of our modern
instrumental music, so picturesque, so poetic, so full
of warmth and effect.' So speaks Oulibischeff; and
Mr. G. A. Macfarren observes that the overture to Les
Deux Journées alone, by the power of its ideas, their
admirable development, the peculiarity of its form,
a foremost rank among musicians in the estimation
of all who set the highest value on the greatest
order of artistic productions.'8
The performance of Les Deux Journées, which
took place at Drury Lane in 1872, for the first time in
England, contrasts favourably enough with the ver-
sion of it (?) given many years ago under the title of
the Escapes. The dialogue was set to recitative by
I
spirit and fire that left nothing to be desired. It is
8 Imperial Biography, vol. i. p. 1012. Towards the close of his
notice, Mr. Macfarren, to whose opinion weight must necessarily at-
tach, expresses himself less favourably with regard to Cherubini's
overtures. He says, "Notwithstanding the great merit of his over-
tures, this appears to have been the result of momentary inspiration
rather than of mastery in that style of writing; for he was manifestly
deficient in the principles of construction, and instrumental music was
therefore a department in which he was unqualified for success' (p. 1013).
124
Memorials of Cherubini.
deeply to be regretted that the work was only once
performed; for one hearing is not sufficient for that
full appreciation of any classical work which fämili-
arity alone can bring. It was not enough for Mozart's
opéras, nor for Weber's Der Freischutz; nor for Beet-
hoven's Fidelio; nor for Meyerbeer’s Robert le Diable,
nor is it enough for Cherubinis operas. The cast
was as follows: Armand, Sig. Vizzani; Michael, Sig.
Agnesi; Daniel, Sig. Zoboliz Antony, Sig. Rinal-
dini; Samos'; 1st officer, Sig. Foli; 2d officer, Sig.
Casaboni; 1st soldier, Sig. Sinigaglia; 2d soldier,
Sig. Balesca ; Constance, Malle. Tietjens; Marcelline,
Malle. Marie Roze; Angeline, Mdlle. Bauermeister;
a peasant, Malle. Rita: The Italian translation was
by Signor Zaffia
On the 14th of October 1801 the Escapes was
performed as a 'Musical Entertainment,' the cast
comprising the Misses Dixon, Howells, and Wheat-
ley, as Constantia, Angelina, and Marcellina respec-
tively; with Mr. Fawcett as Michello, Mr. Incledon
as Armand, Mr. Townsend as Antonio, and Mr. Sim-
mons as Daniel.' It has been said that not a note of
Cherubini's music was brought in. On an inspection,
However, of the score, which claims to be that of
the piece “as now performing with the greatest ap-
plause at Covent Garden, composed by Thomas Att-
9. Atheneum, 1872-
Les Deux Journées.
125
wood,' I come at last upon the theme of Cherubini's
beautiful chorus, “ Jeunes filles et bergerettes' (in the
3d act of Les Deux Journées), which is set to words
eos
op
beginning, · Flowers around strewing, hair loosely
flowing,' and followed by the march, with words,
&C.
* Towards the green I see thee marching,' sung by
Samos. The terzetto, 'O mon libérateur,' succeeds.
Cherubini's music, however, is everywhere altered
and mangled.
Much has been said of late about the plot of Les
Deux Journées and its excessive simplicity. Clé-
ment thinks it too complicated: “The scene takes
place in Cardinal Mazarin's time, and the little Sa-
voyard is the hero of it. The author of the libretto
has so multiplied the incidents that the interest is
divided, and cannot be centered on any one charac-
ter of the piece. There is neither unity of time, nor
of place, nor of action. The beautiful music of the
Memorials of Cherubini.
Florentine master could not save such a poem. Mean-
while fine fragments of the opera have been pre-
served. We will cite the air of the little Savoyard,
the couplets of Mikély: “A leurs yeux je dérobe ma-
dame," a fine soldiers' chorus on these absurd words,
“Meritons la bienveillance
Du célèbre Mazarin ;
Surveillons et servons bien
Son éminence.”
It will be agreed that Cherubini might have em-
ployed better his admirable talent.'10 As to the
simplicity of the plot, the Athenceum remarks: “The
tale is not more simple than that of Fidelio. In
the two books the persecution and adventures of
à married couple form the mainspring of interest;
the escapes of the Frerch count and countess are as
exciting as those of Leonora and Florestan—in both
the devotion of a wife is vividly exemplified. I
now venture to call attention to Mendelssohn's corre-
spondence in reference to a libretto for himself, to be
written by Mr. Planché. Every one knows how fas-
tidious that composer was about a libretto. Speak-
ing to Mr. Planché on the subject, he says: “As you
ask me to name a model, I sliould say a subject be-
tween Fidelio and Les Deux Journées of Cherubini
would suit me most-more like the first with regard
to the internal plot—to the development of passion;
10 Dictionnaire Lyrique.
Les Deux Fournées.
127
and like the second in the historical basis—the ac-
tivity of the choruses and the serene atmosphere
which breathes throughout the whole, notwithstand-
ing all the perils and the narrow escapes which
occur in it. In short, could you find me a subject in
which some virtuous heroical deed was celebrated,
which represented the triumph of some noble striv-
ing feeling equally known to every one of the hearers,
who knows at all any feeling, and who could then see
his own internal life on the stage, but more concen-
trated-in short, translated into poetry; and if that
same story happened in a country, or time, and a
people which could give a lively background to the
whole (be it dark or not), which, in reminding us of
history, could in the same time remind us of our pre-
sent time (as, for instance, the dark figure of Cardinal
but it could be more prominent still), and if every act
of the opera had its own effects, its own poetical
point which comes to issue in the finale (as also in
Les Deux Journées, at least in the first and second
acts)-if you could find such a subject, that would
be the one I wish for; and if ever I can succeed, I
should be sure to do it with such a subject. '11
· As to the Deux Journées,' says Miel, “the words
and the music are in perfect accord.' In fact, the
11 J. R. Planché's Recollections and Reflections, vol. i.
128
Memorials of Cherubini.
real grievance last year against Cherubini's libretto
was that it was not sensational enough. There was,
also, a further grievance against the opera. To use
the words of the Athenæum, Cherubini has evidently
created the new Wagnerian theories of operatie
treatment. In the Deux Journées there is no aria
d'entrata for prima donna, tenor, baritone, or bass;
there are no solos interrupting the action of the
drama; every character is individualised, and has a
marked type,-each one contributing to the con-
certed pieces faithfully, consistently, and coherently.'
.... Herr Wagner's proposed annihilation of the
tyranny of leading singers in operas is to be found in
Les Deux Journées. Cherubini disdains to write for
a mere display of the voice; hence the discontent of
a section of the public, unwilling to be deprived of
their shakes and roulades. A new classical work
does not draw at the Italian Opera. “If such be
the case,' says the same journal from which I have
been quoting, it only shows how pressing is the
need of a National Opera-House, where at moderate
prices grand and classical opera can be rendered a
paying investment.' And again, “The production of
new works, which shall be successful both financially
and artistically, can now only be expected from a
National Opera-House.' It should be added that
from the work being advertised as a comic opera
net
TI
I
Les Deux Journées.
129
many persons expected something like Il Barbiere,
whereas in Les Deux Journées there is nothing comic.
In calling it a comic opera it is only meant that the
story ends happily.
Descriptions of Les Deul Journées have appeared
from Castil-Blaze, Arnold, and Emilio Cianchi; that
of the latter being, according to Gamucci, a well-
worked-out analysis, which was read at the annual
public assembly of the Corpo Accademico del Regio
Instituto musicale' of Florence, in the hall of the
* Buon Umore,' on the 17th of May 1863, and subse-
quently printed in the minutes of the Academy.
CHAPTER VII.
1800-1805.
The pasticcio Epicure, by Méhul and Cherubini-Visit to Chartres-
Napoleon again-Establishment of a Consular chapel — Paisiello
made chapel-master--- Anacréon - The overture --The ballet of
Achille à Scyros—Cherubini visits Vienna with his wife and young-
est daughter - Sees Haydn-Brings out Lodoëska and Les Deux
Journées — Napoleon makes his entry into Vienna, and Cherubini
conducts concerts for him there and at Schönbrunn-Commercial
speculation of Steibelt and Cherubini–Napoleon leaves for Paris.
WHILE Cherubini was effecting his operatic reforms
at the Feydeau Theatre by his Lodoëska, Elisa, Medée,
and Les Deux Journées he was being ably seconded at
the Favart Theatre (the company of which, about
1802, merged into that of the Feydeau) by Méhul,
who produced there his Mélidor, and elsewhere his
Euphrosine and Stratonice. Shortly after the appear-
ance of Les Deux Journées the two rival composers
wrote a work together. This was the three-act
pasticcio of Epicure, words by Demoustier, given at
the Favart Theatre on the 14th of March 1800, and
now chiefly remembered for an exquisitely beautiful
duet of Cherubini, entitled Ah, mon ami, de notre
asile,' and the overture, which, according to Picchi-
Overture to Epicure.
131
anti, 'came to be considered in Germany as one of
Cherubini's classical works, and which was imbued
with such extravagance that it is said to have in-
fluenced the characteristics of the style of Beethoven,
who did not cease to study the compositions of our
Italian, whom he justly held in great esteem.'1
Epicure, with a cold libretto, was not a success, being
performed only three times, and it caused a quarrel
between its composers, each attributing to the other
the failure of the work. They were reconciled a
little later through the good offices of Plantade.2
In this year, 1800, Cherubini visited Chartres by
invitation, and there wrote a march "du préfet
d'Eure-et-Loir. On returning to Paris, he wrote a
second march, "pour le retour du préfet après sa
tournée dans le département.
On the 12th of December 1800, a grand perform-
ance of the Creation took place in Paris. Napoleon,
while on his way to attend it, was near being killed
by the explosion of the infernal machine. It was
after this crisis that a deputation, composed of the
various societies and corporations at Paris, waited
his escape. Cherubini, as a representative of the
Conservatoire, was among the deputation, but kept
in the background, wishing to avoid any unpleasant
1 Picchianti, p. 36. 2 Lafage.
132
Memorials of Cherubini.
meeting with Napoleon; who, however, ironically
exclaimed: 'I do not see Monsieur Chérubin,' pro-
nouncing the name in this French way, in order to
indicate, it is said, that Cherubini was not worthy
of being deemed an Italian composer. When the
composer came forward, neither said one word.
Yet crowds were still rushing nightly to see and
hear Les Deux Journées. Shortly after the above
incident, Napoleon invited him to a banquet at the
Tuileries, given to a number of the distinguished
men at Paris. After a frugal repast the company ad-
journed to the salon, where the First Consul entered
into conversation with Cherubini, both of them walk-
ing up and down the room. "Well,' said Napoleon,
“the French are in Italy: "Where would they not
go,' rejoined Cherubini, “led by such a hero as you.'
Napoleon seemed pleased, but talked now in Italian
now in French, which so confused Cherubini that he
could scarcely make out what the Consul was saying.
At length the latter began on the old topic: 'I tell
you,' he said, “I like Paisiello's music immensely; it
is soft and tranquil. You have much talent, but
there is too much accompaniment, and he instanced
the celebrated air of Zingarelli, 'Ombra adorata, as
being the sort of thing he liked. Cherubini quietly
- rejoined: Citizen Consul, I conform myself to French
taste; “paese che vai usanza che trovi,” says the
Paisiello arrives in Paris.
133
Italian proverb'. Your music, continued Napoleon,
makes too much noise; speak to me in that of
Paisiello, that is what lulls me gently. “I under-
stand,' replied Cherubini ; 'you like music which does
not stop you from thinking of state affairs. At
this witty answer Napoleon frowned, and the talk
ended.
Cherubini now found himself persistently ignored
and ill-treated by the First Consul, and though pro-
ducing masterpieces worth a fortune to the musical
world, yet he received no honours as a composer,
and hardly any income save the pay received as
inspector of the Conservatoire, which scarcely suf-
ficed for his maintenance. How significant of his
downcast state of mind is the catalogue of his
works at this period! Hardly anything was written
during 1801 and 1802; and as a distraction Cheru-
bini occupied himself with his botanical pursuits.
When the concordat with the Pope had been
signed, Napoleon, who loved to return to the old
ways of the monarchy, determined to reëstablish a
consular chapel; and, at the close of 1802, invited
Paisiello, then at Naples, to come to Paris, and be
director of the music. Paisiello came, and received
12,000 francs a year, besides lodging and a carriage.
3 Arnold somewhat amusingly says that to Napoleon's charge of
• too many notes,' Cherubini gave the ever-memorable reply: "Not
one too many."
134
Memorials of Cherubini.
TL
The number of singers for the chapel was eight,
besides twenty-seven instrumentalists under Pai-
siello. As the old Tuileries chapel had been de-
stroyed, the services took place in the Hall of the
Council of State. All this gave great umbrage to
the Conservatoire. That institution, with its famous
teachers, supported French taste, and Napoleon
passed them all over for an Italian stranger. They
resented being placed beneath a foreigner. At the
same time, as Cherubini stood foremost among them,
they disliked him as well as Paisiello. Cherubini,
indeed, might now be considered one of themselves,
but was he not an Italian born, and yet thought the
first representative of the new French music? The
intrigues and petty jealousies of the French mu-
sicians deprive them of the just excuse that might
be made for them, in their indignation at Paisiello's
preferment. Paisiello, however, pleased none but
the First Consul. The public, stimulated by beau-
ties of a higher order, listened with indifference to
his opera of Proserpine, his masses, his psalms, and
his hymns, Nor did Paisiello like his position; ac-
customed at Naples to be courted by artists, and
admired by the public, he found Paris a decided
change for the worse. After the grand solemnity
to be released from his engagement with Napo-
Anacreon.
135
leon, pleading as his excuse the ill - health of his
wife. With difficulty he obtained his request, and
returned to Naples towards the end of 1804. Napo-
leon tried to get Zingarelli in his stead, but Zin-
garelli refused all offers, wisely preferring his post
at the Vatican. Such was the petty contention that
made Cherubini, disgusted with that divine art of
which he was so consummate a master, seek a dis-
traction in the cultivation of flowers. However,
in 1803, his Anacréon, ou l'Amour fugitif, a ponder-
ous, original, but unequal work in two acts, with a
poor libretto by Mendouze, was performed at the
Grand Opera, on the 4th of October, with the fol-
lowing cast:
7
.
.
Anacréon . . . . . M. Lays.
L'Amour . . . . . Malle. Hymm.
Corinne. .
Madame Branchu.
Première Esclave . . . . Malle. Cholet.
Deuxième Esclave.
Malle Pelet.
Vénus . . .
Madame Jannard.
Bathille. .
. . M. Eloy.
Glycère. .
. . Malle. Lacombe.
Athanais (personnage chantant et
dansant) . . . . . Madame Gardei.
Esclaves mâles (personnages muets), troupe de chanteurs et joueurs
d'instrumens des deux sexes.
The libretto was a tiresome one, though much
merriment was caused by some scenes, especially
where Anacréon, asking his favourite attendant
whether he will take anything to drink, addressed
136
Memorials of Cherubini.
him as · Esclave intéressant. We are told that the
shouts of laughter stopped the actors for five minutes,
from proceeding. Lays, crowned with ivy, vine-
branches, and flowers, was delighted with his rôle of
poet and musician. Anacréon for a time kept the stage,
and, out of respect for the composer, a magnificent
edition of the work was printed, and eagerly bought
up by connoisseurs. Cherubini, in a private letter,
attributed the failure of the work à la clique in-
fernale acharnée contre tous ceux qui font partie du
Conservatoire. Anacréon was not much known in
Vienna; the libretto was disliked, and with reason.
The choruses were thought the best part, but people
said that the music was generally heavy. It was
performed once only in the Austrian capital. To
those, however, who criticised Anacréon, Cherubini
replied: "Either I write everything as I choose, or
not at all.' And he did write, regardless of Parisian
trivialities.
Among many scenes of great splendour must be
noticed Corinne's air, "Jeunes filles aux regards
doux;' the harmonious quartet, 'Des nos coeurs purs;'
the brilliant, picturesque trio, “Dans ma verte et
belle jeunesse;' the Bacchanalian chorus, "Hon-
neur au Dieu de la vendange, the chorus "Père
d'Orphée;' and the storm scene at the end of the
4 Arnold.
Anacréon.
137
d'Anacréon a pris rang parmi les tempêtes les plus
renommées qu'on fait tonner sur nos théâtres de-
puis l’Alcione de Marais (1706), jusqu'à Guillaume Tell
(1829). Then there is the well-known overture,
equalled only by those to Medea and the Deux
Journées, and which on its first appearance in this
country was played three times in succession. A
double encore is a rare triumph indeed. The Phil-
harmonic Society began their first concert in 1815
with the overture, which, however, as Mr. G. A. Mac-
farren observes, has been far from justly admired
more than any other of Cherubini's works.
F.W.H., in the Quarterly Musical Magazine, writes:
'In the overture to Anacréon (certainly one of the
finest instrumental pieces that have been written
since the days of Haydn), there are perhaps fewer
attempts at continual imitation, fewer passages in
the fugue style, and fewer laborious or abstruse
modulations than may be found in the symphonies
and overtures of Cherubini's admired predecessors;
but to compensate for the absence of these, there is a
novelty of melody, an elegance and brilliancy of effect
5 A grumbler in the Revue des Deux Mondes, 1862, alluding to
some performances by the Société des Concerts, observes that the
overture scarcely merits, as & symphonic piece, the reputation it has
so long enjoyed. The developments of the principal subject are ex-
cessive, and the theme itself, not a marked one (peu saillant), recurs
too often. Musical Standard, vol. i. p. 59.
138
Memorials of Cherubini..
prevailing throughout this piece which cannot fail
to rivet the attention of all who possess the least
taste in our art. The first horns, by sustaining A
and E, then moving to the chord of D, prepare the
way for a very singular and effective passage, which
is taken up alternately by the flute, violin, and vio-
loncello, between each preparatory sounding of the
corni, until the movement ends with the dominant
seventh in full harmony by the whole band. Nothing
(to look at the score) can possibly be more simple,
and certainly nothing can be more effective; it is
the harbinger of good things to the allegro move-
ment that follows, commencing on one note only by
the bass. At the end of two bars there arises a very
simple passage, which may be called the subject of
the overture, as it is heard throughout until nearly
the close, alternating from one instrument to another
in a very extraordinary manner. The long continu-
ation of the piano, and the gradual accumulation of
the crescendo, are strikingly displayed in the first
fifty bars; and when the climax arrives, by the full
burst of the orchestra, no doubt can possibly remain
on the mind of the scientific hearer that our author
is a man of superior abilities. I would point out to
the student a beautiful passage towards the end
marked in Bruguier's adapted duet Lentando, as a
delightful contrast to the brilliant ones that precede
Achille à Scyros.
139
and follow it. The educated musician would dis-
cover a great similarity to Mozart's style in this
part: it is tender, graceful, and in the true chiaros-
curo of harmony, a passage bearing strong indication
of the elegant mind of its author.'
Unfortunate with Anacréon, Cherubini was still
more unlucky with the ballet of Achille à Scyros
(words by Gardel the younger), three-fourths of the
music of which was his, and which was performed at
the Grand Opera on the 18th December 1804. Here,
as with Anacréon, the music was wonderful, espe-
cially a Bacchanalian scene (imitated in 1817 by
Spontini, in a piece inserted in Salieri's Les Danaïdes);
but the nature of the subject, with Achilles, accord-
ing to the well-known legend, dressed up in woman's
clothes, was unsuitable for representation. Duport
might succeed in his acting of the rôle of Achilles,
but the French feeling in the matter was well ex-
pressed by Fétis : “Achille est une grande figure
antique qui n'est pas tolérable dans une situation
grotesque.' The twentieth performance of the work
took place on the 15th September 1807, with Malle.
Clotilde as Achilles.
When Paisiello left Paris in 1804, the post of
chapel-master to Napoleon became vacant. Napoleon
offered Méhul the place, who, although the rival,
was yet the friend of Cherubini, and who proposed
140
Memorials of Cherubini.
to share the office with the latter. But Napoleon
would not hear of the proposal. "Do not speak to
me,' said he, "about that man. I want a maistro
who will make music, not noise.' In asking for his
friend, Méhul lost the place himself. Napoleon told
Paisiello to name his successor, who fixed on Lesueur,
who accordingly became chapel-master.
In 1804, Cherubini began Les Arrêts, but never
went on with it, chiefly because he left the French
capital the following year. Miel, noticing the cir-
cumstance of Les Arrêts not being completed, says:
"A resolution astonishing on the part of a man who
left nothing unachieved or unfinished.” M. Miel
6 The Musical Standard, on what authority I know not, has lately
given the following account of Méhul's conversation with Napoleon on
this subject (vol. üi. no. 416): 'I can only accept the place on con-
dition that you will allow me to share it with my friend Cherubini,'
says Méhul. Don't mention him,' says Napoleon ; "he is a man of
snappish disposition, and I have an utter aversion to him. “It is cer-
tainly his misfortune,' replies Méhul, 'to have failed in securing your
good opinion; but in point of sacred music he is superior to us all; he
is straitened in his circumstances, has a numerous family, and I
should feel happy in reconciling you to him.' 'I repeat,' says the
emperor, ‘I will not have him. Well then,' answers Méhul, “I
must positively decline; nothing can alter my determination. I be-
long to the Institute; he does not. I will not allow it to be said that
I take advantage of the kindness you show me in order to secure every
place for myself, and deprive a celebrated man of what he is so justly
entitled to claim at your hands.' Castil-Blaze assures us (Chapelle-
Musique des Rois de France, p. 170) that Méhul's refusal of the office
because he esteemed himself less worthy of it than Cherubini is an
invention of the biographers.
? Miel's Notice sur Cherubini, p. 12.
Cherubini and Mozart's Requiem.
141
had forgotten Marguerite – Anjou, the other fragment-
ary opera of 1802, the name of which Cherubini does
not give us; the Kourkourgi opera, the fragments
of cantatas in 1796, for the inauguration of a statue
of Apollo, and in 1811, for the opening of a new
concert hall at the Conservatoire; and the unfinished
opera Selico. In 1805, Cherubini, to calm his mind
and dissipate his cares, undertook a labour of love in
getting up a performance of Mozart's Requiem, which
the Parisians had never yet heard. "Despite the
disinclination of the Parisians for German music,
said German journals of the time, and despite the
repugnance of Parisian artistes to such a difficult
zart enabled him to get it performed by two hundred
of the best singers and instrumentalists; and per-
formed too, in such a manner, that on the very same
day he received a request to repeat it. The work,
in fact, made a deep sensation; and it is interest-
ing to know that he who led the first performance
of it in Paris, was destined himself to write two
Requiems, which, in the opinion of a great many, can-
not be deemed inferior to that of Mozart. Cherubini
also brought out some of Haydn's works.
It may be imagined that, after all his recent
failures, Cherubini was not in high spirits. To cheer
8 Gerber's Lexicon der Tonkünstler, vol. i. p. 698.
142
Memorials of Cherubini.
s were
see
him, however, there came to him in 1805 an invita-
tion to compose for the managers of the opera at
Vienna ; and, as the terms were liberal, he left Paris
on the 26th June, accompanied by his wife and
youngest daughter, and arrived at the Austrian
capital in July. His advent produced a profound sen-
sation. The outpost of classical music, after guard-
ing its interest in uncongenial Paris, had come at
last to the city which was in many respects for him
a truer home; and Arnold naïvely remarks that the
chief Parisian musicians were glad to see Cherubini
go to Vienna.
Cherubini first of all visited Haydn, then about
seventy-three years old. Gamucci says that Cheru-
bini presented Haydn with the medal, struck at Paris
for the latter, by the impresario of the Opera Theatre,
as a token of admiration for the Creation ; but the
medal in question was presented two or three years
previously, in 1801; and a mistake to the effect that
Cherubini had himself given it in person to Haydn
in 1801 was refuted by the circumstance that he did
not go to Vienna till 1805. Subsequently, Cherubini
entered into a warm friendship with Beethoven and
Hummel. The cordial reception given him, and the
esteem of the great German artists in the city, greatly
encouraged him.
Among the first works represented at Vienna
se
Cherubini at Vienna.
143
under Cherubini's direction were Les Deux Journées and
Lodoïska. Fétis says that Lodoïska was performed,
others say Les Deux Journées ; Arnold, the German,
says both. Two new entr’actes were written for
Lodoïska, as well as a new air, expressly for Madame
was also added to Les Deux Journées in the second
act, where the pretended daughter of the water-
carrier is in the water-cart. But Constance never
does get into the cart.
When the Deux Journées was given the Viennese,
as might have been anticipated, became enthusiastic.
As conductor, Cherubini made some changes in the
tempi. Thus, he took the allegro of the stupendous
overture slower than was usual, whereby this difficult
piece of music gained in clearness.' Cherubini made
the acquaintance of a Baron de Braun, for whom he
wrote a march for wind instruments, as well as a sonata
for an organ 'à cylindre.' In the mean time, owing
to the victory of Elchingen, and the capitulation
of Ulm, the war, which had broken out since Cheru-
bini's arrival, resulted in Murat entering the Austrian
capital, and in the French Emperor taking up his
residence at Schönbrunn. But when dictating in
Vienna the terms of the peace of Presburg, Napo-
leon, on hearing of Cherubini's presence in the city,
expressed a wish to see him. When the com-
144
Memorials of Cherubini.
poser came, the Emperor asked him what cause had
brought him to Vienna, and whether he had obtained
the necessary permission to leave France. Having
satisfied himself on this point, the Emperor, while
not forgetting his usual praises of Paisiello and Zin-
garelli, said in a kindly tone, 'Ah, Monsieur Cheru-
bini, I am glad you are here, and since you are here,
we'll have some music together. You shall direct
my concerts. Thus charged with the direction of
the court-music during Napoleon's stay in Austria,
Cherubini gave twelve musical soirées alternately at
Vienna and Schönbrunn, he presiding at the piano
and Crescentini singing; and each time occasions
were opportunely afforded for lively discussions on
music between Napoleon and Cherubini. First of
all, Napoleon became angry because, as he thought,
there was too much noise in the orchestra. The
patient Cherubini, to remedy this, contrived that all
passages should be executed pianissimo, which pro-
ceeding quite satisfied Napoleon. The latter even
showed an interest in Cherubini's future movements,
saying to him one day, 'I very much hope that you
are here only for a holiday, and that you will return to
Paris. At another time when Napoleon spoke about
Faniska, the representation of which had been post-
poned on account of the troubles of the time, Cheru-
bini at once took the position of assailant by saying
Two Emperors and his Music.
145
"This opera will not please you. “And why not?'
exclaimed Napoleon. 'Because,' said Cherubini (using
the same expression employed by Napoleon in their
passage of arms at the Tuileries in 1800), because it
has too much accompaniment. The charge of too
many notes' was preferred against Cherubini both by
the Emperor Joseph II. and by Napoleon. Alluding
to this Gerber says: “When such could be the
opinion of two of the most accomplished dilettanti (?)
in Vienna and Paris, what can be the opinion of
others in places where art is immeasurably less
flourishing and practised? Unfortunately, I fear that,
with all the extraordinary progress of instrumental
compositions, this would at present be the unanimous
opinion of the majority of connoisseurs on hearing
such music, supposing them capable of saying what
they thought with the freedom of a Joseph II. or a
Bonaparte. For how is it, how can it be, possible for
them, unprepared, to follow the artist in the expres-
sion of his multifarious ideas entwined into a whole?
Who will choose, and who will be ready to thank
him for the great but unappreciated art he has em-
ployed ? All this only shows how much Cherubini
was in advance of his time.
9 Vide Gerber, under Cherubini' in the (later ?) Lexicon der Ton-
künstler. Musical World, 1862. The Emperor Joseph died in 1790,
so that he could not have heard very much of Cherubini's music.
146
Memorials of Cherubini.
For the twelve soirées Cherubini received a large
sum from Napoleon. On the other hand Cherubini
was involved with Steibelt in a commercial specu-
lation, which proved a failure. They opened a
new music - printing establishment at Vienna, but
owing to want of sufficient capital, soon found them-
selves embarrassed; and Cherubini, like a man of
honour, sold his inheritance to pay to the last
farthing his share of the debts.10
On the signing of the treaty of Presburg, De-
cember 26, 1805, Napoleon prepared for his return to
Paris. At the moment of his departure he called
for Cherubini, and, while pronouncing his name in
the Italian and not in the French fashion, invited
him to accompany him to Paris. But Cherubini
would not break his word with the Viennese, who
expected at least one work from him, and he excused
himself as well as he could. On Napoleon's return
to Paris, Paër became court-musician, a post which
would probably have been given to Cherubini, had
he returned with the Emperor, who seemed at this
time favourably disposed towards our composer. No
doubt he wanted to lead Cherubini to ask a favour of
him, but as both were proud men, neither would Na-
poleon take the initiative, by offering, nor Cherubini,
by asking. “It may easily be perceived,' observes
10 Picchianti, p. 64.
Cause of Napoleon's Antipathy.
147
Picchianti, “that Napoleon did not bear any hatred
towards Cherubini, but rather to that new kind of
music introduced by the latter into France; had he
av
many ways of getting rid of him, as of other persons
whom he disliked. The pretended reasons as to the
excessive noise of the instruments do not seem suf-
ficient for depreciating Cherubini's beautiful compo-
sitions, since it cannot be supposed that the acoustic
nerves of the hero of battles were so delicate as to be
unable to bear the fortes of the orchestra, which Che-
rubini used to employ in a masterly way, and which
were much softer and more moderate than those now
in vogue in Italy. Brought up in the midst of arms,
Napoleon's hearing must have become well accus-
tomed to endure the greater noise of the beating of
drums, the booming of artillery, and the sharp cries
of the wounded. It is rather to be believed that in
Cherubini's music, whose style was formed and de-
IV
discovered the impress of an exalted spirit, and a
certain republican austerity, which he did not at all
relish, and would have been glad even to eradicate.
And judging from his own feelings, which would pro-
bably be those of the public, there perhaps arose in
him some fear lest such music should produce results
such as clashed with his chief objects, which were
148
Memorials of Cherubini..
to extinguish in the French people all excitement,
opposed, as he thought, to his own particular aims;
and, for that very reason, he wished on the other hand
to maintain, by means of Paisiello's and Zingarelli's
compositions, the reputation of the old school of
Italian music, the quiet and suave style of which
seemed to him calculated to lull the popular mind.
If this was not the true reason of the dislike felt by
the great conqueror for Cherubini's music, I do not
know a better.'11 Doubtless Napoleon was accus-
tomed to noise, but for the very reason that he had so
much of it in battles, it was natural that he should
prefer to have none of it in music. Speaking of
Napoleon's feeling towards Cherubini, the Nieder-
rheinische-Musik-Zeitung observes: “Even as Emperor,
Bonaparte was unable to suppress this prejudice;
and Cherubini, in accordance with his natural dis-.
position, did nothing to remove it. It seemed as
though the mighty ruler, warlike hero, and man of
iron will, sometimes experienced an inward necessity
of divesting himself for a period of everything great,
and, consequently, of the impression produced by a
grand style of art; for which reason he preferred
lighter and more catching music, perhaps consider-
ing all excitement of the mind by means of art as
unworthy a statesman and a general.12
11 Picchianti, p. 45.
12 Musical World, 1862, p. 531.
CHAPTER VIII.
.
1805–1808.
Beethoven's Fidelio and Cherubini's Faniska-Cherubini's relations
with Beethoven and Hummel-His parting with Haydn-Returns
to Paris — Spontini's La Vestale — Méhul's Joseph- Cherubini's
canons-He becomes ill, and goes for his health to the Castle of
Chimay, in Belgium.
On the 20th of December 1805 appeared Beet-
hoven's Fidelio; and little more than two months
later Cherubini's Faniska, with German text by
Tonnleithner, was produced for the first time at
the Imperial Kärnthnerthor Theatre, on the 25th
of February 1806, before the Emperor Francis II.
and all his court. Both at the beginning and end
of the opera Cherubini was received with accla-
mations. By this work his credit was immensely
increased, and all the famous artistes at Vienna vied
with one another in fêting him. The magnificent
music,' says the writer in the Niederrheinische-Musik-
Zeitung, “excited the admiration of all competent
judges; Beethoven and, it is asserted, Haydn per-
fectly agreeing with the opinion of the public. An-
150
Memorials of Cherubini.
other account speaks of the depth, force, and rare
perfection in the details—many of those surprises
that move you forcibly-in Faniska. It would seem
doubtful whether Haydn, at his advanced age, still
visited the theatre; but, according to the general.
account, both he and Beethoven were present at the
first performance; Cherubini, on his part, going to
hear Fidelio twice. Haydn embraced Cherubini after-
wards, saying, “I am very old, but I am your son.'
Poor Haydn has been made to utter a considerable
variety of remarks, many of which he probably never
made. Miel has been followed in the present in-
stance; but some accounts speak of Haydn saying,
You are my son, worthy of my love. Here, to say
the least of it, he would be paying a compliment to
himself, as well as conferring one. There is also,
owing to various versions, a little doubt as to what
Beethoven and Haydn actually styled Cherubini. La-
fage says that the expression made use of was the
first musician of the century;' according to others
Haydn called him “the greatest of living musicians;'
and Beethoven, the greatest dramatic composer of
the age;' while the German journals and Beethoven
together undoubtedly called Cherubini “the first
dramatic composer of his time. As for the critics,
they are credited with praising him as the most
learned of drainatic composers. Whatever were the
Faniska.
151
there is no doubt about the general opinion meant
to be conveyed. The French composers concurred
in the praise of Cherubini at Vienna; but Fétis says,
Méhul, who up to this time had been considered his
rival and competitor, subscribed to these praises;
but any one who was acquainted with him knows
how much such an avowal cost him; he only made
order to hide his despair.'1 Glück and Mozart were
dead; Weber was yet in obscurity. There was no
one to compare with Cherubini, unless it were Beet-
hoven himself. “It is a very remarkable fact,' says
the writer in the Niederrheinische-Musik-Zeitung, that
two such important dramatic compositions as Beet-
hoven's Fidelio and Cherubini's Faniska should have
been written at the same time independently of one
another; that both works should have been in ad-
vance of their age; that both should display a strik-
ing similarity of style, especially in the treatment of
the orchestra; and that both should have suffered
from the reproach of the music being too learned for
the public of the period. With regard to Fidelio, we
know that even the subsequent representations in
Vienna did not take with the public, and that it was
reserved for our own time to see this magnificent
i Biog. Univ. vol. vi. p. 60, art. “Méhul.'
152
Memorials of Cherubini.
work appreciated in all countries. Faniska en-
joyed at first a better fate. It is true that in Vienna
it was not often repeated, but it was performed at
other German theatres. The writer of the present
article recollects its being performed when he was a
youth, at the theatres of Dresden and Dessau. It
produced a deep impression, and its merits were
readily allowed by the critics, although, owing to the
unsatisfactory libretto, it did not become firmly esta-
blished in public favour. Yet the music is some of
the best and most dramatic which this style of com-
position can boast; and it might be well worth while,
after modifying the book, to reproduce the opera on
the stage, just as the same composer's Medea has
been successfully revived at Frankfort-on-the-Maine
and Munich." The above allusion to the modification
of the libretto reminds me that, about twenty years
began to meditate about having the work repre-
sented in Paris at the Opéra Comique, with another
libretto. This doubtless explains the mention in 1831
of a march to be substituted for that of the night
patrol in the third act of Faniska. Guilbert de Pixé-
récourt, a playwright, began to adapt it to the Mines
about the matter, thinking that what pleased the
2 Musical World.
Faniska.
153
Viennese would never suit the Parisians; and accord-
ingly took up Kourkourgi and wrote Ali Baba instead.
As to the similarity of operatic style between Beet-
hoven and Cherubini, it has been recognised by
Mendelssohn, who, speaking of Fidelio, observes :
On looking into the score, as well as on listening to
the performance, I everywhere perceive Cherubini's
dramatic style of composition. It is true that Beet-
hoven did not ape that style, but it was before his
mind as his most cherished pattern.'8.
The overture to Faniska is considered one of its
author's most finished works. While the opening is
surprising and beautiful, and the allegro exceedingly
gay, the most striking portion is a strange, .weird,
yet lovely subject, for the violoncellos and bassoons,
that occurs later on, and is repeated with a delightful
Allegro. pp.com

"
Violin 2.
Violin 2. -
1.1.1
Celli.
Fagotti.
Vzola
3 Ella's Musical Sketches. What is this but a clear support to
the opinion expressed by the Atheneum in 1872, that but for Les Deux
Journées we should never have had Fidelio at all ?
154
Memorials of Cherubini.
persistency, and with an airy accompaniment for the
violins, to use the phrase of Mr. Macfarren, 'hover-
ing' over it. Of the opera itself, the account in the
Harmonicon for 1830 is the only one I have been able
to find, from which I extract the following:
The story is shortly as follows. In some one of
the convulsions which desolated Poland, Faniska
and her infant daughter are seized and imprisoned
in the castle of Count Zamoski. The fortunate
gaoler is of course, -selon les règles, deeply enamoured
of his captive, and also of course finds ber deaf
to his most earnest: entreaties. As a last resource,
he determines to impress her with the belief that
her husband, Count: Rasinski, is dead. Rasinski,
who in disguise is hanging about his rival's castle,
offers to become himself the messenger of his own
decease, and is introduced for that purpose to the
lady. He meets his wife, with firmness, and de-
livers to her his own portrait as the proof of his
veracity, when the infantine caresses of his daugh-
ter cause him to betray himself, and he is forthwith
consigned to a.dungeon, with the comfortable assur-
ance of meeting, on the morrow, the fate of a traitor.
This ends the first act. The second and third are
occupied by the usual intrigues and expedients to
work his liberation, which is at length effected; his
party storm the castle, Zamoski falls, and the hus-
Faniska.
155
.
band and wife are again united. It will be seen, by
this short sketch, that the story offers many good
and even affecting dramatic situations, of which the
composer has not been slow to take advantage. We
proceed to a more detailed programme of the music.
The overture to Faniska is too well known to all
who have attended either the Philharmonic or any
other concerts where classical music is performed to
need description here. The introduction opens with
a presto movement in B flat, time. For the first ten
or twelve bars, the violins and basses move in oc-
taves; afterwards the subject is. continued in octaves
by the stringed instruments, and accompanied by
chords filled in by the wind instruments. Zamoski,
in great agitation, is awaiting the result of the at-
tempt to seize Faniska, and rapidly interrogating
the Cossacks who form his guard. At length his
agent Oranski arrives, and announces that his plan
has succeeded, so far as regards the captivity of
Faniska and her child, though her husband has
escaped. The satisfaction of Zamoski is expressed
in an elegant and lively andante in 4, accompanied
by a chorus. No. 2. A scena and aria for Zamoski,
a bass. The recitative is short, but marked by much
beautiful modulation, of which the following example
is as delightful to the ear as it is bold in the concep-
tion:
156
Memorials of Cherubini.

• The aria in E flat commences with an andan-
tino movement in common time, in which Zamoski
expresses the extent of his passion for Faniska. He
then charges Oranski, an officer of his guards, and
Moska, a waiting-woman, to be most careful of her
safety, and (aside) encourages each to be a spy upon
the other's fidelity. The whole of this movement,
more particularly the parts spoken aside, is highly
characteristic. The stringed instruments throughout
are chiefly in octaves to a moving bass; while the
wind instruments are used to mark and fill up the
harmonies. It is studded with beautiful points of
imitation and singing phrases for the wind instru-
ments. This song requires vast powers of voice, and
also great compass; ranging from the low F to E
flat on the second leger line of the bass staff; but
we venture to predict that it would well reward any
bass singer who would introduce it to a classical
audience. It will be found, with Italian words, in
an abridged copy of the opera, published by Breit-
kopf and Haertel. No. 3 introduces Faniska in a re-
Faniska.
157
citative obbligato of which it is hardly too much to
say that, for variety of modulation and just expres-
sion, it yields only to the great scene in Don Gio-
vanni, where Donna Anna mourns over the dead body
of her murdered parent, and incites her lover to re-
venge his death. To this succeeds a preghiera in
G, molto sostenuto (“Eterno iddio”). The principal
feature is an accompaniment of three violoncellos ob-
bligati; but occasional phrases for the wind instru-
ments are interspersed.4

Molto sostenuto.
3 Violoncelli.
1
1
1
No. 4. is a terzetto in A, between Faniska and
her two guards, Moska and Oranski. The latter pre-
tends the greatest devotion to his captive's wishes,
while the former assumes, at first, an air of total
indifference, declaring that she neither pities nor
hates her, and is only determined to do her duty.
She soon after, however, cautions Faniska' (aside)
4 The whole of this air is given in the Harmonicon.
158
Memorials of Cherubini.
against trusting Oranski, and recommends her to
prove him by demanding an interview with her child.
lo, as in all the other pieces of the opera,
a marked motion runs through the whole, and is
both original and beautiful. ....
‘No. 5 is a chorus of villagers on a very simple
vocal subject; but the repetitions abound in varia-
tions of instrumental accompaniment, which evince
the command Cherubini has over this branch of
his art. . ... The chorus is followed by a short
melodrame and polonaise, which form Nos, 6 and
1
larghetto in D, rather in a recitative style. Rasinski,
disguised, is introduced by Zamoski to announce the
news of his own death to Faniska. In proof of his
veracity, Rasinski delivers a miniature of himself,
which Faniska apostrophises in a beautifully flowing
and pathetic andante in A. She shows the portrait
to her child, whose infantine raptures, on recognising
the likeness of her father, lead Rasinski to betray
himself. The moment when the father seizes and
bathes with involuntary tears his daughter's hand,
the instantaneous burst of rage from Zamoski, is ac-
companied by the following bold and effective tran-
sition :
Faniska.
159

Larghetto.
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A combat succeeds, and the finale ends with a spi-
rited allegro molto in D. We have been unconsciously
led to extend our extracts from the first act of this
opera so far as to leave but little space in which to
notice the second and third acts. The second act
opens with a scena in F for Faniska, consisting of a
recitative, andante, and allegro, all of great beauty,
but requiring too much compass of voice and execu-
tion for amateurs. To this succeeds an animated
duet between her and Rasinski ; a romance in G
minor, very similar, but at the same time superior,
to that in the same author's Deux Journées, which
was sung in the English version of that opera (The
Escapes, or the Water-carrier) to the words “A little
boy, a Savoyard;" and the well - known exquisite
canon “Non mi negate,” published here along with
the “ Perfida Clori.” In the third act, the music, with
бо
Memorials of Cherubini.
the exception of one quartet of action, is chiefly
military. There are three marches, two of which
are superior to the general run of such compositions,
though certainly not at all equal to Mozart's march
in Figaro. The finale consists of a vaudeville air,
sung alternately by the principal characters, and
interspersed with a simple chorus.
Now to touch upon the relations between Beet-
hoven and Cherubini. Schindler informs uss that
Cherubini's criticisms on Beethoven were harsh; that
Beethoven did not always take them well; that he
found a champion, even as late as the years 1841 and
1842, in Cherubini's wife; that when Cherubini spoke
est toujours brusque;' that on his return to Paris his
communicationso about Fidelio showed the slight
opinion he had of it;' that he was present at the
earliest representation of Fidelio in 1805, and also in
1806,' and 'told the musicians of Paris, when speak-
ing to them about the overture to Leonora, No. 3,
that on account of the medley of modulations in it,
he was unable to recognise the original key;' that,
after hearing Fidelio, Cherubini arrived at the con-
clusion that Beethoven had not devoted sufficient
5 Beethoven's Biography, vol. i. p. 114. Vide Musical World, 1862.
6 What communications ? A friend of the writer in the Nieder-
rheinische-Musik-Zeitung searched for them in vain among the Paris
papers.
Beethoven and Cherubini.
161
attention and study to the art of singing, and there-
fore “ took the liberty” of recommending it strongly
to his attention, for which purpose he sent for the
Method of the Paris Conservatoire, in order to make
him a present of it;' and that Beethoven “preserved
in his little library, to the last days of his existence,
the book he received from Cherubini. The writer in
the Niederrheinische-Musik- Zeitung, speaking of the
statement about the overture to Leonora, No. 3, says:
For this decidedly remarkable assertion, Schindler
gives no authority. What reliance ought to be placed
on anecdotes and statements of this kind, related of
eminent composers, and propagated by mere report,
Schindler himself has found out, often enough, in the
case of Beethoven.' That Cherubini should say that
Beethoven was brusque was only the truth, whilst
Beethoven's keeping the book on singing, which was
a gift of Cherubini, shows how he valued the friend-
ship and counsel of one more learned in music than
himself, and ten years his senior. But even supposing
it were true that, as is reported, Cherubini said of
Beethoven's symphonies, “It is impossible to under-
stand all this; it is a mere dévergondage;' and that
Mendelssohn had been well informed in saying that
Cherubini remarked of Beethoven's later style, This
makes me yawn;' what do these mere conversational
observations weigh in contrast with deeds? Cheru-
M
162
Memorials of Cherubini.
bini, a warm admirer of Beethoven, in whom he
recognised a genius that had something in common
with his own,' is seen actively forwarding, in the face
of prejudices hardly credible and which have now
long since vanished, performances at Paris of Beet-
hoven's works. That is enough. Besides the friend-
ship of Haydn and Beethoven, Cherubini gained
Hummel's as well, and on returning to Paris took
one of the latter's great sonatas with him, thus being
the very first to introduce some of Hummel's music
to the Parisians.
The Haydn-verein, a fund founded by Gassmann
in 1771, for the widows and orphans of musicians
(previous to 1862 called Tonkünstler-Societät) has
Cherubini on its list of subscribers. No doubt he
became one during his stay in Vienna.
Cherubini would have willingly written some-
thing more for the Germans, but the late war had
ruined so many things, that he settled upon return-
ing to Paris. Before quitting Vienna, he went to
favour for the original Ms. of one of his scores.
Haydn gave him an unpublished symphony, and is
said to have remarked, “Allow me to call myself
? There is a well-known saying of, I think, one of our critics
touching Beethoven: 'He unites the joyfulness of Haydn with the
melancholy of Mozart, while his music mostly resembles Cherubini's.'
8 Monthly Musical Record, 1872, vol. i. p. 63.
Return to Paris.
163
your musical father, and to greet you by the title of
zart's tomb, but that, on being unable to find the
resting-place of him for whom he had so strong an
affection, he felt that Vienna was not the place for
him. Such neglect of honour and love for this
mighty genius struck him forcibly. At Paris he was
facile princeps among musicians; at Vienna he would
be confronting Beethoven, Hummel, Albrechtsberger,
Preindl, Weigl, Gyrowetz, Salieri, and others. A
permanent residence would have brought him into
conflict with all these men; it would have been too
hot for him. Then, too, the fickle Parisians were
already wishing him back again, and saying that they
could not do without him. On the 9th of March,
Cherubini, with his wife and daughter, left Vienna,
and reached Paris on the 1st of April 1806. At a
fête improvised for him at the Conservatoire, his
entrance into the great hall was the signal for trans-
ports of enthusiasm. Some pieces out of his operas
were executed, and the welcome from ardent youth
(though unpleasing to Napoleon) could not but en-
courage him. He now finished his great Credo for
eight voices begun in Italy in 1778 or 1779, and
which Thibaut, the severe critic, calls 'incomparable.
Two years later, in 1808, Reicha returned from
9 Arnold.
were e
CO
D
164
Memorials of Cherubini.
Vienna, and caused some stir at the Conservatoire
by dedicating to Cherubini a fugal treatment of the
march in Les Deux Journées. “He developed in this
work,' says Miel, in his Annals of the Institute, ‘not
only all the science which was characteristic of him,
but also a charm which it was not usual to find in
the fugal style. With a symphony of Reicha, the
piece was performed at the Conservatoire.
In 1807 Spontini's great opera of La Vestale ap-
peared with success, the libretto of which, by Jouy,
had been first of all successively offered to and re-
fused by Cherubini, Méhul, Boieldieu, Paër, and
others, until, in despair, Jouy offered it to Spontini.
The work, in some respects closely allied to Cheru-
bini's school of opera, had, in competing successfully
for the decennial prize instituted by Napoleon, to
contend with Cherubini, Lesueur, Méhul, Gossec,
Grétry, Berton, and Catel; Les Deux Journées and
Méhul's Joseph, however, gained honourable mention.
But such were the strife and ill-feeling aroused by
the decisions of the jury that Spontini never received
his 10,000 francs nor Jouy his 5000, the Emperor
thinking it advisable to avoid giving further offence
to all the other discontented musicians. It is a
noticeable fact that the jury, of which Cherubini was
a member, for examining works for the Grand Opera,
were against La Vestale being put on the stage, an
Spontini's La Vestale.
165
opera since performed for thirty years with immense
success, thanks in a measure to the Empress Jose-
phine, who ordered the work to be represented, not-
withstanding the jury's decision. The enemies of
Spontini have called his operas "elephants;' but no
one can deny that he is a most original composer.
"It is a very difficult thing,' says Henry Chorley, 'to
give to a composer, having a history like Spontini,
a fair and fit pedestal in the musical Pantheon-and
sure to enlist itself in the matter. ... What if he be
classed among the Germanised Italians, of whom
Cherubini was one, and Clementi another, and who
have lost with their nationality their national dolcezza
as entirely as certain Italianised Germans-Hesse,
Mayer, Winter-have gained it? This will, in part,
help us towards a definition; but, it must be added,
that while Spontini had the dryness which, I fancy,
distinguishes the pianoforte music of Clementi, and
even (in a less degree) the magnificent compositions
of the greater Cherubini, he has nowhere shown a
science in any respect analogous to theirs. He wrote
only opera. ... A certain temperate eclecticism per-
vades Spontini's operas, which is often insipid, rarely
beautiful, never deep; and because of this, it may
justly be feared, they will sink into oblivion, with all
the fine things and brilliant movements which they
166
Memorials of Cherubini.
comprise; whereas Les Deux Journées of Cherubini,
and the Didone Abbandonata of Clementi, though less
brilliant and less conciliatory of popular suffrage,
and, like Spontini's music, rather dry, will not soon
be forgotten.'10 It was after the public had given
such a blow to the chief Parisian composers by ex-
tolling to the skies what they had judged as alto-
gether unworthy of musical treatment, that Méhul
and Cherubini deigned to accept from poor Jouy, the
one Les Amazones, and the other Les Abencérages. Of
Méhul's masterpiece, Professor Ella observes: 'Whe-
ther owing to the sacred subject of the drama, which
admits of no very strikingly impassioned music, or
otherwise, the opera of Joseph, produced in Paris in
1807, was not received with very great enthusiasm.
At the present time, Joseph is occasionally performed
in Vienna and at Paris. Cherubini, the contemporary
of Méhul, having produced his opera Faniska at Vi-
enna with success, and being proclaimed by the
German critics the most learned of dramatic com-
posers, Méhul unwisely abandoned his natural style,
and encumbered the score of Joseph with bald imita-
tions of his classical rival, which gave to his music a
certain effect of mannerism. Notwithstanding this
defect in Joseph, there are beautiful melodies, a grand
dramatic sentiment, and a local colour which is excel-
10 Modern German Music, vol. i. p. 204.
Méhul's Foseph.
167
lent. Often as I have perused the touching narra-
tive of Joseph and his brethren, its performance at
the Opéra Comique in 1829, in Paris, produced a more
deep and lasting impression on my feelings. The
scenery and costumes historically correct; the sing-
ing, acting, and orchestra perfection. I do not envy
the man who could witness the affecting interview
of Joseph and his father, sung and acted as I wit-,
nessed it, without being moved to tears.'11
Cherubini meanwhile did little or nothing in the
way of composing. Some say that he had refused
in vexation the poem of La Vestale; for he saw that
his popularity annoyed Napoleon, a popularity which
showed that people had the boldness to esteem one
whom the great man did not favour. Set aside as he
was, while Méhul, Gossec, Grétry, and Lesueur had
received honours, it is not to be wondered at if Che-
rubini became disheartened. He ceased to compose
almost altogether. One air for Crescentini was writ-
ten in 1806 at Paris; and a chorus and melodrame'
(for an opera begun only) were composed in 1807,
when also was finished a collection of canons for
two, three, and four voices, composed at different
times, counting from the year 1779 to 1807. In this
difficult form of music, Cherubini excelled and de-
lighted. All know Perfida Clori, printed in London
11 Lectures at the London Inst. p. 20.
168
Memorials of Cherubini.
as early as 1810, the popularity of which in this
country may be gathered from the fact that it has
been set to God save Victoria, and other English
words. Ten canons of Cherubini, including Perfida
Clori, were published by Clementi in 1821. In 1807,
according to Arnold, Cherubini led the earliest per-
formance in Paris of Beethoven's first symphony.
In 1808, he set music to a romance by Bernard,
called Le Mystère, for the Austrian ambassador, Count
Metternich; but for eighteen months he lay in a state
of nervous depression. It was even reported in Vienna
that he was dead.12 For eight hours a day he would
occupy himself with drawing and botany. His ex-
quisite organisation as an artist,' says Miel, 'would
probably have made him a great painter, as it made
him a great musician. Before now, we have seen
him amuse himself with drawing flowers on playing
cards taken up haphazard; mastering with an un-
common skill the distribution of the different points,
figures, and colours, he found means adapting all
sorts of subjects. The clubs, spades, hearts, and
diamonds formed the nucleus of the devices. But,
continues Miel, “it is, above all, in a set of figures
drawn with the pencil, and with the hard contour of
the old Florentine masters, in the profiles, that the
native force of his talent is recognised. One day,
12 Arnold.
Departure for Chimay.
169
David the painter, Cherubini's friend, came in upon
him while he was doing in crayon on a common
piece of paper a landscape after Salvator Rosa, with
many rocks, and traversed by a torrent that made a
way for itself through a narrow mountain-pass. So
pleased was David, that he cried out, 'In truth, ad-
mirable, courage! The drawing subsequently came
into the possession of Salvador Cherubini, the com-
poser's son. Music being abandoned, Cherubini took
to studying with assiduity the science of Linnæus,
Jussieu, and Tournefort, and placed himself under
Des Fontaines. He also made a herbal, “a sad and
interesting memorial of this phase of his life, which
remains in the family.'13 These pursuits somewhat
improved his health, but he needed complete rest.
He had become acquainted with M. de Caraman,
Prince of Chimay, and the Princess, well known for
her beauty and amiability. They both invited him
to their country seat in Belgium; and so, in 1808, he
set out, accompanied by Auber, for the castle of
Chimay.
13 Denne-Baron.
PART II.
ECCLESIASTICAL MUSIC.
1808-1842.
CHAPTER 1.
1808–1809.
Repose at Chimay-Origin of the Mass in F-Performance of the
Kyrie and Gloria on St. Cecilia's Day—The whole work executed
on Cherubini's return to Paris at the Hôtel du Babylon-The later
school of Church music.
CHERUBINI arrived safely at the castle of Chimay.
Bent on regaining his health and strength, he dis-
carded laborious pursuits, and contented himself
with studying botany and taking walks in the
park. Music, almost abandoned, was purposely not
mentioned in his presence, and he was left undis-
turbed to himself. It so happened, however, that
St. Cecilia's Day, the 22d of November, was coming
round; and the little musical society in the village
of Chimay made bold to send a deputation, at the
suggestion of its president, to Cherubini at the castle,
to ask him to write for them a mass that could be
performed in the Chimay church on the day of the
feast. The deputation being introduced, the presi-
dent, with some trepidation, explained their object
in coming. No, it's impossible,' curtly replied Che-
174
מרון
rubini; and he went on busying himself with his
flowers, paying no further attention whatever to the
deputation, which stood for a moment irresolute, and
then withdrew in confusion. The sympathies of the
inmates of the castle were with it; but what could be
done ? Nothing was said about what had occurred;
but next day it was remarked that Cherubini, evid-
ently preoccupied, took an unusually long walk alone
in the park; and Madame de Chimay, perceiving that
he had not made his usual botanical excursion, placed
some music-paper on his table covered with speci-
mens of plants. Returning from his solitary walk,
Cherubini began to trace out in full score the Kyrie
of his renowned Mass in F. He wrote it without
apparent thought or labour, in a corner of his room,
in the intervals of repose from his labours, playing
at pool in the billiard-room.
Miel states that the Kyrie of the Mass in F was
entirely written in the billiard-room during a single
game of pool, the composer only laying his pen
down when told that it was his turn to play, and
was going on around him. What a long game of
pool it must have been! Others speak of Cheru-
bini's writing the Kyrie in his room, and play-
ing at pool, or billiards, in the intervals of rest
from his work; and I have followed this less sen-
Mass in F.
175
sational account as being more probably the true
one.
In the above account of the origin of the Mass in F,
all the biographers have been followed except Denne-
Baron, who makes a statement to the effect that
Cherubini took a fancy to having a mass sung in
the castle chapel; that the Princess de Chimay, after
every preparation had been made, had recourse to
him for the music, and that he refused her; but
that at length, overcome by entreaty, he began a
mass.
Eventually Cherubini finished writing, and going
up to Auber showed him the manuscript, a piece for
three voices, with instrumental accompaniments.
Auber wished it to be tried, a proposal to which
Cherubini assented; and that very evening Auber
seated himself at the piano, Madame Duchambge, a
visitor, taking the soprano, and the Prince of Chimay
the tenor. They could hardly wait till the end of
the piece to express their admiration to Cherubini,
who himself sang the bass. A Gloria was soon
added. Meanwhile St. Cecilia's Day was close at
hand, and it was clear that the whole mass could
not be completed in time. Yet it was agreed that
the Kyrie and Gloria should be performed. The
village was ransacked for instruments, and it turned
out that all the resources amounted to only two
176
Memorials of Cherubini.
horns, two clarinets, a quartet of strings, a flute,
and a bassoon. With such simple appliances, united
to the voices of the village choir, were the Kyrie
and Gloria executed: in truth, that St. Cecilia's
Day was marked with a white stone in the annals of
Chimay. Cherubini, after this effort, began to take
to music again more kindly, without, however, in any
way neglecting botany, the study of which was pro-
secuted with greater zeal than ever. He began a
herbal, which he preserved with care, and which
eventually came into the possession of his son-in-law,
Rossellini.
Remaining at Chimay some short while longer,
Cherubini, restored to health and art, returned to
Paris, where he completed the rest of the Mass in F,
of which the first grand performance, from the manu-
script score, took place in 1809, at the Hôtel de
Babylon, the town residence of the Prince of Chi-
may. Among the violinists present were Baillot,
Kreutzer, Rode, Habeneck, Libon, Mazas, and Gras-
set; the violoncellists included Lamare, Levasseur,
Duport, Baudiot, and Norblin; the clarinet-players,
Lefebvre and Dacosta; the horns-players, Duvernoy
and Dominick; the flutists, Tulou; and the bas-
soon-players, Delcambre. Indeed the instrumental-
ists mustered stronger than the vocalists. The Mass
in F was received with enthusiasm, and, being pub-

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Mass in F.
177
SV
lished in 1810, soon made its way over all Europe.
Fétis, who was present at this first performance,
speaks of it in his Etudes sur Cherubini: 'Never shall
I forget, he exclaims, 'the effect produced by this
Mass confided to such interpreters. All the celebrities
of Paris, of whatsoever rank they might be, attended
the performance, where the glory of the great com-
poser shone forth with a living lustre. During the
interval between the performance of the Gloria and
that of the Credo, groups everywhere formed them-
selves, and all expressed an unreserved admiration
for this composition of a new order, whereby Cheru-
bini has placed himself above all musicians who have
as yet written in the concerted style of church-music.
Superior to the masses of Haydn, Mozart, and Beet-
hoven, and the masters of the Neapolitan school, that
of Cherubini is as much remarkable for originality of
idea as for perfection of art.'
“At this time,' says Picchianti, ‘he (Cherubini)
brought out the celebrated Mass in F for three voices,
which alone would suffice to immortalise the name
of Luigi Cherubini, and by which he created a new
kind of religious music which had nothing in
common with anything that had been produced
before.
All the musical science of the good age of re-
ligious music, the sixteenth century of the Christian
ame
178
Memorials of Cherubini.
V
era, was summed up in Palestrina, who flourished at
that time, and by its aid he put into form noble
and sublime conceptions. With the grave Gregorian
melody, learnedly elaborated in rigorous counter-
point, and reduced to greater clearness and elegance
without any instrumental aid, Palestrina knew how
to awaken among his hearers mysterious, grand, deep,
vague sensations that seemed caused by the objects
of an unknown world, or by superior powers in the
human imagination. With the same profound thought-
fulness of the old Catholic music, enriched by the per-
fection which art has attained in two centuries, and
with all the means which a composer can nowadays
make use of, Cherubini perfected another conception,
and this consisted in utilising the style adapted to
dramatic expression when narrating the sacred text,
by which means he was able to succeed in depict-
ing man in his various vicissitudes, now rising to
the praises of Divinity, now gazing on the Supreme
Palestrina's music places God before man, that of
Cherubini places man before God.
The Mass of which we have just spoken and from
which we must date our estimation of Cherubini as the
most sublime composer of church-music of his time,
was conceived on a grand scale, and constructed on
a well-distributed and calculated plan. The Kyrie
Mass in F.
179
(220 bars), of a terse and artificial style, but of a
rather mundane cast, presents an almost continual
undulation from crescendo to decrescendo, as though
the composer wished to express the heart-fluctuation
of a sinner who is praying. Nothing simpler and more
ingenious could be imagined than the melody of the
subject that the soprano gives out in the “ Christe."
Allegretto.

Sop.
Ten.
Chri - ste o - le-i-son, &c.
Chri
- ste
'. leison, &c.

Chri.
This seems the prayer of a pure and innocent virgin,
that comes forth from the innermost depths of the
heart, and rises to the throne of the Almighty.
The light and delicate accompaniment obbligato of
the orchestra, which sustains the same movement up
to the end, perfectly preserves, from beginning to
end, the character of the fugue; which, on account
of the learned art with which it is elaborated, the
beauty of the counterpoint, and the general effect
produced, must be reputed a perfect model in this
kind of composition, just as all the other fugues in
this and any other Mass that Cherubini has written.
180
Memorials of Cherubini.
There is a most beautiful contrast between the bril-
liant idea of the opening of the Gloria and the
Allegro vivace. f
other tender and subdued ideas which are expressed
in the words “et in terra pax." After which the
music, returning to the movement of the Gloria,
passes to an andante con moto of superb art, in which
are included all the words, beginning with “laudamus
te” down to the three “Domine."1
Here reappears in its entirety the first subject of
the Gloria, succeeded by a tempo sostenuto, worked
out in a masterly manner, and leading us from the
“qui tollis” to the “cum Sancto Spiritu,” together with
which it forms a short prelude to the superb fugue,
developed on the words “in gloria Dei." The accom-
paniments of simple rinforzo, employed by the or-
chestra from the beginning of the fugue, are suddenly
changed on the last stretti into accompaniments
obbligati, and then, in a long pedal point on the
dominant, the chief melody of the opening Gloria is
stealthily introduced, which unites with the subject
in the fugue and comes to prepare us for the grand
1 This, it will be noticed, is quite a novel arrangement; 'laudamus
te, benedicimus te, adoramus te, glorificamus te,' being almost invari-
ably included in the strain of triumph at the 'gloria in excelsis.'
Mass in F.
181
final cadence. The Credo (435 bars) begins with the
intonation of canto-fermo, which the three vocal parts
repeat in imitation of the motivo and answer of a
fugue. And at the end of each verse, mostly worked
aut by contrapuntal devices con attacchi, and with
imitations, all the voices in unison or at octaves for-
cibly bring out, with the word “credo," the notes
essential to the perfect cadence, which starts a new
tone with which the next verse is connected. This
same procedure, repeated some seven times before
we come to the “incarnatus," presents us with a con-
tinual assertion of full faith in all those articles which
are. put forth, and which the Christian must profess
and believe. A certain persistent phrase in the basses
of the orchestra, perfectly supported by that of the
violins and other instruments, forms a most beauti-
ful accompaniment to a movement rather moderato.
Allegro moderato.

toe
Plan GC,
After a slow movement with two tempi, in which the
incarnation and crucifixion of the Man-God are pa-
thetically described (the violins in the latter portion
182
Memorials of Cherubini.
wailing in arpeggio accompaniment), we come to the
allegro, where His resurrection is depicted, and, with
the usual formula “ credo,” already employed in the
first movement, the composer returns to emphasise the
remaining articles of the Catholic Faith till he reaches
the words, “et vitam venturi sæculi,” to which a fine
fugue is allied, which forms the magnificent finale of
the Credo. Most learned harmonies and exquisite
melodies are met with in the Sanctus (105 bars), and
in the Agnus Dei (61 bars), which concludes with a
very beautiful tempo frigato of excellent art; on the.
words “dona nobis pacem."?2
We have now to consider Cherubini in a new
light. “Up to this time,' observes Fétis, -church-
music, as Palestrina and the other great masters of
the old Roman school had conceived it, had been
treated as an emanation of pure sentiment, stripped
of all human passion. Cherubini, on the contrary,
wished his music to express the dramatic sense of
the words, and in the realisation of his idea, he has
been able to blend the severe beauties of counter-
point and fugue with dramatic expression, sustained
by every wealth of instrumentation. Here, as in the
theatre, and without laying aside in anything the
rigour of rules, he has revealed a new art, the de-
velopments of which, brought about some years
2 Picchianti, p. 48.
The later School of Church-Music.
183
later, characterise the third epoch of the artistic life
of the great musician.'
As a composer for the church, then, Cherubini
was opposed to Palestrina's notion that ecclesiastical
music must always be something ideal, and in main-
taining, on the contrary, that it might also express
dramatically the sense of the text, he pretty well
agreed with Haydn and Mozart: but those masters
are at times trivial and undevotional; they often
thought of their singers first, and their subjects second,
and from being dramatic fell into the snare of being
theatrical. Certainly their masses have been of late
too much decried, for many of them are the most
beautiful in the world. Let these masters yield the
penitential seasons of Lent and Advent to Palestrina
and his school. It is theirs to celebrate the joys, not
the sorrows, of the Liturgical year. Still their de-
fects left room for a more earnest, profound, devo-
tional music, fit to represent a theory, which, though
true, was liable to abuse.
In 1809 appeared Cherubini's Mass in F, eventu-
ally followed by those four colossal Masses in D, the
glory of the later school of church-music, by Che-
rubini, Niedermeyer, Beethoven, and Hummel re-
spectively. But while these last were lengthy, care-
fully elaborated, and suitable for grand occasions
rather than for ordinary use, there was no remissness
184
Memorials of Cherubini.
in creating others of the same order of architecture,
though on a less extended scale. To this thought-
fulness we owe the splendid Mass in C of Beethoven
(1810), the melodious Mass in C of Cherubini (1816),
his Coronation Masses in G (1819) and A (1825),
Reissiger's fine Mass in E flat, and Hummels Masses
in B flat and E flat. Nor were the Hymn and the
Requiem neglected by Cherubini, and Hummel be-
queathed a new masterpiece to sacred music in his
· Quodquod in orbe.
All these later writers of church-music have solved
the problem, whether to be dramatic it is necessary
to be theatrical. They have come to their task with
seriousness, well knowing that the mass need not
be one strain of triumph, as Haydn makes it; and
with the occasional exception of Hummel, they have
always placed their theme, not the singer, in the
foreground. They disagree with Palestrina in one
important point; they go with him hand-in-hand in
every other. Seeing what modern times require,
they nevertheless lean towards antiquity; with all
the marvellous development which musical science
has undergone in the last century, they centre in
themselves the spirit of the old Roman master,
searching as they did for the secret of his solemn
and devotional feeling in a deep study of his works.
* If Palestrina had lived in our own times,' says
Spohr on Cherubini's Sacred Works.
185
Adolphe Adam, he would have been Cherubini;' in
other words, a dramatic Palestrina. As Palestrina
saved the reputation of ideal concerted church-music,
so has Cherubini rescued that of dramatic concerted
church-music. I am aware that Cherubini's church-
music has been deemed theatrical by a few critics;
and this was almost inevitable, seeing that he is so
dramatic. None, however, have gone the length of
M. Viellard, who, in his notice of Méhul, after praising
Lesueur's church-music, says, "The music of Cheru-
bini, otherwise full of charın and harmonic power,
hardly ever exhibits a religious character. Spohr,
after abusing a mass of Lesueur, which he heard at
Paris, as frivolous and theatrical, and without even
a four-part management of the voices, proceeds to
say, 'But will you believe it when I assure you that
even the worthy master Cherubini has allowed him-
self to be led away by this bad example, and that his
masses exhibit in many places a theatrical style? It
is true that he makes amends for it in those places
with superior music, full of effect; but who can enjoy
it, if he cannot wholly forget the place in which he
hears it?' He adds, 'It would be less regrettable that
Cherubini also should deviate from the true ecclesi-
astical style, if in some individual parts he did not
show in what a dignified manner he can move in it.
Several separate subjects in his masses—particularly
186
Memorials of Cherubini.
the scientifically-conducted fugues, and, above all,
his Pater noster up to the profane conclusion-
afford the grandesť proofs of this. But when you
have once overcome the inclination to feel annoyed
at this frequent extremely digressive style, you then
feel the highest enjoyment of art. By richness of
invention, well-chosen and frequently quite novel
sequences of harmony, and a sagacious use of the
material resources of art, directed by the experience
of many years, he knows how to produce such
powerful effects, that, carried away by them in spite
of yourself, you soon forget all pedantic cavil to give
yourself wholly up to your feelings, and to enjoy-
ment. What would not this man have contributed to
art if instead of writing for Frenchmen he had always
written for Germans !3.
Schlüter too, in his History of Music, observes :
• What was wanting in Cherubini's operas was
only too prevalent in his sacred music; his masses,
especially wherever the text afforded the slightest
opening, are too dramatic; some of the pieces are
quite operatic, nay theatrical, in style. After saying
that modern church-music comes from the concert-
room, he adds: “If (in opposition to the one-sided
views of critics) we admit the lawfulness of this ten-
dency of modern chureh-music, in consideration of
3 Autobiography, vol. ii. p. 125.
Disparagement of Beethoven and Cherubini. 187
the circumstances of the age, we must allow that
Cherubini's expressive as well as brilliant Mass in D
minor, and especially his Requiem in C minor, are
noble and sublime conceptions. Notwithstanding
the most lavish employment of orchestral and choral
resources, these works are characterised by lofty
simplicity, exquisite proportion, distinctness of form,
and powerful imagination. Clément, in his Histoire
de la Musique Religieuse, disposes both of Beethoven
and Cherubini in the following few sentences: ‘Beet-
hoven had not a religious soul. You would search
in vain for the accents of prayer in the two masses
which he composed, and even in his one oratorio,
Christ on the Mount of Olives. He astonishes, he
transports; he overwhelms the soul. He commands
admiration, but he does not excite sensibility:
Again: "Cherubini's church-music is imprinted with
an elevated character, and, in an artistic point of
view, is full of beauties so exquisite, with such an
amount of science and taste, that it cannot but excite
the admiration of artists. But Cherubini's works are
wanting in one precious quality-simplicity. The
Coronation Mass, the Ave Maria, the Ecce Panis,
reveal the author of thirty operas.' Now, not to
go further than just to notice that Schlüter most
unfortunately brings in the Requiem in C minor
(one of Cherubini's works which, as we shall see,
188
Memorials of Cherubini.
have no dramatic treatment at all) as a theatrical
work, and that while he admits that Cherubini
has simplicity, Clément says that our composer
has none, let me say that by theatrical church-music
I mean always what is offensively operatic and
frivolous. Cherubini, as an ecclesiastical composer,
is never either the one or the other. Neither does
his nor does Beethoven's music appear to me to owe
its origin to the concert-room. Dramatic music is
generally theatrical; these masters proved that it
need not be so, and, by studying Palestrina, escaped
from being undevotional.4 They, indeed, made cer-
tain effects of instrumentation, which may be found in
their operas, subservient to their subject. But even
this only occasionally, and with solemnity, sweetness,
and unction ever present. For no other reason but
this can Cherubini ever be called theatrical. One or
two of his motets may possibly be open to slight
animadversion; but taken as a whole, if he is to be
called theatrical, then has he made theatrical music
devotional. But who would wish to be driven to
this ground of defence? Music, like the other
arts, having an end of its own, there is always more
or less danger when it seizes hold of the offices of
the church for its own illustration; but Cherubini's
4 Fétis tells us that he realised the importance of studying the old
Italian masters and their traditions, after some conversations which he
had with Cherubini in 1804.
Great Praise.
189
whole spirit and style are perfectly in conformity
with the instructions of the Holy See. Pope Benedict
XIV. says: “Where the religious song is accom-
panied by musical instruments, these must serve
solely for adding to its force, so that the sense of the
words penetrate deeper into the hearts of the faithful,
and their spirit, being roused to the contemplation of
spiritual things, be elevated towards God and the love
of divine objects. Such is the effect on most minds of
Cherubini's orchestration in the church. It aids us in
realising the meaning ofthe sacred text. “Magnifique,
élevé, dramatique, exclaims Father Girod of Che-
rubini; 'il n'outre rien, il n'exagère jamais. Il ne
blesse en aucun cas les convenances religieuses, et
jamais par sa musique il ne vous transporte au thé-
âtre.' The praise becomes greater : 'He can be power-
ful or pathetic, severe or graceful, gay or grave, in a
variety always new. . . He could adapt his talent
to the minutest exigencies, the most complicated of
scenes, of expressions, of prophecies, of sorrows, of
hopes, of holy feelings found in the Bible and the
Liturgy. He possessed a remarkable aptitude for
rendering sensible, for interpreting religious truths;
and when we hear his music, we understand that
this harmonious language, so sublime, so persuasive,.
is not made for the holy temples, but for our inter-
course with heaven.'
190
Memorials of Cherubini.
Thus writes Miel: “Nothing more tender, more
soothing is there than the accents of the prayer,
more touching than the cry of suffering humanity,
in the Kyrie of the Mass in F, in his Agnus Deis,
and in the first strophes of his Requiem. If he repre-
sents the Passion and Death of Christ, the heart feels
itself wounded with the most sublime emotion; and
when he recounts the Last Judgment, the blood
freezes with dread at the redoubled and menacing
calls of the exterminating angel. All those admirable
pictures that the Raphaels and Michael Angelos have
painted with colours and the brush, Cherubini brings
forth with the voice and the orchestra.
Doubtless, no small part of his triumph, in that
sacred music where he unrolls before us what Place
well styles those sublime visions,' was owing to the
profound religiousness of his character; and when
we read that he put the words · Laus Deo' at the
beginning and end of his church pieces, we can un-
derstand that an ardent faith contributed, in no in-
considerable degree, to the sweetness and devotion,
the purity and lofty inspiration which so eminently
distinguish them. In brief, if Cherubini is the chief
of a later school of opera, no less is be the chief of a
later, and by common consent the grandest, school
of modern church-music.
CHAPTER II.
1809–1811.
Pimmalione at the Tuileries- Napoleon Le Chant sur le mort de
Haydn-Ode for the Emperor's marriage-Litanies for Prince
Esterhazy-Le Crescendo--The second Mass in D minor-Its con-
struction and character.
WHEN Napoleon left Vienna in 1805, he brought
Crescentini to Paris, and it was agreed that an opera
should be written for that singer, without any men-
tion of the name of the author. In 1809, therefore,
some of Cherubini's friends, who had tried to over-
come Napoleon's aversion towards the Florentine,
now persuaded Cherubini to write an opera anonym-
ously for the theatre. Pimmalione, in one act, was
the result. The first performance took place on the
30th November 1809, at the Théâtre du Château des
Tuileries. “Pimmalione,' exclaims Fétis enthusiastic-
ally, 'ouvrage charmant d'un genre absolument dif-
férent des autres productions de Chérubini, et dans
lequel on trouvait quelques scènes de la plus heureuse
conception. At the grand scena in the work, Napo-
leon was affected to tears; he eagerly asked the
name of its composer, yet when told, showed more
surprise than satisfaction, and said nothing; but
192
Memorials of Cherubini.
AS
afterwards sent Cherubini a sum of money, and re-
quested him to write the music for an ode on his
approaching marriage, which Cherubini did in the
May of 1810. The latter also had the score of Pim-
malione handsomely bound, and given to the Grand
Chamberlain, who was charged to present it to the
Emperor; but Cherubini heard nothing afterwards
of the expected audience, the presentation, or the
book. In the January of 1810, Cherubini wrote his
beautiful little organ fantasia, published in 1867, in
the first volume of his posthumous works.
In the winter of 1810 (Arnold says April 1811),
a Chant sur la mort de Haydn, composed, according
to Cherubini, in 1805, was performed at the Conser-
vatoire, and later on, in Vienna. But Haydn died in
1809. The probable explanation is that in 1805 Che-
rubini wrote a hymn in honour of Haydn, which,
being laid by till after the latter's death, was, as I
think Denne-Baron hints, put to new words on its
performance in 1810. An affecting trait in this chant
is noticed by Miel. This is a motivo, which, without
being actually taken from any in the Creation, yet
recalls that work in such a way as to make it impos-
sible to mistake Cherubini’s intention of reflecting
Haydn's inspiration through his own. Elaborate in
some respects as a composer, yet Cherubini valued
highly the perfect naturalness and breadth of Haydn's
1
Le Crescendo.
193
music. For though that music is not on the whole
deep, yet it is like an old friend whose voice sounds
pleasantly. There is nothing unintelligible in it;
you cannot fancy it other than it is; you wonder it
was not, so to speak, found out before. According
to Reichardt's statement in the ‘Briefe aus Paris,
Cherubini's own breadth of treatment, where intricacy
does not overmaster him, is owing to his appreciation
and study of Haydn's symphonies. In July 1810,
Cherubini wrote his lovely “Litanie della Vergine'
for Prince Esterhazy, who, leaving Paris in that year,
after having lived some years there, sent Cherubini
a ring worth four thousand dollars. It was in this
year that Cherubini, Eler, Méhul, Pradher, and Catel
were constituted commissioners to report on St.
Pern’s new instrument called the 'Organon Lyricon.'
A favourable report was sent by the commission to
the Minister of the Interior on the 12th August 1810.
This was not the only time that our composer formed
one of a commission of this kind. Thus, he reported
with Lefèvre, Eler, Duvernoy, Méhul, Gossec, and
Catel on Müller's clarinet; and with Sarrette, Méhul,
Gossec, Catel, Rose, Jadin, Baillot, Adam, and Prad-
her on Grenie's organ.
On the 1st September, Cherubini brought out his
Le Crescendo at the Opéra Comique, of which Fétis
* Castil-Blaze's Dictionnaire de la NIusique Moderne.
194
Memorials of Cherubini.
A
says: "For a light piece in one act he had written a
score of 522 pages in small notes. These long de-
velopments destroyed the scenic action. There was
however, in this work, an air sung by Martin, the
originality of which was very remarkable, the sub-
ject being the description of a combat, given by a
man who hates noise of any kind. The air is sung
sotto voce, and the orchestra accompanies pianissimo.
There is nothing more piquant than this creation of
Cherubini’s genius. The work is said to have failed
because of the din which the music made. Castil-
Blaze says: Then it was found too noisy; now-
adays it would not be thought noisy enough.'
The Biographie Nouvelle des Contemporains and
the Harmonicon mention Les Courses de Newmarket as
an opera composed by Cherubini in 1810, whereas
Struntz was the real author of that work, which
was first represented at the Feydeau Theatre in
1818.
Such other works as Cherubini wrote in 1810
were composed at Chimay, to which he paid a second
visit in the autumn.
It was in 1810 that some evilly-disposed persons
spread a report about Méhul being jealous of Che-
rubini, whereupon Méhul wrote a letter, that ap-
peared in the public journals, in which he contented
| 2 Biog. Univ. art. ' Cherubini.'
Muss in D minor.
195
himself with stating that he deemed Cherubini the
greatest composer in Europe.
Among the many pieces written by Cherubini in :
1811 were some for Neukomm and Guerin the painter
respectively. Towards the end of March he began,
and on the 7th of October finished, his stupendous
second Mass in D minor. Thus he spent somewhat
more than six months in its composition; yet how
short a time was that for undoubtedly the longest
Mass that has ever been written !3 I have not suc-
ceeded in finding any description of the Mass in D
minor, and yet, though I cannot here do it justice
within any reasonable limits, I am unwilling to pass
over the Mass without some specific notice, and
therefore I venture to point out some of the more
prominent peculiarities and beauties in a work now,
I believe, regarded by many as the composer's great-
est achievement in the field of sacred music. In the
Mass in D minor, Cherubini would seem to have
made up his mind to forestall any attempt on the
part of his followers to outstrip him in developing
the principles of his own school. In largeness of
design and complication of detail, sublimity of con-
ception and dramatic intensity, two works of its class
certainly approach it-Beethoven's Mass in D, and
Niedermeyer's Mass in D minor.4
3 See Appendix II.
A Both Beethoven and Cherubini have the reputation of being hard
196
Memorials of Cherubini.
Its appearance caused a division of opinion at
Paris among Cherubini's admirers, with reference to
its merits, as compared with the Mass in F. But
its forms and ideas are more novel than those of
the Mass in F. Its enormous length makes it useless.
for ecclesiastical purposes, except on occasions of
great solemnity. It must be remarked, however,
that this length in great measure arises from repe-
tition, so that curtailment does not necessitate the
alteration of a note of Cherubini. Again, each por-
tion in the various divisions of the Mass in D minor
stands so independently that whole passages can be
left out without changing a bar. Here we have a
number of concerted pieces, each complete in itself;
the pauses being very numerous. Take, for instance,
changes of time.
The Kyrie (437 bars) is divided into no less-
than three portions, quite distinct from each other
in idea; and, beyond a few bars for the instruments,
there is not the usual strict return to the first sub-
ject. It opens with a majestic introduction in D
minor, the subject of which is first given out by the
upon the voice; but while Beethoven's great Mass is found difficult of
agreeably for the voice, that it is always a pleasure to sing in it.' So
a bass singer once informed me.
Mass in D minor.
197
Larghetto.
Viol.

II
-
1
.
.
0Q
Toe
- &C.
HH
TTON
Cello,
instruments alone. A number of grand chords in
syncopation soon ensue, which, descending, lead to
the voices, which enter on a repetition of the open-
ing subject. The tone subsequently becomes agi-
tated, reaching a climax in a short passage, re-

:17
peated once, and to this succeed the descending
harmonies leading to the opening phrase as before,
198
Memorials of Cherubini.
but here, without pause, we suddenly enter the
second movement in time, which concludes with
the above passage and an added bar and a half.
After a rest, the third movement, allegro moderato,
in common time begins. It is a fugue, and, once
known, is a thing not to be forgotten; the gorgeous
subject with its soft refrain, the undulation of sound,
the pause in the middle of the movement, the solitary
recommencement of the, alto, the rising of the strains.
up to that thrilling, fearful, almost despairing cry,
Allegro moderato.
é - lei - son, e - lei - son, e - lei -
Sop. fl
Alto.-
ota__hap
ga-G49SaborIann
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and then the heavenly calm that succeeds, express-
ing, if music can speak, a hope and trust in the mercy
of God. After the beautiful refrain which has so
often recurred, the violins alone are heard, descend-
ing chiefly at intervals of thirds, and then rising;
the low murmur of Kyrie' succeeds unaccompanied ;
again the violins enter, and as the voices whisper
a second time ‘Kyrie,' the opening bar of the Kyrie
is heard, and the orchestra is left to finish the move-
ment, which ends characteristically, after a marked
pause, with the common chord of D major.
In most composers' hands a fugue has been in-
Mass in D minor.
199
appropriate for a Kyrie. Cherubini either employs
none at all, or else one of a character that will ex-
press the feeling of supplication; for he never lost
sight of the fact that the Kyrie is a prayer for
mercy. He has adapted the fugue to his purpose;
whereas Mozart, Haydn, and even Hummel often
give us joyful, triumphant strains, which appear to
me somewhat out of place. Yet this almost per-
petual joyfulness in Haydn and Mozart has a de-
fence. It is their very fulness of heart that makes
them see nothing but gladness in the Christian sacri-
fice. Cherubini, however, took a stricter view of what
was appropriate.
The Gloria (895 bars) opens very brilliantly. In
striking contrast to the sombre "et in terra pax' is
the exulting “adoramus,' which is repeated again
and again with electrifying effect. At this part of
Sop. Allegro.

d
S
E
Update
---H-2-
a-do - ra - mus
Instr. . 4 l
be-ne- di - ci-mus,
a-do - ra-gc,
1
Sve............ Sve.......
the work there are many repetitions; curiously
enough the “laudamus' first occurring before the set
200
Memorials of Clicrubini.
in terra pax' which precedes it in the text. The
beauty of the Gratias agimus' steals upon the soul
as it were by surprise. The tone is more elevated
and pathetic at the "Jesu Christe.' Then comes
the very stately march of the 'qui tollis,' with its roar
of accompaniment, in contrast to which is the expres-
sive “miserere:
Andantino largo.
dolce.
Soprano,

-
se - re
-
re
no
-
bis, &c.
Alto.
-
--
-
-----
-
Mi -
se - re
-
re
10 -
- bis,
This exactly expresses in sound the sense of the
words; no one can regret its recurrence. The me-
lodious Quoniam' is succeeded by a slow affirmation
of the closing words of the Gloria, before the final
fugue on those words. This unusual device was
anticipated by Haydn in the beautiful Gloria to his
Fifth Mass; but here the theme is the subject of the
final fugue, solemnly chanted.,
instruments in a chromatic passage, and then the
word “credo' breaks suddenly upon the ear, and is
repeated at various intervals, a plan which Beet-
hoven adopted eight years later in his Mass in D, not,
Mass in D minor.
201
i
perhaps, very successfully. The danger here lies in
upsetting the rhythm and flow of the music. Coming
to the incarnatus,' it may be remarked, that both Mo-
zart and Weber each in his Mass in G have set a good
example to Haydn, Hummel, Beethoven, and Che-
rubini, in not repeating the words, ' et incarnatus est
de Spiritu Sancto ex Mariâ virgine, et Homo factus
est,' over and over again. The “incarnatus' is the
most solemn part of the Credo, and while the above
words are being sung every one kneels except the
ministers, who bow with head uncovered. Accord-
ing to strict rule, this outward adoration lasts only
during a single recitation of the above words. Thus
either the adoration is over while soloists and chorus
are taking their turn in successive repetitions of the
sacred words, or else worshippers continue to kneel
long after the proper time.
The 'Crucifixus' is a bold piece of workmanship,
the voices singing in unison on one note E for 53
bars, while the violins, muted, wail in flowing accom-
paniment. The effect, with a ponderous bass, is
terrible. At the "Et in Spiritum' is the usual air,
taken up by the voices in succession; but, contrary
to custom, continued down to the final fugue.
Hence a striking effect arises from the contrast be-
tween the tumultuous character of the first half of
the Credo and the serene beauty of the second.
202
Memorials of Cherubini.

Larghetto.
- =
--
-
17
Et...... in - spi - ri-tum
sanc - tum
do- minum
4
e et vi. vi - fi can - - tem, &c.
Towards the close of this most sweet strain, at the
et vitam venturi,' the tone becomes more touch-
ing. The tearful effect of the tremolando in the ac-
companiment will be noticed. The masterly fugue
Amen,' not, as usual, on the additional words 'et
vitam venturi sæculi,' closes the Credo.
In the Sanctus, mentioned separately in Cheru-
bini's catalogue, as having been composed in 1822,
and substituted for the original Sanctus in the work,
(66 bars), one of the most striking things in modern
church-music, the ear is surprised, after the impres-
sive opening, by the two high notes for the soprano
heralded by the instruments.

Maestoso.
Suprano.
10
Then succeeds the vigorous “hosanna, reaching its
climax at the jubilant cry,
6+ # Allegro vivace.
ho-san-na, ho-san-na in ex-col- sis, in ex- cel-sis, ho-sanna
Mass in D minor.
203
followed on its repetition by a fine effect, the time
of the movement being changed to the accent of
common time:
ho -
san - na
in, gc.
The Benedictus (130 bars) is a well-known and
admired movement, with fine contrasts between solo
and chorus with and without accompaniment, as in
Beethoven's Benedictus in his Mass in C. After a short
prelude, Cherubini makes the soprano enter alone on
an inspiring phrase which forms the leading idea of
the whole movement.
Larghetto.
Be
ne - dic
-
.
tus.
The Agnus Dei begins with a triumphant instru-
mental strain, but the beautiful replies between the
voices are full of the most mournful pathos;the words
expressing thoughts both of joy and sorrow. At
the word “miserere,' the voices glide away one after
the other in imitation down the scale, suggesting the
idea of a sinner's fear in the presence of his God, the
whole part closing with a passage most expressive
204
Memorials of Cherubini.
of earnest supplication. Later on a striking effect is
Allegro Moderato. Mi-se - re- re, mi-se - re-re, mi - se -
A nn Sop...

-
22A
mi-se - re- re,
mi-se- re- re,
Mi-se - re- re,
Ten. be
Ten.
Š
Bass.
Mi- se - re- re,
mi-se- re- ro,
mi - 80 -

- re - re,
mi-se - re - le
no - - - -
bis,
Lov
no -
mi- se - re-re
P
__
.. re - re.
mi - se - re - re no- bis,
produced by the reiterated burst of the words - Ag-
nus Dei,' which dies away to a whisper in the same
bar; the weird tone of the instruments will be noticed.

Instr.
1211
bod >
Soprano.
ALTO.
* Ag-zus De.....PI.
Instr.
MENOR.
FI
Bass.
This, repeated twice a third lower, is but another of
Mass in D minor.
205
those wonderful effects by the simple means of piano
and forte with which this great Mass is so full.
The 'dona nobis pacem' is a gentle melody, taken
ne
breaks out, an example of intrusion on the dona'
which is now almost invariably seen. But surely
such intrusion is uncalled for, while unnecessarily
detaining the service. However, Cherubini and some
others may be defended. The prayer for peace
begins in subdued tones, and then, as the emotion
increases, the strain becomes more intense in the
expressive earnestness of its supplication. But the
plea for bringing in the drum, as in Beethoven's
Mass in D, in order to contrast the horrors of war
with the blessings of peace, is surely worth little.
In his Mass in C, Cherubini has left the dona
nobis pacem' in undisturbed possession of the close of
the Mass; a close which at any rate should be tran-
quil, and so it would be in the Mass in D minor, did
have died away.
CHAPTER III.
1811-1816.
Cherubini's Les Abencérages—The pasticcios Bayard à Mezières and
L'Oriflanme—He visits London a second time, and composes for
the Philharmonic Society—Returns to Paris-Honours received on
the restoration of the Bourbons Becomes the king's chapel-master
on the death of Martini—The Mass in C-Requiem in C minor.
ABOUT this time (1811) Halévy became Cherubini's
pupil for composition, obtaining from his master that
grandeur and breadth which may be seen in “La
Juive. He was taught by Méhul for a few months
when Cherubini was temporarily absent.
Little is reported of Cherubini in 1812. He wrote
his cantata, 'Pour la Goguette,' which was executed
on the 16th December. He began, in January 1813,
Les Abencérages, and which, on the 6th of April
appeared at the Grand Opéra. The bon-mots of the
talkers somewhat damaged its reputation, and an
impression seemed to prevail that the composer had
not done himself justice. Yet men of weight and
influence in the Parisian musical world pronounced
the work solid, and even finer and more laboured
Les Abencérages.
207
than the Medec; in brief, that there was nothing
wanting. One Geoffroy spoke a good deal on the .
occasion, freely distributing both praise and blame.
Napoleon and the Empress were present at the
performance, although it was the night before that
departure for Germany which was to result in en-
counters with the Russians at Lützen and Baut-
zen.
Lafage states that Les Abencérages appeared in
1810! The action of the piece, written by Jouy,
being uninteresting, the work did not succeed. Yet
the overture, though at first it may seem hardly
equal to Cherubini's high standard, has many fea-
tures which render it deserving of admiration. The
opening subject of the allegro is certainly not very
striking, but we may note as characteristics worthy
of the master the use made of it afterwards, and of
the phrase:
which occurs first of all in the second bar, the vigor-
ous theme that modulates into B flat, and subse-
quently into F and A minor, the wild weird effect of
the chromatic passage that succeeds, and, above all,
the beautiful melody heralded by the contest for
supremacy between D sharp and D natural.
208
Memorials of Cherubiizi.
Allegro spiritoso.

92
II i I
I
beli

way
28
a tojó.
His (Cherubini's) overture to Les Abencérages,
says F. W. H., in the Quarterly Musical Magazine, the
least attractive of any he has written, still contains
many indubitable proofs of the ability which may be
found more fully displayed in the others. . . . There
are several detached passages of sound modulation,
several melodious streaks of light, the efforts of the
sun endeavouring to emerge from the somewhat
cloudy atmosphere in which it is involved; but yet, as
a whole, it will satisfy neither the critic nor the ama-
teur, who expect from the author of Anacréon some-
thing superior to those ephemeral productions which
are performed in England, called English operas, and
to which a very considerable portion of scraping and
blowing is often appended by way of overture.'
But Schlüter justly says of this very overture, and
those to Anacréon, Lodoïska, and Medée, that they
are replete with vigour and character; their admir-
ably drawn outline, exquisite finish and instrument-
Les Abencérages.
209
ation cause them to be reckoned models of their
kind. Then, in the opera, there is the scena for
Almanza, ' Suspendez à ces murs mes armes, ma ban-
nière,'sung with such success at concerts, by Ponchard
and Delsarte; and the two airs, · Enfin j'ai vu naître
l'aurore,' and · Poursuis tes belles destinées ;' the first
of which three Denne-Baron considers one of the
most beautiful things which dramatic music has to
be proud of since Glück. Many years afterwards
Mendelssohn, in a letter to Moscheles, dated from
Leipsic, Nov. 30, 1837, asked: · Has Onslow written
anything new? and old Cherubini? There's a match-
less fellow! I've got his Abencérages, and cannot suf-
ficiently admire the sparkling fire, the clever, original
phrasing, the extraordinary delicacy and refinement
with which the whole is written, or feel grateful
enough to the grand old man for it. Besides, it is
all so free, and bold, and spirited. The success of
the opera was marred in some degree by the dis-
astrous tidings from Russia of the burning of Mos-
cow, and the retreat of the French pursued by the
Cossacks, when famine and disease did their work,
scenes that recall the poet's words on the lost tra-
veller whom
. The deadly winter seizes; shuts up senses,
And o’er his inmost vitals creeping cold,
Lays him along the snows a stiffen'd corse,
Stretch'd out and bleaching in the northern blast.'
210
Memorials of Cherubini.
The French Government saw the necessity of rous-
ing the spirits and courage of the people in so much
calamity, and the pasticcio of Bayard à Mezières
12th February 1813.
Cherubini, in his catalogue, gives this account of
it: Cet opéra a vété composé par ordre de la police;
la musique est de MM. Catel, Boieldieu, Nicolo, et
moi. Je n'ai composé pour ma part dans cet opéra
qu’un trio, un morceau d'ensemble et le chant guer-
rier de la fin.
Picchianti and Gamucci mention a chorus in the
pasticcio of L’Oriflamme, as the work of Cherubini;
but L'Oriflamme was composed by Méhul, Paër, Ber-
ton, and Kreutzer, and the chorus in question is
not mentioned by Cherubini or Bottée de Toulman.
Picchianti tells us that it is the only piece now re-
membered out of Bayard and L'Oriflamme, and that
it contains surprising effects by means of pianos and
fortes.
an air to couplets called a' Chant guerrier,' inserted in
a piece entitled La Rançon de Duguesclin, represented
either in March or April, at the Théâtre Français.
Then, very soon afterwards, we find him speaking of
eight military compositions: “All these pieces were
composed for the use of the music of the Prussian
Second Visit to London.
211
1
regiment commanded by Colonel Witzleben. How
plainly this tells of the unsettled period between
1814 and 1815! Then Cherubini wrote, in quick suc-
cession, two cantatas, one of which, given at a City
of Paris fête, was performed before Napoleon, who
at last, during the hundred days, conferred an honour
on our composer in making him Chevalier of the
Legion of Honour-not, however, as a composer, but
as leader of the National Guards' band. Thus,' said
Raoul Rochette, in his éloge on Cherubini before
the Institute,--thus did Napoleon still find means
of being unjust towards M. Cherubini, even in doing
him an act of justice. Clément says that Louis
XVIII. conferred this distinction on Cherubini;
others give the date when it was conferred, 5th
December 1814, which, if accurate, would make Clé-
ment's statement correct, for Napoleon was in Elba
from May 1814 to March 1815; and although the
Legion of Honour was ä creation of his own, the
order was confirmed by Louis XVIII. in April 1814.
Best work of all in this year, Cherubini wrote his
splendid Quartet in E flat, No. 1, which, however, was
stowed away on the shelf until it was rescued from
the dust and cobwebs by Baillot, in 1829.
In the March of 1815, Cherubini, whose reputation
was second only to that of Beethoven, was again
invited to London; this time by the Philharmonic
212
Memorials of Cherubini.
Society, then in the third year of its existence. He
accepted the offer, and remained in England during
nearly the whole of the hundred days. He directed
the performance of his own compositions, receiving
from the Society a liberal remuneration for his ser-
vices. These compositions were:
1. An overture in G, begun in February at Paris, and finished in
March in London.
2. A symphony in D, begun in March in London, and finished on the
24th of April.
3. A pastoral cantata for four voices, Inno alla Primavera, with full
instrumental accompaniment, begun on the 8th of May in Lon-
don, and finished on the 19th.
I have a letter in Italian from Cherubini with-
out date, addressed to Mr. S. Vestri, 6 Rupert-street,
Haymarket, and clearly written in 1815 in London
—the subject-matter of which seems to refer to the
above piece, set to Italian words:
· Friday.-Most-esteemed Signor Vestri,—Well, I
shall expect your work to-morrow morning without
fail. I hope you will do me the favour of coming to
me, or of letting me know whether I am to go to
you. I warn you that I shall be unable to wait
longer for those words, as the Philharmonic concerts
are going to conclude, and this piece must be ready
for the last, which will be shortly. Believe me, as I
have the pleasure of signing myself, your affectionate
friend and servant,
L. CHERUBINI.
Return to Paris.
213
41
As for the overture and symphony, they failed,
and were not again performed, giving also little
satisfaction at Vienna. The symphony, as we shall
see, was afterwards turned into a quartet, with a
change of key to C, and a new adagio. There
are few things more strange in musical history
than that Cherubini, so great a master in the or-
chestra, should have failed in his one symphony.
Some, however, may find consolation in a German
opinion, thus expressed: “The symphony is rich,
well worked out, and nowhere marred by too much
art, and recalls Haydn more than any one else,
only that it is not so humorous, and is more imagi-
native.:1
On Cherubini's return in the end of the summer to
Paris, the turn political events had taken is strikingly
shown by his writing in August a chorus and couplets
to St. Louis, and the couplets, “Vive le Roi. It is
stated that one of these pieces in honour of the Bour-
bons was brought out in Germany, with translated
text. The permanent restoration of the Bourbons,
though depriving Cherubini for a time of his post at
the Conservatoire, saved him from further injustice
at Napoleon's hands. Honours flowed in upon him.
In raising from three to six the number of musicians
eligible for the Institute Louis XVIII. made him an
1 L. Cherubini, p. 31.
214
Memorials of Cherubini.
Academician, while the chief Academies of Europe
addressed him with the title of associate or corre-
spondent. The walls of his office,' says Miel,
were covered with honorary diplomas, which came
to him from all parts. He was member of the
Musical Academy of Stockholm and of the Institute
of Holland. And although the Conservatoire was
at first suppressed as a creation of the Empire, it was
reëstablished as the “Ecole Royale de Musique' with
Perne as inspector-general, and Cherubini, in April
1816, as professor of composition, simple inspector-
ships having been abolished. When, on the death
of Martini in 1816, the post of musician and super-
intendent of the King's chapel, was offered by the
King, through his first gentleman-in-waiting, to Che-
rubini, the latter, seeing that his acceptance of it
would naturally entail the dismissal of Lesueur, who
had held it with Martini under the former régime,
replied, “Monseigneur, Lesueur my friend is more
worthy than I am of this high position. If I had
not a young family to bring up, if I were rich, I
should refuse it altogether; but if his Majesty is
willing to allow me to share with Lesueur the
superintendence of his music, I will accept it with
thankfulness.' So Cherubini shared the office with
Lesueur at a salary for himself of three thousand
francs. Thus it was not till he was fifty-five years
AT
The King's Chapel.
215
was
of age that this great man ceased to be anxious
about his livelihood. He and Lesueur took their
turn at superintending the music every alternate
three months, Lesueur's first term beginning in April
1816; Cherubini's on the 1st of July. The con-
ductors, or maîtres,' as they were called, were
Plantade and Valentino; the 'inspector' was Gre-
goire, the librarian Lefebvre, and the secretary
Durais. In the choir there were three first and
three second soprani; three tenors, among whom
was Ponchard ; three basses, including Levasseur.
All these were solo singers; and for the chorus there
were seven first and six second soprani, besides six
boys for both first and second, twelve tenors, and
ten basses. For the orchestra there were seven
first violins, among whom were Baillot, leader,
and Habeneck; seven second violins (Kreutzer,
leader, and C. Habeneck), four violas (Tariot,
leader), six violoncellos, four double basses, two
flutes, two hautboys (Brod one of them), two
clarinets, two trombones, two bassoons, three 'cors,
two harps, and one drum. There were also two
pianists and two organists. Such is a brief ac-
count of this perfect choir, whose equal perhaps no
other place in Europe could then show. I have for-
gotten, however, the organ-blower, whose name was
Hottin, and who, I suspect, is the same individual
216
Memorials of Cherubini.
whom we shall come across at a later period of the
narrative, in connection with Berlioz.
Of the music of the King's chapel, Fétis says:
"The ordinary service of the chapel of the Kings
Louis XVIII. and Charles X. consisted of a Low Mass
occupying at most half an hour, during which mu-
sicians sang various pieces, the whole duration of
which was not allowed to be longer than the Mass
said by the priest. This necessity was new to Che-
rubini, whose genius was prone to long develop-
ments. It was not without effort that he contrived to
compress his ideas within such straitened limits ;
but his prodigious skill came in to surmount all ob-
stacles, and each of the pieces that issued from his
pen for the service of the chapel during the succeed-
ing fourteen years excited the admiration of artists.
"The conditions of which I have just spoken
explain the shortness of the Masses Nos. 174, 196,
202, 211 in the catalogue of his works, and No. 8
in the supplement, on comparing them with the
solemn Masses in F and D minor. An entire Mass
was rarely executed at the King's chapel; often the
whole duration of the service was taken up by a
Kyrie, followed by a motet. It is thus that you re-
mark thirteen Kyries which do not appertain to the
scores of whole Masses, two Glorias, a Credo, nine
O Salutaris, two Sanctuses, two Agnus Deis, two
Mass in C.
217
complete Litanies of the Virgin, two Pater nosters,
two Tantum ergos, lastly, seventeen different motets
more or less developed.?? Miel says, speaking of
Cherubini and the King's chapel, Ses messes ont
triomphé, mais con sordini, dans la chapelle de Louis
XVIII et de Charles X, réduit étroit où se pressaient
les courtisans, et dont on fermait les portes sur une
trentaine de provinciaux qui avaient loué des culottes
de père-noble chez Babin, pour profiter de la carte
d'entrée qu’un député leur avait fait obtenir.'3
The year 1816 was quite the busiest of Cheru-
bini's life, and he studied deeply Palestrina as well
as Clari, Marcello, and Jomelli's works. On the 29th
of January he began, and on the 30th finished, a
cantata with soli, chorus, and grand orchestra, for
the banquet given by the Royal Guard to the Na-
lery, and which was executed in the presence of the
King and the Royal Family. In January also was
begun, and on the 4th March following finished, the
third Mass in C, for four, five, and six voices and
chorus, planned indeed on a less-extended scale than
the first and second Masses in F and D minor, yet
not less effective and captivating, and more suitable
for ordinary ecclesiastical purposes. Girod states that
2 Biog. Univ. vol. ü. p. 270.
3 Dictionnaire de la Conversation, vol. xiü. p. 543.
218
Memorials of Cherubini.
Masses of Cherubini. “We find in it,' he says, “strik-
ing contrasts in the Gloria and Credo between the
quartet and the general chorus, and the two quartets
Coronation Mass, there is more unction felt in it; it
is a tissue of melodic beauties united to a consum-
mate perfection in the details of the vocal and in-
strumental parts. It is a music full of life, of piety
and learning.' Little further has been said of this
Mass, and as I have frequently availed myself of op-
portunities of hearing parts of it, I would wish, in no
presumptuous spirit, to offer upon it a few remarks.
In Cherubini's Mass in C we seem to trace the in-
fluence of Beethoven's Mass in C, written six years
previously. At times the form is almost identical.
The Kyrie (133 bars), in one movement only, after
a short introduction and recitative, usually, I be-
lieve, left out, opens with the following melodious
theme, taken up by the voices, and carried forward
by the instruments.
Andantino.

po
to.
Ky-ri - 0
-le-i.
Ten.
Bass. ]
TIOMON
1
Mass in C.
219
Alto." - rie
Ky - ri-e.

Alto.
t
Aseta
- son, o
-
le
-
i-
son.
die
The figure in the accompaniment that follows
is the first appearance of what is made so much of
in this Kyrie; it is almost as prominent as that
phrase
in the Pastoral Symphony of Beethoven. Much
is made out of little. Thus, after the simple yet
grand subject beginning in canon at the Christe,'
the soprano takes up that figure (before half hidden
Chris - te - 'le - i- son, Chris - te o
Tenori, tutti.
Soprani, tutti.

Bassi, tutti.
Alti, tutti.
Chris - te
o - le - i- son, &c.
Beide
.
Christe
0 - le - i - son,
Chris
- - -
te,
220
Memorials of Cherubini.
in the instrumentation), and, supported by the full
chorus and bass solo, brings it forth with enthralling
effect, the orchestra persistently repeating the phrase
Ky - ri - e. Ky - ri - 0 0 -
Tost po Sop.
ro

Ky - ri - e,
Ky - ri . e...
riese. fo.
Oft
in advance on the first beat of the bar. The move-
ment ends on a pedal point C, with the subject in
canon already noticed. When the voices have died
away, a few solemn chords are heard, and then the
orchestra subsides into silence.
Of the Gloria (279 bars), I am not in a position
to speak at any length. A second bass part, which
here and there occurs, makes it an inconvenient piece
for many choirs.
The Credo for five voices (348 bars) opens as
spontaneously and melodiously as possible; but not
Allegro maestoso.

ta
TNID
Pa - trem
om- ni- po 'ten -
e.es
cho
LOI
Pa - trem
om- ni- po - ten -
Mass in C.
221

1
tem,
fac-to-rum
coe - li, 8o.
1
tem,
fac - to-rum cæ - li, gu.
repeating the words intoned by the celebrant. After
a movement of wonderful freedom and power, we
arrive at the “incarnatus,' which opens with a strain
of exquisite beauty for soprani and alto, and, after
Soprani.
Larghetto.

Viol.
dolce Assai.
Et in-car- na-tus
est, fc.
Alto.
Et id-car-na-tus est, fc.
the reply of the bass and tenor, becomes still more
&c.

í lei
e Viol.
et in -car-na - tus est,'
et in- carnatus est,
elevated. The light and airy tones of the soprano
and alto are thrown into strong relief by the sombre
responses of the bass and tenor, which being pitched
low have a somewhat heavy effect. It might be
thought that so heavenly a theme would have been
at no disadvantage if it had been entirely given to
the soprano and alto. The severe taste, however,
222
Memorials of Cherubini..
of Cherubini no doubt approved of the balance of
the parts, and the contrast thereby effected. The
*Crucifixus,' from the first entry of tenor and bass in
contrary motion, is awe-striking in its depth of gloom.
cru - ci - fi - xus,
cru- ci -
143-7pp 95231525
oop-som-
cru-ci fi .. .
cru - ci - fi .
pe pode-
6S

R
EIRA DO TE ba
l
xus,
Co-07
cru-ci , fi
. .
.
.
xus,
cru - oi -
fi
fi
-
-
-
- xus, &c.

xus, &c.
C.
7-2
12.
--... - xus, fc.
with the mysterious passage first sung by the bass,
Bass.
1-O
et - i . am pro no- go.
eventually succeeded by the low murmur of the 'se-
pultus est. Then follows the triumphant'et resur-
rexit,' and after the cujus regni non erit finis' is
chanted for eight bars in unison on the note G,
the violins sound G sharp, and the set in spiritum,
sweetly preluded by the instruments, follows, with-
Mass in C.
223

1
1st
out there being any pause or change of time from
the 'et resurrexit. This portion will deserve at-
tention, not only for its intrinsic merits, but also
as a signal illustration of the general character of
solos among the later writers of church-music, in
being neither lengthy nor monopolised by one voice.
Mozart's Masses tend to excite a jealousy in the
choir; Cherubini's please all the singers. With a
flowing accompaniment in the character of the above
extract, the soprano begins,
---
Et in Spi-ri-tum Sanc. tum
Dominum
et... vi - vi- fi-
'. can-tem, fc.
and then the bass takes up the air, followed by the
tenor.
Tenor.
Qui ex
Pa-tre Fi - li - 0-que pro- co - dit, Qui cum, &c.
224
Memorials of Cherubini.
So is it with et in Spiritum' of the Mass in C of
Beethoven, the alto leading.
Alto,
!
Et in Spiritum Sanctum Dominum
et... vi-vi- fi - can-tem
7 enor
Bass.
qui cum Pa- tre Fi - li- o-que pro - ce
·
dit,
qui cum
-
ZA-
LOIS &C
@@= = =
Pa-tre et Fi - li-o- que, fo.
Haydn and Mozart generally go through the whole
part, from the “et resurrexit to the et vitam,' in
chorus; but the later writers often treat the portion
with solos and chorus intermingled, for the sake of
contrast. The words "et unam sanctam,' &c., in
Cherubini's Mass, are sung in unison, as in Beetho-
ven's, the harmony here bursting forth at eccle-
siam,' and with Beethoven at 'confiteor. Very
natural is the 'in remissionem;

------&c.
in ...... ro-mis- si - 0- nem pec • ca - to-rum, so.
succeeded by the melodious 'et vitam;' which is at
Allegro.id with
orot
Et vi - tam ven - tur .
i
Bæ
· ou
li, ga.
Mass in C.
225
once followed by a short subject in fugue, skilfully
A - men, A..... men, dc.
contrasted with the calm "et vitam.' But at the
close of the Credo a magnificent passage suddenly
appears to surprise and delight the ear, while to
çhorus

Chorus.
Chorus.
L
i
ppus
,
f qnorus.
poliitto
A-men, A-men, À
-:- men, A-men, A-men, A - -
A-
A-men, A- men,
Tutti.fi
A - men, A-men, A - men,
. Soprano.

Hea
- men,
-- men,
A
- -
-
men,..
Tenor.
BI
heter
o
Bass,
men,
A. - -
men,
A
-
-
Chorus.

&c.
AND I
A
-
-
-
men, A.men, A- men, &c.
- men,
A ...men, A-men, A - men, ge.
226
Memorials of Cherubini.
the close there is no flagging of spirit. The fugue
returns, and to avoid the sudden Amen and stop (so
to speak) so common in Haydn and Mozart, Cheru-
bini ends, as often elsewhere, with a descent of the
gamut. The whole of this Credo is hardly a less free
and bold setting of the words than Beethoven's first
Credo for the instruments. Unwillingly I pass over
the offertory, Laudate Dominum, the Sanctus, and o
Salutaris, and come to the Agnus Dei (158 bars),
where, if the expression may be used, the beautiful
surprise at the seventh bar of the instrumental intro-
Andantino.

1.
تخر
UMT
CI
duction will never be forgotten after having been once
heard. All the voices now enter in unison on a
stately subject; in marked contrast to this is the
Miserere. It is noticeable that the present Agnus Dei
Mass in C.
227
mi - se - re-re no-bis,
p
Mi - se - re-re,
Sop. Hitt
Sop.

Alto.
Mi- se - re
mi-se- re -
.
i
Mi - de - re-re,
Ten.
mi - se - re- re no-bis,
Sop.
go
mi - - se - re,fe.
is a kind of miniature in form of that in the D minor
Mass, since in both there is an opening instrumental
prelude which is repeated between each enunciation
of Agnus Dei, &c., as well as a descent of the voices
in imitation, at the words “miserere nobis.' Quite
different, however, is the 'dona nobis pacem' in the
present Mass, which is left in undisturbed beauty,
with all its delightful imitative passages. How
sweet and fresh it is, and how solemn and calm the
close! The whole work is a unique creation of its
ele
do - na no- bis pa-cem do .

Allegretto.
'do - na
no- bis,
cem, pa
pa - cem,
doa
9
do - na
no
-
-
-
-
.
-
bis pa-cem,
228
Memorials of Cherubinz.

na, do · · na no- bis
pa- oem,,
Inst.
c.
do - na
no - • bis
pa-com,
do
na, do-na,
do - na no - bis pa - cem, do · · ·
author. Cherubini never wrote anything more tho-
roughly spontaneous.
Next to the Mass in C must be mentioned the
well-known Pater noster for four voices. M. Girod
says : “ The Pater noster is a grave supplication,
where the melody is severe and expressive ; its
beauty is heightened by ingenious details. It ends
and full of energy. Of the O Salutaris for contralto
solo he says, that the melody is highly censured,
though its musical texture is concise. Of two other
works of this period, he remarks: The Lauda Sion
for two soprani has a very pronounced rhythm; it
has some amenity and charm, except in one or
two melodies of rather an antiquated style. The
same can be said of the Sanctus 0 Salutaris, writ-
ten for a tenor solo; it is holy and contempla-
tive, but its melody is at times too spiritless, or
a little common. The Ecce Panis, a solo for tenor
or soprano, is more novel and more melodious. In
these three pieces, as in all Cherubini's works, there
Ave Maria.
229
are always remarkable beauties that reveal the great
master's genius. You are especially impressed by
the charm of transitions which constantly bring back
with felicity the chief motivo. Of the well-known
Ave Maria, also written at this time, Girod observes :
“There is everything that is touching, lovely, and
loving in the prayer.' Schlüter calls it a piece of
vanity and affectation;' but an instance is recorded
how its merits can grow upon its hearers. It was
performed three times at St. Michael's College, Fri-
bourg. At the first performance it made little or no
impression. At the second, a few months later, it was
generally admired. At the third, the emotion of every
listener might be discerned. An interesting story is
told by Professor Ella, either of one of these pieces
or some Offertory by Cherubini, written for a grand
religious festival. On the eve of its performance,
Cherubini was informed that the chief tenor who
was to sing in it was ill; so, early the next morning
Begrez, a Belgian, then only a violinist, received
the music of the tenor's part with a request that he
would learn it, so as to be able to sing it before
noon at the festival. The violinist besought to be
dispensed from this heavy responsibility, for at the
most he was but an amateur singer. Cherubini,
however, was peremptory, and assured Begrez that
he had the highest trust in his musical intelligence.
230
Memorials of Cherubini.
Begrez sang in the part, and so well, as to make a
deep impression on his hearers. When the service
was over, Cherubini ran to the front of the choir and
embraced Begrez. This unexpected success led the
latter to abandon the violin and take to singing, and
he became first tenor at her Majesty's Theatre in this
country. Besides the foregoing sacred works of
Cherubini, there appeared, in 1816, the second Can-
tata, entitled “The Marriage of Solomon,' performed
for the first time on the 17th of June at the royal
banquet at the Tuileries that celebrated the marriage
of the Duc de Berri and Princess Charlotte of Naples.
And then, lastly, in this eventful year of 1816 the first
Requiem in C minor was written for the anniver-
sary of King Louis XVI.'s death, and first performed
on the 21st of January 1817, at the Abbey Church of
St. Denis. It was repeated on the 14th of Febru-
Denis, for the obsequies of the Duke of Berri, mur-
dered on the 13th of the same month. On this
occasion sixteen singers and seventeen instrument-
alists joined the chapel choir, and Castil-Blaze tells
us that he never knew the work produce such
effect as it did on this occasion. Arnold errs in
4 Ella's Musical Sketches.
s Mendelssohn, in a letter to Rebecca Dirichlet, Berlin, dated from
Dusseldorf, Nov. 23, 1834, speaks of conducting Cherubini's Requiem
in C minor himself.
Requiem in C minor.
23.1
stating that the Requiem was brought out in 1818
at the Abbey of St. Denis for Méhul's obsequies.
Méhul died in 1817 at Hyères. Arnold adds that
he falls into the error of supposing that it was
brought out by subscription in 1809. Halévy wrote
a De Profundis, for full orchestra, for the occa-
sion of the anniversary, and dedicated it to Cheru-
bini. Léon Halévy, in his memoir of his brother,
mentions a De Profundis as having been dedicated
by Halévy to Cherubini in 1827.
“The Requiem Mass in C minor,' says Berlioz,
“is on the whole, to my mind, the greatest work
of its author. No other production of this grand
master can bear any comparison with it, for abund-
ance of idea, fulness of form, and sustained sub-
limity of style. The Agnus Dei in decrescendo sur-
passes everything that has ever been written of the
kind. The workmanship of this portion, too, has an
inestimable value; the vocal style is sharp and clear,
worthy of its object.
The Monthly Musical Record, speaking of Bach's
Matthäus - Passion, and Cherubini's C minor Re-
quiem, observes : 'Both works are incomparable
master-works; both have been produced by, and
are filled with, true faithful religious feeling, and
232
Memorials of Cherubini.
yet they are thoroughly different in character.
Whilst to us the Matthäus-Passion has always
appeared as the most deeply felt and most im-
portant communication of true German art in the
field of Protestant church-music, we may call Che-
rubini's Requiem the greatest work of Italian Ca-
tholicism. It is impossible to compare the two
works with each other. Produced in different pe-
riods of the art, they show in style and expression
the greatest difference; and only in one thing are
they alike -- that both will make the deepest im-
pression on every mind. Both works are treated
in the polyphonic style, but how different is the
counterpoint! Bach's, in its many harshnesses, ex-
pressing the severe ascetic devotion of the Pro-
testant religion of his time, compared to the soft
Italian, always well-sounding, flowing melodies of
Cherubini. . . . If we first consider the colouring
which is given to the Requiem by the orchestral
accompaniment, the few accompanying instruments
give an almost invariable tone of mourning, which
is only changed in the Dies Iræ, and in the
Şanctus. Bach, on the other hand, makes use, be-
sides the orchestra, of the obbligato organ, as well
with its soft stops as with its full power, according
to secondary purpose or else for mighty effects. The
manifold dramatic element given by the text of
Requiem in C minor.
233
Bach's choruses, which is to be found not only in
short choruses, but also in more extended move-
ments, is missing in Cherubini altogether. Even
in the Dies Iræ, the broadest movement of the
Requiem, it is not to be found, although the
words might have offered the idea of it. Through-
out the work, only the four-part chorus appears
as the sole supporter of the whole contents, to
which the instruments are almost always entirely
subordinate. Nowhere does a solo voice or an instru-
ment appear with any particular individuality. At
the same time, every movement is built up in broad
forms, and gives in large traits the character of the
whole. The contrapuntal style in the Requiem pro-
duces many peculiar effects; for instance, the two-
part canonic leading of the voices in the beginning
of the Dies Iræ creates the impression of the deepest
fear, the most frightful consternation, whilst the old
Italian manner of the appearance of the four voices
one after another in every bar—as, for instance, in
the first movement at the words “te decet hymnus,"
“exaudi et lux perpetua,”—produces charming and
expressive harmonic changes. Quite wonderful is
the variety and the acceleration in expression of the
most devotional praying, the prostration full of pain
at the words “salva me fons pietatis," and “voca me
cum benedictis." The touching expression of the
SSIVE
234
Memorials of Cherubini.
deepest abasement at the words “oro supplex et
acclinis” is followed by “lacrymosa dies illa." Still
more elevated is the feeling in the touching prayer
in the “Pie Jesu,” and at the last “dona eis re-
quiem."
Though the style of the whole work, as above
remarked, is throughout polyphonic, the Requiem
contains only one fugue; this also is, in its way,
quite unlike the style of Bach's fugue-writing. The
fugue in the Requiem to the words quam olim
Abrahæ promisisti, et semini ejus, is founded on
three themes which always fit in the purest con-
sonance. In a very peculiar manner the impression
of the fullest confidence in the Atonement is pro-
duced by the repeated entrance of the parts in con-
sonances.'
6 Monthly Musical Record, vol. ii. 1872, p. 71.
· CHAPTER IV.
1816-1822.
The Iste Dies and Regina Cali—The Hymn to Bacchus—The Coro-
nation Mass in G-Spohr in Paris : his intercourse with Cheru-
bini-Moscheles-Blanche de Provence for the Duke of Bordeaux's
baptism at Notre Dame-Its performance at the Court Theatre
Cantata at the Hôtel de Ville-Resignation of Perne as Director
of the Conservatoire-Cherubini appointed in his stead-His rule
--His character.
CHERUBINI'S labours in the composition of church-
music had been well begun in 1816 by the creation
of so many works now famous. His post as the
King's chapel-master drew his attention almost en-
tirely to sacred music, and his genius surely found
in the liturgy a nobler subject for illustration than
the libretto, and especially such librettos as he had
generally been given.
to the O Sacrum Convivium, written in 1816, Girod
observes: "The solemnity of this music renders it
well fit for a grand Benediction, such as that on
Easter-day; after a grand opening comes a very ex-
236
Memorials of Cherubini.
pressive bass solo, followed by the refrain of the
chorus, “ Buccinate tuba.” What with the calmness
and suavity of the march, the O Sacrum in C minor
contrasts admirably with what precedes and follows
it. The close is a tuneful fugue, full of brilliancy.
To this piece is joined an Ave verum for three
equal voices, of a soothing character, concise and
graceful. And, speaking of another work of this
year, the same author adds: “The Tantum ergo
for five voices is original and poetical, but it has not
the character of fervour and solemnity which the
last piece for Benediction usually requires. On the
whole it produces little effect. And of a famous work
of the year 1818 he remarks: The Regina Coeli
has not been published in France, where the com-
poser has printed his other religious pieces; yet, apart
from the style, which has the touch of the illustrious
artist, the origin of this beautiful piece is not doubt-
ful. Cherubini mentions it in a note printed at the
end of one of his motets. It is incontestibly the
most beautiful piece of its kind, and a magnificent
ovation to the Queen of Heaven. It has its diffi-
culties, like all the author's music, but it demands
special attention to obtain an ensemble and proper
precision. A Mass in E, as yet unpublished, was
also written in 1818.
“There is only praise,' says Girod, 'to be awarded
Coronation Mass in G.
237
to that essentially religious piece, the delicious quar-
tet of Adjutor et Susceptor; it is felicitously tinged
with a sweet gravity and a firm and well-marked
vigour. The "Benedicta tu in mulieres,' written
for soprano, tenor, and bass, with organ accompani-
ment, is a charming trio, in which you distinguish
a melody full of unction, and fresh and novel modu-
lation.'1
In 1818 Cherubini visited Malabri. Of his Hymn
to Bacchus, composed April 21st in this year, Miel
observes: 'It becomes, on his lyre, the noblest of
drinking songs. In this same year, 1819, we have the
first Coronation Mass in G, for four voices, written
for and executed at the crowning of Louis XVIII.,
who now conferred on Cherubini, the title of Che-
valier of the Order of St. Michael.'
To the best of my belief this Mass is little, if at all,
known in England, having been seemingly eclipsed
by its rival, the second Coronation Mass. Yet it is
written in the same broad free style as that master-
piece, a style which has little in common with that
of the D minor Mass, reminding us more of Haydn
than of Beethoven. But how different from Haydn !
The Kyrie (101 bars) opens with a vigorous subject,
i De la Musique Religieuse.
238
Memorials of Cherubini.
.
R
.
Moderato.
Cmque

Stri
P
ALU
e-le- i - son, &c.
Ky-rie e-le- i - son, &c.
which affords a striking contrast to the melodious
theme at the Christe,' given out by the soprano,
e
dolce.
Chris - - te, Chris-te o - le - i - son,
accompanied in unison by the flutes, hautboys, and
bassoons. The whole movement is well-nigh en-
tirely the working out of these two motivi. To-
wards the close a pedal point is reached, with a
reminiscence of the second subject,

Flute. Hautb.
Sop. n
PIFot
etdleto
de
Cors. Bassoons, Strings.
+
AtaQIeet
-At
Coronation Mass in G.
239
while voices and instruments blend together in this
sweet subdued strain of hope; the tenor, with the
violoncellos and bassoons, on a repetition, taking up
the melody, while the voices sing the sustained har-
monies with enchanting effect. Who, indeed, will
have the heart to say that Cherubini is dry, in face
of the Kyrie of the Coronation Mass in G?
The Gloria (503 bars) opens with the wind in-
struments (“majestueusement mais sans lenteur"),
which sound forth in succession the notes of the
common chord of C, and a few bars on we come to
a brilliant passage,
TO
ノ
​which heralds in the basses chanting the opening
bars of the Gloria, and subsequently plays a con-
spicuous part throughout the piece. The jubilant
‘laudamus' is a simple but striking feature in the
movement; then succeeds the adoramus,' ushered
in by the violoncellos pianissimo. There are the
usual repetitions, followed by the 'qui tollis,' which
is short; while the “Quoniam,' after the example
of many of Haydn's and Mozart's Masses, is the same
as the opening of the Gloria. A novel procedure
in the final fugue, cum Sancto Spiritu,' is the intro-
240
Menorials of Cherubini.
duction of the Quoniam.' It is common enough
with Cherubini to bring in the opening motivo and
words of the Gloria in his codas, as he does in the
Mass in F, but I remember no other instance of the
Quoniam tu solus' being introduced.
The whole of the first part of the Credo (435
bars) down to the “incarnatus' is sung piano in two-
part unisonal canon, while at the 'et in Spiritum' we
have, I suppose, the almost unexampled procedure
of the repetition of nearly the whole of the opening
of the Credo. The 'incarnatus' has hardly any repe-
titions, which is commendable, for reasons already
given. A masterly fugue et vitam,' with a sublime
coda, closes the Credo.
The Sanctus (105 bars) is remarkable as having
no pause or break before either the pleni sunt or
the · Hosanna. The words benedictus qui venit,
&c., and the O Salutaris, which last so often takes
the place of the separate movement Benedictus, are
eason
go on through the Elevation, the most solemn part
of the Mass, when all is generally silence, except in
France and Italy, where the organ is often played.
To the elevated beauties of the Agnus Dei (61 bars),
with its flowing accompaniments, every musician
will bear testimony.
In 1820, Arnold states, Cherubini betook himself
Spohr in Paris.
241
to one Biolti for a new opera—what opera we are
not told. In the same year Spohr came to Paris.
In a letter to a friend, dated from Paris, Dec. 15,
1820, he writes: With a beating heart I drove
through the Barrière of Paris. The thought that I
should at length have the pleasure of making the
personal acquaintance of the artistes whose works
had inspired me in my early childhood excited the
emotion which I then felt. In fancy I reverted to
the days of my boyhood, in which my idol was Che-
rubini, whose works I had had an earlier opportunity of
becoming acquainted with in Brunswick, at the then
permanent French theatre there, than even the works
of Mozart. ... The author, and many other men
whose works had exercised the most decided in-
fluence on my development as a composer and vio-
linist, I was now soon to behold. ... I was told of
Cherubini, that he was at first very reserved toward
strangers, even repulsive. I did not find him so. He
received me without any letter of introduction, in the
most friendly manner, and invited me to repeat my
visit as often as I pleased. Kreutzer takes Spohr
on the evening of his arrival in Paris to the Grand
Opera, which leads Spohr to exclaim:'Is it a subject
for praise or blame, that the French, notwithstanding
the many excellent things with which their operatic
2 Spohr’s Autobiography, vol. ii. p. 107.
242
Memorials of Cherubini.
répertoire has been enriched during the last twenty
years, still give the oldest things of all ? And is it
indeed a proof of an advanced cultivated taste for
art, when one sees them give as enthusiastic a recep-
tion (if not more so) to the oldest operas of Grétry,
with their poverty of harmony and incorrectness, as
to the masterpieces of Cherubini and Méhul? I think
not. Again he says, in a second letter dated from
Paris, Dec. 31: The masses, the leaders of the fashion
here, positively know not how to distinguish the
worst from the best; they hear Le Jugement de Midas
with the same rapture that they listen to Les Deux
Journées or Joseph. It requires no long residence
here, to adopt the frequently expressed opinion, that
the French are not a musical nation. Altogether
Spohr seems to have liked Paris as little as Glück,
Mozart, or Mendelssohn. In a third letter, dated from
Paris, Jan. 12, 1821, he says: 'You are, doubtless,
astonished that I have as yet said nothing of the
music of the royal chapel, but I delayed doing so in-
tentionally, until I had first heard some of Cheru-
bini's Masses. Lesueur and Cherubini, the two di-
rectors of the music of the royal chapel, assume the
duties of their office every three months alternately;
our arrival took place during the time of Lesueur's
directorship, and Cherubini's did not begin till the
1st January. But the musical directors of the royal
Spohr and Cherubini.
243
chapel do not conduct the music themselves, and
preside only in their court uniform at the head of the
vocal personnel, without taking any active part in the
performance. The director de facto is Plantade;
Kreutzer, the leading player of the first violin; and
Baillot, of the second. The orchestra is composed
of the first artistes in Paris, the chorus is powerful
and good. Every Mass is rehearsed once or twice,
and under Plantade's sure and spirited direction
every thing goes exceedingly well. To these letters
regarding my sojourn in Paris,' adds Spohr, “I have
yet to add some few things from recollection. From
the frequent opportunities I had of playing before
Cherubini, at private parties, I conceived a very
ardent desire to have all my quartets and quintets,
so far as I thought them worthy of it, heard by that
master so highly esteemed by me, and to introduce
them by degrees to his notice, in order to ask his
opinion of them. But in this I succeeded with very
few only; for when Cherubini had heard the first
quartet (No. 1 of the Op. 45, written at Frankfort),
and I was on the point of producing a second, he
protested against it, and said: “Your music, and
indeed the form and style of this kind of music, is as
yet so foreign to me, that I cannot find myself im-
mediately at home with it, nor follow it properly; I
would therefore much prefer that you repeated the
244
Memorials of Cherubini.
quartet you have just played.” I was very much
astonished at this remark, and did not understand it
until I afterwards ascertained that Cherubini was
quite unacquainted with the German masterpieces of
this kind of Mozart and Beethoven-and, at the
utmost, had once heard a quartet by Haydn at Bail-
lot's soirées. As the other persons present coincided
with Cherubini's wish, I consented the more readily,
as in the first execution of it some things had not
gone altogether well. He now spoke very favour-
ably of my composition, praised its form, its thematic
working out, the rich change in the harmonies, and
particularly the fugato in the last subject. But as
there were still many things not quite clear to him
in the music, he begged me to repeat it again when
we should next meet. I hoped he would think no-
thing more about it, and therefore at the next music
party brought forward another quartet. Before I
could begin, however, Cherubini renewed his request,
and I was therefore obliged to play the same quartet
a third time. The same thing occurred also with
No. 2 of Op. 45, excepting that he spoke of it with
more decisive praise, and said of the adagio: "It is
the finest I ever heard.” He was equally pleased
with my pianoforte quintet, with the concerted ac-
companiment of wind instruments, and I was fre-
quently obliged to play it on that account. The first
Moscheles.
245
time, my wife played the piano part; but when Mo-
scheles subsequently requested permission to study
and to play it once, she had not the courage to play
it any more in Paris after him. He remained, there-
fore, in possession, and entered more and more into
the spirit of the composition. He executed the two
allegro subjects, especially, with far more energy and
style, which certainly increased their effect. As the
wind instruments of Reicha's quintet were excellent,
I never recollect to have heard that quintet so per-
fectly rendered as then. How it raises our estimation
of Cherubini's quartet in E flat, written in 1819, to be
told that in 1821 he knew nothing of the quartets
of Mozart and Beethoven! Moscheles was in Paris
at this time, and tells us that he met Spohr there.
He says: “At Baillot's house, who had got up for
Spohr and myself a genuine soirée of artistes, he was
greeted with real enthusiasm. I also played and im-
provised. He played, I played, and we each shared in
a brotherly way the applause of this select audience.'
Mdme. Moscheles adds: “Applause in this instance
means no ordinary recognition. It appears that there
were present Cherubini, Boieldieu, Auber, Hérold,
Adam, Lesueur, Pacini, Paër, Mazas, Habeneck, Plan-
tade, Blangini, Lafont, Pleyel, Ivan, Müller, Struntz,
Viotti, Ponchard, Pellegrini, Nadermann, Garcia, Mar-
tinville, Mangin, Bertin, Schlesinger, Lemoine, Pape,
246
Memorials of Cherubini.
Petzold, Erard, Freudenthaler, the brothers Bohrer,
and others.
Moscheles writes in his diary for the 28th January
1821:- At 11 A.M. I rehearsed at Paër’s with Bail-
lot for this evening; then I went, or rather ran,
with him, at full speed, to the court chapel in
the Tuileries, where we heard a glorious Mass by
Cherubini, admirably performed, as might be ex-
pected with the coöperation of such men as Kreutzer,
Baillot, Habeneck. Plantade directed, and Cherubini,
who talked to me, was among the audience. On
the 20th March, he writes: 'I spent the evening at
Ciceri's, son-in-law of Isabey, the famous painter,
where I was introduced to one of the most interest-
ing circles of artists. In the first room were as-
sembled the most famous painters, engaged in draw-
ing several things for their own amusement. In the
midst of these was Cherubini, also drawing. I had
the honour, like every one newly introduced, of hav-
ing my portrait taken in caricature. Begassé took
me in hand, and succeeded well. In an adjoining
room were musicians and actors, amongst them Pon-
chard, Levasseur, Dugazon, Panseron, Malle. de
Munk, and Madame Livère, of the Théâtre Français.
The most interesting of their performances, which I
attended merely as a listener, was a vocal quartet by
Cherubini, performed under his direction. Later in
Blanche de Provence.
247
S
the evening, the whole party armed itself with larger
or smaller mirlitons (reed-pipe whistles), and on these
small monotonous instruments, sometimes made of
sugar, they played, after the fashion of Russian horn
music, the overture to Démophon, two frying-pans
représenting the drums. On the 27th March there
was another mirliton concert at Ciceri's, in which
Cherubini took an active part."
In 1821 appeared the one-act allegorical opera
of Blanche de Provence, divided into three parts, and
written by Berton, Boieldieu, Kreutzer, Paër, and
Cherubini, the latter composing all the third part.
He tells us, "This opera was ordered by the Minister
of the King's Household, on the occasion of the
baptism of the Duke of Bordeaux, which took place
the 1st May 1821, at Notre Dame. The first repre-
sentation of Blanche took place in the evening at the
court theatre; the second on the 3d of the same
month at the Royal Academy of Music, for which
this opera had been composed.' On May 21st it was
again performed at the Grand Opera. The libretto
was by Théaulon and Rancé. All that has survived
of this work is Cherubini's chorus, the lovely Cradle
Song (the words by Berquin, beginning Dors, noble
enfant), which much affected the King when he heard
it. Blanche de Provence was followed by a cantata
3 Life of Moscheles, vol. i. p. 45.
uence
for many voices, with choruses, the words of which
were by Baour Lormian, and which was executed
on the 2d May at the fête that took place at the
Hôtel de Ville, on occasion of the Duke's baptism.
Moscheles writes, in his diary, that he attended
the rehearsals both of Blanche de Provence and of
this cantata : “I drove,' he says, ' early with Lafont
to the Hôtel de Ville, where Cherubini's new cantata,
and the intermède by Boieldieu and Berton, written
for the christening of the Duke of Bordeaux, were
rehearsed. The first of these works was under the
direction of the great master himself. His squeaky
sharp little voice was sometimes heard in the midst
of his conducting, and interrupted my state of ec-
stasy, caused by his presence and composition. The
whole of the magnificent and far-famed court band
was in attendance. The Prefect, Count Chabrol,
fered me, in the most friendly manner, a ticket for
the grand ball to be given in honour of the christen-
ing. In the evening I attended the general re-
hearsal of an opera which Cherubini, Paër, Berton,
Boieldieu, and Kreutzer had jointly composed in
honour of this same christening. The final chorus,
by Cherubini, made an indelible impression on my
mind. Each master conducted his own pieces, and
Cherubini was loudly cheered. On the following
Mass in B flat.
249
9th May he writes: "To-day I played in the Hôtel
de Ville, where the city of Paris gave a grand ban-
quet to the Provincial Deputies. Cherubini, Boiel-
dieu, and Berton directed the music.'
In October and November 1821, Cherubini wrote
a short but lovely Mass in B flat, now published
in the first volume of his posthumous works. It
was in this year that Fétis was nominated pro-
fessor of composition at the Conservatoire in the
place of Eler. Eight months after he had entered
upon his functions, his pupils were examined by
the committee of education over which Cherubini
presided, with Paër, Lesueur, Berton, Reicha, and
Boieldieu associated with our composer as members
of the committee; and Fétis was much gratified
at Cherubini addressing him as follows: "Monsieur,
c'est avec beaucoup d'intérêt que le comité a passé
l'examen de votre classe, et qu'il a trouvé chez vos
élèves l'art de faire chanter les parties d'une manière
élégante et naturelle; art difficile, si bien connu
des anciens maîtres, et qui se perd aujourd'hui;
c'est avec une vive satisfaction que nous voyons
que vous travaillez à le faire revivre.' Some years
later Cherubini expressed himself more explicitly as
to Fétis' merits, in the report which he made to the
Académie des Beaux Arts, on Fétis' Treatise on
Counterpoint and Fugue, written for the Conserva-
250
Memorials of Cherubini.
toire. Cherubini observed of that work, that it was
the only one of its kind in which the rules for scien-
tific compositions, especially those for the fugue, were
put forward with method and clearness.
In 1822 (not, as Fétis says, in 1821) Cherubini be-
came director of the reëstablished Conservatoire, one
of the most important events in his life. Since the
Restoration of the Bourbons, that Institution, under
the title of Ecole Royale,' which it retained till 1830,
had fallen into decay. When Sarrette, after successive
recalls and dismissals, according as Napoleon or the
Bourbons were in power, had finally been dismissed,
Perne succeeded him with the title of Inspector-
General. Perne was an able musician, but the Go-
vernment gave him no help. The few teachers there
received only five hundred francs as salary. There
were no instruments for some of the classes. Owing
to the scarcity of firewood, furniture, and espe-
cially old pianofortes, had actually been burnt for
fuel. In January 1822, Perne in despair sent in
his resignation. This event roused the attention
of the Marquis de Lauriston, Minister of the Royal
Household. He saw that the Conservatoire must
be reformed, if it were to be kept up at all; and
that this could only be done by able management
and plenty of money. For the furtherance of his
4 Biog. Univ. vol. iii. p. 232.
Director of the Conservatoire.
251
scheme he fixed on Cherubini, who, on the 1st
April was named Director of the Conservatoire,
with a salary of 8000 francs, and a further 1500
francs instead of a residence. It was. afterwards
altogether raised to 10,000 francs; but this was not
till 1841, a year before Cherubini's death. Thus,
in his 61st year, Cherubini received a tardy justice
in being intrusted with the important task of
governing the first musical Academy in France.
No sooner did his reign begin than it was felt.
His administrative ability shone forth. His experi-
ence was immense, and he reformed the system of
all the classes. Never was there a greater transfor-
mation in the conduct of an institution. Cherubini
was now to show that he could be a distinguished
administrator. Many can shut themselves up in the
study-room, and address the world from their writing-
tables. Cherubini could do that, but he could govern
also. Under his rule the Conservatoire rose to its
present high position; and as long as that Institution
exists, the influence of Cherubini, once dominant in
the French capital, cannot be said to have departed
from it. Cherubini, first of all, engaged the ser-
vices of the best men in the various branches of
the musical art; and thus his efforts came to be
seconded by an able staff of professionals. Under
him were Lesueur, Berton, Boieldieu, Reicha, Fétis,
ser
252
Memorials of Cherubini.
in
Dourlen, and Daussoigne, for the theory of composi-
tion; Lays, Garat, Plantade, Ponchard, Blangini,
Bordogni, and Garaudé, for singing; Benoist, Prad-
her, Zimmermann, Kreutzer, Baillot, Habeneck, Bau-
diot, Levasseur, Lefebvre, Delcambre, Guillou, Vogt,
and Dauprat, for instrumental teaching. The man-
agement of the library was given over to Perne, who
sent in his resignation after a year, and was succeeded
in the post by Eler. The spirit of Cherubini com-
municated itself to masters and pupils. The Marquis
de Lauriston thought he had found the right man in
choosing Cherubini as Conservatory director, and he
was right. Every professor, before opening his class
each day, had to sign a book called 'le registre de
présence,' to show that he had attended to his duties
that day; and this register of the house,' as Cheru-
bini called the Conservatoire, the composer never
failed to examine. He had also to see that all his
pupils were there. But what Cherubini exacted of
others, he also exacted from himself. Strictness was
the best rule in managing so large an institution,
and Cherubini set a good example in being strict
with himself. There he was at ten o'clock every
morning, regularly at his bureau, writing, answering
correspondence, hearing the professors or pupils who
had anything to say to him. He was never un-
punctual. As he was never behind his time, so was
His Rule.
253
he never before it. Regularity was with him a car-
dinal virtue, the contrary a deadly sin. He was al-
ways looking at his watch, and counting the number
of minutes in which everything must be done. If
his pupils were at all unpunctual, he lost his temper
at once. Thus it is recorded that when the Marquis
de Lauriston came to distribute some prizes at the
Conservatoire, and was rather late, Cherubini greeted
him with, “Vous arrivez bien tard, monseigneur.'
Order was no less insisted on. Cherubini could not
bear anything like untidiness. He loved method in
doing his work. He was never seen to laugh or
even to smile in his intercourse with his pupils. He
was always in earnest, and had no time for frivolity.
To his new functions,' says Fétis, - he brought the
most scrupulous exactitude of duty, that spirit of order
which he had possessed during his whole life, and
an entire devotion to the prosperity of the establish-
ment. Severe, exacting towards the professors and
servants, as he was with himself, he brought with
him little love, in his connections with the artistes
placed under his authority.”
* All his care,' says Lafage less justly, 'was con-
fined to a minute superintendence and a rigorous
demand for exactitude; he did not know how to
accelerate progress, and encourage rising talent; his
whole character is depicted in this sentence, spoken
254
Memorials of Cherubini.
after a rehearsal of a piece in which every executant
took the greatest pains. As chagrin and ill-humour,
constantly expressed in his face, had not yet ceased
to show itself, he was asked if he was satisfied:
“ Dès que je ne dis rien," he replied, “ c'est que
je suis content." . . His harshness was habitual, and
appeared ever so disagreeable, because of his blunt-
ness of speech and his Italian accent, of which not
even a fifty years' sojourn in France deprived him.
He was equally stern in all his relations with the
professors. It was not that he had a bad nature;
but the nervous maladies from which he had suf-
fered, and the vexations to which for twenty years
he had been subjected, with but little to counter-
balance them, had left in him, now in a good and
well-merited position, a certain irritability, which
deprived his society of a part of the charm which
it was capable of exercising, and made approach to
him unpleasant. His character manifested itself to
all the world, even to the authorities on whom he
was dependent."5
That Cherubini's administration was not free
from annoyances is probable enough. Several times
he sent in his resignation, but fortunately difficulties
were smoothed down. The results of his adminis-
tration, in a musical point, no one disputes. “Al-
5 Michaud's Biog. Univ. vol. i. p. 98.
His Rule.
255
though,' says Fétis, ' he may be reproached for having
been too minute in the details of his direction of the
Conservatoire, it is not less true that he raised that
school, fallen from its ancient splendour when it
was in M. Papillon de la Ferte's province, as super-
intendent of the King's Menus-Plaisirs. The respect
which the great talent of Cherubini inspired exer-
cised its influence on the professors and pupils; the
glory of his name was reflected on the establishment
which he directed.
When Cherubini wished to send off a letter or
message of any kind at the Conservatoire, he always
rang a little bell close by; and a servant, who was
regularly stationed at the door of his room, entered
to perform at once what was required. Our com-
poser was never idle. When his duties were over,
he would occupy himself with writing out his own
scores for publication, or those of other masters, as
a study for himself. To one who asked him why he
gave himself this trouble, he replied, “There is al-
ways something to learn. His wife one day asked
him the same question, and he answered, “I learn,
and were I to live a thousand years, I should still
find something to learn. He also said to her,
“There is good to be got from them (the works of
others), which remains in your mind.' His patience
in writing out his scores, the pains he took, were
256
Memorials of Cherubini.
remarkable. If a blot fell on his paper, he cut round
it with his pen-knife, and fitted another piece of
paper so neatly on to the place, that you could with
difficulty see where the blot had been. His manu-
script scores were so beautifully written, that they
rivalled printing. In this respect how different from
Beethoven! In his leisure hours Cherubini's favourite
amusements were drawing and cutting flowers, or
classifying plants. He was a thorough botanist, and
a master of etching. At twelve o'clock, he left his
office, and proceeded on his round through the classes,
inspecting the establishment. This reminds me of a
story told of him. A child of great talent, handsome
in person, of a gentle disposition, and the son of a
musician, wished very much to be a pupil at the
Conservatoire. On the day appointed for applica-
tions, his father took him to the Institution. The
two attracted attention, as the father was six feet
high, the son but a little fellow. After a friendly in-
terview with an official, they were placed in a pass-
age where those applying for admittance would meet
the director, who passed through at twelve o'clock on
his way to the class-rooms. At that hour, in came
Cherubini, evidently astonished at encountering a
tall man, who awkwardly held out one hand to him,
and had hold of his little son in the other. Confused
at the contrast which the two presented, and not
e
A young Musical Aspirant.
257
knowing which was the applicant--for the father
seemed too old, and the son too young-Cherubini
put on a stern face, and said, rather severely, "What
do you want here?' adding, "I do not put infants
out to nurse;' and he passed on. The poor father
was intensely chagrined at such a reception, but
was told to keep up his courage. As a final chance
for the son, he was taken, accompanied by the father,
to the last class-room, placed before a piano, and
told to play anything he could think of, and not to
stop in case any one should enter the room. Cheru-
bini, on finishing the round of the classes, must cer-
tainly enter this room. He soon came in, and was
struck by the extempore playing of the child; stopped,
sat down, and listened attentively. The age, the
beauty, the talent of the performer astonished him.
When the playing was over, Cherubini caressed and
encouraged the child. He asked him some questions
on the principles of his art, which were answered.
At last, unable to contain his admiration, he ex-
claimed: "Bravo, my little friend; but why are you
here, and what can I do for you?' 'A thing that is
very easy,' was the reply, and which would make
me very happy: put me into the Conservatoire.'
“It's a thing done,' said Cherubini; “you are one of
us. After this he left the hall, telling the story
good-humouredly to his friends, saying, "I had to be
ere &
ISW
258
Memorials of Cherubini.
careful about pushing the questions too far, for the
baby was beginning to prove to me that he knew
more about music than I do myself.
Cherubini seems to have been somewhat popular,
in spite of his strictness and the fear he inspired.
His favourites looked upon him as a father as well
as a teacher and a friend. He was not above en-
couraging the efforts of youth, and did not spare
himself trouble in helping and interesting himself in
others, as the following letters may serve to show.
One is dated June 14th, 1821, and addressed to
M. le Baron De Bruyère St. Michel, and shows his
kind feelings towards a young musician whom, how-
ever, he was unable to assist. «En réponse,' he says,
à la lettre que vous m'avez fait l'honneur de m'a-
dresser, Monsieur le Baron, j'ai l'avantage de vous
assurer que je prends à M. Henry, votre recom-
mandé, autant d'intérêt que vous, mais malheureuse-
ment il n'est plus en mon pouvoir de révoquer ce
qui a été prononcé à son sujet, non par moi parti-
culièrement, mais par le conseil assemblé du Corps
de Musique que je commande. Ce Corps a été der-
CU
par ordre positif de Monsieur le Maréchal; vous
pouvez vous en assurer facilement par vous-même,
Monsieur, à l'état major. Le travail opéré par le
conseil de ma compagnie, afin d'arrêter la nouvelle
He interests himself in others.
259
organization, est actuellement entre les mains de M.
le Maréchal; je ne suis plus le maître d'y faire le
moindre changement: ce n'est que lui qui le peut, et
CU
integrer M. Henry dans le Corps dont il faisait partie
avant la réforme. Je regrette donc infiniment, Mon-
sieur le Baron, de ne pouvoir obtemperer à vos dé-
sirs, en étant utile en même temps à M. Henry, que
j'aime beaucoup, et voudrais satisfaire si j'en avais
les moyens. Je pense que vous pouvez tout en sa
faveur, et je puis vous assurer qu'en cela vous secon-
derez parfaitement mes désirs. Je suis très flatté que
cette circonstance m'ait procuré l'avantage d'être
en relation avec vous, Monsieur le Baron, pour vous
prier d'agréer l'assurance de la considération très dis-
tinguée avec laquelle j'ai l'honneur d'être votre très
humble et très obéissant serviteur, L. CHERUBINI.”
To this letter, written in a beautiful hand, neat
and small, I may add another, in which we find
him interesting himself in a Malle. David, a pupil
of the Conservatoire. It is addressed from the
Conservatoire to a Parisian impresario, and dated
Paris, December 8, 1832. "Monsieur, Mdlle. David, à
laquelle je porte infiniment d'intérêt comme à tous
les élèves du Conservatoire, m'a fait part de la pro-
position qu'elle vous a faite de faire partie de votre
théâtre, sans recevoir d'appointement, jusqu'au mois
260
Memorials of Cherubini.
115
d'Avril prochain, et vous lui avez promis une réponse
définitive pour la semaine dans laquelle nous allons
entrer. J'ai l'honneur donc, Monsieur, de réitérer la
demande qu'elle vous a faite, espérant que vous y
consentirez sans peine : même je vous en prie. Je
puis vous assurer que vous serez satisfait sous tous
les rapports de Mdlle. David, car c'est une élève zélée,
et que lorsqu'elle aura un peu plus d'habitude des
planches, elle pourra se rendre très utile dans votre
administration. Je vous la recommande, et vous.
prie de croire à ma reconnaissance pour tout ce que
vous ferez pour elle. Agréez, Monsieur, la nouvelle
assurance de la considération très distinguée avec
laquelle j'ai l'honneur d'être votre très dévoué servi-
teur, L. CHERUBINI.' This letter is in a very unsteady
hand. Cherubini was seventy-two at the time.
I have also seen a letter from Cherubini (without
date) to the Duc de Richelieu, asking for his son-in-
law, M. Turcas, the post of military commissary at
Paris, which I insert; though it exhibits only a
natural instance of kindness, seeing that the object
of it was his son-in-law. The letter, written in a
most beautiful hand on a quarto sheet, runs as follows:
• À S. E. Monsieur le Duc de Richelieu.
Monseigneur,—Votre excellence n'ayant pas jugé
à propos de m'accorder sa puissante recommandation
Application for M. Turcas.
261
en faveur de mon gendre, M. Turcas, sous-inspecteur
aux revenues, dans une affaire dont elle pensait elle-
même qu'il était désormais superflu de s'occuper
puisque les nominations étaient faîtes, voulut bien
me faire espérer qu'elle ne me la refuserait pas, si
une autre occasion se présentait; permettez moi
donc, Monseigneur, d'avoir recours à votre bienveil-
lance.
"M. Turcas a passé la plus grande partie de sa
jeunesse dans le commerce, toute sa famille suit
cette carrière, et le peu d'espoir qu'il a d'entrer dans
le nouveau Corps des Intendans Militaires à cause du
très petit nombre de vacances, et de la grande quan-
tité de concurrens, l'a décidé à reprendre la carrière
où il a acquis les connoissances nécessaires ; il s'est
donc attaché à une maison de banque, et a adressé à
S: E. le Ministre des Finances une demande tendant
à obtenir une des deux places d'agent de change qui
restent à nommer pour Paris. Le ministre a renvoyé
cette demande à la chambre Syndicale, dont les mem-
bres sont bien disposés en faveur de mon gendre, et
se proposent de le porter sur la nouvelle liste de pré-
sentation. Oserais-je espérer, Monseigneur, que vous
daignerez nous honorer de votre haute protection
dans une affaire bien importante pour nous, puisque
sa réussite assurera le sort de mon gendre et de ma
fille : je vous la demande avec instance, et je serai
262
Memorials of Cherubini.
très heureux si votre Excellence veut accueillir avec
quelque intérêt la demande que je prends la liberté
de lui adresser.
“J'ai l'honneur d'être avec un profond respect,
Monseigneur, de votre Excellence le très humble et
très obéissant serviteur,
"L. CHERUBINI.
The application was successful.
Though merciless in criticism, Cherubini's ac-
knowledged popularity among his pupils is not sur-
prising if we only consider his unaffected modesty
and even diffidence about himself. At a concert at
which he was present when a piece of Beethoven
was followed by his own overture to L'Hôtellerie
Portugaise, he remarked quite naturally, “I am now
going to appear a very small boy.'
At two o'clock it was Cherubini's custom to go
home, and then his day's work at the Conservatoire
was over. He lived in an unpretending set of rooms
on the third floor of the house No. 19 Faubourg
Poissonnière. Before a window was his writing-
table. Opposite the fireplace in his bedroom was a
small piano (happy instrument !) of five and a half
octaves, which he had used for many years whilst
composing. The piano was from the workshops of
old Sebastian Erard. Cherubini greatly prized it,
Cherubini's Pianoforte.
263
and always took it with him when visiting his friends
out of Paris, at Chimay, Chartres, Gaillon, Breuilpont,
Malabri, Montlignon, &c. After his death his widow
gave it to Pierre Erard, for the latter's collection of
historically interesting instruments. It now stands
by the side of the pianos of Piccinni and Glück.
It has been regretted that Cherubini was so much
occupied in the administration of the Conservatoire,
since he was a great composer, who should rather
have enjoyed much leisure for bringing out his grand
ideas. Thus, even as early as 1795, when the Con-
servatoire was established, Grétry expressed a hope
that Sarrette would occupy himself in all those duties
which it was not the part of talented artistes to
undertake. "The moments of men of genius,' he
says, are too precious to be lost in a multiplicity
of duties ; Méhul, Lesueur, and Cherubini are the
hope of lyric theatres; to turn them aside from
their talent in order to occupy them with matters
of routine, would be an unpardonable fault. On his
becoming director Cherubini's compositions for the
King's chapel certainly decreased in number; yet,
otherwise, is there anything now to regret? Sub-
ordinates might, as Miel observes, have undertaken
much that Cherubini insisted on doing himself, but
what have we lost? It would be hard to imagine
O Musical World, 1862. 7 Mémoires, vol. ii. p. 372.
264
Memorials of Cherubini.
more beautiful works from him than those we possess,
and we see the versatility of his powers, in his being
able, amidst increasing distractions and occupations,
to compose as well as, if not better than, ever, be-
sides that conscientiousness in the discharge of his
public duties which confers greater honour on him
than all the orders and decorations that he ever
received.
Speaking of Cherubini's character, which came
out strongly in his rule at the Conservatoire, Adolphe
Adam says: “As a man Cherubini has been differently,
and perhaps unjustly appreciated. Extremely ner-
vous, brusque, irritable, absolutely independent, his
first movements almost always appeared unfavour-
able. He easily returned to his natural disposition,
which was excellent, and which he was forced to
conceal, under appearances the least flattering.
Moreover, in spite of the unevenness of his temper
(no one pretends that he had an equable temper, for
he was always passionate), he was worshipped by
those around him. The veneration in which his
pupils held him reached to fanaticism. MM. Halévy
and Batton lavished on him in his last moments a
truly filial care. Boieldieu never spoke of him but
with respect and tenderness, and Cherubini bestowed
on his pupils all the affection that they had for him.
There was one of them, Halévy, whom he con-
His Character.
265
sidered as one of his children; hardly a month has
yet passed since, when speaking to me of that
cherished pupil, he put forth so much earnestness in
describing to me the love he bore him, that I was
moved to tears. The sensations experienced in ap-
proaching Cherubini were so strange, that it would
be hard to define them, and much more to under-
stand them. The veneration that you had for his
great age and fine talent was suddenly altered by
ridicule aroused by little trifles to which he clung
with a persevering obstinacy. Theu at the end of a
few minutes, as though he had understood that it
was too long a time to act the disagreeable to no
purpose, his face relaxed, that smile so refined and
shrewd came to animate the fine head of the old
man, good nature resumed the ascendant, little by
little the faults of a spoilt child disappeared, he be-
came a good man in spite of himself; his heart
opened out to yours, and then you could resist him
no more; you left him, charmed and altogether sur-
prised to have felt towards this extraordinary man,
in so short a time, sentiments so different-repulsion,
admiration, enthusiasm.98
“As a man,' says Miel, "he has been differently
judged; which is explained by his uneven temper
and the anomalies of his character. Punctual, re-
8 Derniers Souvenirs.
266
Memorials of Cherubini.
gular, methodical in all his deliberate acts, he was
order personified; but only let an insect come and
buzz about his ear, there and then he lost his equi-
librium, and the artiste's nerves were in revolt; he
was no longer his own master; now look out for
roughnesses! We do not approach the subject with-
out trembling. Otherwise this irritability did not last
long. It left too little traces for it to be ascribed to
a result of organisation, and you are led to attribute
it to some accidental cause.' The phantasmagoria of
Sarti: might it have over-excited that youthful im-
agination, and impressed on delicate organs a too
durable shock? Or must we descend to the super-
stition of names, and accord to that of Professor
Bizzarri a mysterious influence on the pupil's future?
Or was it not rather a transient return of that
splenetic nervous affection of which we have spoken.
Whatever it was, Cherubini was only rough out-
wardly; his servants knew and understood him,
and said among themselves: “Leave him alone;
when he has acted enough of the wicked man, he
will become good again. It is the good-natured
churl." '9 Arnold gives us another picture of him :
Cherubini in society was outwardly silent, mo-
dest, unassuming, pleasing, and obliging, and pos-
sessed the finest and most engaging manners. At
9 Miel, p. 24.
His personal Appearance.
267
7
071
the same time he who did not know that he was
with Cherubini would think him stern and reserved,
so well did the composer know how to conceal every-
thing, if only to avoid ostentation. He truly shunned
brag or speaking of himself. Cherubini's voice was
feeble, probably from narrow-chestedness, and some-
what hoarse, but was otherwise soft and agreeable.
His French was Italianised. . . His head was bent
forward, his nose was large and aquiline; his eye-
brows were thick, black, and somewhat bushy, over-
shadowing his eyes. His eyes were dark, and glit-
tered with an extraordinary brilliancy that animated
in a wonderful way the whole face. A thin lock of
hair came over the centre of his forehead, and some-
how gave to his countenance a peculiar softness.'
One who knew Cherubini writes to me: “My own
recollections of him are anything but pleasant. He
looked a dry, screwed-up little man. Ingres' portrait
gives the most accurate conception of his outward
appearance. He had a finely-shaped head, with thin
lips, keen eyes, and gray locks. His remarks were
generally satirical.
Cherubini's love for Halévy, his adopted son,
was well reciprocated. We see the latter's affection
even in his critical writings on his master, sometimes
it is conspicuous on his page, sometimes it lurks be-
neath, as though restrained by a fierce reserve.
268
Memorials of Cherubini.
Whether it is devotion, filial affection, or artistic
conviction, I avow that Cherubini's renown is dear
to me, and I would preserve it from all attack.'
Again he says, with a certain bitterness, with the
thought of Cherubini doubtless in his mind: Men
do not easily accord their admiration; you are not
inscribed without a contest on the golden book of
posterity. The mere lustre of a name is, then, for an
artiste, one of the most glorious of testimonies, a
certain indication of a high influence, the proof of an
eminent position. It is a noble and beautiful herit-
age to leave after you, often acquired at the expense
of a whole life's repose, by works and incessant com-
bats,—the right to the respect of all. It is nowadays
most especially that this right is often contested;
nowadays that strong hands, pulling off the mantle of
purple, effacing those acquired suffrages, ruffle, tear,
and trample it to tatters, at the will of caprice
and passion. It is even this peril especially which
makes the possession of a blessing, though won with
difficulty, and however precious it may be, in one mo-
ment or at another, liable to be attacked by a whole
army. Lastly, before beginning that torso which he
meant to be a monument to his master, that fine bio-
graphical fragment from which I have been quoting,
he says: - Whatever opinion you may have of Che-
rubini's genius, whatever may be the degree of sym-
Halévy on his Master.
269
pathy that you feel with his works, you cannot deny
that his name is great and illustrious. Among the
names written in the sanctuary of the arts, his is one
of the most venerated. He took little care of it
when he was alive; it is only a pious duty to seek to
make it popular after his death. We shall strive to
follow him in his works, to set store by their im-
portance, to measure the influence which they have
exercised on contemporary works; we shall see
what place they are worthy of occupying in the
history of art. I have dwelt upon Halévy for
Cherubini's sake. A man who is loved by no one
is undoubtedly a disagreeable character. Cherubini
clearly was not such a man. To his fellow-musicians
he was nearly always well-disposed. He treated
them as brothers. His relations with Haydn, Beet-
hoven, Hummel, Spohr, Méhul, Lesueur, Boieldieu,
Halévy, and others are not otherwise than highly
gratifying, and prove that, under however rough an
exterior, Cherubini had a heart; and showed deep
sympathy with his fellow-labourers. Little idiosyn-
crasies could not hide for ever the real worth of
the man. Cherubini's character must be taken as a
whole, and not some isolated facts be seized upon
to prove indubitably that he was always harsh and
cold. The characters of great men, from not being
commonplace, are seldom truly understood.
270
Memorials of Cherubini.
Cherubini was fond of smart sayings, and of be-
ing rude, nor did he spare his friends. Thus Halévy
once took Cherubini to hear one of his operas. At
the end of the first act he asked his master how he
the second act Halévy repeated his question. Again
no answer. "Vous ne me répondez point,' exclaimed
Halévy. “Que vous répondre, replied the inexor-
able maëstro, voici deux heures que vous ne me
dites rien.
Again, when Beethoven's Mass in D was being
one day given, Berlioz spoke against the fugue 'et
vitam.' Cherubini entering the corridor, and hearing
something was going on, said, “What is it?' Some
one replied, pointing to Berlioz, “This fellow does
not like the fugue. That is because the fugue does
not like him,' said Cherubini. At another time, when
Cherubini was venting his rage against the parents
of precocious children, a lady came in on an ap-
pointed interview, bringing with her her child, whom
she began to praise as a wonderful genius, “a perfect
child of nature.' 'Madame,' said the maëstro, "leave
him with us; we will adopt him. Quel bonheur de
trouver un enfant de la Nature, tombé sur la terre,
sans père, sans mère, sans soeur, sans frère.'10 . At an-
other time, he silenced one who was complaining of
10 Ella's Musical Sketches.
The Child of Nature.
271
the chromatic progression from F sharp to F natural in
Rossini's Prayer from Moses. “What do you say,' said
the pedant, 'to this flagrant transgression of that
libertine, Rossini ? What do I say?' replied Che-
rubini; “I only wish I had committed it.'11 On another
occasion, a work was brought him, generally reputed
to be Méhul's. “Show it me, then,' said Cherubini to
the person who brought it. At last he said, “It is not
Méhul's; it is too bad to be his. It is mine,' said
the other. “I tell you it is not yours. “Why, dear
master ? Because it's too good to be yours.'
His son-in-law, M. Turcas, had composed a sym-
phony, the minuet of which was performed at the
Conservatoire concert of 22d April 1838, and on
his informing Cherubini that he had written the
symphony, the latter said brusquely: "Ce sera
mauvais. “Et pourquoi ? said Turcas, to his cruel
father-in-law. “Pourquoi? parceque j'en ai fait, et
Méhul aussi, et que je m'y connais.'12
When he went to see Adolphe Adam's son at
school, he said bluntly enough: “How ugly he is !
When some friends told him that they had not yet
been to see Boieldieu's La Dame Blanche, though it
had already been performed ten times, Cherubini
said: "Perhaps you are waiting for her to change
colour. His vigorous remark, when asked why
11 Ella's Musical Sketches.
12 Elwart.
272
Memorials of Cherubini.
he no longer brought out works at the Opéra
Comique, has been preserved in a letter of Men-
delssohn from Paris, dated Feb. 21, 1832 : 'I am
not going to give my operas without chorus, with-
out orchestra, without singers, and without deco-
rations. .
Brod, the oboe-player, died on the 5th of April
1839. Tulou, the flute-player, returning from Brod's.
funeral, met Cherubini and said: "Ah, maëstro, we
have lost our dear friend, Brod. “What! what!!
what!!! exclaimed the aged Cherubini, who was.
then deaf. With a loud voice Tulou repeated, “Brod
is dead. “Ah,' replied the stoical Florentine, turning
away, 'Petit son, petit son' (little tone).13 The one
vindictive saying that Cherubini, as far as I know,
ever uttered was not aimed at an individual, “The
only thing worse than one flute is two. If any of
my readers play that instrument, I fear that Cheru-
bini will have made himself their enemy for ever.
his umbrella, for if he did he found that he never got
it back again. One day he was walking along the
boulevards when it began to rain. A gentleman,
driving by, recognised the maëstro, and, alighting,
placed his vehicle at Cherubini's disposal, who got
13 Ella's Musical Sketches.
Cherubini's Umbrella.
273
said, M. Cherubini, will you lend me your umbrella?'
"No; I never lend my umbrella,' was Cherubini's
reply; and he drove off!14
A somewhat pleasanter tale remains to be told.
In 1824, Adolphe Adam, to his disgust, was called
to serve as a soldier. He went in search of Che-
rubini, found him, and after much beating about
the bush, told him that a certificate from him, at-
testing his (Adam's) aptitude for musical composi-
tion, would insure a release from the conscription.
Cherubini was fond of Adolphe Adam, and was un-
willing to refuse him any request, but did not wish
to run any risks himself in the matter. He gave
him a certificate thus expressed: J'atteste que
l'élève Adolphe Adam suit exactement les classes du
Conservatoire.' Adam saw that this would be of no
use whatever as an excuse to the military autho-
rities. Remembering a finger which had been dis-
abled for two years, and from which he still fancied
that he suffered, he went to a certain celebrated
surgeon, who had treated the finger, and asked him
to aid him in his object. The surgeon was as honest
as the musician, and wrote a certificate as follows:
"Je certifie avoir opéré M. Adolphe Adam d'une
tumeur au doigt, dont il est parfaitement guéri!
Happily, Adolphe's short stature and bad eyesight
14 Once a week.
274
Memorials of Cherubini.
served him in better stead, and he was enabled to
continue his musical studies in peace.15-
I have all along had some fear lest my readers
should be disappointed at not finding more abundant
and minute details of Cherubini himself. The fact
is, that those who knew him best have told us little
about him. But I hope that enough has been said
to demonstrate that, after all, Cherubini was not so
bad as he has been painted. Englishmen, at any
rate, will be able to appreciate ‘his stern reserve
and force of character. '16
15 Notice sur A. Adam.
18 Schumann.
CHAPTER V.
1822–1825.
The Pensionnat-The Société des Concerts—Their origin-Cherubini's
coöperation–The smaller concerts--The Inclina Domine-Beet.
hoven's Mass in D, and letter to Cherubini-Cherubini and Liszt
-The Coronation Mass in A, at Rheims, for the crowning of
Charles X.
As early as the August of 1822, Cherubini reëstabo
lished the Pensionnat of the Conservatoire, which
had been abolished, together with the public compe-
titions in vocal and orchestral works by the pupils,
in which all who had gained the first prize since
1816 could be candidates. This course was but a
step towards the subsequent foundation of the So-
ciété des Concerts du Conservatoire, established by
a decree of the 15th of February 1828, and which
originated as follows:
Habeneck invited his musical friends to dinner on
St. Cecilia's day, telling them to bring their instru-
ments with them. Among those who responded
were Guillou, Tulou, Vogt, Brod, Dacosta, Buteux,
Dauverné, Bulk, Dauprat, Blangy, Meifred, Mengal,
276
Memorials of Cherubini.
Dossiou, Henri, Barizel, Tilmant (aîné), Battu, Tol-
becque, St. Laurent, Amedee, Seuriot, Claudel, Gué-
rin, Urhan, Norblin, Vastin, and Chafft. The Eroica
symphony was tried, but not liked. After several
essays, in 1827, at Duport's manufactory, Rue Neuve
des Petits Champs, and at Habeneck's house, in the
Rue des Filles St. Thomas, disgust at the symphony
was succeeded by admiration. Cherubini being in-
formed of this, and of Habeneck's idea of having
concerts, agreed that they should take place in the
great hall of the Conservatoire. Since 1815, the
public exercises of the pupils had not been resumed.
Through his desire of restoring these, Cherubini
agreed to ask the king's minister, M. Sosthène de La-
rochefoucault, for the authorisation desired by Habe-
neck, who himself agreed to find the funds for the
expenses.
The government, however, granted 2000 francs
a year towards the expenses, and the decree found-
ing the society was communicated by Cherubini to
the professors and a number of the chief pupils.
Amidst general approbation an engagement to abide
by the decree was signed by those present on the
24th of March. A provisionary committee of the
new society, composed of Cherubini (president), Ha-
beneck (vice-president), Guillou (secretary.), Dauprat,
Brod, F. Halévy, Kuhn (chef-du-chant), Meifred,
The Société des Concerts.
277
Amedee, Albert Bonet, A. Dupont, and Tajan Rogé,
convoked an assembly of all those who had signed
the adhesion to the regulations of the decree; and
Guillou, in the name of the committee, made known
the proposed rules of the committee, and an adhesion
On Cherubini's and Méhul's recommendation, Ha-
beneck was chosen conductor of the concerts, among
the chief objects of which was the performance of
Beethoven's works. Let us see how this object was
fulfilled from 1828 to 1862. The first symphony
was performed thirteen times; the second, twenty-
six; the third (Eroica), twenty-eight; the fourth,
twenty-four; the fifth (C minor), fifty-three; the
sixth, (pastoral), fifty-one ; the seventh, fifty-two; the
eighth, fourteen; the ninth (choral), nineteen : total,
two hundred and eighty performances. The over-
ture to Fidelio, seven times; to Leonora, four; to
Coriolanus, nine; to the Ruins of Athens, twice;
to Egmont, six times; to King Stephen, once; to
Prometheus, seven times ; overture in C, twice: total,
thirty-eight performances. Chamber-music quartets,
op. 18, three times; trio in E flat, op. 38, once; the
quartets, op. 59, four times; fugue of ninth quartet,
twice; septet, twenty-seven times; trio for two haut-
boys and cors anglais, four times: total, forty-one
performances. Cherubini's action as director of the
278
Memorials of Cherubini.
Société des Concerts, exhibits his regard for Beet-
hoven, yet Berlioz, when saying that the great mu-
sicians of Paris at this time were indifferent to
Beethoven, dares to include Cherubini in that class.
At the same time he speaks of the Florentine as
one qui concentrait sa bile et n'osait la répandre
sur un maître (Beethoven) dont les succès l'irri-
taient profondement, et sapaient l'édifice de ses
théories les plus chères ;'1 but then, according to
Berlioz, Berton was one who pitied German music;
Boieldieu, one who was ignorantly surprised at the
least harmonic combinations; Paër, one who told
unfavourable anecdotes of Beethoven; Catel, one
who cared more about his rose-trees than music;
Kreutzer, one who disdained all that came from the
other side of the Rhine ; Lesueur, one who was deaf,
. and not attending the Conservatoire concerts. All
these, according to Berlioz, were .enemies to Beet-
hoven. But it is intolerable to find him making this
charge against the very man who, in the teeth of
opposition, had Beethoven's symphonies performed.
i Berlioz's Mémoires, p. 74. Professor Ella, in his interesting
Musical Union papers, relates an anecdote which may be set off
against Berlioz's statement here. Cherubini, becoming impatient
with a pupil who, while describing to him the performance of one of
Beethoven's symphonies, said nothing on the merits of the composition,
spoke thus: “Young man, let your sympathies be first wedded to the
i creative, and be you less fastidious of the executive ; accept the inter-
pretation, and think more of the creation of those musical works
which are written for all time, and all nations—models for imitation,
and above all criticism.'
Cherubini's Coöperation.
279
:
For what, according to Elwart, are the facts ? When
Cherubini was informed of Habeneck's plan, he agreed
to the request that the latter should obtain the au-
thority of the minister with a degree of warmth that
does honour to his memory. Again: "The minister,
M. de Larochefoucault, assented to Cherubini's pro-
posals. The very decree begins: “At the request of
the Directors of the Ecole Royal de Musique we have
resolved,' &c.; and art. 9 charges Cherubini with the
execution of the decree. The statutes of the Société
des Concerts begin thus: “ With the agreement of the
Director of the École de Musique. Lastly, Cherubini
was chairman of the administrative and executive
committee. Cherubini knew very well,' remarks the
Niederrheinische-Musik-Zeitung, “that Habeneck's ob-
ject was the performance of the works of Beethoven.
Had he entertained so mean an opinion of the latter
as he is reported to have held, he certainly would
not have promoted and arranged the whole affair
with the zeal he did. 2
A number of concerts took place every year, for
which, as we have said, the government eventually
gave an annual grantof two thousand francs. No solos
were allowed, and at Cherubini's order the movable
platform, rising step by step, just as it now stands,
was built. At the first concert, March 9th, 1828, the
2 Musical World, 1862, p. 559.
Eroica symphony was performed, and found great
favour among the pupils. The ordinary concerts
took place on Sundays at two o'clock; others that
might now and then take place on week-days were
called concerts spirituels. At the first concert for
1829 (Feb. 15), Cherubini's Chant sur la Mort de Haydn
was sung by Ponchard, Nourrit, and Maillard; at the
fourth concert in 1830 (4th April), the celebrated
introductory chorus from Elisa--the solos being
Clapisson's Voici la Nuit-recommended to Habe-
neck for performance by Cherubini himself. At the
extra concert at the Conservatoire on the 30th May
1830, a rather unfortunate circumstance occurred.
Cherubini, before beginning, always waited for roy-
alty; the only royal princess who loved and patronised
music came ten minutes late, and some hissing, fore-
runner of the storm in July, began, which was not
sufficiently drowned by the voices, then just begin-
ning to sing, to prevent her hearing the salute from
the pit that did not respect a mark of deference
on Cherubini's part. Besides the great concerts
there were also the smaller ones called the 'Concerts
d'Emulation,' given by the pupils themselves, at which
Cherubini did not allow the young ladies of the Con-
servatoire to take any part either in the solos or cho-
ruses, they being solely allowed to perform in public
O Fons amoris.
281
on the harp or the piano, while the orchestra only
played the compositions of the pupils. In spite of
all the representations of the most eminent profes-
sors, Cherubini adhered strictly to these rules. The
chief box was reserved for Cherubini, D’Henneville,
Delavigne, and Lambert, and emulation was espe-
cially excited among the pupils at these smaller con-
certs by the presence of their director. These, of
which Elwart was conductor, Cherubini no less
warmly encouraged than the great concerts.
We must now return to the record of Cherubini's
labours in church-music. Of the 0 Fons amoris, writ-
ten in 1822, Girod observes: The motet 0 Fons
amoris spiritus is only published in Germany; for this
reason, and because it possesses a workmanship quite
different from Cherubini's other religious works, some
persons have thought that it was not composed by
the author for the Church nor for these words, but
that it was taken from some of his abandoned operas.
We believe that the manuscript score of this piece,
· as with the Regina Coeli, was delivered to a German
publisher. What confirms us in this idea is that the
words are not extracted from the Roman liturgy, nor
from those which are used in Germany, but entirely
from one of the French liturgies. This piece is writ-
ten for soprano concertante, with choral accompani-
3 Elwart's Histoire de la Société des Concerts.
282
Memorials of Cherubini.
ment of men's voices. The allegro at the commence-
ment and conclusion::is replete with new and bril-
liant ideas; the unison of men's voices preparing
the soloist's crescendo has a beautiful effect. The
larghetto is sweet, but too full of organ points.'
Stanzas for the Duke of Angoulême’s ‘return’
were composed by Cherubini on the 27th November
1823, and the Inclina Domine, a four-part introit
with full orchestra, on the 16th December. The
Inclina Domine,' says Girod, : is a sort of little drama
of charming and varied workmanship. It com-
prises three parts; the first is a choral prayer of
a solemn and touching effect, followed by a tenor
solo of a graceful character; the answer of the
chorus ends it. The second is a magnificent plain
chant executed in unison by the tenors and basses,
and accompanied .withenergy and spirit by the
strings. A fugal Amen forms the third part, and
closes the piece in a brilliant manner. This hymn has
been given in London by Mr. Henry Leslie's choir.
It was in 1823. that Beethoven finished his Mass
in D, a copy of which he offered to each of the Euro-
pean sovereigns for fifty ducats. The Emperor of
Russia, and the Kings of France, Prussia, and Saxony
accepted the offer. In offering a copy to the French
monarch, Beethoven wrote a letter to Cherubini from
his country seat, which was first sent on to Moscheles
Beethoven's Letter to Cherubini.
283
with instructions what to do with it. A French
translation of the letter was sent to Cherubini, if
sent at all, which seems doubtful; for the latter
never received the letter, nor did he ever hear of its
existence till after Beethoven's death, as he told
Schindler in 1841. The letter runs as follows:
... March 15, 1823, Vienna.
Highly-esteemed Sir,-I joy.fully take advantage
of this opportunity to address you.
"I have done so often in spirit, as I prize your
theatrical works beyond others. The artistic world
has only to lament that in Germany, at least, no new
dramatic work of yours has appeared. Highly as all
your works are valued by true connoisseurs, still it is
a great loss to art not. to possess any fresh produc-
tion of your great genius for the theatre.
“True art is imperishable and the true artist feels
heartfelt pleasure in grand works of genius, and that
is what enchants me when I hear a new composition
of yours; in fact I take greater interest in it than
in my own; in short, I love and honour you. Were
it not that my continued bad health stops my
coming to see you in Paris, with what exceeding
delight would I discuss questions of art with you!
Do not think that this is merely meant to serve
as an introduction to the favour I am about to ask
of you. I hope and feel sure that you do not for
284
Memorials of Cherubini.
a moment suspect me of such base sentiments. I.
recently completed a grand solemn Mass, and have
resolved to offer it to the various European courts,
as it is not my intention to publish it at pre-
sent. I have therefore asked the King of France,
through the French embassy here, to subscribe to
this work, and I feel certain that his Majesty would
at your recommendation agree to do so.
“My critical situation demands that I should not
solely fix my eyes upon Heaven, as is my wont; on
the contrary it would have me fix them also upon
earth, here below, for the necessities of life.
Whatever may be the fate of my request to
you, I shall for ever continue to love and esteem
you; and you for ever remain of all my contempo-
raries that one whom I esteem the most.
“If you should wish to do me a very great fa-
vour, you would effect this by writing to me a few
lines, which would solace me much. Art unites all;
how much more, then, true artistes! and perhaps you
may deem me worthy of being included in that
number.
“With the highest esteem, your friend and servant,
LUDWIG VAN BEETHOVEN.
· Ludwig Cherubini.'
The King of France not only accepted a copy of
the Mass, but sent Beethoven a heavy gold medal,
Liszt.
285
OSS
with the inscription, 'Donné par le roi à M. Beet-
hoven,' who was highly gratified, and thought
himself indebted to Cherubini in the whole affair.
In the following year, 1824, Cherubini came across
the gifted Liszt, then a mere lad, whose father, writ-
ing to Carl Czerny, in a letter dated from Paris, Sep-
tember 3, 1824, says, speaking of his son: 'With his
opera, at which he works industriously, I am sure
you will be pleased; and I hope that it will be the
greatest success of our travels. I must tell you a
story relating to it. When the programme came
before the censorship, it was asked who was going
to write the music; and the poet answered, laugh-
ing, “ Young Liszt.” “What !” exclaimed Cheru-
bini; “do you think that to compose an opera is as
easy as performing a piece on the piano ? That
cannot be passed.” Some others held the same view;
Paër alone gave it as his opinion that a trial should
be made. This happened while we were in London,
and when we came back we knew nothing further
about the matter. We went to the director of the
opera to inform him that the opera was finished,
and that Liszt was now beginning to score it. Now
picture to yourself the thunderbolt when we heard
what had occurred. My boy, who in his imagi-
nation was already conducting his opera, lost all
hope; but I was philosopher enough to remain un-
286
Memorials of Cherubini.
concerned. Still, on the same day, I looked out for
an opportunity for my boy' to play something before
the Minister of the Royal house. I gained my object,
and we are now content, having the assurance of his
High protection. There will doubtless still be some
difficulties, but they will only serve to increase the
glory. Cherubini and a few others do not care to
see a younger man in their circle, but that is of no
consequence.
Young Liszt to be in Cherubini's circle! Could
it be expected that a boy should enter, as a matter
of course, at once on equal terms into the society
of some of the most distinguished musicians. of
Europe ?
From a letter of Liszt’s father to Czerny, dated
from Paris, August 14, 1825, we learn that Cherubini,
Berton, Catel, Boieldieu, and Lesueur at length met
as a jury to decide upon Liszt’s opera, which after
all was accepted.4
In 1825, Charles X. ascended the throne of
France, and Lesueur and Cherubini, as king's musi-
cians, had to write the music for the ceremony of
the coronation, but the latter agreed to compose
the Mass only, leaving the rest to Lesueur. The
cathedral choir consisted on the occasion of 20 first
and 20 second soprani, 28 tenors, 28 basses, making
4 Monthly Musical Record, vol. i.
Coronation Mass in A:
2877
in all 96 singers. The instruments were 36 violins,
30'violas, violoncellos, and contrabasses, 28 wind and
8 percussion instruments; in all 102 instruments, and
a grand total of 198'artistes. The king-elect entered
the cathedral of Rheims at eight o'clock on the morn-
ing of the 29th of May to the strains of a march by
Lesueur: Approaching the officiáting archbishop in
the sanctuary, he kissed the prelate's ring, and then
the latter branded him the sword. Here Lesueur's
anthem, Confortare,' was sung, and, during the
preparation for the anointing, his anthem, 'Gentem
Francorum. During the seven stages of the anoint-
ing, the choruses, Unxerunt Salamonem' and Vivat
rex, vivat in æternum,' were heard. Then came the
Coronation March; while, as soon as the crown was
placed on the head of the newly-made king, the
• Vivat rex' was again sung, accompanied by the full
organ; a number of doves and other birds were let
loose in the cathedral; three discharges of musketry
followed; the cathedral doors were opened; the
people poured in; the infantry and cavalry bands
struck up outside; and then a short 'Te Deum' was
sung, written by Lesueur. Then followed Cheru-
bini's Mass.
This work,' says the writer in the Niederrheinische-
Musik-Zeitung, “is endowed with such a character of
grandeur, that it will evermore remain a lasting
288
Memorials of Cherubini.
A
monument of art, on account of the greatness and
loftiness of its ideas, the depth of its conception, the
nobleness of its expression, the richness and mag-
nificence of its harmony and tone, and its brilliant
clearness in all that relates to polyphony and har-
monics.
Girod in his treatise De la Musique Religieuse
describes it as follows:
"The Mass written for the crowning of Charles X.
is the most known, and to my mind the most beau-
tiful, of Cherubini's Masses. Written for the large
area of Rheims cathedral, the acoustic power of
which was enfeebled by hangings and decorations,
as well as by the immense concourse of all classes of
people, it required a vast increase of executive power;
and it was for this reason that Cherubini availed
himself of the modern full orchestra, with four horns,
three trombones, the ophicleide, &c., and wrote for
three voices, since he despaired of finding enough
contralti for the formidable choir which such an or-
chestra required, and, moreover, did not wish for any
vocal or instrumental solo. Such are the elements
of this colossal Mass in the grandest style. What is so
5 The Mass in A had a fourth (alto) part added to it by one Haydn
Corri, I believe, in Ireland. In this state it was published by Messrs.
Novello of London, and is still sold as a Mass for four voices by that
firm. Cherubini, I am informed, was much annoyed at this tampering
with his masterpiece. The fourth part of course gives the Mass when
performed fuller effect.
Coronation Mass in A.
289
extremely remarkable in this work is that all of it is
novel, inspired, created out of the ideas, the style,
the manner, down to the instrumental effects. We
think that it will be useful to give an analysis of it.
In the Kyrie, the melody of which, at once simple
and touching, is well characterised, the strains are
at first calm and soothing; then, in modulating from
A major into C major and E, the orchestra becomes
animated, the tone of supplication becomes more
turns with the resumption of the first theme, while
loving and confiding. The Kyrie is an admirable
model of prayer, quite different, however, from that
which closes the Mass in the Agnus Dei. The Gloria
is designed in large and salient forms; you find in it
the triumphal hymn which is first heard at the com-
mencement of the piece, and then at the close; it
opens with an andante in unison for the voices, and
is continued by the grand allegro of the Laudamus te,
in which a crescendo, admirably introduced, seems
to rouse the faitliful to redouble their transports of
praise and adoration. The andante on the words,
“Gratias agimus," admirably depicts the Christian
soul in ecstasy before the presence of divine great-
ness. In the slow movement which succeeds it, the
sense of the “qui tollis” is given in all its reality, and
290
Memorials of Cherubini.
in a way such as we have discovered in no other
Mass. Most composers take here the tone of sorrow
and repentance, while in truth the subject is the
triumph of the Lamb over sin; this glorious victory
is celebrated in a chant both severe and forcible,
followed by the grave supplication, full of hope, “mi-
serere nobis.” On hearing this music, you secretly
acknowledge that the author must be a Catholic by
conviction, to be able to compose in a style so truth-
ful and feeling. The Credo is a creation apart, so
original that you would search in vain elsewhere
for any traits of resemblance to it. It forms a com-
plete and varied whole; more than once it has been
proposed to young composers as a' model of truthful-
ness, of grandeur, and dramatic interest. In it every
mystery has, so to speak, its appropriate colouring.
Those which precede the centuries are expressed al-
ternately by the basses and tenors, in a solemn me-
lody that resembles plain-chant. Each mystery is
in a different tone, but diatonic to the one that has
preceded it; as soon as a mystery is announced,
some wind instruments summon the whole choir to
the profession of faith, and the word “credo" is given
twice with new energy. The touching mystery of
the Incarnation is confided to the soprani. It is the
outburst of the purest faith and charity. The cruci-
fixion is, in truth, admirable; the pathetic tone in it
LU
Coronation Mass in A.
291
is very expressive. A delicious harmony, which gra-
dually dies away, conveys the idea of“ sepultus est;"
and to show that death has but a transient empire
over the Body of its Conqueror, the phrase of “se-
pultus” does not finish; it is intercepted by the entry
of the horns and trumpets, which announce the sur-
prise of all nature, and proclaim the miracle of the
Resurrection. The style takes here a new character of
elevation and magnificence, which it sustains to the
end. Throughout the entire piece, the composer's
idea of making the chorus renew its profession of
faith is carried out at each mystery. Among the
most noticeable passages must be cited the decre-
· scendo, so striking in its realism, on the words “ cujus
regni non erit finis;" the broad strain of the “ ct unam
sanctum,” the crescendo at the “expecto,” which brings
back the triumphal theme for the “et vitam.” The
offertory,“ Propter veritatem,” is a perfect type ofits
kind; and soft melodies, relieved by imitation, are
found in it, as well as felicitous modulations. The
Sanctus is a short but magnificent hymn of praise,
both majestic and animated. The O Salutaris re-
quires more care and precision in execution than the
rest of the Mass. It is a fresh and delicate composition.
It would have been better to give it as a trio than in
chorus, although the author equally allows both me-
thods. The prayer in it assumes quite a celestial
292
Memorials of Cherubini.
tone, well suitable to the awful mystery that at that
moment takes place; you will remark in it the
moaning and touching plaint of the accompaniment
in the “ bella premunt.” The Agnus Dei, at first in
A minor, is the soothing expression of humble and
resigned supplication; when it goes into the major
it indicates, by the sweetness of its music, peace and
repose—“ dona pacem." 16
Of the celebrated Communion March in this Mass
Berlioz says: “It is mystical expression in all its
purity, contemplation, and Catholic ecstasy... Cheru-
bini, by his veiled imperceptible melody, has known
how to reach the most mysterious depths of Chris-
tian meditation. This piece breathes only of Divine
Love, of faith without doubt, of calm, of the serenity
of a soul in presence of its Creator; no earthly sound
comes to mar its heavenly quiet, and it brings tears
to the eyes of those who listen to it; tears that flow
so gently, that the hearer of this seraphic song, carried
away beyond mere ideas of art and a remembrance
of the actual world, is unaware of his own emotion.
If ever the word “sublime” has had a true and just
application, it is apropos of Cherubini's Communion
March.'
In another place, when complaining that the
orchestral works were played on a pianoforte be-
o De la Musique Religieuse, p. 245.
Coronation Mass in A.
293
fore the Academy, previous to its being decided
, which had gained the prize, he says: “Play on the
piano the Communion March from the Coronation
Mass of Cherubini; what becomes of those delicious
holding notes for the wind instruments, which plunge
you into a mystic ecstasy; that ravishing interlacing
of flutes and clarinets, whence results nearly all the
effect?
The Confirma hoc Deus,” says M. Girod, .for
three voices, is a dependent of the Coronation Mass :
it is written for the same orchestra; it is rich and
grand, but in the fugal style, and consequently it is
less acceptable to the ordinary public, in spite of its
brilliancy and spirit.'
M. Adolphe Guéroult, in an article in the Revue
Encyclopédique, wrote as follows: "During Cherubini's
Mass you will listen as a connoisseur, and be alto-
gether in a dream. After hearing the Credo of
the Coronation Mass you will say: There is a power-
ful composer! How he handles the vocal and in-
strumental forces! What felicity in the return of
the word “credo," which recurs incessantly after
each musical period ! how energetic and how solemn
an affirmation! what force, what meaning in effects!
Meanwhile you have had time to remark that the
chorus has slackened, and a trombone sent forth a
blast of questionable appropriateness. . . As to the
294
Memorials of Cherubini.
symbol of Nicæa, the Sacrifice of the Mass, and the
great event it recalls, you hardly think of it more
than after a representation of William Tell. You go
out a dilettante, and not a Christian.'
M. Girod quotes this passage, and refutes M.
Guéroult in a long and able reply; he ends by say-
ing that the Credo of Cherubini’s Coronation Mass
'has called forth from more than one auditory tender
emotions that have almost brought tears. . . Let only
this music,' he adds, be executed under the condi-
tions which we have established in the body of this
work, and it will be impossible not to draw from it
effects that are profoundly religious. As to M.
Guéroult himself, Girod does not hesitate to say
that' of all the theorists who have striven to elevate
plain-chant at the expense of concerted music, he is the
most adroit, and the one whose arguing is the most
captious.
At one of the performances of the Mass in a hall of
the Menu-Plaisirs, Paris, Hummel was present, who
at this period in the French capital had been wel-
comed with open arms by Cherubini. At the end
of the concert, that great master of church - music
turned to Cherubini in a transport of enthusiasm,
and said, “C'est de l'or que votre messe.” At another
time, when it was given in the same place, the entire
7 Fétis, Biog. Univ. vol. i. art. · Cherubini.'
Coronation Mass in A.
295
hall resounded with universal acclamation. As a
mark of his appreciation of this, the eleventh and
(if the second Requiem be excluded) the last Mass ·
of Cherubini, Charles X. raised him to the grade of
Officer in the Legion of Honour.
CHAPTER VI.
1825–1830.
tagonism between him and Cherubini—Their first interview and
subsequent relations - O Salutaris for Boieldieu's marriage -
Cherubini's quartets—Baillot and the one in E flat-Abolition of
the King's chapel.
In the autumn of 1825—not, as has been sometimes
stated, in 1824-Mendelssohn, at this time a boy of
fifteen, came with his father to Paris, with the view
of seeing Cherubini. The father particularly wished
to ask advice as to his son taking up music as a pro-
fession. Cherubini read over some of Mendelssohn's
works, and, with many other Parisian artistes, heard
him play the pianoforte part in one of his quartets.
Then the stern oracle spoke: "Ce garçon est riche,
trop à son argent, il met trop d'étoffe dans son habit.'
He added, by way of advice against the over-tailor-
ing, and as further encouragement in a musical
career: 'Je lui parlerai, alors il fera bien. Cheru-
bini's criticism was not generally favourable to rising
talent, so that his praise for Mendelssohn was espe-
Mendelssohn.
297 -
cially gratifying. Auber and Halévy were less for-
tunate than the young German in getting their
master's approval. Mendelssohn, however, very
rudely compared Cherubini to a 'burnt-out volcano,
which flashes forth flame occasionally, but is com-
pletely covered with ashes and stones.*1 The only
other record of further intercourse between the two
is contained in a letter of Mendelssohn from Paris,
dated Dec. 20, 1831. “The day before yesterday I
paid two musical visits to the grumbling Cherubini
and the kind Herz.'
In September 1825, the King of Prussia, says the
Biographie Universelle des Contemporains, sent Cheru-
bini a diamond ring, accompanied by an autograph
letter, in token of satisfaction at a Mass composed
for him by the latter. I do not know what Mass this
could be, unless the Petite Messe de la Ste. Trinité, of
which there is no mention in Cherubini's catalogue.
In 1826, Cherubini was further gratified by the
Grand Duke of Hesse Darmstadt sending him his
Order of Merit.
It was in 1826 that Berlioz entered the Conserva-
toire and found a friend in Lesueur, but far from one
in Cherubini, who seems to have had a special dis-
like to him. Berlioz has told us a good deal about
1 Devrient's Recollections of pIendelssohn, and Göthe and Mendels-
sohn.
298
Memorials of Cherubini.
his relations with Cherubini; but if he throws a light
on the weak side of the latter's character, he himself
does not shine as a pattern of discretion and good
sense. “Another feather in the cap of this turbulent
youngster,' says the Edinburgh Review, speaking of
Berlioz and his memoirs, ‘here set forth with great
complacency, by himself, was his quarrel with Cheru-
bini, who had just entered on his duties as Director of
the Conservatoire, and had there established a system
of order eminently necessary to the well-being of that
school, which conduced in great measure to its value
and excellence as a great European establishment.
The Italian was not the most amiable of men; but
an enthusiastic neophyte might have endured the
strictness in authority of a musician who could write
Les Deux Journées, and that grandest of modern clas-
sical operas, Mecée. The anecdote here told only
makes the scholar's insolence, not the master's punc-
tiliousness, ridiculous. Berlioz rejoices in detailing
the revenges with which, in after-life, he was able to
commemorate this petty quarrel. But, from first to
last, he was more willing to provoke than disarm
opposition. His father, who bore his absurdities and
violences with wonderful patience, was in the end
disappointed, and wearied into leaving him to his
own resources."?
2 January No., 1870, p. 47.
First Interview with the Director.
299
Cherubini was aware that Berlioz had not fol-
lowed the usual routine at the Conservatoire before
entering Lesueur's class for composition, and so
made him first of all enter that of Counterpoint and
Fugue under Reicha, which in the Conservatoire
studies preceded the class of composition.Berlioz
did not wait long before he had his first interview
with Cherubini. “Scarcely come to the direction of
the Conservatoire,' says Berlioz, “Cherubini, in taking
Perne's place, who had just died, wished to mark his
accession by an unknown rigour in the interior or-
ganisation of the school, where puritanical strictness
was not exactly the order of the day. In order to
make the intercourse between the pupils of both
sexes impossible outside the surveillance of the pro-
fessors, he gave orders that the men should enter by
the door in the Faubourg Poissonnière, and the women
by that in the Rue Bergère, these different entrances
being placed at the two opposite extremities of the
building. In betaking myself one morning to the
library, ignorant of the moral decree that had just
been promulgated, I entered, according to my custom,
by the door in the Rue Bergère, the feminine door,
and was about arriving at the library, when a ser-
vant, stopping me in the middle of the court, wished
to make me go out, to return to the same point
3 Berlioz's Mémoires, p. 38.
300
Memorials of Cherubini.
where I now was, by entering at the masculine gate.
I considered this so ridiculous that I sent the livery
Argus about his business, and pursued my way. The
rogue wished to pay his court to his new master by
showing himself as strict as the latter was. He did
not, therefore, consider himself beaten, but ran to
tell the circumstance to the director. For a quarter
of an hour I was absorbed in reading Alceste, not
thinking any more about this incident, when Cheru-
bini, followed by my denouncer, entered the reading-
room, his countenance more cadaverous, his hair
more erect, his eyes more malicious, his step more
abrupt than usual. He made the tour of the table
on which several readers were leaning their elbows;
after successively scrutinising them all, the servant,
stopping before me, cried out, “ Le voilà !” Cherubini
was in such a rage that he remained for a moment
without articulating a word: “Ah, ah, ah, ah! c'est
vous," he said at length with his Italian accent, which
made his fury the more comical; “ c'est vous qui
entrez par la porte, qué - qué - qué zé ne veux pas
qu'on passe !” “Sir, I did not know of your prohibi-
tion; another time I will conform myself to it.” “Une
autre fois ! une autre fois ! Qué-qué-qué vénez-vous
faire ici ?” “You see, sir, for what; I come here to
study Glück's scores.” “Et qu'est-ce qué, qu'est ce
quáqué qué vous regardent les partitions de Glück ?
2 Veus
A Scene.
301
et qui vous a permis dé vénir à-à-à la bibliothèque ?"
“Sir” (I began to lose my sang-froid),“ Glück’s scores
are the most beautiful I know of in dramatic music,
and I have no need of anybody's leave to come and
study here. The library of the Conservatoire is open
to the public from ten o'clock till three. I have the
right to make use of it.” “ Lé-lé-lé-lé droit ?” “ Yes,
sir." “ Zé vous défends d'y revenir, moi!" "I shall
return to it nevertheless.” “Co-comme-comment-
comment vous appelez-vous ?” cried he, trembling
with rage; and I, in my turn, turning pale : “Sir!
perhaps my name will be known to you some of these
days, but as for to-day: . . you sha’n't know it!"
© Arrête, a-a-arrête-le, Hottin” (the servant was so
called),“ qué-qué-qué zélé fasse zeter en prison !” The
two of them thereupon proceeded, to the great con-
sternation of the assistants, to pursue me round the
table, upsetting stools and desks, without, however,
being able to reach me, and I finished by taking to
flight in my race, while shouting out these words,
with a burst of laughter, to my persecutor : “ You
shall neither have me nor my name, and I will soon
return here to study again Glück's scores.” There,'
continues Berlioz, “that is how my first interview
passed with Cherubini. I do not know whether he
remembered it when I was afterwards presented to
him in a more official manner. In any case he was
302
Memorials of Cherubini.
pleasant enough twelve years afterwards, and in
spite of him I became custodian, and at last librarian,
of that very library from which he had wished to
chase me. . . As to Hottin, he is now my garçon
d'orchestre, and most devoted, and the most furious
partisan for my music; he even pretended, during
the last few years of Cherubini's life, that there was
only myself fit to take the place of the illustrious
master in the direction of the Conservatoire. On
this point, however, M. Auber was not of his way
of thinking. I shall have other similar anecdotes to
tell of Cherubini, in which it will be seen that if he
made me swallow small snakes,4 I have thrown at
him some rattle-snakes in return, whose sting has
made him smart.5 A year after this, Berlioz tells us,
he entered Lesueur's class. •Lesueur,' says Berlioz,
seeing that my studies in harmony were enough
advanced, wished to set my position right in the
Conservatoire. He spoke about it to Cherubini,
then director of that establishment, and I was
admitted. Very fortunately he did not propose on
this occasion to present me to the terrible author of
Medée.
Many times, says Fétis, Berlioz went through the
preparatory examination for the concours' or com-
4* Avaler des couleuvres,' i.e. to have vexations thrust upon you
without your daring to complain, to be forced to pocket affronts.
3 NIémoires, p. 32.
Competitions at the Institute.
303
petitions among the pupils, which were under the
direction of the Institute, without being admitted to
them. On one occasion the following subject for
illustration was given from Tasso: Hermione, leaving
Clorinda, but disguised in the latter's dress, goes out
from Jerusalem, to carry to the wounded Tancred
the care and attention of her faithful but unfortunate
love. Berlioz essayed this subject, and at the
words,
• Dieu des Chrétiens, toi j'ignore,
Toi que j'outrageais autrefois,
Aujourd'hui mon respect t'implore;
Daigne écouter ma faible voix,'
which were marked, to be set to music as an 'air agitė,"
he thought that the music should be like a solemn
prayer, and composed it accordingly. On the day
of the decision as to the successful candidates, Ber-
lioz went down to the Institute, anxious to know
what had been the fate of his composition, or, as he
expresses it, “to know whether the painters, sculp-
tors, engravers of medals, and engravers on copper-
plate had declared me a good or a bad musician.
Berlioz happened to come upon Pingard, the porter,
who informed him that he (Berlioz) had got the
second prize. They conversed further. Berlioz
asked him how the séance passed off, to which Pin-
gard replied, “O, stop, don't speak of it; it's always
the same thing. If I had thirty children, may the
304
Memorials of Cherubini.
devil take me if I would put one into the arts! For
I see through it all myself. You don't know what a
cursed shop it is. For instance, they give, they
even sell their votes among themselves.' Pingard
then proceeded to say how once, at the compc-
tition of the painters at the Institute, he heard
M. Lethière beg Cherubini's vote for one of his
friends. “We are old friends," said M. Lethière; 'you
won't refuse me this. Besides, my friend has talent;
his painting is very good. "Non, non, non, je ne veux
pas, je ne veux pas,' replied Cherubini; 'ton élève
m'avait promis un album que désirait ma femme, et
il n'a pas seulement dessiné un arbre pour elle. Je
ne lui donne pas ma voix. “Ah, it's very wrong of
you,' rejoined M. Lethière. 'I vote for yours, you
know, and you don't wish to vote for mine. “Non,
je ne veux pas.' Then I will do your album my-
self, there; I can say nothing better than that.'
“Ah, c'est différent. Comment l'appelles-tu ton élève ?
J'oublie toujours son nom; donne-moi aussi son
prénom, et le numéro du tableau, pour que je ne con-
fonde pas. Je vais écrire tout celà.' Pingard. “Mon-
sieur. Un papier et un crayon. Voilà, monsieur.'
Pingard went on to tell Berlioz that Cherubini and
Lethière then went to the window, wrote down three
words, and that he heard Cherubini say: "C'est bon !
il a ma voix.' Berlioz remarked on what Pingard had
Competitions at the Institute.
305
told him, that it was abominable; but proceeded to
question Pingard more closely as to the fate of his
own work and what passed. Pingard repeated that
he (Berlioz) had taken the second prize, and continues
as follows: "When M. Dupont had sung your can-
tata, they began to write down their bulletins for
voting, and I carried the voting hurne' (Pingard will
put an 'h' to 'urn'). There was a musician at my
side, who spoke in a low tone to an architect, and
said to him, “ Look here; that fellow there will never
do anything; don't give him your vote, c'est un
jeune homme perdu. He only admires the déver-
gondage of Beethoven. They'll never make him re-
enter the right path.” “But do you think so ?" said
the architect. “O, it's very certain; besides, ask
our illustrious Cherubini. You do not doubt his ex-
perience, I hope; he will tell you just what I have
said, that this young man is mad, that Beethoven
has troubled his brains." When I presented the
hurne to the architect, I saw, that he gave his vote
to No. 4 instead of giving it you, et voilà-all of
a sudden one of the musicians got up and said,
“ Gentlemen, before going on further, I ought to
remind you that, in the second piece of the score we
have just heard sung, there is a very ingenious piece
of workmanship in the instrumentation, which the
piano cannot render, and which would produce a
306
Memorials of Cherubini.
great effect. It is well to be told of this.” “What
the devil do you come bawling out to us for !" replied
another musician. “Your pupil has not conformed
himself to the programme; instead of an air agité,
he has written two, and in the middle he has added
a prayer which he ought not to have done. The
instructions cannot be thus despised ; an example
must be made of him." “O, that's too strong-
what does M. le Secrétaire perpétuel say ?” “I
think it's a little severe, and that your pupil should
be forgiven the license he has allowed himself. But
it is important that the jury be enlightened on this
species of merit you have signalised, and which the
execution on the piano prevents us fi'om perceiving."
“Non, non, ce n'est pas vrai,” said Cherubini; “ce
prétendu effet d'instrumentation n'existe pas; ce n'est
qu’un fouillis auquel on ne comprend rien, et qui
serait détestable à l'orchestre.” “Ma foi! do you hear
that ?" cried the painters, sculptors, architects, and
engravers. “We cannot appreciate what we hear, and
as for the rest, if you are not agreed—” “Ah, oui!"
“Ah, non!” “ Mais, mon Dieu !” “Eh, que diable !"
“ Je vous dis que!” “ Allons donc !" At last they
6 It is Berlioz's complaint, that for giving the orchestral accom-
paniments a piano only was used by the academicians. All this story
seems to me incredible on the face of it. I cannot believe that Pin-
gard could remember accurately the talk of scientific musicians, or
understand the point of their praise or blame.
Competitions at the Institute.
307
all called out at once, and thus tired themselves out.
M. Regnault and two other painters hurried off, say-
ing they declined to give an opinion, and would
not vote. Then the bulletins in the hurne were
counted, and you were short of two votes. Voilà,
pourquoi vous n'avez que le second prix.'
As regards this account of the Academy's pro-
ceedings, of course it depends on how much credence
should be given to the porter Pingard; and that,
probably, ought to be very little. In any case it is
ridiculous that any others than the musical members
should give their votes on the merits of musical com-
positions. Castil-Blaze comments severely on the
ignorance even of a director of the Beaux-Arts, who,
addressing the author of Démophon, Lodoïska, Elisa,
Medée, Les Deux Journées, Anacréon, Faniska, and
Les Abencérages, said : "Monsieur Cherubini, vous qui
faites si bien les messes, les vêpres, ne devriez-vous
pas essayer enfin de composer un opéra ?
Berlioz says of his own attacks on the Academy:
“The liberty I have used on this subject has led
Cherubini—the most academic of academicians, past,
present, and future, and the one who was most vio-
lently hurt at my remarks—to say that, in attacking
the Academy, I was beating my nurse. Had I not.
· Mémoires, p. 86. Two or three years after this Berlioz got the
first prize.
308
Memorials of Cherubini.
obtained the prize, he could not have taxed me with
this ingratitude, but I should have passed with him
and many others for an unsuccessful candidate tak-
ing vengeance for his defeat.?8
As for the above instrumental effect, perhaps it
was a pretended one. Cherubini knew best about
that. Berlioz at another time tells us that he deter-
mined to give a concert entirely of his own compo-
sitions. There was no difficulty in procuring instru-
mentalists, since so many of them were his personal
friends, and it was agreed on all hands that the best
place for holding the concert was the chief concert-
hall of the Conservatoire. The authorisation of the
superintendent of the Fine Arts, M. Sosthène de
Larochefoucault, minister of the king's household,
had to be obtained, and also, as a matter of cour-
tesy, the concurrence of Cherubini. The one was
obtained without difficulty, not so the other. Vous
voulez donner un concert?! Cherubini said softly to
Berlioz. Oui, monsieur. Il faut la permission
du surintendant des Beaux-Arts pour cela.' 'I have
it. “M. de Larossefoucault y consent? Oui,
monsieur. “Mais - mais - mais zé n'y consens pas
moi; é-é-é zé m'oppose à ce qu'on vous prête la
salle.' “Yet you have not any reason, sir, for re-
fusing it me, as the Conservatoire is not using it
8 Mémoires, p. 80.
VY
Opposition to Berlioz's Concert.
309
now, and for fifteen days it will be quite free.'
• Mais qué zé vous dis qué ze né veux pas que vous
donniez cé concert. Tout le monde est à la cam-
pagne, et vous né ferez pas dé récette.' 'I do not
count upon gaining by it. The only object of this
concert is to make me known. “Il n'y a pas de
nécessité qu'on vous connaisse! D'ailleurs pour les
frais il faut de l'arzent! Vous en avez donc ?' ...
• Oui, monsieur.' "A-a-ah! Et qué-qué-qué vou-
lez-vous faire entendre dans ce concert ?' 'Two
overtures, fragments of an opera, my cantata, the
Death of Orpheus. “Cette cantate du concours qué
ze né veux pas ! elle est mauvaise, elle-elle-elle né
peut pas s'exécuter.' “You have so judged it, sir,
but I am very glad to judge of it in my turn.
If a bad pianist cannot accompany it, that does not
prove that it would be unplayable for a good or-
chestra.' 'C'est une insulte alors, qué-qué-qué vous
voulez faire à l'Académie ? “It is simply an ex-
perience, sir. If, as is probable, the Academy had
reason for declaring my score unplayable, it is clear
they will not play it. If, on the contrary, it should
be deceived in this respect, it will be said that I
profited by its airs, and that, after the competition,
I corrected the work. “Vous ne pouvez donner
votre concert qu’un Dimansse.' 'I will give it on a
Sunday. “Mais les employés de la salle, les con-
us
310
Memorials of Cherubini.
LL
trôleurs, les ouvreuses qui sont tous attassés au Con-
servatoire, n'ont qué cé zour-là pour sé réposer, vous
voulez donc, les faire mourir de fatigue, ces pauvres
zens, les-les-les faire mourir ?' 'Doubtless you are
joking, sir; these poor people, who inspire you with
such pity, are enchanted, on the contrary, to find an
occasion to gain some money, and you would do
wrong in taking it away from them.' Zé né veux
pas ! zé né veux pas ! et ze vais écrire au surintendant
pour qu'il vous retire son autorisation. You are
very kind, sir ; but M. de Larochefoucault will not fail
to keep his word. Besides, I mean to write to him,
too, for my own part, in order to send him an exact
reproduction of the conversation I have just had the
honour to hold with you. He will thus be able to
appreciate your reasons and mine.',
Berlioz then says in his Memoirs : 'I sent in fact
what has just been read here. I knew several years
afterwards, through one of the secretaries of the
office of the Beaux-Arts, that my dialogue-letter had
made the superintendent laugh even to tears. The
tenderness of Cherubini for the poor employés of the
Conservatoire, whom “je voulais faire mourir de
fatigue,” by my concert, appeared to him altogether
as touching as could be. He also answered me at
once, as every man of good sense would do, and in
giving me a renewal of his authorisation, added
me a len
Berlioz's Discourtesy.
311
these words, “I commission you to show this letter
to M. Cherubini, who has received, as regards you,
the necessary orders." Without losing a minute,
after receiving the official mandate, I ran to the Con-
servatoire, and in presenting it to the director said:
“Sir, do you wish to read this ?" Cherubini takes
the paper, reads it attentively, reads it over again,
and pale as he was, becomes even sallower, and re-
turns it to me without saying a single word. This
was the first rattlesnake that reached him from my
hand, as an answer to the serpent he had made me
swallow in hunting me out of the library at the time
of our first interview. I left him with a certain
amount of satisfaction, on my part, murmuring, and,
irreverently enough, mimicking, his soft language:
“ Allons, monsieur le directeur, ce n'est qu'un petit
serpent bien zentil, avalez-le agréablement; é dé la
douceur, dé la douceur! Nous en verrons bien
d'autres, peut-être si vous né mé laissez pas tran-
quille.” The poor pianist alluded to had to play the
accompaniment to Orphée déchiré par les Bacchantes
at the rehearsal when there was of course no band,
and as he could not struggle through the music, Che-
rubini, Paër, Lesueur, Berton, Boieldieu, and Catel
put Berlioz out of the competition by declaring his
work unplayable.'10 Cherubini was much annoyed at
9 Mémoires, p. 68.
10 Ib. p. 47.
312
Memorials of Cherubini.
this time, 1830, with the talk and controversy excited
by Berlioz in Paris, his startling theories, extrava-
gant adulation of Beethoven, and bold independent
writings. His works were often unintelligible both
to those who played them and those who heard
them. As autocrat at the French capital in musical
matters, Cherubini looked upon the heretic as an in-
truder upon his kingdom, and it perhaps aroused
his envy to see so much made of a youth who only
dated his existence from 1803. “It is obvious,' says
Berlioz, “how these heterodox questions, raised
apropos of myself, and all the noise of which I was
the cause, must have vexed Cherubini. His allies
had conveyed him an account of the last repetition
of the abominable symphony; the next day he passed
before the door of the concert-hall at the moment
when the public were entering it, when some one
stopped him and said, “Eh bien, Monsieur Cheru-
bini, are you not coming to hear Berlioz's new
composition ?” “ Je n'ai pas besoin d'aller savoir
comment il né faut pas faire," he replied, avec l'air
d'un chat auquel on veut faire avaler la moutarde.
Ce fut bien pis, après le succès du concert; il sem-
blait qu'il eût avalé la moutarde. He spoke no more,
he yawned. At the end of a few days he sent for
me: “ Vous allez partir pour l'Italie ?” he said.
“Yes, sir.”—“On va vous effacer des rezistres du Con-
Berlioz's Return from Italy.
313
servatoire, vos études sont finis. Mais il me semble
qué-qué-qué vous deviez venir mé faire une visite.
On-on-on-on-né sort pas d'ici comme d'une écurie!"
... Iwas on the point of replying, “ Why not, since
we are treated here like horses;" but I had the good
sense to contain myself, and even to assure our
amiable director that I had never dreamt of leav-
ing Paris without coming to say good-bye, and to
thank him for all his kindness.'11 Berlioz proceeded
to Rome (1830), where, he says, he had leisure to
forget the graciousness of the good Cherubini, as
well as 'the sharp iron lance-thrusts' of the Chevalier
François Boieldieni.
In 1832, Berlioz returned from Italy, having
been away but eighteen months. On arriving
in Paris,' he says, one of my first visits was to
Cherubini. I found him excessively aged and en-
feebled. He received me with an affection which I
had never remarked in his character. This contrast
to his former sentiments towards myself sadly moved
me; I felt disarmed. “Ah, mon Dieu," I said to my-
self, on finding a Cherubini so different from the
one I had known, “the poor man is going to die."
As will soon be seen, I did not wait long before I re-
ceived from him signs of life which completely reas-
sured me on this point.:12 Berlioz speaks further on
11 Mémoires, p. 111.
12 Ib. p. 183.
314
Memorials of Cherubini.
of his Requiem being a little innocent snake for Che-
rubini, the latter making him swallow its twin
sister in the following circumstance. A place as
professor of harmony at the Conservatoire was
vacant; and one of Berlioz's friends, without deluding
himself with the notion that he would be sure to suc-
ceed, managed to get Berlioz on the list of candidates
for the appointment. Berlioz also wrote himself to
Cherubini, who, on receiving his letter, sent for him :
· Vous vous présentez pour la classe d'harmonie?'
said Cherubini, as amicably and gently as he could.
*Yes, sir,' said Berlioz. “Ah,' said Cherubini, 'c-c'est
qué . . . vous l'aurez cette classe . . . votre réputa-
tion maintenant ... vos relations ....All the
better,' replied Berlioz; 'I have asked for it in order
to get it.' Oui, mais ... mais c'est que ça me
tracasse. ... C'est que ze voudrais la donner à
un autre. “In that case, sir, I proceed to withdraw
my demand. "Non, non ze ne veux pas, parce qué,
voyez-vous l'on dirait, que c'est moi qué ze souis
la cause que vous êtes retiré. "Then I remain in
the ranks. “Mais qué ze vous dis que vous l'aurez
la place, si vous persistez et ... ze né vous la des-
tinais pas. · What, however, am I to do? Vous
savez qu'il faut ... il faut ... il faut être pianiste
pour enseigner l'harmonie au Conservatoire; vous
le savez, mon ser.' “You must be a pianist ? said
· Bienaimé.
315
Berlioz. “Ah, I was far from doubting it. Very
well, there's an excellent reason. I will write to
you that, not being a pianist, I cannot aspire to
be professor of harmony at the Conservatoire, and
that I withdraw my demand.' ---Oui, mon ser.
Mais-mais-mais zé ne souis par la cause de votre. . .'
“No, sir, far from it; I must retire altogether,
naturally, having had the stupidity to forget that
to teach harmony you must be a pianist.' “Oui,
mon ser. Venez m'embrassez; vous savez comme ze
vous aime.' "Ah, yes, sir, I know it. And,' says
Berlioz, ‘he embraced me, in fact, with a tenderness
truly paternal. I went away; I addressed to him my
notice of withdrawal, and, eight days afterwards, he
gave the place to one called Bienaimé, who does not
play the piano a bit more than I do. There, that is
what is called a trick well executed, and I was the
my reticence for not having replied to Cherubini,
“You ought not then to be able to teach harmony
yourself, sir;" for neither was the great master
himself a pianist at all.'18 'I regret,' adds Berlioz,
'to have soon afterwards, and quite involuntarily,
wounded my illustrious friend in the most cruel
manner. But more of this later.
Such is the record afforded us by Berlioz of his
immediate relations with Cherubini, which is to be
13 Mémoires, p. 204.
316
Memorials of Cherubini.
taken cum grano salis. I confess to a great distrust
of his statements, for he almost confesses his passion
for revenge on Cherubini. Being a truly great
man, Cherubini could certainly have afforded to be
above any jealousy; if, indeed, the author of Les
Deux Journées and the Mass in D minor really was
jealous of Berlioz, which the latter delights in sup-
posing, although it seems highly improbable.
It was in 1827 that Halévy's Pygmalion received
Cherubini's commendation, though the work was
never finished, the composer losing heart at the idea
of bringing it before the public. In the same year
an 0 salutaris, without accompaniment, composed by
Cherubini on the 9th of January, as he tells us, "ex-
pressly for the marriage of Boieldien at the church,
celebrated on the 23d of the same month, was after-
wards executed at the chapel with accompaniments.
Cherubini was on very familiar terms with Boieldieu,
as the following letter shows, referring to the libretto
of some intended opera to be composed by Boieldieu:
"Le Vendredi (no date).
"Monsieur Boieldieu,—- J'avais formé le projet
ce matin vous voir en sortant du Conservatoire, mon
bon ami, mais la pluie, à mon regret, m'en a empêché.
Je voulais d'abord savoir pour moi-même comment
vous vous portez, et vous parler ensuite du poëme
qu'on a lu hier au jury. Je profite de mon fils, qui va ce
Letter of Cherubini to Boicldieu.
317
soir vous voir, pour vous écrire, et vous faire remettre
ma lettre par lui. Je l'ai chargé de me donner de vos
nouvelles que j'espère être encore meilleures que
celles que vous m'avez données vous-même hier. Je
vais à présent vous entretenir de La Cour d'amour du
Roi René. C'est une très jolie pièce, que nous avons
écouté avec beaucoup de plaisir, par lui; elle gagnera
beaucoup avec quelques légères corrections que Lub-
bard se chargera de faire connaître à l'auteur. Le
sujet est musical, et procurera à faire briller votre
charmant et beau talent. Tout ce que je crains, et
ce doute est le seul que j'ai, c'est que le genre ne
soit pas dans le goût actuel qui n'est plus accou-
tumé aux Troubadours, et à leurs amours, au surplus
ma crainte n'est peut-être assez fondée. Car votre
aimable musique peut réchauffer et vivifier ce qu'il y
aurait de trop mielleux dans le caractère de la pièce.
C'est à vous, cher ami, à faire vos réflexions; je vous
répète encore que le poëme est joli, et le dénoue-
ment est heureux. Bon jour; ma femme vous dit
bien des choses, ainsi qu'à la vôtre. J'en fait au-
tant, et en vous embrassant je suis tout à vous, L.
CHERUBINI.
“Attendu que pour la séance de la section qui
devait avoir lieu hier il n'y avait de présents que
Lesueur, Berton, M. Pastorel et moi, nous avons cru
devoir la remettre, et nous n'avons rien fait. J'es-
père vous voir demain à l'Institut.
us
318
Memorials of Cherubini.
Baillot about this time was famous for his quartet
parties; amongst those who assisted at them we
find Guynemer (second violin), Tariot, St. Laurent
(tenors), Lamare, Norblin (violoncelli), as well as :
Vidal, Mendelssohn, Lipinski, Kummer, Bohrer, Schu-
mann, Sauzay, Urban, Mialle, and Vaslin. He now
drew out from the shelf Cherubini's wonderful quar-
tet in E flat, composed some years before, but never
performed. It was universally, admired. In Ger-
many quartet parties were formed, and Cherubini's
work was performed with applause before a dis-
tinguished audience of connoisseurs. Mendelssohn
took to it immensely, playing the tenor part in it.
The quartet in E flat was the signal of Cheru-
bini's entrance upon a new field of composition.
Speaking of Cherubini's six quartets, Fétis observes :
• These compositions are of a very high order ; Che-
rubini has here a style of his own, as in all his
works; he imitates neither the manner of Haydn
nor that of Mozart, nor that of Beethoven. We
learn from Spohr that Cherubini knew nothing of
those masters' quartets when writing the quartet in
E flat. Schumann remarks: 'Now comes Cherubini,
an artiste who has grown gray in the highest aristo-
cracy of art; and even now, at his advanced age,
the greatest contrapuntist of the day—the refined,
learned, and interesting Italian, whom I often feel
tempted to compare with Dante for his stern reserve
Quartet in E flat.
319
and force of character. The quartet in E flat is
long, but every movement is full of life. Schumann
goes on to speak of the scherzo with its fanciful
Spanish subject,

:
:.
1
1
1
1
the extraordinary trio,

Ibiti
320
Memorials of Cherubini.
and lastly the finale, sparkling like a diamond when
you shake it.'13

Allegro assai.
The reception of the quartet in E flat induced
Cherubini to turn to his symphony in D, written in
London, which was altered in this year into a
quartet, with a new adagio, written in the March of
1829. Of this work the well-known quartet in C,
the second of its author's works of that class, Schu-
manı says: 'A few dry bars, the work of the intel-
lect alone, there are, as in most of Cherubini's works ;
but even in these there is always something interest-
ing in the passage, some ingenious contrivance or
1
T
13 Mr. G. A. Macfarren has an unfavourable opinion of the quartets.
He says: "These quartets (in E flat and C) were published with a
third, and dedicated to the eminent violinist to whose playing is due
the good effect they made. Their merit entitles them to no dis-
tinction, and it is scarcely to be supposed that his sereral subsequent
works of the same class which have not been printed can possess any
greater interest, since these prove the author's entire want of feeling
for the style, and aptitude for the form of instrumental chamber
music.' Imperial Dictionary, p. 1013.
The quartet in E flat was last publicly performed in London on
tlie 11th of January 1869, at a Monday Popular Concert, with Heir
Joachim, Herr L. Ries, Mr. Zerbini, and Signor Piatti as executants.
Quartet in C.
321
imitation, something to think about. There is most
spirit in the scherzo and last movement, which are
both full of wonderful life. The adagio has a strik-
ing individual A minor character, something romantic
and Provençalish. After hearing it several times, its
charms grow, and it closes in such a manner as to
make you begin listening again, though knowing
that the end is near at hand.'
These two quartets, together with the third in D
minor, were published and dedicated to Baillot in
1835. There still remain three unpublished.
On the 25th of July 1830, the Royal Chapel
choir sang its last Mass, and at St. Cloud its last
vespers; and all the artistes belonging to it were
discharged on reduced pensions. Truly, as Castil-
Blaze observes, the cannon of the 27th of July was
as sad for music as that of the 10th of August had
been; for it was in the July revolution of 1830 that
the King's Chapel was abolished.
CHAPTER VII.
1830-1836.
Cherubini at Catel's funeral—The pasticcio La Marquise de Brin-
villiers-Choron, Reicha-Ali Baba, .Cherubini's last opera-In-
tended visit to Italy At Boieldieu's funeralmTreatise on Counter-
point and Fugue–The second Requiem in D minor, Cherubini's
last Mass.
WITH the abolition of the King's Chapel, Cherubini
lost his post there as composer, and now wrote but
little.
On the 29th of November 1830, Catel died, and at
his funeral, after Berton' had spoken, Cherubini fol-
lowed in these words : "Lorsque la mort enlève à la
rière a été poussée jusqu'à un âge très-avancé, on doit,
sans doute, le regretter et s'en affliger ; mais quand
une fin prématurée frappe dans la force de l'âge
celui qui possède un talent distingué, et qui est doué
d'ailleurs des vertus morales qui caractérisent le
meilleur des hommes, on doit le regretter et le
? Halévy, in his Derniers Souvenirs, says that Cherubini was pre-
sent at Berton's funeral on Friday, 26th April 1830. As Berton died
on the 22d of April 1844, this could not be so. If the son is meant, he
died in July 1831.
fi
Discourse at Catel's Funeral.
323
pleurer davantage: tel est M. Catel, notre aimé con-
frère, dont nous deplorons la perte. Sa carrière
musicale, remarquable par les ouvrages qu'il a com-
posés, dignes de servir de modèles aux jeunes com-
positeurs sont à coup sûr des titres qui font honneur
à son siècle, et qui ne seront point oubliés ; mais ce
qui honorera le plus sa mémoire, ce sont les qualités
de son coeur et de son caractère. Il est impossible
de pousser plus loin qu'il ne l'a fait, sans calcul et
sans ostentation, l'attachement pour ses amis et les
sentiments de la reconnaissance qu'il a constamment
conservés particulièrement pour l'un d'entre eux,
duquel il ne s'est jamais séparé, de cet ami qui l'avait
recueilli et assisté dans sa jeunesse, et qui, comme
en agirait un père à l'égard de son propre fils, lui a
ouvert l’honorable carrière musicale qu'il a parcourue
et dans laquelle il s'est toujours dignement conduit;
car, modeste pour son compte, admirant le talent de
ses rivaux, jamais il n'a été dominé par un sentiment
de jalousie pour leurs succès. Après avoir payé un
juste tribut au talent et aux excellentes qualités de
notre cher confrère, il ne me reste plus qu'à adresser
mes derniers adieux à mon ancien ami. Adieu donc,
Catel! Je ne te verrai plus, mais ne t'oublierai
jamais ! Je me rappellerai sans cesse les douces re-
lations que nous avons eues ensemble, cimentées
par l'amitié inaltérable que tu m'avais inspirée, et que
324
· Memorials of Cherubini.
je t'avais vouée! Adieu pour la dernière fois, mon
bien aimé Catel! l'instant n'est peut-être pas éloigné
où j'irai te rejoindre."
In 1831 Cherubini wrote the Introduction to the
opera entitled La Marquise de Brinvilliers, finished on
the 29th of September, and “which,' observes Castil-
Blaze, “is distinguished by a vigour of colour, an
elegance of style, and a flower of melody, which does
Cherubini great honour. But although Batton,
Berton, Carafa, Auber, Cherubini, Blangini, Boieldieu,
Hérold, and Paër coalesced to write the Marquise de
Brinvilliers, which was represented at the Opéra
Comique, this extraordinary assemblage of talent
could not write a popular work. The public, since
Handel's time, has generally set its mind against
pasticcios, and after this essay no one will be so
bold as to try the experiment again. Fortunately,
there is nothing to tempt composers to it, who very
justly prefer to be independent in their work. Che-
rubini had brought in the study of Palestrina, and
at this time he was ably seconded by Choron, with
whom, as well as Reicha, he often carried on lively
discussions on music, and at whose academy ad-
mirable performances of works rarely heard in France
took place; such as Marcello's Psalms, various works
of Jomelli, Mozart, Durante, Haydn, and Glück, the
· Collection of Funeral Speeches by members of the French Institute.
1
Ali Baba.
325
oratorios of Handel, the Miserere of Allegri, and the
Stabat Mater of Palestrina. It was a noble attempt
in the cause of classical music; but the Parisians,
like the Athenians of old, are pleased with anything
new, and what is new soon becomes old, and is laid
aside on the shelf.
Cherubini gives us the following account of Ali
Baba, his last opera : “An opera which I began long
ago, in three acts, and which I finished in four acts,
with a prologue, for the Royal Academy of Music.
It was represented at that theatre on the 22d of
July in this year (1833). It will be remembered
that during the revolution he had written an opera
in three acts called Kourkourgi, but the libretto by
Duveyrier Mélesville the elder was ridiculous, and
the work was never performed. His friends, know-
ing the many beauties that the music contained,
urged him to set it in order. Scribe and Méles-
ville the younger had both heard a very original
trio of sleepers in the work, and had wished to make
it known to the public. But through Auber's media-
tion, an entire new libretto from the tale in the
Arabian Nights was now written by the two authors
for Ali Baba. So vigorously did Cherubini set himself
to work that in a short time the score reached a thou-
sand pages, and little of the original work remained ;
but he had not much confidence in its success, in
Tas nev
326
Memorials of Cherubini.
its remodelled state, and suspected that M. Véron,
the manager of the Grand Opéra, had only accepted
it out of respect and deference to himself. His feel-
ings of impatience and anxiety were clearly seen ;
for after the last general rehearsal he left for Versailles,
having carefully calculated beforehand the duration
of the acts and entr’actes. When the clock of the
palace at Versailles struck eight o'clock in the even-
ing of the day of Ali Baba's first representation,
Cherubini pulled out his watch, and said, “Mainte-
nant on commence l'ouverture. Every hour, or
rather at every act, he looked at his watch. At
half-past eleven Ali Baba was over, according to
his watch, which,' said he, allait très bien et mar-
quait l'heure de l'opéra. The old man then went to
bed and slept peacefully, but did not return to
Paris until he had received a reassuring despatch,
and never once went to see Ali Baba performed-
never even spoke of it, except in order to say, “Il
est trop vieux pour vivre longtemps. Il avait qua-
rante ans en venant au monde. Some said: 'Che-
rubini has outlived himself;' and Arnold tells us that
hundreds of people were driven away by the big
drum and cymbals, which drowned all the beauties of
the piece. 'I assisted in the pit of the Opera-
house,' says Berlioz, “at the first representation of
3 Halévy's Derniers Souvenirs, p. 166.
Ali Baba.
327
his (Cherubini's) work, Ali Baba. This score, all the
world then agreed, is one of Cherubini's tamest and
emptiest. Towards the end of the first act, fatigued
at having heard nothing striking, I could not re-
strain myself from saying loud enough to be heard
by my neighbours: “I give twenty francs for an
idea!” In the middle of the second act, always be-
guiled by the same musical “mirage," I went on with
my bidding by saying: "Forty francs for an idea!”
The finale began: “Eighty francs for an idea!” The
finale over, I got up, exclaiming these last words :
“ Ah, ma foi, I'm not rich enough—I give it up!' and
I went away. Two or three young people, sitting
near me on the same bench, looked at me indignantly.
They were Conservatoire pupils, who had places
there in order to admire profitably their director.
They did not fail—I knew a little later-to go the
very next day and tell him of my insolent bidding
at a price, and my discouragement, still more in-
solent. Cherubini was so much the more outraged
that, after having said to me, “Vous savez comme
ze vous aime,' he should, without doubt, have to find
me, as was to be expected, horribly ungrateful.
This time it was not a question of snakes; I tallied
more with one of those venomous asps whose bites
are so cruel to self-love. He avoided me.4
4 Mémoires, p. 111.
328
Memorials of Cherubini.
The success of the work in Paris, indeed, was not
great; in Germany, fair. Fétis, who heard it, assures
us that it is full of beauty, and that many pieces are
worthy of the composer. Cherubini introduced into
the work a march from Faniska, and the fine bac-
chanalian scene from his ballet of Achille. Clément
tells us that one verse in the libretto excited scandal
among the purists. The verse was
*Au moka surtout je songeais !
The chief parts in Ali Baba were sustained by Nour-
rit, Levasseur, Madame Falcon, and Madame Damo-
reau.
All competent judges,' says the writer in the
Niederrheinische-Musik-Zeitung, 'were lost in astonish-
ment at the fact of a composer, whose first works
bore the date of 1771, being able, sixty years later,
to produce another of such extraordinary freshness
and such glowing fancy. Cherubini was seventy-
three years of age, but both his head and his heart
had remained young, and his latest dramatic pro-
duction displayed, in conjunction with the maturest
knowledge and the most beautiful form, the loveliest
blossoms of profound feeling and youthful passion.
That the work did not retain its place in the reper-
tory was not astonishing, in the case of a public who
were intoxicated by the perfumes arising from the
Ali Baba.
329
flowery path which Rossini and his imitators had
forced the opera to take.
M. de Boigne, in his Petits Mémoires de l Opéra,
gives us an amusing account of it. The represen-
tations of Ali Baba were less gay. In Ali Baba every-
thing was wearisome and soporific-poem, music, and
ballet; the airs of which, however, were composed by
Halévy. Those fastidious forty thieves had better
rested eternally buried in their jars, and in the works
of Galland. Cherubini, demanding hospitality at the
opera for Ali Baba, has the same effect with me as
Belisarius holding out his helmet to the passers-by.
Ali Baba is one of those fossilised operas which a
director only accepts when they are thrust down his
throat by illustrious old age; and for fear of being
declared a Vandal, the director had to pass it off for
a chef-d'oeuvre, and with a loss of fifty to sixty thou-
sand francs. But the public, who were not bound by
the same considerations as M. Véron, yawned so much
and so widely, under Ali Baba's very nose, that real
hissing would have spoken less eloquently. The
public condemned without appeal, and executed piti-
lessly those forty thieves who had not stolen any-
thing. Cherubini could not recover from his sur-
prise; he sought everywhere for the cause of Ali
Baba's failure, everywhere except in his music, and
he finished by discovering the key to this mystery
U
330
Memorials of Cherubini.
full of horror. “Avec des misérables choeurs comme
ceux de l'opéra,” said he, “il n'y a pas de succès pos-
sible. Jamais je n'ai pu parvenir a faire chanter, ni
même à faire marcher en mesure, un seul de mes
quarante voleurs." In fact, during the rehearsals
the march of the forty thieves had completely ab-
sorbed him. He did not cease to tap the floor with
his bâton, and to cry:“En mesure, messieurs!...
messieurs, en mesure !".
Mendelssohn says in a letter from Dusseldorf,
dated Feb. 7th, 1834: “I have just looked through
Cherubini's new opera (Ali Baba); and though I was
quite enchanted with many parts of it, still I cannot
but deeply lament that he so often adopts that new
Parisian fashion, as if the instruments were nothing,
and the effect everything, flinging about three or
four trombones, as if it were the audience who had
skins of parchment, instead of the drums; and then,
in his finales, he winds up with hideous chords, and
a tumult and crash most grievous to listen to. Com-
pare with these, some of his earlier pieces, such as
Lodoëska and Medea, &c. &c., where there is as much
difference between brightness and genius, as between
a living man and a scarecrow; so I am not surprised
that the opera did not please. Those who like the
original Cherubini cannot fail to be provoked at the
way in which he yields to the fashion of the day,
Ali Baba.
331
TY
and to the taste of the public; and those who do not
like the original Cherubini find far too much of his
own style still left to satisfy them either, no matter
what pains he may take to do so~he always peeps
forth, the very first three notes. Then they call this
“perruque rococo.” In a letter to Devrient, inten-
dant of the Berlin Opera, dated February 5, 1834, he
says: “If I were you, I would push forward just now
the Ali Baba of the old gentleman, and tease the
directors till they put it on the stage, where it would
fail, as it has done in Paris.'
"This opera,' says Lafage, of Ali Baba, “affords
the spectacle full of interest of an old man of seventy-
three letting an astonished public hear songs full of
grace and freshness, choruses above all praise, in-
strumental details new and ingenious, and showing
everywhere a verve of talent which is rarely found
in youth. However, Ali Baba had only five repre-
sentations; the subject was cold, and beneath the
reputation of its authors, and the nature of the beau-
ties of the score made it, like all those of Cherubini,
more worthy of esteem in the eyes of connoisseurs
than those of the public, who found it beyond their
capacity to understand it.
On the production of Cherubini's last opera,' says
Riehl, people in France regretted that the old
master came two hundred years too late, while Ger-
332
Memorials of Cherubini.
man musicians glanced with a holy feeling of bash-
fulness at the finely-written score, as though they
had a presentiment that the creations of such a man
as Cherubini would first be neglected as unfashion-
able, to rise up again, at the expiration of a few
years, as imperishable works of art. The theme of
Halévy's first article in the Gazette Musicale de Paris
was an ingenious fiction entitled Ali Baba et Sainte
Cécile, which served to show the thoughtlessness and
injustice of the musical editors of Paris, not one of
whom would consent to publish the score of Ali Baba.
“This article,' says Pougin, 'in turn felicitous and ele-
gant, depicts well the sentiments of devotion, admira-
tion, and almost filial affection with which the author
was animated for his illustrious master; sentiments
which he preserved for him during his whole life.'6
The overture to Ali Baba has always appeared to
me almost one of the finest examples of Cherubini's
mastery of orchestral effects; in this respect ranking
with the overture to Medea, Les Deux Journées, and
Anacréon. It is scored for the fullest band; a cir-
cumstance which alone gives it a unique distinction
among the overtures of the composer. But it is full
of genius. The opening subject is vigorous and
broad; the clash of cymbals and pause has something
5 Musical World, 1862. Musikalische Characterkopfe, Stuttgart,
1860, p. 90, second series.
6 Life of Halévy.
Projected Visit to Italy.
333
Turkish in it, the triplet passages for the violins are
striking, and the melody of the second subject per-
fectly captivating. The whole is skilfully worked
up to an effective, if somewhat noisy climax. To-
wards the close, a long coda begins with accelerated
tempo in a pianissimo passage for the strings, which
never fails of effect.
Cherubini had a great wish to see his country
once more. He was to have gone to bring out Ali
Baba at Marseilles, and this would have been his
opportunity for sailing to Italy, seeing at Pisa his
younger daughter Zenobia, affianced to Hippolyte
Rosellini, revisiting at Florence the familiar scenes
of his childhood-the street, the house, where more
than seventy years before he had been born~and
calling upon Dr. Philip Nesti, professor of mineralogy
at the Royal Italian Museum, and son of one of Che-
rubini's sisters. All this Cherubini planned to do,
but it was not fated that he should ever see Italy
again ;' for just as he was on the point of leaving
Paris, cholera broke out at Marseilles, and so frus-
trated, to his disappointment, all his designs.
In the Gazette Musicale of the 9th March 1834,
Halévy published some lines which served to accom-
? Fétis, when mentioning Cherubini's leaving Italy in 1788, says
that he never saw Italy again, except once, in & voyage made long
afterwards. Fétis, I infer, thought that Cherubini carried out his
project in 1834.
334
Memorials of Cherubini.
pany the autographic reproduction of three of Cheru-
bini's canons, and which were followed in the number
of the same journal for the 5th June 1836, by some
interesting remarks on the errata in Cherubini's
Treatise of Counterpoint and Fugue.
On 31st July 1834, Cherubini finished his third
quartet in D, which was followed in 1835 by two
others, in the keys of E and F respectively. When
Baillot in 1834 edited Les Méthodes de Violon et Violon-
cello, Cherubini added bass parts to the various musi-
cal examples, which are admirable studies for young
virtuosi on those instruments. Cherubini had in-
terested himself at a much earlier period in a some-
what similar undertaking, the Singing School Tutor of
Mengozzi, Garat, Gossec, and Méhul, aiding those
musicians in their work. A medal with Cherubini's
effigy, by M. Prudhomme, made its appearance in the
July of 1834.
It was in 1834 that Boieldier died. Cherubini's
C minor Requiem was to have been performed at the
obsequies; but the Archbishop of Paris interposed,
because women would have had to sing it, contrary to
the rubrics. 'I shall do one for myself,' Cherubini is
reported to have said, half vexed, half in raillery,
which will play them a good turn, and to which
8 Miel, p. 21.
Discourse at Boieldieu's Funeral.
335
place in October at the church of the Invalides, and,
according to Fétis, Cherubini's Requiem was given
after all. At the grave, when Garnier and Berton
had spoken, Cherubini said:
Messieurs, il n'y a pas longtemps que nous avons
accompagné ici les restes de notre confrère Catel;
aujourd'hui nous avons à pleurer la mort prema-
turée de Boieldieu, mon ami très-cher, dont le beau
talent et l'excellent caractère seront pour nous tous
une source intarissable de regrets. L'amitie me liait
depuis longtemps à cet homme aimable, à ce com-
positeur distingué; j'ai vu commencer sa carrière.
musicale qu'il a parcourue dignement en marchant
de succès en succès. Je ne nommerai pas ici tous les
ouvrages qu'il a composés, car tout le monde les con-
naît et ne les oubliera pas. C'est la réputation que
ses productions lui ont value, qui l'ont conduit à St.
Pétersbourg au service de l'empereur de toutes les
Russies; ce sont ces mêmes succès qui lui ont ouvert
les portes de l'Institut. Il avait été professeur de
composition au Conservatoire de musique, place qu'il
avait quittée pendant quelque temps, et à laquelle il
avait été de nouveau appelé; mais il était déjà frappé
de la maladie qui nous l'a enlevé. Je n'ai pas besoin
de m'étendre ici sur les éloges qu'il mérite, car qui
n'aimait Boieldieu ? qui n'admirait et chérissait son
talent? Mais je ne puis m'empêcher de marquer tout
336
Memorials of Cherubini.
ce que sa mort me fait éprouver. Mon chagrin est
inexprimable! J'ai perdu un ami, un frère. Je n'ai
plus de lui qu'un douloureux souvenirl... Moi qui le
pleure, je devrais consoler sa compagne, son fils !
Hélas ! leurs soins affectueux ont adouci ses souf-
frances, mais ils n'ont pu prolonger ses jours! Adieu,
Boieldieu, adieu!...Je t'ai précédé dans la vie,
dans la carrière que tu as si noblement parcourie, et
c'est moi qui te regrette, moi qui pleure aujourd'hui
sur la terre qui va se refermer sur toil car Dieu a
voulu que tu arrivasses avant moi au but!..'
In 1835, the Juive of Halévy appeared, and re-
flected credit on the composer and his master Cheru-
bini. Halévy about this time suffered from an excit-
ability and nervousness which alarmed both himself
and his friends. Cherubini, in order to reassure him,
reminded him how he himself had been for many
years a prey to the same malady. It was in 1835
that the Treatise on Counterpoint and Fugue by Cheru-
bini, published by Schlesinger, appeared, the letter-
press being written by Halévy. As has been already
noticed, it appears that Cherubini was not good at
oral teaching, being unable to explain himself with a
fulness equal to his knowledge. He had never meant
to publish a regular treatise, and had his exercises
thus placed in a regular form, only by the special
desire of his friends. In support of these facts we
ve
Requiem in D minor.
337
have the express and reiterated assertion of Fétis.
Speaking of Cherubini's Treatise on Counterpoint and
Fugue, before it was generally known that Halévy
had written the letter-press, Mr. G. A. Macfarren
writes: Admirable as are its rules, and lucid as is
their explanation, there is not one of them which
is not violated in some or other of the illustrative
examples—a fact to induce the supposition that the
principles may have been taken from his oral teach-
ing, and examples supplied by one of his pupils, who
had a better memory for the rules than capacity for
their application; and this at a period when the
infirmity of advancing age disinclined the master for
his strict revision of the work.'
On the 24th September 1836, Cherubini's second
Requiem in D minor for three male voices, which had
only been begun in January or February, lay com-
pleted at Montlignon. Handel wrote his Jephtha
when sixty-six years old, and Haydn his Seasons
when he was sixty-eight; but the production of such
a work as this, from a man of seventy-six years of
age, is, I take it, a circumstance without a parallel
in the annals of musical art.' The Dies Irae was first
executed at the fifth concert of the Conservatoire,
9 Halévy wrote a review of the Requiem in the number of the
Gazette WIusicale de Paris for the 7th of May 1837. I have not been
able to see it. See Appendix III.
338
Memorials of Cherubini.
March 19, 1837. On the 24th following, it was re-
peated by desire. On the 25th March 1838, the
whole work, with Beethoven's fourth symphony and
Weber's Euryanthe overture, was done in two parts,
strangely enough with a violin solo between, com-
posed by Habeneck, and played by Lecointe, one of
his pupils.10
Mendelssohn writes to the Hon. Committee of the
Lower Rhine Musical Festival, in a letter dated from
Leipsic, Jan. 18, 1838: With regard to the second
day, I may first inquire whether you intend to apply
to Cherubini for his grand Requiem; it must be trans-
lated, and is entirely for men's voices; but as it will
only last an hour, even less, that would not much
matter, and, according to the universal verdict, it is
a splendid work.'
Cherubini,' says another, was endowed with
manly genius; his strain is broad, round, and soaring
heavenward, leaving the earth at an immeasurable
distance. This manliness of style and freshness of
creation did not abandon him even when near to his
grave. His second Requiem, which was his last great
work, ranks among his masterpieces, though com-
posed in the seventy-ninth or eightieth year. It
10 It was first executed in this country in 1872, and also at the
Requiem for Mr. Hope Scott, Q.C., in the spring of 1873; on both occa-
sions at the Catholic church, Farm-street, London.
Requiem in D minor.
339
was begun in his seventy-sixth and finished in
his seventy-seventh year, he having completed his
seventy-sixth year a few days before ending his
labours. Cherubini, indeed, reminds us of Zingarelli,
who, living till his eighty-sixth year, wrote music
three days before his death.
It is impossible to hear or study this almost un-
approachable composition without feeling how inti-
mately impressed the author must have been with
the whole spirit of prayerful, earnest, mournful sup-
plication implied in the idea of the Christian sacrifice
for the dead. The first notes he employs have
been consecrated by the usage of centuries to the
word · Requiem.
. Un poco lento.
Cello.
p <
> PP
These notes have breathed a prayer of rest for
the departed ever since the day when the first Gre-
gorian Mass for the dead was sung. The succession
of the four opening notes cannot fail to recall a host
of associated memories to all who have become fami-
liarised with the grand strains of the older music.
Thus there is a kind of awe-inspiring solemnity in
the way in which Cherubini opens the Mass. After
twelve bars of symphony the deep bass voices supply
340
Memorials of Cherubini.
the subject, which is taken up in fugue by each of
the succeeding parts, and what may be called the
first period ends with a long swelling chord on A,
the instruments piling up arpeggio upon arpeggio
till the close. Then the light of hope breathes gra-
dually upon the subject, the words “et lux perpetua'
being heralded in by the second tenor, and, as it
were, reflected and intensified by the other voices
in succession.
Ist Ten, et
lus
per - po - tu - &,

.
2nd Ten.
et
...........
Cresc.
- - -
per - pe
-
tu - a,
et
lux.................. per - pe -
0
0
0
0
0
0
Te decet hymnus' is a prayerful subject in which
the meaning of the words is as nearly represented
by the music as music is capable of representing the
meaning of words. “Exaudi orationem meam ;' the
passionate intensity of this cry is well expressed by
the short sharp demi-semiquaver which initiates
each repetition, and the minim and quaver leave
room for—nay, almost force—the deep-drawn sigh
from the singer between each repetition.
Requiem in D minor.
341
1st Ten.

2nd Ten.
ex - au - di,
Bass.
ex - au - di,
ex - au
.
11
-St-C.
In the Kyrie each of the parts comes as it were
in turn before the Lord to supplicate for mercy,
the way being led by the first tenor. Towards the
close of this movement the hearer cannot fail to be
struck by the emphasised repetition of the word
“Kyrie' by all the voices.

* fpl
-
ri
-
e,
ri -
e, &c.
Ky , - ri - e,
Ky - - ri - e, fc,
No. 2. The Gradual is a lovely movement in
1 time, the voices unaccompanied, full of flowing
melody, intended doubtless as a foil and contrast
to the whirlwind of sound with which the Dies Iræ,
No. 3, commences.

Vivo. 1–60.
It
ITTH
Viol.
19
Litt
Cres.
342
Memorials of Cherubini.

ist
L
Di - esi- ræ, fc.
If this sublime sequence had never found a
worthy interpreter until Cherubini's time he would
most certainly have removed the stigma from his art.
Perhaps of all worthy interpreters he has proved
himself by this matchless piece the worthiest of all.
The three bars of symphony, beginning as they do
piano, end in a very hurricane of sound as all the
voices crash forth the words “Dies ira' in almost
despairing cry. Solvet sæclum' is sung by the
bass, and immediately followed by the tenors, who
repeat every four syllables after they have been pro-
nounced by the bass in ascending scale, till the 'tuba
mirum.

sol-vet sæclum,
sol-vet sæclum, in fa - vil - la,
Here, too, the whirlwind of sound reappears, and
Requiem in D minor.
343
the same artifice of short and sharp repetition be-
tween tenor and bass, this time in the key of B flat,
occurs in the words 'cum resurget,' &c., almost pre-
senting to the eye the opening of the graves and the
rising of their dead to judgment. A lovely pass-
age of melodious symphony, beginning in unison for
the violin and violoncello, and taken up by the oboe,
06. -
/
M

Viol.
pe
pie
oll
SA

WW
_
:
prepares the way for the wonderful piece of declama-
tion confided to the bass, “judex ergo cum sedebit.'
Almost the same phrase occurs before the words
“nil inultum remanebit,' which are followed by that
cry of agony 'quid sum miser tunc dicturus.' The
movement, “Rex tremendæ majestatis, maestoso, is
very descriptive; it opens with three arpeggio notes
by all the stringed instruments, which prepare the
ear for the opening chord of A, sustained by all the
344
Memorials of Cherubini.
voices, who, after pronouncing the word “Rex' ff,
as it were, give place to the basses to proclaim the
advent of the King of immense majesty, whose Pre-
sence is acknowledged and done homage to by all
in a passage of great power and grandeur. The act
of faith is first proclaimed by the leading tenors, and
then taken up with the shouts of acclamation by
all the other parts, “Qui salvandos salvas gratis,'
Ten. 1 & 2, Acc. by the Oboe, Clar. Fl. & Bassoons..

.
lg
sf> pt!
sal - va me
sf> p
sal :
va me,
sal -
sf> p
sf>
n
En
.
sal - va me,
sal - va we,

-
Tool
'tral
adm--
·
va me fons..... pi - - ta - tis, fons......... pi - -
sal - va me fons
pi - e - ta - tis, fons...

-'-
o - ta
-
tis.
pi
-
o - ta
-
tis.
Requiem in D minor.
345
and the supplication which naturally follows as its
logical outcome, “Salva me, fons pietatis,' is one
of the loveliest pieces of modulation in the whole.
work,
In the next movement, à time, one of inde-
scribable pathos, the parts each take a separate
verse as if each had its own petition to present,
its own plea for pardon to urge. The first tenors
sing, · Quærens recordare, Jesu pie;" the second
tenors, “ Juste judex;" the basses, · Quærens me.'
And, curiously enough, with such consummate art is
this managed, that they seem not to interfere with
each other ; each succeeds the other at short inter-
vals, one beginning its petition whilst the other parts
take breathing time, and are silent. The whole
is sustained by a flowing melody of surpassing
grace, given chiefly to the violoncellos and basses.
All unite in praying to be on that dreadful day ad-
mitted into the fold of Christ; 'inter oves locum
præsta, statuens in parte dextra, ends the more-
ment, each of the parts ceasing in turn, the bass
being the last to leave off with those wonderful four
notes.
dex - - tra
Then, as if the consummation of all had come
346
upon the world, the presto begins with a violin
passage which brings before the eyes of the imagina-
tion the surging flames springing up from the abyss,
and forms a prelude to the raging, despairing cry,
in unison, of all the parts, “Confutatis maledictis,'
which breaks off and is again repeated in unison,
first by the tenors, then taken up by the bass, mount-
ing at every repetition by a major third ; the whole
Presto.
Tenor's $ Bass.

m. Tenors.
Bass. Ni
Con-fu - ta-tis ma - le - di-ctis, con-fu- ta - tis'
Da-le -
Ten.
- di-ctis, ma-le - di-cetis, ma- le - di- ctis.
sentiment culminating in a climax of descriptive
writing with the words "flammis acribus,' the tor-
turing, searching nature of the flames being brought
home to the sense of hearing in a way which baffles
description. Agonised rage, despair, confusion, are
ff ist Ten.
“ flam-mis & - cri - bus...................
flama - mis

- cri- bus,
and tune flam-misa
Bass. ff
flam
flam-mis
a - cri - bus,
flam
-
-
Requien in D minor.
347
a
-
-
cri-bus ad - di -ctis, flam-mis
a - cri-bus, &c.

- - - mis, a - cri-bus ad - di- ctis,
&c.
... mis a - cri-bus ad - di-ctis.
all concentrated in those few bars. The word
'maledictis' is repeated thrice, as the self-pro-
nounced doom of those who are without hope.
maa-le - di-ctis, ma-le - di-ctis, ma- le - di-ctis.
After a pause the saved are heard to pray — to
rise, as it were, before the throne of the Judge in
prayer—in an unaccompanied song of lovely calm
and peace, " Voca me cum benedictis. The andan-
tino, which follows the old figure, noticed in the
last andantino, “quærens, &c., is again introduced,
the movement being given to the violoncellos ; it
is the heart-broken wailing of a crushed and con-
trite supplication, “Oro supplex, cor contritum quasi
cinis,' and presents a most striking piece of modu-
lation, most expressive of the sentiment intended
to be conveyed.
348
Memorials of Cherubini.

Andantino. d=66.
r
Ist Ten.
2nd Ten,
0-ro sup-plex, 0- ro
sup-plex et ac - cli - nis, &o.
| 0-ro sup-plex, and Fren. Fo
Bass,
0-rosup-plex et ac - cli · nis,
The “lacrymosa dies illa' is a most plaintive
melody, ending with a moving supplication for
mercy to be shown to the departed. The 'pie Jesu,'
which concludes this masterpiece, is full of calm
hope that the prayer for the absent one shall be
heard. The sorrow of the bereaved, however, is
abiding to the end.
No. 4. The Offertory. The march-like triumph
of the opening is quite in keeping with the senti-
ment conveyed in the prayer. This is addressed
Andante con moto.
to Jesus Christ the conqueror, the “Rex gloriæ,'
the King of Glory, who triumphed over death; its
import is to obtain the deliverance of captives from
the prison-house of flame. The prayer that the
Requiem in D minor.
349
standard-bearer, Michael, may take them into the
holy light is accompanied by clarinets, oboes, and
flutes, treble instruments, in a strain of wonder- .
ful beauty, which continues for twenty-three bars.
fc.
worden
== = =

Flute
Clar.
Q- 2
06. dolcissimo.
2nd Ten.
sed sig-ni -
sed sig - ni - fer san-ctus Mi -
Ist Ten. dolcissimo. 1

=
&c.
- fer san ... ctus Mi -
The allegro moderato, which immediately succeeds,
is a specimen of earnest passionate pleading, ' Quam
olim Abrahæ promisisti' being repeated in fugue by
all the voices; the idea is dwelt upon and expanded
still further in the movement which succeeds the
intervening peaceful larghetto, “Hostias et preces.'
Each group of voices seems to vie with all the rest
in enforcing its claim for mercy for the departed.
Promisisti'-God is held, so to speak, to His word
—“Thou hast promised,' being repeated over and over
again, as though in literal fulfilment of the injunc-
tion of our Lord that we were to succeed by our
importunity in prayer.
No. 5. Sanctus. No one who has ever heard the
350
Memorials of Cherubini.
melodious phrase of symphony which ushers in the
voices in the Sanctus can ever forget it. Its value
Maestoso. .=72.

ff
San-ctus,
TO
20
IT
1
and beauty seem to be enhanced as it is repeated
in various forms, while the voices have their own
independent work in a passage of great power and
majesty. The “Hosanna, the first syllable of which
is sung to a demi-semiquaver, and the second to
a minim, is an outburst which never fails to electrify
the hearer.
The words of the Benedictus having been already
sung in this movement, the piece after the Elevation
is set to the concluding words of the Dies Iræ,
• pie Jesu;' this (No. 6) is a charming movement
in s, written for voices without accompaniment,
except here and there, where the clarinet and
other wind instruments are introduced between the
various phrases to support the intonation of the
voices and keep them up to the proper pitch.
No. 7. The Agnus Dei. The introduction which
Requiem in D minor.
351
prepares the way for the voices consists, here as
elsewhere in other parts, especially in the Dies
Iræ, in a piling up of sound, as it were, which :
reaches its climax on the fifth bar, the bar during
which the voices are pronouncing the holy name of
God. The intensity of sound gradually subsides,
leaving the voices quite to themselves in the exqui-
sitely tender passage, - Dona eis requiem. This
treatment of the words occurs three times; the
long-drawn-out sweetness of the notes in which
sempiternam' is sung is very striking. The Com-
munion, "Lux æterna,' immediately succeeds, and
is ushered in by the bass with three notes at the
end of the bar. It is a passage of wonderful force.
The light which seems to burst in upon the eye
is almost too dazzling to bear. Then the motive
for hope is beautifully given, “Quia pius es,' by the
the oboe, clarinet, and bassoon, each singing the
notes of the common chord of B flat, the first tenor
commencing on F and ending on D, the second tenor
taking up the D and descending to B flat, the basses
beginning with B flat and concluding on A. The
whole terminates with the words, "Requiem æter-
nam, dona eis, Domine,' slowly and solemnly chanted
by tenors and bass, the bass leading on D, the tenors
answering on A.
352
Memorials of Cherubini.
Tenors. PP

Re- qui - em
æ - ter - nam
æ - ter ·
do -
Re - qui - em
Bass. pp
11
Timp.
Timp.
Timp.
abzu
✓
The persistence of the open fifth for eighteen
bars, accompanied as it is at intervals by the rolling
of muffled drums, has an inexpressibly mournful and
solemn character. On the nineteenth bar the major
chord is heard once more, and the tenors, with the
cheerful ringing tones of hope and anticipation
of answered prayer, once more implore light for
the departed spirit. The bass in contrary motion
repeats the chord ---the cadence lengthens out,
swells, and dies away—and then the last notes are
heard like the subsidence of a great storm; the
descending chromatic passage, with D for the pedal
note, may be almost said to be sobbed out by the
instruments; one more prolonged roll of the muffled
drums; a flute in an ascending arpeggio is answered
by a bassoon with descending arpeggio; and all is
at rest.
CHAPTER VIII.
1836–1842.
Berlioz's Requiem-Cherubini's Quintet in E minor-Ingres' Portrait
-M. Turcas-Death of Cherubini–His obsequies-Honours paid
to his memory-Monument at Florence--Conclusion..
EACH year three thousand francs were given out to
the French composer, who in competition should be
most successful in a musical work. M. Gasparin,
Minister of the Interior, secured the performance of
Berlioz's Requiem, written for the obsequies of Gene-
ral Damreinont, which was eventually executed in the
church of the Hôtel des Invalides on the 5th Decem-
ber 1837. "No sooner,' says Berlioz, 'bad the news of
the approaching execution of my Requiem in a cere-
mony grand and official, such as the one in question,
been conveyed to Cherubini, than it put him in a fever.
It had been for a long time the custom, on similar
occasions, to execute one of his two funeral Masses.
Such a blow, struck at what he regarded as his right,
at his dignity, at his incontestible worth, and at his
just claim to its manifestation, in favour of a young
man scarcely at the “début” of his career, and who
was reputed to have introduced heresy in the school,
irritated him deeply. All his friends and pupils,
with Halévy at their head, sharing his spite, aimed
. AA
354
Memorials of Cherubini.
respectively at raising the storm, and directing it
against me; that is, at dispossessing the young man
in favour of the old man. The same evening, I was
at the office of the Journal des Débats—to the staff of
which I had been attached for some little time, and
the director of which, M. Bertin, showed me the most
active kindness—when Halévy presented himself
there. I divined at once the object of his visit. He
came to have recourse to the powerful influence of
M. Bertin, to aid in the realisation of Cherubini's
projects. Meanwhile, a little disconcerted at finding
me there, and still more so at the cold air with which
M. Bertin and his son Armand received him, he at
once altered the direction of his battery. Halévy hav-
ing followed M. Bertin, the father, into the next room,
the door of which remained open, I heard hinı say
that Cherubini was “extraordinarily affected at what
had happened, so much so, that he was confined to his
bed;" that he, Halévy, came to beg M. Bertin to use
his influence to obtain, as a consolation, the Cross of
the Legion of Honour, for the illustrious master. The
severe voice of M. Bertin then interrupted him with
these words: “Yes, my dear Halévy, we will do what
you wish, that Cherubini may be accorded a distinc-
tion well merited. But if the question is about the
Requiem, if some compromise is proposed to Berlioz
as to his, and if he has the weakness to yield a hair's
Berlioz's Requiem.
355
breadth, I will not speak to him again as long as I
live.” Halévy had to retire with this response, more
confused than ever. So the good Cherubini, who had
already wished to make me swallow so many small
snakes, had to resign himself to receive at my hands
a boa-constrictor, which he will never digest.' A little
farther on he says: “And now another intrigue, more
skilfully plotted, and of which I do not dare to fathom
the facts without the least commentary, but with the
most scrupulous exactitude. It seems that Berlioz
was informed by General Bernand of the approach-
ing performance of his Requiem, and that M. XX
(name not given), who was director of the Beaux-Arts,
told Berlioz that Habeneck always directed the of-
ficial musical festivals; so Berlioz agreed to cede the:
bâton to Habeneck, though it was the first perform-
ance of the Requiem in public. At the concert, Ber-
lioz was seated behind Habeneck. The music con-
menced, but just as the movement began to expand
and enlarge, just when the conductor is everything,
Habeneck put down his bâton, took out his snuff-box,
lioz rushed forward at that instant and saved the
movement by marking the time with his arm. When
the movement was over, Habeneck, who had seen
the Tuba mirum' thus rescued, remarked to Berlioz:
356
Memorials of Cherubini.
What a cold perspiration I was in! Without you we
should have been lost.' "Yes,' said Berlioz, looking
at him fixedly, 'I know it well;' and spoke no more.
Berlioz asks whether all this was done purposely.
Could it be possible that this man, in connivance
with M. XX, who detested me, and the friends of
Cherubini, had dared to meditate and strive to com-
mit so base a wickedness? I do not wish to think
it; ... but I have no doubt about it. God forgive
me if I do him an injury.'1
Berlioz has not a shred of evidence of any con-
spiracy for so mean a trick having been made by
Cherubini's friends. There is an unamiable preten-
tiousness in his assumption that it would be worth
their while to trouble themselves about the great
work of the mighty Berlioz.
Some years after this the first musical festival at
Lille took place, Habeneck being conductor, who
chose for a portion of the programme the 'Lacry-
mosa,' of Berlioz's Requiem, and a Credo of one of
Cherubini's great Masses. Habeneck, taking great
pains this time, wrote thus to Berlioz: 'I cannot resist
the pleasure of telling you that your “ Lacrymosa,"
perfectly executed, has produced an immense effect.
Tout à vous, Habeneck. This letter was published
at Paris by the Gazette Musicale. On his return Ha-
i Berlioz's Mémoires, pp. 199, 200.
Quintet in E minor.
357
beneck went to see Cherubini, and assured him that
his Credo also had been “ bien rendu.' “Yes,' said Che-
rubini drily, “but you did not write to me.'
Cherubini must have been close upon his last
days, if this circumstance occurred, as Berlioz says,
after the previous incidents which took place in
1837. Berlioz is not strong in chronology. His
Memoirs have few or no dates. Thus he relates all
the above circumstances about the first execution
of his Requiem before telling us of his having ap-
plied for the vacant post for harmony, after which
last application, he says, he heard Cherubini's Ali
Baba at its first performance. Now Ali Baba first
appeared in 1833, and his own Requiem not till the
end of 1837. Again, how could Cherubini refuse
Berlioz a post at the Conservatoire in 1833, because
he wished to show his spite on account of the per-
formance of a work in preference to his own in 1837?
And this is what Berlioz leads us to suppose.2 Ber-
lioz will not admit that it was owing to incapacity
that he was refused, and so, forsooth, it was owing
to Cherubini's spite!
"In the winter of 1838,' writes Fétis, 'Cherubini
invited a few musicians to his house, and laid be-
fore-them the quintet which he had just completed.
Though the composition was admitted to bear signs
2 Mémoires, p. 205.
358
Memorials of Cherubini.
mar
of his very advanced age, yet all acknowledged it
to be characterised by a freshness of ideas which no
person could possibly have believed to be possessed
by a man who stood, so to speak, with one foot
already in the grave.?
This quintet in E minor, the only one Cherubini
ever wrote, was begun on the 30th of July 1837, and
finished the 28th of October following. It was pre-
ceded by his sixth quartet in A minor, which, though
begun on the 4th of July 1835, was not finished until
the 22d of July 1837.
Cherubini now retired more and more to the
peace of a happy home, where the loving care of his
wife, son, and eldest daughter lightened his last
years. Moscheles, who saw him in 1839, writes:
Cherubini, usually not the most courteous of men,
was very friendly; we had a good hour's earnest
conversation on art matters.. He said that, with the
exception of his Directorship at the Conservatoire,
he had nothing more to do with music; he couldn't
write another note; he wasn't strong enough to hear
and enjoy musical impressions. I think I might
have assured him, without flattery, that he belongs
3 I am told by Mme. Moscheles that Cherubini was always par-
ticularly kind to her husband, at whose house in Paris he heard for
the first time the latter's pianoforte · Sonate Symphonique' (dedicated
to Louis Philippe) for four hands, and bestowed the greatest ence-
miums upon it.
Ingres' Portrait.
359
to the few who even in their lifetime have already
earned immortality. Moscheles adds: “As for my
poor Lafont, I saw him lying in his coffin whilst the.
funeral service was being held in the church of St.
Roch; the music was Cherubini's, but without organ
accompaniment, to my taste an indispensable ad-
junct. I am not aware of any Mass by Cherubini
without accompaniment.
The following pleasing incident, which occurred
at this time, is told of Cherubini by Elwart. I give
it in the latter's own words:
'En 1841 un professeur ayant été nommé au Con-
servatoire par le ministre de l'intérieur sans avoir
été préalablement présenté par le directeur, assisté du
conseil d'administration, Cherubini fit venir, dans
son cabinet, l'artiste, qui, par des services gratuits
antérieurement rendus, était digne de l'emploi nou-
veau, et lui déclara que, si, dans les 24 heures il
n'était pas nommé titulaire d'une classe semblable à
celle créée pour X, il donnerait sa démission. Le pro-
fesseur adjoint, touché de ce procédé le supplia de
ne rien faire. Mais Cherubini écrivit au ministre, et
le surlendemain le Conservatoire comptait un pro-
fesseur titulaire de plus, et eut une injustice de
moins à deplorer.
Towards the close of 1841, Ingres, the celebrated
artist, painted Cherubini's portrait, which was bought
by the king, and is now in the Luxembourg gallery.
360
Memorials of Cherubini.
It is a beautiful and faithful likeness of the com-
poser, who sent Ingres with his thanks a beautiful
canon, set to words of his own, the last piece Che-
rubini ever wrote.
Miel thus describes the picture of Ingres: - While
seated on a fauteuil, and dressed in the modern
fashion, Cherubini directs a glance forwards—that is,
a preoccupied one, but in which genius shines. Po-
lymnia, invisible to him, standing upright behind
the seat, robed in the severe majesty of ancient cos-
tume, with a crown of laurel on her brow, the fingers
of the left-hand resting on the strings of the lyre,
is stretching out the right-hand over her favourite,
and overshadowing him with her protection, express-
ing by her authoritative mien that this man belongs
to her.' Miel adds, ' Composition originale, et mysté-
rieuse, contraste inattendu mais naturel, entre le
monde réel et le monde ideal, portrait individuel
devenu un sublime tableau d'histoire.94
Cherubini is thus described by one who saw him
at this time: “Although his body was bent under so
great a weight of years, his eye was full of fire, his
face full of majesty, his forehead full of brightness.
It was delightful to behold his waving silvery hair,
which thickly covered his head, and played beauti-
tifully round his ears and temples.'
A blow came to Cherubini in the death of M.
4 Miel, p. 28.
Death of Cherubini.
361
Turcas, his son-in-law. It was some time before he
regained his cheerfulness. One day Halévy paid a
visit to him, when laid up in his room by some slight
illness, and complimented the octogenarian, who
thought he could prolong his life, on his looks.
Oh! he replied, 'I have not ten years more to
live. On the 3d of February Cherubini tendered his
resignation as director of the Conservatoire. It was
accepted, and Louis Philippe, bent on bestowing a
signal mark of his appreciation of such lengthened
services in the cause of musie, for the first time
made a musician Commander of the Legion of
Honour. On the 12th March Cherubini grew weaker.
On the 15th, surrounded by his wife, son, and
daughter, Halévy, Batton, and other intimate friends,
and whilst muttering some words which were un-
intelligible to those about him, he expired, in the
eighty-second year of his age.
As Cherubini was a Commander of the Legion of
Honour, the funeral took place with much solemnity
and with military honours. The procession, joined
by no less than three thousand persons, started from
the gates of the Conservatoire, and passing along
the Boulevards, amidst the grand strains of Cheru-
bini's own funeral march for General Hoche, directed
its solemn course to the church of St. Roch. Here
Cherubini's second Requiem was performed, by his
own dying wish. We shall never forget,' says a
362
Memorials of Cherubini. -
writer in the Athenaeum, speaking of the Mass lately
men's voices, executed at his own obsequies at St.
Roch in 1842. When the ceremonial was over, the
cortège proceeded to the cemetery of Père la Chaise.
Here M. Raoul Rochette, in the name of the Insti-
tute, of which Cherubini was a member, Lafont the
younger, Halévy, and another from the Conservatoire,
representing Cherubini's friends, said successively a
few touching words over the deceased; a deluge of
rain and hail happened to fall at the time, but so
absorbed was each person in listening with religious
silence to the various addresses that no one left the
scene.
Under the presiding care of the Duc de Coigny
a commission was instituted, with the object of
raising a rich sepulchral monument to the prince
of modern composers for the Church, and, by means
of subscriptions received by the Conservatoire, the
present handsome tomb, by Leclerc the architect,
with a marble medallion and a bas-relief of the head
Père la Chaise. The Muse is crowning his head
with a wreath, and on the pedestal is inscribed, un-
der the heads of “Musique Religieuse' and “Musique
Dramatique,' Cherubini's chief works, such as the
Messes de Requiem, Messe du sacre de Charles X, Lodo-
5 Picchianti, p. 69; Gamucci, p. 49.
Tablet at Florence
363
ïska, Elisa, Medée, Les Deux Journées, Faniska, Les
Abencérages, &c.; followed by “Musique Instrumen-
tale' and 'Euvres Théoretiques.
On the morning of the 22d April 1842, the
faithful saw suspended, on the chief door of the
church of St. Gaetan and St. Michael at Florence,
the following inscription: His fellow-citizens to
· Luigi Cherubini, Florentine, Commander of the Legion
of Honour, director of the Conservatoire of Music at
Paris, where--an octogenarian-he terminated his
laborious and illustrious career—a man of antique
virtue and spotless character, most profound in the
mysteries of harmony–in the art of which he was
a master, and especially in sacred music, displaying
à powerful genius—in majesty of conception and
sublimity of style second to none—the upholder
among strangers of the glory of Italy. The original
Italian runs as follows:
LUIGI CHERUBINI
FIORENTINO
COMMENDATORE DELLA LEGION D'ONORE
DIRETTORE DEL CONSERVATORIO MUSICALE DI PARIGI
OVE OTTUAGENARIO IL 15 MARZO 1842
TERMINÒ LA SUA LABORIOSA ED ILLUSTRE CARRIERA
UOMO DI ANTICHE VIRTÙ ED INTEMERATI COSTUMI
PROFONDISSIMO NEI MISTERI DELL' ARMONIA
IL QUALE NELL'ARTE DI CHE FU MAESTRO
E MASSIMAMENTE NELLA MUSICA SACRA
SPIEGATO GENIO POTENTE
PER MAESTOSI CONCETTI E SUBLIMITA DI STILE
A NESSUNO SECONDO
PRESSO GLI STRAVILRI LA GLORIA ITALIANA SOSTENNL
SUOI CONCITTADINI
364
Meinorials of Cherubini.
• While,' says Picchianti, the faithful were invited
thither by the church-bells to pray for the repose of
the illustrious deceased, two to three hundred men-
bers of the Musical College made the vaulted roof of
the magnificent temple resound with the last in-
spired strains of music in which this perfect com-
poser had depicted the terrible day of tremendous
wrath, and had earnestly begged of the Divine
Judge to number him among the blest. And of that
immense crowd assembled together, perhaps there
was not one man old enough to remember having
seen him amongst us, or in a position to recall the
affectionate acclamation he had received from his
fellow-countrymen, more especially on the occasion
of the representation of his opera of Idalide, at the
great theatre in 1784, with which, without its being
foreseen, he bade a lasť farewell to his native place.
From that period Cherubini was but an historical
name for Florence, a title of glory that will endure
for ages.6
No sooner did the news of Cherubini's death be-
come known than a general anxiety prevailed to do
him honour. The municipality of Paris bestowed his
name on a new street leading to the great opera-
house, and that of Florence did the same with a
street in the new quarter of Maglio;' while the name
6 Picchianti, p. 5.
? Gamucci.
Letter from Baillot.
365
of Cherubini was conferred on the large and elegant
· Teatro Pagliano' in his native city.
Bartolini some time back had executed a bust of
Cherubini, which is an acknowledged masterpiece.
Pierre J. David also executed a bust or medallion of
him; and a bronze statue was raised to his memory
at Florence, with the inscription that was affixed to
the door of St. Michael and St. Gaetan. A brilliant re-
vival of Les Deux Journées at Paris no less honoured
its composer; and, by a strange coincidence, Bouilly,
the writer of the book, also an octogenarian, died a
month after Cherubini; so that Emile Vanderburch
-who, with both of them, was member of the Society
d'Enfants d'Apollon, and in the name of that society
now offered homage to Cherubini-could say in his
elegy that the authors of Les Deux Journées had
died hand in hand.
The Athenæum also mentions some lines of tribute
to Cherubini by M. Emile Deschamps, and Kalk-
brenner wrote a piece in our composer's honour.
Baillot wrote to his brother-in-law, M. Guynemer, in
a letter from Paris, dated April 9, 1842 : 'I was
well assured that you would share in our sorrow
on the occasion of the loss we have sustained in the
venerable Cherubini. I can say nothing in addition
to what you already think and feel on this subject:
8 Gamucci.
as
366
Memorials of Cherubini.
the loss to the musical world is immense ; but it
falls yet heavier on those who had the opportunity
of knowing, under the somewhat rough exterior, the
genuine intrinsic worth of him who was also, per-
haps, the “last and noblest Roman" in the purely
classical style of art. All the principal artistes of
Paris attended his funeral, and it was not without
considerable emotion that I beheld amongst them M.
Ingres, to whom we are indebted for the faithful
portrait of our lost friend, a work which is the chef-
d'oeuvre of his pencil, because inspired by his
heart.
We followed him to his last abode—but no! his
abode is no longer on this earth ; heaven has, ere
this, received him whose sacred compositions seemed
to forestall the harmonies of a better world, and to
invite us to render ourselves worthy of being ad-
mitted into it.
Two days ago, April 7, Les Deux Journées was
performed at the theatre. It was only announced by
the bills in the morning, yet the house was crowded.
I could not withhold my assistance. The success—
a strange expression after forty years of success—
was perfect. It was very well acted, and the music
was executed with that ensemble which cannot be
equalled when it proceeds from the unanimity of
sentiment and respect, of which we find so few in-
Funeral Service at Pisa.
367
stances in social life. Nothing languished; the actors
and the musicians excelled themselves, and the three
acts were finished in two hours and twenty minutes.
The curtain was afterwards raised to exhibit the
bust of Cherubini' upon an elevated pedestal, with
the actors from the principal theatres ranged around
it in costume. The two principal performers of the
evening recited some appropriate and very touching
verses from the pen of the octogenarian author of
Les Deux Journées, M. Bouilly. The whole passed off
in a style worthy of the occasion, and must have
interested even those most indifferent to the beauties
of the art, or the triumph of genius. And what
music! I longed for you beside me, even while the
pleasure, regret, and a tumult of deep emotions had
taken such total possession of my poor heart that
I tried in vain to stifle them; and you, I know,
would have felt as acutely.
On the same day, April 7, a funeral service for
the illustrious dead was to be performed at Pisa.
Now all is said; and what remains of this wonderful
genius? The admiration of the many, and the affec-
tionate remembrance of the few who loved the man
for himself as much as for his great works.:10
9 The well-known masterpiece by Bartolini.
10 This letter was sent by M. Guynemer for insertion into Mainzer's
Musical Times : see vol. i. p. 26.
368
Memorials of Cherubini.
Rossini felt deeply the loss of his great country-
man, and by kindness and sympathy strove to assuage
the grief of those who felt the most keenly their
bereavement. Writing to Cherubini's widow, he
sent her a portrait of the Florentine, as he looked
when young, accompanying the gift with the remark:
* Here, my dear madam, is the portrait of a great
man, who is as young in your heart as he is in my
mind. On the 7th of October 1843, Raoul Rochette
read Cherubini's 'éloge' at the Institute. Lastly,
must be mentioned the raising of the monument to
Cherubini, quite recently, in the church of Sta. Croce,
Florence. Ferdinand Morini seems to have taken
the initiative in this matter with zeal and energy.
A committee was formed, with the Marquis Pom-
peo Azzolino as President, and the Duke di San
Clemente, Professors Avv. Cav. L. F. Casamorata,
Olimpo Mariotti, Antonio Marini, Cav. Odoardo Fan-
tachiotti (sculptor), Luigi Picchianti, Cav. Teodulo
Mabellini, Cav. Giovacchino Maglioni, Cav. Gere-
inia Sbolci, Alamanno Biagi, Vincenzo Meini, and
Cav. Ferdinando Morini as members. In Italy 3000
lire were subscribed, of which King Victor Em-
manuel gave 500 lire, Prince Carignano 200, and
the Minister of Public Instruction 200. The munici-
pality of Florence gave 500 lire towards the com-
pletion of the work. Through the death of the
an
Cenzo
Concert at the Conservatoire.
369
Marquis Azzolino and Professors Marini and Biagi,
the committee underwent some changes; Morini was
made president, and nominated Professor Abramo
Basevi to the committee; and subsequently, the
Marquis Lorenzo Niccolini, the Marquis Luigi Tor-
rigiani, and Professors Cav. Cesare Mussini and
Alessandro Biagi. Morini as president, however,
found he had too much on his hands, and more par-
ticularly associating with himself the Duke di San
Clemente and Casamorata, thus formed an execu-
tive committee, of which Morini of course was presi-
dent, while the duke was treasurer, and Casamorata
collector. Meini was secretary. Lists of the subscrip-
tions already received were issued to show that no
others to come forward with their aid. A sub-com-
mittee was formed, with the concurrence of Morini,
by Prince Giuseppe Poniatowski at Paris, of which
Auber was president; and the Prince and Halévy
vere
n
ence
Kastner, Meyerbeer, Reber, Rossi, Ambroise Thomas,
and Odoardo Monnais (secretary), members. Two
concerts were given respectively at Florence and
Paris.
On the 22d of December 1861, the great hall of
the Conservatoire was crowded with artists and
amateurs to hear one of these concerts, which was
BB
370
Memorials of Cherubini.
conducted by Tilmant. The programme was as
follows:
Overture to Anacréon . .
. Cherubini.
Chorus, Blanche de Provence, · Dors, noble enfant. Cherubini.
Chant des Titans . . ..
Rossini.
Fragment from Prometheus . . . . . Beethoven.
Introduction and Chorus from Elisa . . . Cherubini.
Symphony in C minor . ..
Beethoven.
The Chant des Titans was written by Rossini
expressly for this concert, as a homage to Cherubini,
and this at a time when he had given up musical
composition.
On the 8th of December 1865, the second concert
took place at Florence. The programme was as
follows:
Overture to Faniska . . .
"Da nobis pacem' . . .
Symphony in G minor . .
Kyrie, Gloria, Credo, Mass in D.
. Cherubini.
. Mendelssohn.
.. Mozart.
· Beethoven.
Monnais, the French treasurer, in a letter of the
6th of March 1862, announced the result of the
French subscriptions, which came to 5212 lire. In
the mean time Cesare Ciardi, the flutist, had collected
a further sum at St. Petersburg.
The sums collected by the treasurer of the Duke
di San Clemente's committee were already paid in
the central deposit and savings-bank at Florence.
Meanwhile Fantacchiotti, who was to execute the
monument, declined receiving any sum for his ser-
Inscription.
371
vices, and 200 lire were received from the King of
Portugal, besides other subscriptions from distin-
guished persons in Italy, England, France, Russia,
and Germany. Morini now placed on the exterior
wall of the house in the Via Fiesolana, where Cheru-
bini was born, the following inscription, by Luigi
Venturi:
QUI NACQUE IL XIV SETTEMBRE UDCCLX
LUIGI CHERUBINI
CHE SOMMO NEL MAGISTERO DELL' ARMONIA
CREATORE DI SUBLIMI MELODIE RELIGIOSE
RESTAURÒ OGNI MANIERA DI DIUSICO STILE
E NELLE RAGIONI DELL'ARTE
SERBÒ PEREGRINO FRA GLI STRANIERI LA GLORIA
DEL PRIMATO ITALIANO
'Here was born, on the 14th of September 1760,
Luigi Cherubini, who, supreme in the mastery of
harmony, creator of sublime religious melodies, re-
stored every kind of musical style, and, though a
wanderer among strangers, preserved in all that
concerned his art the glory of Italian primacy.
Fantacchiotti meanwhile was tracing on marble
the form of the monument of which he had already
made a sketch in chalk, and at his own risk and
expense modelled in plaster the grouping. The
monument was generally approved of, and Casamo-
rata, in October 1869, stipulated with Fantacchiotti
for the contract. The inscription by Venturi ran as
follows:
372
Memorials of Cherubini.
LUIGI CHERUBINI
N. IN FIRENZE IL DÌ XIV SETT. MDCCLX.
DI. IN PARIGI IL XV MAR. MDCCCXLII.
SCRITTORE INSUPERATO DI MELODIE RELIGIOSE
ARRICCHÌ DI NUOVI BELLEZZE OGNI DIANIERA DI JUSICO STILE
E SALUTATO DA TUTTA EUROPA
SODMO NEL MAGISTERO DELL' ARTE
EBBE A PARIGI
GLI ONORI, DOVUTI ALL'INGEGNO ED ALLA VIRTÙ
E DA' SUOI CITTADINI
QUESTO MONUMENTO TRA LE GLORIE ITALIANE
NELL'ANNO MDCCCLXIX.
*Luigi Cherubini, born in Florence the 14th of Sep-
tember 1760, died in Paris, 15th of March 1842 ;
unsurpassed writer of religious melodies, he enriched
with new beauties every kind of musical style, and,
hailed by all Europe as supreme in the mastery of the
art, received at Paris, where he directed the Musical
Conservatoire, the honours due to genius and virtue,
and from his fellow-citizens this monument, amidst
the glories of Italy, in the year 1869.
Gamucci, to whom I am indebted for nearly all
the foregoing details, thus describes the monument,
which, after so much zeal and energy, was at length
raised to Cherubini, and is now to be seen in the
great church of Sta. Croce. Over the inscription, on
à ribbon entwined with a crown of laurel is seen
sculptured the first musical phrase of his famous
Ave Maria, for soprano. Above the base of the
monument is placed the urn of ashes, on which are
Monument at Florence.
373
two figures, larger than life, representing Music, or
its presiding Muse, who is placing a crown on
the head of Genius, personified as the winged youth,
and who is gently leaning on a column, with
his right hand holding a medallion, on which, in
bas-relief, is sculptured the effigy of Cherubini.
Beautiful, noble, yet sad is the figure at the
base representing Music, which, while quietly hold-
ing the lyre in her right hand, with the left crowns
Genius. ..... The bashful and modest expres-
sion of the countenances, which have nothing earthly
or pagan about them, the quiet demeanour of the
figures, symbolise, undoubtedly, religious music, in
which Cherubini was unapproached. The idea of
Fantacchiotti in this beautiful group is clearly dis-
played. In avoiding that pedantry which desires
too much subtlety in the productions of art, and
chains the imagination to preëstablished forms, there
can be no hesitation in affirming that the concep-
tion of Professor Fantacchiotti is beautiful, delicate,
tender, and bearing the imprint of novelty, for
which the idea he has imagined and drawn with
such exquisite art is worthy of sincere praise. The
tunic, to which is added a cloak crossed and falling
over the left shoulder, disposed with a few folds
and with admirable naturalness. The beauty of
374
Memorials.of Cherubini.
LL
L
the design, the softness of the flesh, the repose,
order, and harmony that reign in every portion,
make this work worthy of admiration, and ranks
Professor Fantacchiotti among the number of the
most illustrious sculptors of our time.'11
Cherubini,' exclaims M. Adolphe Adam, ' has just
breathed his last! He whose works have been the
admiration of all Europe is no more! Immortality
has commenced for this illustrious man. Few careers
of musicians have been so admirable, so well fulfilled.
During the second half of the last century, and
the first of this, his name has ever been pronounced
with respect, his works have been cited as models,
and accepted as such by all composers, of whatever
school they were; their purity, their classicism, has
placed them outside and beyond all the frivolities of
fashion, all the concessions made to the taste of the
public. Rossini, Auber, and Meyerbeer, those three
representatives of the Italian, French, and German
schools, bow down equally before this great name,
before the celebrated man whose works they have
studied; before him whose career had preceded
those of all three, perhaps marked out for them their
track; before him whose science had shown from
afar to genius the road it had to follow. Although
. 11 Gamucci, Alcune Notizie storiche sul Monumento in S. Croce a
L. Cherubini.
Conclusion.
375
2
Cherubini's style appertains rather to the German
school than to the Italian, yet you cannot rank him
among the composers of the first of these schools.
His manner is less Italian than that of Mozart; it is
purer than that of Beethoven; it is rather the re-
surrection of the old Italian school enriched by the
discoveries of modern harmony. I believe that if
Palestrina had lived in our own time he would have
been a Cherubini; there is the same purity, the same
moderation in resource, the same result obtained by
causes, so to speak, mysterious. ... The works of this
master will always serve as models, because composed
‘in an exact and almost mathematical plan ; exempt
therefore from the affected regulations of fashion,
they undergo less depreciation than many works
otherwise to be recommended on many accounts, but
whose forms become antiquated so much the more
quickly as they have been received with favour on
their first appearance. In fact, compare the first
works of Mozart with those of Cherubini, composed
nearly at the same period—for the one was born at
four years' interval from the other-and you will
be surprised to see how much certain passages of
Mozart will appear to you old-fashioned, while no-
thing in Cherubini's works will betray the period at
which they were written. It is not astonishing if,
with this strictness of form, Cherubini has rarely ob-
sam
One T
V
I
376
Memorials of Cherubini.
tained popular success; in music, successes too great
often cost future fame, and posterity knows how to
reward us for having refused concessions to the
taste of the day; thus it wants great courage to
resist such easy conditions for success; it wants
a great faith in your art; you must look it full
in the face to dare to cultivate it for its own sake.'
Cherubini,' says M. Kastner,12 • has given proof of
a fecundity and a universality indeed surprising. It is
true to say that during his long career he never knew
l'epose. And why repose when science and inspiration
are your humble slaves, and at every hour await your
commands ? On the other hand,' adds F. Girod, 'it
is certain that the great artiste never worked hur-
riedly or negligently. If all his works are imprinted
with the mark of genius, they are none the less re-
markable for the pains with which they are elabo-
rated.
Cherubini's position,'observes Mr. G. A. Macfarren,
is unique in the history of his art; actively before
the world as a composer for threescore years and ten,
his career spans over more vicissitudes in the pro-
gress of music than that of any other man. Begin-
ning to write in the same year with Cimarosa, and
even earlier than Mozart, and being the contempo-
rary of Verdi and of Wagner, he witnessed almost the
12 Sur les Manuscrits Autographes de Cherubini.
re-
Conclusion.
377
.
origin of the two modern classic schools of France
and Germany, their rise to perfection, and, if not their
decline, the arrival of a time when criticism would
usurp the place of creation, and when, to propound
new rules for art, claims higher consideration than
to act according to its ever-unalterable principles.
His artistic life was indeed a rainbow based upon the
two extremes of modern music, which shed light and
glory on the great art-cycle over which it arched. . .
His excellence consists in his unswerving earnestness
of purpose, in the individuality of his manner, in the
vigour of his ideas, in the fluency of his melody, and
in the purity of his harmony.
Such,' says M. Miel, 'was Cherubini; a colossal
and exceptional nature, an incommensurable genius,
an existence full of days, of masterpieces, and of
glory. Among his rivals he found his most sincere
appreciators. The Chevalier Seyfried has recorded
in a notice on Beethoven, that that grand musician
looked upon Cherubini as the first of his contempo-
rary composers. We will add nothing to this praise;
the judgment of such a rival is for Cherubini the
voice itself of posterity.
Bright as was Cherubini’s fame during his life-
time, it has been growing steadily and rapidly since
his death, and more especially of late years. The
place he holds in the history of his art has never
378
Memorials of Cherubini.
been disputed, and his admirers may justly claim for
him the distinction of being not only the greatest
contrapuntist of his time, but also of being one, the
originality, depth, and pathos of whose inspiration
well entitled him to rank amongst the foremost of
composers in what may perhaps hereafter shine in
history as the golden age of music.
A CHRONOLOGICAL CATALOGUE OF
CHERUBINI'S WORKS.
THIS has, of course, been compiled almost entirely
from Cherubini's own Catalogue of his compositions.
Twenty works mentioned in a supplement by the
editor of that publication, Bottée de Toulmon, as
well as the pieces which Cherubini contributed to
Sarti's operas, have been inserted, as far as possible,
in their proper places. In an addendum will be
found recorded such other works as have various
authorities for their existence, though not the au-
thority either of Cherubini himself or that of De
Toulmon. The numbering in the original Catalogue,
which merely goes according to the amount and
distribution of the MSS. about to be disposed of into
lots (those works of which the Mss. had been lost
not being numbered), has not been followed in the
present list. A cross before any work signifies the
loss of the Ms. at the time of the sale, or that it
1
LON
380
Memorials of Cherubini.
was included in a sale made by Cherubini's father
of all his music; an asterisk, that such work has
been published. Some additional information likely
to be useful has been furnished, in a great measure
derived from the varied and laborious researches of
Clément.
No. of
Year. No.
Title and Description of the Work.
pp. MS.
1773. 1. Mass in D, for four voices, with acc.; full score,
. . 110
2. Intermezzo, name unknown, for a 'théâtre de
société . . . . . . .
1774. 3. Mass in C, for four voices, with acc.; full score . 166
1.1-La Pubblica Felicità, cantata for several voices,
executed in a side-chapel of the Duomo on oc-
casion of a fête in honour of Peter Leopold II.,
Grand-Duke of Tuscany, afterwards Emperor
of Germany .
5. Dixit, psalm for four voices, with acc. . . . -
1775. 6. Mass in C, for four voices, with acc.; full score . 113
7. Dixit, psalm for solo and chorus, with organ acc.;
full score! . . . . . . .
8.111 Giuocatore, intermezzo for a théâtre de so-
ciété . . . . . . .
9.fMagnificat, for four voices, with acc..
1776. 10. 1Two Lamentations of Jeremiah, for two voices,
11.) with acc. . .
12.4 Miserere for four voices, with acc. . . . -
13.FRondeau
· · · · · ·
14.Duet .
15.1Comic air ..
1777. 16. Motet for four voices, with acc.; full score, taken
.
.
.
.
.
from No. 1. . . . . . . . 30
i Cherubini says, “See No 1, year 1773.' On turning to No. 1,
the Mass in D, we are referred to No. 4 (the present psalm is so
numbered). These cross references are very numerous in the original
Catalogue.
Catalogue of Works.
381
10
l
food
food
food
for
former
it is
· · ·
fand
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H
H
Year. No.
No. of
Title and Description of the Work.
pp. MS.
1777. 17.fOratorio, name unknown, executed in St. Peter's
Church . . . . . . .
18.fTe Deum, for four voices, with acc. .
1778. 19. Montes et Colles, for four voices, Bologna .
20. Angelus ad patrem, for five voices. .
21. Venit Domine, for six voices . . . .
22. Lauda Jerusalem, for four voices.
23. Lauda Jerusalem, the same, but treated differently
24. Beati omnes, for four voices . . .
25. A viro iniquo libera me, for four voices. . .
26. Expectabo Dominum, for four voices.
27. Petrus Apostolus, for six voices. .
1779. 28. Vox clamantis, for four voices, Milan.
29. Non confundetur, for four voices.
30. Salva nos, Domine, for four voices
31. Lumen, for four voices . . .
32. Ipse invocabit me, for four voices. .
33. Leva, Jerusalem, for four voices. ,
34. Venit et Dominus, for four voices . .
35. Expectabo Dominum, for five voices .
Nos. 19 to 35 are antiphons on plain chant, à la Palestrina, without acc.
36. Litanies for four voices, number unknown ...
1780. 37. Sonata for two organs; copy2 . . . 17
38. Ad cultum fidei, for four voices . .
39. Regnavit, exultet, for four voices . .
40. Parasti, for two choirs . . . . . . :
Nos. 38 to 40 are antiphons without acc., taken from Nos. 22 to 35.
41-6. Six Sonatas for clavichord, printed at Florence -
47.-Airs in Sartis' operas, mentioned by Cherubini in
the notice at the head of his Catalogue; names,
amount, and dates unknown .
48.TIL QUINTO Fabio, first opera, in three acts, re-
presented for the autumn fair at Alessandria
della Paglia3 .
. . . -
· · · · ·
10 H
is
2
? Cherubini, all through his Catalogue, makes a clear distinction
between “Ms.' and 'copie, of which the first no doubt means his own
autograph Ms., otherwise there is no reason why the copy should not
be called Ms. also.
3 It has been suggested that by 'Alexandrie-de-la-Paille' the name
382
Memorials of Cherubini.
No. of
Year. No. Title and Description of the Work.
pp. MS.
1780. 49. Tu quella vita in dono, air; full score . . . 18
50. Vado a morir, ben mio, rondeau; full score . . 24
51. Padre, deh! resta, recitative and air; full score.. 23
Nos. 49 and 51 are pieces in Quinto Fabio.
1781. 52. Amato padre, addio, recitative and air for a lady;
full score, Milan .
53. Se vi giunge il tristo avviso; full score.
54. Caro consorte amato; full score.
55. Distaccati al primo cenno; full score.
56. Questa è causa d'onore; full score . . .
57. Agitata tutta io sono ; full score . . . .
Nos. 53 to 57 are comic airs placed in an opera given at Milau.
58.1-Motet, for solo, with acc. for Marchési the singer. --
59. Nemo gaudeat, motet for two choirs, with acc. for
two organs; organ copy . . . . . 41
60. Caro padre, air in an opera begun, but not com-
pleted, for Venice; full score . . . . 27
01. Morte, morte fatal, recit. and duet in the same;
full score . . . . . . . . 52
1782. 62. ARMIDA, second opera, in three acts, represented
during the carnival at Florence; full score 156
63. ADRIANO IN SIRIA, third opera, in three acts, repre-
sented in the spring for the opening of a new
hall at Leghorn ; full score; erroneously entitled
* Artaserse' by Fétis, and also · Adriano in Serva' 400
64. Saprò scordarmi ingrata, air added to the above
opera for Crescentini the singer : full score
65. Solitario bosco ombroso, bass; Florence
66. Compagni, amor lasciate, bass . . . .
67. Il pastor se torna aprile, bass . . .
68. Io rivedrò sovente, piano . .
Nos. 65 to 68 are nocturns for tivo voices.
69-74.*Six Nocturns, printed by Longman and Bro-
derip (26 Cheapside and 13 Haymarket, price
10s. 611.) in 1786, and dedicated to Signor Corsi,
Grand Chamberlain to Leopold II.; piano;
printed 12 p.; also Frey, Paris. . . .
of some theatre at Milan is intended, just as Cherubini speaks of 'Fey-
deau,' meaning the “Feydeau Theatre;' but the composer's biographers
are surely right in taking him to mean the city of Alessandria.
Catalogue of Works.
383
1783
No. of
Year. No.
Title and Description of the Work.
pp. MS.
1782. 75. Io che languir, for solo; piano . . . . 2
76. E mentre dolcemente, for solo; piano . . . 2
Nos. 75 and 76 are nocturns set to ottava rima of Marino; piano.
77. Ella dinanzi al petto, for solo, set to ottava rima
of Tasso for solo; piano . . .
78. Bella rosa porporina, canzonet for solo; piano . 1
Nos. 75 to 78 are taken from Nos. 65 to 68.
79. IL MESSENZIO, fourth opera, in three acts, repre-
sented in the autumn at the Pergola, Florence,
September 8; full score . . . . . 510
80. Duet in the above opera not executed as here; full
score . . . . . . . . . 26.
81-2. Two duets, with acc. for two 'cors d'amour' for
George Nassau Clavering, third Lord Cowper,
Florence . . . . . . . .
83. Non bramo il merito, air for Babini the singer,
. added to the pasticcio of Semiramide ; full score 12
1783. S4. IL Quinto Fabio, fifth opera, in three acts, com-
posed in January, and represented at the Ar-
gentina Theatre, Rome; full score . . . 520
85. Forza è pur bell' idol mio, comic tenor air; full
score; Florence . . . . . . 20
86. Pensate che la femmina, comic tenor air, full
score . . . . . . . . 10
87.1-Comic bass air . . . . . . . -
88. Ninfa crudel, madrigal for five voices, · avec la
basse continue,' taken from Nos. 22-33, figured
bass copy. . . . . . . . 2+
89. LO SPOSO DI TRE MARITO DI NESSUNA, sixth opera
(buffa), in two acts, entitled by Picchianti ‘Lo
Sposo di tre Donne,' and by the Harmonicon,
'Lo Sposo di tre Femmine,' composed and repre-
sented in the autumn (at St. Samuel's Theatre),
Venice; full score . . . . . . 658
1784. 90-1. Two new choruses, placed in an oratório made up
of pieces out of Cherubini's operas, executed in
the winter at the Jesuits' Church, Florence;
full score copy . . .
. . 699
92. Tenor air, inserted in an oratorio made up at
Florence, doubtless the same as above, men-
384
Memorials of Cherubini.
420
No. of
Year. No.
Title and Description of the Work.
PP. MIS.
1784. tioned by De Toulmon in his supplement to
Cherubini's Catalogue; full score copy . . 43
93. L'IDALIDE, seventh opera, in two acts, represented
in the winter at the Pergola Theatre; full score 400
94. L'ALESSANDRO NELL' INDIE, eighth opera, in two
acts, represented at Mantua for the spring fair;
full score.
1785. 95. In questa guisa, oh Dio! recit. and duet; London ;
full score copy. . .
51
96. Non fidi al mar che freme, air; full score. . 10
97. Va cediamo al destin, recit. ; full score . . 15
98. Che mai feci! finale; full score . . . . 28
Nos. 95 to 98, placed in a pasticcio, called Il Demetrio, given in London.
99. Se tutti i mali miei, air ; full score copy . . 20
100. Frà cento affanni e cento, air; full score copy . 2+
Nos. 99 and 100, placed in an opera given in London.
101. LA FIXTA PRINCIPESSA, ninth opera (buffa), in
two acts, represented at the King's Theatre,
Haymarket; full score . . . . . 528
102. Chaconne; full score copy .
ore copy . .
.
. . . 60
1786. 103. Al mio bene, al mio tesoro, tenor air ; full score
copy. . . . . . . . .
104. Nobile al par che bella, duet; full score copy . 19
105. Per salvarti, oh mio tesoro ! rondeau; full score
copy .
. .
.
. . . . . . . 20
106. Madamina, siete bella, tenor air ; full score copy 2:3
107. Assediato è Gibiltera, bass air; full score copy . 30
108. Cosa vuole il marchesino, addition to the first
finale; full score copy . . . . . 40
Nos. 103 to 108, placed in Paisiello's Il Marchese Tulipano, given in London.
109. A tanto amore, air . . . . . . -
110. Another air . . . . . . . -
Nos. 109 and 110, inserted in another opera.
111. IL GIULIO SABINO, tenth opera, in two acts, repre-
sented at the King's Theatre, Haymarket; full
score ; librettist, Metastasio . . . . 417
112. Amphion, second cantata for the concert of the
‘Loge Olympique,' Paris, but never executed ;
full score copy . . . . . . . 153
1787. 113-30.*Eighteen Romanzas, on Florian's tale of Es-
Catalogue of Works.
385
Year. No.
No. of
Title and Description of the Work.
pp. IS.
1787. tella,' printed at Paris in two parts, piano; in
print forty-five pages; taken from Nos. 65-68. -
1788. 131. IFIGENIA IN AULIDE, eleventh opera, in three acts,
composed and represented during the winter
(at the Royal Theatre), Turin. The air ' A voi
torno' was printed in London in 1789, with
the parts for piccolo, flute, oboe, viola, horns in
132. Misera. Ifigenia, recit. obbligato in the above
opera, but not executed as here; full score . 21
133. Sarete alfin contenti, recit. and air for Mdme.
Todi, sung by her at a concert of the 'Loge
Olympique, Paris; full score copy . . . $2
134. Ma che vi fece, oh stelle, scena and air for Malle.
Balletti; mentioned by Bottée de Toulmon;
exact date of composition unknown; copy . 50
135.*DÉMOPHON, twelfth opera, in three acts, repre-
sented at the Grand Opera (Académie Royale
de Musique) Dec. 5th; full score copy; libret-
tist, Marmontel . . . . . .770
1789. 130. Circe, third cantata executed at a concert of the
Loge Olympique;' full score copy .
137. Ti lascio, adorato mio ben, recit. and rondeau; full
score . . . . . . . .
138. Non sò più dove io sia, recit. and air copy . .
139. Capriccio, or pianoforte study; piano copy . 38
140. D'un alma incostante, air; full score. .
141. Mi stà nell'anima, air; full score . . . 11
142. Vedrai nel suo bel viso, air; full score
143. Piano, piano, air; full score . .
144. Scritti addio, air; full score . . . . 31
145. Ahi! ho male al core, air; full score . .
*146. Del caro ben che adoro, air; full score . . 233
147. Or m'accorgo dell'errore, air ; full score. . 23
47
pod
JI
20 10 20 Co Co Co
Nos. 140 to 148, inserted in Paisiello's La Molinarella (Molinara ?), given by the
149.' Se del duol che il cor m'affanna, air placed in
Guglielmi’s La Pastorella nobile, giveu at the
Tuileries; full score copy . . . .
36
CC
386
Memorials of Cherubini.
.
.
. 51
az az
P
O
No. of
Ycar. No.
Title and Description of the Work.
pp. MS.
1790. 150. The first act of Marguerite d'Anjou, an opera
begun for Louis XVI. and his Court, at the
Tuileries, but never completed, and consisting
of the following eight pieces, all in full score : :
Respires-tu ? air . . . . . . 26
Tout doucement, trio . . . . . . 31
O reine infortunée! air . . . . 26
Couplets, air . . . . . . .. 3
Non, ce n'est pas, air .
Princes et rois, air .
Ne jugez pas, chorus . .
Finale
151. O Salutaris, hymn for three voices, bass;
Breuilpont .
152. Domine salvum, hymn for three voices, bass .
153. Adoremus, hymn for three voices, bass
154. Regina Cæli, hymn for three voices, bass,
155. O Filii, hymn for three voices, bass . .
156. D'un dolce amor la face, air; full score; Paris. 29
157. Che avenne! che fu ! duet; full score . . 42
Nos. 156 and 157, placed in Paisiello's La Grotta di Trofonio, given at the Tuileries.
158. Di valore armato il petto, air; full score . . 16
159. Mirate! oh Dio, mirate! air; full score . . 24
Nos. 158 and 159, placed in Les Deur Jumelles (Desaugicr's Les Deux Jumeaux de
Bergame ?), given at the Théâtre de la Foire St. Germain.
100. Fà ch' io veda il dolce aspetto, air; full score copy 32
161. Perdonate mio signore, air; full score copy . 10
Nos. 160 and 161, placed in Paisiello's La Frascatana, given at the Théâtre de la
Foire St. Germain.
162. Volgi, o cara, amorosetto, air; full score . . 32
103. Cara da voi dipende, quartet; full score . . 48
164. Evviva amore, finale; full score . . . 20
Nos. 162 to 164, placed in the Tiaggiatori Felici (probably Anfossi's, though Leo,
Piccinni, and Parenti have written works similarly entitled), given at the
Théâtre de la Foiro St. Germain.
105. Al par dell'onda infida, air ; full score . .
166. Senza il caro mio tesoro, air; full score . . 26
167. Lungi dal caro bene, air; full score. .
168. Son tre, sei, nove, terzetto, full score . . . 36
169. Van girando per la testa, air; full score . . 42
Catalogue of Works.
387
No. of
Year. No.
Title and Description of the Work.
pp, US.
1790. 170. Ah generoso amico, recit. obblig. ; full score . 17
Nos. 165 to 170, placed in Cimarosa’s Italiana in Londra, given at the Théâtre de la
Foire St. Germain.
1791. 171-6.*Six Romanzas, printed at Paris, piano; in print
fifteen pages . . . . . . . -
177.* Dors, mon enfant, romanza, printed at Paris, piano 2
178.*Le portrait de Thémire, rom., printed at Paris,
piano copy . . . . . . . 2
179.*Le veuf inconsolable, rom., printed at Paris, piano
copy .
Nös. 171 to 179 are taken from Nos. 65 to 68. . .
180. Moro, manco, air; full score . . . . 30
181. Fuggite, o donne, amore, air; full score . . 23
Nos. 150 and 181, placed in Paisiello's Il Tamburo Notturno, given at the
Feydeau Thcatre.
182.+?*LODOÏSKA, thirteenth opera, in three acts, repre-
sented at the Feydeau Theatre, July 18th ; li-
brettist, Fillette Loraux; Imbault, Paris, with
a curious old frontispiece, with cherubs playing
the overture on harps; overture full score,
Breitkopf and Härtel, Leipsic . . .
183. A ces traits je connais ta rage, duet in the above
opera, but not executed as here; full score . 28
184. Cette indigne barbarie, air in the above opera, but
not used; full score . . . . . . 3-4
185. Penso, rifletto, air placed in 1l Burbero di boncore
(Vincent Martini's “Il Burbero di Buoncore'?);
full score; given by the 'Bouffons' at the Fey-
deau Theatre . . . . . . . 10
186. Ti rasserena oh cara, addition to a sextet in Le
V'endemmie (probably Gazzaniga's, though
there is an opera by Parenti similarly entitled),
given at the Feydeau Theatre; full score . 44
187. Quest' è l'ora, recit. obblig., placed in Paisiello's
La Pazza l'Amore, given at the Feydeau The-
atre; full score . . . . . .
188-90. Three choruses, placed in a piece called La
DIort de Mirabeau ; full score . . . . 48
1792. 191.+?L'Amitié, air for Malle. C. T. (Cécile Tourette)
192. Non ti fidar, o misera, quartet, placed in Il Don
Giovanni (Gazzaniga's Il Don Giovanni tena-
388
Memorials of Cherubini.
CU
Year. No.
No. of
Title and Description of the Work.
pp. DIS.
1792. rio), given at the Feydeau Theatre; full score
copy . . . . . . . . 04
193. Di qual rigido marmo, recit. and duet in (Martini's)
La Cosa Rura, given at the Feydeau Theatre .
194. Le Dolci sue maniere, air; full score . . . 38
195. Ma se tu fossi amore, air; full score . . 17
196. Io mi sento un non sò che, air; full score . . 18
197. Il core col pensiero, trio; full score .
198. Compassione ad una donna, duet; full score . 20
Nos. 194 to 198, placed in La Locandiera (probably Basili's, though Sarti and
Bondineri have written operas similarly entitled).
1793. 199." La Libertà (Liberté ?) et la Palinodie à Nice can-
zoni di Metastasio; or should the title be alto-
gether Italian, i.e. La Libertà et le Palinodie,
&c. ? Duets for Mme. E.; bass; Chartreuse
de Gaillon; Clementi, Collard, London . . 114
200-1. Two trios, with violin and pianoforte, for the
fête of M. L. (Louis), architect, piano .
202. Berenice che fai, recit. and air for Mme. E.; full
score copy . . . . . . .
203. L'Exil, romanza for the same; piano copy .
204. KOUNKOURGI, fourteenth opera, in three acts, with-
out an overture, and wanting a portion of the
last finale, never performed as here; librettist,
Duveyrier-Mélesville the elder; full score . 497
205. Hymne à la Fraternité, Paris, sung in the gar-
dens of the Tuileries on the 1st Vendémiaire,
an 2 (Sept. 22, 1793); and, according to Castil-
Blaze, at the Grand Opéra; full score copy', 1:3.
1794. 206. Le Salpêtre Républicain, chorus, sung in Pluviôse,
an 2 (Jan. 1794), at the fête for the opening
of the works for the extraction of saltpetre;
full score copy
207. Clytemnestre, fourth cantata, for solo, with acc.,
for Mme. B. of Havre; full score . . . 31
208. Romanza in Selico, an opera begun but never
finished; full score . . . . . . 30
209.*ELISA, fifteenth opera, in tivo acts, otherwise styled
· Elisa, ou le Metz,'' Elisa, ou le Mont St. Ber-
nard,' and, in the old full score printed by Le .
Catalogue of Works.
389
Year. No.
No. of
Title and Description of the Work.
pp. MS.
1794. Roy, Paris, · Elisa, ou le Voyage aux Glaciers
du Mont St. Bernard ;' represented at the Fey-
deau Theatre, Dec. 13; librettist, Reveroni
St. Cyr; overture full score, Breitkopf and
Härtel, Leipsic; full score . . . . 520
1795. 210. *Hymne du Panthéon, for full chorus; full score, in
print 45 pages; exact date of composition un-
known; composed, according to Cherubini, at
some period between this year and 1798. . -
211. Chant pour le Dix Août (1792), chorus ; full score
copy; words by Lebrun, of the Institutet . 13
212. Sixty-five solfeggi for all the keys, for one, two,
three, and four voices, begun in this year, and
composed progressively up to the editing of the
complete edition of the two parts of the Conser-
vatoire solfeggi, which appeared in 1802, under
the title of Principes élémentaires de Musique,
suivis de Solfége, pour servir l'Etude au Con-
servatoire de Musique,' 4to.; figured basses5 . 262
1796. 213. Fragment of a cantata for inaugurating a statue of
Apollo, to be placed in a concert-hall; full score 25
1797. 214.*?*MEDÉE, sixteenth opera, in three acts, repre-
sented at the Feydeau Theatre, March 13; full
score, in print 300 pages, with alterations in
the author's handwriting; librettist, Hoffman;
overture fullscore, Breitkopfand Härtel, Leipsic-
215. Ode on the 18th Fructidor (the day of the con-
spiracy of poignards, Sept. 4, 1797); full score
14 Cherubini mentions this and seven other Republican pieces, Nos.
210) 206, 207, 211, 215, 216, 222, and 223, all together in the section
of his Catalogue for 1795, and after saying that he cannot remember
the exact dates of their composition, adds that they were all written
between the years 1795 and 1798. If historical dates and Clément's
dates of performances are correct, this cannot be accurate as regards
some of the pieces, and in placing them I have followed Clément.
Arnold and Clément more correctly call the above a piece for the
anniversary of the 10th of August.
5 In the edition that appeared in 1865, by Baptiste, I find sixty-
seven solfeggi by Cherubini, besides those written for all the keys and
changes of key in the seventh and eighth books.
390
Memorials of Cherubini.
No. of
Year. No. Title and Description of the Work.
pp. MS.
1797. copy; sung, according to Castil-Blaze, at the
Grand Opera.
216. Hymne et Marche funèbre pour la mort du Gé-
néral Hoche, sung in the Champ de Mars on
the 10th Vendémiaire, an 6 (Oct. 1st, 1797),
at the state funeral, and also represented at the
Grand Opera as a one-act piece, under the
title of Pompe funèbre du Général Hoche, on
the 11th of October, 1797; words by M. J.
Chenier; full score copy. . . . .
217. Viens voir sur l'écorce légère, romanza, piano. 2
1798. 218. Blessé par noire perfidie, romanza, piano . . 2
219. Une chanson pour une fête, romanza, piano : 2
220. Voyez cette naissante rose, romanza, piano . 1
Nos. 217 to 220 are taken from Nos. 65 to 68.
221.*A collection of 39. figured bass compositions,
piano6 . .
. . . . 73
the tot
222. Hymn for the Fête de la Jeunesse, on the 10th
Germinal, an 6 (Mareb 30, 1798); full score
copy . . . . . . . . 6
223. Hymn for the Fête de la Reconnaissance, on the
10th Prairial, an 6 (May 29, 1798); full score
copy . . . .
. . . 7
224. L'HÔTELLERIE PORTUGAISE, seventeenth opera, in
one act; in Germany,‘Der Portugiesische Gast-
hof;' represented at the Feydeau Theatre, July
25th; full score; librettist, Aignan; overture full
score, Breitkopf and Härtel, and trio, Que
faire, O ciel, published . . . . . 334
1799. 225."LA PUNITION, eighteenth opera, in one act, re-
presented at the Feydeau Theatre; February
23d; full score ; librettist, Desfaucherets . 374
226. La Prisonnière, pasticcio, in one act, by Cherubini
and Boieldieu, and represented at the Montan-
sier Theatre, September 12; full score;. libret-
tists, Jouy, Longchamps, and St. Just . .. 56
227-8.f Two Odes of Anacreon, for solo, set to the
Greek · · · · · · · · -
These are, perhaps, the bass parts contributed by Cherubini to
Baillot's Méthodes de Violon et Violoncelle in 1835.
Catalogue of Works.
391
Year. No.
Title and Description of the Work.
No. of
pp. MS.
1800. 229.*LES DEUX.JOURNÉES, nineteenth opera, in three acts,
styled in Germany the 'Wasserträger,' "Graf
Armand,' and 'Die Tage der Gefahr; 'in Italy, 'Il.
Portator d'acqua' and 'Le Due Giornate;' re-
presented at the Feydeau Theatre, 26th Nivôse,
an 8 (Jan. 16), dedicated to Gossec; librettist,
Jouy; full score; Gaveaux frères, Paris. With
curious old frontispiece (Armand is about to
get into the water-cart, the soldier looking the
other way); overture full score, Breitkopf and
Härtel, Leipsic . . . . . . 411
230. Epicure, pasticcio, in three acts, by Méhul and
Cherubini, represented at the Favart Theatre,
14th March; full score ; librettist, Demoustier ;
overture by Cherubini published . . . 305
231-2. Marche du préfet d'Eure-et-Loir, Chartres ;
Marche pour le retour du préfet après sa tour,
née dans le département; taken from Nos.
199, 206, 207, 211, 215, 216, 222, 223, viz.
Republican Hymns; Paris
1801. 233. Morceau d'ensemble, chorus added to the second
act of the Deux Journées ; full score copy . I
234. L'Echo, romanza, piano . . . .
235.*Un jour échappé de Cythère, romanza, piano . 1
236.*Tu les brisas, ces næuds charmants, romanza,
piano . . . . . . . .
237.*Solitario bosco ombroso, nocturn, for two voices,
divided into four couplets, piano . . .
238.*La cintura d'Armida, nocturn ottava rima of
Tasso; piano . . . . . . . 2
Nos. 234 to 238 taken from Nos. 65 to 68; Nos. 235 to 238 placed successively in a
musical journal.
1802. 239-40. Duet and chorus of a comic opera, name
unknown, begun but never completed ; full
score . . . . . . . . 33
1803. 241*ANACRÉON, ou L'AMOUR FUGITIF, twentieth opera,
in two acts, represented at the Grand Opera,
October 4th, called by Fétis ' Anacréon chez
lui,' and by Picchianti in Italian 'Anacreonte
in sua Casa;' full score; librettist, Mendouze.
9
392
Memorials of Cherubini.
No. of
Year. No.
Title and Description of the Work.
pp. ds.
1803. Published at the Magazin de Musique, Rue de
la Loi, Paris; Garnier, Lyons; overture full
score, Breitkopf and Härtel, Leipsic . . 607
242. Fragment of the above opera not used; full score 36
1804. 213. Air with couplets, treated in two ways, belonging
to the unfinished opera of Les Arrêts ; full score 13
244-5. Two sonatas or studies for the 'cor.,' with acc.,
cor,' and piano . . . . . .
246. Achille a Scyros, pantomimic ballet, three-fourths
of the music by Cherubini; arranged by him
for the piano; represented at the Grand
Opera, Dec. 18th, librettist, Gardel the
younger; full score. . . . . . 383
1805. 247.*Chant sur la mort d'Haydn, for three voices,
with acc.; originally set to words in honour of
Haydn, according to Denne-Baron, and if this
is a correct statement, a piece for Haydn's
death, four years before that event, is explained;
executed in the winter of 1810 at the exercises
of the Paris Conservatoire, and subsequently
printed. Frey, Paris; full score . . . 63
248. Solfeggi for different voices; fig. bass . . . 35
249-50. Two entr'actes added to Lodoïska, Vienna;
full score. . . . . . . .
251. Air for Mme. Campi added to the same; full
score . .
252. March for wind instruments, for M. le Baron de
Braun's private music; full score copy . .
253. A sonata for a cylinder organ belonging to the
Baron de Braun; organ copy . . . . 8
1806. 254. *FANISKA, twenty-first opera, in three acts, re-
presented at the Imperial Theatre of the Italian
or Carinthian Gate (Kärnthnerthor), Feb. 25;
Troupenas, Paris; overture full score, Breit-
kopf and Härtel, Leipsic; full score . . 462
255.*Credo for eight voices and organ, finished in
this year at Paris, begun in Italy in 1778 and
1779; the fugue at the end is also in the
Treatise on Counterpoint and Fugue. Peters,
Leipsic . .
. . . . . .
Catalogue of Works.
393
No. of
Year. No. Title and Description of the Work.
pp. MS.
1806. 256. Air to Echo, for a great cylinder, organ called the
Panharmonicon, quatuor. . . . . 6
257. Credimi si mio sole, recit, and air for Crescentini,
quatuor . . .
1807. 258. Chorus and melodrama for an opera begun but
never completed . . . . . . 12
259.*A collection of canons for two, three, and four
voices, without acc., composed at various periods
between 1779 and this year. Cherubini says
that it would be difficult, if not impossible, to
give the exact date of any of his canons prior
to 1811. Clementi; Twelve canons published
by Frey, Paris. . . . . . . 76
1808. 260. Le Mystère, romanza by Bernard, set to music,
June 17th, for Count Metternich, Austrian am-
bassador; piano . .
261. March for wind instruments; full score..
262-7. Six Country Dances; full score...
268. Minuet; full score. . . . . . .
269. A dance air; full score. . . . . . -
270-1. Two romanzas, piano; full score. .
Nos. 261 to 270, composed at the castle of Chimay.
272.** ?MASS IN F, No. 4, for three voices, with acc.;
Kyrie and Gloria at Chimay, the rest finished
at Paris in 1809; published in 1810 at the Con-
servatoire; also by Frey, Paris? . . . -
1809. 273. March for wind instruments; July 12th, Chimay;
full score . .
274. La Rose, romanza; July 12th.. . . . 2
275. Romanza; July 16th.
276-8. Three country dances; Sept. 21st, 23d, and
Oct. Ist; full score . . . . . . 6
· · · · · ·
IIIII
I
.
.
:
17
POP
? The numbering of Cherubini's masses has been incorrect. Grant-
ing that the first three masses, written in 1773 and 1774, may be left
out of reckoning as being juvenile works, there is no reason for making
the Coronation Mass ir A No. 3, and the Mass in C No. 4, since the
latter mass was written in 1816, the former long afterwards, in 1825.
Besides, many masses, such as the first Coronation Mass in G, &c., are
completely passed over. All the masses have been numbered here in
their proper order.
394
Memorials of Cherubini.
Year. No.
Title and Desc
No. of
Title and Description of the Work.
pp. MS.
1809: 279. PIMMALIONE, twenty-second opera, in one act, re-
presented before the Emperor Napoleon I. and
Empress, at the Château des Tuileries Theatre,
Paris; full score . . . . . . 424
1810. 280.*Pianoforte fantasia, January; piano. Taken
from No. 260; pub. for the organ by Salvador
Cherubini. S. Richault, Paris . . . 4
281. Ode for the Emperor Napoleon's Marriage, written
in May; full score copy . . . . . . 24
282. *Litanie della vergine, for four voices, with in.
struments, July, for his Highness Prince
Esterhazy de Galanta, in the first volume of
posthumous works, taken from the répertoire
of the ancient Chapelle Royale. Richault,
Paris, pianoforte score; full score . . . 47
283. LE CRESCENDO, twenty-third opera, in one act, re-
presented at the Opéra Comique, Sept. 1 (the
overture is copied); full score . .
284. March for wind instuments, Sept. 22, Chimay;
full score
285. Dance air, Sept. 24th; full score ..
286-7. Two country dances, Oct. 6th and 13th, copy;
full score. The second of these is copied .
288-9. Iwo triós for a fếte, Oct. 9th and 12th; full
score . . .
1811. 290. Romanza' of M. dě Nivernois, March 6th, Paris;
piano .
291. Stanzas for 'Isabey's album”; piano
292: Romanza on a child, by Mme: dë Genilis, to put
in her album, May 14th; copy
Nós. 290 to 292 taken from No, 260.
293. Fragment of a Cantata for the opening of the new
Conservatoire Concert-hall; finished May 27;
full score . . . . . . . . . 60
294. Le Mystère, romanza, for the album of M.
Guerin, the painter, June 12th ;. taken from
No. 60 . . . . . .
2
295.*MASS IN D MINOR, No. 5, for four voices and
full orchestra, begun towards the end of March,
finished Oct. 7th; Frey, Paris; full score . 263 ·
Catalogue of Works.
395
No. of
Year. No. Title and Description of the Work,
pp. MS.
1811, 296. Madrigal for four voices, Nov.; fig. bags . , 27
297. Eight-part canon for Neukomm's album, men-
tioned by De Toulmon . . . . .
1812. 298. Fifth Cantata, · Pour la Goguette,' executed at the
réunion of Dec. 16th; quatuor . . . 55
1813, 299.*LES ABENCÉRAGES, twenty-fourth opera, in three
acts, represented at the Grand Opera, April
6th ; librettist, Jouy. Begun towards the end
of January. Many pieces of the work, says
Cherubini, have been printed, but the whole
has been published. Thus Mendelssohn says,
'I have got his Abencérages.' Overture full
score, Breitkopf and Härtel, Leipsic; full score 357
300. La Ressemblance, romanza, for Mme. L., May
9th; piano .. . . . . . . 2
1814. 301. March for the National Guard music, Feb. 8th;
full score. . .
302-4. A trio, 'morceau d'ensemble, and chant guer-
rier,' in Bayard à Mézières, comic pasticcio in
one act by Cherubini, Catel, Boieldieu, and
Nicolo Isouard; ordered by the Duke of Rovigo
on the part of the government. Cherubini says,
by the police Represented at the Opéra
Comique, in the Rue Feydeau, Saturday, Feb.
12th,. .
305. Pas redoublé for the National Guard music, Feb.
13th; full score . . . . . .
306. ' Chant guerrier,' air, with couplets, inserted in a
three-act piece called La Rançon de Dugues-
clin, represented at the Théâtre Français in
Marsh or April; full score . . . .. 6
307-14. Eight pieces for wind instruments, for the
music of the Prussian Regiment under Colonel
Witzleben, viz. pas redoublé, May 24th ; do.,
May 27th.; do., do., do., May 30th ; do. and two
marches, May 31, all for wind instruments;
full score . . . . . . . 16
315. Sixth Cantata, for three voices, with acc., July
20th, for the fête given by the Etat-Major and
the superior officers of the Paris garrison to
396
· Memorials of Cherubini.
Year. No.
No. of
Title and Description of the Work.
pp. MS.
1814. the National and Body Guards of King Louis
XVIII.; full score.
316. Seventh Cantata, for several voices, with choruses
interspersed, and with acc., executéd before
his Majesty during the fête given by the City
of Paris, Aug. 29.th ; full score . . 81
-317.*First Quartet, in E flat, for two voices, viola,
and violoncello; quartet. Kistner, Leipsic;
Pacini, Paris. Dedicated to Baillot . . 28
1815. 318. Overture in G, begun in February at Paris,
finished in March in London for the Phil-
harmonic Society's concert; full score . . 39
-319. Symphony for the same, begun in March, finished
April 24; full score . . . . . 102
320.* Eighth Cantata, ‘Inno alla Primavera,' for four
, voices, with instr. for the same, begun 8th May.,
finished 19th; words by Vestii; A. Petit, Paris;
full score :
321. English air for Mme. C., composed towards the
end of May; full score .. ..
322. Chorus and couplets for St. Louis, August, Paris;
full score . . . . . .
323. Vive le Roi! air, couplets, Aug.; piano . . 2
1816. 324. Ninth Cantata, for several voices, with choruses
interspersed, and with grand orchestra, com-
posed for the banquet given by the Royal Guard
to the National and Body Guards in the Mu-
seum Gallery, and executed in the presence
of the King and the royal family. Begun Jan.
29th, finished 30th; full score. . . . 62
325.* MASS IN C, No. 6, for four voices, and with grand
orchestra for the King's Chapel, begun in
January, finished March 14th; full score; in-
cludes an offertory, Laudate Dominum, and O
Salutaris, instead. of a Benedictus. Frey,
Paris . .
. . . . . 65
326-8.*Three short Kyries; full score . . . 38
329. Laudate, recit. and chorus; full score . . . -
330. Short Sanctus; full score . . . . . -
Nos. 326 to 330, for the King's Chapel, and interpolated in fragments of Cherubini's
old masses.
Catalogue of Works.
397
pp. DS.
co
Year. No.
Title and Description of the Work,
No. of
1816. 331.*0 Salutaris, for solo second soprano, with acc.,
· for King's Chapel; quatuor and organ; Petit,
Paris . . . . . . . . 3
332-3." Kyrie for two parts, in chorus, another in four
parts, both short, for King's Chapel; full score
334. Kyrie for three voices and Gloria, same as that
in Mass in F, No. 4); full score; mentioned
by De Toulmon; for King's Chapel . .
335. Kyrie for four voices (and Gloria, same as that
in the Mass in D minor, No. 5); full score;
mentioned by De Toulmon; for the King's
Chapel . . .
. . . . 44
336. Kyrie for four voices (and Credo, same as that
in the Mass in C, No. 6, No. 325; mentioned
. by De Toulmon);S for the King's Chapel; full
score . . . . . . . . 36
337. Kyrie for four voices (and Agnus Dei, the same
as that in the Mass in D minor, No. 5); men-
tioned by De Toulmon. By the deuxième
messe à 4 voix' he has been taken to mean the
D minor Mass. For the King's Chapel; full
score .
. . . . . 19
338. MASS IN E FLAT, No. 7 ; mentioned by De Toul-
mon; for the King's Chapel; full score. Gloria
same as No. 3-17 . , ;
339. Kyrie for tenors and basses, for the King's Chapel;
full score . . . . .
. 3
340. Crux alma veneranda, hymn, trio in Faniskai,
arranged for two soprani and a tenor; full
score; mentioned by De Toulmon . . .
8 The Credo, he says, was published in the fourth ‘Messe Solon-
nelle for four voices. This is somewhat ambiguous, but De Toulmon,
doubtless following the incorrect enumeration, means the Mass in C.
The term 'messe solennelle' is used so indifferently by Cherubini (as,
for instance, when he speaks of the great Mass in D minor, only once
casually alluding to it as a 'messe solennelle'), that it has been dis-
carded in the present Catalogue. The · Missa Solemnis,' in ecclesi-
astical terminology, is such a Mass as, on account of the fulness of
its ceremonial (including, of course, music), is specially appropriate
to the more solemn festivals of the Church, and requires the celebrant.
to be assisted by a deacon and subdeacon.
.
62
398
Memorials of Cherubini.
Year. No.
Title and Description of the Work.
No. of
pp. DIS.
1816. 341.*Pater Noster for four parts; full score; hymn.
. For the King's Chapel. Petit, Paris (organ and
orchestra); Schott, Mayence. One of the col-
lection of six known as the ‘Hymnes Sacrées 9
342. O Salutaris, for three voices; hymn, solo, with
acc.; full score. For the King's Chapel. : 3
343.*Ecce Panis angelorum, hymn, for tenor solo,
with acc.; full score. For the King's Chapel.
Petit, Paris. One of the collection of six pieces
known as the “Hymnes Sacrées . . . 3
344.* Ave Maria, for solo first soprano, with 'cor Ang-
lais;' for the King's Chapel; full score. Petit,
Paris. One of the collection of six known as
the ‘Hymnes Sacrées' i . . . . 4
3-15.*Lauda Sion, for two soprani soli, with acc.; full
score. For the King's Chapel. Petit, Paris.
One of the collection of six known as tlie
‘Hymnes Sacrées'. . . . . . 11
340. Le Mariage de Salomon, tenth cantata, for solo,
with chorus and acc., executed 17th June at
the Tuileries, at the royal banquet on occa-
sion of the marriage of the Duc de Berri with
Princess Caroline of Naples; full score . . 38
347. Gloria in B flat, for four parts, with acc.; for the
King's Chapel
348. Credo in D, for four parts, with acc.; full score.
For the King's Chapel . . . . . 36
349.*REQUIEM IN C MINOR, No. 1, for four parts in
chorus, written for the anniversary of Louis
XVI.'s death, first performed on the 21st of
Jan. 1817, at the Abbey Church of St. Denis;
full score. For the King's Chapel. Frey, Paris
(also chez l'auteur, Rue du Faubourg Pois-
sonnière; en dépôt chez Boieldieu, No. 7 Rue
de Richelieu); Breitkopf and Härtel, Leipsic. 81
350-51.*Ave Verum, trio' for three soprani, followed
- by O Sacrum Convivium in chorus, both with
acc., taken from the opera of Elisa. For the
King's Chapel. Petit, Paris (full orchestra,
with cornet solo) . . . . . .
1817. 352. Iste Dies, four-part chorus, with acc.; fragment
Catalogue of Works.
399
co
o
t
co
-
No. of
Year. No.
Title and Description of the Work.
pp. MS.
1817. added to No. 350 to make a motet of the length
customary for a Mass in the King's Chapel,
viz. half an hour; full score. Petit, Paris : 29
353.*Tantum Ergo, for five parts, with acc.; for the
King's Chapel; full score. Petit, Paris (organ
acc.); Schott, Mayence. One of the collection
of six known as the ‘Hymncs Sacrées'. .
354. Tantum Ergo, for four parts, with acc.; for the
.
Hingischen
King's Chapel ; full score; S. Richault, Paris
355.*Kyrie for three parts, without soprano, in chorus
with acc. For the King's Chapel' . . .
356. O Salutaris, trio for two tenors and bass, with acc.;
for the King's Chapel; bassoon and violoncello
357. Agnus Dei, for four parts, with acc.; full score.
For the King's Chapel . . . . . Ī
358. Sanctus and O Salutaris, for solo tenor, with acc.;
full score. For the King's Chapel. Petit, Paris
(organ acc.); Schott, Mayence. One of the col-
lection of six known as the ‘Hymnes Sacrées' 5
359. Gloria in F, for solo, with choruses interspersed,
with acc.; for the King's Chapel; full score . 18
360. Amour, amour, new air, not yet executed, for Lo-
doiska ; full score . . .
1818. 361.*Regina Coeli, for four parts, with acc.; full score.
For the King's Chapel . . . . .
362. O Filii, hymn, for four parts; full score. For
the King's Chapel . . . . . . 37
363. MASS IN E, No. 8, for four parts, with acc.; for
the King's Chapel; full score . . .
364. O Salutaris, for four voices, soli and chorus, with
acc.; full score. For the King's Chapel . 8
365-6. Two pieces for the Conservatoire competition,
i.e. for the hautboy and the bassoon respec-
tively . . . . . . . . -
367. “Je ne t'aime plus,' romanza for two voices, Oct.
29; piano; Malabri . . . . . 2
9 To be found, says Cherubini, in the Messe Solennelle for three
voices (Mass in F? or in A? neither of which he calls solennelle when
recording them); hence it may be presumed that this is a new work
substituted for the former Kyrie, otherwise Cherubini would not have
recorded it, and numbered it 188 in original catalogue.
400
Memorials of Cherubini.
No. of
pp. DiS.
Year. No.
Title and Description of the Work.
1818. 368.* Adjutor, motet for Septuagesima Sunday, Paris ;
full score. For the King's Chapel. Hasslinger,
Vienna . . .
. . . . . 42
369. Kyrie for four parts; full score; mentioned by
De Toulmon . . . . . . .
1819. 370. Kyrie, chorus (Christe quartet), and Kyrie, chorus
for four voices; for the King's Chapel; full
score . . . . . . . . 19
371. Prayer to Bacchus, chant de table, for three voices,
372.11. chorus: Published Tres To
7
372.*MASS IN G (CORONATION), No. 9, for four parts in
chorus, for the crowning of Louis XVIII.; full
score. Published in pianoforte score by Sal-
vador Cherubini. Frey, Paris . . . 104
1820. 373. Scène de table, for two voices, with pianoforte
acc. ad libitun, January; piano . . . 5
374. Marche funèbre for grand orchestra, March ; full
score; for the King's Chapel . . . .
375.*In paradisum, chorus in four parts, acc. for grand
orchestra; published in pianoforte score by Sal-
vador Cherubini; for the King's Chapel; full
score : . . . . . . . 10
370. Litanies of our Lady in C, for four voices, Dec.;
acc. for grand orchestra; for the King's
Chapel; full score. S. Richault, Paris . . 47
. Conservatoirelo . . . . . .
378. Thirty-eight solfeggi lessons, fig. bass; in print,
seventy-two pages; mentioned by De Toulmon;
no date given . . . . . . . .
379. Domine, Dominus noster, gradual soprano air,
with hautboy acc.; obbligato air from Elisci,
with alterations; for the King's Chapel ; full
score . . . . . . . . 10
380. Canon for two voices, for Cherubini's own album,
Dec. 19th . . . . . . . mam
10 This and the subsequent solfeggi mentioned separately form the
collection in the seventh and eighth books of the Conservatoire solfeggi,
so they will not individually be numbered here, not even those marked
by Cherubini as unpublished, which, being of the same class, have
been, or should have been, since included in the published collection.
Catalogue of Works.
401
>
Year. No.
No. of
Title and Description of the Work.
pp. DIS.
1821. 381. The third and last part of Blanche de Provence,
a one-act pasticcio by Cherubini, Berton, Boiel-
dieu, Kreutzer, and Paër; ordered by the
Minister of the King's Household, on occasion
of the Duke of Bordeaux's baptism, on the 1st
of May 1821, at Notre Dame. Blanche de Pro-
vence was first performed in the evening at
the Court Theatre, and on the 3d of May at
the Grand Opera, for which the work had been
composed; full score . . . . . 83
382. Eleventh Cantata, for several voices, with choruses
interspersed and acc.; executed May 2d at the
fête at the Hôtel de Ville, on occasion of the
Duke of Bordeaux's baptism; words by Baoul-
Lormian; full score . . . . . 90
383.*0 Salutaris in D, for four voices in chorus, with
acc., August; for the King's Chapel; full score,
published by S. Cherubini, in pianoforte score;
S. Richault, Paris . . . . . . 71
384. Agnus Dei in G, for four parts in chorus, tvith
acc., August. For the King's Chapel . 13
385.*MASS IN B FLAT, No. 10, short, and for four voices
in chorus, Oct.-Nov.; for the King's Chapel ;
full score; pianoforte score, S. Richault, Paris 50
1822, 386. Litanies of Our Lady in E flat, for four parts; full
score. For the King's Chapel ; mentioned by
De Toulmon . . . . . . . 35
387. O Fons amoris, hymn for tenor solo, with choruses
interspersed, January; for the King's Chapel ;
full score ; Hasslinger, Vienna . . . 26
388.*Sanctus in A major, with the Hosanna in
time, to be substituted for that in the D
minor Mass; full score. The present grand
Sanctus ? (marked by Cherubini as published) 6
389-91."Pieces for the Conservatoire competition, i.e.
two solfeggi on all the keys and for singing
respectively; (389) a chant pour le concours
d'harmonie mis en partition; (390) an air for
the hautboy; and (391) one for the clarinet;
piano . . . . . . . . 16
DD
402
Memorials of Cherubini.
c
2
?
No. of
Year. No.
Title and Description of the Work.
pp. DIS.
1822. Solfeggo in all the keys, for the examination of
the Conservatoire students in July; fig. bass .
1823. Solfeggo in several keys, for the examination of
the Conservatoire students in January; fig. bass 2
Solfeggo with changes of key, for the examina-
tion of Conservatoire pupils on June 12th; fig.
bass . . . . . . . . . 2
392. L'Amant trompé, romanza for Malle. C.'s album,
July 10th . . . . . . . -
Solfeggo with changes of key, for competition of
Conservatoire pupils on July 11th; fig. bass.
Solfeggo for Conservatoire singing competition on
July 13th; fig. bass . . . . .
Solfeggo for the Conservatoire competition for
vocalisation on July 14th ; fig. bass . .
393. Bassoon piece, for the competition on July 18th;
fig. bass, with the above solfeggi taken from the
first two solfeggi in this section;. misprint in
catalogue, for 1825 read 1843 . . .
394. Le bon Medor, romanza for M. Bérat's album,
September 2d; pianoll . . . . . .
395. Kyrie in C minor, for four parts, for grand orches-
tra; for the King's Chapel; fuull score . .
396. Lætare Jerusalem, motet for Lætare Sunday,
recits. and choruses for grand orchestra, Nov.
16; full score ; for the King's Chapel . . 62
397. Stanzas for the Duke of Angoulême's return, with
accompaniment, Nov. 27; taken from No. 48;
piano . . . . . . . . 2
398.*Inclina Domine, introit for four parts, with grand
orchestra, Dec. 16; for the King's Chapel . 21
1824. 399. Exaudi Domine, introit for four parts, recit. and
chorus; for the King's Chapel; full score; men-
tioned by De Toulmon. . . . . 17
400.*Adjutor et susceptor meus, chorus; mentioned by
De Toulmon; full score . . . . . 10.
401. Adoremus, hymn for three tenors soli, in print
five pages · · · ·
-
11 There is some misprint here in the original Catalogue. We read
‘forme recueil avec le No. 276; ' there is no such number.
20
.
Catalogue of Works.
403
c?
?
?
Year. No.
No. of
Title and Description of the Work.
pp. MS.
1824.
Solfeggo on all the keys, for examination of Con-
servatoire pupils on Jan. 14; fig. bass . . 2
Solfeggo, with changes of key, for ditto, on June
11; fig. bass . .
Solfeggo, with ditto, for the Conservatoire compe-
petition on July 17; fig. bass . .
402. Clarinet piece for the competition, July 20; fig.
bass. . . . . . . . .
1825. *Solfeggo, with changes of key, for the examina-
tion of the Conservatoire classes, Jan. 13th;
full score . . . . . . . 2
403.*MASS IN A (CORONATION), No. 11, for three parts,
for the crowning of Charles X. at Rheims,
May 29, finished April 29. Besides the usual
portions of a musical Mass, i.e. Kyrie, Gloria,
Credo, Sanctus, o Salutaris (for Benedictus,
according to the French custom, the words of
the Benedictus being sung with the Sanctus
before, not after, the Elevation), and Agnus Dei,
there is an offertory, including the Christum
sempiternum in F; Propter veritatem in C;
and the Confirma hoc Deus in F; the whole
work, with accompaniments for grand orchestra,
full score, as also the Communion (instru-
mental) March; published as a four-part Mass
by Novello . . .
. . 80
404. Christum sempiternum, offertory; mentioned by
De Toulmon, offertory for three voices; not,
however, as being the same as that in the above
Mass; full score . . . . . 17
*Solfeggo, with changes of key, for the examination
of the Conservatoire classes, July; fig. bass. 2
*Solfeggo, with changes of key, for the competition
of Prizes at the Conservatoire, composed
· July 19; fig. bass . .
405. Trio for Mme. M. fête, St. Charles's Day, com-
posed Nov. 4, without accompaniment . .
1826. *Solfeggo, with changes of key, for the examina-
tion of the Conservatoire classes; fig. bass. 2
No. 405 and above three solfeggi taken from 1st solfeggo in 1826.
404
Memorials of Cherubini.
PP. MS.
10
20
Year. No.
No. of
Title and Description of the Work.
1827. 406.* O Salutaris, for bass solo, with accompaniment;
for the King's Chapel; full score. Published
by Salvador Cherubini. S. Richault, Paris,
pianoforte score . . . . . . 5
407.*0 Salutaris, for four voices soli, two tenors and
two basses, without accompaniments, finished
March 30; published by the same; full score.
S. Richault, Paris, pianoforte score . 3
*Solfeggo, with changes of key, for examination of
classes, on June 12; fig. bass; taken from 1st
solfeggo in 1825 . .
1827. *Solfeggo, with changes of key, for ditto, in January;
taken from No. 494 . . . . .
408. O Salutaris, for three voices soli, two tenors and a
bass, without accompaniment, composed Jan. 9,
for Boieldieu's marriage, celebrated at the
church on the 23d. This hymn was subse-
quently executed, with accompaniments, at the
Royal Chapel. . . . . . . 4
*Solfeggo, with changes of key, for examination of
classes, composed 13th June . . .
1828. *Solfeggo, with changes of key, for the examination
of classes, composed 228 May; fig. bass 3
*Solfeggo for the Solfége competition, composed
16th June; fig. bass . .
. *Solfeggo for the singing competition, composed
3d July; fig. bass . . . . . .
409. Piece for Baillot's album, 9th Sept.; quatuor . 5
*Solfeggo, with changes of key, for examination of
classes, on Nov. 30; fig. bass. . . .
No. 409 and the above five solfeggi taken from 1st solfeggo in 1825.
410. O Filii, hymn arranged for solo and chorus;
mentioned by De. Toulmon . . . . 2
1829. 411*New Adagio, composed in March, to complete
the second quartet in C, composed upon the
symphony in G, written in London; quartet.
Kistner, Leipsic; Pacini, Paris; dedicated to
Baillot . . . . . . . . 26
*Solfeggo, with changes of key, for the examination
of classes, June 5; fig. bass . . . . 2
erng
20
Catalogue of Works.
405
Year. No. Title and Description of the Work.
No. of
pp. Ms.
1829. *Solfeggo, with changes of key, for the Solfége
competition, composed in July; fig. bass : 2
412. Canon for three voices, composed July 4, for
Dr. C. of Bologna (given him on the 4th
August). . .
413. Sciant gentes, motet for Sexagesima Sunday, for
four voices, with accompaniment; full score.
For the King's Chapel . . . . . 36
*Solfeggo, with changes of key, for the examina-
tion of classes, Dec. 7; taken from the two sol-
feggi of 1829; the reference in the original
catalogue ‘127' should be “ 227;' fig. bass . 2
414. Esto mihi, motet for Quinquagesima Sunday, for
four voices, with accompaniment; for the
King's Chapel; full score . . . . 42
1830. *Solfeggo, with changes of key, for the examina-
tion of classes, May 25 ; fig. bass copy.
*Solfeggo, with changes of key, for the Solfége
competition, June 20; fig. bass copy
*Ditto, with ditto, for the examination of classes,
Nov. 19; fig. bass copy . . . . .
1831. 415. New March, substituted for that of the Night
Patrol in the third act of Faniska, May 15;
quat. . . . . . . . . 2
*Solfeggo, with changes of key, for examination of
classes, May 13 ; fig. bass copy; and *ditto,
with ditto, for the Solfége competition, 23d
June; both taken from the solfeggi of 1830 ;
fig. bass copy . . . . . . . 2
416. Introduction to La Marquise de Brinvilliers, a
pasticcio (words by Scribe and Castil-Blaze), by
Cherubini, Auber, Batton, Berton, Boieldieu,
Blangini, Carafa, Hérold, and Paër, repre-
sented at the Opéra Comique, 31st October.
Introduction finished 29th September . .
1832. *Solfeggo, with changes of key, for the examina-
tion of classes in December; fig. bass; taken
from the solfeggi of 1830 . .
1833. 417. ALI BABA, twenty-fifth opera, in four acts, also en-
titled 'Hali Baba; ou les Quarante Voleurs,' an
406
Memorials of Cherubini.
No. of
Year. No.
Title and Description of the Work.
pp. MS.
1833. opera, in three acts, begun, says Cherubini, long
ago, now completed in four, with a prologue.
The work is to some extent founded on Kour-
kourgi, and was represented at the Grand Opera,
for which it was written, July 22; full score;
overture full score, Breitkopf and Härtel,
Leipsic. The publishers in Paris refused to
print the whole opera . . . . .1000
*Solfeggo, with changes of key, for the half-
yearly examination in December; fig. bass : 2
1834. 418. Chansonette for M. A. de B.'s album, Jan. 20 . -
*Solfeggo, with changes of key, for half-yearly ex-'
amination of June; fig. bass . . . 2
Ditto, with ditto, for the competition of July; the
above, Nos. 531-2, taken from Nos. 520-22 ; fig.
bass . .
419. *Third quartet in D minor, finished July 31;
quartet. Kistner, Leipsic; Pacini, Paris.
Dedicated to Baillot . . . . . 39
1835. 420. Vive le bric-à-brac, canon for two voices, for
Sauvageot, Jan. 15 . .
421. Fourth quartet in E, begun Sept. 1834, finished
12th February, 1835; quartet . . .
*Solfeggo, with changes of key, composed March
26, for half-yearly examination in June; fig.
bass; and *ditto, with ditto, composed 30th
March, for the prize competition in August;
fig. bass; both taken from the solfeggi of
1830 . . . . . i . 2
422. Marches régulières d'harmonie pratique dans la
composition; mentioned by De Toulmon; no
date given, probably part or whole of Treatise
on Counterpoint and Fugue; letter-press by
Halévy; published in this year. M. Schlesin-
ger, Paris . . . . . . . 90
423. Italian arietta, for an album, April 16; piano . 2
424. Fifth quartet in F, begun Feb. 25, finished 28th
June; quartet . . . . . . 23
425. Italian arietta for Mme. B.'s album, 20th Sept.;
fig. bass copy, Montlignon . . . . 2
Catalogue of Works.
407
pp. MS.
is
link
D
No. of
Year. No. Title and Description of the Work.
1835. *Solfeggo, with changes of key, composed in Nov.
for the Dec. examination. Paris. . .
1836. *Solfeggo, with changes of key, composed May 15,
for the half-yearly examination; fig. bass . :
*Ditto, with ditto, composed June 2:2, for the prize
competition; fig. bass . . . .
The above three solfeggi taken from the solfeggi of 1830.
426.*REQUIEJ IN D MINOR, No. 2, for three men's
voices (two tenors and one bass), begun in Jan.
or Feb., finished at Montlignon, Sept. 24; full
score. Dies Liæ, ex. 19th March 1837, at
the fifth Conservatoire concert; the whole
work, on 25th March 1838. Frey, Paris . 88
18:37. 427. Sixth quartet in A minor, begun 4th July 1835,
finished 22d July 1837; quartet. Paris : 30
*Solfeggo for half-yearly examination of classes in
June, composed May 5; fig. bass . . . :?
*Solfeggo for prize competitions in July; fig. bass 2
The above two solfeggi taken from the solfeggi of 1830.
428. Quintet in E minor, begun July 30, finished
October 28; quintet . . . . .
*Solfeggo for half-yearly examination of classes in
December; fig. bass . . . . . 2
1938. *Solfeggo for half-yearly examination of classes in
June; fig. bass . . . . . . 2
*Ditto, for the competition of July; fig. bass .
*Ditto, for half-yearly examination of December ;
fig. bass . . . . . . . 2
The three solfeggi of this year taken from the solfeggi of 1830.
1839. 429. Arietta for an album, 1st Jan. . i . -
[Here Cherubini's own record ends, but De Toul-
mon adds the rest that he composed.]
*Solfeggo, with changes of key, for examination in
June; fig. bass . . . . . .
*Ditto, with ditto, for the competition; fig. bass.
*Ditto, with citto, for the Dec. examination; fig.
bass . . . . . . . ?
1910.
*Ditto, with ditto, for the June examination; fig.
Ditto with hitta en
bass . . . . . .! 2
2012
408 Memorials of Cherubini.
No. of
pp. AS.
?
-
Year. No. Title and Description of the Work.
1840. *Solfeggo, with changes of key, for the competi-
tion; fig. bass . . . . . .
*Ditto, with ditto, for the Nov. examination; fig.
bass . .
1841.
*Ditto, with ditto, for the May examination; fig.
bass . . . . . .
*Ditto, with ditto, for the competition; fig. bass .
*Ditto, with ditto, for the Dec. examination; fig.
bass ..
1842. 430. Canon, words and music, composed by Cherubini
early in January, for Ingres, wlio had painted
Cherubini's portrait, now in the Luxemburg.
si
20
ANALYSIS OF THE CATALOGUE.
THE above 4301 works, or sets of works, may be
divided into the two great divisions of secular and
sacred music, of which the first division takes 316
pieces and the second 114. Out of all the works
only about 80 have been published. Cherubini
composed 62 detached Airs, 48 Romanzas, 36
Hymns, 25 Operas, 20 Antiphons, 15 Nocturns, 14
detached Kyries, 14 Choruses, 14 Duets, 11 Masses,
11 Cantatas, 11 Marches, 11 Dances; 10 Sonatas, 9
Terzettos, 7 Motets, 7 Pas redoublés, 6 instrumental
Quartets, 5 detached Canons, 4 Litanies, 4 detached
operatic Finales, 4 Recitatives, 4 sets of Solfeggi (in
all over 160), 4 Rondos, 4 Odes, 3 detached Sanctus,
3 Psalms, 3 contributions to Pasticcios (not counting
here small contributions to works), 3 fragmentary
1 The numbers in Cherubini's Catalogue reach to 230.
Catalogue of Works.
409
compositions, 3 Ariettas, 2 Intermezzos, 2 Lament-
ations, 2 Madrigals, 2 vocal Quartets, 2 detached
Credos, 2 Entr’actes, 2 Requiems, 2 Agnus Dei, 2
Glorias, 2 Album pieces, 2 War-songs, 2 Hautboy
pieces, 2 Bassoon pieces, 2 Table pieces, 2 Introits,
2 Clarinet pieces, 1 Oratorio, 1 vocal Sextet, 1 Cha-
conne, 1 Canzonet, 1 Pianoforte capriccio, 1 Gradual,
1 Offertory, 1 Operatic introduction, 1 Chansonette,
1 instrumental Quintet, 1 Overture, 1 Symphony, 1
Ballet, 1 Minuet, 1 Pianoforte fantasia, a set of
Canons, a set of Canzonets, a Course of Harmony,
a chant for the Conservatoire vocalisation, a Collec-
tion of figured basses, Airs in Sarti's operas, the
first Act of an unfinished opera, and Stanzas for
the Duke of Angoulême. Total, 430.
ADDENDUM.
SOME works have been wrongly ascribed to Che-
rubini, such as Struntz’s Les Courses de Newmarket,
connection with some performances of Les Deux
Journées to take place in Paris. Grétry, Pacini, Pro-
piac, Champein, Blaise, Mengozzi, Anfossi, Fontana,
Gandini, Raimondi, Ricci, Pedrotti, Generali, and
Arieta have each written a work so entitled; but Clé-
ment (see Dictionnaire Lyrique) makes no mention of
an Isabelle by Cherubini. Other works are so vaguely
le so
410
Memorials of Cherubini.
alluded to as to raise a doubt as to their existence.
Thus Fétis speaks of several operas' among Cheru-
bini's juvenile works, and Denne-Baron says that
Cherubini added 'religious pieces' to some of Sarti's
works; this too in the year (1784) when both master
and pupil almost simultaneously quitted Italy, the
one for Russia, the other for England. The follow-
ing compositions distinctly mentioned as Cherubini's
are here recorded, with authorities :
1
1795? Hymne à la Victoire, words by Flius, sung at the Grand
Opera. Castil-Blaze, L'Académie Impériale.
1796 Il Perruchiero, stated to be probably an adaptation from
some old intermezzo. Niederrheinische-A[usik-Zeitung
notice. Musical World for 1862.
1799? Hymne funèbre sur la mort du Général Joubert, words
by Chaussard, sung at the Grand Opera. Castil-Blaze,
L'Académie Impériale. The general died in 1799.
1813 Chorus in L'Oriflamme, a pasticcio, in one act, by Mélul,
Paër, Berton, and Kreutzer, performed at the Grand
Opera, January 31, 1814. Picchianti and Gamucci.
See Notizie and Intorno.
1816? Laudate Dominum, for four voices and orchestra. Hass-
linger, Vienna. Denne-Baron, Nouvelle Biographic
Générale, 1856. The Offertory of the Mass in C?
1810? Lauda, anima mea, Dominum, for soprano and orchestra.
Diabelli (now Spina), Vienna. The same.
1810? 0 Deus, ego amo te, solo for alto, quartet, double bass.
The same.
1816? Offertory in E flat. The same.
1816? Pater noster in G. Diabelli (now Spina), Vienna. The
same as the well-known one, transposed ? The same
authority.
1816? Petite Messe de la Sainte Trinité sur les chants de
l'Eglise, mesurée à trois voix avec orgue. Published by
Simrock, Bonn.
Catalogue of Works.
411
MUSIC COPIED BY CHERUBINI'S OWN HAND, COMPOSED
BY VARIOUS COMPOSERS.
1. Marcello's Psalms, vol. i. pp. 446; vol. ü. pp. 336; Vol. üi.
2. Collection of Antonio Lotti's madrigals, with Tantum Ergo big
Sacchini, and a Salve Regina for solo by Francesco Majo.
3. Latin pieces by various authors, with explanatory table,
pp. 446.
4. Pergolese's Salve Regina and Cantata, pp. 120.
5. Three motets, by Pergolese; Jomelli, and Durarte, pp. 172.
6. Clari's Duets and Trios, vol. i. pp. 92; vol. ï. pp. 102;
vol. i. pp. 124.
posers, with a biographical notice of Handel at the begin
ning, by Cherubini, pp. 193.
8. Three pieces of Jomelli, and two of Durante. One of the
last, pp. 24, is certainly copied by Cherubini, but the others
are doubtful.
9. An oblong manuscript, with table, of Père Martini's canons,
pp. 90.
10. Jomelli's Miserere, for two voices, pp. 104.
11. Giuseppe Sarti's 'Saggio superficiale sopra il principio della
musica,' pp. 24.
12. Giuseppe Sarti's "Compendio scientifico del canto fermo, o siâ
de' toni ecclesiastici,' pp. 17.
13. Another oblong manuscript, entitled “Esempii di Contrap:
punto rigoroso di varii autori, pp. 61.-
DUPLICATE MS.
Year.
Overture to Crescendo ; full score, manuscript, pp. 25 ,-
Overture to Füniska, manuscript . .
Separate parts of the sixth quartet in A minor, manuscript,
pp. 43 . . . . . . . . . 1811
1. Gradual, ‘Propter veritatem,' the offertory in the Corona-
tion Mass in A, pp. 11, for three voices; full score . 1825
2. Confirma hoc Deus, Mass in A, for chorus, pp. 21 printed ,
3. Marche Religieuse, with instruments, Mass in A
412
Memorials of Cherubini.
NOTE.
In connection with the sale of Cherubini's manu-
scripts, I.venture to insert the following from the
Musical World, 1860, vol. xxxviii. p. 172:
“Those artistes and amateurs who have a passion
for works not printed, or published, of a great master
will learn with pleasure that the compositions of the
renowned composer Cherubini, the greatest contra-
puntal writer that ever lived, are now for sale at Paris,
by his widow, in manuscript, consisting, in his own
handwriting, of overtures in score, masses, operas,
sacred pieces, cantatas, orchestral pieces, quartets,
quintets, solfeggi, &c. &c., comprising nearly three
hundred works, composed between the year 1773 and
1841. Here is a field for musical societies, students,
and directors of music, to produce novelties, and
study one whose works, hitherto known and printed,
are patterns of excellence in every point of view,
and held up as models of perfection to the student.
The directors of the Philharmonic Societies, Musical
Unions, and Sacred Harmonics, &c., should look after
the works. They will find overtures, chamber-music,
oratorios (?) never produced before the public, and
what better name could they have than the renowned
one of Cherubini to grace?' &c. &c.
Note.
413
We read in Cherubini's Catalogue, 'Les per-
sonnes qui desirent devenir acquéreurs pourront
s'adresser à M. Petit, ancien éditeur, demeurant Rue
St. Thomas du Louvre No. 13.
A notice from Cherubini's widow also appeared
in the Musical Times with reference to the sale.
M. Girod expresses his regret at the dispersion of
the MSS.
APPENDIX.
The following are copies of the official certificates of Cherubini's
birth and baptism, for which I am indebted to Picchianti:
Certificasi da me infrascritto ministro delle fedi di nascita
che si conservano nel reggio uficio dell'Opera di Santa Maria
del Fiore, della città di Firenze, come nei registri di battezzati
dell' Insigne Oratorio di San Giovan Battista, della sudetta città
fra gli altri nomi apparisce l'appresso Luigi Carlo Zanobi Salva-
dore Maria, del signor Bartolomeo di Marco Cherubini, e della
signora Verdiana di Filippo Bosi, nato il dì quattordici settembri
mille settecento sessanta, il primo minuto della mattina,' &c.
'Io infrascritto battezziere dell'insigne Basilica di San Gio-
van Battista di Firenze attesto essere stato battezzato a questo
sacro fonte, il di quindici settembre mille settecento sessanta, un
bambino figlio del sig. Bartolomeo di Marco Cherubini, e della
signora Verdiana di Filippo Bosi, del popolo di San Pier mag-
giore, con i nomi di Luigi Carlo Zanobi Salvadore Maria,' &c.
More recently Gamucci obtained the following certificate,
which confirms the above :
Opera di S. M. del Fiore, Firenze,
30 Giugno 1869.
“Fede per me Ministro nell' Uffizio dell'Opera suddetta qual-
mente ai Registri dei Battezzati nell' Insigne Basilica di San
Giovan Battista di questa città, che si conservano in questo
Uffizio : apparisce essere stato battezzato a quel fonte, il dì 15
settembre mille settecento sessanta, un bambino figlio del signor
Bartolomeo di Marco Cherubini, e della signora Verdiana di
Filippo Bosi, nato il dì 14 settembre detto 1760, al primo minuto
della mattina, nel popolo di San Pier Maggiore, a cui sono stati
imposti i nomi di Luigi Carlo Zanobi Salvadore Maria.
Bollo a secco.)
'Il ministro, L. Bocci.'
Appendix.
415
II.
The enormous length of the Mass in D minor will be seen at
once by comparing it with some other masses of his own, and
with Beethoven's:

Mass in
D minor
(1811)
Beethoven's
Mass Mass | Mass
in T in D in C
(1808: (1819)|(1810)
Mass in 6
(Coronation)
(1819)
l Mass in A Mass Mass in
(Coronation) in C B fiat
(1825) (1816) (1921)
220
Bars Bars
Kyrie . . 437
Gloria . . $9.5
602
Credo ..065 632
Sanctus . 06 53
Bars
225
567
465
Bars
131
350
370
48
Bars
117
339
400
Bars
133
279
348
Bars
57
145
193
7S
Bars
Kyrie . . 101
Gloria, . 503
Credo i. 433
Sanctus &
O Salu- $105
taris )
Agnus Dei. 61
Benedictas 130
Agnus Dei. 367
151
371
158
433
145
182
TOO
Total , 2563
2083
1929 1256
1205
1101
1033
524
It may be remarked from this table that Cherubini has writ-
ten the longest Kyrie, Gloria, and Credo; Beethoven the longest
Sanctus, Benedictus, and Agnus Dei. Cherubini's Coronation
Mass in A artt. Mass in C include offertories; but I have not
included these, because the Offertory, being a prayer which varies
in different masses, is left open for any composer, forming no
part of most musical masses.
III.
Je, soussigné, reconnais avoir reçu la somme de mille francs
pour le prix de cinquante exemplaires, à vingt francs chaque, de
ma deuxième Messe de Requiem pour voix d'hommes [here follow
some words scratched out].
Compositeur, membre de l'Institut, &c.'
The following letter was written by Cherubini to some friend
about this time:
‘Mon cher et ancien Ami,--J'avais été quelque temps sans
416
Memorials of Cherubini.
vous envoyer ce que je reçois à l'Institut, comme j'avais fait
jusqu'à présent, pour faire un échange des annales des voyages
que vous avez eu la complaisance de m'envoyer. Or comme j'ai
une bonne recolte de pièce de l'Institut, je m'empresse de vous les
adresser. Agréez, mon cher ami, la nouvelle assurance des senti-
ments d'estime et d'attachement de votre dévoué
'L. CHERUBINI.
• Paris, 10 Aug. 1836.'
INDEX.
A ces traits je connois ta rage,' duet | Allegri, 325.
in Lodoïska, 56.
Almanzor, character in Les Abencé-
A leurs yeux je dérobe, madame ! rages, 209.
couplets in Les Deux Journées, Amazones, Méhul's Los, 166.
126.
Ambigu Comique, Théâtre de l', 62,
A little boy, a Savoyard,' romanza in Amedee, 277. *
the Escapes, 159.
Amis de la Patrie, Théâtre des, 62.
'A voi torno Sponde amate,' air in Amour Fugitif, L', see Anacréon.
Ifigenia, 29.
Amphion, 26; Catalogue, 384.
Abencérages, Les, 117, 166; account Anacréon, 53, 117; account of, 135,
of, 206; 362.
139, 208, 307, 332; Catalogue, 391,
No. 241.
79, 309.
Anfossi, 22, 41, 409.
Academy of Stockholm, 214.
Angelina, character in Les Deux
Academy of Music, Royal, see Grand Journées, 108, 124.
Opéra.
Angoulême, Duke of, 282.
Achille à Scyros, account of, 139 ; Annals of the Institute, Miel's, 164.
328; Catalogue, 392, No. 246. Antigoné, Mendelssohn's, 96.
Achille in Sciro, Sarti's, 12.
Acis and Galatea, Handel's, 57 note. Antonio, character in Les Deux Jour.
Adam, Adolphe, 5, 76 note, 185, 193, nées, 108, 115, 124.
245; on Cherubini's character, 264; | Apollo, 141,
anecdote, 273.4; 374.
Arabian Nights, 325.
Adelaide, Princess, 44.
Argentina Theatre, Rome, 20.
Adjutor, 237.
Arieta, 409.
Adriano in Siria, 17; Catalogue,'382. Armand, character in Les Deux Jour..
Agnesi, Signor, 124.
nées, 51, 108, 114, 124-5.
“Ah, mon ami, de notre asile,' duet Armida, 17; Catalogue, 382.
in Epicure, 130.
Arrêts, Les, 140; Catalogue, 392.
'Ah, vous rendez la vie,' chorus in
Démophon, 35.
Artistes, Théâtre des Jeunes, 62.
Aignan, 106
Arts, Théâtre des, 61.
Albrechtsberger, 163.
Athanais, character in Anacréon, 135.
Alcestis, Glück's, 30, 300.
Athenceum, on Les Deux Journées,
Alcione, Marais', 131.
126, 128 ; 2d Requiem, 361; 365.'
Alcune Notizie, Gamucci's, 374.
Attwood, 124.
Alessandro nell' Indie, 22; Catalogue, Au plaisir de voir tant de charmes,
air in Démophon, 34.
Ali Baba, 64, 153; account of, 325, Auber, 51; Cherubini's pupil, 75;
357, 369 ; Catalogue, 405,
on Medél, 101; 169 ; Mass in F,
Halévy, 332.
] Autobiography, Spohr's, 186, 241.
EE
418
Index.
Ave Maria, 187, 229, 372; Catalogue,
398, No. 344.
Azevedo, 27.
Azzolino, 368-9.
Babini, 19, 24, 26, 217.
Babylon, Mass in Fat Hôtel de, 176.
Bac, Rue du, 62.
Bacchanalian chorus in Anacréon,
137.
· Bacchus, Hymn to, 237.
Bach, 95 ; 231, 232; Passion, 234,
Baillot, 3; Cherubini's pupil, 75, 176,
193, 211, 215, 252, 321-3, 334; let-
ter on Cherubini's death, 365.
Balesca, Signor, 124.
Balletti, Mame., 39.
Banti, Mdme., 39.
Baour Lormian, 248.
Barbiere, Il, Rossini's, 129.
Barizel, 276.
Bartolini, 365, 367.
Basevi, 369.
Basili, 41.
Bathille, character in Anacréon, 135.
Batton, Cherubini's pupil, 75, 264,
324, 361.
Battu, 276.
Baudiot, 176, 252.
Bauermeister, Malle., 124.
Bayard à Mézières, 210; Catalogue,
395.
Beaux-Arts, 307-8, 310, 355,
Beethoven, 3, 45, 60, 81, 94, 110, 124,
131, 140, 142, 149, 150-1, 153; Che
rubini's relations with, 160-3; 168,
183-4, 188, 196, 200-1, 203, 205,
211, 219, 224, 226, 237, 244-6, 262,
277-8; letter to Cherubini, 282-4;
285, 305, 318, 338, 370, 375, 378.
Begassé, 246.
Begrez, 229-30.
Belisarius, 329.
Benedict XIV., 189.
Biagi, 368-9.
Bienaimé, 315.
Biographie Nouvelle des Contempo-
rains, 194.
Biographie Universelle des Contempo-
rains, 297.
Biographie Universelle des Musiciens,
194, 217, 250, 294.
Biographié Universelle, Michaud's,
63, 105.
Biographie Universelle et Portative,
60, 397.
Biolti, 241.
Bizzarri, Cherubini's master, 6, 10,
266.
Blaise, 409.
Blanche de Provence, 117, 247, 350 ;
Catalogue, 401.
Blangini, 245, 252, 324.
Blangy, 275.
Body Guard, Royal, 217.
Bohrer, 246, 318.
Boieldieu, 51, 63; Cherubini's pupil,
75-6; 107-8, 164, 210, 245, 247-8,
251, 264, 269, 271, 286, 311, 313;
O Salutaris for marriage of, and
letter of Cherubini to, 316; Che-
rubini's discourse at the funeral of,
334-6.
Boigne, De, on Ali Baba, 329.
Bonaparte, see Napoleon.
Bonet, 277.
Bordeaux, baptism of Duke of, 2478.
Bordogni, 252.
Bosi, 5.
Bouffons, the, 39, 42.
Bouilly, librettist, 110, 367.
Braun, Baron de, 145.
Breitkopf & Härtel, 156.
Briefe aus Paris, Reichardt's, 193. .
Brod, 215, 272, 275-6.
Browne, Sir Thomas, 93.
Bruguier, 138.
Brunswick, 241.
Bruyère, St. Michel, Baron de, let.
ter of Cherabini to, 258.
Bulk, 275.
| Buononcini, 24.
Buon-Umore, account of Les Deuoc
Bensoist, 254, 299. ini, 215, 216,326,
Bergère, Rue, 299.
Berlioz and Cherubini, 215, 231, 278,
Journées read in Hall of the, Flo-
rence, 129.
Burbero di Buoncore, II, 41,
Burney, Dr., 25, 28 note.
Buteux, 275.
Calife de Bagdad 76.
Campi, Mdme.. 143.
292, 297-9, 301-3, 305-7, 311-16, 326,
353, 355.7, 369.
Bernand, 355.
Bernard, 168.
Berquin, 247.
Berri,. Duc de, 230.
Bertin, 245, 354.
Berton, 51, 73; Cherubini's pupil,
75; 164, 210, 247-9, 251, 278, 286
311, 317, 322, 324, 335, :
Index,
419
Cara da voi dipende,' quartet, 22, 1 Clorinda, 303.
58; Catalogue, 386, No. 163.
Carafa, Cherubini's pupil, 75; 324, Cour de Lion, Grétry's, 36, 54.
369.
Coleridge, Mr. A. Ď., Life of Mo-
Caraman, M. de, 169.
scheles, 100 note.
Carignan, Prince de, 368.
Confortare,' Lesueur's, 287.
Casaboni, Signor, 124.
Conservatoire, 72.3, 75, 112, 133.4,
Casamorata, 368.9, 371.
136, 141, 163-4, 214, 249 ; Cheru-
Castil-Blaze, 4. 23, 28 note, 32, 51, bini director of, 250, 256, 262,
79, 129, 193-4, 140, 230,307, 321,324. 264, 273, 280, 297-9, 301, 308, 310, .
Castrucci, Cherubini's master, 6, 11. 314, 327, 335, 337, 357-9, 361.
Catalani, Mdme., 98.
Constance, character in Les Deux
Catel, 73, 164, 193, 210, 278, 285; Journées, 108-114, 124.5.
Cherubini's discourse at the funeral Corinne, character in Anacréon,
of, 322-4.
135.6.
Caverne, Lesueur's La, 65-6.
Coriolan overture, 83, 277.
Censeur, Le, on Medée, 100.
Coronation Mass in A, 184, 187, 217;
Chabrol, Count, 248.
Girod on the, 286-7; Catalogue,
Chafft, 276.
403, No. 403.
Champein, 409.
Coronation Mass in G, 218; Cata-
Chapelle-Musique des Rois de France, logue, 400, No. 371.
Corri, Haydn, 288.
Charles X., 216-7; Mass for the coro Cosa Rară, Martini's La, 41.
nation of, 286-7, 295; Catalogue, 403. Cour d'amour du Roi René, La, 317.
Charlotte of Naples, Princess, 230. Courses de Newmarket, Struntz's, 194.
Chasse du Jeune Henri, Méhul's over Covent Garden, Medea at, 124.
ture to La, 123.
Creation, The, 131, 142, 192.
Chaussard, 79.
Credo for eight voices, 163; Cata-
Chenier, 73, 78.
logue, 392, No. 253.
Cherubini, Bartolomeo, 5-7, 11, 66. Créon, character in Medée, 87-8, 90.
Cherubini, Mark, 5.'
Crescendo, Fétis on Le, 193; Cata-
Cherubini, Mdme., 80, 413.
logue, 394, No. 283.
Cherubini, Salvador, 80, 169.
Crescentini, 17, 24, 167, 191.
Cherubini, Verdiana, 5.
Cruvelli, Malle., 97.
Cherubini, Victoire, 80.
Czerny, 285-6.
Cherubini, Zénobie, 80, 333.
Chimay, Mdme. de, 169, 174.5. Dacosta, 176, 275.
Chimay, Prince de, 169, 175-6. Dalayrac, 63, 112.
Cholet, Malle., 135.
Dame Blanche, Boieldieu's La, 272.
Chorley, Mr., critique on Medée Damoreau, Mdme., 328.
quoted, 84, 99; on Spontini, 166. Damremont, General, 353.
Choron, 4; Cherubini's discussion Daniel, character in Les Deur Joure
with, 324.
nées, 108-124.
Cianchi, 129.
Dannreuther, M., on Cherubini, 4?.
Ciardi, 370.
Dans ma verte et belle jeunesse,'
Ciceri, 246-7.
trio in Anacréon, 136.
Cimarosa, 24-5, 28, 40-1, 59, 377. Dante, 318.
Circe, 38; Catalogue, 385.
Darcourt, 109.
Cité, Théâtre de la, 62.
Dauphiné, Rue, 62.
Clapisson, 280, 369.
Dauprat, 252, 275-6.
Clari, 63, 217.'
Daussoigne, 252
Claudel, 270.
Dauverné, 275.
David, 93, 168-9.
Deux Journées, 125; on Cheru. David, Málle., letter of Cherubini,
bini's sacred music, '187-8; 211, 259.
380, 409.
David, Pierre, 365..
Clementi, 165.
De Profundis, Halévy's, 231.
420
Index.
62.
Délassements Comiques, Théâtre des, | Dumont, 362.
Duomo, Florence, cantata in the, 9.
Delavigne, 281.
Dupont, 277, 305.
Delcambre, 176, 252.
Duport, 139, 176, 276.
Della Maria, 59.
Delsarte, 209.
Durante, 12, 324.
Demetrio, Il, 24; Catalogue, 384, Duret, 80.
Nos. 95-8.
Duvernoy, 176, 193.
Démophon, Vogel's, 31-2.
Duveyrier-Mélesville, 65.
Démophon, 27, 31; Fétis on, 33, 52,
100; overture with frying-pans, Ecce Panis, 186; Girod on the, 228;
247; 307 ; Catalogue, 385, No. 135.
Catalogue, 398, No. 343.
Demoustier, 130.
Edinburgh Review, on Berlioz, 298.
Denne-Baron, 4, 5, 13, 20, 22, 28 Egmont överture, Beethoven's, 277.
note, 68-9; on Les Deux Journées, Eighteenth of Fructidor, Ode on the,
112, 139, 169, 175, 192, 209, 410. 78; Catalogue, 389, NO. 215.
Départ, Chant du, Méhul's, 108. Eler, 73, 93, 249, 252.
Derniers Souvenirs, A. Adam's, quo. Elisa, 48; account of, 68; 80-1, 100,
ted, 265; Halévy's, 322; Ali Baba, 112, 111, 130, 280, 307, 362, 370;
327.
Catalogue, 388, No. 209.
‘Des nos coeurs purs,' quartet in Ella, Professor, on Les Deux Journées
Anacréon, 136
overture, 120; 229, 153, 166.
Desaugier, 41.
Eloy, 135.
Deschamps, 365.
Elwart, 66, 105, 279, 281, 359.
Desfaucherets, 107.
Encyclopédie Méthodique, 38 note.
Desmares, Malle., 108.
'Enfin j'ai vu naître l'aurore,' air in
Désorgues, 77.
Les Abencérages, 209.
Desiaux, 31-2.
Epicure, 117; account of, 130; Cata-
Dessaules, 109.
logue, 391, No. 230.
Deux Journées, Les, 45-6, 48-9; ac Erard, 246, 262-3.
count of, 108; 130, 132, 137, 159, Eroicá Symphony, 276-7, 280.
242, 260, 264-6, 272, 298, 307, 316, Escapes, Attwood's, 123-4, 159.
332, 362; a performance of, 365-7; 'Eternoiddio,'prayerin Faniska, 157.
Catalogue, 391, No. 229.
Etioles, Mdme. D', 27.
Deux Jumeaux, Les, 41.
Etudes sur Cherubini, Fétis', 177.
Devrient, Mdme. Schröder, 97. Euphrosine, Méhul's, 130.
Devrient, M. E., 297, 115 note, 331. Euryanthe overture, Weber's, 338.
Dictionnaire Historique, 4.
Dictionnaire Lyrique, 126.
Faiblas, 54.
Didone Abbandonata, La, 165. Falcon, Mdme., 328.
Dirce, character in Medée, 86-7. Faniska, 45, 65, 123, 144, 149; ac-
Dirichlet, 230.
count of, from the Harmonicon,
Dixon, Miss, 124.
quoted, 154; 166, 307, 328, 362;
Dominick, 176.
Catalogue, 392, No. 254.
Don Giovanni Tenario, Il, 41.
Fantacchiotti, 368, 371, 373-4.
Don Giovunni. Mozart's ſl. 30. 48. Farm-st. Church, 2d Requiem at, 338.
‘Dors, noble enfant, tendre fleur d'es Favart Theatre, 52-3, 59, 61, 130.
pérance,' chorus in Blanche de Fawcett, Mr., 124.
Provence, 117, 247-8.
Felici, Cherubini's master, 6, 8, 9.
Dossiou, 276.
Felici, Alessandro, Cherubini's mas-
Dourlen, 252.
ter, 6; his school, 8.
Dourlinski, character in Lodoïska, Fernand Cortez, Spontini's, 84.
54, 56-8.
Fétis, 3, 5-7, 14, 16-7; on Démo-
Dogen, Théâtre de, 62.
phon, 33; 39, 41, 48, 104; on Che-
Drury Lane, Les Deux Journées at, 123. rubini's melody, 117; on his opera-
Duchambge, Mdme., 175.
tic defects, 118; on Achille, 139,
Dugazon, 246.
151 ; on Mass in F, 177, 182, 188

Index.
42.1
on Le Crescendo, 193; 217, 249, 250, | George IV., 25.
253-4, 294, 302, 410; on Cheru Georget, 109.
bini's quartets, 318; 333, 335, 337. Gerber, 5, 141, 145.
Feydeau Theatre, 44, 53, 59, 62, 65, Germain, character in Elisa, 69, 70.
67, 107-8, 194.
Gervasoni, 4.
Fidelio, 54, 95, 124, 149, 151; Che Giannina' e Bernardoni, Paisiello's,
rubini's style to be seen in, 153, 160. 28.
Fiesolana, Via, 5, 66, 371.
Ginguené, 38 note.
Figaro, 30, 48, 160.
Girod, S.Í., on Cherubini's sacred
Filles St. Thomas, Rue des, 276. music, 189, 228-9, 235.6, 281-2; on
Fils de Bacchus, hymn in Medée, 92. Coronation Mass in A, 288, 293-4;
Finta Principessa, La, 24.
413.
Fioroni, 13.
Giulio Sabino, II, 25; Catalogue, 384,
Flins, 79.
No. 111.
Floreski, character in Lodoäska, 54-7. Giulio Sabino, Sarti's, 12.
Florestan, character in Fidelio, 126. Giuocatore, Il, 9.
Florian, 27.
Glück, 23-4, 30, 41, 45, 47, 49, 51, 60,
Florindo, character in Elisa, 69, 70-1. 81,93-6, 98, 151, 209, 242, 263,300-1,
'Flowers around thee strewing,'cho 324.
rus in The Escapes, 125.
Glückists, 52.
Foli, Signor, 124."
Glycère, character in Anacréon, 135.
Folies d'Espagne, Les, 107.
'God save Victoria,' Perfida Clori
Fontaines, Des, 169.
set to, 110, 119.
Fontana, 409.
Goethe, on Dev.c Journées libretto,
Framery, 38 note, 73.
110, 119.
Français, Théâtre, 61, 210, 246. Goguette, La, 206.
Francis II., 149.
Gonesse, 109.
Frascatana, Paisiello's La, 41. Gore, Mr., 19.
Fraternity, Hymn to, 77 ; Catalogue
Gossec, 63, 73, 79 ; Les Deux Journées
388, No. 206.
dedicated to, 109; 112, 164, 167, 193,
Freudenthaler, 245.
334.
Freïschutz, Der, Weber's, 124. Grand Opera, 32, 61, 108, 135, 164,
Funeral speeches by members of the 206, 241, 247, 325.6.
French Institute, 324 note; Che Grasset; 176.
rubini at Catel's funeral, 322-4; at | Grenie, 193.
Boieldieu's funeral, 334-6.
Gregoire, 215.
Grétry, 49, 54, 63, 73, 79, 112, 164,
Gaîté, Théâtre de la, 62.
167, 242, 263, 409.
Galland, 329.
Grotta di Trofonio, Paisiello's La, 41.
Gamucci, 4, 116, 129, 142, 210, 362, Grove, Mr. G., 24 note; on the Medlée
364-5, 374.
overture, 83.
Garat, 27, 252, 334.
Guérin, 195, 276.
Gandini, 409.
Guerouſt, on the Mass in A, 293-4.
Garaudé, 252.
Guglielmi, 41, 59.
Garcia, 245.
Guhr, 85.
Gardei, Mdme., 135.
Guillaume Tell, Rossini's, 137.
Gardel, 139.
Guillou, 275-7.
Garnier, 109, 335.
Guynemer, letter of Baillot to, 365,
Gasparin, 353.
367.
Gassmann, 162.
Gyrowetz, 163.
Gaveaux, 108.
Gazette Musicale de Paris, 332-4, 337, Habeneck, 176, 215, 245-6, 252; So-
356.
ciété des Concerts, 275-6; 279, 280,
Gazzaniga, 40-1.
338, 355-6.
Generali, 409.
Halévy and Cherubini's juvenile
"Gentem Francorum,'Lesueur's, 287. compositions, 10; 26, 29, 39; Che-
Geoffroy, 207.
rubini's pupil, 75; 76, 93, 206,
422
Index.
224, 226, 237, 239, 264, 270, 276, | Inno alla Primavera, 212; Cata-
231 ; on Cherubini, 267.9; 297, 326, logue, 396, No. 320.
329, 332, 336.7, 360.2.
Institut National de Musique, 73.
Halévy, Léon, 231.
Institute, French, 75, 79, 211, 213,
Handel, 24; Acis and Galatea, 50 249, 303.7, 317 ; funeral speeches,
note ; 63, 95, 98, 324-5.
324, 335, 362, 368-9.
Harmonicón, 25, 40; account of Fa Institute of Holland, 214.
niska in, quoted, 154 ; 194.
Instituto Musicale of Florence, 129.
Hauptmann, Mdme. Milder, 101. Invalides, Hôtel des, 335, 353.
Haydn, 27, 73, 109, 137 ; Cherubini Isabelle, 409-10.
and, 141-2, 149, 150 ; 162, 183-4, Isabey, 246.
177 ; Chant sur la mort de, 192; Iste Dies, 235; Catalogue, 398, No.
199, 200-1. 269, 280, 318, 324.
351.
Haydn-Verein, 162.
Italiana in Londra, Cimarosa's L', 40.
Faymarket, 24-5, 212.
Ivan, 245.
Hebrides overture, Mendelssohn's, 83.
Henri, 276.
Jadin, 193.
Henry, M., letter of Cherubini, 258-9. Jannard, Mdme., 135.
Heinefetter, Mdme. Stöckl, 97. Jason, character in Medée, 86-9, 90-1.
Henneville, D', 281.
Jausserand, 108.
Herklötz, 101.
'Je vais voir tout ce que j'aime,' air
Hermione, 303.
in Elisa, 70.
Hérold, 245, 324.
Jeremiah, Lamentations of, 9; Cata-
Herz, 297.
logue, 380, Nos. 10-11.
Hesse, 165.
Jesuits, The, 21.
Histoire de la Musique Religieuse, 187.
Jeunes Elèves, Théatre des, 62.
History of Music, Schlüter's, 186. * Jeunes filles aux regards doux,' air
Hoche, General, Dirge for, 78, 103-5, in Anacréon, 117, 136.
361; Catalogue, 390, No. 216. Jeunes filles et hergerettes,' chorus
Hoffmann, 81.
in Les Deux Journées, 124.
Holy See, 189.
Jeunesse, Fête de la, 78.
'Honneur au Dieu de la Vendange,' Joachim, Herr, 320 note.
Bacchanalian chorus in Anacréon, Jomelli, 217, 324.
137.
Joseph 11., 145.
Hope-Scott, Mr., 338 note.
Joseph, 45, 164, 166, 242.
Hôtellerie Portugaise, L', 106, 113, Josephine, Empress, 164.
_262; Catalogue, 390, No. 224. Joubert, Dirge for Ġeneral, 79; Ad-
Hottin, 215, 301-22
dendum, 410.
Howells, Miss, 124.
Jouy, 107, 164, 166.
Hummel, 142, 162, 183-4, 199,201, Jugement de Midas, Le, 242.
269 ; on Mass in A, 294.
Juive, La, Halévy's, 206, 336.
Hurteaux, 280.
Juliet, 108.
Hymm, Mdlle., 135.
July Revolution, 321.
'Jurons,' chorus in Lodoiska, 56.
İdalide, L', 20, 364; Catalogue, 384, Jury de lecture de l'Opéra, 108.
No. 93.
Jussieu, 169.
Ifigenia in Aulide, 29, 33; Cata-
logue, 385, No. 131.
Kalkbrenner, 365.
'Il veut périr,' trio in Elisa, 71. Kastner, 369'; on Cherubini, 376.
Imperial Dictionary of Biography, King Stephen overture, 277.
Mr. G. A. Macfarren quoted, 123, King's Chapel, 216, 263, 321, 324.
320.
Kölbal, 19.
Incledon, 124.
Kourkourgi, 64-5, 141, 153; Cata-
Inclina Domine, 282; Catalogue, logue, 388, No. 204.
402, No. 398.
Kreutzer, Lodoïska, 51-3; 58-9.
Indice Teatrale of Venice, 21. . Kreutzer, 170, 210, 215, 241, 243,
Ingres, 356, 359.
246-8, 252, 278.
Index.
423
Kuhn, Cherubini's pupil, 75.
Kummer, 318.
Lacépède, 73.
Lachner, 100.
Lacombé, Malle. 135.
Lafage, 5, 11, 25, 41, 77, 105,
107, 150, 207 ; on Cherubini's Con-
servatoire directorship, 253; on
Ali Baba, 331.
Lafont, 245, 248, 358, 362.
Lamare, 176, 318.
Lambert, 281
Lancry, Rue de, 62.
Langlé, 73.
Larochefoucault, Sosthène de, 276,
279, 308, 310."
Lauda Sion, 228; Catalogue, 398, No.
345..
Laudate Dominum, offertory, 226 ;
Catalogue, 396, NO. 325.
Laura, character in Elisa, 70-1.
Lauriston, Marquis de, 250, 252-3.
Lays, 32, 135-6, 252.
Lear, 90.
Leborne, Cherubini's pupil, 75.
Lebrun, 77.
Leclerc, 362.
Lecointe, 338.
Lectures, Professor Ella's, 167.
Lefebvre, 176, 193, 215, 252.
Legion of Honour, 211, 295, 361.
Lemoine, 245.
Leo, 12.
Léonard, 38-44.
Leonora, character in Fidelio, 126.
Leonora overture No. 3, 83; Cheru-
bini's remark on, 160-1, 277.
Leopold II., 6, 9, 11.
Leslie, Mr. Henry, 282.
Lesueur, 49, 51; La Caverne, 65, 73,
105, 112, 140, 164, 167, 185, 214-15,
242, 245, 249, 251, 263, 269, 278,
286-7, 297, 299, 302, 311.
Lethière, 304.
Levasseur, 176, 215, 246, 252, 328.
Lexicon der Tonlcünstler, Gerber's, 5,
141, 145.
Libon, 176.
Linnæus, 169.
Lipinski, 318.
Liszt and Cherubini, 285-6.
Livero, 246.
Locandiera, La, 41.
Lodoïska, account of, 44 ; 80-1, 100,
123, 130, 143, 208, 307, 339, 362;
Catalogue, 387, No. 182.
Lodoëska, Kreutzer's, 52, 58-9.
Loge Olympique, 26, 38.
Loménie, De, 28 note, 29, 77.
London, Cherubini in, 24, 211.
Longchamps, 107.
Loraux, Fillette, 54.
Louis, 63.
Louis XVI., 41-2, 44, 63, 77, 230.
Louis XVIII., 79, 211, 213; Cheru-
bini chapel-master to, 214; Mass
for the coronation of, 237; 247,
282, 284.
Louis Philippe, 358 note, 361.
Louvois, Salle, 62.
Louvre, 217.
Lulli, 45, 61.
Luxembourg Palace, 359.
Lycée des Arts, Théâtre du, 62.
Lyrique et Comique, Théâtre, 62.
“Ma che vi fece, oh stelle,' scena, 39;
Catalogue, 385, No. 134.
Mabellini, 368.
Macfarren, Mr. G. A., on Les Deux
Journées overture, 123, 137 note,
154; on quartets, 320, 337, 377.
Maglio, Florence, quarter of, 364.
Maglioni, 368.
Magnificat, 9.
Maillard, 280.
Mainzer's Musical Times, 367.
Mandini, 39.
Mangin, 245.
Mara, 38.
Marais, 137.
Marais, Théâtre du, 62.
Marcelina, character in Les Deux
Journées, 108, 115, 124.
Marcello, 217, 324.
Marchese Tulipano, Paisiello's II, 25.
Marchesi, 17, 25, 29.
Marguerite d'Anjou, 42, 140.
Marini, 368-9.
Marino, 19.
Mariotti, 368.
Marriage of Solomon, cantata, 230;
Catalogue, 398, No. 345.
Marseillaise, The. 79.
Marmontel, 27, 31-2, 34, 37.
Marquise de Brinvilliers, La, 324.
Martin, 194.
Martini, 41, 73, 112, 214.
Martinville, 245.
Masses :
No. 1, in D, 9; Catalogue, 380,
No. 1.
No. 2, in C, 9; Cat. 380, No. 3.
424
Index.
Masses (continued):
No. 3, in C, 9; Cat. 380, No. 6. in Les Deux Journées, 126.
No. 4, in F, 174, 176; Piccbianti's Messenzio, Il, 19 ; Catalogue, 383,
account of, 177; 183, 190, 196, No. 79.
216-17, 240 ; Catalogue, 393, No. Mestrino, 40.
272.
Metastasio, 25, 32, 63.
No. 5, in D minor, 183, 187 ; ac Méthodes, Baillot's, 334.
count of, 195; Cat. 394, No. 295. Méthodes du Conservatoire, 161.
No. 6, in 6, 184, 265; account of, Metternich, Count, 168.
195; Cat. 396, No. 325.
Meyerbeer, 51, 124, 369, 374.
No. 7, in E flat; Cat. 397, No. 338. Mialle, 318.
No. 1, Requiem in C minor, 187, Michaud, 62, 253.
190'; Berlioz and Monthly Musi Michel, character in Elisa, 69, 71.
cal Record on, 230, 334-5, 362 ; Miel, 4, 38, 119, 127, 140, 168, 174;
Cat. 398, No. 348.
on Cherubini's sacred music, 190;
No. 8, in E, 236; Cat. 399, No. 192, 203, 214, 217, 237, on Cheru-
362.
bini's character, 265-6 ; 334; on
No. 9 (Coronation), in G, 184; ac Ingres' portrait of Cherubini, 359-
count of, 237; Cat. 400, No. 371. 360, 377.
No. 10, in B. flat, 249 ; Cat. 401, Mikéli, character in Les Deux Jour-
No. 384.
nées, 51, 108, 124-6.
No. 11 (Coronation), in A, 184, 187, Mines de Pologne, Les, 152.
217; Girod's account of, 286-7; Miserere, 9; Allegri's, 325.
Cat. 403, No. 403.
Molière, Théâtre, 62.'
No. 2, Requiem in D minor, ac Molinara, Paisiello's La, 41.
count of, 337, 361-2; Cat. 407, | Modern German Music, EL. F. Chor-
No. 426.
ley's critique on Medée quoted,
Mayer, 96, 165.
84-99; on Spontini, 166.
Mazarin, Cardinal, 111, 125, 127. Monday Popular Concert, 320.
Mazas, 176, 245.
Moniteur, 77.
Medée, 48; Mr. Chorley's critique on, Monpais, 369, 370-1.
84; 113, 117-18, 123, 130, 137, 152, Monsieur, Troupe de, 62-3.
207-8, 298, 307, 330, 332, 362; Ca Monsieur, Théâtre de, 39, 44, 59.
talogue, 389, No. 214.
Méhul, 45, 49, 51, 59, 73, 93; reply Montagne, Théâtre de la, 62.
to Le Censeur, 100, 105, 112, 139, Montansier, Théâtre, 62, 107.
140 note, 151, 164; Joseph, 164, Monthly Musical Record, 115 note,
166 ; 185, 193-4, 210, 231, 277, 334. 162; on the C minor Requiem, 231,
Meifred, 275.6.
Meine, 368.
Morellet, Abbé, 27.
Mélesville, 325.
Morichelli, Mdme., 39.
Melidor, Méhul's, 130.
Morini, 368.9, 371.
Melusina overture, Mendelssohn's, 83. Moscheles, 100, 209, 245.8, 282, (358.
Mémoires, Berlioz's relations with Moska, character in Faniska, 156-7.
Cherubini, 278, 299, 302, 307-8, Mount of Olives, Beethoven's, 187.
310-11, 313, 315; Ali Baba, 327 ; Mozart, 3, 30, 41, 46-8, 53, 63, 95, 98,
356-78
119, 139; Requiem conducted by
Mémoires, Grétry's, 263.
Cherubini, 141; 160; tomb of, 162-3;
Mendelssohn, 83, 85, 96, 122-3, 126, 177, 183, 223-4, 226, 239, 241-2
130, 137; Cherubini's style in Fi 244.5, 318, 324, 375-7.
delio, 153; 161; on Les Abencérages, Müller, 193, 245.
209, 230, 242, 272; Cherubini Munk, Malle. de, 246.
and, 296-7, 318; on Ali Baba, 330. Murat, 143.
Mendouze, 135.
Musical Academy of Florence, 129.
Mengal, 275.
Musical Academy of Stockholm. 214.
Mengozzi, 39, 334.
Musical Sketches, Ella's, 153, 230.
Menu-Plaisirs, 294, 409.
Musical Standard, 137, 140.
286.
Index.
425
in
384, No. 107 ncipessa, 24; Cat.
Neuve des Petits
Musical Times, 413.
Musical World, 6, 19, 148, 152, 160,
263, 332 notes; notice of the sale of
Cherubini's Mss. in, 412.
Musikalische Characterkopfe, 332.
Mussini, 369.
Mystère, Le, 168; Catalogue, 393,
No. 260.
Nadermann, 245.
Napoleon and Cherubini, 102 - 6,
131-3, 139, 140, 143-6 ; cause of
antipathy of, towards Cherubini,
147; 163-4, 207, 211, 213, 250.
Nardino, 7.
Nation, Théâtre de la, 61.
National Guard, 43, 72, 211, 217.
National Opera, 61, 128.
National, Théâtre, 62.
Nazareth, Rue de, 62.
Nemo gaudeat, motet, 17; Catalogue,
382, No. 59.
Neris, character in Medée, 91.
Nesti, 333.
Neukomm, 195.
Neuther, Mdlle., 97.
Nicolet Hall, 44.
Nicolini, 369.
Nicolo, 210.
Niedermeyer, 183, 196.
Niederrheinische-Musik-Zeitung, no.
tice in the Musical-World, 16, 47,
51, 78, 80 ; on Cherubini's melody,
117; on cause of Napoleon's anti-
pathy to Cherubini, 148; on Fan-
iska, 149-151; 160-1, 279, on Mass
in A, 287; on Ali Baba, 328.
Ninfa crudele, 20; Catalogue, 383,
No. 88.
Nisard, 5, 28.
Non mi negate, canon, 159.
Norblin, 176, 276, 318.
Notaris, 48.
Notre Dame, Paris, 65, 247.
Nourrit, 280, 328.
Nouvellé Biographie Générate, 28 note.
Novello, 288.
Nuit Espagnole, La, 44.
O ciel, daigne exaucer nos voeux,'
chorus in Elisa, 67.
O Fons Amoris, 281 ; Catalogue, 401,
No. 386.
O Sacrum Convivium, 235.6 ; Cata-
logue 398, No. 350.
O Salutaris, 228, 291; for Boieldieu, |
316; Catalogue, 386, 397, 398, 399,
401, 403, 404; Nos. 151, 331, 342,
355, 363, 382, 403, 406-7.
Odéon, The, 61.
Operas:
1. Il Quinto Fabio, 16; Catalogue,
381, No. 48.
2. Armida, 17; Cat. 382, No. 62.
3. Adrianó in Siria, 17 ; Cat. 382,
No. 63.
4. Il Messenzio, 19; Cat. 383, No.
79.
5. Il Quinto Fabio, 20-23; Cat.
383, No: 84.
6. Le Sposo di Tre Marito di Nes-
sunā, 20; Cat. 383, No. 89.
7. L'Idalidé, 20, 364 ; Cat. 384,
No. 93.
8. L'Alessandro nell'Indie, 22;
Cat. 384, No. 93.
9. La Finta Principessa, 24; Cat.
10. Il Giulio Sabino, 25; Cat. 384,
No. 111.
11. Ifigenia in Aulide, 29, 33; Cat.
385, No. 131.
12. Démophon, 27, 31; Fétis on, 33;
52, 100, 247, 307; Cat. 385,
No. 135.
13. Lodoïska, 44;80-1, 100, 123, 130,
143, 208, 307, 330, 362; Cat.
387, No. 182.
14. Kourkourgi, 64-5, 141, 143;
Cat. 388, No. 204.
15. Elisa, 48; account of, 66; 80-1,
100, 112, 117, 130,'280, 307,
362, 372 ; Cat. 388, No. 209.
16. Medée, 48; Mr.Chorley's critique
on, 84; 113, 117.18, 123, 130,
137, 153, 207-8, 298, 307, 330,
332, 362; Cat. 389, No. 214.
17. L'Hôtellerie Portugaise, 106,
113, 262; Cat. 390, No. 224.
18. La Punition, 107 ; Cat. 390,
No. 225.
19. Les Deux Journées, 45-6, 48-9;
account of, 108; 130, 132, 137,
159, 242, 260, 264-6, 272, 298,
307, 316, 332, 362, 365-7; Cat.
391, No. 229.
20. Anacréon, 53, 117; account of,
135; 139, 208, 307, 332; Cat.
391, No. 241.'
21. Faniska, 45, 65, 123, 144, 149;
Harmonicon's critique on, 153
166, 307, 328, 362; Cat. 392,
No. 254.
426
Index.
Operas (continued):
Petzold, 246.
22. Pimmalione, 117, 191; Cat. 394, Philharmonic Society of London, 211.
No. 279.
Philidor, 63.
23. Le Crescendo, 193; Cat. 394, Piatti, Signor, 320.
No. 283.
Picchianti, 4, 5, 7, 8, 10, 25, 34, 40-1,
24. Les Abencérages, 117, 166; ac 108; on Les Deux Journées, 110;
count of, 206; 362, Cat. 395, on the overture to Epicure, 130-1;
No. 299.
on Napoleon's antipathy towards
25. Ali Baba, 64, 153, 357; account Cherubini. 146 : on the Mass in F.
of, 325; Cat. 405, No. 417. 177; 182, 210, 356, 362-4, 368.
Opéra Comique, 61, 98, 152, 166, 193, Piccinni, 23, 263.
272, 324.
Piccinnists, 52.
'Ombra adorata' of Zingarelli, 132. Pimmalione, 117, 121 ; Catalogue,
Onslow, 209.
394, No. 279.
Oranski, character in Faniska, 155-7. Pingard, Institute Competitions,
Organon Lyricon, 193.
303-7.
Oriflamme, L', 210; Addendum, 410. Pinini, 4õ.
Orphée, 309, 311.
Pixérécourt, 152.
Oūlibischeff, 3; on Cherubini's oper Place, 64.
atic influence, 45.
Planché, Mr., letter from Mendels-
sohn, 126.
Pacini, 245, 409.
Plantade, 131, 215, 243, 245-6, 252.
Paër, 146, 164, 210, 245-1, 285, 311, Platel, 108.
324.
Pleyel, 245.
Pagliano Teatro, 365.
Poissonnière, Faubourg, 262, 299.
Paisiello, 13, 24-5, 28, 47, 59, 103-5, Polignac, Máme. de, 27.
132-4, 139, 140, 144.
Polymnia, in Ingres' portrait, 359.
Palais Royal, 61-2.
Poniatowski, Prince, 369.
Palestrina, 12, 52, 177-8; his ideal Ponchard, 209, 215, 245-6, 252, 280.
style, 182-5; 186, 217, 324-5, 375.
Porpora, 24.
Palinodie à Nice, 63.
Pougin, 332.
Panseron, 246; Catalogue, 388 ; No. "Poursuis tes belles destinées,' air in
199.
Les Abencérages, 209.
Pantheon, Hymn to the, 77.
Pradher, 193, 252.
Pape, 245.
Preindl, 163.'
Papillon de la Ferte, 255.
Prévost, 108, 280.
Pasta, Mdme., 96, 98.
Prétention, Théâtre sans, 62.
Pastoral Symphony, 94.
Prince Riguet, 116 note.
Pater Noster, 186, 228; Catalogue, Prisonnière, La, 107; Catalogue, 390,
398, No. 341.
No. 226.
Pastorella Nobile, Guglielmi's La, 41. Prometheus overture, Beethoven's
Patriotique, Théâtre, 62.
277; fragment, 370.
Pazza d'Amore, Paisiello's La, 41. Prony, 73.
Pedrotti, 409.
Propiac, 409.
Pelet, Malle., 135.
'Propter veritatem,' offertory, 291;
Pellegrini, 245.
Catalogue, 403, No. 403.
Pensionnat, the, 275; Père la Chaise, Proserpine, Paisiello's, 134.
361-2.
Prud'homme, 334.
'Père d'Orphée,' chorus in Anacréon, Pubblica Felicità, La, 9; Catalogue,
137.
380, No. 4.
Perfida Clori, canon, 159, 167-8. Punition, La, 107; Catalogue, 390,
‘Perfides ennemis, duet in Medée, No. 225.
89.
Puppo, 40.
Pergola Theatre, Florence, 5, 17, 22. Pygmalion, Halévy's, 316.
Pergolesi, 52.
Persuis, 44.
Quarterly Musical Review, 53, 63,
Petits Mémoires de l'Opéra, 329. I 119, 137, 208.
Index.
427
Quartets:
In E flat, No. 1, 211, 245; Schu-
mann on the, 318; Catalogue,
396, No. 317.
In C, No. 2, 213; Schumann on
the, 320-1; Cat, 404, No. 411.
In D minor, No. 3, 334; Cat. 406,
No. 419.
In E, No. 4, 334; Cat. 406, No. 421.
In F, No. 5, 334; Cat. 406, No. 424.
In A minor, No. 6, 358; Cat. 407,
No. 427.
Que faire ô ciel,' trio in L'Hôtellerie
Portugaise, 106.
Queensberry, Duke of, 25.
Quintet in E minor, 35.8; Catalogue,
:. 407, No. 428.
Quinto Fabio, Il, 16; Catalogue, 381,
No. 48.
Quinto Fabio, II, No. 2, 20, 23; Cata-
logue, 383, No. 84.
Quodquod in orbe, Hummel's, 184.
Quoi tunir à ce barbare,' piece in
Lodoïska, 57.
Rachel, Malle., 96.
Racine, 45.
Raffanelli, 39.
Raimondi, 409.
Rameau, 60.
Rançon de Duguesclin, La, 210; Cata-
logue, 395, No. 306.
Rasinski, character in Faniska, 154,
158.
Reber, 369.
Recollections of Mendelssohn, 116, 297.
Recollections and Reflections, 121.
Reason, Hymn to, 79.
Reconnaissance, the Fête de la, 79;
Catalogue, 390, No. 223.
Regina Čoli, 236, 281 ; Catalogue,
390, No. 360; and 386, No. 154.
Regnault, 306.'
Reicha, 163-4, 245, 249, 251, 299,
324.
Reichardt, 193.
Reissiger's Mass in E flat, 184.
République, Théâtre de la, 61.
Requiem, Mozart's, 141.
Requiem in C minor, 187, 190 ; Ber-
lioz and Monthly Musical Record
on, 230; 334-5, 362 ; Catalogue,
398, No. 348.
Requiem in D minor, 295 ; account
of, 337, 361-2; Catalogue, 407, No.
426. -
Requiem, Berlioz's, 313, 353.
Retour, Chant de, 79.
Revedino, 39.
Reveil du Peuple, 79.
Revue des Deux Mondes, 137.
Revue et Gazette de Paris, 4.
Rey, 73.
Ricci, 409.
Richelieu, Duc de, 260.
Rue Richelieu, 62.
Riehl, 109; on Ali Baba, 331.
Ries, Herr L., 320.
Rinaldini, Signor, 124.
‘Rien n'égale sa barbarie,' air in
Lodoïska, 57.
Rita, Malle., 124.
Rivista Musicale, of Florence, 4.
Robert le Diable, Meyerbeer's, 124.
Rochette, 211, 362, 368.
Rode, 176.
Rodolphe, 73.
Rogé, Tajan, 277.
Ronde du Camp, La, 79.
Rose, 193.
Rosette, Malle., 108.
Rossellini, 80, 133, 176.
Rossi, 369.
Rossini, 51-2, 287, 328, 368, 370, 374.
Rouget' de L'Isle, 79.
Rovigo, Duc de, 210.
Royal Guard, 217.
Roze, Mdlle. Marie, 124.
Rupert-street, 212.
Salieri, 73.
Salpêtre Républicain, 78; Catalogue,
388, No. 206.
Salvator Rosa, 168.
Sanctus O Salutaris, 228; Catalogue,
399, No. 357..
San Clemente, Duke di; 368-70.
San Pier Maggiore, 5.
Sans Culottes, Théâtre des, 62.
'Sarete alfin contenti, scena, 38;
Catalogue, 385, No. 133.
Sarti, Cherubini's master, 6, 11, 12,
13, 16, 22-3, 46, 75.
Sarrette, 72-4, 103, 193, 250, 263.
Sauzay, 318.
Sbolci, 368.
Schiavi per amore, Paisiello's Gli, 28.
Schick, Mdme., 101.
Schiller, 45.
Schindler, 160-1, 283.
Schlesinger, 245, 336.
Schlüter, 116, 186, 188.
Schröder-Devrient, Mdme., 97.
Schubert, 29, 101.
428
Inaex.
Schumann, 274; on Cherubini's quar- | Sur les manuscrits autographes de
tets, 318, 320-1.
Cherubini, Kastner's, 376.
Scio, Mdmé., 53, 67, 98, 107.
Suspendez à ce mur,' scena in Les
Scribe, 325.'
Abencérages, 117, 209.
Selico, 141; Catalogue, 388, No. 208. | Symphony in D, 320; Catalogue, 396,
Semiramide, 19.
No. 319.
Semos, character in Les Deux Jour-
nées, 108, 124-5.
Tamburo Notturno, Paisiello's Il, 41.
Seuriot, 276.
Tancred, 303.
Seyfried, 378.
Tantum Ergo, 236.
Simmons, Mr., 124.
Tariot, Cherubini's pupil, 75, 215,
Singing School Tutor, 334.
318.
Sinigaglia, Signor, 124.
Tasso, 19, 303.
Sirot, Sarti's Le, 12.
Te Deum, 9.
Société Académique des Enfans Temple, Boulevard du, 62.
d'Apollon, 27.
The flocks shall leave their moun-
Société des Concerts, 137, 275.
tains,' Handel's trio, 57.
'Son tre, sei, nove, trio, 58; Cata- Thibaut, 163.
logue, 386, No. 168.
Thomas, Ambroise, 369.
'Souvent près d'une belle,' air in Thomson, the poet, quoted, 209.
Lodočská, 56.
Tietjens, Malle., 97 note, 100, 124.
Spohr on Les Deux Journées, 113; Tilmant, 276.
on Cherubini's sacred works, 185; Titans, Rossini's Chant des, 370.
at Paris, 241-3, 245 ; 269, 318. Titzikan, character in Lodoïska, 54,
Spontini, 45, 48-9, 84, 87, 99, 164-5. 56-8.
Sposo di Tre Marito di Nessuna, Lo, Todi, Mdme., 38.
20; Catalogue, 383, No. 89. Toison d'Or, Vogel's, 31.
St. Antoine, Rue, 62.
Tolbecque, 276.
St. Cecilia’Day, 173, 176, 275. Tonkünstler-Societat, 162.
St. Cyr, Reveroni, 66.
Toonleithner, 149.
St. Gaetan, Florence, 363, 365. Tourette, 44.
St. Germain, Théâtre de la Foire, | Tourette, Cécile, 44, 80.
39, 44.
Tournefort, 169.
St. Honoré, Rue, 62.
• Tournez sur moi votre colère,' air
St. John the Baptist, Florence, 3. in Lodoïska, 57.
St. Joseph, Rue, 72.
"Towards the green,' march in the
St. Just, 107.
Escapes, 125.
St. Laurent, 276, 318.
Townsend, Mr., 124.
St. Louis, chorus to, 213.
Treatise on Harmony, Catel's, 73.
St. Martin, Porte, 61; Rue, 62.
St. Michael's College, Freibourg, 249, 334, 336-7.
229.
Tuileries, 39, 42, 44, 132, 134, 145,
St. Michel, Order of, 237.
191, 230.
St. Pern, 193.
Tulou, 176, 272, 275.
St. Peter's Church, Florence, 9. Turcas, M., 80, 260-1, 271; death of,
St. Roch, Cherubini's obsequies at, 360.
358-361.
St. Samuel's Theatre, Venice, 21. Ugolini, Disma, 11.
Sta. Croce, Florence, Cherubini's Unterbrochene Opferfest, 84.
monument at, 368, 374.
Unxerunt Salamonem, Lesueur's,
Stabat Mater, 325.
287.
Ste. Trinité, Petite Messe de lay:297; Urhan, 276, 318.
Addendum, 410.
Steffani, 63.
Valentino, 215.
Steibelt, 51, 63, 146.
Varbel, character in Lodoïska, 55-7.
Struntz, 194, 245.
Variétés, Théatre des, 62.
Stratonice, Méhul's, 130.
Vaslin, 318.
Index.
429
Vastin, 276.
Vatican, 135, 191.
Vaudeville, Théâtre du, 62.
Vendemmié, Le, 41.
Vénus, character in Anacréon, 135.
Véron, 326, 339.
Verdi, 377.
Venturi, 371.
Veronese, 109.
Vestale, Spontini's La, 45, 87, 164,
Vogel, 31-2.
Vogt, 252, 275.
'Voici la nuit,' Clapisson's, 280.
'Votre fureur est légitime,' chorus in
Lodoïska, 58.
Wagner, 50, 128, 377.
Wasserträger, 108-116; see Les Deux
Journées.
Water-carrier, 159; see Les Deux
Journées.
Weber, 60 ; on Les Deux Journées,
167.
Vestri, Letter of Cherubini to, 212.
Viaggiatori Felici, Anfossi's 1, 41,
59.
Victoire, Méhul's Chant de, 79.
Victoire, Hymne à la, 79.
Victoria, Princess, 44.
Victoires Nationales, Théâtre des, 62.
Victor Emmanuel, 368.
Vidal, 318.
Viellard, on Cherubini's sacred music,
Vienna, Cherubini at, 142.
Viganoni, 39.
Viotti, 23, 26-8, 39, 62-3, 245.
"Vivat Rex,' Lesueur's, 287.
Vive la France,' chorus in Elisa, 70.
"Vive le Roi,? couplets, 213; Cata-
logue, 396, No. 323.
Vizzani, Signor, 124.
113; 122, 124, 338.
Weigl, 163.
Westminster Abbey, 24.
Wheatley, Miss, 124.
Winter, 73, 84, 165.
Witzleben, 210.
Zacchini, 45.
Zaffia, Signor, 124.
Zamoski, character in Faniska, 154.6,
158.
Zauberflöte, 48, 83.
Zerbini, Mr., 320.
Zimmermann, Cherubini's pupil, 75,
252.
Zingarelli, 73, 104, 132, 133, 144, 148.
Zoboli, Signor, 124.
Zoffany, picture by, 19.
185.
THE END.
LONDON:
KOBSOT AND SONS, PRINTERS, PANCRAS ROAD, N.W.

DATE DUE
JAN O
1996
-001
2000

3 9015 00787 3071
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