864

RECORDS OF COMPOSER S.

BY GEORGE J. O. ALLMAN,

66 Vergiss die treuen Tödten nicht."

"Their's is the merit, mine 'tis to record."

POPE'S HOMER'S ILIAD.

"But I have made a prayer for the Hebrews before the passage of the Red Sea!' said the poet, drawing a bundle of papers out of his pocket, and giving them to Rossini; who immediately began to decipher the scrawl. While he is reading, the poet saluted the company all round, whispering every moment in the composer's ear, Maestro, I did it in an hour!' "What! in an hour?' exclaimed Rossini.

adapted to the episode of the Egyptian captivity of the originator of the crusades, the valiant and unselfish preacher, Peter the Hermit), was likewise produced at Naples in this year. Rossini's admirers are boastful about the elevation of thought and purpose, which they say he has achieved in it; the more startling (they think) because it was totally unlooked for unexpected -and in his other productions would be sought in vain. With the opinions of so many,Well, if it has taken you an hour to write this we (that singular plural we!) will not venture to differ, or carp at; but it is as ridiculous as illjudged and ill-weighed, to speak thus of an opera, which, to say the best of it, contains but one or two striking pieces. Truth to tell, the Italian critics (or lazzaroni, which?) were doubtless struck dumb with astonishment at the idea of a sacred drama being represented on the boards of their opera, and therefore thought the music, because of its purpose, was clothed with a higher degree of enthusiasm and inspiration; exclaiming, in the lines of Dante,

"Spiega con tal pietate il suo concetto

E il suon con tal dolcezza v'accompagna
Che al crudo inferno intenerisce il petto."

However, the preghiera of the Jews "Dal tuo stellato soglio," which they raise to the Creator of all things, while they are preparing to cross the Red Sea, is a fine and noble composition, and from the grandeur and majesty of its situation, almost possesses a sublime beauty of conception and yet this very chorus was composed after the opera had been produced and condemned! was composed in a quarter of an hour! was composed in the midst of laughter, talking (as none but Italians can talk), and confusion! and was the means of saving the remainder, and turned the tide of popular opinion, that would not hear of its repetition, from the stormy sea of discontent, to the unruffled calm of approval.

The first act had been received with favour, but when the passage scene arrived, it was hailed with shouts of derisive laughter. The wretched attempt of the machinist to represent with clumsy invention, this wonderful event in Jewish history, was in reality the main cause of the downfall of this work and its after adaptation to a more secular theme.

From M. Steudhal's memoir we extract the following:"The following day one of my friends called about noon on Rossini, who, as usual, was lounging in bed, surrounded by about a dozen of his friends, when to the great amusement of every one, in rushed the poet Tottola (the author of the drama, and the personage we have before had occasion to mention), who, without taking notice of anybody, exclaimed,

"Maestro! I have saved the third act.' "Well, what have you done, my good friend?' replied Rossini; mimicking the half burlesque, half pedantic manner of the poor son of the muses. Depend upon it, they will laugh

at us as usual,'

prayer, I engage to write the music in a quarter
of the time: here, give me pen and ink.' So
saying, Rossini jumped out of bed, and seating
himself at a table, en chemise, in eight or ten
minutes composed this sublime movement,
without any piano, and without minding the
chatting of his friends. "There,' said Rossini,
'there is your music; away about your busi-
ness!' The poet was off like lightning; and
Rossini jumped into bed, joining in the general
laugh at his parting look of amazement.

"The following evening I did not fail to repair
in good time to the San Carlo. The first act was
received with the same transports as before, but
when they came to the famous passage of the Red
Sea, the audience showed the usual disposition to
risibility. This, however, was repressed the mo-
ment Mose began the new and sublime air Dal
tuo stellato soglio.' This is the prayer which
all the people repeat after Moses, in chorus.
Surprised at this novelty, the pit was all atten-
tion. This beautiful chorus is in the minor key
(G minor, which modulates into G major).
Aaron takes it up, and the people repeat it.
Last of all, Elcia addresses the same vows to
heaven, and the people answer.
At this mo-
ment they all throw themselves on their knees,
and repeat the same prayer with enthusiasm.
The prodigy is wrought; the sea opens to pre-
sent a passage to the people. The last part of
the movement is in the major key. It would be
difficult to give an idea of the thunder of ap-
plause which resounded from every part of the
theatre. The spectators leaned over the boxes
to applaud, exclaiming bella, bella, O che
bella! Never did I behold such excitement,
which was rendered still more striking by its
contrast with the previous merry mood of the
audience.”

How true it is that

"Great events from trifling causes spring."

We ourselves have had an almost similar account from an Italian friend, who was one of the intimates of Rossini, mentioned by M. Steudhal, and was present at the San Carlo on the occasion referred to.

In the early part of 1819 "Odoardo e ChrisMuch aptina" was brought out at Venice. plauded on its first outset, it was too soon discovered that the music had chiefly been taken from a very unsuccessful opera formerly produced at Naples. The public, offended, came not to witness it again. The manager, irate, complained in bitter invective of Rossini; while the gran Maestro only laughed, and exclaimed, "Ma la

mia musica è buona, ed io son il maestro, tu- | doubtless at the manner they had treated so L'Impresario !"

beautiful a work, seemed the more anxious to make the composer. amends, and received it rapturously! Oh, ye liberal and enlightened public again! It was treatment like this that crushed the spirit of Beethoven! It was cruel and accursed harshness like this that deprived us of the genius of Weber! Oh, what a meiancholy food for contemplation is the difference with which Weber and Rossini received and felt public neglect! The latter laughed and cared not, forgot it after his next slumber or his next

high-souled, the gentle-alas! alas! his spirit was not formed to contend against it; it bent beneath it, and snapped like a reed in the struggle, springing up on its heavenward track to mingle with the blessed spirits there, where, as has been written of the immortal Purcell, and most truly, "his own harmony can only be excelled." But a truce to these sad musings, they would unnerve us, and unfit us for accomplishing that we have begun; so let us join our Pesarese Swan and his "Donna del Lago" once more.

At Naples, in the same year, he brought out "La Donna del Lago. Notwithstanding its high merit, and subsequent popularity, it was received in any but a flattering manner. His wife's powers had long been failing her, and she had then (though forced upon the public, notwithstanding their repeated demonstrations of impatience) lost all their former favourable opinion, and at last they determined to give vent to their long pent-up disapprobation; they only watched for the slight-meal, nay, even boasted of it; but Weber, the est opportunity to hiss, and for some time none presented itself. But when at last the celebrated Nozzari, who as Roderigo, enters from the back at a great distance from the orchestra, most unfortunately pitched his first note (on which he should rest for some time) somewhat too low, this was the signal for a general yell of discontent; "and nothing," says Steudhal, "can convey an adequate idea of the fury of a Neapolitan audience, when offended either by a false note, or furnished with some pretext for satisfying an old grudge." Roderigo's air was followed by the entrance of a company of bards, who sing a chorus to animate the Scottish troops to battle by the sounds of their harps. This chorus is accompanied by a fine military march. We should have premised that the first representation of "La Donna" took place on the chief day of the Carnival. and therefore the whole of the court were present-but this aid not seem to be a check on the audience. There were a great number of young officers in the pit, who had been loyally imbibing various "good compounds," wishing health and God speed to his Majesty, and were therefore in boisterous spirits. One of these "hopefuls "

"-flushed with the grape of Tuscany, uprose With maddened blood;"

and at the first sound of the trumpet began to imitate, with his sword, the tramping of a horse. From that moment all restraint ceased; all idea of listening to the music was hopeless, and in an instant the house resounded with the clatter of a thousand similar imitations, interspersed with " divers strange noises and merrie conceits." Amid all this confusion the opera finished, and, with a horrible shout, as if the whole strength of the audience had been reserved for that last effort, the curtain dropped. Rossini, mortified and crest-fallen, set off in a humbled manner to Milan that same night; and yet on the road, and at Milan, he filled every one's ears with tales of the enormous success of the "Donna," and the vociferous applause of its reception; but judge his own astonishment, not unmingled at first with disbelief, when he learned that what he had asserted was really, actually true, and that its praise was re-echoed by all; and strangely too, that he had (although unknowingly) spoken the truth. On the second night, and after one or two judicious curtailments and alterations, the public, ashamed

A few words with respect to the drama of this opera. Sir Walter Scott's beautiful and highly imaginative romance poem, on which it is founded, has been successfully translated into German, Italian, and French, and shares as much popular favour abroad as it does in the country which with just pride claims the honour of its origin. So perfectly dramatic is it in every sense, so rich in materials for the musician and artist; the chivalrous and poetic feeling per vading its character and development; the he roic situations and opportunities for stage effect standing out in vivid relief through the whole piece; we cannot help feeling a kind of wonder that it had not been earlier and more frequently appropriated to the purposes of the lyric stage. The present adaptation was made by Andrea Tottola (the poet again), who was the author of the drama of "Mose," and others, as we have before seen; and, compared with most other works of the same nature, is really not badly executed, though in the hands of a true son of genius, possessing more ability, or perhaps we should say more leisure, it might have been done better; but as the original story is nearly faithfully followed in this (though compressed) version, let us rest content with it, and thank our stars we could get even a Tottola. The music is light, brilliant, and effective, in Rossini's happiest vein, and will always be hailed with plea sure, let its repetitions be numberless. The air, so striking and beautiful, “ Aurora! che sor gerai," which is introduced several times in the course of the opera, will always create delight wherever it is heard.

66

He produced at Naples, in 1820, “Maometto Gecondo, which failed; Rossini, having engaged to recompose the second act, it was again produced at Venice; but the republicans, not satisfied in the least that an opera, unsuccessful elsewhere in the first instance, should be foisted upon them, and still less pleased that the com

poser had made but few (and those trifling) alterations in it, gave vent to their feelings by demonstrations in their true Italian mode, and hooted at Rossini (who conducted) and the singers, with marvellous strength of lungs, "and so condemned unheard that which, in calmer judgment, might have been a source of lasting pleasure."

is highly impassioned and theatrical, while some of the choruses are exceedingly fine, and possess a grandeur that only serves to excite a feeling of regret that the minor details of the work have been so hurried over. Still, the music is full of reminiscences, not only of his own former operas, but of those of Mozart and others; and the ultra-Germanic style of accompaniment in the orchestra is carried to such a tremendous stretch, that the ear has scarcely a moment's relief from the ceaseless crash of instruments.

Composers, like authors, are seldom sound judges of their own works; at least, numberless instances have attested this opinion, Rossini, we believe, held this, the worst (we say it after The most important event in the life of Rosmuch thought) of his operas, the best; and was sini, connected with ourselves, was the arrival wont to say, when engaged upon it, that it was of "il illustrissimo maestro" in England in destined to the bay of immortality. Even 1824, at the beginning of the opera season. He after its double failure, Rossini would not was engaged at the King's Theatre as composer give up his cherished idea; but in this and director of the music; he was to superintend he proved but a sorry prophet, trusting the production of some of his own operas, and devoutly in the old proverb, "che sarà sarà" was to compose an entirely new one for that (we know not if there is an Italian axiom equal stage. He produced firstly "Zelmira," with to the Irish, "There's luck in odd numbers"); Colbrand Rossini (who was also engaged as he dished it up again for a third trial, and a prima donna) as the heroine; but it failed, and French version of it, under the title, "Le Siege she herself met with so cold a reception that she de Corinthe," was produced at Paris, but with did not re-appear, "Semiramide" was then very moderate success; and this version, but tried, with Madame Pasta in the role of the with Italian words by Italian singers, has been Assyrian queen; but notwithstanding its flatfrequently represented, both in London and at tering success, the season was attended with an Paris, under the name of "L'Assedio di Co- enormous loss to the management, and Rossini rinto;" and though, as we said before, the left England without being required to fulfil his original was a meagre work, this was scarcely engagement to produce an original opera. We better; yet, possessing some effect and extract the following observations from a very situation, it was listened to without disappro-able stricture on Rossini's visit to London :bation.

:

"His residence in London, however, was a very profitable one for himself. He was just the kind of man to be the lion of the day; his music was universally popular, he was himself a first-rate comic vocalist, and his manners and address were calculated to gain the favour of the gay and courtly. The aris tocracy, from royalty downwards, were profuse in their invitations and attentions, and he left England regular fee for attending a private musical party was loaded with solid proofs of their liberality. His

In 1822 the opera of "Zelmira" was brought out at Naples; it contains some of the finest music Rossini ever wrote; and the very partial and dubious success it met with, can only be ascribed to the ridiculous subject of its drama, and the feebleness of its incidents. The author of this libretto, the immaculate Signor Tottola, seems to have been, as was the custom throughout Italy, that miserable and most pitiable ap-fifty guineas (!!); but those who invited him selpendage to a musical theatre, the dramatic dom contented themselves with giving him that sum "poet!"-(Poet! save the mark !)-compelled (!!!). As if this were not enough, two subscription to submit alike to the dictatorial commands and concerts were set on foot for him, to take place at caprice of "Eccelenza il Impresario !" As to Almack's rooms; the price of a ticket admission to the scorn, spleen, and discontent of any com- both to be three guineas (!), and none to be adposer with whom he may be connected in any mitted except such as were approved of by lady opera, he is an object ever of ridicule and con-patronesses (!!), appointed to guard the assembly tumely, even while he excites our pity; and not the least cause of this fiasco was, that the worthy Neapolitans, were entirely surfeited with Signora Colbrand, and had determined not to receive favourably any piece which contained a role for her assumption.

Before he left Italy, to which he did not return for many years, Rossini composed his last Italian opera, "Semiramide;" this was first performed at Venice in 1823. It is a very singular work, placing in very prominent light and shade at once the power and weakness of its composer, and proves the mighty effects which he could create, and at the same time shows the frivolities and puerilities to which he too frequently descends, because he will not take the trouble, or will not allow himself sufficient time to complete his object 'well; musie, however,

from the approach even of that portion of the common herd (profanum vulgus!!) who were able and This, however, was too much even for the extrava willing to give three guineas for a couple of concerts. gance of the beau monde, and the price of admission was reduced to a guinea for each concert. The concerts were attended by a crowd of fashionables, who had the gratification of hearing Rossini's most hackneyed songs sung by the vocalists whom they heard every day, and accompanied by a pitiful band of twenty performers. They, however, could boast of having heard two or three comic songs and duets sung by the gran maestro himself.”

Oh, what a sad reverse to this was the cruel neglect with which these blind adorers of the butterfly Rossini received the modest, the highsouled Weber, who, from his enthusiastic adoration of his art, united to his genius, was more than worthy of love and admiration! Alas!

he, the humble, the true, found none of this, | Ory." At the close of the season 1829-30, he even though it would have fed for a time the decaying embers of his health, which was broken and shattered by the excess of his high wrought feelings and imagination.

"Oh what a fall was there, my countrymen!"

It truly might be said that-

- Modest worth was trampled down Barefoot and bleeding, while with unblushing face Pretence went forth with head erect and proud, Disdaining earth."

To resume

produced his greatest opera “Guillaume Tell," which met with the most enthusiastic reception. It transcends by far all his former works, and were we to attempt to go into its merits, it would lead us deeper into abstruse science than would be perhaps palatable, even if comprehensible, to the majority of our readers, besides taking up more space than we can give. But, however, it is so well known and appreciated in England, that any further comment or reflection of ours it hardly necessary. Let our readers form to themselves their own ideas and opinions of its beauty and character like Flemish

"A perpetual song."

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There was always a great deal of waggery,

"The extravagance of Rossini's admirers in Eng-artist who only painted in outline, and who when land had the natural effect of exciting a feeling of asked why he did so, replied, "I leave it for hostility towards him; he was violently attacked, each of my spectators to fill up in their own and his character, manners, and habits grossly mis- way." So do we say to our indulgent readers, represented in different journals and other publica- with respect to this opera. "Its name is suffitions. Among other stories told to his prejudice, cient for an outline, do then likewise." It there was one which was so often repeated, and gained would be thought that this reception would have such currency, that it is proper to mention it for the induced our composer to adventure still further: purpose of contradiction. It was said that Rossini having been invited to a musical party, given by the but no--here he seemed to rest on his oars, king at Brighton, conducted himself with a degree of having arrived into the haven of perfection, for arrogance which disgusted his majesty, and that in with the exception of a stabat mater, produced particular on being requested to sing towards the about two years ago, and three beautiful choclose of the entertainments, he refused very cavalierly, ruses, composed for a convent of benedictine telling the king, who had politely made the request, nuns at Bologna, where he has since resided, that they had had enough of singing for one evening. and entitled, respectively, "La Speranza," " La This is wholly untrue. Rossini, on making his ap- Fede," and "La Carita," he has not since pearance, was received with great courtesy by the produced anything of importance; though, inking, who told him that he should hear some music deed, his life has been by a foreign composer, who was much esteemed in England, and, on a signal from his majesty, his unrivalled band of wind instruments played the overture to La Gazza Ladra.' Rossini received this graceful compliment in a manner which became him, and ex-mixed up with a strange jumble of good nature pressed himself charmed with the performance of his music. In the course of the evening he sang two songs, which required much exertion, in a manner which delighted the audience; but when the king desired to hear him sing a third song, he excused himself by saying that his voice was so much exhausted by his last effort, that he should be found incapable of giving further gratification to such judges as those before whom he had the honour of performing; an excuse which, instead of giving offence to his royal host, was readily and graciously received. Rossini had too much good sense, and had mingled too much with the world, to be ignorant of his precise position in society, or to be guilty of any solecisms in good manners. Every account of him which is entitled to credit, concurs in representing his deportment as uniformly correct, and his manners as gentleman-like and agreeable; and, if he was absurdly courted and extravagantly rewarded, it is hardly fair to lay to his charge the folly of a frivolous crowd, who endeavoured to gain fashion and eclát by

exhibiting themselves as his admirers and patrons.”

On his quitting England Rossini repaired immediately to Paris, where he resided for some years, and was director of the Theatre Italien, which, however, it is believed did not prove very prosperous under his guidance. He composed for the coronation of Charles X. the music of a little pièce de circonstance, called "Il viaggio di Rheims," and afterwards brought out a French opera, the music chiefly extracted from the last mentioned piece, called "Le Comte

and bon hommie, in the character of Rossini. In the letter which he wrote to his mother at Bologna (he was a good son and a most punctual correspondent) he was accustomed to draw a smaller or larger figure of a flask (fiasco) at the side of the account of any new opera he had brought out, to indicate the degree of failure which his work had experienced. The reader should be apprised that fare fiasco is the cant phrase with the Italian for a failure. That he is an undeniable gourmand is well known (and his gastronomic taste is unimpeachable), the following amusing anecdote will tesify. When the wellknown Careme was chef to the still more celebrated Rothschild, Rossini, who had known the latter, never dined at his hotel in Paris without personally inquiring after the health of the famous cuisinier. Careme, not to be behindhand, responded to this condescension by never omitting to give a hint to Rossini as to the particular dishes of the day's entertainment, which his own taste and experience deemed worthy of himself and his distinguished guest. On Rossini's retirement to Bologna, Careme took his loss so much to heart that it was even supposed it hastened his death. When Rossini had been settled at Bologna a few months, he one day received a case inscribed with the words "Careme à Rossini," and on opening it, discovered that its contents were some of those exquisite patés de gibier of which he had so