Autobiographical Reminiscences with Family Letters and Notes on Music Part 14

It has grieved us sorely. Our dreary winter will close sadly indeed, what with our dear mother's departure, the reasons which make that step wise and even necessary, the thought of how all she will see must wring her heart, and our own disappointment at not having you here for a while, as we had hoped.

If I was not bound until the 1st of May by the engagements I have made in London for that date, I should have started, and so would Anna and her children, with my mother. Duty, in the shape of earning a few crusts, forbids my moving yet, but we shall be on our way to join you before the first week in May is over. In spite of the very favourable welcome, and the artistic position my work has earned me here, I feel this country is not my France, and I believe, being a particularly human person, that my French nature and habits are too old to be modified by transplanting; I shall live and die essentially _a Frenchman_. The day is yet far distant when the sense of the whole earth being his fatherland will predominate in the heart of man over love for the soil of his country.

My tenderest greeting to you both.

X

LONDON, April 14, 1871.

DEAR FRIEND,--Your letter of the 12th has just reached me, and I reply at once, in the hope that my answer may be at Versailles in time to welcome you on your return to the dear fraternal roof, and that thus your two brothers may each greet you after his fas.h.i.+on--one in his peaceful garden, the other by these few lines from the other side of the sea; one opening his door to you, the other stretching out his arms; both taking you to their hearts. How large the place you hold there, you know right well! Alas! dear friend, dear brother, I too hear the terrible guns whose booming grieves your soul and breaks your heart, as well it may! As step by step I follow the progress of events, and the various phases of this conflict, or rather of the utter bedlam which causes and maintains it, I watch the gradual disappearance--I will not say of my illusions (the word is not worthy to express my meaning, nor should I mourn over it as I do), but of my hopes, present or near, at all events, of the approaching erection of a new _story_ in the building of the moral habitation men call "Liberty," the only dwelling, after all, worthy of the human race. No, again I say it, these are no illusions which are fading from our sight! Liberty is no dream; it is our Canaan, a true land of promise. But, like the Jews, we shall only see it afar off. To enter it, we must become G.o.d's own people. Liberty is as real as heaven. It is a heaven on earth--the country of the elect; but it must be earned, and conquered, not by oppression, but by self-devotion; not by pillage, but by generosity; not by taking life, but by bestowing it, in the moral as well as the material sense.

Morally, above all; for once that is well understood and ascertained, the material side of the question will take care of itself. The _man's_ hygiene must come first, his animal welfare second--that is the just, and therefore the logical course.

When I consider the outcome (so far at least) of all the moral gifts, all the advances on trust, as it were, of which humanity, political and social, has been the recipient, up till this present day, I cannot help observing that it has been treated like a spoilt child. I feel inclined to doubt whether a wise and opportune distribution of all those gifts which cannot be appreciated and utilised till the human race comes of age, has not been antic.i.p.ated with reckless and imprudent prodigality.

We still stand in need of _overseers_. Well, master for master, take it all in all, I would rather have _one_ than _two hundred thousand_. You can always get rid of one tyrant (natural death, what we call _la belle mort_, will do that for you); but a collective tyranny, compact, endlessly reproductive, feeding and fattening perpetually on its own victims!--I can never believe that is G.o.d's chosen model of human evolution. Now, if we carry the argument to its conclusion, we come to this: "Liberty is merely the voluntary and conscious accomplishment of justice." And as justice is obedience to eternal and unchanging laws, it follows that where there is freedom there must be submission. This is the end of the argument, and the basis of all life. I should go on twaddling for ever (and so would you), but I must not forget mine is not the only letter this envelope is to hold.

So I will send my affectionate love to you and Berthe.--Your brother,

CH. GOUNOD.

BERLIOZ

In the ranks of human nature certain peculiarly sensitive beings are to be found, whom circ.u.mstances affect after a fas.h.i.+on utterly distinct, both in nature and degree, from the results they produce on other men.

These individuals form the inevitable exception to an otherwise invariable rule. Their natural idiosyncrasies explain the peculiar features of their various lives, and to these lives again their ultimate fate may fairly be ascribed.

Now the exceptional men and women lead the world. This is inevitable, for their struggle and their suffering is the price of the enlightenment and progress of humanity at large. Once these intellectual pioneers have dropped on the road they have hewed out--oh! then troops up the flock of imitators, full of the pride of breaking down the already opened door; every separate sheep of them, as vainglorious as the legendary fly on the coach-wheel, loudly claiming the honour and glory of having won triumph for the Revolution. "J'ai tant fait que nos gens sont enfin dans la plaine!" Like Beethoven, Berlioz was one of the ill.u.s.trious sufferers from that painful privilege of being an exceptional man. Dearly did he pay for the heavy responsibility! The exceptional man must suffer. Fate wills it thus, and, as invariably, he must bring suffering on others.

How can the common herd (that _profanum vulgus_ so execrated by the poet Horace) be expected to acknowledge its own incompetence and bow down before any insignificant though audacious person who dares stand out boldly against inveterate custom and the sovereign rule of old-established routine? Did not Voltaire (a clever man, if ever there was one) declare that no one person was as clever as all the rest put together? And is not universal suffrage, the great achievement of these modern days, the irrevocable verdict of the sovereign populace? Does not the voice of the people equal the voice divine?

History, meanwhile, with its steady onward march, which from time to time exposes many a counterfeit--history, I say, teaches us that everywhere, and invariably, light proceeds from the individual to the mult.i.tude, and never from the mult.i.tude to the individual; from the wise to the ignorant, never from the ignorant to the wise; from the sun to the planet, never from the planet to the sun. You cannot expect thirty-six millions of blind men to do the work of one telescope, or thirty-six millions of sheep that of one shepherd! Was it the world at large that formed Raphael and Michael Angelo, Mozart and Beethoven, Newton and Galileo? The world!--which spends its life making and unmaking its own judgments, in a perpetual alternate condemnation of its own infatuations and prejudices. How can the world judge anything? Would you erect such wavering contradictory decrees into an infallible jurisdiction? The very thought is laughable. The world's first impulse is to scourge and crucify. Long afterwards, in the next generation oftener than not, or a still later one, a tardy repentance reverses the judgment, and the laurels denied to the living genius fall like rain upon his tomb. The only true and definite sentence, that of posterity, is but the acc.u.mulated judgment of successive minorities. Majorities are the "preservers of the _statu quo_." I do not blame them. They probably fulfil their true function in the general order of things. They may keep the chariot back. They certainly do not help it onwards. They act as a drag, when they do not play the part of ruts upon the path. Immediate success is often enough a mere question of fas.h.i.+on. It proves a work to be on a level with the age; it by no means argues any long survival.

There is no great reason, then, for being proud of it.

Berlioz was a very single-minded man, ignorant of all arts of concession or compromise. Belonging, as he did, to the race of _Alcestis_, naturally enough the hand of every _Orontes_ was against him. And how many "Orontes" there are in this world! People called him crotchety, surly, quarrelsome, what not! But surely those who complained of this extreme sensitiveness, often amounting to excessive irritability, should have made some allowance for the annoyances, the personal suffering, the innumerable rebuffs endured by a proud-hearted man, to whom any mean compliance or cringing servility was utterly impossible. Though his opinions may have seemed hard and severe to those concerning whom they were expressed, they never, at all events, can be attributed to any shameful or jealous motive. Such feelings were quite incompatible with the n.o.bility of that great and generous and loyal nature. The trials endured by Berlioz when competing for the Grand Prix de Rome were the faithful image, and, as it were, the prophetic prelude to those he was to face all through his career. He actually competed four times over, and he was twenty-seven when, by dint of his own perseverance, and in spite of the innumerable difficulties he had to overcome, he won the prize, in the year 1830.

The very year which saw him carry off the prize with his cantata "Sardanapale" also saw the execution of a work which demonstrated the point his artistic development (so far as musical conception, colour, and experience are concerned) had reached. His "Symphonic Fantastique"

("episode dans la vie d'un artiste") was a real event in the musical world, the importance of which may be gauged by the fanatical admiration and the violent opposition it aroused. Admitting that a work of such a nature may be open to much discussion, the fact that its composer possessed most remarkable inventive power, and a powerful poetic sentiment (which reappears in all his subsequent compositions), still remains evident.

Berlioz has put into musical circulation, so to speak, a large number of orchestral effects and combinations which were unknown before his time, and which have been adopted by very ill.u.s.trious musicians indeed.

He has revolutionised the art of instrumentation, and in that respect, at all events, may be said to have "founded a school." And yet, in spite of certain brilliant successes both in France and elsewhere, his whole life was a struggle. In spite of performances to which his personal guidance as an orchestral conductor of great eminence and his indefatigable energy added many chances of success and many elements of brilliance, his personal public was always a limited one. The great public, that "everybody" which turns _success_ into _popularity_, never knew him. Popularity was so slow in coming to Berlioz that he died of the delay. The end came at last, with the "Troyens," a work which, as he foresaw, caused him a world of sorrow. Like his namesake and his hero, he may be said to have perished before the walls of Troy. Every impression, every sensation Berlioz underwent was carried to an extreme.

He knew no joy or sorrow short of downright delirium. As he himself would say, he was a "volcano." Extreme sensibility carries one as far in suffering as in delight. Tabor and Golgotha are not far apart.

Happiness no more consists in the absence of suffering than genius implies freedom from all faults.

Men of genius must and do suffer, but they need no pity. They know raptures which are a sealed book to others, and if they have wept for sadness, they have shed tears of ineffable joy as well. That in itself const.i.tutes a heaven that can never be too dearly bought.

Berlioz was one of the greatest emotional influences of my youth. Older than myself by fifteen years, he was a man of four-and-thirty when I, a lad of nineteen, studied composition under Halevy at the Conservatoire.

I recollect the impression his person and his works (which he often rehea.r.s.ed in the concert-room of the Conservatoire) produced on me. The moment Halevy had corrected my work I used to fly from the cla.s.s-room, and lie low in some corner of the concert-hall, and there remain, intoxicated by the weird, pa.s.sionate, tumultuous strains, which seemed to open new and brilliant worlds to me. One day, I remember, I had been listening to a rehearsal of his "Romeo and Juliet" Symphony, then unpublished, and which was shortly to be given in public for the first time. I was so struck by the grandeur and breadth of the great finale of the "Reconciliation des Montaigus et des Capulets," that when I left the hall my memory retained the whole of Friar Lawrence's splendid phrase, "Jurez tous par l'auguste symbole." A few days afterwards I went to see Berlioz, and sitting down to the piano, I played the whole pa.s.sage over to him. He opened his eyes very wide, and looking hard at me, he asked--

"Where the devil did you hear that?"

"At one of your rehearsals," I replied. He could hardly believe his ears.

The sum total of Berlioz' work is very considerable. Thanks to the initiative of two courageous orchestral leaders (M. Jules Pasdeloup and M. edouard Colonne), the present public has already become acquainted with several of the great composer's vast conceptions--the "Symphonic Fantastique," the "Romeo and Juliet" Symphony, the "Harold Symphony,"

the "Enfance du Christ," three or four great overtures, and, above all, that magnificent work the "d.a.m.nation de Faust," which in the course of the last two years has roused such transports of enthusiasm as would have stirred the artist's very ashes, if the dead could stir. But what a mine remains yet unexplored! Shall we never hear his "Te Deum," in all its grandeur of conception? And will no director produce that charming opera, "Beatrix et Benedict?" Such an attempt nowadays, when opinion has so veered round to Berlioz' side, would have every chance of success.

Though no particular merit on the score of risk encountered could be claimed, it might be wise to seize the favourable opportunity. The following letters have a double charm. They are all unpublished hitherto, and every one of them has been written in the spirit of absolute sincerity, which is the eternally indispensable condition of true friends.h.i.+p. Some may deplore the lack of deference they betray with respect to men whose talents should apparently s.h.i.+eld them from irreverent and unjust description. People will say, and not unreasonably, that Berlioz would have done better not to style Bellini a "little blackguard," and that the appellation of "ill.u.s.trious old gentleman" as applied to Cherubini, with evidently ill-natured intent, was very inappropriate to the eminent composer whom Beethoven considered the greatest of his age, and to whom he, Beethoven, the mighty symphonist, paid the signal honour of humbly submitting the MS.

of the "Messe Solennelle" (Op. 123), with the request that he would freely express his opinion concerning it. Be that as it may, and in spite of blots for which the writer's cross-grained temper is alone responsible, the letters are most deeply interesting. Berlioz bares his heart in them, as it were. He lets himself go; he enters into the most intimate details of his private and artistic life. In a word, he opens his whole heart to his friend, and that in terms of such effusive warmth and affection as prove how worthy each was of the other's friends.h.i.+p, and how complete the mutual understanding was. To understand each other!

How the word calls up that immortal fable of our heaven-sent La Fontaine, "Les deux Amis."

To understand! to enter into that perfect communion of heart and thought and interest to which we give the two fairest names in human language--friends.h.i.+p and love. Therein lies life's whole charm, and the most powerful attraction, too, in that _written life_, that conversation betwixt parted friends which is so appropriately known as "correspondence."

The musical works of Berlioz may earn him glory. The published letters will do more. They will earn him love, and that is the most precious of all earthly things.

CHARLES GOUNOD.

M. CAMILLE SAINT-SAeNS AND HIS OPERA "HENRI VIII."

When, after years of perseverance and struggle, a highly gifted artist gains the exalted place in public opinion to which he is justly ent.i.tled, everybody, even his most obstinate opponent, exclaims, "Didn't I always say people would end by coming round?"

Five and twenty years ago, or more (for he came out as an infant prodigy), M. Saint-Saens made his first appearance in the musical world.

How many times since then have I been told: "Saint-Saens? Eh? Now really? Oh, as a pianist or an organist, I dare say. But as a composer!

Do you really and truly think?..." And all the rest of the usual stereotyped phrases. Well, I _did_ think so, really and truly; and I was not the only person who did. Now everybody else thinks so too.

Misgivings have all faded away, prejudices are all dispelled--M.

Saint-Saens has won. He has only to say, "J'y suis, j'y reste," and he will be one of the glories of his time and of his art.

According to admitted opinion among certain artists, if a man speaks well of a brother artist's work, the natural inference is that he thinks ill of it, and _vice versa_. But why? Must you refuse to admit other men's talent or genius in order to prove your own? Did Beethoven slay Mozart? Will Rossini prevent Mendelssohn from living on? Do you believe that, as Celimene says in the play, "C'est etre savant que trouver a redire"?

Are you afraid there will not be room enough for you? Pray calm that fear! There will always be room and to spare in the Temple of Fame. If your place is marked there, it awaits you. The great point is that you should come and take it.

No; the real dread is that of not being foremost Alack! this fretful, nervous preoccupation concerning relative value is the very ant.i.thesis of real merit. It is the same shabby old story--love of self usurping the place and duty of love in the true sense. Let us love our art. Let us fight, in all honesty and boldness, for any man or woman who serves it bravely and n.o.bly. Let us not hold truth "captive in the hand of injustice." That which we strive to conceal to-day will surely be in public knowledge on the morrow. The only honourable course is to prepare that judgment of posterity, the _vox populi, vox Dei_, which ranks no man by favour, or, what is worse, by interest, but gives sentence in true justice, infallible and eternal.

To keep back the truth, proves that we do not love it. To grieve because some other man serves truth better than ourselves, proves that we would have the honour due to truth alone paid to our own persons.

Let us rather do all we can to diffuse the light of truth. We never can have too much of it.

M. Saint-Saens is one of the most astonis.h.i.+ngly gifted men, as regards musical powers, I have ever met with. He is armed at all points. He knows his business thoroughly. I need only remark that he uses his orchestra, and plays with it, just as he plays on and with his piano.

He possesses the gift of description in the highest and rarest degree.

He has an enormous power of a.s.similation. He can write you a work in any style you choose--Rossini's, Verdi's, Schumann's, Wagner's. He knows them all thoroughly--the surest safeguard, it may be, against his imitating any. He never suffers from that bugbear of the chicken-hearted, the dread of not making his effect. He never exaggerates; thus he is never far-fetched, nor violent, nor over-emphatic. He uses every combination and every resource without abuse, and without being enslaved by any one of them.

He is no pedant. There is no solemnity, no _transcendentalism_ about him. He is too childish still, and has grown far too wise, for that. He has no special system; he belongs to no party or clique. He does not set up to be a reformer of any sort. He writes as he _feels_ and _knows_.

Mozart was no reformer either, and, as far as I am aware, that fact has not prevented his reaching the highest pinnacle of his art.

Another virtue (and one I desire to emphasise in these days), M.