Part 11 (1/2)
It is a question which _I_ do not undertake to answer, having no such _experience_ on the subject as would give any value to my reply; but I recommend those who are anxious for a solution of the point, to travel abroad-to witness personally this kind of conjunction, as it exists there-and to _test_ it by its effects upon heart and mind.-In 1803, Libon returned to Paris, and was successively first violinist to the Empresses Josephine and Maria Louisa, and to Charles X. He was the composer of several much-admired Studies, and of various pieces played at the _Conservatoire_. He died in 1838.
-BELLON, who presents oddly the example of a fine artist made out of a man of commerce, is one of the French violinists who have displayed their talents in our metropolis. The following notice of him was given in the Harmonicon, on the occasion of his performing, in 1826, a Concerto of Kreutzer's, at the Philharmonic Concert:-
”The composition denotes a rich invention, united to great practical knowledge, and was played with a feeling, a firmness, a length of bow, and a breadth of tone, which, in these squeaking days, were as unexpected as delightful. M. Bellon is already a highly distinguished disciple of that fine school of the violin which boasts of Viotti as its head, and enumerates among its members, Rode, Baillot and Kreutzer; the latter of whom-the well-known composer of many admired operas-is his master, and has so well seconded his natural inclinations, that he has enabled him, in the short s.p.a.ce of four years, to stand forward and be acknowledged as one of the greatest violinists of the day. His history is rather curious: he was a respectable tradesman in Paris, and was offered a violin in barter for one of his commodities, an umbrella. He agreed to the exchange, acquired some little knowledge of the instrument, became a pupil of Kreutzer, was accepted (though beyond the prescribed age) at the _Conservatoire_, and is now what we have described him.”
FRANcOIS-ANTOINE HABENECK (the eldest of three brothers of this name) was born at Mezieres, June 1st, 1781. Being the son of a performer in a regimental band who was a native of Manheim, but had taken service in France, he learned from his father to play the violin, and at the age of ten he played Concertos in public. After residing in several towns where his father's regiment was in garrison, he went to Brest, and pa.s.sed many years there, solely occupied with the care of developing his faculties, as far as he could do so, without model, and without master. While there, he wrote several Concertos and even Operas, without any other guide than his instinct, and without possessing any notions of the art of writing. He was more than twenty years of age when he arrived in Paris. Being admitted to the _Conservatoire_, as a pupil of M. Baillot, he was not long in placing himself in the first rank amongst the violinists who proceeded from that school; and, after a brilliant compet.i.tion, he obtained the first prize in 1804, and was appointed _repet.i.teur_ of his Master's cla.s.s. The Empress Josephine, after having heard him in a solo, testified her satisfaction by a pension of 1200 francs. About the same epoch, he obtained, as the result of a compet.i.tion, a place among the first violins at the opera. Less fortunate in a second compet.i.tion, which was shortly after opened, for the post of leader of the second violins at the same theatre, Habeneck saw preferred to himself a violinist of moderate ability, of the name of Chol, a very respectable man, but by no means equal to the young artist in talent. In a short time, however, this injustice was repaired, for he was trusted with the post of first violin _adjoint_ for the solos; and when Kreutzer took the direction of the orchestra, after the retirement of Persuis, Habeneck succeeded him as first violin.
In 1806, he had become distinguished for that happy organization which specially qualified him for the direction of a concert-orchestra. At this period, it was the practice, for the violinists who had obtained a first prize at the concerts of the _Conservatoire_, alternately to direct the concerts of that school for a year. But the superior capabilities of Habeneck for this undertaking soon became so evident, that he remained in possession of the appointment till the temporary close of the Conservatory in 1815, after the entry of the allied armies into Paris. It was in these concerts that he caused to be played, for the first time, Beethoven's First Symphony (_in C_). At a later period, when he was charged with the direction of the sacred concerts at the Opera, he continued to make the works of this great artist known to the few enlightened amateurs who came to hear them. But it was, especially, when a new Concert Society was organized at the Conservatory, in 1828, that these grand compositions excited the liveliest enthusiasm by the warmth and energy which M. Habeneck was able to impress upon the execution of them.
Appointed director of the Opera in 1821, Habeneck discharged the functions of that office until 1824. At this period, the Viscount of Rochefoucault changed the administration of that theatre; but, in order to indemnify M. Habeneck, he created for him the place of Inspector-General of the _Conservatoire_, which he never filled, and a third violin cla.s.s; and caused Kreutzer to retire, in order to give to M. Habeneck his post of chef-d'orchestre to the Opera. After the revolution of 1830, M. Habeneck added to these appointments that of first violin in the King's band. His best pupils at the Conservatory were M. Cavillon and M. Allard.
M. TOLBECQUE is one of the artists who have acquired reputation in France. In the season of 1831, he visited England, and performed at the Philharmonic Concert; since which time, he has become familiarized among us, with a reputation that stands higher for solidity than for brilliancy. M. Tolbecque has a younger brother, who is also a violinist of some skill, and is known in England.
PROSPER SAINTON, whose talents have been advantageously known to British audiences for several seasons past, was born at Boulogne, in 1814, being the son of a merchant in that town. His parents, who were no votaries of music, gave him an education that looked towards the law. His maternal grandfather, however, discerning something of the youth's real bias, gave him some initiatory musical notions, and then succeeded, though with difficulty, in obtaining the paternal consent that his grandson should be provided, at college, with an instructor for the violin.
Opposing fears represented that such an indulgence would wholly turn aside the pupil from his severer studies. Notwithstanding these prognostications, he gained an eminent position in his cla.s.s, and was afterwards admitted Bachelor of Letters, with the fullest credit.
In 1830, the period at which young Sainton pa.s.sed his examination for the University, the Revolution of July burst forth, and proved nearly the ruin of his father (then President of the Tribunal of Commerce at Toulouse), who became deeply involved in the commercial crisis that ensued. In spite of this disaster, he was anxious that his son should still maintain the jurisprudential complexion of his studies; but filial respect could not _always_ hold in suppression the tendencies of struggling nature-and the son's vocation for music became more and more manifest. The notion of entering, _one_ day, the Paris Conservatory, had taken root in his mind. A permission to repair to the capital for _legal_ purposes, led to the fulfilment of the cherished vision. In the trustful idea of being able, by his progress in a new direction, to furnish ground for a reversal of the paternal decree, he entered, with a beating heart, within the resonant walls of the _Conservatoire_. There, received, in 1832, into Monsieur Habeneck's cla.s.s, he commenced the only career that could satisfy his long-baffled inclination. For the first year, indeed, he managed to pursue his law-course, along with the very dissimilar course prescribed at the Conservatory;-but, after that vain trial of a somewhat _Mezentian_ process, he surrendered himself entirely to his pa.s.sion for the violin, and declined all further concern with Justinian and the _Pandects_. The _dry_ was thus exchanged for the _delectable_-hard fact, for tender feeling. _Law_, by this arrangement, had one reluctant follower the _less_-and _Music_, one loving disciple the _more_.
Fortified with a potent plea-that of the second _prize_, which he obtained in 1833-the young aspirant succeeded in reconciling his father to his engagement in the artistic arena; and then, with powers fully emanc.i.p.ated, his progress was rapid, and the following year brought him to the attainment of the _first_ prize.
The _debut_ of Sainton in Paris was of a most encouraging success; but, without waiting to construct a fixed reputation there, he quitted the capital, to enter on a course of professional travel, to which mode of life, a youthful imagination, unshaded by experience, was lending the usual irresistible attractions. The result, however, shewed no disheartening contrast with hopes thus sanguine; for he met with favour everywhere. After visiting Italy, Germany, Russia, Sweden, Denmark and Spain, he returned to the place of his nativity, to share with parents, of whom he was then become the sole support, the fruits of his persevering labours.
In 1844, after the decease of his mother, Sainton made his first appearance in London, where his reception at the concerts of the Philharmonic Society was such as to induce his return in the year following;-since which time, he has only quitted our sh.o.r.es to add _one_ more country to his travelling list-namely, Holland,-where new successes, crowned with presents from Royalty, gladdened his career. His residence in England has been followed by various appointments-those of Violin-Professor at the Royal Academy of Music, Leader at the Italian Opera and at the Philharmonic, and (in 1848) Conductor and Violin Solo-player in Her Majesty's State Band.
Monsieur Sainton's works for the violin, to the present time, comprise:-1. A Fantasia in A.-2. An Air with Variations, in D.-3. A Capriccio, with Piano Accompaniment.-4. A Concert Waltz.-5. A Concerto in A, Op. 9.-6. An Italian _Thema_, with Variations, Op. 10.-7. A Fantasia on Lindpaintner's ”Standard-Bearer.”-8. Fantasia on Lucrezia Borgia.-9. Souvenirs from the ”Figlia del Reggimento.”-10. Air with Variations, in G.-11. Concerto in D minor.-12. Concerted Solo in E major.
Under the French School, as most nearly a.s.similating with it in character, may be included the able artists who, in recent days, have contributed to the honour of Belgium. At the head of these, stand De Beriot and Vieuxtemps;-of whom, as well as of their compatriot, Artot, some account shall here be introduced.
CHARLES AUGUSTE DE BeRIOT, conspicuous for the perfection of the qualities by which his playing has been distinguished-for remarkably just intonation-grace-refined taste-rich and charming tone-and for elegant bowing and wonderful execution, was born at Louvain, of n.o.ble parentage, in 1802. Left an orphan at the age of nine, he found, in M.
Tiby, professor of music in that town, a tutor, a second father, and a master who laboured with zeal to develop his happy dispositions for music. Already had he arrived at a certain degree of skill on the violin; and his progress had been so rapid, that he was able to play Viotti's Concerto in A flat (letter H) in such mode as to excite the admiration of his compatriots. Endued, besides, with a contemplative mind (says M. Fetis), and having no model immediately at hand that he could imitate, he sought within himself for that principle of the beautiful, whereof he could have no notion, except through the spontaneous strivings of his own individuality. As to the report that he was the pupil of Jacotot, it appears that the general attention of the Belgians had been directed for years to the prodigious results which were said to be derived from ”Jacotot's Method;” and that De Beriot, wis.h.i.+ng to know what advantage _he_ might obtain from its processes, had some conversations with its inventor, and then learned from it little more than two things, of _gravity_ rather than of _novelty_; viz. that perseverance triumphs over all obstacles-and that, in general, we are not _willing_ to do all that we are _able_ to do. The young artist comprehended the truth contained in these oracular propositions, and turned it to his own profit. To this extent only can De Beriot be called the pupil of Jacotot.
A happy organization, moral as well as physical, an education well commenced-and labour regulated with the greatest judgment-could not fail to ensure for De Beriot the acquisition of a very remarkable talent.
Nothing was still necessary but contact with fine talents of other kinds, in order to finish, to adjust, and to give determined character.
De Beriot was nineteen years old, when (in 1821) he quitted his native town, and repaired to Paris; where his first object of care was to play before Viotti, at that time Director of the Opera. After hearing him with attention, ”You have,” said the renowned artist, ”a fine style; give yourself up to the business of perfecting it; hear all the men of talent; profit by everything, and imitate nothing.” This advice seemed to imply the recommendation to have no master. De Beriot, however, thought it necessary to take lessons of Baillot, and entered the Conservatory with this view; but he was not long in discovering that his talent had already a character of its own, which it would be difficult to modify, without injuring its originality. He continued therefore but a few months in the cla.s.ses of the Conservatory, resumed the control of his own labours, and soon appeared at concerts with brilliant success.
His first Airs with Variations, compositions full of grace and novelty, augmented his rising reputation.
From a brilliant career in Paris, De Beriot pa.s.sed, in 1826, into England, where he met with a corresponding reception. In London, as well as in some of our provincial cities, he gave concerts, that were attended with transports of applause. Besides engagements at the Philharmonic Society, he was heard at some of the Musical Festivals, which take place annually in the princ.i.p.al towns of England. Of the impression he produced among ourselves, a marked _individual_ instance is on record, in the fact (stated in the Harmonicon) of a certain gentleman travelling from Glasgow expressly to hear him play a Concerto at the Birmingham Musical Festival, and declaring himself amply recompensed by the result, for his trouble, time, expense and fatigue!
To his performance during one of his later visits to England, the _Harmonicon_ thus alluded:-
”We knew not which most to admire-his tone, his vigor, the determined manner in which he sprang to his extreme s.h.i.+fts, his staccato pa.s.sages, the bow bounding from the string with an elasticity almost magical, or the boldness and certainty of his double stops.”
Returning to his native land, with a now brilliant renown, De Beriot was presented to King William, who, although he had little love for music, understood the necessity of a.s.suring the independence of a young artist who gave such promise of becoming an honour to his country. He granted him a pension of 2000 florins, with the t.i.tle of ”first violin solo” in his private band. The Revolution of 1830 deprived De Beriot of these advantages.
It was at one time objected to this artist, that, bounding the scope of his talent to the composing and playing of Airs with Variations, he shut himself up within too confined a sphere. Of this reproach he cleared himself, by the composition of _Concertos_, which he played on various occasions, and wherein he discovered grander proportions, both as to conception and execution. The last of these Concertos is full of originality.
A marked incident in the life of this artist, was his hymeneal engagement with the celebrated Malibran; and the close opportunities thus possessed of hearing that accomplished woman, appear to have exercised the happiest influence on his own talent. At Naples, where he appeared at a concert given at the Theatre _San Carlos_, he obtained an enthusiastic success, very uncommon among the Italians; for that nation, pa.s.sionate in its admiration of _song_, pays usually a lower degree of homage to _instrumentalists_.-An anecdote or two may serve to close our notice of this eminent artist. One of our own violinists, more noted for his execution than his feeling, was once complaining to him that he found he could produce very little effect with his (De Beriot's) _airs varies_.-”_C'est qu'il y faut de l'ame!_” (”What they require, is _soul_”) was the laconic reply of the Belgian.