WHETHER my three and a half years of absence had wrought a mighty change in my appearance, or my last illness (still very recent) and the stains of travel had played havoc with my looks, I know not, but anyhow my mother did not recognise me when I arrived. True, I had a budding beard, but such a slight one, that any one might have counted every hair.

During my absence my mother had left the Rue de l'Éperon, and settled down in the Rue Vaneau, in the parish known as "Les Missions EtrangÈres," the church of which stands at the corner of the Rue du Bac and the Rue de Babylone. There a post awaited me which was to fill up my time for several years to come. The priest of this parish, the AbbÉ Dumarsais, had formerly been chaplain at the LycÉe St. Louis. His predecessor at the Missions EtrangÈres was the AbbÉ Lecourtier.

While I was in Rome at the AcadÉmie de France, the AbbÉ Dumarsais had written to offer me, on my return, the appointment of organist and chapel-master to his parish. This I had accepted, but under certain conditions. I had no notion of taking any advice, and still less any orders, on musical matters, from priest or parish authorities, or anybody else. I had my own ideas, my own opinions, my own convictions. In short, I meant either to have my own way about the music, or not have anything to do with it. That was flat. However, my conditions were accepted, and all should have gone smoothly.

But old habit is hard to break. My predecessor had accustomed the worthy parishioners to a style of music quite different from that which I had brought back with me from Rome and Germany. Palestrina and Bach were deities in my eyes, and I was casting down the idols they were accustomed to worship.

The means at my disposal were almost nil. Besides the organ—a small and very inferior instrument—I had two basses, a tenor, and one choir-boy, without reckoning myself, who was chapel-master, organist, singer, and composer all in one. I had to do my best with what I found to my hand, and the necessity which forced me to use these very modest resources to the best possible advantage was of real benefit to me in the long run. Things went on well enough at first, but I guessed, from a sort of coldness and reserve I noticed, that I was not altogether in the good books of the congregation. I was not mistaken. About the end of my first year of office, the priest sent for me, and confided to me that he had to endure many complaints and reproaches from his flock. Monsieur or Madame So-and-so did not consider the musical part of the service the least bit cheerful or entertaining. He therefore suggested to me to "change my style," and to "give in to them a little."

"My dear AbbÉ," I said, "you know our bargain. I didn't come here to consult the taste of your parishioners, but to improve it. If they don't like my 'style,' as you call it, there is a simple way out of the difficulty. I will resign, you can reappoint my predecessor, and everybody will be satisfied. The matter is entirely in your own hands."

"Very well," said the AbbÉ; "all right. I accept your resignation."

Thereupon we parted the best of friends. I had not been home for more than half an hour when the AbbÉ's servant knocked at my door.

"Well, Jean, what is it?"

"Sir, Monsieur AbbÉ would like to see you."

"Oh, really! All right, Jean; say I will come in a moment."

When I met the AbbÉ he began again on the same subject.

"Come, come, my dear boy, it is a word and a blow with you really and truly! Is there no middle course? Do let us consider the matter calmly. You went off like a sky-rocket this morning!"

"My dear AbbÉ, there is not the slightest use in beginning it all over again. I stick to everything I have said. If I am to notice the objections of this person or that, I may just as well give up trying to do anything at all. Either I stay with a perfectly free hand, or else I go. Those are my conditions, as you know, and I will not alter them one jot."

"Oh dear! oh dear!" he said, "what a terrible fellow you are!" And then after a pause, "Well then, you had better stop!"

From that day forth he never mentioned the subject again, and left me absolute liberty of action. Little by little, my bitterest opponents became my warmest supporters, and the increasing sympathy of my hearers soon caused my modest salary to swell. I had begun with 1200 francs a year, which was not a large sum. The second year my pay was increased by 300 francs; the third I had 1800, and the fourth 2100 francs. But I must not anticipate.

We lived, my mother and I, in the same house as the AbbÉ. Another priest, three years older than myself, who had been a schoolfellow of mine at the LycÉe St. Louis, resided under the same roof—the AbbÉ Charles Gay. In the ordinary course of events, the disparity of our ages and his seniority in the school would have prevented any intimacy between us, even if we had happened to be acquainted with each other. However, our common taste for music had brought us together at the LycÉe. Charles Gay, who was then about fourteen, had very remarkable musical aptitude, and used to take the second soprano parts in the choruses; he was also one of the most brilliant scholars at the college. He concluded his studies, and I lost sight of him for three years. I met him again in the Foyer at the Opera one night, when "La Juive" was being played. I knew him at once, and accosted him.

"Hallo!" he said, "is that you? And what are you doing with yourself?"

"I have gone in for composing."

"Really!" he said. "So have I. Who are you working with?"

"With Reicha."

"Why, so am I. This is delightful; we must see a lot of each other!"

Thus it was that our schoolboy friendship was renewed, and still remains one of the strongest of my life.

I had the greatest admiration for my friend, who possessed musical powers of the very highest order, and whose talent, as I freely recognised, far surpassed my own. His compositions struck me as being full of genius, and I envied him the career I felt sure the future had in store for him. I often spent my evenings in his rooms, where there was always plenty of music going on. His sister was an excellent pianiste, and besides his own compositions (which we often used to try over, among his intimate friends), trios by Mozart and Beethoven were frequently given.

One day I received a note from my friend (who was out of town) asking me to come and see him, as he had something interesting to tell me. My first thought was that he was going to be married; but when I reached his house, he told me he was anxious to enter the Church. This explained all the folios and other big books I had for some time remarked lying about on his table. I was too young then to grasp the meaning of so sudden a change, and I regretted his decision to sacrifice such a smiling future to a life which seemed to me devoid of charm.

Meanwhile he made up his mind to pay a visit to Rome, and there begin his theological studies. I myself had just won the Grand Prix, which necessitated my going to Rome for two years. So it fell out that I met my friend again, he having arrived some three months before myself. When I came back from Germany, luck brought us together again by settling us under the same roof.

The AbbÉ Gay has now been a priest for more than thirty years, and is the Vicar-General of his intimate friend the Bishop of Poitiers.[12] Not his virtues only, but his talents as a speaker and a writer too, have brought him the reputation of being one of the most eminent ornaments the French clergy boasts.

Towards the third year of my duties as chapel-master, I myself felt a certain leaning towards an ecclesiastical career. Besides my musical studies, I had dabbled somewhat in philosophy and theology, and had even attended the theological lectures at the seminary at St. Sulpice all through one winter, wearing the dress of an ecclesiastical student.

But I had utterly mistaken my own nature and my proper vocation. I felt, after a time, that existence without my art was quite impossible for me, so, casting off the garb which suited me so ill, I went back into the world again. To this youthful phase of mine, however, I owe a friendship which I make it a point of honour to record in this chronicle of my life history.

During the summer of 1846 I was ordered, with the AbbÉs Dumarsais and Gay, to take sea baths at Trouville. One day I had a narrow escape from drowning, and so quickly did the press get hold of the fact, that the news was published next morning even in the Paris papers. Luckily I had lost no time in writing to tell my brother I was safe, so he was able to calm my mother's fears by showing her my letter. The papers had calmly announced that "I had been brought home dead on a shutter!" Truly the flimsiest truth travels slower than the weightiest lie! We chanced during this sea-bathing trip to come across a worthy AbbÉ walking on the beach with a boy, who was his pupil. This boy, some twelve or thirteen years of age, was named Gaston de Beaucourt. His mother, the Comtesse de Beaucourt, owned a fine property some leagues from Trouville, between Pont l'EvÊque and Lisieux. She invited us, in the most courteous and kindly way, to go and stay there before returning to Paris.

That charming and lovable boy, now a man of three-and-forty, and one of the best that ever lived, became my lifelong friend, to whose affection, sure and strong and tender, I owe not only the happiness our perfect mutual comprehension brings, but many a precious proof of the deepest and most unselfish devotion.

The Revolution of 1848 had just broken out when I resigned my post as chapel-master of the Missions EtrangÈres. My duties during the four and a half years I held it had served me admirably in the development and improvement of my musical education; but they were not calculated to advance my career to any practical extent, for they kept me vegetating in a corner, as it were. There is only one road for a composer who desires to make a real name—the operatic stage. The stage is the one place where a musician can find constant opportunity and means of communicating with the public. It is a sort of daily and permanent exhibition where his works can be perpetually on view.

Religious and symphonic music no doubt rank higher, in the strictest sense, than dramatic composition; but opportunities for distinction in that highest sphere are very rare, and can only affect an occasional audience, not a regular and systematic one like the opera-going public. Then, again, look at the huge variety of subject which lies before the dramatic author! What scope for fancy, for invention! what endless plots!

The stage tempted me irresistibly. I was nearly thirty, and eager to try my fortune on the fresh field I dreamt of. But I had no libretto, and I knew nobody whom I could ask to write me one. Then I had to find an impresario willing to employ me and trust me with a commission; and who was likely to do that, in face of the undoubted fact that my previous training had been mostly confined to sacred music, and that I knew nothing about the stage? Altogether I was in a fix.

But fortune led me to a man who soon shed light upon my path. This was the violinist Seghers, who then managed the concerts of the SociÉtÉ Ste. Cecile, in the Rue de la ChaussÉe d'Antin. Some compositions of mine had been performed at these concerts, and very favourably received. Seghers was a friend of the Viardots. Madame Viardot was then at the zenith of her talent and reputation—this was in 1849, just when she had created the rÔle of Fides in Meyerbeer's "Le ProphÈte" with such tremendous success. Madame Viardot received me with the utmost kindness, and suggested my letting her hear some of my work. I complied, of course, with the greatest delight. We spent a long time at the piano, and after listening to me with the kindest attention, she said—

"But, Monsieur Gounod, why do you not write an opera?"

"Indeed, Madame," I replied, "I would gladly do so, but I have no libretto."

"But surely you know somebody who could write you one?"

"Oh yes, no doubt I do; but 'could' and 'would' are very different words! I know, or rather when I was a child I used to know, Emile Augier; we trundled our hoops together in the Luxemburg. But since those days Augier has grown famous, and I have remained in my native obscurity. I hardly think my old playmate would care to join me in anything more risky than a hoop race!"

"Very well," said Madame Viardot, "go and see Augier, and tell him that if he will write the libretto I will sing the principal part in your opera."

My readers may fancy I did not wait to be told that twice. I tore off to Augier, who accepted my suggestion with enthusiastic delight.

"What! Madame Viardot!" he cried. "I should rather think so! I will set to work at once!"

Nestor Roqueplan was then impresario at the Opera. He was quite willing, on Madame Viardot's recommendation, to give up part of an evening's performance to my work, but he could not, he said, spare more. So we had to look for a subject which would combine three essential points—(1) brevity, (2) interest, (3) a central female figure. We pitched on the story of Sappho. The opera could not, in any case, be put into rehearsal till the following year; besides, Augier had to finish a big work he was then employed on. It was, I believe, his "Diane" for Mademoiselle Rachel.

At all events I held a formal promise, and I awaited the event with mingled impatience and calm. Just as I was about to set to work, a crushing blow fell on me and mine. This was in April 1850. Augier had just finished the poem of "Sappho." My brother was taken ill on the 2nd; on the 3rd I signed my agreement with Roqueplan, whereby I undertook to hand him over the score of "Sappho" by September 30 at latest. This allowed me six months to compose and write a three-act opera, my maiden dramatic effort. On the night of the 6th of April my brother breathed his last. It was a fearful grief to my old mother and to all of us.

My brother left a widow, with a child of two years old, and the prospect of another. It was born seven months later, opening its baby eyes on this sad world on the very day when the Church joins us in mourning the memory of our beloved dead.

These sad circumstances induced many difficulties and complications which demanded close and immediate attention. The guardianship of the children, the carrying on of my brother's business as an architect (for his death left much work still unfinished), every possible consequence, in fact, of such a sudden and unforeseen disaster, forced me to devote my time for quite a month to safeguarding the interests and arranging for the future of my unhappy sister-in-law, whose grief had quite prostrated her, physically and mentally. Besides all this, my poor mother nearly lost her reason under the stunning blow which had fallen on her. Every circumstance, both personal and external, seemed combined to unfit me utterly for an undertaking for which the time at my disposal already seemed so insufficient.

Within about a month, however, I was able to think seriously of making the beginning which was growing so urgently necessary. Madame Viardot, who had been on tour in Germany, and whom I had informed of the sad trouble we were in, wrote at once to urge me to take my mother with me and settle down for a while at a country place of her own in the neighbourhood of La Brie, where, she said, I should have the quiet and calm I needed.

I took her advice, and my mother and I started for Madame Viardot's house, where we found her mother (Madame Garcia, widow of the famous singer), a sister of Monsieur Viardot's and a girl, his eldest child, who is now Madame Heritte, and a composer of considerable note. There, too, I met a most delightful man, Ivan Tourgueneff, the celebrated Russian author, a close and intimate friend of the Viardot family.

I set to work at once. Though—strange fact!—the feelings which had been so lately torn by painful emotion might naturally have been expected to find their first expression in sorrow-laden and pathetic strains, just the reverse took place. The first ideas that came to me were full of gaiety and brightness, and they filled all my brain, as if my inner nature, crushed down by grief and mourning, felt the need of some reaction, and longed to draw a breath of happier life after my long hours of anguish and days of tears and bitter mourning.

Thanks to the calmness of the atmosphere around me, my work progressed much faster than I had dared to hope. After her German tour, Madame Viardot's engagements took her to England, whence she returned in the beginning of September, and found my labour nearly completed. I hastened to play her my work, of which I anxiously desired her opinion. She was quite satisfied with it, and in the course of a few days she knew the score so well, that she was able to accompany the whole of it by heart. This is about the most wonderful musical feat I ever witnessed, and gives some idea of the extraordinary powers of that splendid musician.

"Sappho" was performed for the first time on April 16, 1851, just before my thirty-second birthday. It was not a success, but, all the same, it earned me a good position in the opinion of contemporary artists. It does indeed betray a lack of theatrical instinct, a want of knowledge of stage effect, and of the resources of an orchestra, and some ignorance in handling it. But, on the other hand, the expression is true in feeling, the appreciation of the subject, from the lyrical point of view, is fairly exact, and the general style of treatment is distinctly dignified in tendency. The finale of the first act produced an effect which fairly astonished me. It was loudly and unanimously encored. I could hardly believe my ears, though they were tingling with the unaccustomed emotion, but the encore was repeated at every subsequent performance.

The effect of the second act was not so good as that of the first, in spite of the success of an air sung by Madame Viardot, and of the light duet, "Va m'attendre, mon maÎtre," sung by BrÉmond and Mdlle. Poinsot. But the third act made a very good impression. The goatherd's song, "Broutez le thym, broutez mes chÈvres," was encored, and Sappho's final stanza, "O ma lyre immortelle," were loudly applauded.

The cowherd's song gave the tenor AymÈs his first opportunity of appearing in public; he sang it beautifully, and thereby laid the foundation of his reputation. Gueymard and MariÉ took the parts of Phaon and AlcÉe.

My mother was present, of course, at the first performance of my opera. As I passed along one of the corridors on the way from the stage to the auditorium, where I was to meet her after the crowd had dispersed, I came upon my friend Berlioz, his eyes still wet with tears. I threw my arm round him, and said—

"Oh, dear Berlioz, come and show those wet eyes of yours to my mother. No newspaper paragraph about my opera will make her half so proud."

He granted my request, and said to her—

"Madame, I do not think anything has touched me so much for the last twenty years."

He afterwards published a notice of my opera, which I still regard as one of the most flattering and precious I have ever had the delight and honour of receiving.

"Sappho" was only acted six times. Madame Viardot's engagement was almost over, and her place in the opera was taken by Mdlle. Masson, who only sang the part three times.

I think it may safely be laid down as a general principle, that a theatrical work always, or almost always, has the public reception it really deserves. Theatrical success so inevitably depends on a variety of small details, that the failure of any one—of the merest accessories even—may (as has frequently happened) counterbalance, and perhaps utterly compromise, the effect of the finest qualities of conception and performance. Staging, ballet, scenery, dresses, book, fifty things go to make or mar an opera. The public, if its interest is to be kept alive, demands constant "variety." Many works of the very highest merit in some respects, have failed, not in rousing the admiration of true artists, but in winning popular favour, simply through their lack of this "spice," so indispensable to that class of the public which is not content with the simple charm of intellectual beauty.

I do not for a moment desire to claim the benefit of this excuse for my "Sappho." The public's right of passing judgment on any work offered to it is based on a prerogative peculiar to itself, and conferring special competence. It would be unfair to ask or expect it to possess that specific knowledge which would enable it to decide as to the technical value of a work of art. But, on the other hand, the public has a distinct right to expect and demand that a play or opera should satisfy those particular instincts the satisfaction and gratification of which it seeks within the playhouse walls. The success of a dramatic work then does not depend solely on the quality of its form and style. Both are no doubt essential—nay, indispensable—to save it from the rapid ravages of Time, whose scythe spares naught that is not essentially true and beautiful. But form and style are not its only, nor even, in a sense, its strongest support. They may and do strengthen and solidify success; they cannot make it.

The theatre-going public is a sort of dynamometer. It has nothing to do with the question of whether the play is in good taste or not. Its sole duty is to gauge what constitutes the true essence of every dramatic work—the strength of passion and the degree of emotion it expresses; its rendering, in fact, of the feelings which sway all human souls, individually and collectively. The consequence is, that author and audience become unconscious instruments in their mutual artistic education. The public is the author's criterion and measure of truth; the author serves his public as an exhibitor of the elements and conditions of the beautiful. This explanation is the only one, to my mind, which can account for the mysterious and incessant changes in public taste. What was madly sought for yesterday is neglected to-day; one evening will see men ready to tear to pieces the very thing the next morning will see them worshipping on bended knees.

Though not exactly a success, "Sappho" brought me some solid advantage, both present and future. On the very night of the first performance, Ponsard asked me to undertake the choral music for "Ulysse," a tragedy in five acts which he was just bringing out at the ThÉÂtre FranÇais. I agreed at once, although I did not know the play. It was quite enough for me to have the chance of collaborating with the author of "Lucrece," of "Charlotte Corday," and of "AgnÈs de MÉranie." I felt quite safe. ArsÈne Houssaye was then at the head of the ComÉdie FranÇaise. He was obliged to add a chorus to the ordinary staff, and increase the orchestra as well.[13]

"Ulysse" was played on June 18, 1852. I had been married a few days previously to a daughter of Zimmerman,[14] the distinguished Professor of the Piano at the Conservatoire. To his school we owe Prudent, Marmontel, Goria, Lefebure-WÉly, Ravina, Bizet, and many other fine musicians. By this marriage I became brother-in-law to the young painter, Edouard Dubufe, who was even then successfully following in his father's footsteps. His son, Guillaume Dubufe, seems, at the time I write, to be likely to maintain the reputation of his forefathers right worthily.

The principal parts in "Ulysse" were filled by Mademoiselle Judith, Messieurs Geffroy, Delaunay, and Maubant, Mademoiselle Nathalie, and others. The musical portion of the performance consisted of no less than fourteen choruses, one tenor solo, several melodramatic instrumental passages, and an orchestral overture. There was a certain risk of monotony in the general effect, as the composer was limited to orchestra and chorus; but I was fortunate enough to avoid the difficulty fairly well, and this second work of mine earned me fresh good-will in the artistic world. No publisher had offered to publish the score of "Sappho," but that of "Ulysse" was more favoured. Messieurs Escudier did me the honour and the kindness of printing it free of charge.

"Ulysse" had a run of forty performances. It was the second ordeal, as regards dramatic composition, through which my mother had watched me pass. The choruses of "Ulysse," as far as I can judge them, are fairly correct in character and expression, and are marked by a distinctly personal style. The orchestral treatment still fails from lack of experience, more than in actual colour, the general feeling for which strikes me as being fairly good.

A few days after my marriage I was appointed Superintendent of Instruction in Singing to the Communal Schools of the City of Paris, and Director of the Choral Society connected with them, in the place of Monsieur Hubert, himself the pupil and successor of Wilhem, the original creator of the said society.

This post I held for eight years and a half, and its duties were of the greatest service to me, musically speaking. They taught me to direct and utilise large masses of vocal sound, so as to develop the maxim of sonority under very simple methods of treatment.

My third musical venture on the stage was "La Nonne Sanglante," an opera in five acts, by Scribe and Germain Delarigne. Nestor Roqueplan, who was still Director of the Opera, had taken a fancy to "Sappho" and to me. I was capable, so he declared, of doing great things, and at his wish I wrote a five-act piece for the Opera. "La Nonne Sanglante" was written in 1852-53, rehearsed for the first time on October 18, 1853, put aside and rehearsed again several times over, and finally saw the footlights on October, 18, 1854, just a year after the first rehearsal. It was only acted eight times. Roqueplan was succeeded as Director of the Opera by Monsieur Crosnier, and as the new chief declared he would not allow "such stuff" to be acted, "La Nonne Sanglante" disappeared from the bills, and has never shown her face again.

It was rather a grief to me. The very respectable figure reached by the receipts certainly did not warrant such drastic and summary treatment. But directorial decisions sometimes, so I have heard it whispered, have hidden motives which it is vain to try and discover. In such cases the real reason is concealed, and some other pretext put forward.

I cannot say whether "La Nonne Sanglante" would have had any permanent success—I am inclined to think not. Not that the work was poor in effects; there were some most striking situations. But the subject is too uniformly gloomy. It had the drawback, too, of having a plot that was more than fanciful or improbable; it was downright impossible, and depended on a purely imaginary situation, utterly false, and therefore devoid of dramatic interest, which cannot exist without truthfulness, or at all events something approaching thereto.

I think, in the matter of orchestration, I made a forward stride in "La Nonne Sanglante." Some parts show an increased knowledge of instrumentation, and seem to bear the impress of a firmer hand. There is good colour in many scenes—such, for instance, as the Crusaders' Hymn, with Peter the Hermit and the chorus, in the first act; the symphonic prelude in the ruins, and the Ghosts' March, in the second; the tenor air and the duet with the Nun, in the third.

The principal parts were played by Mesdemoiselles Wertheimber and Poinsot, and Messieurs Gueymard, Depassio, and Merly.

I solaced my disappointment by writing a symphony (No. 1 in D) for the SociÉtÉ des Jeunes Artistes, which had just been started by Pasdeloup, and which held its concerts in the Salle Herz, in the Rue de la Victoire. This symphony was so well received that I wrote another (No. 2 in E flat) for the same society. It too achieved a certain success.

About the same time I composed a Solemn Mass for St. Cecilia's Day, which was successfully performed for the first time on November 22, 1855, by the Association des Artistes Musiciens, in the Church of St. Eustache, and has often been given since. I dedicated this Mass to the memory of my father-in-law Zimmerman, whom we had lost on October 29, 1853.

Yet another misfortune overtook our family; on August 6, 1855, death snatched away my wife's elder sister, Juliette Dubufe, wife of Edouard Dubufe the painter, a rare and gifted creature, full of charming qualities, and of exceptional talent as a sculptress and a pianiste. "Goodness, wit, talent"—these are the words inscribed upon her tomb; a simple epitaph, but eloquent in its simplicity and well deserved, fitly expressing as it does the honour and regret showered on the memory of an exquisite nature, the charm of which fell irresistibly on all who approached her.

Nearly all my time was taken up with the management of the Choral Society. I wrote a number of things for the big concerts of this institution. Some were very well received; among others two Masses, one of which had been performed under my direction on June 12, 1853, at the Church of St Germain l'Auxerrois in Paris. During one of these great annual meetings of the Choral Society, on Sunday, June 8, 1856, my wife presented me with a son. (Three years before, on the 13th of the same month, we had mourned the loss of our eldest child, a girl, who was born dead). On the morning of the day when my boy was born, my brave wife contrived to hide her sufferings from me until I left home for the concert; and on my return in the afternoon, I found my son had opened his eyes upon the world.

The birth of this child, which I had deeply longed for, was a joy and a blessing to us both. He has been mercifully spared to us, is now over one-and-twenty, and hopes to be a painter.

Since the withdrawal of "La Nonne Sanglante" I had done no dramatic work; but I had written a short oratorio, called "Tobie," which George Hainl (then conductor of the orchestra at the Grand ThÉÂtre at Lyons) had asked me to compose for one of his annual benefit concerts. This oratorio, as it strikes me, has certain qualities both of sentiment and of expression. Some attention was attracted by a somewhat touching air for the youthful Tobias, and by several other passages which had a good deal of pathos about them. In 1856 I made the acquaintance of Jules Barbier and Michel CarrÉ. I suggested to them to collaborate with me, and trust me with a libretto. They agreed to do so in a very friendly way. The first subject I put forward for collaboration was "Faust." The idea pleased them both. We went to see Monsieur Carvalho, at that time Director of the ThÉÂtre Lyrique, in the Boulevard du Temple. He had just brought out Victor MassÉ's "Reine Topaze," in which Madame Miolan-Carvalho had achieved a striking success. Monsieur Carvalho approved of our notion, and my two friends set to work at once. I had myself done about half my share of the work, when Monsieur Carvalho suddenly informed me that the ThÉÂtre de la Porte Saint Martin was on the point of bringing out a melodrama under the name of "Faust," and that this fact completely upset his calculations with regard to our work. He rightly thought we should never be ready before the Porte Saint Martin, and even so, it would be imprudent to enter into competition with a theatre whose well-known splendour as to mise en scÈne would draw half Paris just before our piece appeared.

He therefore begged us to choose some other subject, but this sudden upset made it impossible for me to turn my thoughts into another channel, and for more than a week I was unable to do any work at all.

At last Monsieur Carvalho asked me to write a comic opera, and to take my subject from MoliÈre. This was the origin of the "MÉdecin malgrÉ lui," which was produced at the ThÉÂtre Lyrique on January 15, 1858, the anniversary of MoliÈre's birth.

The announcement of a comic opera from the pen of a musician whose former ventures had been in such a different style seemed to bode disappointment. But these fears (some of them were hopes perhaps?) were not justified by the event, for the "MÉdecin malgrÉ lui" was, malgrÉ cela, my first really successful opera.[15]

But all my delight was shattered by the death of my poor mother. She had been ill for some months, and completely blind for two years previously. She died on January 16, 1858, the very day after the first performance, aged seventy-seven years and a half. Fate did not permit me to brighten her last days with the fruit of my labour, and the just recompense of the life she had so unceasingly devoted to her children and their future. I can only hope that before she left us she knew and foresaw that her struggle had not been in vain, and that her self-sacrifice had brought a great reward.

The "MÉdecin malgrÉ lui" had an uninterrupted run of a hundred nights. The work was staged with the greatest care. Monsieur Got, of the ComÉdie FranÇaise, was good enough, at the request of the Director, to bestow his invaluable advice as to the traditional mounting of the piece and the declamation of the spoken dialogue. The chief part, that of Sganarelle, was played by the baritone Meillet, whose voice was full and round, and his play spirited. He made a great success both as a singer and an actor. The other male parts were taken by Girardot, Wartel, Fromant, and Lesage (the two latter afterwards replaced by Potel and Gabriel), and all in the very best manner. The two principal ladies' parts were held by Mesdemoiselles Faivre and Girard, both of them full of life and animation.

This score, the first comic work I ever did, is in a light and easy style which savours of the Italian opera-bouffe. I have endeavoured to recall the style of Lulli in certain passages, but the work as a whole keeps to the modern forms, and belongs to the French school. Among the numbers which most took the public taste were the "Chanson des Glouglous," excellently sung by Meillet, and invariably encored; the "Trio de la Bastonnade," the "Sextuor de la Consultation," a "Fabliau," the "ScÈne de Consultation des Paysans," and a duet for Sganarelle and the nurse.

The Porte-Saint-Martin "Faust" had just been brought out; but all its magnificent staging did not ensure the melodrama a very long run. Monsieur Carvalho consequently reverted to our former plan, and I at once set to work upon the opera which I had laid aside to write the "MÉdecin."

My "Faust" was first put into rehearsal in September 1858. Before I left Paris for Switzerland, where I was to spend the holidays with my wife and son, then two years old, I had gone through the work with Monsieur Carvalho in the Foyer of his theatre. At that time nothing had been settled as to the cast, and Monsieur Carvalho had asked my leave to bring his wife, who lived opposite the theatre, to hear me play over the work. She was so struck with the rÔle of Marguerite, that Monsieur Carvalho begged me to let her sing it. I was naturally only too delighted, and the result proved my decision to have been something like an inspiration.

All the same, the rehearsals of "Faust" were not fated to pursue "the even tenor of their way" without many checks and difficulties. The tenor who was to have played "Faust," although gifted with a beautiful voice and a handsome presence, turned out not to be equal to so heavy a part. A short time before the date fixed for the first performance, it became necessary to find some one to take his place; and the part was offered to Monsieur Barbot, who happened to be disengaged. Within a month Barbot had mastered it and was ready to perform. So the opera was acted for the first time on March 19, 1859.

Though "Faust" did not strike the public very much at first, it is the greatest theatrical success I have ever had. Do I mean that it is the best thing I have written? That I cannot tell. I can only reiterate the opinion I have already expressed, that success is more the result of a certain concatenation of favourable elements and successful conditions, than a proof and criterion of the intrinsic value of a work. Public favour is attracted in the first instance by outward appearances; all inward and solid qualities can do is to retain and strengthen it. It takes some time to grasp and absorb the innumerable details which go to make up a drama.

Dramatic art is a branch of the art of portraiture; its function is to delineate character, as that of the painter is to present feature and attitude. Every lineament, all those momentary and fleeting inflections which constitute that individual physiognomy known as a "personality," must be grasped and reproduced. Shakespeare's immortal figures of Hamlet, Richard III., Othello, and Lady Macbeth are so true to the type which each expresses, that they hold a real and living place in every mind. Well may they be called "creations."

Dramatic music is ruled by the same laws, and cannot otherwise exist. Its object, too, is to portray feature; but where painting conveys an impression at a glance, music has to tell its story by degrees, and thus often fails to produce the intended effect at a first hearing.

None of my previous works could have led the world to expect anything like "Faust" from me; it was a surprise to the public, both as to style and interpretation.

Of course the part of Marguerite was not the first in which Madame Carvalho had found scope for that marvellous style and power of execution which have set her in the highest place among contemporary singers; but no previous rÔle had given her so fine an opportunity of displaying the lyric and pathetic side of her gifts. Her Marguerite made her reputation in this respect, and will always be one of the glories of her brilliant career. Barbot sang the difficult part of Faust like the great musician he is. BalanquÉ, who created the part of Mephistopheles, was a clever actor, whose gesture, appearance, and voice admirably suited that weird and diabolical personage. Although he somewhat overacted the part, he made a great success. The smaller parts of Siebel and Valentine were very creditably performed by Mademoiselle Faivre and Monsieur Raynal.

As to the score itself, it raised such a whirlwind of debate and criticism, that my hopes of a real success grew faint indeed.

LETTERS

I
Monsieur H. Lefuel, Poste Restante, Genoa.

(If Monsieur Lefuel does not call for his letters at Genoa, kindly forward to the AcadÉmie de France at Rome.)

Vienna, Monday, August 21, 1842.

My dear Hector,—Some week or so ago I had a letter from HÉbert, to whom I had written in the first instance from Vienna. He tells me you are somewhere near Genoa, but cannot exactly tell me where. As you have consistently neglected me, my dear fellow, all through my travels, and as I found no news of you at either Florence, Venice, or Vienna, I was obliged to ask a mutual friend whether he happened to know your address and could let me have it. From HÉbert's answer I gather he has been luckier than I. He knew your whereabouts at anyrate, and could write to you, and get news of you. Yet you were perfectly well aware, hateful old monster that you are, that your sorrowing relation would have rejoiced over even the veriest line from you. But not a scratch of your pen have I seen all through my journey. So how was I to write to you? I longed to always, and you never gave me a chance of doing it! As likely as not, this letter will arrive and find you flown, which accounts for the extreme precautions you may observe in the directions on my envelope.

If I were anywhere within reach, I should have a real good row with you. What on earth are you thinking of? Has your patriarchal tenderness waxed so faint that you feel no temptation to write your eldest-born a few of those inspiring sentences he so deeply values? Even supposing you had not had time to write, I might at all events have kept you posted about many matters which interested me then, and do so still, and which would not have been indifferent, I think, to you.

However, now I have had my grumble, dearest and best of friends and patriarchs, I will forget your crimes, and grant you my hearty pardon. I know right well how you detest all letter-writing; I know, too, that you never waste your time. That fact was made so clear to me at Rome, that I never dreamt of putting down your silence to laziness. So I will forget everything, except our mutual friendship.

I have wanted for some time to let you hear of a bit of good fortune I have had here. The Mass I wrote in Rome, for the King's fÊte-day at San Luigi de Francesi, is to be performed, with full orchestra, here in Vienna, on the 6th of September. This is a piece of luck which has never fallen in the way of any other Academy student, and has only come in mine through my having made acquaintance with some kindly artists, who have introduced me to others who have special influence here.

I am working very hard; I see very few people, and seldom go out. I am up to the eyes in a Requiem with full orchestral accompaniment, which will probably be performed in Germany on November 2. The officials of the church where my Roman Mass is to be given have already offered to have my Requiem done as well. But as I am not yet quite certain whether I shall think the rendering of the Mass satisfactory, I give no decided answer for the present. Through my acquaintance with Madame Henzel and with Mendelssohn, I might be able to secure a far finer performance of the work in Berlin, and this would have the advantage of raising me much higher in the opinion of my brother artists. But my hands are still quite free as regards the Vienna performance. If I am satisfied with the way my Mass is given on September 8, I shall let them do the Requiem here; if not, I shall take it to Berlin. When Madame Henzel was in Rome, she said to me, "When you come to Germany, my brother might be of the greatest use to you, if you have any music you wish to have performed."

I wrote to her to Berlin some days ago, and as I mean to leave this on September 12, and make a tour through Munich, Leipzig, Berlin, Dresden, and Prague, I asked her to be good enough to tell me if she thought I might hope to get any of my music performed in Berlin. When I get her answer, I shall see my way clearer. If she says yes, I shall stop in Berlin until the beginning of November, and then go straight back to Paris; if she says no, I shall return to Vienna, to which place the railway would get me back in four days. There is a line from Vienna to Olmutz, which would save me about sixty leagues. If I have to stop in Berlin for my Requiem, I shall travel by a different route; thus, Munich, Prague, Dresden, and Leipzig to Berlin. In any case I will let you know, as soon as I know myself.

I often regret our beautiful Rome, my dear Hector, and cordially do I envy those who have the luck to be there still. I really think my recollection of that lovely land is the chief charm and happiness of my present life. If you only knew what all the other countries I have travelled through look like after Italy!

The last thing I saw, and it made a deep and lasting impression on me, was Venice. You know all its beauties, so I will not go into long descriptions or ecstasies of admiration. You know all my feelings on the subject.

No doubt, dear friend, you have heard of the death of our comrade Blanchard. Deeply as I regret him, I know your grief is greater still, for you knew him far better even than I did. Such shadows are well-nigh sure to fall on every meeting after prolonged separation, and, commonplace as it may sound, there is something terribly indispensable about that word which closes every letter one writes.

Farewell, dear friend, farewell! I greet you as friend greets friend, nay, more, as brother greets brother. I hope we, at least, may meet again! Good-bye.—Ever yours,

CHARLES GOUNOD.

II
Monsieur Charles Gounod, 47 Rue
Pigalle, Paris.

November 19.

My dear Gounod,—I have just gone through your choruses for "Ulysse" with the greatest care. The work as a whole seems to me to have considerable merit, and the interest of the music rises as that of the drama intensifies. The double chorus of "the Banquet" is exceedingly good, and will make a powerful effect if properly performed. I do not think the ComÉdie FranÇaise can or will be at all stingy in the matter of your orchestra. The music alone, to my mind, will suffice to draw the public for a considerable number of nights, and it should therefore be to the direct and pecuniary interest of the Director that a large proportion of what is laid out on producing the play should be allocated to the musical part of the work. I think this will turn out to be the case. At the same time, do not give an inch on the matter. Get what you want, or take nothing at all. Be very careful who you give your solos to; one bad singer will utterly spoil the chances of a whole song.

Look at the page I have turned down; there is a mistake in the time, just at the opening of a verse, which I think you would be wise to alter. Men like you and me oughtn't to scan like that. We must leave that sort of thing to people who don't know their work. Best and sincerest good wishes.—Yours always,

H. Berlioz.

III
Monsieur Hector Lefuel, 20 Rue du
Tournon, Paris.

My dear Hector,—I called on you about a month ago to tell you a very important piece of news, which you, in your well-earned quality of friend and "father," have a right to know before anybody else. I am to be married next month to Mademoiselle Agnes Zimmerman. We are all as pleased as we can be, and I believe we may look forward to very solid and lasting happiness. My future wife's family is very good and kind, and I am lucky enough to be a general favourite there already.

I know, dear friend, you will be the first to congratulate me on this new and happy prospect. But our joy must be tinged with sadness when we think of the memories it must bring back to our poor Marthe[16], who still mourns the love she prized so much and lost so soon. God grant the sisterly affection my wife will give her may atone for the pangs the sight of our new-found happiness may cause her! I feel quite sure I may hope for this, for their two sweet natures are strongly drawn to each other even now.

Good-bye, dear Hector. Always yours most affectionately. My best regards to Madame Lefuel.

CHARLES GOUNOD.

IV
Monsieur Pigny[17], Rue d'Enghien, Paris.

Lucerne, Tuesday, August 28, 1855.

My dear Friend Pigny,—In my mother's letter, received to-day, she speaks with deep and grateful emotion of your more than filial devotion to her since my departure, and of the kindly care with which you offered to see personally to all the details of her move from the country. It is a considerable undertaking for an old lady like her, in spite of her simple wants and habits.

You who worship two mothers, so they tell me—self-sacrifice and renunciation (I use these names advisedly; I can find no other epithets to express my meaning)—will understand me when I tell you that what you do for her is the very tenderest and best thing you can do for me, for you help and complete a work I can never accomplish to my fullest satisfaction—I mean the endeavour to repay a tithe of the care, the sacrifices, the anxiety, the devotion she has lavished on me through many years of noble, patient, faithful toil. We have filled all her life, in fact, and she, alas! can only fill a part of ours.

I assure you, dear Pigny, I am most deeply touched by this proof that you already treat me as your friend. Apart from the universal affection in which all here hold you, nothing could give you greater claim and title to mine than the delicate deference and kindness you have so gracefully shown my honoured and beloved mother.

CHARLES GOUNOD.