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This was not true of Hasse, Mozart, Gluck, Cherubini, Weber, in dramatic composition; nor of Bach, Haydn, Beethoven, in other branches of the musical art. However great a man's genius may be, he must live and learn. To attain the highest excellence, long continued study is necessary; and Handel, as we believe, was no exception to the general law.
Scarlatti was another of Handel's ardent admirers, following him all over Italy; afterwards, when speaking of the great master, he would cross himself in token of admiration. True artists never fail generously to recognise each other's greatness. Thus Beethoven's admiration for Cherubini was regal: and he ardently hailed the genius of Schubert: "Truly," said he, "in Schubert dwells a divine fire."
Tamburini, in particular, was so oppressed by the death of his young friend that his vocalization, generally so perfect, was often at fault, while the faces of Grisi, Rubini, and Lablache too plainly showed their aching hearts. Rossini, Cherubini, Paer, and Carafa had charge of the funeral, and M. Habeneck, chef d'orchestre of the Académie Royale, of the music.
On the 12th of December, 1800, a grand performance of "The Creation" took place at Paris. Napoleon on his way to it narrowly escaped being killed by an infernal machine. Cherubini was one of the deputation, representing the various corporations and societies of Paris, who waited on the First Consul to congratulate him upon his escape.
For his son, Louis, the only offspring of this union, Berlioz felt a devoted affection, and his loss at sea in after-years was a blow that nearly broke his heart. Owing to the unrelenting hostility of Cherubini, Berlioz failed to secure a professorship at the Conservatoire, a place to which he was nobly entitled, and was fain to take up with the position of librarian instead.
His first Paris opera was the "Famille Suisse" , which had a successful run. Several other operas followed, besides some excellent pieces of chamber music which secured him the professorship of the piano in the Conservatory. He also took lessons at this time of Cherubini in counterpoint, and in 1803 brought out a very successful work, "Ma Tante Aurore." We next hear of him in St.
The works of the past, as well as the present, are given. A history of music at the Exposition properly written as one surely should be would be an epitome of the evolution of the art from Cherubini, Haydn and Bach to Richard Strauss, Saint-Saens and Debussy.
His heart relented, and the old allowance was resumed again, enabling the young musician to give his whole time to his beloved art, instantly he convalesced from his illness. The eccentric ways and heretical notions of Berlioz made him no favorite with the dons of the Conservatoire, and by the irritable and autocratic Cherubini he was positively hated.
The reforms in opera of which Gluck was the protagonist, and Wagner the extreme modern exponent, characterize the dramatic works of Cherubini, though he keeps them within that artistic limit which a proper regard for melodic beauty prescribes. In the power and propriety of musical declamation his operas are conceded to be without a superior.
And to think it had been performed by an audacious slip of a boy of fifteen! The aged Director, none other than Maestro Cherubini, was shocked out of the even tenor of his way, and declared that a first prize could not be awarded, although he must have realized the lad deserved it.
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