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Updated: June 20, 2025
She sang from the low A, and she could take the high C. From B to B every note was clear and full, one as the other; he delighted especially in the middle of her voice; for one whole octave, and more than an octave, her voice was pure and sonorous and as romantic as the finest 'cello. And the romance of her voice transpired in the beautiful Beethoven-like phrase of Cherubini's "Ave Maria."
At a performance in her own house, where the choruses from Cherubini's Water-Carrier were given, she herself had rehearsed the music with those who were to take part, and to hear her play on the piano was a treat. This lady, a remarkable woman in every respect, who gave me many tokens of maternal affection, insisted on the right to warn me.
Somebody recognized Cherubini as a favorite of court circles, and, when he refused to lead their obscene music, the fatal cry, "The Royalist, the Royalist!" buzzed through the crowd. At this critical moment another kidnapped player thrust a violin in Cherubini's hands and persuaded him to yield. So the two musicians marched all day amid the hoarse yells of the drunken revolutionists.
One of the theatres opened during the revolutionary epoch was the Théâtre Feydeau. The second opera performed was Cherubini's "Lodoïska" , at which he had been laboring for a long time, and which was received throughout Europe with the greatest enthusiasm and delight, not less in Germany than in France and Italy.
This good custom has disappeared and with it the opportunity to give the public such delightful works as the Seven Words, and so many other things which harmonize with the character of the day. At one of these Sacred Concerts, Pasdeloup presented on the same evening the Credo from Liszt's Missa Solemnis and the one from Cherubini's Messe du Sacre.
Cherubini's connection had been with the aristocracy, and now they were fleeing in a mad panic or mounting the scaffold. His livelihood became precarious, and he suffered severely during the first five years of anarchy. His seclusion was passed in studying music, the physical sciences, drawing, and botany; and his acquaintance was wisely confined to a few musicians like himself.
He truly shunned brag or speaking of himself. Cherubini's voice was feeble, probably from narrow-chestedness, and somewhat hoarse, but was otherwise soft and agreeable. His French was Italianized.... His head was bent forward, his nose was large and aquiline; his eyebrows were thick, black, and somewhat bushy, overshadowing his eyes.
Sister Mary John asked Evelyn if she composed. Evelyn told her that she did not compose, and remembering Owen's compositions, she hoped that Sister Mary John had not an "O Salutaris" in manuscript. "Let me look through the music; we are talking of other things instead of looking." "So we are.... Let us look." At the bottom of a heap, Sister Mary John found Cherubini's "Ave Maria."
This haughty reply was the beginning of an estrangement. Another illustration of Cherubini's sturdy pride and dignity was his rejoinder to Napoleon, when the latter was praising the works of the Italian composers, and covertly sneering at his own.
Innumerable invitations urged him to visit other capitals, and receive honor from imperial hands. But Auber was a true Parisian, and could not be induced to leave his beloved city. He was a Member of the Institute, Commander of the Legion of Honor, and Cherubini's successor as Director of the Conservatory. He enjoyed perfect health up to the day of his death in 1871.
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