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Updated: May 5, 2025
Moody, withal a tender-hearted Mazurka. No. 2, in D, is bustling, graceful and full of unrestrained vitality. Bright and not particularly profound, it was successfully arranged for voice by Viardot-Garcia. The third of the opus, in C, is the one described by de Lenz as almost precipitating a violent row between Chopin and Meyerbeer. He had christened it the Epitaph of the Idea.
The success of the Italian school appeared to have utterly ruined this understanding and care for local and historical color. Rossini in the last act of Otello and in Guillaume Tell began its renaissance with a boldness for which he deserves credit, but it was left to Meyerbeer to restore it to its former glory. It is impossible to deny his individuality.
Thus his latter years were spent in the society of the great artists and wits of Paris, revered by all, and recognized, after Beethoven's death, as the musical giant of Europe. Rossini, Meyerbeer, Weber, Schumann in a word, the representatives of the most diverse schools of composition bowed equally before this great name.
He never would write an oratorio, because he had no hope of excelling Mendelssohn in that branch of musical art. His last composition was an aria written to Italian words for a Spanish lady-friend, the Señorita Zapater; and he was about to arrange the accompaniment for the orchestra when his last illness came on. Personally, Giacomo Meyerbeer had many characteristics which were not inviting.
Wagner had ability, and Meyerbeer, far from helping him, had ingeniously dug a trap to keep a possible rival quiet. Wagner made the acquaintance of Berlioz, and promptly uttered the criticism he adhered to always one that I humbly subscribe to that Berlioz, with all his imagination, energy and wealth of orchestral resource, had no sense of beauty.
The terms given were one hundred thousand francs for six months. Meyerbeer, who entertained a great admiration for Sophie's talents, set to work on "L'Africaine" with redoubled zeal, for he destined the rôle of Selika for her. A fortnight ahead orchestra stalls were sold for two hundred francs, and boxes could not be obtained.
More free, flexible, and melodious than Spontini and Halévy, measuring his work by a conception of art more lofty and ideal than that of Meyerbeer, and in creative power and originality by far their superior, Gounod's genius, as shown in the one opera of "Faust," suffices to stamp his great mastership. But he had many years of struggle yet before this end was to be achieved.
There was a constant throng loitering along the arcades; the cafes were lighted and crowded; men were smoking, sipping coffee, playing billiards, reading the newspapers, discussing the debates in the Chamber and the coming "Prophete" of Meyerbeer at the opera; women were chatting together in the boutiques, pretty grisettes hurrying home; little blanchisseuses, with their neatly-napkinned baskets, tripping among the crowd; strangers watched the gay groups, paused at the windows of tailors and jewellers, and felt the fascination of Paris.
An artist is very far from being an idle dreamer; he works as hard as the merchant or the mechanic, works, too, physically as well as mentally, with his hand as well as his head. This is all statement: let us have some facts; let us embody our ideas. Do you not call Meyerbeer, with his years of study and effort and application, a worker?
One can excuse the weary old man, sorely battered in life's battles, lapping up a little of this sweet flattery; but it is hard to forgive the stupidity that still makes the great composer appear ridiculous thirty years after his death. This legend of Meyerbeer borrowing or thieving from Wagner is sheer rubbish; in all Wagner's music there is not a bar which could have been of use to Meyerbeer.
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