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This pleased the First Consul, who, however, soon got to the old musical quarrel. "I tell you I like Paisiello's music immensely; it is soft and tranquil. You have much talent, but there is too much accompaniment." Said Cherubini, "Citizen Consul, I conform myself to French taste." "Your music," continued the other, "makes too much noise.
That we should be severed for so slight a cause an ungrammatical phrase in my Italian exercise, and three false notes in one of Paisiello's sonatas! But it is a part of my father's character, of whom it is impossible to say whether I love, admire, or fear him the most.
That we should be severed for so slight a cause an ungrammatical phrase in my Italian exercise, and three false notes in one of Paisiello's sonatas! But it is a part of my father's character, of whom it is impossible to say whether I love, admire, or fear him the most.
He had faulted Paisiello's opera because in parts it had become antiquated, for which reason he had had new situations introduced to meet the "modern theatrical taste"; but he lived fifty years after "Il Barbiere" had conquered the world, and never took the trouble to write an overture for it, the one originally composed for the opera having been lost soon after the first production.
The French ruler had already shown his favor by giving him the preference over Cherubim in several important musical contests, for the latter had always displayed stern independence of courtly favor. On Paisiello's arrival in Paris, several lucrative appointments indicated the sincerity of Napoleon's intentions. The composer did not hesitate to stand on his rights as a musician on all occasions.
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