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In this respect he reflected Reber. Reber used to say quietly in his far-away nasal voice, "You've got to imitate somebody, so the best thing to do is to imitate the ancients, for they are the best." However, he undertook to prove the contrary by writing some particularly individual music, when he thought he was imitating Haydn and Mozart.
Some of his works, in their perfection of line, their regard for details, their purity and their moderation remind one of Ingres's drawings which express so much in such a simple way. And Ingres, as well, although he tried to imitate Raphael, could only be himself. Reber would have been worthy of comparison with the painter, if he had had the power and productiveness which distinguish genius.
They made much of music in that household and we often heard there Delsarte, the singer without a voice, whom Ingres admired very much. Delsarte and Henri Reber were, in fact, his musical mentors, and, in spite of his pretence of being a great connoisseur, he was in reality their echo. He affected, for example, the most profound contempt for all modern music, and would not even listen to it.
Oftentimes there were real riots. But we heard there for the first time the overture of Manfred, Mendelssohn's Symphony in A minor, and the overture to Tannhauser. The modern French school found the doors in the Rue Bergère closed to them, but they were welcomed with open arms at the Chaussée d'Antin. Among them were Reber, Gounod, and Gouvy, and even beginners like Georges Bizet and myself.
Among them were Schubert's Symphony in C, fragments of Weber's opera Préciosa, his Jubel overture, and symphonies by Gade, Gouvy, Gounod, and Reber. These symphonies are not dazzling but they are charming. They form an interesting link in the golden chain, and the public has a right and even some sort of duty to hear them.
Reber showed Delsarte the way and the latter, naturally an antiquarian, threw himself into this unexplored field with surprising vigor. Only Lulli's name was known, while Campra, Mondonville and the others were entirely forgotten. Even Gluck himself had been forgotten.
He advised his pupils to undertake betimes thorough theoretical studies, recommending his friend, the composer and theorist Henri Reber as a teacher. He advised them also to cultivate ensemble playing trios, quartets, &c., if first-class partners could be had, otherwise pianoforte duets. Most urgent, however, he was in his advice to them to hear good singing, and even to learn to sing.
His face was beautiful and young in the flower-covered coffin, says Liszt. He was buried from the Madeleine, October 30, with the ceremony befitting a man of genius. The B flat minor Funeral march, orchestrated by Henri Reber, was given, and during the ceremony Lefebure-Wely played on the organ the E and B minor Preludes.
A solemn march was then struck up by the band, during the performance of which the coffin containing the body of the deceased was slowly carried up the middle of the nave...As soon as the coffin was placed in the mausoleum, Mozart's Requiem was begun...The march that accompanied the body to the mausoleum was Chopin's own composition from his first pianoforte sonata, instrumented for the orchestra by M. Henri Reber.
They had been delayed until this date, in order that the execution of this great work should be worthy of the master and his disciple. The principal artists in Paris were anxious to take part in it. The FUNERAL MARCH of Chopin, arranged for the instruments for this occasion by M. Reber, was introduced at the Introit.
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