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Updated: August 14, 2024
One day Mehul, having become tired of these constant discouraging remarks, resolved to let the first consul, who so often gave him bitter pills to swallow, have a taste of them himself.
The Parisians were excited about this nomination, and divided into two parties, each of which defended its candidate with the greatest zeal, and maintained that he would be the one who would receive Bonaparte's appointment. The candidates of these two parties were the Frenchman Mehul and the Italian Cherubini.
SCENE. The country in autumn The wind is blowing without MADAME, seated by the fireside in a large armchair, is engaged in needlework MONSIEUR, seated in front of her, is watching the flames of the fire A long silence. Monsieur Will you pass me the poker, my dear? Monsieur That is by Mehul, is it not, my dear? Ah! that is music I saw Delaunay Riquier in Joseph.
Méhul, finding in whose presence he was, was ready to sink with confusion; but, in answer to Gluck's questions, he told him that he was a young musical student from the country, whose anxiety to be present at the performance of the opera had led him into the commission of an impropriety.
"Joseph and his Brethren," by Mehul, was the first opera to be taken up by the new conductor. He drilled the orchestra much more carefully than they had been accustomed, and while, in the beginning, some were sulky at the strictness they were subjected to, yet they finally saw the justice of it and at last took pride in doing their work well. "Joseph" was brought out January 30, 1817.
After the dinner, the sovereigns went into the record-room, where a concert was given, in which was sung a cantata, called "Ossian's Song," with words by Arnault, and music by Mehul.
Their productions were set to music by GRETRY, MONSIGNY, PHILIDOR, DESAIDES, DALEYRAC, &c. These pieces are now seldom played, the music of them being antiquated; though for energy and truth of expression some of it surpasses that of many of the more modern compositions. The new authors are little known. The composers of the music are MEHUL, DALEYRAC before-mentioned, BOYELDIEU, TARCHI, &c.
Just as Hofmannsthal imitates Hogarth, so Strauss imitates Mozart, affects his style, his turns, his spirit; inserts a syrupy air in the style of Haendel or Méhul in the first act; and jumbles Mozart with modern comic-opera waltzes, Haendel with post-Wagnerian incantations. And like Hofmannsthal's libretto, the score remains a superficial and formless thing.
The influence of Gluck was not confined to Cherubini, but was hardly less manifest in molding the style and conceptions of Méhul and Spontini,* who held prominent places in the history of the French opera. * It is a little singular that some of the most distinguished names in the annals of French music were foreigners.
There, as an old, broken-down man, he listened to the young Mozart's new symphonies and operas, and applauded them with great zeal; for Gluck, though fiery and haughty in the extreme, was singularly generous in recognizing the merits of others. This was exhibited in Paris in his treatment of Méhul, the Belgian composer, then a youth of sixteen, who had just arrived in the gay city.
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