Masters of French Music — Story, Setting & Ideas

studies in composition were pursued under Reicha, one of the most celebrated theorists of the time; and having completed his general education at the college of St. Louis, he entered the classes of the Conservatoire in 1836, receiving instruction in counterpoint from Halévy, and in composition from Lesueur. In 1839 he obtained the "Grand prix de Rome," and soon afterwards left for Italy. During his sojourn in Rome Gounod devoted himself largely to the study of religious music, and spent a great portion of his time in perusing the works of Palestrina and Bach.

Whilst residing at the famous Villa Médicis he made the acquaintance of Fanny Hensel, the sister of Mendelssohn, in whose correspondence may be found several interesting details concerning the future composer of "Faust."

In a letter dated April 23, 1840, she writes: "Gounod has a passion for music; it is a pleasure to have such a listener. My little Venetian air delights him; he has also a predilection for the Romance in B Minor composed here at Rome, for the duet of Felix, his 'Capriccio' in A minor, and especially for the concerto of Bach, which he has made me play more than ten times over." Later on, in another letter, she writes as follows: "On Saturday evening I played to my guests, and performed, amongst other things, the Concerto of Bach; although they know it by heart, their enthusiasm goes 'crescendo.' They pressed and kissed my hands, especially Gounod, who is extraordinarily expansive; he always finds himself short of expressions when he wishes to convey to me the influence I exercise over him, and how happy my presence makes him. Our two Frenchmen form a perfect contrast: Bousquet's nature is calm and correct, Gounod's is passionate and romantic to excess. Our German music produces upon him the effect of a bomb bursting inside a house."

In June 1840 Fanny Hensel and her husband left for Naples. The following extract from a letter is interesting, as showing to what extent, even at that early period, Gounod had become imbued with religious ideas: "Bousquet confided to us on the way his fears concerning the religious exaltation of Gounod since he had come under the ascendancy of the Père Lacordaire ... whose eloquence had already during the previous winter grouped around him a number of young men. Gounod, whose character is weak and whose nature is impressionable, was at once gained over by Lacordaire's stirring words; he has just become a member of the association entitled 'John the Evangelist,' exclusively composed of young artists who pursue the regeneration of humanity through the means of art. The association contains a large number of young men belonging to the best Roman families; several amongst these have abandoned their career in order to enter into holy orders. Bousquet's impression is that Gounod is also on the point of exchanging music for the priest's garb."

In 1843 we find Gounod in Vienna, where a "Requiem" of his composition attracted some attention. On his return to Paris he vainly endeavoured to find a publisher for some songs he had composed while at Rome. When we hear that these included "Le Vallon," "Le Soir," "Jésus de Nazareth," and "Le Printemps"--that is to say, some of the most beautiful inspirations that have emanated from his brain--it becomes difficult to account for the obtuseness of the publishers.

Discouraged in this quarter, Gounod devoted his attention once more to religious music, and accepted the post of organist to the chapel of the "Missions Etrangères." He even entertained the idea of entering into holy orders. Happily this was not to be. The name of Gounod was becoming known in musical circles, and through the influence of Mme. Viardot, the celebrated singer, sister of Malibran, the young composer was commissioned to write the music of an opera to a book by Emile Augier,[12] for the "Académie Nationale." This, his first contribution to the lyric stage, was "Sapho," which was brought out in 1851, without, however, achieving much more than a _succès d'estime_. It was revived in a curtailed form seven years later, and finally, remodelled and enlarged, was reproduced in 1884. Notwithstanding its failure to attract the public, "Sapho" commanded the approbation of many competent judges, amongst whom we find no less a musician than Berlioz, who thus expressed himself upon the composer's merits: "M. Gounod is a young musician endowed with precious qualities, whose tendencies are noble and elevated, and whom one should encourage and honour, all the more so as our musical epoch is so corrupt."

"Sapho" is by no means the worst opera Gounod has composed, though unequal as a whole. The original version remains the best.

The year after the production of "Sapho" Gounod married a daughter of Zimmermann,[13] a well-known musician and professor.