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In such a case we might say that he did wrong for the mere pleasure of going astray. But popular taste was so corrupted that no one noticed it and everybody who wrote in the lighter vein fell into the same habits.
Seghers was a member of the Societe des Concerts at the Conservatoire. This reached only a restricted public and there was no other symphony concert worthy of the name in Paris at the time. And if the public was limited, the repertoire was even more so. Haydn"s, Mozart"s and Beethoven"s symphonies were played almost exclusively, and Mendelssohn"s were introduced with the greatest difficulty. Only fragments of vast compositions like the oratorios were given. An author who was still alive was looked upon as an intruder. However, the conductor was permitted to introduce a solo of his own selection. Thus my friend Auguste Tolbecque, who was over eighty, was permitted to give–he still played beautifully–my first _concerto_ for the violoncello which I had written for him. Deldevez, the conductor of the famous orchestra at the time, did not overlook the chance to tell me that he had put my _concerto_ on the programme only through consideration for Tolbecque. Otherwise, he added, he would have preferred Messieurs So-and-so"s.
Not a scene, not a word, they say, shows the soul of Henry VIII. I would like to ask if it is not revealed in the great scene between Henry and Catharine, where he plays with her as a cat with a mouse, where he veils his desire to be rid of her under his religious scruples, and where he heaps on her constantly vile and cruel insinuations, or even in the last scene with its cruel hypocrisies. It is difficult to see why all his passions and all his feelings are not brought into play here. The Russian librettos do no more, nor the operas based on mythology.
We had dreams of historical opera, for we were quite without the prejudice against this form of drama which afflicts the present school. But I was not _persona grata_ to the managers and I did not know at what door to knock, when one of my friends, Aime Gros, took the management of the Grand-Theatre at Lyons and asked me for a work. This was a fine opportunity and we grasped it. We put together, with difficulty but with infinite zest, our historical opera, _Etienne Marcel_, in which Louis Gallet endeavored to respect as far as is possible in a theatrical work the facts of history. Despite illustrious examples to the contrary he did not believe that it was legitimate to attribute to a character who has actually lived acts and opinions that are entirely fanciful. I was in full agreement with him in that as in so many other things. I go even farther and cannot accustom myself to the queer sauces in which legendary characters are often served. It seems to me that the legend is the interesting thing, and not the character, and that the latter loses all its value when the legend which surrounds it is destroyed. But everyone knows that I am a crank.
Parenthetically, if there is a surprising page in the history of Mp3 Music it is the persistent affectation of classing Berlioz and Wagner together. They had nothing in common save their great love of art and their distrust of established forms. Berlioz abhorred enharmonic modulations, dissonances resolved indefinitely one after another, continuous melody and all current practices of futuristic Mp3 Music. He carried this so far that he claimed that he understood nothing in the prelude to _Tristan_, which was certainly a sincere claim since, almost simultaneously, he hailed the overture of _Lohengrin_, which is conceived in an entirely different manner, as a masterpiece. He did not admit that the voice should be sacrificed and relegated to the rank of a simple unit of the orchestra. Wagner, for his part, showed at his best an elegance and artistry of pen which may be searched for in vain in Berlioz"s work. Berlioz opened to the orchestra the doors of a new world. Wagner hurled himself into this unknown country and found numerous lands to till there. But what dissimilarities there are in the styles of the two men! In their methods of treating the orchestra and the voices, in their Mp3 Musical architectonics, and in their conception of opera!
Some time after my _Henri VIII_, in which Vaucorbeil had imposed another collaborator on me, Ritt asked me for a new work. We were looking about for a subject, when Gallet came to my house and timidly, as if fearing a rebuff, proposed _Benvenuto Cellini_. I had thought of that for a long time, and the idea had come to me of putting into Mp3 Musical form that fine drama, which had had its hours of glory, where Melingue modeled the statue of Hebe before the populace. I, therefore, accepted the suggestion with pleasure. This enterprise brought me in touch with Paul Meurice, whom I had known in my childhood, when he was wooing Mlle. Granger, his first wife and an intimate friend of my mother"s. Paul Meurice revealed a secret to me: that the romance _Ascanio_, attributed to Alexander Dumas, had been entirely written by Meurice. The work met with a great success, and out of gratitude, Dumas offered to help Meurice in constructing a drama from the romance, which was to be signed by Meurice alone. So it is easy for one who knows Dumas"s dramas to find traces of his handiwork in _Benvenuto Cellini_.
However that may be, Fetis gave us a comprehensive review in broad outlines of Mp3 Musical evolution down to what he justly called the 'omnitonic system,' which Richard Wagner has achieved since. 'Beyond that,' he said, 'I can see nothing more.'
He carelessly omitted to add the date of this dedication, which would have increased its interest, for the idea of calling a knee-high youngster of six 'M. Saint-Saens' was certainly unusual.
When Bizet put on the delightful _Pecheurs de Perles_–he was helped by powerful influences–there was a general outcry and an outbreak of abuse. The Devil himself straight from Hell would not have received a worse reception. Later on, as we know, _Carmen_ was received in the same way.