Grove's dictionary of music and musicians

650 SPONTINI
the first act the second, and a part of the second
the third ;
some passages were suppressed and
others added, and the part of Montezuma was
entirely new. Jouy had introduced Montezuma
into his original sketch, but thinking the part
weak and undramatio had omitted it in the first
libretto. It now reappeared. The part of
Amazily is simplified as regards her appearances,
but the character is strengthened. The pianoforte
score, arranged by F. Naue, and published
by Hofmeister of Leipzig, gives the opera as it
stood after a third and final revision made by
the poet Theauleon. The full score came out
in Paris in the fortieth year after Spontini's
retirement from Berlin. The third act in its
second form may be found in Jouy's CEhi/mres
computes, vol. ii. p. 187.
In 1810 Spontini became conductor of the
Italian opera, which was united with the
Com^die I'ran9aise under the title of ' Theatre
de I'Imp&atrice, ' and located at the Odeon. He
formed a distinguished company of singers, improved
the orchestra, and threw more variety
into the repertoire. One signal service was his
production, for the first time in Paris, of Don
'
Juan ' in its original form. He remodelled Catel's
' Semiramide, ' with fresh numbers of his own,
and revived it with some success. He also instituted
Concerts Spirituels, at which he successfully
introduced such works as Mozart's Requiem,
Haydn's Symphonies, and extracts from
the ' Creation.' But he did not keep the oonductorship
long. Differences arose between himself
and Alexandre Duval, the director of the
theatre, and in 1812 Spontini was dismissed
from his post by, M. de Eemusat, surintendant
of the Imperial theatres.
On the restoration of the Bourbons in 1814
Spontini was reinstated, but soon gave up the
post to Catalani for a money consideration. His
conduct as conductor of the opera does not give
a favourable idea of his character. When Count
Briihl was in Paris, Spontini was described to
him by the managers of the Opdra as ' grasping
and indolent ; ill-natured, treacherous,and spiteful.
'
1 Catalani, too, always averred that he had
treated her badly. Some, however, took a more
favourable view, and maintained that he had
been both zealous and successful in his efforts
for the furtherance of art. F^tis believed that
it was not Spontini but Duval who should have
been dismissed in 1812. It is curious thus to
find the same difference of opinion in Paris with
regard to Spontini's character which was afterwards
so noticeable in Berlin.
On May 30, 1814, Louis XVIII. became
king of France, and in commemoration of the
event Jouy and Spontini wrote a festival-opera
in two acts called Pelage, ou '
le Koi de la Paix.'
The first performance took place August 23,1814.
The work is of no value, and must have been
very quickly composed. The subject is idyllic,
I Letter of Briihl to Frederick William HI., Oct. 8, 1819.
breathing only soft emotions, and therefore entirely
contrary to the nature of Spontini's talent.
The opera was dedicated to the king, who
appointed Spontini his Dramatic composer ' in
ordinary. ' It is often said tliat Spontini's music
displays the spirit of the age of Napoleon. The
remark is true so far as the martial splendour,
the vehement energy, the overpowering massive
effect of his grand operas are concerned. In all
this the spirit of the time is recognisable enough.
But it resides in the music only ; and it would
be very wrong to conclude that Spontini himself
was an adherent of Napoleon's politics or
person. He was as little of an imperialist as
Weber (notwithstanding his songs in the cause
of liberty) was a democrat. Art and Politics
are two distinct things, and if Spontini did do
homage to Louis after enjoying the favour of
Napoleon there is no need to blame him.
He next took part with Persuis, Berton, and
Kreutzer in an opera-ballet, Les Dieux '
rivaux,'
produced June 21, 1816, in honour of the
marriage of the Due de Berri. Spontini's share
was confined to two or three dances, and a song,
' Voioi le Eoi, Fran9ais fidWes,' of little value.
Other ballet -musiS however, composed for
Salieri's
' Danaides,' rises to the level of
'
Coi'tez ' and the ' Vestale.' The opera, revived
with this addition Oct. 22, 1817, was
enthusiastically received.
But these piices d'occasion sink into insignificance
before thegrand opera 'Olympic,' 'imitated'
by Briffautand Dieulafoy from Voltaire's tragedy.
Spontini took a most unusual length of time for
the composition. He was at work upon the last
act in December 1815, and yet the opera was
not finished by January 1819.^ After so much
trouble and pains he not unnaturally considered
'
it his best work. This score,' he writes Nov.
27, 1819, 'must be ranked higher, for importance
and range of subject, than those of "La
Vestale " and ' ' Cortez " ' ; and to this opinion he
adhered, in spite of many proofs that the public
judged otherwise. At the first performance
(Paris, Deo. 15, 1819) a bitter disappointment
awaited him, for the opera failed in spite of
his numerous supporters, and of the generally
favourable disposition of the Parisians towards
him. Spontini however was not the man to
throw up his cause for a first failure. The
libretto was chiefly to blame. The writers
had adhered too closely to Voltaire, without
remembering the requirements of the music, or
the established forms of Grand Opera. The
tragical conclusion especially was objected to
as an innovation. This was remedied first of
all, and a happy ending substituted. By
Feijruary 1820, Spontini was at work on the
revision, which he completed in less than a
year, and the opera was produced in its new
form. May 14, 1821, at Berlin. In 1822 it
3 Letters from Spoutini to Count Brtlhl, dated Dec. 22. 1815, and
Jan. 14, 1819.