Gambara - Honoré de Balzac (mobi reader .TXT) 📗

name of the inexhaustible writer of quadrilles which are so popular in our drawing-rooms----"

"Music exists independently of execution," said the retired conductor, who, in spite of his deafness, had caught a few words of the conversation. "As he looks through the C-minor symphony by Beethoven, a musician is transported to the world of fancy on the golden wings of the subject in G-natural repeated by the horns in E. He sees a whole realm, by turns glorious in dazzling shafts of light, gloomy under clouds of melancholy, and cheered by heavenly strains."

"The new school has left Beethoven far behind," said the ballad-writer, scornfully.

"Beethoven is not yet understood," said the Count. "How can he be excelled?"

Gambara drank a large glass of champagne, accompanying the draught by a covert smile of approval.

"Beethoven," the Count went on, "extended the limits of instrumental music, and no one followed in his track."

Gambara assented with a nod.

"His work is especially noteworthy for simplicity of construction and for the way the scheme is worked out," the Count went on. "Most composers make use of the orchestral parts in a vague, incoherent way, combining them for a merely temporary effect; they do not persistently contribute to the whole mass of the movement by their steady and regular progress. Beethoven assigns its part to each tone-quality from the first. Like the various companies which, by their disciplined movements, contribute to winning a battle, the orchestral parts of a symphony by Beethoven obey the plan ordered for the interest of all, and are subordinate to an admirably conceived scheme.

"In this he may be compared to a genius of a different type. In Walter Scott's splendid historical novels, some personage, who seems to have least to do with the action of the story, intervenes at a given moment and leads up to the climax by some thread woven into the plot."

"_E vero_!" remarked Gambara, to whom common sense seemed to return in inverse proportion to sobriety.

Andrea, eager to carry the test further, for a moment forgot all his predilections; he proceeded to attack the European fame of Rossini, disputing the position which the Italian school has taken by storm, night after night for more than thirty years, on a hundred stages in Europe. He had undertaken a hard task. The first words he spoke raised a strong murmur of disapproval; but neither the repeated interruptions, nor exclamations, nor frowns, nor contemptuous looks, could check this determined advocate of Beethoven.

"Compare," said he, "that sublime composer's works with what by common consent is called Italian music. What feebleness of ideas, what limpness of style! That monotony of form, those commonplace cadenzas, those endless bravura passages introduced at haphazard irrespective of the dramatic situation, that recurrent _crescendo_ that Rossini brought into vogue, are now an integral part of every composition; those vocal fireworks result in a sort of babbling, chattering, vaporous mucic, of which the sole merit depends on the greater or less fluency of the singer and his rapidity of vocalization.

"The Italian school has lost sight of the high mission of art. Instead of elevating the crowd, it has condescended to the crowd; it has won its success only by accepting the suffrages of all comers, and appealing to the vulgar minds which constitute the majority. Such a success is mere street juggling.

"In short, the compositions of Rossini, in whom this music is personified, with those of the writers who are more or less of his school, to me seem worthy at best to collect a crowd in the street round a grinding organ, as an accompaniment to the capers of a puppet show. I even prefer French music, and I can say no more. Long live German music!" cried he, "when it is tuneful," he added to a low voice.

This sally was the upshot of a long preliminary discussion, in which, for more than a quarter of an hour, Andrea had divagated in the upper sphere of metaphysics, with the ease of a somnambulist walking over the roofs.

Gambara, keenly interested in all this transcendentalism, had not lost a word; he took up his parable as soon as Andrea seemed to have ended, and a little stir of revived attention was evident among the guests, of whom several had been about to leave.

"You attack the Italian school with much vigor," said Gambara, somewhat warmed to his work by the champagne, "and, for my part, you are very welcome. I, thank God, stand outside this more or less melodic frippery. Still, as a man of the world, you are too ungrateful to the classic land whence Germany and France derived their first teaching. While the compositions of Carissimi, Cavalli, Scarlatti, and Rossi were being played throughout Italy, the violin players of the Paris opera house enjoyed the singular privilege of being allowed to play in gloves. Lulli, who extended the realm of harmony, and was the first to classify discords, on arriving in France found but two men--a cook and a mason--whose voice and intelligence were equal to performing his music; he made a tenor of the former, and transformed the latter into a bass. At that time Germany had no musician excepting Sebastian Bach.--But you, monsieur, though you are so young," Gambara added, in the humble tone of a man who expects to find his remarks received with scorn or ill-nature, "must have given much time to the study of these high matters of art; you could not otherwise explain them so clearly."

This word made many of the hearers smile, for they had understood nothing of the fine distinctions drawn by Andrea. Giardini, indeed, convinced that the Count had been talking mere rhodomontade, nudged him with a laugh in his sleeve, as at a good joke in which he flattered himself that he was a partner.

"There is a great deal that strikes me as very true in all you have said," Gambara went on; "but be careful. Your argument, while reflecting on Italian sensuality, seems to me to lean towards German idealism, which is no less fatal heresy. If men of imagination and good sense, like you, desert one camp only to join the other; if they cannot keep to the happy medium between two forms of extravagance, we shall always be exposed to the satire of the sophists, who deny all progress, who compare the genius of man to this tablecloth, which, being too short to cover the whole of Signor Giardini's table, decks one end at the expense of the other."

Giardini bounded in his seat as if he had been stung by a horse-fly, but swift reflections restored him to his dignity as a host; he looked up to heaven and again nudged the Count, who was beginning to think the cook more crazy than Gambara.

This serious and pious way of speaking of art interested the Milanese extremely. Seated between these two distracted brains, one so noble and the other so common, and making game of each other to the great entertainment of the crowd, there was a moment when the Count found himself wavering between the sublime and its parody, the farcical extremes of human life. Ignoring the chain of incredible events which had brought them to this smoky den, he believed himself to be the plaything of some strange hallucination, and thought of Gambara and Giardini as two abstractions.

Meanwhile, after a last piece of buffoonery from the deaf conductor in reply to Gambara, the company had broken up laughing loudly. Giardini went off to make coffee, which he begged the select few to accept, and his wife cleared the table. The Count, sitting near the stove between Marianna and Gambara, was in the very position which the mad musician thought most desirable, with sensuousness on one side and idealism on the other. Gambara finding himself for the first time in the society of a man who did not laugh at him to his face, soon diverged from generalities to talk of himself, of his life, his work, and the musical regeneration of which he believed himself to be the Messiah.

"Listen," said he, "you who so far have not insulted me. I will tell you the story of my life; not to make a boast of my perseverance, which is no virtue of mine, but to the greater glory of Him who has given me strength. You seem kind and pious; if you do not believe in me at least you will pity me. Pity is human; faith comes from God."

Andrea turned and drew back under his chair the foot that had been seeking that of the fair Marianna, fixing his eyes on her while listening to Gambara.


"I was born at Cremona, the son of an instrument maker, a fairly good performer and an even better composer," the musician began. "Thus at an early age I had mastered the laws of musical construction in its twofold aspects, the material and the spiritual; and as an inquisitive child I observed many things which subsequently recurred to the mind of the full-grown man.

"The French turned us out of our own home--my father and me. We were ruined by the war. Thus, at the age of ten I entered on the wandering life to which most men have been condemned whose brains were busy with innovations, whether in art, science, or politics. Fate, or the instincts of their mind which cannot fit into the compartments where the trading class sit, providentially guides them to the spots where they may find teaching. Led by my passion for music I wandered throughout Italy from theatre to theatre, living on very little, as men can live there. Sometimes I played the bass in an orchestra, sometimes I was on the boards in the chorus, sometimes under them with the carpenters. Thus I learned every kind of musical effect, studying the tones of instruments and of the human voice, wherein they differed and how they harmonized, listening to the score and applying the rules taught me by my father.

"It was hungry work, in a land where the sun always shines, where art is all pervading, but where there is no pay for the artist, since Rome is but nominally the Sovereign of the Christian world. Sometimes made welcome, sometimes scouted for my poverty, I never lost courage. I heard a voice within me promising me fame.

"Music seemed to me in its infancy, and I think so still. All that is left to us of musical effort before the seventeenth century, proves to me that early musicians knew melody only; they were ignorant of harmony and its immense resources. Music is at once a science and an art. It is rooted in physics and mathematics, hence it is a science; inspiration makes it an art, unconsciously utilizing the theorems of science. It is founded in physics by the very nature of the matter it works on. Sound is air in motion. The air is formed of constituents which, in us, no doubt, meet with analogous elements that respond to them, sympathize, and magnify them by the power of the mind. Thus the air must include a vast variety of molecules of various degrees of elasticity, and capable of vibrating in as many different periods as there are tones from all kinds of sonorous bodies; and these molecules, set in motion by the musician and falling on our ear, answer to our ideas, according to each man's temperament. I myself believe that sound is identical in its nature with light. Sound is light, perceived under another form; each acts through vibrations to which man is sensitive and which he transforms, in the nervous centres, into ideas.

"Music, like painting, makes use of materials