Etienne-Nicolas Méhul (* June 22nd 1763 - † October 18th 1817) was a French type-setter, “the most important type-setter of operas in France during the Revolution”. He was also the first type-setter known as “Romantique” in France, with for example, his contemporary Hyacinthe Jadin.

Biography

Etienne Nicolas was born with Givet on the Meuse in the the Ardennes. His/her father was initially Master of hotel of the count de Montmorency then modest restorer. Being too poor to give him a regular musical education, the first lessons of the child were given by a poor blind organist of Givet; its aptitudes were such as, at ten years, one appointed it organist of Franciscains to the convent of the Récollets in Givet. In 1775, a musician and German organist, Wilhelm To raise, was engaged with the monastery of Laval-God, not far from Givet, Méhul became its occasional pupil, in counterpoint in particular, and its substitute in 1778.

Its formation in Paris

In 1779 it came to Paris thanks to generosity from a patron who it had heard with the platform, armed with a letter of introduction for Gluck:

I arrived at Paris in 1779, having only my sixteen years, my day before and the hope. I had a letter of introduction for Gluck, it was my single desire while entering the capital, and this idea made me tressaillir joy.

It taken lessons at Jean-Frederic Edelmann, a Harpsichord ist extremely appreciated in Paris and itself friendly of the idol of Méhul, Gluck. As of its arrival it attended the first of Iphigénie in Tauride and was very moved by it.

Its first weapons of type-setter consisted in adapting popular operatic arias. A crowned Ode of Jean-Baptiste Rousseau was played Concert of sacred music in 1782. The first composition published of Méhul was a book of three sonatas for pianoforte in 1783. It was just twenty years old.

The dramatic type-setter

Helped and encouraged by Gluck, which makes conscious its vocation, Méhul considers a dramatic career of type-setter. In 1785, the Valadier writer offers the booklet to him Cora . Although presented to the Royal Academy of Music, the opera will be assembled only six years later.

At the same time Méhul finds, in the person of the librettist François-Benoit Hoffman, are favorite collaborator. He gives the text of its first opera represented, Euphrosine, or the tyrant corrected . The first in the Room Favart on September 4th 1790, was an immense success and marked the type-setter by the talent that one recognized to him. It was the beginning of a long relation with the theater of the Comedy Italian (famous Op3era Comique in 1793).

In spite of the failure of Cora , presented only on February 4th, 1791, and prohibition of Adrien by the Common of Paris for political reasons in March 1792, Méhul consolidated its reputation with works such Stratonice (Favart, May 3rd, 1792) or Mélidore and Phrosine (Favart, May 6th, 1794).

Revolution until the Empire

During the Revolution, Méhul composed of many patriotic songs and the parts of propaganda. Most famous being the Song of the departure (1794) on a poem of Chénier, which is like one second Marseillaise. Engament for Méhul was rewarded by its nomination with Institut for France in 1795, with Gossec and Grétry. The same year, it obtains one of the five posts of inspectors of the Conservatoire of Paris, at the time of its foundation. Mehul was in good terms with Napoleon: it became one of the first French to receive the Légion of honor (1804).

In 1807 it obtains the second price of Rome (the first is not decreed) with a Cantata ARIANE in Naxos . This price is shared with Fétis.

The success of the operas of Méhul was not so large at the beginning of the 19th century that at the end of the 18th century, however works such Joseph (1807) were famous. The First Napoleon Consul, who appreciated much the vocal music, will reward the work. Two arias in particular: paternal Fields, Hebron, soft valley and Hardly with leaving childhood were very popular. The opera made career abroad, particularly in Germany.

On the other hand, the failure of its opera Amazones in 1811 (presented to the Opera on December 17th) was a severe blow and closed its career of type-setter for the Théâtre and taken a retirement deserved well to cultivate the tulips…

Restoration

In spite of its bonds with Napoleon, the reputation of Méhul did not suffer from the Restauration. It is named with the Academy in 1816. However, the type-setter was then seriously reached by the Tuberculose and died on October 18th, 1817.

Its tomb, in the enclosure of the musicians to the Cemetery of the Father-Lachaise, is close to those of other French type-setters, such its contemporaries Grétry or François-Joseph Gossec.

A statue of Méhul carved by Aristide Croisy was inaugurated in Givet in 1892.

It is quoted as type-setter maconnic.

The type-setter

Dramatic work

About thirty opera S of Méhul constitutes the major part of its musical work. It was, of the generation of the type-setters of the years 1790, the first to include/understand his friend and rival Luigi Cherubini like its enemy Jean-François Lesueur. Méhul followed the example of the operas that Gluck had written for Paris in the years 1770 and supported the reforms of Gluck in the Op3era Comique (a kind mixing music and dialog was not necessarily of mood comic; cf Joseph which represents all the same an extreme of serious and of rigor of the subject). But it pushed the music in a more romantic direction, showing a use growing of dissonances and an interest for the extreme feelings such anger and the jealousy, preceding posterior romantic type-setters then such Weber and Berlioz.

Méhul was really the very first Romantique type-setter; the Marquis de Condorcet the USA of this word in the chronicle of Paris on April 1st 1793 after having seen the wise young person and the insane old man . Its principal musical concern wanted that any serf to increase the dramatic impact. Its Berlioz admiror wrote:

was completely convinced that in the true dramatic music, when the importance of the situation requires the sacrifice, the type-setter was not to hesitate between a pretty musical effect which is far from the field scenic or dramatic, and a series of real accents but which do not give any pleasure on the surface. It was convinced that the musical expression is an adorable flower, delicate and rare, of an exquisite odor, which does not flower if it is not cultivated, and who can fade of a blow; that it does not reside in the only melody, but that all contributes together to create it or to destroy it - the melody, the harmony, modulation, the rate/rhythm, instrumentation, the choice depth or height of the register for the voices or the instruments, a fast or slow tempo, and many degrees of volume in the emitted sound .

The manner according to which Méhul increased the dramatic expressivity consisted with all to test with the orchestration. For example, in Uthal , an opera launched in the highlands of Scotland, it eliminates the violins from the Orchestre, the substitute by the more serious sound of the alti so as to add a local color, the voices being constant only by the horns and of the toothings-stone…

Key works of Méhul in years 1790 were Euphrosine , Stratonice , Mélidore and Phrosine and Ariodant . Ariodant , in spite of the failure of its first in 1799, was finally appreciated by the critics. Elizabeth Bartlet qualified it better work of Méhul in the decade and a key work of the revolutionary opera . The milked work of the same history of passion and jealousy that the opera of Haendel of 1735 Ariodante . As in its many other operas, Méhul uses the “reason for reminiscence”, a musical topic associated with a particular idea in the opera. One finds it in the dramatic music of Richard Wagner. In Ariodant , the reason for reminiscence is the cry of fury, expressing a feeling of jealousy.

Towards 1800, the popularity of these operas less, was replaced by the fashion of the lightest Op3era Comique of the type-setters such Boieldieu. Moreover, Napoleon called to his friend Méhul that he preferred a more comic opera, less serious. Such Corsica, the culture of Napoleon came especially from Italy, and he liked the Opera-puffs out type-setters like Paisiello and Cimarosa. Méhul answered with the Irato (1801), a comedy in an act known as the work of an Italian type-setter " Fiorelli". In front of success, immediate, Méhul revealed imposture.

Méhul also continued to compose of works in a more serious vein. Joseph , based on the Biblical story of Joseph and its brothers, is most famous of its last operas and its chief of work (it is also the model of the biblical opera), but its success did not last a long time in France. In Germany however, it had many admirors through the 19th century, as Wagner which assembled it in Riga in 1838.

Symphonic work

Beside the operas, Méhul composed some songs for the republican festivals (often ordered by the Napoleon Emperor), of the Cantate S and five Symphonie S: one in major C without number going back from 1797 and others made up over three years, to 1808 with 1810. The four last all were presented to the Academy.

The First Symphony was ressuscitée thirty years later, at the time of the concerts of Felix Mendelssohn with the Orchestre of Gewandhaus of Leipzig in 1838 and 1846. Robert Schumann was extremely impressed by work and noticed that in the four movements there were similarities of style with the Symphonie n° 5 of Beethoven (including the furious environment of the first movement and the Pizzicato S in the third). At that time only the Symphonies n° 1 and n° 2 of Beethoven (written in 1799 - 1800 and 1802) were played in France. The First of Méhul and the Cinquième of Beethoven were both made up in 1808 and published the following year.

In the Second , published at the same time as the preceding one, one can detect there accents until in the Symphonie n° 9 of Beethoven. Proof that these works have their importance. It is known that Beethoven knew works as Héléna since it made the loan of the signal of trumpet for its Fidelio .

In its symphonies of maturity, taken again Méhul the way of Haydn (the Parisian Symphonies , of 1785 -86, for example) and of Mozart ( Symphony n° 40 , K. 550, 1788), two type-setters who were very popular in France at the beginning of the 19th century.

A fifth symphony remains unfinished - “since disillusion and tuberculosis made their victim”, like noticed it Charlton. The Symphonies n° 3 and n° 4 were redécouvertes by Charlton only in 1979.

Catalog works

Piano

  • 3 Sonatas for Piano, COp 1 (Paris, 1783)
    • Sonata n° 1 in major D - I. Allegro, II. Andante, III. Rondo
    • Sonata n° 2 in minor C - I. Proudly, II. Minuet-trio
    • Sonata n° 3 in the major one - I. Allegro, II. Minuet, III. Rondo
  • 3 Sonatas for Piano, COp 2 (Paris, 1788)
    • Sonata n° 1 in major D - I. Allegro, II. Andante, III. Rondo
    • Sonata n° 2 in the minor - I. Allegro, II. Sicilian, III. Allegretto
    • Sonata n° 3 in major C - I. Allegro, II. Adagio, III. Rondo

Orchestral music

  • Large opening in major F, Music with the use of the national festivals (1793)
  • burlesque Opening (original: Large opening) (1808)
  • Opening for wind instruments (1794)
  • Symphony in major C (1797, only some parts remain)
  • Symphonie n° 1 in minor ground (1808 - 1809) (I. Allegro, II. Andante, III. Menuetto-trio, IV. Allegro agitato)
  • Symphony n° 2 in major D (1808 - 1809) (I. Adangio, II. Andante, III. Menuetto-trio, IV. Finale. Allegro)
  • Symphony n° 3 in major C (1809)
  • Symphony n° 4 in semi major (1810)
  • Symphony n° 5 (1810, only the first movement remains))

Vocal music

  • Anthem with the reason or patriotic Anthem, on a poem of Mr. J. Chénier brother of Andre Chénier (1794)
  • Song of the departure : " Anthem with the liberté" , Anthem of war, on a poem of Mr. J. Chénier (July 14th 1794) which was the official anthem of the First Empire.
  • Song of the Victories , Anthem of war, on a poem of Mr. J. Andre Chénier (1794)
  • unfortunate Lyons the , (" With despair my heart abandonne") on a poem of Jauffret (1795)
  • Anthem on peace , (" O day of gloire") on a text of the citizen C. Pipelet de Leury (1797)
  • Song of XXV Messidor Year VIII , for voice tenor and low, three orchestras & three choruses.
  • Solemn Mass for 4 soli, choruses and organ (1804)
  • Song of the return for the Large army (1808) on a poem of Arnault. The orchestration is particular, since the voices are constant only by Horns and toothings-stone.
  • lyric Song for the inauguration of the statue of Napoleon (1811)

Operas

  • Euphrosine , or the corrected tyrant. Comedy put in music in 5 acts (final version), booklet of François Benoit Hoffmann according to Coradin (Creation, September 4th 1790)

  • Cora (origin: Alonzo and Cora) Opera in 4 acts, booklet of Valadier according to Incas of Marmontel (Composition: 1785/86 - creation February 15th 1791)

  • the young person Henri (origin: The youth of Henri IV) (composition 1791; revision and creation, Paris, Room Favart, May 1st 1797) - Only the opening left scene of hunting with eight horns, was accommodated triumphantly and remained in repertory in concert, the opera itself was hardly appreciated: Because the type-setter had put in scene a tyrant.

  • Stratonice . Heroic comedy in an act, on a booklet of Hoffman according to De Dea Syria of Lucien and Antiochus (1666) of Thomas Crow (Paris creation, May 3rd 1792)

  • the wise young person and the insane old man . Comedy interfered music in an act on a booklet of Hoffman (creation, Paris, Favart Room, March 28th 1793)

  • Horatius Coclès . Opera in an act on a booklet of Arnault (creation, Paris, Opera, February 18th 1794)

  • Mélidore and Phrosine . Lyric drama in 3 acts on a booklet of Arnault according to the poem Phrosine and Mélidore (1772) of Pierre-Joseph Bernard (creation, Paris, Favart Room, May 6th 1794)

  • Doria, or destroyed tyranny . Heroic opera in three acts on a booklet of Legouvé and Davrigny (creation March 12th 1795)

  • the Cave . Comedy put in music in 3 acts on a booklet of Nicolas-Julien Forgeot (1758-1798) (creation December 5th 1795)

  • the bridge of Lodi (origin: The catch of the bridge of Lody) made historical in an act on a booklet of Delrieu (1760-1836) (creation December 15th 1797)

  • the mole and the butterflies . Comic opera in an act on a booklet of Angel-Etienne-Xavier Poisson of Chabeaussière (composition 1797/98 - not represented - with the state of drafts)

  • Adrien, emperor of Rome . Opera in 3 acts on a booklet of Hoffman, according to Adriano in Sira of Metastasis (Composition 1790/91 - the work was withdrawn by the Commune of Paris in March 1792, Hoffman not wanting to remove monarchical allusions of its text. Revision and creation, Opera, June 4th 1799)

  • Ariodant (Ina origin). Drama interfered music in 3 acts on a booklet of Hoffman according to the Orlando Furioso of Arioste (creation, Paris, Favart Room, October 11th 1799)

  • Bion . Comedy interfered music in an act, on a booklet of Hoffman according to Voyages of Anténor translates by Lantier (creation, Paris, Salle Favart, December 27th 1800)

  • a Madness . Comedy interfered songs in two acts on a booklet of Jean-Nicolas Bouilly (creation, Feydeau theater, April 5th 1802)

  • the supposed treasure, or the danger to listen with the doors . Comedy interfered music in an act on a booklet of Hoffman (creation, Paris, Feydeau theater, July 28th 1802)

  • Joanna . Opera in 2 acts on a booklet extracted the Emma, or the suspicion of Marsollier (creation, Paris, Feydeau theater, November 23rd 1802)

  • Héléna . Opera in 3 acts on a booklet of Bouilly (creation, Paris, Feydeau theater, March 1st 1803)

  • the happy one in spite of him . Opera buffoon in an act on a booklet of CG of A. of saint-Just (Paris creation, Feydeau theater, December 29th 1803)

  • two blind men of Tolède . Comic opera in an act on a booklet in prose of Marsolier according to the Thousand and One Nights and its booklet two blind men of Baghdad (creation, Paris, Feydeau theater, January 28th 1806)

  • Uthal (origin: Malvina). Opera in an act on a booklet of JMB of Saint-Victor according to Berrathon of J. Macpherson inspired of Ossian (creation, Paris, Feydeau theater, May 17th 1806) - the orchestration has this of private individual that Méhul removes the violins by violas. The voices are constant only by the horns and of the toothings-stone.

  • Gabrielle d' Estrées, or Loves of Henri IV . Opera in 3 acts on a booklet of Saint-Just (Paris creation, Feydeau theater, June 28th 1806)

  • Joseph and his brothers . Drama interfered songs in 3 acts on a booklet of Alexandre-Vincent Pineux-Duval according to Genesis chapters 37-47 inspired of the biblical tragedy of Baour-Lormian, Omasis, or Joseph in Egypt (1806) (creation, Paris, Feydeau theater, February 17th 1807)

  • Amazones or the Foundation of Thèbes . Opera in 3 acts on a booklet of Victor-Joseph Etienne de Jouy (creation, Opera, Richelieu room, December 17th 1811) - the partition was partially destroyed after the first.

  • the Prince troubadour or the large misleading one of the ladies . Comic opera in an act on a booklet of Duval (creation, Paris, Feydeau theater, May 24th 1813) - Takes again to an abandoned opera of 1810 the troubadours, or also celebrates it with the castle , known under the name of Laurette or also the two troubadours who had been ordered by Napoleon for his marriage with Marie-Louise of Austria.

  • the Day with the adventures . Comic opera in 3 acts on a booklet of PDA Chapel and L. Wall-Miot (creation, Paris, Feydeau theater, November 16th 1816)

  • Valentine of Milan . Lyric drama in 3 acts on a booklet of Bouilly (composition 1807/08 - creation, Paris, Feydeau theater, November 28th 1822) - unfinished work left by Méhul is supplemented by the nephews, Louis Joseph Daussoigne-Méhul, type-setter him too.

Operas in collaboration

  • Épicure . Opera in 3 acts on a CA booklet Demoustier (creation March 14th 1800, with Luigi Cherubini: opening and 6 numbers)

  • the Kiss and the receipt, or an adventure of garrison . Opera buffoon on a booklet of LB Picard, C. of Longchamps and JMAM Dieulafoy according to the happy challenge of Polier de Bottens (creation June 18th 1803, with Boieldieu, Kreutzer and Nicoló Isouard)

  • the Streamer (origin the streamer of Charles Martel). Opera in an act on a booklet of C-G Etienne and MF Baour-Lormian (February 1st 1814, with Henri-MR. Berton, F. Paër (1771-1839) and Kreutzer) - Méhul composes the incidental music I and re-uses the opening of Horatius Coclès of 1794. Work, very weak, is written and assembled in six days, some time before the entry of the Prussians and Russian in Paris…

Ballets

Music for the theater

Parts of other type-setters inspired by Méhul

  • Weber, 7 variations on a topic of the Lovesong Hardly to leaving childhood extracts from the Joseph from Méhul, opus 28/J. 141 (1812) - work is of scale and leaves far behind the topic of the ingenuous lovesong of our Méhul, a little like the topic of the Diabelli Variations… It is one of the more virtuosos and inventive among the corpus of piano of the author.
  • Liszt, 5 variations on a topic of the Lovesong Hardly to leaving childhood extracts from the Joseph from Méhul, S 147a. The part is aujoud' today rather allotted to Franz Xaver Mozart, opus 23, published in 1820; Liszt was then just nine years old.
  • Gottschalk, the hunting of the Henri young person, piece of concert, COp 10/RO 53 (1849)

Selective discography

  • Operas
    • Stratonice - Patricia Petibon/Beuron/Lescoart/Daymond, Corona Coloniensis, Cappella Coloniensis, Dir. William Christie (1995, Erato)
    • the legend of Joseph in Egypt - Bardon (1989, Harmonia Mundi)
    • Irato - Turk/Auvity/Courtin/Buet, Dir. Walter Ehrhardt (2006, Capriccio)

  • Symphonies & openings

    • Openings: Méliodore and Phrosine, Ariodant, Joseph, Horatius Coclès, Bion, the wise young person and the insane old man, the supposed treasure, two blind men of Tolède, the hunting of the Henri young person - Orchestra of Brittany, Stefan Sanderling (2002, ASV HALF-VALUE LAYER 1140)
    • Symphonies n° 1 & 2 - Musicians of Louvre, Marc Minkowski (1989, Erato 2292-45026-2/Apex 2003)
    • Integral of the 4 Symphonies - Orchestra of the Gulbenkian Foundation, Dir. Michel Swierczewski (more Openings Hunting of the young person Henri and the Treasury supposed ), (1992, Nimbus Records NOR 5184/5)

  • Piano

    • Sonatas for piano opus 1 & 2 - Brigitte Haudebourg (1989, Discover DICD 920152)

Random links:Forbes (magazine) | Province of Phitsanulok | (495) Eulalie | Hinteres Sonnwendjoch | Atlach-Nacha

© 2007-2008 speedlook.com; article text available under the terms of GFDL, from fr.wikipedia.org