Buchanan County bulletin. [volume] (Independence, Iowa) 1869-1891, 1871-06-16

stage, and retired from public life.
But q few years after his father
died, leaving him in very straight
ened circumstances, and he was
compelled to resort to music as a
means of obtaining his livelihood.
After giving music lessons for some
time, he resolved to try his luck
again before the public.
So, in 1919, he had another one
act pieec-Le Testament ct les BIZ
lets Dour (The Will and the Love
Letters performed at the Opera
Comique in Paris, but he met with
no better success than the first time.
He was completely discouraged,
and his friends thought he would
never recover from it, but voice
within him whispered "Try again!"
and, happily for him, he obeyed the
monition, and the result Was the
complete success Of the opera enti-
tied lie Bergere Chatelaine, which
was produced the following year.
That piece was the key that opened
the doors of success, fame, and
fortune to him, and thereafter he
steadily increased in public favor.
What a lesson this teaches all
young writer's and artists! The be-
ginning Of nearly every brilliant
career has been marked by rebuffs
and discouragements; patience and
perseverance alone have won the
laurels. Ere the envied summit of
the mountain is reached, the steep
and rugged sides have to be scaled
through brambles and thorns, with
many a fall and slip-mayhap in
alternate storm and sunshine and
it's only the few who, with unweary-
ing persistence and unflinching en-
ergy, keep on and ever upwards,
that finally reach the desired goal.
"Try again !" is an excellent motto
for every despondent worker.
Auber composed quite number
of comic operas and operettas until
1928, when his aster-pieces, Lo
Muette de Portici, also known under
the title of Massanielo, from one of
the characters of the play, was
brought out at the Grand Opera, and
since then, it has always remained
in the repcrtory Of that theatre as a
first-class opera. 1t is now per-
formed in all music-loving commu-
mites, and is classed with the finest
compositions Of Verdi, Rossini and
Meyerbeer.
Snatches of this opera have been
sung for more than forty years,
everywhere, both in the parlor and
ON the stage, and have become i'm
mensely popular in Europe, es-
pccially the duet -A,nour sacre de la
patrie, which, on being sung by the
celebrated tenor Nourrit, at Brus-
sells, in 1880, was the signal for the
subsequent revolution in Belgium.
This air has since then been, to a
certain extent, second Marseillaise
for the people of France and other
countries. AS for the choice gems
with which the Domino Noir and
Fra Diocalo abound, they are sung
and played wherever music is known
and cultivated.
Auber composed upwards of forty
opcms-of which Scribe wrote most
ofthe librettos-but their enumcra-
ton here is unnecessary for persons
familiar with musical matters,
while for others it would be merely
a tedious nomenclature of meaning
less titles. Suffice it to say that
Auber's honors were well deserved,
and that at the time of his death,
he was the most popular of French
composers. His place will proba-
bly, not be filled for some time to
come. Auber's music is more of
the light and airy sort; it is unique
in its style and ornamentation, but
always graceful, always pleasing,
always melodious. It's principal
beauty consists in the delicacy and
expression of the shading.
An eminent critic, in comparing
Auber with other composers, says:
"Rossini sings, Auber huns" But
he huns light, airy things, sweet
moonlight songs, romantic arias.
His songs are like those of night
ingale, ever changing, ever fresh
and new, and full of melody and en-
trancing sweetness. His music is
not melancholy like that Of Cimaro-
sa, nor soul-inspired like Won Web
cr's, nor sublime and full of energy
like Beethoven's; it does not pic
ture the passions, nor transport the
listener into unknown worlds; it
is simply heart-music, sweet and
touching. 1t is not powerful and
eloquent like Rosini's music nor
full Of difficulties for the performer
like Verdi's; it is smile, never a
deal of laughter; it is sigh, but
never a cry of anguish. Moreover,
it has the merit ofnever being harsh
or discordant, and Of never sacrific-
ing melody to effect, which is often
the case with some great masters.
Thcophile Gautier says Of Auber
that he is composer unequalled in
his style. His themes are varied
and entirely unlike those of others.
They bear the stamp of his genius,
and are full of his natural wit and
brilliancy. All his works breathe
life and warmth and gaiety. They
can never grow old in the estima-
ton of the public.
Auber's talent and industry won
him many honors. His popularity
made him the hero of many an ova-
ton. He became n member of the
French Institute in 1929, and in
1912 was appointed Director of the
Paris Conservatory of Music in the
place of his master Cherubini. I'm
der Auber's management, the Con-
servatory flourished, and he made
himself a favorite among teachers
and pupils. 1t is said-but l do
not vouch for the truth of the asser-
tion-that Auber, although so fertile
and happy composer, was but a
fourth-rate performer. This would
not be surprising, for it was the
case with many other great masters,
Rossini being of the number. The
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