The Violin Part 10

The character and conduct of Le Clair were of a nature to attract the attention and esteem of all who knew him. He lived, for the most part, a retired and contemplative life; yet, he at last fell a sacrifice, as it has been supposed, to envy. He was a.s.sa.s.sinated whilst walking alone in the streets of Paris, in the evening of the 22nd of October, 1764.

Le Clair was celebrated for the spirit and energy of his performance; and his compositions afford, in some measure, a proof of his powers. At least, it may be said, that, for boldness and dignity of style, there are no instrumental compositions by any of the older French authors, not excepting those of Lully, which can be compared with them. It is true that they are difficult of execution, and this, for some time, was an obstacle to their currency. The modern school, which laughs at any impediments in the way of execution, would do ample justice of hand to his hardest pa.s.sages, were it _now_ the fas.h.i.+on to present them to the public ear.

JEAN BAPTISTE SENAILLe, who may also be considered as having had some share in the foundation of the French Violin School, was a contemporary of the artist just recorded; and drew his first breath in Paris. His early lessons were received from Queversin, one of the four-and-twenty who formed the King's band of violinists. His next instructor was Baptiste Anet; but the completion of his studies took place in Italy, whither he was attracted by the high celebrity of the artists there. He returned to Paris in 1719, with a well-earned reputation, and subsequently formed some good pupils, among whom were Guignon, and (probably) Guillemain.

JEAN PIERRE GUIGNON was born, in 1702, at Turin, probably of French parents, and became further Gallicized by going early into France, where he had a long career of distinction. He brought to the exercise of his art a liberality conducive to its diffusion and repute, as well as redounding to his own honor-for he gave gratuitous lessons to many young violinists whom the "res angusta domi" might else have left to struggle on without encouragement. His talents gave further aid to the _fidicinal_ cause by the valuable compositions which they enabled him to devote to it, consisting of Sonatas, Duetts, Trios and Concertos.

Guignon had the support of courtly patronage, and gave instructions to the Dauphin, father of Louis XVI. During thirty years, he held an appointment rather suggestive of mock-heroic a.s.sociations, than either flattering or useful-that of _Roi des Violons, et Maitre des Menestriers_, an office which, as already stated in these recording pages, had given rise to our English dignity, more ridiculed than respected, of _King of the Fiddlers_. Guignon died at Versailles in 1774.

GABRIEL GUILLEMAIN, born at Paris, in 1705, produced some sonatas for the instrument that have been held in considerable estimation, and was also admired as a performer. In the decline of his life, he lost his faculties, and, in that melancholy state, became his own destroyer (in 1770), inflicting on his person no less than fourteen wounds.

PIERRE GAVINIeS, a native of Bordeaux, claims some distinction, both as composer and as performer. So great was his apt.i.tude for the latter character, that he made his _debut_ at the _Concert Spirituel_ in Paris, when he had attained but fourteen years of age; nor were his pretensions those of mere vulgar precocity, that makes a dash at music, as parrots do at language; for he gained the approbation of the best of all judges, Viotti. The estimation in which the talents of Gavinies were held, procured for him, in 1794, the honour of being appointed Professor of the Violin at the then newly formed inst.i.tution, the Paris _Conservatoire_. His works consist of three collections (or operas) of Sonatas, several Concertos, and a series of violin music ent.i.tled _Les vingt-quatre Matinees_, the pieces in which are, for the most part, very difficult. He died in 1799, at the advanced aged of 73.

FRANcOIS JOSEPH GOSSEC, a composer of some eminence, though not expressly for the violin, fixed his residence at Paris in 1751, and was soon afterwards attached to the suite of the Prince de Conde, as leader of his band. In 1770, he founded the Concert of Amateurs, which enjoyed a marked success during ten seasons, and had the accomplished but volatile Chevalier de St. George for its "premier violon." Gossec subsequently filled an important post at the _Conservatoire_, and was, in other respects, actively connected with the progress of music in France. He died "full of days." The symphonies of this master, and the Quartetts of Davaux, which preceded, in France, those of Haydn, are cited as advantageous specimens of French instrumental music of the concerted kind; and some of them are still heard with pleasure.

PAGIN, who drew his excellence from that best fountain, the Italian school, was born in France, in the year 1730. Addicting himself early to the violin, and prompted by the desire to form his style on the purest model, he travelled into Italy, expressly to receive instructions from Tartini. His happy disposition for the art was turned to speedy advantage by that master, and Pagin had scarcely reached his twentieth year ere he returned to Paris, where the success that attended him, in various performances at the _Concert Spirituel_, attested the value of the means which he had taken for his proficiency. His enthusiasm, however, in relation to his great preceptor, occasioned a check to his career. He chose to play, exclusively, the music of Tartini and the French musicians, resenting his choice, set about to oppose him. Their jealousy, whether alarmed for national or for individual credit, took an ingenious method of working out its purpose: it was by the ironical applauses and sinister compliments which he received, at one of the above concerts, that the unwelcome innovator was compelled to forego appearing at any more of them. He was subsequently engaged in the suite of the Count de Clermont. Dr. Burney, who heard him in 1770, has recorded his admiration of the expression and lightness that distinguished his performance.

PIERRE LAHOUSSAYE, another venerator and follower of Tartini, commenced his date of life at Paris, in 1735. At a still earlier age than Pagin, he gave public manifestation of his talent. He first found his infant way upon the instrument, unaided, and then, after some tuition from the solo-player, Piffet (styled _le grand nez_), made his _debut_ at the _Concert Spirituel_, when only nine years old. Shortly afterwards, the little Lahoussaye had the fortunate opportunity of hearing, at a musical party where he was introduced, the greatest violinists of the time, including especially-Pugnani, Giardini, Pagin, Gavinies, Vanmalder, Domenico Ferrari, &c. A solo was played by each of these men of mark: and the eager astonishment with which the "tender juvenal" listened to their successive outpourings of expression, or feats of dexterity, could not but attract the attention of all. On Ferrari's putting a violin into the boy's hand, he not only made some brilliant preludings, but repeated from memory several pa.s.sages in a sonata of Tartini's that Pagin had just before played. An enthusiast himself, Pagin was so delighted with the boy, that he at once undertook his further instruction, and prevailed on the Count de Clermont to a.s.sign to him a post as his chamber-musician. Thus advantageously placed, the young Lahoussaye was, however, restless till he could accomplish his favorite wish-that of _seeing Tartini_. Under this impulse, he attached himself to the suite of the Prince of Monaco, and went with him to Italy. Repairing with all speed to Padua, he found the wondrous master in the church, in the act of commencing a concerto. To express the surprise and admiration of the young Frenchman, at the purity of tone, spirit and accuracy of execution, truth and delicacy of expression, that triumphed in the performance of the Italian, would be difficult indeed. He felt at once so humbled as to the sense of his own powers, as almost to abandon the hazardous wish for an introduction to him whom he had so eagerly sought out. Creditable as was this diffidence to the character of the aspirant, the kind disposition of Tartini rendered it unnecessary. He received him favourably, was gratified to observe in his performance something of the manner of his own school, and engaged to advance him in it. Lahoussaye was reluctantly drawn away to Parma, through his situation with the Prince of Monaco: but, after delighting the court there by his talent, he found means to return to Tartini at Padua, and continued for a long time under his tuition, remaining in Italy, altogether, for the s.p.a.ce of fifteen years. In 1769, he visited London; and, after pa.s.sing three years there, returned to his native Paris, to diffuse, according to his means, and as far as the musical habit of his countrymen might admit it, the benefits of the Italian style. He arrived at the situation of _Chef d'Orchestre_ to the _Concert Spirituel_, and to the Italian Opera in Paris. In 1789, he had the honor to succeed Mestrino as _Chef-d'Orchestre_ of the Theatre of Monsieur; and he afterwards filled the same post at the Feydeau Theatre. On the establishment of the Paris _Conservatoire_, he was appointed Professor of the First Cla.s.s. The compositions of Lahoussaye are numerous, and have had some celebrity, although, for the most part, they have remained in the ma.n.u.script state.

PAISIBLE (pupil of Gavinies) whose gentle name contrasts painfully with his violent end, was born in 1745, at Paris, and was one of those able artists who contributed to give eclat to the _Concert Spirituel_. Full of youthful hope derived from the impression he had there created, he made a musical "progress" through a part of France, the Netherlands, Germany, and as far as St. Petersburg. Here, however, the tide of his success was suddenly turned. His desire to exhibit his talents before the Russian Empress was baffled, owing, as it has been supposed, to the intrigues of Antonio Lolli, who was then in the service of the Imperial Court. Failing also in his endeavour to obtain notice by means of public concerts, Paisible engaged in the service of a Russian Count, with whom he went to Moscow. This resource did not last long; and the concerts he attempted at Moscow were even more discouraged than those at St.

Petersburgh. Distracted by misfortune and debt, he closed his career in 1781, by the act of his own hand-having written a touching letter of farewell to his friends, in which he desired them to sell his violin (a valuable one), with the object of defraying the claims against him.

SIMON LEDUC, another distinguished pupil of Gavinies, and one of the directors of the _Concert Spirituel_, was born in 1748. Two books of Solos, and several Concertos and Symphonies, are his works as a composer. There is extant, in connection with his name, a little anecdote of some interest. About a month after his decease, in 1777, there was a rehearsal of one of his symphonies for the _Concert des Amateurs_. In the middle of the adagio, the Chevalier de St. George, who had been his friend, and was then leading the orchestra, was so affected by the expression of the movement, combined with his recollection of the composer, that he let fall his bow, and burst into tears!

F. HIPPOLITE BARTHeLeMON, a fine performer of the old school, was born at Bordeaux, in 1741. In the early part of his life, he served awhile as a mids.h.i.+pman in the navy of the King of Spain; but Apollo soon a.s.serted his claims above those of Mars, and Barthelemon resigned himself to that softer sway. After pursuing his new career for a time in Paris, where he composed an opera for the Italian Theatre, he came over to England in 1765. Here also he produced an opera for the Italian stage, through the success of which he became acquainted with Garrick, and received from him a musical commission, which was settled for in a way that evinced the accustomed parsimony of that great actor and little manager. As leader of the Opera band for several seasons, and solo performer on various public occasions, Barthelemon gave ample proofs of his mastery over the violin. His adagios in particular were much admired, and his extempore cadences were so scientific and appropriate as, to seem like the natural continuation of the composer's own ideas. Among his engagements while in London, was that of leading the band at Vauxhall Gardens; in which situation he once figured as a princ.i.p.al in a whimsical occurrence. It chanced, one night, when the gardens were full of fas.h.i.+onable company, and the stream of music was at high tide, that a bewildered _bat_, which had winged its eccentric course for some time about the walks, to the discomposure of the visitors, found its way into the illuminated orchestra, and, after having made two or three circuits there, flew into Barthelemon's face, with so forcible a familiarity as to unseat him from his eminence, and precipitate him, wholly frighted from his propriety, to the floor. He fell on his ceremonial sword, which, in breaking his fall, was itself broken; and he was picked up in a condition which fortunately did not forbid his joining in the general chorus of laughers; nor did he fail to congratulate himself, that, in falling on his own sword, he had _not_ done so after the old Roman fas.h.i.+on[47].

One of Barthelemon's points of excellence consisted in his _solo_ performances of Corelli's music, in which his sweetness and polished taste were charmingly manifested. He and Salomon are supposed to have been the last, who made it a regular habit to study, and to perform in public, the compositions of Corelli. Barthelemon died in London, in the year 1808.

Dismissing, with the tribute of a simple mention, the names of Mondonville, Bertheaume, Jadin, and Gra.s.set, we come now to the more recent time when the genius of _Viotti_, diffusing its influence over the whole modern system of violin performance, lent an especial l.u.s.tre to a number of musical _satellites_ who are marked in the _French_ nomenclature. The Italian Viotti infused new life into the French School, which, seeking its resources more from fancy than from feeling, and (with few exceptions) relying rather upon the small excellencies of nice execution, than upon the sympathies which _expression_ can command, had become somewhat exhausted. Viotti communicated to the French Violinists a share of the vigour and the intellectual character that animated his own style, and taught them

"To fill the languid pause with finer joy."

LOUIS JULIEN CASTELS DE LABARRE, one of the pupils who were modelled by the above great master, was born at Paris, 1771, of a n.o.ble family of Picardy. When finished as an instrumentalist, from the hands of Viotti, he went, at the age of twenty, to Naples, where he studied composition under Sala, at the Conservatory of La Pieta, as he did afterwards in France, under Mehul. After two years of success as "premier violon" at the Theatre Francais, he entered the orchestra of the Grand Opera. The published works of Labarre for his instrument are of the lighter kind.

Of a year later in date of birth than the preceding artist, is PIERRE JEAN VACHER, also of Paris. At eight years of age he commenced his labours on the violin, under Monin, of whom fame is nearly silent; and a few years later, his _second_ master (albeit "nulli secundus") was Viotti. From the age of fourteen to nineteen, Vacher was engaged as violinist at the great Theatre at Bordeaux. In the early part of the French Revolution, he went to Paris, where he remained several years in the orchestra of the Vaudeville Theatre, and became known as a composer by means of some popular airs, suited to the demands of that establishment. He was afterwards employed in the orchestras of the Theatre Feydeau, and of the Academie de Musique, &c. He published several operas (or works) of violin music.

PIERRE RODE, another of the eminent players formed by Viotti, was born at Bordeaux, in 1774. His musical tendencies were manifested from his infancy; and, after some instructions bestowed on him in compliance with his early bias, he was sent, while yet but thirteen years old, to Paris, which city has always been considered, in modern times, as the centre of the musical art in France, and enjoys indeed something approaching to a monopoly of it[48]. Here he was introduced to Viotti, who made kindly estimate of his capacity, and interested himself much in directing and improving its exercise. His first public appearance was in 1790, before a Parisian audience-one of his master's concertos being the subject of the display. Shortly after this, he was appointed princ.i.p.al second violin at the Theatre Feydeau, and obtained further notice by means of his performance of other concertos of Viotti's, on selected occasions.

In 1796, Rode commenced professional travelling, and went through Holland and Hamburgh to Berlin. Returning homewards, he was s.h.i.+pwrecked on the English coast. This accident gave him an opportunity of visiting his great preceptor Viotti (who was as yet receiving English shelter and hospitality),-but it did not enable him to make the impression of his talents felt here; for, after one attempt, in which (probably through the disadvantage of being hardly known to us islanders) he met with slender encouragement, the solemn terrors then prevalent at the Alien Office intervened to arrest his ambitious bow-arm. In those really perilous days, our green-eyed government certainly saw _more_ perils than had either existence or probability. It would seem as if the plague of democracy had been by them considered to infest the very garments of a Frenchman, and the air that surrounded his person. It mattered not in what shape, or with what business, he presented himself; suspicion whispered an _alias_ against them all. If he professed to amuse, he was but the more likely to be intent on deceiving. Viewed by the help of this principle, a fiddler became obviously a highly dangerous character.

If discord was confessedly mingled with his strains, surely revolution might lurk in his fiddle-case. "Let no such man be trusted;" and, accordingly, Rode was invited to discontinue his sojourn, "_parmi nous autres Anglais_." His countryman, Mons. Fetis, in recording the particulars of Rode's career, has fallen into the error of attributing to the English _public_, instead of their political _directors_, his unhonored departure.

Re-embarking for Hamburgh, the disappointed artist travelled through Germany, and again reached Paris, the scene of his first triumphs. Here he was appointed Professor of the Violin at the Conservatory, and played with renewed success at the Feydean Concerts;-but, with a continued disposition for travelling, he went soon after to Madrid.

Boccherini, then established in that city, entered into friends.h.i.+p with him, and scored several of his concertos for him.

In 1800, Rode returned to Paris, and was at once nominated Solo Violin to the private band of Bonaparte, Chief Consul. His fame and his excellence were by this time alike matured. He was invited to St.

Petersburg in 1803, receiving the appointment of First Violin to the Emperor's band, with the sole duty of playing at the Court Concerts, and at those given in the Imperial Theatre. After five years thus pa.s.sed with high credit, he returned to Paris, and gave what was professedly his last public concert. Great was the disappointment, however, among the discerning Parisian Amateurs, at finding that a great change had come over the _spirit_ of his performance-that he had no longer at command the brilliancy and fire which had marked him for one of Viotti's _own_, but that a premature decay seemed to be upon him, although the purity of tone, the taste, the elegant style of bowing, were yet remaining. This exhibition appears to have had a chilling effect upon the artist himself, who, for a long time afterwards, was heard by his friends alone. In this latter way, his quartett-playing, accompanied by Baillot and Lamarre, created real gratification.

His love of fame, meanwhile, did not decline with the powers which had formerly attended and balanced it. He undertook a further course of travel in 1811, and went through Austria, Hungary, Styria, Bohemia, Bavaria, and Switzerland. In 1814, he was resident at Berlin, whence he returned to his native Bordeaux. He could not yet reconcile his mind, however, to the relinquishment of a career which his abated energies forbade him to continue. It was reserved for another (and a most mortifying) visit to Paris, to convince him that the hope of s.h.i.+ning was now but a morbid feeling within him. He quitted that scene in a state of grievous and irrecoverable depression. The wanderer came back to his home, only to languish onwards to his grave. Towards the close of 1829, a paralytic stroke affected both his body and his intellect. In this state he lingered nearly twelve months, and died in November, 1830.

Monsieur Fetis has recently referred[49], with a just exultation, to the days wherein the triple force of Rode, Kreutzer, and Baillot, threw its l.u.s.tre over the French School of Violin-players. He characterizes the talent of Rode as subtle, delicate, brilliant, and frequently suggestive, in its effects, of the great master who had called it forth.

"There are few living," he observes, "who have heard that admirable talent in all its beauty, as it was displayed at the concerts of the Rue Feydeau, and at those of the Opera; but the artists who _have_ enjoyed that pleasure, will never forget the model of perfection which then astonished them."

As a writer for his instrument (it has been remarked), Rode merits a distinguished place. His musical education, as regards the principles of composition, had been neglected, so that he was at first obliged to derive from his friends the accompaniments to his Concertos; but his melodies are remarkable for sweetness; the plans of his compositions are well conceived; and he is not without originality. His Concertos are well known and admired, wherever the violin is played. Paganini has performed them at his concerts. His quartetts-which, are, in fact, brilliant solos for the first violin, accompanied by a second violin, tenor and ba.s.s-have also had great success, especially when his own skilful hand lent its aid to their execution.

Ten Concertos,-four Quartetts for two violins, tenor and ba.s.s,-three Airs with variations, for a full orchestra, and the same arranged as quartetts-three sets of violin Duetts-and a share in the compilation of the celebrated "_Methode d'Instruction_," adopted for the violin-students at the French Conservatory-are the princ.i.p.al labours of this master. He also wrote some detached pieces, as Andantes, Rondos, &c.

RODOLPHE KREUTZER, the son of a German musician in the service of the King of France, was born at Versailles, in 1767, and, in consequence of his French birth-place and career, is claimed with superior right by the French School, although something of German inter-mixture, besides that of the blood, must be distinguished in the early lessons he received on his instrument, both from his father, and from a far more important preceptor, Anthony Stamitz.-Under the latter, his advancement was so rapid as to induce his _debut_, at the age of thirteen, at the _Concert Spirituel_, where he performed a concerto, either of his own, or his master's composition, as has been variously represented. From that time to the age of twenty, his compositions for the violin became frequent, though rather directed by innate genius than by the prescriptive rules of composition, of which he had acquired very little.

His desires extended meanwhile towards the condition of a theatrical Composer, in which object he was a.s.sisted by the patronage of the Queen, Marie Antoinette, as well as by the appointment he received, in 1790, of First Violin at the _Opera Comique_. Of his _Lodoiska_, and other achievements in operatic music, it is needless here to treat: but it may be noted as a curious fact, that his neglect of the study of harmony continued till after he had been the composer of at least three successful operas. He seemed to write by instinct; and his custom, while composing, was to walk about his room, singing his melodies, and playing on his violin, till he found an accompaniment which pleased him. When afterwards appointed a Professor at the newly-established _Conservatoire_, he fancied that to be a learned contrapuntist was necessary to the performance of his duties, and so entered, somewhat too late in life, on a course of study which had little other effect than to cripple his imagination. As a Professor, however, he is distinguished by the number of excellent pupils whom he has produced. His mode of instruction was signalized by the enthusiasm and confidence he instilled into his scholars. An energy that shrank from no difficulties, lived in the master, and was reflected in his disciples, who became distinguished, in general, for a brilliant execution.

Kreutzer made a tour, in 1798, through the north of Italy and Germany, and returned to Paris by the way of Hamburg and Holland, giving concerts in all the princ.i.p.al cities. After this, he wielded his instrument in the immediate service of Napoleon; and, on Rode's departure for Russia, he succeeded him as Solo Violin at the Opera; which situation he exchanged, in 1810, for that of _Chef d'Orchestre_. Fourteen years afterwards, decorated with the insignia of the Legion of Honour, he changed his post to that of general Director of the Music at the Opera; and, after this acc.u.mulation of credit, he retired in 1826. Declining health led him to Geneva, where he died, in January, 1831.

Kreutzer's compositions, independently of those for the stage (which exceed thirty in number), consist of two "sinfonie concertanti" for two violins-one sinfonia for violin and violoncello concertante-upwards of fifty concertos, duetts, trios and quartetts-five sets of sonatas for violin and ba.s.s-eight sets of studios and capriccios-and several airs with variations. The compilation of the _Violin-system_ for the Conservatory was also in part effected by him.

CHARLES PHILIPPE LAFONT, one of the most excellent of recently living violinists, was born at Paris, where the beauties of his execution long continued to draw numerous audiences to the concerts he was in the habit of giving. His first lessons in the art were received from his uncle, Bertheaume. After having, successively, Berton, and Navoigille the elder, as masters in composition, and acquiring, by unaided study, a knowledge of singing, he travelled with his uncle, who procured him occasions for exhibiting his various powers in the princ.i.p.al cities of Europe. Returning to France in 1794, he first appeared at Paris as a vocalist; but was _most_ admired as a _violin performer_, in which character he shone at the Opera concerts, and the _Salle Olympique_. He completed his studies under Kreutzer and Rode-to the latter of whom, in the sweet qualities of his style, he mainly inclined. His next journey was to Petersburg, where he resided several years, as the Emperor's First Violin. In 1805 or 1806, he returned to his native city; and was appointed leader at the King's Chapel.

A suavity and elegance, especially in _cantabile_ movements-a tasteful selection of ornament-and an exemplary purity of tone-have been remarked as denoting this artist. The scene in his career which exhibits him in an indiscreet rivalry with Paganini, will be found under the memoir given of that extraordinary person.

PIERRE BAILLOT, of high name in the French School, which he was partly enabled to acquire through Italian instruction, was born about the year 1770, near Paris, to which city the curious in coincidences will be delighted to find that they can trace the local origin of so many of those eminent violinists who have made it, also, the scene of their brilliant exertions. Baillot repaired early to Rome, where he remained some years under the tuition of Polani, an excellent Professor of the school of Tartini. His own feeling and intellect appear to have done more for his advancement, however, than the lessons of preceptors. An artist of a very high order, well versed in the mechanical resources of his instrument, he was also thoroughly embued with musical sentiment, and was a discriminating judge in matters of composition.

After his return from Italy, the sound and excellent qualifications he evinced were the cause of his succeeding Rode, about the year 1795, as Professor of the violin at the Paris Conservatory. He was the editor, and (with Rode and Kreutzer) a joint compiler, of the noted System of Instruction which has contributed so important an aid towards the successful formation of, perhaps, all the living French violinists. The System for the Violoncello, in use at the same inst.i.tution, was likewise produced under his editors.h.i.+p.

Fine taste, variety of manner, admirable bowing, and forcible tone, marked the performance of Baillot. In playing solos, to accompany the dancers at the Opera, Baillot was, consciously, out of his element; but at the annual quartett-meetings, where the business was that of giving manifestation to the genius of Boccherini, Haydn, Mozart, and Beethoven, his soul was kindled, and his powers came forth.-His pupils have been many-including Habeneck and Mazas.

ALEXANDRE JEAN BOUCHER, born, "comme tant d'autres" of his cla.s.s, in fiddler-fostering Paris, came into the world in 1770, and arrived at early excellence on "the leading instrument." When seventeen years old, he went to Spain, where he was appointed Violinist of the Chamber and Chapel of Charles IV. During the time that monarch resided in France, Boucher was also in his suite. His mode of obtaining introduction to the "Majesty of Spain" was as remote from all the prescriptions of courtly etiquette as can well be imagined. It forms the subject of a good anecdote, thus translated from the "Souvenirs" of Blangini, the well-known musical composer:-

"Boucher, when a very young man, at Madrid, was without friends, nor had anything to depend on, save his bow and his strings. He knew that the King of Spain was pa.s.sionately fond of music, and he was anxious that his Majesty should hear him play; but, having no friend who could help him to obtain an introduction at Court, he fell upon the following scheme for the attainment of his object. One day, he stationed himself in the doorway of the palace gate-keeper's lodge. The man at first scrupled to allow him to remain there; but he at length consented, and Boucher began to play in his most exquisite style. After a little time, the rolling of the King's carriage was heard at a distance; his Majesty was going out to take a drive, and, as he approached, Boucher played with increased energy and delicacy. The King, surprised at what he heard, stopped and enquired who was playing. On being informed, he ordered that Boucher should be presented to him. He directed him to go to the palace on the following day. Boucher of course obeyed the mandate. The King was enchanted with his talent, and, shortly after, he was appointed first violin of his Majesty's Chamber Band."

Shortly after the second restoration of the Bourbons to the throne of France, Boucher proceeded to St. Petersburgh, where he was engaged to give some concerts. Here again we derive from Signor Blangini an anecdote, which he states himself to have received from an individual of undoubted veracity, who had it from the violinist himself.

"Every one who has seen Boucher, must have been struck by his singular resemblance to the Emperor Napoleon: this resemblance was remarkable, not only in his countenance, but in his figure. During his stay at St.

Petersburgh, he was one evening engaged to perform at a concert given by the Grand Chamberlain, Prince Narishkin. The Emperor Alexander was present, and in the course of the evening his Majesty stepped up to Boucher, and said, with the affability for which he was distinguished,

"Monsieur Boucher, I have a favour to ask of you."

Boucher bowed.

"It is an affair," continued the Emperor, "quite unconnected with the exercise of your profession."

"I am wholly at your Majesty's service."

"Well, come to the palace to-morrow morning, at twelve precisely. You shall be immediately shown into my cabinet, and I will tell you what I have to request. It is a favour which will greatly oblige me."

"Boucher puzzled himself the whole night, but without being able to form any probable conjecture of what the Emperor wanted. Next day, he repaired to the palace at the appointed hour. When he was ushered into the Emperor's cabinet, the persons there, among whom was the Grand Duke Constantine, immediately withdrew. Alexander desired Boucher to follow him into an adjoining apartment. There he saw, on a sofa, a small three-cornered hat, a sword, a Colonel's uniform of the cha.s.seurs of the French Imperial Guard, and a cross of an officer of the Legion of Honour.

"Now," said the Emperor Alexander, "I will explain to you the favour I have to request. All those objects which you see there, belonged to the Emperor Napoleon; they were taken during the campaign of Moscow. I have frequently heard of your _resemblance_ to Napoleon; but I did not expect to find the likeness so strong as it is. My mother often regrets that she never saw Napoleon; and what I wish you to do-is to put on that dress-and I will present you to her."

"The Emperor withdrew, and left Boucher to array himself in the imperial costume. When he had completed his toilette, he was conducted to the apartment of the Empress. The Emperor a.s.sured his mother that the illusion was complete, and that she might now say she had seen _the great man_. These were Alexander's words."

-LIBON, born in 1775, was one of the pupils of Viotti. He became first violinist at the _Chapel_ of the King of Portugal-and subsequently held a similar appointment at Madrid, under Charles IV. In this our Protestant country, where the violin holds no place in the musical service of the church, the mention of such engagements as these, represents hardly any definite idea to the mind. "What can the _fiddle_ possibly have to do with _religion_?" is a question very likely, here, to precipitate itself from the lips of some honest mystified Englishman.