I saw there was no way out of it, so I sang it through.

Before I got half-way through the first verse I saw my judge's eye soften. Then I took courage--I felt myself winning the game--I went on boldly, and when I had finished, the Princ.i.p.al said--

"Come, we will go to the piano."

My triumph was certain. I was sure of all my weapons. I sang my little ballad over again, and at length poor Monsieur Poirson, completely beaten, took my face in his hands, kissed me with tears in his eyes, and said--

"Go on, my boy; you _shall_ be a musician!"

My dear mother had acted prudently. Her opposition had been dictated by her maternal solicitude, but the danger of consenting too precipitately to my desire was outweighed by the heavy responsibility of perhaps impeding my natural vocation. The Princ.i.p.al's encouragement robbed my mother's objections of their chief support, and herself of the aid she had most reckoned upon to make me change my mind. The a.s.sault had been delivered. The siege had begun. It was time to capitulate. But she held out as long as she could, and, in her dread of yielding too soon and too easily to my prayers, she betook herself to the following plan, as her final resource.

There then lived in Paris a German named Antoine Reicha, who had the highest possible reputation as a theoretical musician. Besides being Professor of Composition at the Conservatoire (of which Cherubini was at that time Director), Reicha received private pupils in his own home. My mother thought of placing me under him to study harmony, counterpoint, and fugue--the elements of the art of composition, in fact. She therefore asked the Princ.i.p.al's permission to take me to him on Sundays during the boys' walking hour. As the time spent in going to and from Reicha's house, added to that spent over my lesson, practically covered the same period as the boys' airing, my regular studies were not likely to be interfered with by this special favour.

The Princ.i.p.al gave his consent, and my mother took me to Reicha's house.

But, before she handed me over to him, she thus (as she told me herself long afterwards) addressed him privately--

"My dear Monsieur Reicha, I bring you my son, a mere child, who desires to devote himself to musical composition. I bring him against my own judgment; I dread an artist's life for him, knowing, as I do, the many difficulties which beset it. But I will not ever reproach myself, nor let my son reproach me, with having hindered his career, or spoilt his happiness. I want to make quite sure, before all else, that his talent is real and his vocation true. And so I beg you will put him to the severest test. Place everything that is most difficult before him. If he is destined to be a true artist, no trouble will discourage him; he will triumph over it all. If, on the other hand, he loses heart, I shall know where I am; and shall certainly not allow him to embark on a career, the first obstacles in which he has not energy to overcome."

Reicha promised my mother I should be treated as she wished; and he kept his word, as far as in him lay.

As samples of my boyish talent, I had brought him a few sheets of ma.n.u.script music--ballads, preludes, sc.r.a.ps of valses, and so forth,--the musical trifles my boyish brain had woven.

After looking them over, Reicha said to my mother, "This child already knows a good deal of what I shall have to teach him, but he is unconscious of the knowledge he possesses."

In a year or two I had reached a point in my harmony studies which was rather beyond the elementary stage--counterpoint of all kinds, for instance, fugues, canons, &c. My mother then asked him--

"Well, what do you think of him?"

"I think, my dear lady, that it is no use trying to stop him; nothing disheartens him. He finds pleasure and interest in everything; and what I like best about him is, he always wants to know the 'reason why.'"

"Well," said my mother, "I suppose I must give in."

I knew right well there was no trifling with her. Often she would say to me--

"You know, if you don't get on well, round comes a cab, and off you go to the notary." The very idea of a notary's office was enough to make me do miracles.

But, anyhow, my college reports were good; and though I was threatened with extra work to make up for lost time, I took good care the masters should have no cause to complain that my music interfered with my other studies.

Once indeed I was punished, and pretty sharply too, for having left some work or other unfinished. The master had given me a heavy imposition, 500 lines or thereabouts to write out. I was writing away (or rather I was scribbling with the careless haste which is usually bestowed on such a task) when the usher on duty came to the table. He watched me silently for some minutes, then laid his hand quietly on my shoulder and said--

"You know you are writing dreadfully badly."

I looked up and answered, "You surely don't think I'm doing it for pleasure, do you?"

"It only bores you because you do it badly." He went on quietly, "If you took a little more trouble about it, it would bore you less."

The simple, sensible words, and the gentle and persuasive kindness which marked their quiet utterance, made such an impression on me, that I do not think I ever offended again by negligence or inattention to my work.

They brought me a sudden revelation, as complete as it was precise, of what diligence and attention really mean. I returned to my imposition, and finished it in a very different frame of mind. The irksomeness of the task was lost in the satisfaction and benefit of the good advice I had been given.

Meanwhile my musical studies bore good fruit, and daily grew more and more absorbing.

My mother seized the opportunity of a vacation of some days' duration, the New Year's holidays, to give me what was at once a great pleasure and an exceedingly precious lesson.

Mozart's "Don Giovanni" was being played at the Theatre Italien, and thither she took me herself. The exquisite evening I spent with her, in that small box on the fourth tier, remains one of my most precious and delicious memories. I am not certain of being right, but I think it was by Reicha's advice that my mother took me to hear "Don Giovanni."

When I look back on the emotion that masterpiece roused within me, I feel inclined to doubt whether my pen is capable of describing it, not indeed faithfully--that were impossible--but even so as to give some faint conception of what I felt during those matchless hours, whose charm still lingers with me, as in some luminous vision, some revelation of hidden glory.

The first notes of the Overture, with the solemn and majestic chords out of the Commendatore's final scene, seemed to lift me into a new world. I was chilled by a sensation of actual terror; but when I heard that terrible threatening roll of ascending and descending scales, stern and implacable as a death-warrant, I was seized with such shuddering fear, that my head fell upon my mother's shoulder, and, trembling in the dual embrace of beauty and of horror, I could only murmur--

"Oh, mother, what music! that is real music indeed!"

Rossini's "Otello" had awakened the germs of my musical instinct; but the effect "Don Giovanni" had on me was very different in its nature and results. I think the two impressions might be said to differ in the same way as those produced on the mind of a painter called from the study of the Venetian masters to the contemplation of the works of Raphael, of Leonardo da Vinci, or of Michael Angelo.

Rossini taught me the purely sensuous rapture music gives; he charmed and enchanted my ear. Mozart, however, did more; to this enjoyment, already so utterly perfect from a musical and sensuous point of view, he added the deep and penetrating influence of the most absolute purity united to the most consummate beauty of expression. I sat in one long rapture from the beginning of the opera to its close.

The pathetic accents of the trio at the death of the Commendatore, and of Donna Anna's lamentation over her father's corpse, Zerlina's fascinating numbers, and the consummate elegance of the trio of the Masks and of that which opens the second act, under Zerlina's window--the whole opera, in fact (for in such an immortal work every page deserves mention), gave me a sense of blissful delight such as can only be conferred by those supremely beautiful works which command the admiration of all time, and serve to mark the highest possible level of aesthetic culture.

This visit to the Opera was the most treasured New Year's gift my childhood ever knew; and later on, when I won the Grand Prix de Rome, my dear mother's present to me, in memory of my success, was the score of "Don Giovanni."

That year was, indeed, particularly propitious to the development of my musical taste. After hearing "Don Giovanni," I went in Holy Week to two sacred concerts given by the Conservatoire Concert Society, which Habeneck then directed. At the first, Beethoven's "Pastoral Symphony"

was played; at the other, the "Choral Symphony" by the same master. This added fresh impulse to my musical ardour. I remember clearly how these two performances, besides giving me an inkling of the proud and fearless personality of that mighty and unrivalled genius, left an instinctive feeling with me that the composer's language, if I may call it so, was closely akin, in many ways at least, to that I had first listened to in "Don Giovanni."

Something told me that these two great talents, each so peerless in its way, came of a common stock, and professed the same musical dogma.

Meanwhile my school life was slipping away. My mother had not yet given up the hope that I might change my mind. She had reckoned on the lengthening of my school hours to have that effect; but failing this, she counted on finally dissuading me by telling me that if I drew an unfavourable number at the conscription I should have to serve, as she was too poor to pay a subst.i.tute.

This was a transparent subterfuge. The poor dear woman, who had often enough eaten a crust herself so that her children might be filled, would sooner have sold the very bed she lay on than part with one of us. So, being old enough to understand and appreciate the grat.i.tude and love I owed her for such a life of devoted labour and self-sacrifice, I answered, when she mentioned the conscription to me--

"All right, mother dear; don't let us talk about it. I will see to it myself. I will win the Grand Prix de Rome, and buy _myself_ off."

I was at that time in the third cla.s.s at the Lycee. A little incident which had just occurred in school had gained me a certain amount of respect amongst my comrades.

Our form master was a Monsieur Roberge, who was desperately fond of Latin verses. To write good ones was a certain means of getting into his good books. Some schoolboy trick had been played on him one day, and as the delinquent would not confess, nor any other boy tell of him, Monsieur Roberge stopped the whole cla.s.s's leave. As the Easter vacation, which meant four or five days' holiday, was at hand, this was a terrible punishment indeed. Nevertheless, schoolboy honour stood firm, and the name of the culprit was not divulged.

The idea struck me that if I were to attack Monsieur Roberge on his weak point, he might relent.

Without a word to my comrades, I wrote a copy of Latin verses, taking for my theme the sufferings of the caged bird, far from the country and the woods, cut off from the bright sun and the free air, and plaintively crying out for liberty. Good luck attended me--I suppose because my object was so meritorious!

When we got back into school, I seized an opportunity, when Monsieur Roberge's back was turned, to lay my little effusion on his desk. On taking his seat he saw the paper, opened it, and began to read.

"Gentlemen," he said, "who wrote these lines?"

I held up my hand.

"They are extremely good," said he. Then, after a moment, "I cancel the punishment inflicted on this cla.s.s; you can thank your comrade Gounod for earning your liberty by his good work."