Méhul, Etienne-Nicolas
Méhul, Etienne-Nicolas
Méhul, Etienne-Nicolas, famous French composer; b. Givet, Ardennes, June 22, 1763; d. Paris, Oct. 18, 1817. His father apprenticed him to the old blind organist of the Couvent des Récollets in Givet, after which he went to Lavaldieu, where he studied with the German organist Wilhelm Hansen, director of music at the monastery there. In 1778 he went to Paris, where he continued his musical studies with Jean- Frédéric Edelmann. His first opera to receive a performance was Euphrosine, ou Le Tyran corrigé (Théâtre Favart, Paris, Sept. 4, 1790); another opera, Alonso et Cora (later known as Cora), was staged at the Paris Opéra on Feb. 15, 1791. His next opera, Adrien, was in rehearsal by the end of 1791, but the revolutionary turmoil prevented a performance; it finally received its premiere at the Paris Opéra on June 4, 1799. His opera Str atonice was given at the Théâtre Favart in Paris on May 3, 1792, and was highly successful. Then followed his opera Le Jeune Sage et le vieux fou, which was performed at the same theater on March 28, 1793. In 1793 Méhul became a member of the Inst. National de Musique, which had been organized by the National Convention under the revolutionary regime. He composed a number of patriotic works during these turbulent years of French history, including the popular Chant du départ (1st perf. publicly on July 4, 1794). He also continued to compose for the theater, shrewdly selecting subjects for his operas allegorically suitable to the times. In 1794 he was awarded an annual pension of 1,000 francs by the Comédie-Italienne. In 1795 he became one of the 5 inspectors of the newly established Cons., and was also elected to the Institut. He became a member of the Légion d’honneur in 1804. Between 1795 and 1807 Méhul composed 18 operas, some of which were written in collaboration with other composers. His greatest opera from this period is the biblical Joseph (Opéra-Comique, Feb. 17, 1807); its success in Paris led to performances in Germany, Austria, Hungary, Russia, the Netherlands, Belgium, Switzerland, England, Italy, and America. Also noteworthy is his Chant national du 14 juillet 1800, an extensive work calling for 2 choirs with an additional group of high voices and orchestral forces. Apart from operas, he composed several syms. In spite of poor health, he continued to teach classes at the Paris Cons.; among his students was Hérold. His last opera was La Journée aux aventures, which was given at the Opéra-Comique on Nov. 16, 1816. Although Méhul’s operas practically disappeared from the active repertoire, his contribution to the operatic art remains of considerable historical importance. Beethoven, Weber, and Mendelssohn were cognizant of some of his symphonic works, which included 4 well-crafted syms.
Works
dramatic (all 1st perf. in Paris):opera:Euphrosine, ou Le Tyran corrigé (Sept. 4, 1790; rev. as Euphrosine et Coradin); Alonso et Cora (Feb. 15, 1791; later known as Cora); Stratonice (May 3, 1792); Le Jeune Sage et le vieux fou (March 28, 1793); Horatius Coclès (Feb. 18, 1794); Le Congrès des rois (Feb. 26, 1794; in collaboration with 11 other composers); Mélidore et Phrosine (May 6, 1794); Doria, ou La Tyrannie détruite (March 12, 1795); La Caverne (Dec. 5, 1795); La Jeunesse d’Henri IV (May 1, 1797; later known as Le Jeune Henri); La Prise du pont de Lodi (Dec. 15, 1797); Adrien, empéreur de Rome (June 4, 1799; later known as Adrien); Ariodant (Oct. 11, 1799); Epicure (March 14, 1800; in collaboration with Cherubini); Bion (Dec. 27, 1800); L’Irato, ou L’Emporté (Feb. 17, 1801); Une Folie (April 5, 1802); Le Trésor supposé, ou Le Danger d’écouter aux portes (July 29, 1802); Joanna (Nov. 23, 1802); Héléna (March 1, 1803); Le Baiser et la quittance, ou Une Aventure de garnison (June 18, 1803; in collaboration with Boieldieu, R. Kreutzer, and Nicolo); L’Heureux malgré lui (Dec. 29, 1803); Les 2 Aveugles de Tolède (Jan. 28, 1806); Uthal (May 17, 1806); Gabrielle d’Estrées, ou Les Amours d’Henri IV (June 25, 1806); Joseph (Feb. 17, 1807); Amphion, ou Les Amazones (Dec. 17, 1811; later known as Les Amazones, ou La Fondation de Thèbes); Le Prince troubadour (May 24, 1813); L’Oriflamme (Feb. 1, 1814; overture by Méhul; remainder in collaboration with H.-M. Berton, R. Kreutzer, and Paër); La Journée aux aventures (Nov. 16, 1816); Valentine de Milan (Nov. 28, 1822); the opera Lausus and the opéra-ballet L’Amour et Psyché are considered doubtful works in the Méhul canon. ballet:Le Jugement de Paris (March 5, 1793; with music by Gluck, Haydn, and others); La Dansomanie (June 14, 1800; with music by Mozart and others); Daphnis et Pandrose (Jan. 14, 1803; with music by Gluck, Haydn, and others); Persée et Andromède (June 8, 1810; with music by Haydn, Paër, and Steibelt). other: Incidental music. orch.: Several syms., including those numbered by Méhul as No. 1 in G minor (1809), No. 2 in D major (1809), No. 3 in C major (1809), and No. 4 in E major (1810). chamber: Ouverture burlesque for Piano, Violin, 3 Mirlitons, Trumpet, and Percussion. keyboard: 2 books of sonatas: 3 sonates, book 1 (1783), and 3 sonates, book 2 (1788).
Bibliography
A. Quatremère de Quincy, Funérailles de M. M., Institut Royal de France (Paris, 1817); P. Vieillard, M.:Sa vie et ses oeuvres (Paris, 1859); A. Pougin, M.:Sa vie, son génie, son caractère (Paris, 1889; 2nd ed., 1893); R. Brancour, M. (Paris, 1912).
—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire