Complete Encyclopaedia of Music/A/Auber, Daniel Francois Esprit

Auber, Daniel Francois Esprit, born at Caen, the 29th of January, 1784, on a journey which his parents made to that city, was the son of a print seller of Paris, who was in easy circumstances. Endowed with a most happy disposition for music, M. Auber first studied this art as an object of pleasure. After having learned to play upon the piano under the direction of Ladurner, he was sent to London to pursue the profession of a merchant; but being soon disgusted with a situation for which he did not feel that he had been horn, he returned to Paris. Being well received by the public because of his talents and genius, he began to make himself known by some small compositions, such as romances, some of which met with success. A trio for the piano, violin, and violoncello, which he published about the same time at Paris, proves that he could treat instrumental music with ability. But some other more considerable works soon increased his reputation among artists. He was an intimate friend of Lamare, the celebrated violoncellist, who had a style altogether peculiar in his manner of playing the bass, and which he desired to propagate by a species of music adapted to that purpose; but by a remarkable circumstance, which it would be difficult to explain, he had neither a melodious idea nor trait in his head which he was able to employ in a piece of music. At his request, M. Auber wrote all the bass concertos which have appeared in the name of this virtuoso, and also some others which have remained in manuscript. The public thought that these concertos were the compositions of Lamare ; but all artists knew that they were due to the talent of M. Auber. The original character of this music produced a very great sensation in the public, and it could be foreseen that, from that time, the youthful composer to whom it was due would one day enjoy a brilliant reputation. About the same time, M. Auber wrote a concerto for the violin, which was performed at the Conservatory of Music at Paris, by M. Mazas, and which was eminently successful. The desire of laboring for the theatre had already caused him to set again to music the old comic opera entitled "Julie," with an accompaniment for two violins, two altos, violoncello, and contrabasso. This work, which contained many charming pieces, was represented at a theatre of amateurs at Paris, and received much applause. A short time afterwards, M. Auber wrote, for the small theatre of M. de Caraman, Prince of Chimay, another opera, with orchestra complete, from which lie has since selected many pieces for his other works.

Notwithstanding his success, which until that time had been confined within the circle of a certain number of artists and amateurs, M. Auber was sensible that his musical studies had been incomplete, and that his knowledge failed him in the art of writing ; and being desirous of completing his education in this respect, he devoted himself to some arduous labors under the direction of M. Cherubini. These studies being finished, he wrote a mass for four voices, from which he has since taken the prayer in his opera of La Muette de Portici." In 1813, he made his debut in public by an opera in one act. which he caused to be represented at the theatre Feydeau, under the title of "S�jour Militaire." This work did not answer the expectations which the first attempts of M. Auber had excited, and contained nothing of that grace and originality of ideas which had gained applause for his former productions. A repose for many years followed this check, and the composer seemed to have renounced a career in which brilliant success awaited him, when the derangement of his for tune, and the death of his father, obliged M. Auber to seek some resources for his support in the exercise of an art which until then had been to him only a relaxation. In 1819, he caused to be represented, at the Opera Comique, "Le Testament et le Billets-doux," an opera in one act. This work was still less fortunate than the first public attempt of the talents of M. Auber had been. The eulogiums which had been lavished upon him were now considered as the opinion of a coterie, and arising from partiality ; but the composer soon retrieved himself by "La Berg�re chatelaine," an opera in three acts, which was played at the same theatre during the first part of the year 1820. The original ideas, the melody, an elegant instrumentation and dramatic effect, distinguished this work, which obtained complete success, and which may be considered as the first foundation of the brilliant reputation of its author. "Emma, ou la Promesse imprudente," an opera in three acts, performed in 1821, completed what a "Berg�re chatelaine" had commenced, and from that time M. Auber has known nothing but success.

Auber was first brought into notice in 1823, by his opera "La Neige," which became very popular, not only in France, but in Germany, and is frequently performed in the principal German theatres. His "Fla Diavolo," and his most celebrated piece, "La Muette de Portici," (or Masan fells,) are well known all over Europe. In Auber's earlier works there is a palpable imitation of Rossini ; but he gradually acquired greater in-dependence of style ; 'and, in his latter compositions, his manner, both in the cast of his melodies and the disposition of his accompaniments, is decidedly his own. His peculiarities, indeed, are so marked, and so constantly perceptible, that they give his music too great a uniformity of character, and lay him open to the charge of manner-ism. His music is not marked by depth of thought or strength of feeling. His combinations are ingenious, but not profound ; and his melodies, though often sweet, and sometimes tender, are very rarely pathetic. But his music it brilliant, sparkling, exhilarating, and remarkable for the clearness and simplicity of its dramatic effects, even in scenes of the greatest hustle and confusion. These are the beauties which have rendered "Masaniello" so generally attractive. Every auditor, learned or unlearned, is animated and delighted by the charming barcarolle, the market chorus, the chorus of fishermen, the beautiful finale to the third act, (in the original piece,) the bacchanalian song, and the air sung by Masaniello. Beauties of a similar kind, though in an inferior degree, are to be found in "Fra Diavolo." Among Auber's minor productions, a comic opera called "Le Philtre," written by Scribe, and brought out at the Academie Royale in 1831, is probably the most agreeable.

In May, 1825, M. Auber was made a Knight of the Legion of Honor, and the Academy of Fine Arts of the Institute elected him one of their members in the month of April, 1829. He has since held many posts of distinction, both civil and professional. He continues to produce sparkling works for the Opera Comique, and his overtures, such as those to "Zanetta," "L'Estocque," "Masaniello," "Les Diamans de la Coil-'tonne," &c., &e., every where preserve their popularity in miscellaneous concerts. "Marco Spada" is the title of his last opera. M. Auber was recently appointed, by Napoleon III., director of the imperial music and maitre de chapelle at the Tuileries.