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246 and passionate though reserved nature, was immense. He expressed his admiration to Gluck himself, who received the young enthusiast graciously, gave him valuable advice, and undertook his instruction in the philosophical and poetical parts of music. Encouraged by the success of a cantata with orchestra composed to one of Rousseau's sacred odes, and produced at the Concert Spirituel in March 1782, he might have gone on writing church music, had not Gluck shown him his true vocation, and directed his attention to the stage. Solely for practice he composed one after another three operas, 'Psyché et l'Amour,' a pastoral by Voisenon previously set by Saint Amans; 'Anacréon,' the third act of a ballet by Bernard and Rameau, produced in 1757 as 'Les Surprises de l'Amour'; and 'Lausus et Lydie,' 3 acts, to a libretto adapted by Valadier from Marmontel. These unpublished scores are lost, no trace of them being discoverable in any of the public libraries of Paris.

Méhul now felt himself in a position to appear before the public, and Valadier having furnished him with the libretto of 'Cora et Alonzo,' 4 acts, also taken from Marmontel, the score was soon ready, and accepted by the Académie, but there the matter ended. Tired of waiting, he resolved to try his fortune at another theatre, and having made the acquaintance of Hoffmann he obtained from him the libretto of 'Euphrosine et Coradin, ou le Tyran corrigé,' 3 acts (Sept. 4, 1790). In this opéra-comique the public recognised at once a force, a sincerity of accent, a dramatic truth, and a gift of accurately expressing the meaning of the words, which were throughout the main characteristics of Méhul's mature genius. Its success was instantaneous; and the duet 'Gardez-vous de la jalousie,' the close of which contains a modulation as unexpected as it is effective, speedily became a favourite throughout France. Henceforth Méhul had ample opportunities of satisfying his productive instinct, and he brought out successively:—

'Cora' (1791); 'Stratonice' (May 3, 1792); 'Le jeune Sage et le vieux Fou' (179e); 'Horatius Coclès' and 'Phrosine et Mélidore' (1794); 'La Caverne' (1795), not so successful as Lesueur's on the same subject; 'Doria' and 'Le jeune Henri' (1797); 'Adrien' (June 4) and 'Ariodant' (Oct. 11, 1799); 'Epicure,' with Cherubini (March 14), and 'Bion' (Dec. 27. 1800); 'L'Irato, ou l'Emporté' (Feb. 17 1801); 'Une Folie' (April 4), 'Le Trésor supposé,' 'Joanna,' and 'L'Henreux malgré lui' (1802); 'Héléna' and 'Le Balser et la Quittance,' with Kreutzer, Boieldieu, and Nicolo (1803); 'Les deux Aveugles de Tolède' (Jan. 28), 'Uthal' (May 17), and 'Gabrielle d'Estrées' (June 25, 1806); 'Joseph' (Feb. 17, 1807).

Astonishing as it may seem, these 24 operas were not the only works Méhul produced within 17 years. He composed and published in addition many patriotic songs and cantatas, among others the 'Chant national du 14 Juillet,' the 'Chant du Départ,' the 'Chant du Retour,' the 'Chanson de Roland,' and choruses to 'Timoléon' a tragedy by Joseph Chénier; two ballets, 'Le Jugement de Paris' (1793) and 'La Dansomanie' (1800); several operettas, and other 'morceaux de circonstance,' such as 'Le Pont de Lodi,' etc., all unpublished except the 'Chant lyrique' for the inauguration of the statue voted to Napoleon by the Institut.

The epoch at which he composed 'Uthal' and 'Joseph' was the culminating point of Méhul's career. He was already a member of the Institut (1795) and a chevalier of the Legion of Honour (1802), and had been inspector of instruction at the Conservatoire from its foundation. His pupils looked up to him and he was a favourite in the best society, but such homage did not blind him to the fact that in science his colleagues Cherubini and Catel were his superiors, owing to his want of early systematic training. This accounts for his laborious efforts to change his style, and excel in more than one department of music. His symphonies, though performed at the Conservatoire, cannot rank with those of Haydn and Mozart; indeed none of his other orchestral works rise to the level of his overtures. Of his ballets 'Le Retour d'Ulysse' (1807), and 'Persée et Andromède' (1810) in which he introduced many pieces from 'Ariodant,' were well received, but 'Les Amazones, ou la fondation de Thebes' disappeared after nine performances. An opéra-comique in 1 act, 'Le Prince Troubadour' (1813), was not more successful, but his last work, 'La Journée aux Aventures,' 3 acts (Nov. 16, 1816), kept the boards for some time. Its success was partly due to its being known at the time that Méhul was dying of consumption. Two months after its production he was sent to Provence, but the change came too late; he returned to Paris, and died there Oct. 18, 1817, aged 54. Besides six unpublished operas composed between 1787–97, he left the unfinished score of 'Valentine de Milan,' a 3-act opéra-comique, completed by his nephew and pupil Daussoigne-Méhul (born at Givet, June 10, 1790, died at Liege, March 10, 1875), and produced Nov. 28, 1822.

The most conspicuous quality of Méhul's work as a whole is its absolute passion. This is exemplified most strikingly in 'Stratonice' and 'Ariodant.' Not less obvious are the traces of the various influences under which he passed. Between 'Ariodant' and 'Joseph' must be placed all those repeated attempts to vary his style, and convince his detractors that he could compose light and graceful airs as well as grand, pathetic, and sustained melodies, which cannot be considered as anything but failures, although the ignorant amateurs of the day pronounced 'L'Irato' to be true Italian music. 'Joseph,' which dates from the midst of the Revolution, before the Empire, belongs to a different epoch, and to a different class of ideas. Méhul's noble character, his refined sentiment, and religious tendencies, the traces of his early education, in his perfect acquaintance with the church modes and plainsong, and his power of writing excellent church music, are all apparent in this powerful work, the simplicity, grandeur, and dramatic truth of which will always command the admiration of impartial musicians.

Méhul was not so fortunate as Grétry in finding a poet whose creative faculties harmonised thoroughly with his own; and he was fascinated by any subject—antique, chevaleresque,