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Scan 54
Grove's Dictionary of music and musicians, 1927
22 lines. Read by computer on 4 September 2026. Printed page 18. See the scan on archive.org.
1and to this circumstance its enormous success is mainly due. None of David's subsequent works approached it in popularity. 'Le Désert' was followed (Mar. 28, 1846) by 'Moïse au Sinaï,' at the Opéra, an oratorio written in Germany, where David had gone on a concert tour, and where he met with much enthusiasm not unmixed with adverse criticism. 'Moïse,' originally destined for Vienna, was performed in Paris, its success compared with that of its predecessor being a decided anti-climax. The next work is a second descriptive symphony, 'Christophe Colomb' (Mar. 7, 1847), and its success again was anything but brilliant. 'Eden, a Mystery' was first performed at the Opéra Aug. 25, 1848, but failed to attract attention during that stormy political epoch. His opéra-comique 'La Perle du Brésil' was produced with success at the Théâtre Lyrique (Nov. 22, 1851). His remaining dramatic works are: 'La Fin du monde' (in four acts, never performed), 'Herculanum' (serious opera in four acts; Mar. 4, 1859, at the Opéra 1), 'Lalla-Roukh' (two acts; May 12, 1862), perhaps the most genuinely successful, and 'Le Saphir' (in three acts; 1865, both at the Opéra-Comique). Another dramatic work, 'La Captive,' was in rehearsal, but was withdrawn by the composer for reasons unknown.
3F. H.; rev. M. L. P.
5From a purely musical point of view, David's music shows an irregular and hesitating manner, although full of melodic charm and delicate colouring. Berlioz acknowledged his science and taste, the distinction of his melodies, and above all, his picturesque orchestration. A good estimate of David has been given by a contemporary, the composer Ernest Reyer, who describes him as a poet. In fact he was one by the sweetness, the tenderness and the naïveté of his expression—but a poet of the East. He appears as an initiator; without him no such dramatic works of Oriental characteristics as Reyer's 'La Statue,' Bizet's 'Djamileh,' Gounod's 'Reine de Saba,' Delibes's 'Lakmé,' Verdi's 'Aïda,' etc., could have been created.
7M. L. P.
9BIBL.—RENÉ BRANCOUR, Félicien David (Collection des Musiciens célèbres, Laurens, Paris), containing a full bibliography of works on David.
11DAVID, (1) FERDINAND (b. Hamburg, June 19, 1810; d. July 18, 1873), one of the best and most influential violin players and teachers of Germany.
13His musical talent showed itself very early, and after two years' study at Cassel in 1823 and 1824 under Spohr and Hauptmann, he made his first appearance at the Gewandhaus at Leipzig (1825), in company with his sister Louise—ultimately famous as Mme. Dulcken. He passed the years 1827 and 1828 as a member of the band of the Königstadt Theatre, Berlin, where he first became acquainted with Mendelssohn. In 1829 he accepted an engagement as leader of a quartet in the house of a noble and influential amateur at Dorpat, whose daughter he subsequently married. He remained in Russia till 1835, making frequent and successful tours to St. Petersburg, Moscow, Riga, etc. In 1836 Mendelssohn, on becoming conductor of the Gewandhaus concerts, obtained for him the post of leader of the band (Konzertmeister), which he filled with distinction and success until his death. On the foundation of the Conservatorium in 1843, David was appointed violin professor, also by Mendelssohn's influence. Of the intimate nature of their connexion a good instance is afforded by the history of Mendelssohn's violin concerto. It is first mentioned in a letter from Mendelssohn to David, dated July 30, 1838. Constant letters on the subject of the work passed between them during the process of composition; hardly a passage in it but was referred to David's taste and practical knowledge, and canvassed and altered by the two friends; and he reaped his reward by first performing it in public at the Gewandhaus concert of Mar. 13, 1845. The autograph is now in the possession of David's family. In like manner 'Antigone' (letter of Oct. 21, 1841) was referred to him; and he was one of the three trustees to whom the publication of the MS. works of his illustrious friend was confided after his death.
15As a virtuoso David combined the sterling qualities of Spohr's style with the greater facility and piquancy of a later school; as a teacher his influence was probably greater than that of any preceding master. His most eminent pupils were Joachim and Wilhelmj.
17It is one of David's special merits that he revived the works of the eminent violin-players of the old Italian, German and French schools, which he edited and published with accompaniments, marks of expression, etc. He also edited nearly the whole classical repertory of the violin for purposes of study, and took a prominent part in the critical editions of the works of Beethoven, Haydn and other great masters. He died very suddenly, while on a mountain excursion with his children, near Klosters in the Grisons. He was buried at Leipzig, where he was highly honoured, and where a street was named after him.
19Among his numerous compositions the five violin concertos, a number of variations, and other concert pieces for the violin hold the first rank. He also published for piano and violin 'Bunte Reihe,' 'Kammerstücke,' etc. Besides these, two symphonies, an opera 'Hans Wacht,' a sextet and a quartet for strings, a number of songs and concert pieces for trombone and other wind instruments, deserve to be mentioned.
211 It is said that in 'Herculanum' a great many pieces from the 'Fin du monde' have been embodied.
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