The following is an abstract of a letter which Faldoni writes to his father, dated 9th of September, 1766.
I have at last finished all my assaults in Paris with one that I made yesterday with the strongest fencer in France, and truly I cannot do less than confess that I don't believe that an equal fencer is now living. But the success I have now met has been so brilliant and as much as I could wish before such a famous and powerful fencer, that I shall briefly tell you that I gave him the first two hits. I received the third, then gave him the fourth, which was as straight thrust, and was judged the finest attack in the whole assault; I again was touched with the fifth, and gave him the sixth, which was the last. I cannot describe to you the congratulations and compliments I received from all the nobility and masters; and they assured me that Paris had never seen such an assault before. The name of the man is Saint-Georges, and they believe him to be the first swordsman in Europe, and truly his thrusts are as lightning. He has a very long lunge and his passades are presqu' impénétrables (almost impenetrable). I made a memorial to the King to open a school at Lyon under my own name.10
The memorial was immediately granted, and in November, he made his appearance through Lyon's streets as a public master, wearing a sword-cane, and a distinction, feathers to his hat, when he opened a school in his name.11
Controversy exists about who won the match, even from the spectators who recorded this event in their memoirs. Some say Saint-Georges was the victor, others say Faldoni. Still others considered it a draw. About this event, I cannot resolve the controversy. The friends of Saint-Georges supported that he could have won the match without being touched.
I find the ironies in life fascinating. I find it so interesting and fascinating that Saint-Georges and Faldoni, born the same year under such adverse circumstances, thousands of miles apart found themselves many years later in the historic city of Paris engaged in a memorable fencing match. That Saint-Georges would have been a slave had his father been some other white man, causes one to stop and reflect on how easily this entire story could not have been. Maybe fate brought Saint-Georges to his glory and the two great fencers together.
An anecdote related by Thiébault is perhaps worth repeating for those who have not read his Mémoires:
Saint-Georges was one day watching a game of tennis. Among the players was a young noble, in the household of the King, a newcomer to Paris. Turning suddenly, he beheld, against the net, the face of the great mulatto. In a fit of youthful impertinence or insanity, he threw the ball at the Chevalier's nose. A challenge from Saint-Georges appeared to amuse him immensely. He was somewhat sobered however, when his friends informed him that he was already as good as dead; and they proceeded to enlighten him as to whom Saint-Georges was.
At the meeting he said to Saint-Georges: 'Sir, I cannot defend my life against you; but I can play you for it. Here are two pistols; only one is loaded; we will select them at hazard and fire point-blank at the same moment. The lucky man will blow out the other's brains; but chance will decide.' After this Saint-Georges was willing to listen to his seconds, and the younger man apologized.12
Henry Angelo, Fencing Master in London, 1790
Chapter III
Saint-Georges The Composer,
Conductor and Musician
Saint-Georges had studied violin with Jean-Marie Leclair (1697-1764) in his youth at La Boëssière's school and had become quite proficient with this instrument. Regarding Leclair, Marc Pincherle in his L'Influence de Leclair (The Influence of Leclair) says:
For those who look at the panorama of French Music from a certain distance in the first half of the eighteenth century, the face of Leclair does not distinguish itself at first with much importance. Among most lovers of music, his name is far from bringing up the same cries of admiration as that of François Couperin for example. And yet his action, in depth was to be rich and varied.
One strange thing is that what we know the least about is his activity as a professor. Of the many students that he taught we only know a few by their names, among the first class virtuosos, Dauvergne l'Abbé the son, probably Gaviniès and the Chevalier de Saint-Georges; on a less brilliant level, Mahoni who was called le Breton, author of a chacune (a kind of dance music) and of small number which are found in the collections of the time...1
Leclair had produced a violinist who was to become one of the best of his time. With background well established, in 1766 as I previously stated, Saint-Georges began studying composition under Joseph Gossec.
Gossec came to Paris in 1751 and was introduced to La Pouplinière, a wealthy amateur, who made him conductor of his private orchestra. It was not long after Saint-Georges began studying with Gossec before he recognized Saint-Georges' talent and admired him very much as a person, as well as a musician. He admired Saint-Georges so much that in the same year, 1766 that Saint-Georges was studying with him, he dedicated one of his works to Saint-Georges, Opus IX, six trios for two violins and bass. This was very unusual for a composer to do at this time. It was common for composers during the sixties (1760's) to dedicate works to their powerful patrons rather than to their colleagues. Gossec said in his dedication:
To Monsieur de Saint-Georges, Esquire, Gendarme of the King's Guard. Monsieur,
The great reputation that you have acquired through your talents and the favorable reception that you give to artists have made me take the liberty to dedicate to you this work, as a homage due to the merit of such a bright lover of music. With your approval, its success will be sure. I am, respectfully, and humbly your servant, monsieur F. J. Gossec.2
François Joseph Gossec
Saint-Georges concentrated on violin and composition until the winter of 1772-1773, when he played as violin soloist, at the Concert des Amateurs, two concertos for a principal violin with orchestra. These two concertos were his first compositions and in course of time acquired a decided vogue. Le Mercure, a Parisian periodical, wrote of Saint-Georges' first musical fruits:
These concertos were played last winter at the Concert of Amateurs by the author himself and were received with the greatest applause as much for the merit of execution of playing, as for that of the composition.3
Later in June of the same year, Saint-Georges published six original string quartets by the music publisher Sieber. This establishes the fact that Gossec and Saint-Georges were the first French musicians who wrote string quartets. This type of composition, which was largely cultivated in Paris after the beginning of 1765, numbered among its representatives: Toeschi (1765), Hayden (1768), Gossec (1770), Jean-Chrétien Bach (1772) and now by 1773, Saint-Georges. The press, especially Le Mercure loudly reclaimed these works. That Saint-Georges' first compositions were so well received added to his fame as a fencer and established him as a serious musician and composer.
Gossec, who at this time was the conductor of the Concert des Amateurs was asked to preside over the Concert Spirituel along with Gaviniès, the violinist who was also, as I mentioned, a former pupil of Leclair, and Simon Le Duc. Gossec resigned from the Concert des Amateurs and his pupil Saint-Georges inherited the conductor's position.
The Concert des Amateurs was founded through the determination of Gossec. The Concert Spirituel which was established already and had as its patrons the most distinguished persons. Gossec had produced some of his early works there with great dissatisfaction. The orchestra had remained the same for a long time with a small number of instruments, not enough, Gossec felt to present great pieces. Gossec approached the directors of the Concert Spirituel to try to convince them to gather together musicians and distinguished instrumentalists capable of performing symphonies in a large orchestra. Because of perpetual financial difficulties, the directors turned a deaf ear. Gossec was not discouraged. With the success of his comic opera, Les Pêcheurs, towards the end of 1766, he was appointed Intendant of Music to the Prince of Condé. With this powerful backer, he was able to convince two wealthy
music lovers to found the Concert of Amateurs which quickly became, the best and the most celebrated in Europe. It was located at the Soubise Hotel. Despite what its name might imply, it was not an orchestra of amateurs. On the contrary, it was a great orchestra, the kind he was trying to put together for the Concert Spirituel.
The Concert of Amateurs did not please the privileged class who enjoyed the Concert Spirituel and did not welcome this rival. Difficulties arose. It was announced that no one would be admitted to the concerts of the Concert of Amateurs except shareholders.
Gossec was the director, and to make the orchestra even better, he placed Le Chevalier de Saint-Georges at the head of the orchestra. Saint-Georges was also one of the principal dancers. Saint-Georges ignited the orchestra. It had been a happy decision. The rivalry broadened between the Concert of Amateurs and the Concert Spirituel. The Concert of Amateurs, supported by all the young and intelligent, easily crushed its adversary.
The orchestra of the Concert of Amateurs was a formidable one with 40 violins, 12 cello, 8 contrabasses, flutes, oboes, clarinets, trumpets and bassoons played by the most skillful artists of Paris. Gossec composed his great symphonies for this great orchestra. Gossec, through his direction made the Concert of Amateurs surpass the Concert Spirituel.
Page from Concerto Op. V No 2
Later, when the Concert Spirituel had almost fallen into disuse, he left the Concert of Amateurs entirely to Saint-Georges and he, Le Duc and Gaviniès as, I previously stated, went to take charge of the Concert Spirituel and to rebuild it. They succeeded. Once again the Concert Spirituel rivaled the Concert of Amateurs.
Saint-Georges conducted with great authority and was well respected by these great musicians. Although he conducted, he also on occasion played first violin.
The musical season had ten meetings and the quality of the music was widely praised. As well as conducting and playing, Saint-Georges composed several works. Two years after his first composition and his assuming the directorship, in June, 1775 he published a whole series of concertos for violin, opuses II, III, IV, and V.
The gifted mulatto was then in the heyday of his creative activity and by the end of the year 1775, he had already written a collection of Symphonies concertantes, one of which was played on Christmas Day, at the Concert Spirituel.
Saint-Georges' standing as a musician was so firmly established that in 1776, he was considered for the post of assistant director at the Opera. The Royal Academy of Music as it was known, was at that time under the supervision of the city of Paris. Saint-Georges formed a company of capitalists and sought to put the organization under private supervision. He, of course, would be considered for the post of director or assistant director. According to Baron von Grimm in his Correspondance littéraire, philosophique et critique:
This caused a great protest from Mesmoiselles Arnould, the opera singer, Guimard, the exceptional dancer, Levasseur, Rosalie, and other actresses, who signed a petition to the queen in order to represent to her majesty that their 'honor and privileges would not permit them to take orders form a mulatto'. Saint-Georges' request was rejected. Their honor indeed! Rubeluis said that when one thinks that Mesmoiselles Rosalie, Arnould and Guinard, these three divinities of the Opera were also famous for their licentious lives and their corrupt souls. It is suggested by some that the irritation of this rejection had contributed to rendering the mulatto more to the ideas of the Revolution that began to slowly spring up. On the contrary, Saint-Georges was a democrat at heart though reared as an aristocrat. A man of color, he had been born among the common people, and in sympathy, he remained one of them.4
He went on to say: ...a young American known as the Chevalier de St.-Georges, combines the most gentle manners with incredible skill in all physical exercises and very great musical talent...but the artists nevertheless at once addressed a petition to the Queen.....
This kind of racist behavior must have hurt Saint-Georges very much but there was no appeal and apparently no attempts at revenge. He was talented and very successful. He simply moved on. Often, when people are pioneers, whether they realize it or not, they make the path easier for those who follow. St.-Georges was not trying to be a pioneer, he was only following his talents wherever they led. By being accepted by so many, it was easy for him to forget that he was a mulatto.
Alexandre Dumas, whose father served under St.-Georges at the beginning of the French Revolution probably benefited from the path that St.-Georges paved. He was born just two years after the death of St.-Georges. He never considered himself a black man; there is no evidence that he encountered overt racism during his life. He did, however, write a short work in 1843, entitled "Georges," in which he examined the question of race and colonialism. The main character was a mulatto who leaves Maritius to be educated in France and returns to his birth place to avenge his treatment as a boy. This, of course is the similar theme of The Count of Monte Cristo.
Saint-Georges continued his direction of the Concert of Amateurs successfully, although disappointed with the last venue. Even though his feelings had been damaged, he remained a very sensitive person. Shortly after, at the rehearsal of a symphony by the then deceased Le Duc, his great friend, which was to be played the following day at the Concert of Amateurs, Saint-Georges, in the middle of the adagio, "moved by the expressive quality of the composition, and remembering that his friend was no more, dropped his bow and burst into tears; his emotion communicated itself to all the artists, and the rehearsal had to be adjourned."
Saint-Georges was also interested in the theatre. In July, 1777, he presented a comedy in three acts with ariettes entitled Ernestine, at the Comédie italienne, which was the most frequented of the lyrical theaters. The words were by Choderlos de Laclos, author of Les Liaisons Dangereuses. The music was considered excellent, but its wretched libretto was responsible for its failure. Ernestine lasted only one presentation. "People even qualified it as a 'masterpiece of poor taste."
The Mecure admitted that the composer showed good qualities of style, much knowledge, as well as "facility and talent." The score has not been preserved, but a few fragments of its music are preserved in a collection of Saint-Georges' melodies, in the library of the Paris Conservatory. The subject of Ernestine was borrowed from a novel by Madame Riccoboni. Later, after having performed a second series of quartets, on October 12, 1778, he presented a new comedy with ariettes, La Chasse (The Hunt) at the Comédie italienne, which drew good size audiences. This time, the words were by M. Desfontaines, the author of l'Aveugle de Palmyre and la Cinquantaine and, of course, the music by Saint-Georges. Bachaument mentions the vaudeville air with which the piece concludes and prophesies that it will soon become popular. Friedrich von Grimm wrote of the music of La Chasse that:
The music of this drama is rather analogous to a poem. The public found in the composition of the musician, as in those of the poet, gaiety, agreeable details, happy passages; but there is also found dullness, common things and above all a great number of imitations and of reminiscences.5
Around this time, towards 1779, Madame de Montesson, the second wife of the Duke of Orléans, cousin of King Louis XVI, became very interested in Saint-Georges and his various talents in music. She was an occasional actress and writer, with a theatre at her house where plays and concerts were frequently given. Saint-Georges was appointed Superintendent of Music of her theatre. And an additional honor was paid him when she had Saint-Georges appointed and given the title of Lieutenant of the Hunt of Pinci. This appointment was an honor as well as a lucrative position. The additional money that this position brought was happily received by Saint-Georges who spent money freely and generously shared his good fortune with so many others.
Madame de Montesson circa 1780 after
Louise Élisabeth Vigée Le Brun (Versailles)
At the theatre of Madame de Montesson, Saint-Georges added acting to his talents as a conductor, composer, violinist and dancer. H
e conducted the concerts and directed plays in which he and Madame de Montesson occasionally appeared.
Saint-Georges' second position at the home of the Duke of Orléans and Mme de Montesson was far from a gratuitous one. Saint-Georges was an expert rider and one of the finest marksmen in France. It was said that once he set his eye on a target, he never failed to hit his mark. Hunting was one of the most popular of sports for the rich. In fact, King Louis XVI seemed to have loved hunting more than he loved being King but was not very good at either.
Rumors grew through the years that Saint-Georges' relationship with Mme de Montesson was much more than professional. Indeed, she was known to have admired him very much, but were they lovers? In his novel about Saint-Georges, Roger de Beauvoir goes into great detail regarding their alleged relationship. He describes her great love for him and her extreme jealousy 6 that eventually brought the relationship to an end. There is no proof of this alleged love affair, only artful rumors.
Saint-Georges was thus introduced into the social, artistic and political centers of the Royal Palace and became an intimate of the Duke of Orléans who became his friend and, as previously mentioned, his protector.
Also around 1779, Saint-Georges was chosen Musician with the Concert Particuliers of the Queen, Marie Antoinette, as second violinist.
The Black Mozart Page 4
