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BOIELDIEU, FRANCOIS ADRIEN (1775-1834)

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Originally appearing in Volume V04, Page 139 of the 1911 Encyclopedia Britannica.

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BOIELDIEU, FRANCOIS ADRIEN (1775-1834)

BOIELDIEU, See also:
FRANCOIS (1558-1614)
FRANCOIS ADRIEN (1775-1834) , See also:

French composer of comic See also:

OPERA (Italian for " work ")

opera, was See also:

BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

ROUEN

Rouen on the 15th of See also:

DECEMBER (Lat. decent, ten)

December 1775. He received his first musical See also:

EDUCATION

education from M. Broche, the See also:

CATHEDRAL

cathedral organist, who appears to have treated him very harshly. He began composing songs and chamber See also:

MUSIC

music at a very See also:

early age—his first opera, La Fille coupable (the libretto by his See also:

FATHER

father), and his second opera, Rosalie et Myrza, being produced on the See also:

STAGE (Fr. 6/age; from Lat. stare, to stand)

stage of Rouen in 1795. Not satisfied with his See also:

LOCAL

local success he went to See also:

Paris in 1795. His scores were submitted to See also:

CHERUBINI, MARIA LUIGI CARLO ZENOBIO SALVATORE (1760-1842)

Cherubini, See also:

MEHUL, ETIENNE HENRI (or ETIENNE NICOLAS) (1763-1817)

Mehul and others, but met with little approbation. See also:

GRAND

Grand opera was the See also:

order of the See also:

day. Boieldieu had to fall back on his See also:

TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent as a See also:

PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte-player for a livelihood. Success came at last from an unexpected source. P. J. See also:

Garat, a fashionable See also:

SINGER, SIMEON (1846-1906)

singer of the See also:

period, admired Boieldieu's See also:

TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch on the piano, and made him his accompanist.

In the See also:

DRAWING

drawing-rooms of the Directoire Garat sang the charming songs and See also:

BALLADS

ballads with which the See also:

young composer supplied him. Thus Boieldieu's reputation gradually extended to wider circles. In 1796 See also:

LES

Les Deux lettres was produced, and in 1797 La Famille suisse appeared for the first See also:

time on a Paris stage, and was well received. Several other operas followed in rapid See also:

SUCCESSION (Lat. successio, from succedere, to follow after)

succession, of which only Le Calife de See also:

BAGDAD, or BAGHDAD

Bagdad ("goo) has escaped oblivion. After the enormous success of this See also:

WORK

work, Boieldieu See also:

FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt the want of a thorough musical training and took lessons from Cherubini, the See also:

INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of that See also:

GREAT

great See also:

MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master being clearly discernible in the higher See also:

ARTISTIC

artistic finish of his See also:

PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil's later compositions. In 1802 Boieldieu, to See also:

ESCAPE (in mid. Eng. eschape or escape, from the O. Fr. eschapper, modern echapper, and escaper, low Lat. escapium, from ex, out of, and cappa, cape, cloak; cf. for the sense development the Gr. iichueoOat, literally to put off one's clothes, hence to sli

escape the domestic troubles caused by his See also:

MARRIAGE

marriage with Clotilde Aug. Mafleuroy, a celebrated See also:

BALLET

ballet-dancer of the Paris opera, took See also:

FLIGHT

flight and went to See also:

Russia, where he was received with open arms by the See also:

EMPEROR (Fr. empereur, from the Lat. imperator)

emperor See also:

Alexander. During his prolonged stay at St See also:

PETERSBURG

Petersburg he composed a number of operas. He also set to music the choruses of See also:

Racine's Athalie, one of his few attempts at the tragic See also:

style of dramatic See also:

writing. In 1811 he returned to his own See also:

COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country, where the following See also:

YEAR

year witnessed the See also:

PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of one of his finest See also:

WORKS

works, See also:

JEAN

Jean de Paris, in which he depicted with much felicity the charming coquetry of the See also:

queen of See also:

NAVARRE (Span. Navarra)

Navarre, the chivalrous verve of the See also:

king, the officious pedantry of the See also:

SENESCHAL (the O. Fr. form, mod. senechal, of the Low Lat. senescalcus, a word of Teutonic origin, meaning " old or senior servant," Goth. sini- old; cf. Lat. senex and stalks, servant; Du Cange's derivation from seneste, flock, herd, must be rejected)

seneschal, and the amorous tenderness of the See also:

page. He succeeded Mehul as See also:

PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

professor of See also:

composition at the See also:

CONSERVATOIRE (the Fr. equivalent of Ital. Conservatorio, Ger. Conservatorium, from Med. Lat. conservatorium, a place where anything is preserved, Lat. conservare, to preserve)

Conservatoire in 1817. Le Chapeau See also:

ROUGE (" red," from Lat. rubeus)

rouge was produced with great success in 1818.

Boieldieu's second and greatest masterpiece was his See also:

Dame See also:

BLANCHE, JACQUES EMILE (1861– )

blanche (1825). The libretto, written by See also:

SCRIBE, AUGUSTIN EUGENE (1791-1860, French dramatist, was born in Paris on the 24th of December 1791. His father was a silk merchant, and he was well educated, being destined for the bar. But, having a real gift for the theatre, a gift which unfortunately

Scribe, was partly suggested by See also:

Walter See also:

Scott's Monastery, and several See also:

ORIGINAL

original Scottish tunes cleverly introduced by the composer add to the melodious See also:

CHARM (through the Fr. from the Lat. carmen, a song)

charm and local See also:

COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour of the work. On the See also:

DEATH

death of his wife in 1825, Boieldieu married a singer. His own death was due to a violent attack of pulmonary disease. He vainly tried to escape the rapid progress of the illness by travel in See also:

Italy and the See also:

south of See also:

France, but returned to Paris only to See also:

die on the 8th of See also:

OCTOBER

October 1834. Lives of Boieldieu have been written by Pougin (Paris, 1875), J. A. Refeuvaille (Rouen, 1836), Hequet (Paris, 1864), Emile See also:

Duval (See also:

Geneva, 1883). See also Adolphe See also:

Charles See also:

Adam, Derniers souvenirs d'un musicien.

End of Article: BOIELDIEU, FRANCOIS ADRIEN (1775-1834)

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