Joseph Bologne, Chevalier de Saint-Georges | |
|---|---|
Josèf Bolòng, Chèvalyé di Sen-Jòj | |
 Portrait of Saint-Georges (1788) | |
| Born | (1745-12-25)25 December 1745 |
| Died | 9 June 1799(1799-06-09) (aged 53) Paris, French First Republic |
| Alma mater | Académie d'équitation |
| Children | 1 |
Joseph Bologne, Chevalier de Saint-George(s) (/bəˈloʊn/;French:[ʒozɛfbɔlɔɲ]; 25 December 1745 – 9 June 1799) was a French violinist,conductor,composer and soldier. Moreover, he demonstrated excellence as afencer, an athlete, and an accomplished dancer. His historical significance lies partly in his distinctive background as a biracialfree man of color.[a] Bologne was the firstclassical composer ofAfrican descent to attain widespread acclaim in European music. He composed an array ofviolin concertos,string quartets,sinfonia concertantes, violin duets,sonatas, twosymphonies, and an assortment of stage works, notablyopéra comique.[1]
Born in theFrench colony ofGuadeloupe, his father,Georges Bologne de Saint-Georges, was a wealthy, whiteplantation owner, while his mother was one of theCreole people Georges kept enslaved.[b] At the age of seven, he was taken toFrance where he began his formal education. As a young man he won a fencing contest leading to his appointment as a "gendarme de la garde du roi" by kingLouis XVI.[3] Having received music andmusical composition lessons, he joined the orchestraLe Concert des Amateurs; culminating in his appointment as its conductor in 1773.[4]
In 1776, Saint-Georges began conducting theParis Opera. However, this prospect was thwarted by opposition from certain performers who resisted the idea of being led by an individual of color.[5] Around this time, he shifted his focus to composing operas. In 1781, he joined a new orchestraLe Concert de la Loge Olympique.[6] By 1785, he had stopped composing instrumental works altogether.[7]
Following the outbreak of theFrench Revolution in 1789, Saint-Georges left for England. Upon his return toFrance, he joined theNational Guard inLille and then served as acolonel in theLégion St.-Georges,[8] which comprised "citizens of color". His social and professional ties to prominent figures such asMarie Antoinette andthe Duke of Orléans made him a target of theReign of Terror, culminating in a period of imprisonment spanning at least eleven months.[9]
Saint-Georges, a contemporary ofMozart, has at times been called the "Black Mozart." Some have criticized this appellation as racist,[10][11] but others have used it to champion Saint-Georges; the violinist Randall Goosby said, “I prefer to think of Mozart as the white Chevalier."[12]
Chevalier de Saint-Georges, also known as Joseph Bologne or Joseph Boulogne, was born on 25 December 1745 inBaillif,Basse-Terre, the illegitimate son of asettler andplanter and enslaverGeorges Bologne de Saint-Georges and Nanon, a 17-year-old enslaved African who served within the family household.[13] Bologne was legally married to Elisabeth Mérican (1722–1801), but acknowledged his son by Nanon and gave him his surname.[14][15][16]
In 1747, Georges Bologne was accused of murder and fled to France. The next year he was visited by his wife, Nanon, and his son, Joseph. After two years Georges was granted aroyal pardon and returned to Guadeloupe.[17] In August 1753, Joseph aged seven, was taken to France for his education, and installed in aJesuit boarding school inAngoulême so his uncle Pierre could keep an eye on him. The Bologne couple accompanied by his mother, Nanon, returned to Guadeloupe.[18] Two years later, on 26 August 1755, listed as passengers on the shipL'Aimable Rose,[19] Bologne de Saint-Georges and only Nanon landed inBordeaux.[20] Reunited with their son Joseph, they moved into a spacious apartment in the6th Arrondissement (Rive Gauche).[21][22]
At the age of 13, Joseph was enrolled in a private fencing academy run byTexier de La Boëssière inRue Saint-Honoré across from theOratoire du Louvre, practising horse riding in theSalle du Manège. According to Antoine la Boëssière, son of the Master, "At 15 his progress was so rapid, that he was already beating the best swordsmen, and at 17 he developed the greatest speed imaginable."[23] Bologne was still a student when he defeated Alexandre Picard, a fencing master inRouen, who had been mocking him in public as "Boëssière's upstartmulatto".[24] That match, bet on heavily by a public divided into partisans and opponents of slavery, was an important episode for Bologne. His father rewarded Joseph with a horse and buggy.[25]
His father, called "de Saint-Georges" after one of hisplantations in Guadeloupe, was acommoner until 1757, when he acquired the title ofGentilhomme ordinaire de la chambre du roi (Gentleman of the King's Chamber).[26] Considered free once they set foot on French soil, on 5 April 1762, KingLouis XV decreed that "Nègres et gens de couleur" must register with the clerk of the Admiralty within two months.[27] This was likely because at the end of theSeven Years' War, blacks and free mulattos were seen as helpful as France was losing the war.[24] Many leadingFrench Enlightenment thinkers argued that Africans and their descendants were inferior to White Europeans, as exemplified byVoltaire's views on race and slavery.[28]
After defeating Picard in 1761 or on graduation from the academy in 1766, Bologne was made aGendarme du roi (officer of the king's bodyguard) in Versailles and achevalier.[29][30] He then adopted the suffix of his father's plantation and was known as the "Chevalier de Saint-Georges".
In 1764, his father returned to Guadeloupe, which had been occupied by the British during the Seven Years' War, to look after his sugar plantations. The following year, Georges made a last will and testament where he left Joseph an annuity of 8,000 francs and an adequate pension to Nanon, who remained with their son in Paris.[25] When Georges Bologne died in 1774 in Guadeloupe, he awarded his annuity and two plantations (fr:Habitation-Sucrerie Clairefontaine) to his legitimate daughter, Elisabeth Benedictine. The younger Saint-Georges was ineligible under French law for titles of nobility due to hisillegitimate status. Long before her death, Saint-George's mother, Nanon, recorded a testamentary deed dated 17 June 1778, in which she bequeathed all her belongings to her son as her universallegatee. She signed the document "Anne Danneveau" and her son signed as "Mr De Bolongna St-George".[31]
He continued to fence daily in the fencing venues of Paris. There he met the fencing mastersDomenico Angelo and his sonHenry, theChevalier d'Éon, and the teenageLouis Philippe II, Duke of Orléans, all of whom would play a role in his future.
On 17 May 1779,John Adams made an entry in his diary that mistakenly described Saint-George as the son of a governor rather than atax collector: "Lee gave Us an Account of St. George at Paris, a Molatto Man, Son of a former Governor of Guadaloupe, by a Negro Woman... He is the most accomplished Man in Europe in Riding, Running, Shooting, Fencing, Dancing, Musick. He will hit the Button, any Button on the Coat or Waistcoat of the greatest Masters. He will hit a Crown Piece in the Air with a Pistoll Ball."[32][33]
Little is known about the early musical training of Saint-Georges. He was sent to Paris to begin his musical studies at age 7. Given his prodigious technique as an adult, Saint-Georges must have practiced the violin seriously as a child.[35] A biographer of Saint-Georges, Banat, discounted a claim byFrançois-Joseph Fétis that Saint-Georges studied violin withJean-Marie Leclair.[17] Some of his technique was said to reveal the influence ofPierre Gaviniès.
In 1764, when violinistAntonio Lolli arrived in Paris, the Italian composed two concertos, Op. 2, for the chevalier. Lolli's dedication was to Joseph's father:"To M. de Bologne de Saint-Georges, who gave the arts a priceless gift in the person of his son."[36] In 1766,François-Joseph Gossec dedicated a set of six string trios, Op. 9, to Saint-Georges.[37] Lolli may have worked with Bologne on his violin technique and Gossec on compositions.
In 1769, the Parisian public was amazed to see Saint-Georges, well known for his fencing prowess, playing as a violinist in Gossec's new orchestra,Le Concert des Amateurs in theHôtel de Soubise.[38]
Saint-Georges's first composition Op. 1, probably composed in 1770 or 1771, was a set of six string quartets, among the first in France, published by famed French publisher, composer, and teacherAntoine Bailleux.[39] He was inspired byHaydn's earliest quartets, brought from Vienna byBaron Bagge. Also in 1770,Carl Stamitz dedicated his own set of six string quartets to Saint-Georges.[40] By 1771, Gossec had appointed Saint-Georges as the concert master of theConcert des Amateurs.[41]
In 1772, Saint-Georges debuted as a soloist with theConcert des Amateurs.[42] He played his first two violin concertos, Op. II, with Gossec conducting the orchestra. The concertos garnered a highly positive reception, and Saint-Georges, in particular, was said to be "appreciated not as much for his compositions as for his performances, enrapturing especially the feminine members of his audience".[43][44]
In 1773, when Gossec took over the direction of the prestigiousConcert Spirituel,[c] he designated Saint-Georges as the new conductor of theConcert des Amateurs.[45] After less than two years under Saint-George's' direction, the group was described byJean-Benjamin de La Borde as "performing with great precision and delicate nuances", who also said it had become "the best orchestra for symphonies in Paris, and perhaps in all of Europe".[46][47][48][d] Saint-Georges was chosen as the dedicatee of another composition in 1778, violinist Giovanni Avoglio's set of string quartets, Op. 6.[50][51]
In 1781, after theCompte rendu detailing the deplorable state of the nation's finances was published, Saint Georges'sConcert des Amateurs had to be disbanded for lack of funding.[38][e] Playwright, arms dealer, andSecret du Roi (spy)Pierre Caron de Beaumarchais began to collect funds from private contributors, including many of theConcert's patrons, to send aid for the American cause. Saint-Georges turned to his friend and admirer,Philippe d'Orléans, duc de Chartres, for help.[f] Responding to Saint-Georges's plea, Philippe revived the orchestra as part of theLoge Olympique, an exclusiveFreemason Lodge.[54] This orchestra was made up of the finest musicians in Paris who could qualify as members in the Freemasons.[55]
RenamedLe Concert Olympique, with practically the same personnel, the orchestra performed in theThéâtre du Palais-Royal.[56] In 1785,Count d'Ogny, the music coordinator of the Olympic Lodge since 1782 and a member of its cello section, commissioned Haydn to composesix new symphonies for the Concert Olympique.[g] He asked Saint-Georges to write to Haydn and settle the details. Conducted by Saint-Georges, Haydn's Paris symphonies were first performed at theSalle des Gardes-Suisses of theTuileries, a much larger hall, in order to accommodate the huge public demand to hear Haydn's new works.[58] QueenMarie Antoinette attended some of Saint-Georges's concerts at the Hôtel de Soubise, arriving sometimes without notice, so the orchestra wore court attire for all its performances.[21] In 1786, the musicians played "in embroidered suits, lace cuffs, swords at their sides and feathered hats on the benches. Such an orchestra was a sight to behold, and no less pleasant to listen to."[59] Brilliant technical effects were made possible by the newbow perfected byFrancois Tourte.
Early in 1776, the Académie royale de Musique, theParis Opéra, was struggling financially and artistically. Saint-Georges was proposed as the next director of the opera. (Perhaps byDenis-Pierre-Jean Papillon de la Ferté, intendant of theMenus-Plaisirs du Roi, but he does not mention Saint-Georges at all.[61][page needed]) As the creator of the first disciplined French orchestra sinceLully, Saint-Georges was the obvious choice. But, according toBaron von Grimm'sCorrespondence litteraire, philosophique et critique, three of the Opéra's leading ladies (Marie-Madeleine Guimard,Rosalie Levasseur, andSophie Arnould) petitioned the Queen in January in opposition to his appointment, saying "that their honor and delicate conscience could never allow them to submit to the orders of amulatto".[62][48] The position was given toAntoine Dauvergne instead.[63][64]
To defuse the brewing scandal,Louis XVI, then only one year on the throne, took the Opéra back from the city of Paris to be managed by his Intendant ofMenus-Plaisirs du Roi. Marie-Antoinette preferred to hold her musicales in the salon of herprivate apartment in the palace, or in the recently establishedThéâtre de la Reine in thegardens of Versailles. She limited the audience to her intimate circle and a few musicians, among them the Chevalier de Saint-Georges. "Admitted to perform music with the Queen",[65][66] Saint-Georges probably played his violin sonatas, with the Queen playing thefortepiano.[h]
The petition by the singers may have ended Saint-Georges's aspirations to higher positions as a musician. Over the next two years, he published two more violin concertos and a pair ofSymphonies concertantes.[70] Thereafter, except for his final set of quartets (Op. 14, 1785), Saint-Georges abandoned composing instrumental music in favor of opera.[7] He was still acquainted and remained friendly with several composers (notably,Salieri,Gretry, andGluck).
Ernestine, Saint-Georges's first opera, with alibretto byPierre Choderlos de Laclos, the notorious author ofLes Liaisons dangereuses, was performed on 19 July 1777, at theComédie-Italienne. It did not survive its premiere. The critics liked the music, but panned the weak libretto, which was then usually judged more important than the music.[71][72] The Queen attended with her entourage to support Saint-Georges's opera but, after the audience kept echoing a character cracking his whip and crying "Ohé, Ohé," the Queen gave it the coup de grace by calling to her driver: "to Versailles, Ohé!"[73]
After the failure of the opera, Saint-Georges was in financial trouble. Madame de Montesson, themorganatic wife of theDuc d'Orléans, realized her ambition to engage Saint-Georges as music director of her fashionable private theater. From 5 July to 11 September 1778, Saint-Georges lived at Grimm's residence inChaussée d'Antin just as didMozart who moved in afterhis mother died;[74] both left in September. The Duc d'Orléans appointed Saint-Georges asLieutenant de la chasse of his vast hunting grounds atRaincy, with an additional salary of 2000Livres a year. "Saint-Georges the mulatto so strong, so adroit, was one of the hunters..."[75]
Saint-Georges wrote and rehearsed his second opera, appropriately entitled,La Chasse (The Hunt) at Raincy. At its premiere in theThéâtre Italien, "The public received the work with loud applause. Vastly superior compared withErnestine... there is every reason to encourage him to continue [writing operas]."[76]La Chasse was repeated at her Majesty's request at the royalchateau at Marly.[77] Saint-Georges's most successfulopéra comique wasL'amant anonyme, which was premiered in 1780, with a libretto based on a play of the same name by Madame de Montesson's niece,Madame de Genlis.[i]
In 1785, the Duke of Orléans died. Madame de Montesson, having been forbidden by the King to mourn him, shuttered their mansion, closed her theater, and retired to a convent for about a year. With his patrons gone, Saint-Georges lost not only his positions but also his apartment. His friend, Louis Philippe, now Duke of Orléans, presented him with a small flat in thePalais-Royal, opposite the Louvre. Saint-Georges was drawn into the whirlpool of political and social activity around Philippe andBrissot de Warville, admirers of theBritish parliamentary system and theconstitutional monarchy, the main opposition to the Frenchabsolute monarchy.
Meanwhile, the Duke's ambitious plans for re-constructing the Palais-Royal left theOrchestre Olympique without a home and Saint-Georges unemployed. Seeing his protégé at loose ends and recalling that thePrince of Wales often expressed a wish to meet the legendary fencer, Philippe approved Brissot's plan to dispatch Saint-Georges to London. He believed it was a way to ensure the Regent-in-waiting's support of Philippe as the future "Regent" of France. But Brissot had a secret agenda as well. He considered Saint-Georges, a "man of color", the ideal person to contact his fellowabolitionists in London and ask their advice about Brissot's plans forLes Amis des Noirs (Friends of the Blacks) modeled on the EnglishSociety for Effecting the Abolition of the Slave Trade.[78]
At the fencing academy, Joseph met Chevalier Lamotte, who became a horn player in the King's orchestra (until October 1789). According toLouise Fusil, a singer, the two were inseparable; she compared them withPylades and his cousinOrestes.[79][page needed] According to her Saint-Georges was: "...admired for his fencing and riding prowess, he served as a model to young sportsmen... who formed a court around him."[80][81] A fine dancer, Saint-Georges was invited to balls and welcomed in the salons of highborn ladies. "He was often indebted to music forliaisons in which love played a part. Gifted with vivid expression he loved and made himself loved."[82]
During his time at the opera and before the revolution, Saint-Georges became involved with many women in Paris society. Joseph Bologne is supposed to have had at least one long-term, serious romantic relationship.[83] One potential suitor of his was the famous, rich and clever dancerMarie-Madeleine Guimard, whose advances he declined.[84] She became the lover ofPapillon de la Ferté. Having been spurned, and with great influence on the Queen's court, La Guimard, treasurer of the Opera, owner ofHôtel Guimard that included a 500-seat theatre, would come to play a pivotal role in the petition that would deny Joseph's ambition to become the director of theParis Opera from ever coming to fruition.[48]
Pierre Le Fèvre de Beauvray, a gossip writer at the time, and author of a work entitled "Journal d'un bourgeois de Popincourt", attributes to Saint-Georges a love affair with the MarquiseMarie-Josephine de Montalembert, salonnière, and novelist, the young wife of an old general. Her husband (Marc René, marquis de Montalembert) was a general of military engineering in the Queen's Court; his wife was said to have been drawn to the young composer.[85] Their affair was discovered and it was rumored byLouis Petit de Bachaumont they had a child.[j]
One evening, around midnight, Saint-Georges was attacked in the streets of Paris when returning home (in theRue de la Chaussée-d'Antin). In hisSecret Memoirs, Bachaumont mentions that the attack took place on the night of 1 May 1779. Saint-Georges and his friend valiantly defended themselves and were providentially saved by thenight watch and its men-at-arms:
« M. de Saint Georges is a mulatto, that is to say the son of a negress […] Recently, during the night, he was attacked by six men, he was with one of his friends, they defended themselves to the best of their ability against sticks with which the fellows wanted to knock them down; there is even talk of a pistol shot which was heard: the lookout occurred & prevented the consequences of this assassination, - so that Mr. de Saint Georges is freed for bruises & minor injuries; he even shows himself already in the world. Several of the killers have been arrested. M. le Duc d'Orléans wrote to M. le Noir, as soon as he was informed of the fact, to recommend to him the most exact research, and that a striking justice be done on the culprits. After 24 hours Mr. the Duke of Orléans was asked not to interfere in this affair, and the prisoners, who were recognized as policemen, among whom was a certain Desbrugnieres, so renowned in the affair of theComte de Morangiès, were released, which gives rise to a thousand conjectures. »[86]
It was suggested that the Marquis de Montalembert, eager to avenge his honour and punish the "seducer" of his wife by setting up a night operation, might have been behind the nocturnal aggression.[87] According to Claude Ribbe the attackers were secret policemen from Versailles; the duke of Orléans was asked not to interfere.[88] Pierre Bardin exhumed from the archives of theCommissaire au Châtelet a document which is not published.[89] He concluded that there was an "error on the person" that day. It was not Saint-George who was targeted by a scorned husband, but his friend baron Gillier, comte de Saint-Julien? The sponsor of this aggression would be a famous actor, namedGourgaud said Dugazon, the husband ofLouise-Rosalie Lefebvre, gifted vocalist, which had made its debut in Paris in "Ernestine" the opera by Saint-Georges.
In Spring 1787, Saint-Georges stayed in London with fencing mastersDomenico Angelo andHenry, his son, whom he knew as an apprentice from early years in Paris.[90] They arranged exhibition matches for him, including one atCarlton House, before the Prince of Wales.[91] After sparring with him,carte andtierce, the prince matched Saint-Georges with several renowned masters. One includedLa Chevalière d'Éon, aged 59, in a voluminous blackfrock.[60] A painting byAbbé Alexandre-Auguste Robineau, violinist-composer, and painter, showed the Prince and his entourage watching Mlle D'Éon score a hit on Saint-Georges, giving rise to rumors that the Frenchman allowed it out of gallantry for a lady.[92] But, as Saint-Georges had fenced withdragoon Captain d'Éon in Paris, he probably was deferring to her age. Saint-Georges played one of Robineau's concertos at theAnacreontic Society.[93] It is supposed he deliveredBrissot's request to translate the publications of the abolitionists MPsWilliam Wilberforce,John Wilkes, and ReverendThomas Clarkson into French. Before Saint-Georges left England,Mather Brown painted his portrait and presented it to Henry.[94] Asked by Mrs. Angelo if it was a true likeness, Saint-Georges replied: "Alas, Madame it is frightfully so."[95]
Back in Paris, he completed and produced his latestopéra comique,La Fille Garçon, at theThéâtre des Italiens. The critics found the libretto wanting. "The piece, [was] sustained only by the music of Monsieur de Saint Georges... The success he obtained should serve as an encouragement to continue enriching this theatre with his productions."[96]
Meanwhile, having nearly completed the reconstruction of thePalais-Royal, the Duke had opened several new theaters. The smallest was theThéâtre Beaujolais, amarionette theater for children, named after his youngest son, the Duc de Beaujolais. The lead singers of the Opéra provided the voices for the puppets. Saint-Georges wrote the music ofLe Marchand de Marrons (The Chestnut Vendor) for this theater, with a libretto byMadame de Genlis, Philippe's former mistress and then confidential adviser.
While Saint-Georges was away, theConcert Olympique had resumed performing at theHôtel de Soubise, the old hall of theAmateurs. The Italian violinistJean-Baptiste Viotti had been appointed as conductor.[59] On 5 May 1789, the opening day of the fatefulEstates General, Saint-Georges, standing in the gallery with Laclos, heardJacques Necker, Louis XVI's minister of finance, saying, "Theslave trade is a barbarous practice and must be eliminated."[97]Choderlos de Laclos, who replaced Brissot as Philippe's chief of staff, intensified Brissot's campaign to promote Philippe as an alternative to the monarchy. On 14 July 1789, thefall of the Bastille took place, starting theFrench Revolution.
Although afree man of color, Saint-Georges was seen as amulatto and was affected by theracism and racist laws in pre-Revolutionary France. After theabolition of feudalism in France Saint-Georges refrained from using his title "chevalier", and was addressed as"citoyen". On 26 August 1789, the assembly declaredequal rights to all French people, but Saint-Georges wasn't there.
Early in August 1789, Saint-Georges was sent by Laclos on a secret mission to London for his employer, the Duke of Orléans, Bardin suggests.[98] (His connections to the court may have played a role to leave the country.) Saint-Georges stayed atGrenier's an expensive hotel onJermyn Street that later became patronized by French refugees. Saint-Georges had the idea of establishing in England and was entertaining himself lavishly.[99] His assignment was to stay close to the Prince of Wales, known for his excessive lifestyle. On 15 August, the Prince took Saint-Georges to hisMarine Pavilion in Brighton for a fencing match.[100] He also took him fox hunting and to the races atNewmarket. After theWomen's March on Versailles, the Duke was accused of initiating it.Marquis de La Fayette, probably jealous of the Duke's popularity, persuaded the king to send him on a mission to England.[101] When he arrived on 14 October, he became the Prince's regular companion. They amused themselves with horse racing, young women, and champagne;[102] nevertheless Saint-Georges was invited separately.[103]
On his first trip Saint-Georges passed Brissot's request to the Britishabolitionists, they complied by translating their publications into French for his fledglingSociété des amis des Noirs. Banat assumes Saint-Georges met with them again,[104] butAdam Hochschild inBury the Chains did not find any trace of this.[citation needed]Abbé Grégoire regretted Saint-Georges never joined the radical clubs, like the Jacobins, or theSociété des amis des Noirs.[105] It appears Saint-Georges was more a moderate democrat, influenced by the ideas of thePatriotic Society of 1789.[106][page needed]
In late June 1790,Philippe Égalité, dubbed "The Red Duke" in London, realized that his "mission" there was a ruse used by the French king to get him out of the country. Philippe clung to a vague promise made by King Louis to make him Regent of theSouthern Netherlands. Saint-Georges was unable to pay his bill atGrenier's but found a solution and organized a match.[107] The next day they traveled to Belgium. On their journey, Saint-Georges was attacked again:
"Early in July, walking home fromGreenwich, a man armed with a pistol demanded his purse. The Chevalier disarmed the man... but when four more rogues hidden until then attacked him, he put them all out of commission. M. de Saint Georges received only some contusions which did not keep him from going on that night to play music in the company of friends." The nature of the attack, with four attackers emerging after the first one made sure they had the right victim, has been claimed to be an assassination attempt disguised as a hold-up, arranged by the "Slave Trade" to put an end to his abolitionist activities.[108]
In Brussels the people wanted aUnited Belgium Republic and rejected Philippe. Not long after the Duke went back to Paris, but Saint-Georges decided to join a fencing tournament in Lille.[109]
"On Thursday 8 July 1790, in Lille's municipal ballroom, the famous Saint-Georges was the principal antagonist in a brilliant fencing tournament. Although ill, he fought with that grace that is his trademark. Lightning is no faster than his arms and in spite of running a fever, he demonstrated astonishing vigor." Two days later looking worse but in need of funds, he offered another assault, this one for the officers of the garrison. But his illness proved so serious that it sent him to bed for six long weeks.[110] The diagnosis according to medical science at the time was "brain fever". Unconscious for days, he was taken in and nursed by some kind citizens of Lille. While still bedridden Saint-Georges began to compose an opera for Lille's theater company. Calling itGuillome tout Coeur, ou les amis du village, he dedicated it to the citizens of Lille. "Guillaume is an opera in one act. The music by Saint-George is full of sweet warmth of motion and spirit...Its [individual] pieces are distinguished by their melodic lines and the vigor of their harmony. The public...made the hall resound with its justly deserved applause."[110] It was to be his last opera, lost, including its libretto. He participated in local events and took charge of the music.[111]
The singerLouise Fusil, who had idolized Saint-Georges since she was a girl of 15, wrote: "In 1791, I stopped inAmiens where St. Georges and Lamothe were waiting for me, committed to giving some concerts over the Easter holidays. We were to repeat them inTournai in June.[112] But the French refugees assembled in that town just across the border, could not abide theCréole they believed to be an agent of the despised Duke of Orléans. St. Georges was even advised [by its commandant] not to stop there for long."[113] According to a report by a local newspaper: "The dining room of the hotel where St. Georges, a citizen of France, was also staying, refused to serve him, but he remained perfectly calm; remarkable for a man with his means to defend himself."[114]
Fusil describes the scenario of the Saint-Georges work, "Love and Death of the Poor Little Bird", a programmatic piece for violin alone, which he was constantly entreated to play, especially by the ladies. Its three parts depicted the little bird greeting the spring; passionately pursuing the object of his love, who alas, has chosen another; its voice grows weaker then, after the last sigh, it is stilled forever. This kind of program music or sound painting of scenarios such as love scenes, tempests, or battles complete with cannonades and the cries of the wounded, conveyed by a lone violin, was by that time nearly forgotten. Fusil places his improvisational style on a par with her subsequent musical idol,Hector Berlioz: "We did not know then this expressive ...depiction a dramatic scene, which Mr. Berlioz later revealed to us... making us feel an emotion that identifies us with the subject."[115][116]
On 22 May 1790 the right to declare war was given to the national assembly. Saint-Georges decided to serve the Revolution as acitizen-soldier. In September 1790, having recovered, Saint-Georges was one of the first in Lille to join itsGarde Nationale.[117] But not even his military duties in theGarde Nationale could prevent Saint-Georges from giving concerts. Once again he was building an orchestra which, according to the announcement in the paper, "Will give a concert every week until Easter." At the conclusion of the last concert, the mayor of Lille placed a crown of laurels on Saint-Georges' brow and read a poem dedicated to him.[118]
In April and June 1791, the Parliament recruited (400,000)volunteers from the entire French National Guard for theFrench Revolutionary Army.Leopold II (1747-1792), (sensible) brother of Marie Antoinette, became increasingly concerned although he still hoped to avoid war.
With 50,000Austrian troops massed on its borders, the first citizen's army in modern history was calling for volunteers. Saint-Georges was appointed captain and colonel in the following year.[119][120] It was believed he died in a pistol fight inKoblenz,[121][page needed] but on 7 September 1791 he published a letter announcing he wasn't dead.[122]
On 20 April 1792, compelled by the National Assembly,Louis XVI declaredwar againstArchduchy of Austria.General Dillon, commander of Lille, was ordered to attackTournai, reportedly only lightly defended. Instead, massive fire by the Austrian artillery turned an orderly retreat into a rout by the regular cavalry, but not that of the volunteers of theNational Guard.[123] Captain St. Georges commanded the company of volunteers that held the line atBaisieux near the Belgian border. Mid AugustMarquis Lafayette hoping to travel to the United States, was taken prisoner by the Austrians.
On 7 September 1792,Julien Raimond, leader of a delegation of free men of color from Saint-Domingue (Haiti), petitioned the National Assembly to authorize the formation of amilitary legion of volunteers. The next day, the Parliament established a light cavalry in Lille consisting of volunteers from theFrench West Indies andLe Midi. The name of it was "Légion franche de cavalerie des Américains et du Midi"; after 7 December it was referred to as "American Legion" and "Légion de Saint-George", attached to theArmy of the North (France).[k][124] Banat described it as "probably the first all non-white military unit" (in Europe).[125] The legion comprised seven companies, of which only one was made up of colored men, while the remainder comprised European-whites.[126][127][page needed][128][129] On 25 September the Austrian army started to bombard Lille.[130] In February 1793, lacking not only infantry, but equipment, and officers, the American Legion changed its name and became "13e régiment de chasseurs à cheval".
On 20 March 1793, the National Convention sentDanton, the instigator of theRevolutionary Tribunal, andDelacroix to Leuven to investigateDumouriez during War with the Dutch Republic and his generals.[l] At the end of the month five commissioners (led byPierre de Ruel, marquis de Beurnonville) were sent to question and arrest him.[133][134] Dumouriez sensed a trap and invited them to his headquarters atSaint-Amand-les-Eaux and had them arrested atOrchies. They were escorted by Saint-Georges, who immediately drove back.[135][136][137][138] On 2 April the city of Lille was successfully defended by Saint-Georges against Jozef Miaczinsky who was sent by Dumouriez to seize the city, to arrest the other commissioners and save the "treasure".[139][140][141][142][page needed][143] His troops were forced to camp outside the city walls.[144]
Because of aceasefire no troops were allowed to cross the border. Dumouriez' plans to reinstall theFrench Constitution of 1791, and restore the monarchy in Paris (withDuke of Chartres who had to marryMarie-Thérèse, Duchess of Angoulême imprisoned in theTemple, Paris) fell apart.[143][131] On 4 April the convention declared Dumouriez a traitor and outlaw and put a prize on his head.[145] Dumouriez's defection on the next day changed the course of the events for theBrissotins.[m] Robespierre was convinced Brissot and Dumouriez wanted to overthrow theFirst French Republic.[147] On 6 April theCommittee of Public Safety was installed. Philippe Égalité was then put under continuous surveillance.
On 6 May Saint-Georges was invited by theaccusateur public to Paris to witness against Miaczinsky.[148] On 4 and 10 May he was accused byStanislas-Marie Maillard,[149] andLouis Héron.[150] On 16 May his house was searched and bonds were found belonging to Philippe Égalité and Dumouriez.[151][n] On 17 May the trial against general Miaczinsky started (headed byJacques-Bernard-Marie Montané); Captain Collin was interrogated.[153] On 18 May Saint-Georges, dressed as a civilian, performed arequiem by Gossec for the murdered generalThéobald Dillon and the other victims in Lille.[154][155] In the following weeks Saint-Georges was accused of misusing government funds, and the Legion disbanded.[156] On 25 September 1793 Saint-Georges and ten of his officers were dismissed.[157]
On 29 September he was arrested without specific charges, according to Banat.[158] (On 17 September, theLaw of Suspects was passed, which authorized the imprisonment of vaguely defined "suspects".) It is supposed he was suspected of having been friendly withMarie-Antoinette,Brissot, andPhilippe Égalité, all executed in the following weeks.[159] Saint-Georges was sent toChateau de Chantilly which served as a prison for political opponents (theGirondins) and then toHondainville at chateau Saint-Aignan, formerly owned by theComte de Saint-Morys.[160] Early December 1793 it seems, he was condemned for being involved in non-revolutionary activities such as music events,[151] but not much is known about a trial; maybe there never was one.[161] He was released after eleven months on 24 October 1794 and asked to be reinstated in the army on 3 April 1795.[162] One month later he was arrested again,[163] whenWhite Terror was sweeping the country but released on 15 May.[151] Five days later theSans-culottes were defeated (in theRevolt of 1 Prairial Year III); on 22 August 1795, theConstitution of the Year III established abicameral legislature, intended to slow down the legislative process.
On 19 October all the officers in the army, also the ones who were dismissed, had to clarify for theCommittee of Public Safety where they were on the days around13 Vendémiaire.[164] On 24 October Saint-Georges was dismissed.[163] On Sunday 25 October theNational Convention declared itself dissolved and voted for a general amnesty for "deeds exclusively connected with the Revolution".[165] A slimmed down government (theDirectoire) started working and appointed Napoleon asGeneral in Chief of theInterior and 2 March 1796 of theArmy of Italy.
On 3 May 1797, Saint-Georges tried to join and signed his petition "George".[166] He wrote:
"I continue to show loyalty to the revolution. Since the beginning of the war, I have been serving with relentless enthusiasm, but the persecution I suffered has not diminished. I have no other resources, only to restore my original position."[167] However, his application toRewbell, a member of theFrench Directory, failed again.
One of the decisions of Napoleon asFirst Consul for life was the re-establishment of slavery (Law of 20 May 1802) revoking theLaw of 4 February 1794 which had abolishedslavery in all theFrench colonies.
Some biographers claim that Saint-Georges would have stayed in Saint-Domingue where he would have met withToussaint Louverture. However, the stay of Saint-Georges in Saint-Domingue, after his imprisonment, is uncertain.[168] There may be confusion with anotherlegend, his stay on the island ofMartinique in December 1789. A newspaper mentioned that on request of Martinique Saint-Georges arrived there with 15,000 rifles in early December 1789.[169] In fact he was with the Duke of Orléans in London and afterward Lille.
It stands to reason thatJulien Raimond would want to take Saint-Georges, an experienced officer, with him to Saint-Domingue, then in a civil war. While we lack concrete evidence that Saint-Georges was aboard the convoy of the commission, the fact that we find Captain Colin, and Lamotte (Lamothe) on the payroll of a ship of the convoy to Saint-Domingue, confirms Louise Fusil's account.[170] So doesLionel de La Laurencie's statement: "The expedition to Saint-Domingue was Saint-Georges' last voyage," adding that "Disenchantment and melancholy resulting from his experiences during that voyage must have weighed heavily on his aging shoulders"[171] Anyhow, the memoirs ofLouise Fusil are full of inaccuracies, errors, or counter-truths.
It seems unlikely that Saint-Georges had been a part of the official delegation of commissioners civilians sent to Saint-Domingue with their headLéger-Félicité Sonthonax, the friend ofJacques Pierre Brissot, the founder of theSociety of the Friends of the Blacks. Historians have found to this day no trace of Saint-Georges in the press of the time, or in the archives of the manifests of ships bound for French ports for Saint-Domingue or making trips back in France. It is believed that after his ouster of the armies of the Revolution, Saint-Georges would not have left Europe.
On 16 December 1795, his mother died, and on 29 March 1796, he signed as the executor of her will.[31]It is likely he inherited some money and property. On 19 April 1796 he and Lamothe, the horn player, gave a concert, for the impoverishedCarl Stamitz.[172]
Saint-Georges was again building a symphony orchestra. Like his last ensemble,Le Cercle de l'Harmonie was also part of a Masonic lodge performing in what was formerly the Palais Royal. The founders of the newLoge, a group ofnouveau riche gentlemen bent on re-creating the elegance of the oldLoge Olympique, were delighted to find Saint-Georges back in Paris. On 11 and 28 April 1797 he gave concerts in thePalais-Égalité.[173][174][page needed] According toLe Mercure Français, "The concerts ... under the direction of the famous Saint Georges, left nothing to be desired as to the choice of pieces or the superiority of their execution". More concerts took place in July and August 1798.[175][176]
According to a number of his biographers, at the end of his life, Saint-Georges lived in abject poverty, but theCercle did not sound like the lower depths. Rejected by the army, Saint-Georges appealed again saying "I have no other resources" but was still rejected. Instead, at the age of 51, he found solace in his music. Sounding like any veteran performer proud of his longevity,[neutrality isdisputed] he said: "Towards the end of my life, I was particularly devoted to my violin," adding: "never before did I play it so well!"[167] Two of his contemporary obituaries reveal the course of his illness and death.
Captain Nicholas Duhamel, an officer inLégion St.-Georges andaide-de-camp of General Miaczinsky, was his friend until his death.[180] Concerned about his old colonel's condition, he stopped by Chevalier's small flat on rue de Chartres-Saint-Honoré and, having found him dying and alone, took him to his apartment where he stayed and was cared for until his death. Saint-Georges died aged 53 in June 1799. His death certificate was lost in1871 when the city archives were destroyed; what remains is a report by the men who removed his body on the next day.[181]
This year died, twenty-four days apart, two extraordinary
but very different men,Beaumarchais and Saint-Georges;
both Masters at sparring; the one who could be touched by a
foil was not the one who was more enviable for his virtues.
—Charles Maurice (1799)
The "Adagio" from Saint-Georges's Violin Concerto in D Major, Op. 3, no. 1 is quoted in the song "Daughter" from Beyoncé's 2024 album,Cowboy Carter.[citation needed] Saint-Georges's life and career was the basis of the 2022 biographical film,Chevalier, withKelvin Harrison Jr. portraying the composer.[182] Saint-George is also the subject of a short film by the violinist,Quinton Morris.[183]
From 1757, Saint-Georges lived at 49,Rue Saint André des Arts with his parents. In 1774 he lived atRue Guénégaud (also6th arrondissement of Paris) with his mother.[151] In 1777 he lived at Rue des Fontaines-du-Temple, in 1778 at Rue Saint Pierre, both inLe Marais; in 1779 he moved to 5,Chaussee d'Antin.[184] After 1785 he lived in thePalais Royal.[185] In September 1789 he stayed at Grenier's inJermyn Street (Westminster) patronized by French refugees. In 1791 he lived at 550,Rue Notre-Dame, Lille.[186] On 17 May 1793 he appeared as a witness at theTribunal Révolutionnaire in a case against the Polish generalJozef Miaczinsky and gave his address atRue des Filles-Saint-Thomas.[136] In March 1796 he lived at rue Jean Fleury (nearSaint-Germain l'Auxerrois).[187] In 1799, when he was sick he livedRue de Chartres-Saint-Honoré across thePalais-Royal but this street disappeared. On 9 June 1799, Saint-Georges died at his friend's Duhemal apartmentRue de Boucherat 13, (Le Marais).[179] He was buried atCimetière Sainte-Marguerite.[188][189]
Saint-Georges, influenced by the prevailingsentimental style wrote twelve violin concertos, two symphonies, and eightsymphony-concertantes, a new, intrinsically Parisian genre of which he was one of the chief exponents. He wrote his instrumental works over a short span of time, and they were published between 1771 and 1779. He also wrote sixopéras comiques and a number of songs in manuscript. Saint-Georges wrote two more sets of six string quartets, threeforte-piano and violin sonatas, a sonata for harp and flute, six violin duets,[190] arondeau for two violins, anadagio in F-minor (for piano), aharpsichord quartet.
Some of Saint-Georges' music has been lost, including a children's opera, "Aline et Dupré, ou le marchand de marrons," of which only theoverture survives. The music for three other known compositions is lost: a cello sonata, performed in Lille in 1792, a concerto for clarinet, and one for bassoon. Some French journalists such asAlain Guédé [fr] have asserted without evidence that Saint-Georges' scores were purposefully burned because of his skin color, or even that Napoleon banned his music from being performed. Arguing against this, Banat observes that Saint-Georges' legacy was well-remembered in elite circles, especially his skill in fencing.[191]
Saint-Georges composed 14 violin concertos. Before copyrights, several publishers issued his concertos with both Opus numbers and numbering them according to the order in which they werecomposed. The thematicincipits on the right, should clear up the resulting confusion.
Unlike the concertos, their publishers issued the symphonie-concertantes following Bailleux's original opus numbers, as shown by the incipits on the right.
Recueil d'airs et duos avec orchestre: stamped Conservatoire de musique #4077, now in the music collection of the Bibliothèque Nationale, contains:
Note: The names of the characters, Ernestine and Clemengis, in numbers 4, 6, 7 and 8 of the above pieces indicate they came from the operaErnestine; number 5 is probably fromLa Partie de chasse.
The orchestra for all the above consists of strings, two oboes and two horns.
Additional songs
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The opera,Le Droit du seigneur taken for a work by Saint-Georges is in fact byJ-P-E. Martini: one aria contributed by Saint-Georges, mentioned in 1784 byMercure de France, is lost.
A Symphony in D by "Signor di Giorgio" in theBritish Library, arranged for pianoforte, as revealed by Prof. Dominique-René de Lerma is by the Earl of Kelly, using anom de plume.
A quartet for harp and strings, ed. by Sieber, 1777, attributed to Saint-Georges, is mentioned in an advertisement inMercure de France of September 1778 as: "arranged and dedicated to M. de Saint-Georges" by Delaplanque. This is obviously by the latter.
A sonata in theRecueilChoix de musique in the Bibliothèque Nationale, is a transcription for forte-piano and violin of Saint-Georges' violin concerto in G major, Op. II No. 1. This is the only piece by Saint-Georges in the entire collection erroneously attributed to him.
Recueil d'Airs avec accompagnement de forte piano par M. de St. Georges pour Mme. La Comtesse de Vauban, sometimes presented as a collection of vocal pieces by Saint-Georges, contains too many numbers obviously composed by others. For example, "Richard Coeur de lion" is byGrétry; "Iphigenie en Tauride" is byGluck; and an aria fromTarare is bySalieri. Even if Saint-Georges had arranged their orchestral accompaniments for forte-piano, it would be wrong to consider them as his compositions. As for the rest, though some might be by Saint-Georges, since this may only be resolved by a subjective stylistic evaluation, it would be incorrect to accept them all as his work.
Six Italian Canzonettas by a Signor di Giorgio, for voice, keyboard or harp, andThe Mona Melodies, a collection of ancient airs from the Isle of Man, in the British Library, are not by Saint-Georges.
Recueil de pieces pour forte piano et violon pour Mme. la comtesse de Vauban erroneously subtitled "Trios" (they are solos and duos), a collection of individual movements, some for piano alone, deserves the same doubts as theRecueil d'Airs pour Mme. Vauban. Apart from drafts for two of Saint-Georges'soeuvres de clavecin, too many of these pieces seem incompatible with the composer's style. "Les Caquets" (The Gossips) a violin piece enthusiastically mentioned by some authors as typical of Saint-Georges's style, was composed in 1936 by the violinistHenri Casadesus. He also forged a spuriousHandel viola concerto and the charming but equally spurious''Adélaïde Concerto'' supposedly by the ten-year-oldMozart, which Casadesus' brother,Marius Casadesus later admitted having composed (often incorrectly attributed to Henri as well).
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The following is a list of all known commercial recordings.[197][year missing]
Symphony Op. XI No. 1 in G:
Symphony Op. XI No. 2 in D:
Six quartets Op. 1 (1771).
Six Quatuors Concertans, "Au gout du jour", no opus number (1779).
Six Quartets Op. 14 (1785).
Three keyboard and violin sonatas (Op. 1a):
Collection of pieces for the Comtesse de Vauban (WoO):
Complete piano sonatas (WoO):
Presumably intended as a compliment, this erasure of Boulogne's name not only subjugates him to an arbitrary white standard, but also diminishes his truly unique place in Western classical music history.
