Monsigny
(1729-1817) is a particularly striking instance of natural genius
triumphing in spite of a defective education. Nothing can exceed the
thinness and poverty of his scores, or their lack of all real musical
interest; yet, by the sureness of his natural instinct for the stage, he
succeeded in writing music which still moves us as much by its brilliant
gaiety as by its tender pathos. 'Le Deserteur,' his most famous work, is
a touching little story of a soldier who deserts in a fit of jealousy,
and is condemned to be shot, but is saved by his sweetheart, who begs
his pardon from the king. Much of the music is almost childish in its
_naivete_, but there is real pathos in the famous air 'Adieu, Louise,'
and some of the lighter scenes in the opera are touched off very
happily.
The musical education of Gretry (1741-1831) was perhaps more elaborate
than that of Monsigny, but it fell very far short of profundity. His
music excels in grace and humour, and he rarely treated serious subjects
with success. Such works as 'Le Tableau Parlant,' 'Les Deux Avares,' and
'L'Amant Jaloux' are models of lightness and brilliancy, whatever may be
thought of their musicianship. 'Richard Coeur de Lion' is the one
instance of Gretry having successfully attempted a loftier theme, and
it remains his masterpiece. The scene is laid at the castle of
Duerrenstein in Austria, where Richard lies imprisoned, and deals with
the efforts of his faithful minstrel Blondel to rescue him.
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