'Mentre ti lascio' (Köchel 513), and for the family more than one charming little Canzonet for 2 sopranos and a bass, such as 'Ecco quel fiero' or 'Due pupille amabili' (K. 436, 439). An air of Gottfried's, 'Io ti lascio' is to this day often sung in concert rooms as Mozart's. He took part in the funny scene which gave rise to Mozart's comic 'Bandl Terzett' 'Liebes Mandl, wo ists Bandl.' The lines which Gottfried wrote in Mozart's Album—'True genius is impossible without heart; for no amount of intellect alone or of imagination, no, nor of both together, can make genius. Love, love, love is the soul of genius'—characterise him as faithfully as those of his father, written in the same book, do the old man of tact and science:—
'Tibi, qui possis
JADIN, Louis Emmanuel, son, nephew, and brother of musicians, born Sept. 21, 1768, at Versailles, where his father Jean, a violinist and composer, settled at the instigation of his brother Georges, a performer on the bassoon attached to the chapelle of Louis XV. As a child Louis showed great talent for music; his father taught him the violin, and Hüllmandel the piano. After being 'page de la musique' to Louis XVI, he was in 1789 appointed 2nd accompanyist, and in 1791 chief maestro al cembalo at the Théâtre de Monsieur, then in the Rue Feydeau. This post gave him the opportunity of producing 'Joconde' (Sept. 14, 1790), a comic opera in 3 acts. Jadin's industry was extraordinary. Though fully engaged as composer, conductor, and teacher, he lost no opportunity of appearing before the public. He composed marches and concerted pieces for the Garde Nationale; patriotic songs and pièces de circonstance such as 'Le Congrès des Rois,' in conjunction with others, 'L'Apotheose du jeune Barra,' 'Le Siége de Thionville' (1793) 'Agricol Viola ou le jeune héros de la Durance,' for the various fêtes of the Revolution; and 38 operas for the Italiens, the Théâtres Molière and Louvois, the Variétés, the Académie, and chiefly the Feydeau. Of this mass of music, however, nothing survives but the titles of 'Joconde' and 'Mahomet II' (1803) familiar to us from the operas of Isouard and Rossini. This does not necessarily imply that Jadin was without talent, but like many others his librettos were bad, and his music, though well written, was wanting in dramatic spirit, and in the style, life, passion and originality necessary for success. In fact his one quality was facility.
In 1802 he succeeded his brother as professor of the pianoforte at the Conservatoire, and was 'Gouverneur des pages' of the royal chapel from the Restoration to the Revolution of 1830. He received the Legion of Honour in 1824. To the close of his life he continued to produce romances, nocturnes, trios and quartets, string quintets, and other chamber-music. Of his orchestral works, 'La Bataille d'Austerlitz' is the best known. He was one of the first to compose for two pianos, and was noted as the best accompanyist of his day. In private life he was a good talker, and fond of a joke. He died in Paris, April 11, 1853.His brother Hyacinthe, born at Versailles 1769, a pupil of Hüllmandel's, and a brilliant and charming pianist, played at the Concerts Feydeau in 1796–97, and was a favourite with the public up to his early death in 1802 [App. p.685 "in October 1800"]. On the foundation of the Conservatoire he was appointed professor of the pianoforte, but had barely time to form pupils, and both Louis Adam and Boieldieu excelled him as teachers. He composed much both for his instrument and the chamber; 4 concertos and sonatas for 2 and 4 hands for P.F.; sonatas for P.F. and violin; string trios and quartets, etc.; all now old-fashioned and forgotten.
[ G. C. ]