aided heartily in preparing it for the stage. In this critical Bavarian capital Meyerbeer made his first appeal to public favor as an operatic composer,—and failed. He was not hissed or ridiculed, but "The Vow of Jephthah" fell coldly on the audience, and was shortly withdrawn.
Doubting whether he was destined to succeed as a composer, Meyerbeer went to Vienna, a city not unfrequently called by musicians Pianopolis, and there he heard Hummel play the piano. He had already taken a few lessons of Clementi, but no sooner did he listen to the former master than he recognized his own inefficiency, and saw work before him. He determined to unite in himself, as a pianist, the brilliancy of execution of Clementi, and the charm, the grace, and purity of Hummel's style. He succeeded, and made his début at a concert at Vienna with the most flattering applause. At this day the amateur would give much to hear exactly how such men as Meyerbeer, and Hummel, and Clementi played, and to compare them with Thalberg, Gottschalk, and Satter. It is impossible to say in what respects Meyerbeer may have fallen behind or surpassed these accomplished executants; but certain it is, that, in the beginning of the present century, and while scarce out of his teens, the favorite pupil of the Abbé Vogler was the favorite pianist of the Vienna public.
Yet, after all his triumphs in the concert-room, he yearned for the greater triumphs of the stage, and leaving the piano to his renowned successors, Chopin and Liszt, he turned again to composing. He wrote an opera called "The Two Caliphs," which, like his previous effort, was replete with strange harmonies, very sparing in melody, and met with the same (lack of) success. The celebrated Metternich—an authority in Art as well as in diplomacy—was present at the production of "The Two Caliphs," but only once ventured to applaud. The old master, Vogler, and the dearer friend, Von Weber, still encouraged the young composer with their approbation, and only blamed a stupid audience that would not discern the beauties appreciable by their sharper ears.
Meyerbeer had good sense, and with a modesty perhaps more unusual in a musician than in any one else, he was disposed rather to blame himself than the public. A prominent amateur composer of Vienna—Salieri by name—advised him to go to Italy; and to Venice, as the nearest point, he hastened without delay.
In these days of universal travel, when every tourist can talk glibly of the different theatres and composers of the Old World, it seems almost incredible that a young man of wealth and taste like Meyerbeer should not have visited Italy till almost forced to do so. Yet such was the case. Meyerbeer was a man of one idea, and that idea was music. No journey which had any other object possessed attractions for him. To the influences of history, to the grandeur of that land which should not be named without an almost holy veneration, he was quite indifferent. It was not the Cæsars that drew him to Italy, nor the Popes, nor the Raphaels, nor the Michel Angelos,—it was Rossini and the modern opera.
At that time the composer of "Semiramide" was at the height of his popularity, and Meyerbeer heard "Tancredi," and for the first time felt the delicious fascination of Italian melody. He determined to transplant it into the rugged soil of his own masculine musical science; and three years after the Rossinian revelation at Venice, his first Italian opera, "Romilda e Costanza," was produced at that dismal old metropolis of necromancy, Padua, Signora Pisaroni taking the principal part. It pleased, as did his next work, "Semiramide Riconosciuta," produced at Turin, though neither was so successful as his "Emma di Risburgo," first heard at Venice, and for some time a rival in popularity to "Tancredi."
At this period Meyerbeer adopted the name of Giacomo,—the Italian transla-
