The first work that Auber submitted to public judgment was a comic opera in one act, entitled “Le Séjour Militaire,” which was produced at the Théâtre Feydeau in 1813. Auber was then thirty-two years old. This piece was not his first attempt in theatrical work, however; for he had previously written a comic opera for the Prince de Chimay, and before this, still another work for a small orchestra, which was represented in an amateur theatre. He had also composed a Mass, with orchestra, in which occurred the admirable chant which he used at a later date in the famous prayer in his masterpiece, “La Muette de Portici.” “Le Séjour Militaire” may be regarded merely as marking a date in the biography of the French composer. This piece, of somewhat doubtful buffoonery, passed unnoticed by the general public. Indeed the musician himself was very slightly impressed with it, being but imperfectly inspired when he wrote it. Nevertheless a writer then celebrated, M. Martinville, discovered in this score several pretty _motifs_ and a great deal of wit. From 1813 to 1819 Auber remained silent, and it might have been thought that he had ceased to exist. What became of him during this long period? He still continued to appear in society and, when in the humor, to write as an amateur fugitive pieces of music set to subjects of the same character. He asked dramatic poets to write pieces for him, but they were not very anxious to do so after the failure of “Le Séjour Militaire.” About this time the composer’s father died, leaving a widow and two sons without fortune. During this period, when the eminent musician that was to be was still pursuing his studies, he found himself face to face with pecuniary difficulties; but he supported them bravely, never complaining. Planard, the most fashionable librettist of that day, was accustomed to gather around him in his little house at Passy—which was not then considered one of the districts of Paris—a company of amateurs and artists. There was music, and Auber, one of the most assiduous habitués of the house, accompanied on the piano. In this way it came to pass that Madame Planard took a great interest in Auber and espoused his cause. “My dear,” she said to her husband, “can you not entrust one of your poems to poor Auber, who is so well-bred, so witty, and so good an accompanist? I am convinced that he will earn himself a name among our composers. It is a pity that he should compose operatic airs without words because he has none to work on.”