Garcia the Centenarian and His Times: Being a Memoir of Manuel Garcia's Life and Labours for the Advancement of Music and ScienceMackinlay, M. (Malcolm) Sterling
History
Garcia the Centenarian and His Times: Being a Memoir of Manuel Garcia's Life and Labours for the Advancement of Music and Science
"The rest of the evening was spent at Prince Poniatowski's. The
Duke was present. He had been very full of fun during the dinner,
over which he presided, sitting at the middle of the table. In his
hand he held a big ruler to kill the wasps, of which there are
great numbers in this country. He never missed one of them.
"After dinner he gave himself up to dancing, singing, and romping,
taking every one by the hand, as Labarre used to do when he was in
good spirits. At last the Duke sat down at the piano and sang a
_buffo_ duet from the 'Mariage Secret' in piquant fashion.
"At this moment a little incident interrupted the music, but added
considerable picturesqueness to the evening. A couple of bats flew
in at the window, attracted by the light, and amused themselves by
fluttering and sporting around our heads.
"The ladies all took to their heels and fled into the next room,
but the rest of the party, including S.A.R., armed ourselves with
sticks and whips, and after two hours' conflict succeeded in
killing the bats.
"My letter, my dear Constance, has been interrupted by an excursion
into the country, organised on the spur of the moment. We purpose
spending two more days at Lucca, at Prince Poniatowski's, with
S.A.R., who has made himself as charming as usual.
"When I was in Paris I bought a cane with a knob made of lead. It
took the fancy of the Duke, and I have given it to him. He has
given me his own in exchange, and as it has a knob of gold it has a
double value.
"CH. DE BÉRIOT."
With 1835 we come to an important advance of Manuel Garcia's position as
a teacher, the first official recognition of his growing fame. When at
the close of 1830, fresh from his anatomical studies at the hospital, he
had joined his father in his work, he at once resolved to apply the
knowledge thus gained. It was, therefore, his custom to insist that
every pupil who presented himself should undergo a vocal and medical
examination, while at the same time he made him submit to a special
treatment, if the larynx appeared to him to demand it.
This scientific method of approaching singing made a great stir, and he
soon found himself surrounded by an ever-increasing _clientèle_. With
his pupils, both amateur and professional, he gained such continuous
success that at last, in 1835, he was appointed to a professorial chair
at the Paris Conservatoire, and this naturally marked a very distinct
step in his career.
Public-domain text, read in full here on John Shaqi.
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