ut Pasdeloup, in spite of his zeal and skill,
was able to give them only a superficial and deceptive brilliancy.
Besides, Seghers would have worked for the development of the French
school whom Pasdeloup, with but few exceptions, kept under a bushel
until 1870. Among these exceptions were a symphony by Gounod, one by
Gouvy and the overture to Berlioz's _Frances-Juges._ Until the
misfortunes and calamities of that terrible year the French symphonic
school had been repressed and stifled between the Societe des Concerts
and the Concerts Populaires. Perhaps they were necessary so that this
school might be freed and give flight to its fancies.

CHAPTER XVIII

ROSSINI

Nowadays it is difficult to form any idea of Rossini's position in our
beautiful city of Paris half a century ago. He had retired from active
life a long time before, but he had a greater reputation in his idleness
than many others in their activity. All Paris sought the honor of being
admitted to his magnificent, high-windowed apartment. As the demigod
never went out in the evening, his friends were always sure of finding
him at home. At one time or another all sorts of social sets rubbed
elbows at his great soirees. The most brilliant singers and the most
famous virtuosi appeared at these "evenings." The master was surrounded
by sycophants, but they did not influence him, for he knew their true
worth. He ruled his regular following with the hauteur of a superior
being who does not deign to reveal himself to the first comer. It is a
question how he came to be held in such honor.

His works, outside of the _Barbier_ and _Guillaume Tell_, and some
performances of _Moise_, belonged to the past. They still went to see
_Otello_ at the Theatre-Italien, but that was to hear Tamberlick's C
diesis. Rossini was under so little illusion that he tried to oppose the
effort to have _Semiramide_ put into the repertoire at the Opera. And,
nevertheless, the Parisian public actually worshipped him.

This public--I am speaking now of the musical public or what is called
that--was divided into two hostile camps. There were the lovers of
melody who were in the large majority and included the musical critics;
and, on the other side, the subscribers to the Conservatoire and the
Maurin, Alard and Amingaud quartets. They were devotees of learned
music; "poseurs," others said, who pretended to admire works they did
not understand at all.

There was no melody in Beethoven