Symphony No. 1 in G Major, Op. 11
Joseph Bologne, Chevalier de Saint-Georges
(b. December 25, 1745 in Basse-Terre, Guadeloupe; d. June 9, 1799 in Paris)
The banner headline might be CSO Presents Music by the Black Mozart, but that flatters neither Mozart nor Saint-Georges. Saint-Georges had an amazing life that stands on its own, where his abilities as a composer were not even what he was best known for while he was still alive.
He was born on Christmas Day to a 17-year old slave named Nanon who served the Bologne de Saint-Georges household. His father George acknowledged him as his son and gave him his last name. George was accused of murder in 1747 and fled into exile. Tried in absentia, condemned to death, hanged in effigy, and his estate forfeited, his pardon from King Louis XV was timely. He returned to Basse-Terre with his property restored. Where Nanon, his wife, and Joseph were during his exile is unclear but once his wealth and power was reinstated George insisted on arranging for the best education possible for his son in Paris. To be with Joseph, the entire unconventional household including a legitimate daughter born in 1740 moved to Paris in 1757.
The available histories tell us practically nothing of Joseph’s musical education but he received superb training as a swordsman and fencer, becoming arguably the greatest in Europe. Military studies and marksman training were also mastered. Sometime in the 1760s Bologne was made an Officer of the King's Bodyguard (Gendarme du roi) and a chevalier (French knighthood). Thenceforth, he was known as the "Chevalier de Saint-Georges". Summing up the elite status he achieved, John Adams, later 2nd President of the United States recorded in his diary, May 17, 1779, “He is the most accomplished Man in Europe in Riding, Running, Shooting, Fencing, Dancing, Musick. He will hit the Button, any Button on the Coat or Waistcoat of the greatest Masters. He will hit a Crown Piece in the Air with a Pistoll Ball."
He had no time to be a musical prodigy like Mozart but must have had phenomenal talent because he began a very public musical career in his early 20s as a violinist, composer, and conductor. His early compositions had been noticed by composer François-Joseph Gossec who dedicated works to Joseph and recruited him to be concertmaster in Gossec’s new musical company Concert des Amateurs formed in 1769. It proved to be successful, known for having the best musicians in Paris in every section. When Gossec moved on to a new venture, he turned the company over to Joseph Saint-Georges who maintained it as one of the best orchestras in France until it shut down for financial reasons in 1781.
Saint-Georges published his only two symphonies in 1779. He definitely conducted his Concert des Amateurs in the premiere of tonight’s work although the date is uncertain. It is more of a mystery why his second symphony was published with it. That symphony was apparently never performed before he took it in its entirety to use as the overture to L’Amant anonyme (his only surviving opera) which debuted to great acclaim in March 1780. He may have decided that Symphony No. 1 occupied so few pages that it ought to have a companion in order to seem more substantial. To put more of his music in the public eye couldn’t hurt. Both symphonies are in the style gallant, characterized by Reinhold Pauly as “pleasing, entertaining, and unproblematic” and both symphonies are short with three movements. In the discography Symphony No. 1 varies greatly in length based on tempos and whether all repeats are followed.
Each movement is shorter than the one before.
I. Allegro (G major) follows a strict sonata form and careens along in quick 2/2 time. The first theme is bold and gets support from the oboes and horns. The second theme is more subdued, wind instruments silent.
II. Andante (D major) is for strings alone. Its simple sophistication is beguiling. Very interesting is its melodic outline with a startling resemblance to Haydn's Serenade, Op. 3, No. 5 (Hoboken No. III:17). Modern scholars have figured out that none of the works of Opus 3 were by Haydn despite the Hoboken number. They have agreed that the first two were by Romanus Hoffstetter but the other four remain unattributed. It seems worth mentioning that Paris publisher Bailleux traded on Haydn’s good name and financially benefited by publishing Op. 3 in 1777 with a false attribution. Bailleux also published works by Saint-Georges in 1775 and 1776.
III. Allegro assai (G major), a jaunty escapade in 6/8 has a couple of thematic ideas that mix and match to fill up two halves with a little contrast and a lot of joie de vivre.
Race was significant in 18th century France and even though Saint-Georges had much success, what would have been the crown jewel in his musical career, being named director of the Paris Opéra, was denied him. At a time when the Opéra was in turmoil Marie Antoinette put forward Saint-Georges’ name and there was general agreement he was the perfect choice. Marie-Madeleine Guimard, Rosalie Levasseur, and Sophie Arnould, three divas with a large following, petitioned the queen, opposing his appointment, saying "that their honor and delicate conscience could never allow them to submit to the orders of a mulatto." Whether or not he found it a personal hardship, he was not allowed to marry in France. The Paris of Josephine Baker was 150 years in the future.
When Concert des Amateurs folded, Saint-Georges moved on to still greater importance. He founded a new ensemble, the Concert de la Loge Olympique, for which Count d’Ogny commissioned Haydn to compose the six ‘Paris’ symphonies. Saint-Georges brokered the deal, traveling to Austria to meet the most famous composer in Europe. Saint-Georges rehearsed and conducted all six Paris symphonies at their celebrated premieres beginning in January 1786.
Pushback against the sobriquet “Black Mozart” notes that Mozart copied the sinfonia concertante style from Saint-Georges. Mozart K. 364, Sinfonia Concertante for Violin, Viola, and Orchestra was written soon after he discovered Saint-Georges while visiting Paris and contains passage work copied exactly from Saint-Georges. Let's call Mozart the White Saint-Georges.
After the French Revolution he volunteered for the citizens army and successfully led the defense of Lille when Austria invaded. Because he had been friendly with the aristocracy, the Reign of Terror imprisoned him for nearly a year before he was released. It was a hard life for someone who wanted to grow old making music.
(c) 2025 by Steven Hollingsworth,
Creative Commons Public Attribution 3.0 United States License.
Contact steve@trecorde.net
