He directed De Linant,
the tutor to his son, to furnish me with these. De Linant gave me
words proper to the subject, and in a week after I had received them
the motet was finished. This time, spite was my Apollo, and never
did better music come from my hand. The words began with: Ecce sedes
hic Tonantis. (I have since learned these were by Santeuil, and that
M. de Linant had without scruple appropriated them to himself.) The
grandeur of the opening is suitable to the words, and the rest of
the motet is so elegantly harmonious that every one was struck with
it. I had composed it for a great orchestra. D'Epinay procured the
best performers. Madam Bruna, an Italian singer, sung the motet, and
was well accompanied. The composition succeeded so well that it was
afterwards performed at the spiritual concert, where, in spite of
secret cabals, and notwithstanding it was badly executed, it was twice
generally applauded. I gave for the birthday of M. d'Epinay the idea
of a kind of piece half dramatic and half pantomimical, of which I
also composed the music. Grimm, on his arrival, heard speak of my
musical success. An hour afterwards not a word more was said upon
the subject; but there no longer remained a doubt, not at least that I
know of, of my knowledge of composition.
Grimm was scarcely arrived at the Chevrette, where I already did not
much amuse myself, before he made it insupportable to me by airs I
never before saw in any person, and of which I had no idea.
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