Shining Knight: The extraordinary life and legacy of Joseph Bologne

Drawing by Sho-mei Pelletier, artist, courtesy of the Rachel Barton Pine Foundation, Music of Black Composers, “Coloring Book of Black Composers,” LudwigMasters Publications. musicbyblackcomposers.org

he name Joseph Bologne, Chevalier de Saint-Georges may not strike a chord because history has all but forgotten this historical musical figure of the classical period. His celebrity and outstanding qualities deserve recognition for far more than the racist moniker and misnomer to which he is often referred: “Black Mozart.” And while he crossed paths with Wolfgang Amadeus Mozart, Saint-Georges was, in fact, the more popular composer in Europe in his day. His influence on music, arts and culture was remarkable. U.S. President John Adams declared that “Saint-Georges was the most accomplished man in Europe.” While today Mozart’s memory shines most and his works continue to be played by all major orchestras, Joseph Bologne, Chevalier de Saint-Georges remains virtually unknown.

BEGINNINGS

Joseph Bologne was born in 1745 on the Island of Guadeloupe, a French Colony in the Caribbean. At a time when colonial slavery was the norm, he was not only free but also became an aristocrat. Saint-Georges was the illegitimate son of a wealthy white plantation owner, George Bologne, and Anne Nanon, an enslaved Guadeloupe woman of African descent, and was given his father’s name, Bologne. Young Joseph received an exemplary education. He attended Tessier de La Boëssière’s famed Académie royale polytechnique des armes et de ‘l’équitation (fencing and horsemanship) and also studied music. He was a true savant, a Jack of all trades, and master of them all.

Saint-Georges was considered a Superman of his time for this athletic prowess. His swimming, horseback riding, dancing, shooting, boxing, and especially fencing exploits are well-documented. He was renowned as the greatest fencer in Europe. He won matches over celebrated swordsmen, including the famous duel with fencing master Alexander Picard, which earned him knighthood and a place as King Louis’ only Black knight in his private guard. His duel with the crossdressing spy Chevalier d’Eon is famously portrayed in the painting by Alexandre-Auguste Robineau (1747-1828) and hangs in the Queen’s Gallery at Buckingham Palace in London.

But music was Saint-Georges’ greatest love. While nothing definitive is known about his early music training, his teachers likely included composer François Gossec and violinist-composers Antonio Lolli and Jean-Marie Leclair. A prolific composer, Saint-Georges’ surviving works include 14 violin concertos works, 10 keyboard sonatas, eight sinfonia concertantes, three sets of six string quartets, three sonatas for violin and keyboard, two symphonies, a sonata for harp and flute, the opera “The Anonymous Lover,” various songs, and arias from incomplete operas. And this — but a small representation of his output — is more than enough to define him as a major composer and influencer of the 18th century.

In addition to his being an innovative composer, Saint-Georges was a contemporary music advocate, conductor, and virtuoso violinist, as one can deduce from his many string works. In 1769, Saint-Georges joined Gossec’s new orchestra

Concert des Amateurs and became its leader and conductor in 1773. His prodigious skill on the violin and compositional style inspired many composers to dedicate works to him; an illustrious example is Josef Haydn’s six “Paris” symphonies, which he commissioned.

SAINT-GEORGES AND MOZART

In 1787, when 31-year-old Wolfgang Amadeus Mozart arrived in Paris hoping to rekindle the success he had as a 7-year-old prodigy, Paris was an exciting metropole filled with the arts. This was the Age of Enlightenment when Louis XIV, known as the Sun King (Roi Soleil), and his Austrian-born queen, Marie Antoinette, sat on the throne. Surely, a composer of Mozart’s talents could land himself a job in the City of Light! — but this was not the case. Paris was filled with musicians, and at the apex was Joseph Bologne, Chevalier de Saint-Georges, then 41, who influenced many composers of his day including Mozart, who desperately tried to assimilate this new French style.

In 1778, from March to September, Mozart and Saint-Georges lived under the same roof in a residence hosted by Count Karl Heinrich Joseph von Sickingen. While there is no documentation, one can assume that due to the close proximity of their habitations, the two composers likely encountered each other on a regular basis. Many have speculated that Mozart was resentful of Saint-Georges’ success and that he felt threatened by his celebrity and music, as most composers in 18th century France emulated his musical style.

One can see traces of Saint-Georges’ style in Mozart’s quartets and violin concerti, which adopt the French rondeau. It should be noted that the sinfonia concertante genre was also most prevalent in Paris. Even if Saint-Georges did not originate this double concerto-symphony hybrid, it is obvious he was its major exponent, composing an unprecedented eight that we know. There is little doubt that Saint-Georges’ Sinfonia concertante in G Major Op. 13, No 2, written a year earlier than Mozart’s famous Sinfonia Concertante in E-flat, K. 394, made an impact on Mozart. In the 3rd movement (Presto) of Mozart’s work, the soloists’ climactic final rising passage is almost identical to the virtuosic final passage in the 1st movement of Saint-Georges’ work. Even earlier, Saint-Georges used this same compositional technique in his Violin Concerto in A Major, Op. 7 No. 1 composed in 1777. Mozart never used this virtuosic type of writing until after his visit to Paris. Maybe this was a nod to Saint-Georges — or something Mozart might have heard while he and Saint-Georges lived under the same roof.

THE QUEEN

Saint-Georges became the director of Le Concert Olympique in 1781 after the Concert des Amateurs disbanded due to a lack of funding. It was with this orchestra that Saint-Georges premiered Haydn’s Paris symphonies. Marie Antoinette attended many of these concerts, often unannounced. Unfortunately, her fondness for Saint-Georges was not enough to garner him the position of artistic director of the Académie Royale de Musique, now known as the Paris Opera, for which he was being considered. Had he been given this opportunity; the course of history would have been changed. Unfortunately, a 1776 petition to Queen Marie Antoinette from the three leading opera divas assured Her Majesty that “their honor and delicate conscience could never allow them to submit to the orders of a mulatto,” according to Baron von Grimm’s Correspondance Litteraire, Philosophique et Critique. Rather than embarrassing himself or the queen, with whom Saint-Georges had a close relationship, he withdrew his name.

LIBERTY, EQUALITY, FRATERNITY

Saint-Georges was an ardent supporter of the ideals of the French Revolution and believed in “Liberté, Égalité, Fraternité,’ a slogan which later became France’s motto. He became a colonel and the leader of the all-Black Légion franche de cavalerie des Américains et du Midi, which was referred to as “Légion StGeorges” in his honor. He was an abolitionist and a celebrated hero who fought injustice and for the rights of those who could not fight for themselves.

Racism was as prevalent then as now. At that time, France was in great turmoil as the country moved toward revolution and freedom for all. Le Code Noir, a decree originally set forth by King Louis XIV in 1685, defined slavery during the French colonial period and restricted the activities of free Blacks. Saint-Georges was in direct opposition to it and to military leader Napoléon Bonaparte who wanted to eradicate everything and everyone in opposition to his ideals. He wanted to reinstate slavery (and did so in 1802). The all-or-nothing mentality of the French people

Fencing Match between St.-Georges and ‘La chevalière D’Eon’ on April 9, 1787, by Abbé Alexandre-Auguste Robineau.

was out with the old, in with the new. This resulted in much of Saint-Georges music being destroyed.

Saint-Georges died on June 12, 1799, of a bladder infection caused by an ulcer, only months before the end of the French Revolution. It is miraculous that his reputation has endured, despite two centuries of neglect.

LEGACY

Saint-Georges is increasingly acknowledged by celebrated musicologist and composers. Noted violinist Gabriel Banant wrote the comprehensive book, “Virtuoso of the Sword and the Bow,” and Pulitzer prize-winning composer Georges Walker created the work “Foils” for orchestra in homage to Saint-Georges. Saint-Georges is also honored in his birthplace in Guadeloupe at Festival International de Musique Saint-Georges, where many of his works are performed regularly by internationally renowned artists.

Without Saint-Georges, France would have little to no musical representation in the classical period. We are led to believe today that this period was exclusively the domain of composers of the Austro-Hungarian Empire. The existence of Saint-Georges’ music proves otherwise. Today, his remarkable compositions are slowly but steadily matriculating into concert programs. Saint-Georges is not a minor composer — history belies this — thus, he should be included in all music history books and also taught in music schools and universities alongside the pantheon of great classical composers: Beethoven, Haydn, Mozart, and Schubert, et al.

A great need exists for diversity in classical music. Many conservatories, music schools, and competitions require violinists to perform a concerto by an 18th century composer — or simply stated, by Mozart. Why not add one of Saint-Georges’ 14 violin concertos to the list? This is but one example; there are many more. It would be an exceptional way to honor a contribution of a wonderful composer of color to the classical music repertoire. By purposefully performing his music, Joseph Bologne, Chevalier de Saint-Georges and his extraordinary achievements will be celebrated again.

Marlon Daniel (Mu Xi, New York Alumni) is the director of ensembles at Fordham University, music director of Ensemble du Monde (chamber orchestra) and the artistic and music director of the Festival International de Musique Saint-Georges. He is active member of the New York Alumni chapter and chair of the Mu Phi Epsilon International Committee.