Truly rare autographed 7.5” x 11” lithograph of the
French pianist and composer by H. Imbert and printed by Lemercier Publisher et
Cie. 1881. Ritter inscribes to his
friend, the pianist and baritone Edmond Duvernoy, To my dear and old friend
Edmond Duvernoy, Good affectionate memory of Th. Ritter, Monte Carlo, 1885.
If you will allow me I will come one of these days to
your place accompanied by an accompanist in order to do my best to calumny
Faust. The accompanist is a child prodigy, called Ritter, who has the
self-assurance of a very intelligent man, and whom I believe is destined to a
great musical future. He has already written several piano pieces of very real
merit and quite exceptional value. His father is M. Bennet from Cette, whose
fortune allows him to steer his son right away from the muddy paths of
productive music.
(HectorBerlioz.com, Berlioz and Marseilles, Friends
and Acquaintances)
A year later the two Toussaints travelled to London
with Berlioz to hear him conduct “Romeo et Juliette” which down the road
Berlioz assigned to the younger Toussaint to write the piano reduction to that
work as well. The young pianist was
introduced to Franz Liszt in Paris who after hearing the young pianist perform
gave him the stage name of Théodore
Ritter. Berlioz wrote later in 1855 to his friend Auguste Morel,
Apart from the little Bennet - Théodore Ritter, a
splendid child whose future I really believe in - and Camille Saint-Saëns,
another real musician aged nineteen, and Gounod, who has just produced a very
fine mass. I see only ephemera swarming above this stinking swamp called
Paris….
(Berlioz, Volume Two, Servitude and Greatness, David
Cairns, University of California Press, Berkeley, 1989, p. 581)
The same year, Berlioz took Ritter to a Soiree, where
it was expected that the composer would play some of his works. Instead Ritter performed at the piano a
selection from
“La Damnation de Faust” and “Romeo et Juliette” while Berlioz sat in his chair
with his head in his hands sobbing at the beauty of his own music. We know this as Reyer recounts the story in
his autobiography. In February, 1856,
Ritter and his father Bennet were part of Berlioz’s entourage in his tour to
the German speaking world. After an
arranged concert in Gotha where Berlioz conducted and Liszt attended they went
to Weimar, where Liszt and Berlioz shared conducting duties including the
Weimar premiere of his opera, “Benvenuto Cellini”. Ritter was left to study with Liszt in Weimar
for several months after Berlioz and Bennet left in early March. By July 1, 1856, Ritter had returned and
Berlioz writes to Ritter’s birth mother who by then had married Toussaint
Bennet,
...you will find at dinner a really extraordinary
young man called Ritter, who plays the piano in a way that makes mad with
despair those who have not heard him, and who composes in a way that makes mad
with joy those who have been able to hear his works. (Hector Berlioz, A
Selection From His Letters, Humphrey Serle ed., Vienna House, NY, 1973, p. 148)
In 1857, Ritter decided he would not pursue the career
of a concert pianist and instead he would become an operatic baritone. He sung at the Theatre Monnaie under the
single name of Félix in Brussels for a short period of time.
While we are unsure how long he spent with Liszt after
his diversion in Brussels, Ritter left Brussels to pursue the career of a
concert pianist and went back to Liszt for a time to prepare for the next stage
in his career. He was back in Paris in
August 1859 and at Berlioz’s request was the accompanist in a preview for
select guests of scenes from his opera “Les Troyens”. Berlioz raved about his
performance there to several friends. Ritter began to take on students
privately and his father stepped in with his money once again and founded the
Beethoven Conservatoire in Paris where Ritter taught. In 1860, Bennet founded the Société des
dermiers concerts de Beethoven and Ritter was a founding member. He toured throughout Europe with brilliant
reviews. His father, Toussaint had made
his fortune and often acted as his manager until his death in 1875 accompanied
him on a concert tour through Germany and Austria in February, 1864.
Patti would send her nephew the pianist and pedagogue
to study with Ritter in Paris. Ritter’s
some of his other pupils, albeit private as he did not wish to be buckled down
teaching at the Conservatoire included: James Gibbons Huneker, Hjalmar
Meissner, Helena Munktel, Isidor Philipp, Samuel Sanford.
As a composer, ritter was well known for his well
crafted salon pieces for solo piano, as well as a few attempts at opera. His most important work however were the
piano reductions at Berlioz’s request of his “L’Enfance du Christ” and “Romeo
et Juliette”. Berlioz instilled in him a love for the music of Gluck and he
also edited the composer’s “Orphée et Euyridice”. For Saint-Saëns, he arranged the piano
reduction of “Danse Macabre” and the incidental music to Mendelssohn’s “A
Midsummer Night’s Dream”.
Ritter also championed his mentor Berlioz. After Liszt’s Weimar performances in the mid
1850’s, Berlioz did not have a champion in Germany. In 1875 whilst on a German concert and
recital tour, the pianist met Felix Mottl and after their conversation, Mottl became
the great champion of Berlioz in Germany.
He was known to program his works in his concerts with regularity.
Ritter passed away on April 6, 1886, the day after his
46th birthday. His teacher Franz Liszt
passed away 3 months later at the age of 75.
Ritter is buried in Pere Lachaise Cemetery in Paris.
Soprano Gabrielle Ritter-Ciampi and pianist Maurice
Ciampi were the niece and nephew of Théodore Ritter. Ciampi first studied with Ritter’s pupil, the
Spanish pianist Marie Perez de Brambilla.
Ritter’s wife the soprano Alice Desgranges was immortalized in artwork
by Edgar Degas which is entitled “Music Hall Singer”.
Music Antiquarian and Appraiser
New York, New York
All items guaranteed authentic