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Friedrich Melchior, Baron von Grimm
Friedrich Melchior, Baron von Grimm (26 December 1723 – 19 December 1807) was a German-born French-language journalist, art critic, diplomat and contributor to the ''Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers''.〔(Frank A. Kafker: ''Notices sur les auteurs des dix-sept volumes de « discours » de l'Encyclopédie. Recherches sur Diderot et sur l'Encyclopédie.'' 1989, Volume 7, Numéro 7, p. 142 )〕 In 1765 Grimm wrote ''Poème lyrique'', an influential article for the Encyclopédie on lyric and opera librettos.〔(Larousse ''Dictionnaire de la musique'' )〕〔(Music and the Origins of Language: Theories from the French Enlightenment by Downing A. Thomas, p. 148. )〕〔(Lully Studies by John Hajdu Heyer, p. 248 )〕〔(A History of Western Musical Aesthetics by Edward A. Lippman, p. 171 )〕〔(King's College London, seminar 1. Music: universal, national, nationalistic )〕 Like Christoph Willibald Gluck Grimm became interested in opera reform. According to Martin Fontius, a German literary theorist, "sooner or later a book entitled ''The Aestatic ideas of Grimm'' will have to be written.〔(Wolfgang Amadé Mozart by Georg Knepler, p. 43. )〕
==Early years==
Grimm was born at Regensburg, the son of a pastor. He studied at the University of Leipzig, where he came under the influence of Johann Christian Gottsched and of Johann August Ernesti, to whom he was largely indebted for his critical appreciation of classical literature. When nineteen he produced a tragedy, ''Banise'', which met with some success. After two years of study literature and philosophy he returned to home town, where he was attached to the household of Count Schönborn. In 1749 he accompanied his pupil, the young Schönborn, to Paris. There August Heinrich, Count Friesen appointed him as his secretary. Rousseau wrote in his ''Confessions'' Grimm played a cembalo and acted also as reader to the eldest son of Frederick, the young hereditary prince of Saxe-Gotha.
His acquaintance with Rousseau soon ripened into intimate friendship, through a mutual sympathy in regard to music and theater, and led to a close association with the encyclopaedists, like Diderot, Baron d'Holbach, d'Alembert, Marmontel, Morellet and Helvétius, who were meeting at Marie-Charlotte Hippolyte de Campet de Saujon. He rapidly obtained a thorough knowledge of the French language, and acquired so perfectly the tone and sentiments of the society in which he moved that all marks of his foreign origin and training seemed effaced. In 1750 he started to write for the Mercure de France on German literature and the ideas of Gottsched. In 1752, at the beginning of the Querelle des Bouffons, he wrote ''Lettre de M. Grimm sur Omphale''.〔(The Birth of the Orchestra: History of an Institution, 1650–1815 by John Spitzer, Neal Zaslaw, p. 186. ); (Lettre de M. Grimm sur Omphale ... )〕 Grimm complained that the text of the libretto had no connection with the music.〔(Jean-Jacques: The Early Life and Work of Jean-Jacques Rousseau, 1712–1754 by Maurice Cranston, p. 276. )〕 Grimm and Rousseau became the enemy of Élie Catherine Fréron. A witty pamphlet entitled ''Le Petit Prophète de Boehmischbroda'' (1753), "a parable about a Bohemian boy being sent to Paris to see the lamentable state into which the French opera has descended".〔(Jean-Jacques: The Early Life and Work of Jean-Jacques Rousseau, 1712-1754, p. 276. )〕 This defence of Italian opera established his literary reputation. It is possible that the origin of the pamphlet is partly to be accounted for by his vehement passion for Marie Fel, the ''prima donna'' of the Paris Opera,〔Spectacles de Paris, 1752, p. 87〕 who was one of the few French singers capable of performing Italian arias.〔M. Grimm, ''Lettre sur Omphale'', 1752, p. 50.〕 When she refused him (and stayed in relation with Louis de Cahusac) Grimm fell into lethargy.〔(Jean-Jacques: The Early Life and Work of Jean-Jacques Rousseau, 1712–1754 by Maurice Cranston, p. 252–253. )〕 Rousseau and abbé Raynal took care of him.
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