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+The Project Gutenberg EBook of The Standard Cantatas, by George P. Upton
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Standard Cantatas
+       Their Stories, Their Music, and Their Composers
+
+Author: George P. Upton
+
+Release Date: May 4, 2010 [EBook #32248]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE STANDARD CANTATAS ***
+
+
+
+
+Produced by Stephen Hutcheson, Charley Howard and the
+Online Distributed Proofreading Team at https://www.pgdp.net
+(This file was produced from images generously made
+available by The Internet Archive)
+
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+
+
+
+                                   THE
+                            Standard Cantatas
+             THEIR STORIES, THEIR MUSIC, AND THEIR COMPOSERS
+
+
+                              _A Handbook_
+
+                           By GEORGE P. UPTON
+                                AUTHOR OF
+ "THE STANDARD OPERAS," "THE STANDARD ORATORIOS," "WOMAN IN MUSIC," ETC.
+
+                                 CHICAGO
+                        A. C. McCLURG AND COMPANY
+                                  1888
+
+                                Copyright
+                        By A. C. McClurg and Co.
+                                A.D. 1887
+
+
+
+
+                                PREFACE.
+
+
+The "Standard Cantatas" is the third of the series in which the "Standard
+Operas" and "Standard Oratorios" have been its predecessors. Of
+necessity, therefore, the same method has been followed in the
+arrangement and presentation of the author's scheme. As in the works
+above mentioned, short sketches of the music and stories of the cantatas
+are presented, together with biographies of their composers, some of
+which are reproduced from the other volumes with slight changes, the
+repetitions being necessary for the sake of uniformity. The sketches are
+prefaced by a comprehensive study of the cantata in its various forms,
+from its early simple recitative or aria style down to its present
+elaborate construction, which sometimes verges closely upon that of the
+opera or oratorio.
+
+The word "cantata" is so flexible and covers such a wide area in music,
+that it has been a work of some difficulty to decide upon the
+compositions that properly come within the scheme of this volume. During
+the past two centuries it has been variously applied to songs, like those
+of the early Italian school; to ballads, like those of the early English
+composers; to concert arias, like those of Mozart, Beethoven, and
+Mendelssohn; to short operettas, dramatic scenas, cycles of ballads, and
+even to oratorios, whose subjects are more or less dramatic. It is
+believed, however, that the most important of the modern cantatas are
+included in the volume, and with them will be found several works, such
+as the "Damnation of Faust" and the "Romeo and Juliet" vocal symphony and
+others, which, though not in the strict cantata form, are nevertheless
+compositions belonging to the concert-stage for voices and orchestra,
+performed without scenery, costumes, or stage accessories.
+
+The author has paid particular attention to cantatas by American
+composers, and has selected for description and analysis those which in
+his estimation rank the highest in musical merit. It would be manifestly
+impossible to include in a volume of the present size all the
+compositions by Americans which have been called cantatas, for their
+number is well-nigh "legion." Those have been selected which are
+creditable to American musical scholarship and are making a name for
+American music. It is possible some have been omitted which fulfil these
+conditions; if so, it is only because they have not come within the
+author's observation. The Appendix has been a work of great care, labor,
+and research, and wherever it was practicable the date of each cantata
+was verified.
+
+Like its two predecessors, the "Standard Cantatas" has been prepared for
+the general public, which has not the time or opportunity to investigate
+such matters, rather than for musicians, who are presumed to be familiar
+with them. On this account the text is made as untechnical as possible,
+and description takes the place of criticism. The work is intended to
+answer the purpose of a handbook and guide which shall acquaint the
+reader with the principal facts and accomplishments in this very
+interesting form of composition. The favor so generously accorded to the
+"Standard Operas" and "Standard Oratorios" leads the author to hope that
+this volume will also be welcome to music-lovers, and will find a place
+by the side of its companions in their libraries.
+
+                                                                G. P. U.
+
+Chicago, September, 1887.
+
+
+
+
+                                CONTENTS.
+
+
+
+
+                                                                   PAGE
+  PREFACE                                                             3
+  THE CANTATA                                                        13
+  BACH                                                               29
+    Ich Hatte viel Bekümmerniss                                      31
+    Gottes Zeit                                                      33
+    Festa Ascensionis Christi                                        37
+    Ein' Feste Burg                                                  38
+  BALFE                                                              44
+    Mazeppa                                                          45
+  BEETHOVEN                                                          48
+    The Ruins of Athens                                              49
+    The Glorious Moment                                              53
+  BENEDICT                                                           56
+    St. Cecilia                                                      57
+  BENNETT                                                            62
+    The May Queen                                                    64
+    The Exhibition Ode                                               66
+  BERLIOZ                                                            68
+    Romeo and Juliet                                                 70
+    The Damnation of Faust                                           74
+  BRAHMS                                                             82
+    Triumphlied                                                      83
+  BRUCH                                                              86
+    Frithjof                                                         87
+    Salamis                                                          92
+    Fair Ellen                                                       93
+    Odysseus                                                         95
+  BUCK                                                              101
+    Don Munio                                                       103
+    Centennial Meditation of Columbia                               106
+    The Golden Legend                                               109
+    The Voyage of Columbus                                          114
+    The Light of Asia                                               117
+  CORDER                                                            123
+    The Bridal of Triermain                                         124
+  COWEN                                                             128
+    The Sleeping Beauty                                             129
+  DVORÁK                                                            134
+    The Spectre's Bride                                             136
+  FOOTE                                                             140
+    Hiawatha                                                        141
+  GADE                                                              143
+    Comala                                                          144
+    Spring Fantasie                                                 146
+    The Erl King's Daughter                                         147
+    The Crusaders                                                   149
+  GILCHRIST                                                         153
+    The Forty-sixth Psalm                                           154
+  GLEASON                                                           156
+    The Culprit Fay                                                 157
+    The Praise Song To Harmony                                      161
+  HANDEL                                                            163
+    Acis and Galatea                                                166
+    Alexander's Feast                                               173
+    L'Allegro                                                       178
+  HATTON                                                            186
+    Robin Hood                                                      187
+  HAYDN                                                             191
+    The Seven Words                                                 194
+    Ariadne                                                         198
+  HILLER                                                            201
+    Song of Victory                                                 203
+  HOFMANN                                                           205
+    Melusina                                                        206
+  LESLIE                                                            209
+    Holyrood                                                        210
+  LISZT                                                             215
+    Prometheus                                                      217
+    The Bells of Strasburg                                          221
+  MACFARREN                                                         226
+    Christmas                                                       228
+  MACKENZIE                                                         232
+    The Story of Sayid                                              233
+    Jubilee Ode                                                     237
+  MASSENET                                                          241
+    Mary Magdalen                                                   242
+  MENDELSSOHN                                                       246
+    The Walpurgis Night                                             248
+    Antigone                                                        254
+    Oedipus at Colonos                                              259
+    As the Hart Pants                                               262
+    The Gutenberg Fest-Cantata                                      263
+    Lauda Sion                                                      265
+  MOZART                                                            268
+    King Thamos                                                     270
+    Davidde Penitente                                               274
+    The Masonic Cantatas                                            276
+  PAINE                                                             280
+    Oedipus Tyrannus                                                281
+    The Nativity                                                    286
+    The Realm of Fancy                                              288
+    Phoebus, Arise                                                  289
+  PARKER, H. W.                                                     291
+    King Trojan                                                     292
+  PARKER, J. C. D.                                                  295
+    The Redemption Hymn                                             296
+  RANDEGGER                                                         298
+    Fridolin                                                        299
+  RHEINBERGER                                                       303
+    Christophorus                                                   304
+    Toggenburg                                                      306
+  ROMBERG                                                           308
+    Lay of the Bell                                                 309
+  SCHUBERT                                                          313
+    Miriam's War Song                                               314
+  SCHUMANN                                                          317
+    Advent Hymn                                                     319
+    The Pilgrimage of the Rose                                      321
+    The Minstrel's Curse                                            322
+  SINGER                                                            324
+    The Landing of the Pilgrims                                     325
+  SMART                                                             327
+    The Bride of Dunkerron                                          328
+    King René's Daughter                                            330
+  SULLIVAN                                                          332
+    On Shore and Sea                                                334
+    The Golden Legend                                               335
+  WAGNER                                                            338
+    Love Feast of the Apostles                                      340
+  WEBER                                                             342
+    Jubilee Cantata                                                 344
+    Kampf Und Sieg                                                  346
+  WHITING                                                           348
+    The Tale of the Viking                                          349
+  APPENDIX                                                          353
+  INDEX                                                             365
+
+
+
+
+                         THE STANDARD CANTATAS.
+
+
+
+
+                              THE CANTATA.
+
+
+The origin of the cantata is a matter of controversy, but it is clear
+that it had its birth in Italy. Adami, an old writer, attributes its
+invention to Giovanni Domenico Poliaschi Romano, a papal chapel-singer,
+who, it is claimed, wrote several cantatas as early as 1618. The same
+writer also asserts that the Cavalier da Spoleto, a singer in the same
+service, published cantatas in 1620. Hawkins asserts in one chapter of
+his "History of Music" that the invention is due to Carissimi,
+chapel-master of the Church of St. Apollinare in Rome, who unquestionably
+did an important service for dramatic music by perfecting recitative and
+introducing stringed accompaniments; but in a subsequent chapter the
+historian states that Barbara Strozzi, a Venetian lady contemporary with
+Carissimi, was the inventor, and assigns the year 1653 as the date when
+she published certain vocal compositions with the title "Cantate, Ariette
+e Duetti," prefixed by an advertisement setting forth that having
+invented this form of music, she had published them as an experiment.
+Burney takes notice of the claim made for Romano and Da Spoleto, but does
+not think it valid, and says: "The first time that I have found the term
+'cantata' used for a short narrative lyric poem was in the _Musiche varie
+a voce sola del Signor Benedetto Ferrari da Reggio_, printed at Venice,
+1638." This, as will be observed, disposes of the Venetian lady's claim,
+as it is antedated twenty years, and Burney states his facts from
+personal investigation. He mentions several cantatas written about this
+period, among them a burlesque one describing the leap of Marcus Curtius
+into the gulf. He concedes to Carissimi, however, the transfer of the
+cantata from the chamber to the church, and on this point nearly all the
+early writers are agreed.
+
+The cantata in its earliest form was a recitative, which speedily
+developed into a mixture of recitative and melody for a single voice, and
+was suggested by the lyric opera. Burney says:--
+
+  "The chief events were related in recitative. In like manner they
+  received several progressive changes during the last century previous
+  to their perfection. First, they consisted, like opera scenes, of
+  little more than recitative, with frequent formal closes, at which the
+  singer, either accompanied by himself or another performer on a single
+  instrument, was left at liberty to show his taste and talents."
+
+The form then changed to a single air in triple time, independent of the
+recitative, and repeated to the different verses as in a ballad, the
+melody being written every time, as the _Da Capo_ was not then in use.[1]
+Choron defines the cantata as follows:--
+
+  "It is a little poem, which, considered in a literary sense, has no
+  very determinate character, though it is usually the recital of a
+  simple and interesting fact interspersed with reflections or the
+  expression of some particular sentiment. It may be in all styles and
+  all characters, sacred, profane, heroic, comic, and even ludicrous,
+  representing the action or feeling of either a single or several
+  persons. It even sometimes assumes the character of the oratorio."
+
+As applied to recitative, the new form was variously called "recitativo,"
+"musica parlante," or "stilo rappresentativo," one of the first works in
+which style was "The Complaint of Dido," by the Cavalier Sigismondo
+d'India, printed in Venice in 1623. The mixture of recitative and air was
+eventually called "ariose cantate;" and with this title several melodies
+were printed by Sebastian Enno at Venice, 1655.[2]
+
+The seventeenth century witnessed the rapid perfecting of the cantata in
+its early forms by the Italian composers. The best examples are said to
+have been those of Carissimi, of whom mention has already been made.
+Several of them are preserved in the British Museum and at Oxford; among
+them, one written on the death of Mary Queen of Scots. Burney says:--
+
+  "Of twenty-two of his cantatas preserved in the Christ Church
+  collection, Oxon., there is not one which does not offer something that
+  is still new, curious, and pleasing; but most particularly in the
+  recitatives, many of which seem the most expressive, affecting, and
+  perfect that I have seen. In the airs there are frequently sweet and
+  graceful passages, which more than a hundred years have not impaired."
+
+Of the thirteenth in this collection the same authority says:--
+
+  "This single air, without recitative, seems the archetype of almost all
+  the _arie di cantabile_, the adagios, and pathetic songs, as well as
+  instrumental, slow movements, that have since been made."
+
+Fra Marc Antonio Cesti, in his later life a monk in the monastery of
+Arezzo, and chapel-master of the Emperor Ferdinand III., was a pupil of
+Carissimi, and devoted much attention to the cantata, the recitative of
+which he greatly improved. One of his most celebrated compositions of
+this kind was entitled, "O cara Liberta," and selections from it are
+given both by Burney and Hawkins. He must have been one of the jolly
+monks of old, for all his cantatas are secular in character, and he was
+frequently censured for devoting so much time to theatrical instead of
+church music. Luigi Rossi was contemporary with Cesti, and has left
+several cantatas which are conspicuous for length and pedantry rather
+than for elegance or melodious charm. Giovanni Legrenzi of Bergamo, the
+master of Lotti and Gasparini, published twenty-four cantatas in Venice
+between 1674 and 1679, which were great favorites in his time. The
+celebrated painter Salvator Rosa not only wrote the words for many
+cantatas by his musical friends, but it is known that he composed both
+words and music to eight. The texts of these works have preserved for
+posterity pictures more graphic than any he could paint of his
+misanthropical character; for when he is not railing against his mistress
+he is launching satires against Nature and mankind in general. In one of
+these he complains that the earth is barren and the sun is dark. If he
+goes out to see a friend, it always rains. If he goes on shipboard, it
+always storms. If he buys provisions at the market, the bones outweigh
+the flesh. If he goes to court--
+
+  "The attendants at my dress make sport;
+  Point at my garb, threadbare and shabby,
+  And shun me, like a leper scabby."
+
+His only wealth is hope, which points to nothing better than "workhouse
+or a rope." In the heat of summer he has to trudge in winter clothes. He
+cannot even run away from misfortune. In a word, nothing pleases the poor
+painter, as is evident from the gloomy moral which "adorns the tale":--
+
+  "Then learn from me, ye students all,
+  Whose wants are great and hopes are small,
+  That better 'tis at once to die
+  Than linger thus in penury;
+  For 'mongst the ills with which we're curst,
+  To live a beggar is the worst."
+
+In 1703 Giambatista Bassani, of Bologna, published twelve cantatas
+devoted to the tender passion, and all of them set to a violin
+accompaniment,--a practice first introduced by Scarlatti, of Naples, who
+was one of the most prolific writers of his day. The cantata was
+Scarlatti's favorite form of composition, and hundreds of them came from
+his busy pen, which were noted for their beauty and originality. The
+accompaniments were written for the violoncello as well as for the
+violin; those for the first-named instrument were so difficult and yet so
+excellent that those who could perform them were often thought to have
+supernatural assistance.[3] Contemporary with Scarlatti was Francesco
+Gasparini, a Roman composer and harpsichord player of such eminence that
+Scarlatti sent his son Domenico, who afterwards became famous by his
+musical achievements, to study with him. Gasparini wrote twelve
+cantatas,--not so scholarly but quite as popular as those by Scarlatti.
+As a return for the compliment which Scarlatti had paid him,
+Gasparini sent him a cantata, which was the signal for a lively
+cantata-correspondence between them, each trying to outdo the other.
+Following Gasparini came Bononcini, whose contentions with Handel in
+England are familiar to all musical readers. He was the most prolific
+cantata-writer of all the Italians next to Scarlatti, and dedicated a
+volume of them, in 1721, to the King of England. He also published in
+Germany a large number which show great knowledge of instrumentation,
+according to the musical historians of his time. Antonio Lotti, his
+contemporary, wrote several which are particularly noticeable for their
+harmony. His pupil Benedetto Marcello, the illustrious psalm-composer,
+excelled his master in this form of music. Two of his cantatas, "Il
+Timoteo" (after Dryden's ode) and "Cassandra," were very celebrated. He
+was of noble family, and is famous even to this day by his masses,
+serenades, and sonnets, and by his beautiful poetical and musical
+paraphrase of the Psalms, which was translated into English, German, and
+Russian. The Baron d'Astorga, whose "Stabat Mater" is famous, wrote many
+cantatas, but they do not reach the high standard of that work. Antonio
+Caldara, for many years composer to the Emperor at Vienna, published a
+volume of them at Venice in 1699. Porpora, who was a rival of Handel in
+England as an opera composer, published and dedicated twelve to the
+Prince of Wales in 1735 as a mark of gratitude for the support which he
+had given him in his disputes with the testy German.[4] After Pergolesi,
+who made himself famous by his "Stabat Mater," and published several
+cantatas at Rome, and Handel, who wrote many, which were eclipsed by his
+operas and oratorios, and are now hardly known, this style of the cantata
+languished, and gradually passed into the form of the concert aria, of
+which fine examples are to be found in the music of Mozart, Beethoven,
+and Mendelssohn. After the death of Pergolesi, Sarti and Paisiello made
+an attempt to revive it, and in so doing prepared the way for the cantata
+in its beautiful modern form. In the latter's "Guinone Lucina," written
+for the churching of Caroline of Austria, Queen of Naples, and in his
+"Dafne ed Alceo" and "Retour de Persée" the melody is intermixed with
+choruses for the first time.
+
+Thus far the Italian cantatas have alone been considered; but it must not
+be supposed that this form of composition was confined to Italy. In
+France it was also a favorite style in the early part of the eighteenth
+century. Montclair, Campra, Mouret, Batistin, Clerambault, and Rousseau
+excelled in it. M. Ginguené, in the "Encyclopædia Methodique," says of
+these composers and their works:--
+
+  "They have left collections in which may be discovered among all the
+  faults of the age, when Italian music was unknown in France, much art
+  and knowledge of harmony, happy traits of melody, well-worked basses,
+  and above all recitatives in which the accent of declamation and the
+  character of the language are strictly observed."
+
+In Germany, however, the cantata at this time was approximating to its
+present form. Koch, a celebrated musical scholar of the early part of the
+present century, says:--
+
+  "The cantata is a lyrical poem set to music in different, alternating
+  compositions, and sung with the accompaniment of instrumental music.
+  The various melodies of which the whole is composed are the aria, with
+  its subordinate species, the recitative or accompaniment, and the
+  arioso, frequently also intermixed with choruses."
+
+Heydenreich, another writer of the same period, says:--
+
+  "The cantata is always lyrical. Its distinctive character lies in the
+  aptitude of the passions and feelings which it contains to be rendered
+  by music. The cantata ought to be a harmonious whole of ideas
+  poetically expressed, concurring to paint a main passion or feeling,
+  susceptible of various kinds and degrees of musical expression. It
+  sometimes may have the character of the hymn or ode, sometimes that of
+  the elegy, or of a mixture of these, in which, however, one particular
+  emotion must predominate."
+
+The church cantata, according to Du Cange, dates back to 1314; but
+subsequent writers have shown that the term prior to the seventeenth
+century was used indiscriminately and without reference to any
+well-defined style of vocal music, and that as applied to church
+compositions it meant the anthem such as we now have, although not as
+elaborate. The noblest examples of the sacred cantata are those by
+Sebastian Bach, three hundred and eighty in all, over a hundred of which
+have been published under the auspices of the Bach-Gesellschaft. They are
+written in from four to seven movements for four voices and full
+orchestra, usually opening with chorus and closing with a chorale, the
+intermediate movements being in the form of recitatives, arias, and
+duets. The text of these cantatas is either a literal transcription of
+the Gospel or of portions of it. In the latter case the Gospel of the
+Sunday for which the cantata was written is introduced entire in the body
+of the work as the nucleus around which the great composer grouped the
+remaining parts. For instance, the cantata for Sexagesima Sunday turns
+upon the parable of the sower, and this being the Gospel for the day is
+made its central point. In like manner the cantata for the fourteenth
+Sunday after Trinity has for its subject the story of the ten lepers,
+which is introduced in recitative form in the middle of the work. The
+astonishing industry of Bach is shown by the fact that for nearly five
+years he produced a new cantata for each Sunday, in addition to his
+numerous fugues, chorales, motets, magnificats, masses, sanctuses,
+glorias, and other church music. The artistic sincerity and true genius
+of the old master also reveal themselves in the skill with which he
+finished these works for the congregation of St. Thomas,--few of whom, it
+is to be feared, had any conception of their real merit,--and in the
+untiring regularity with which he produced them, unrewarded by the
+world's applause, and little dreaming that long years after he had passed
+away they would be brought to light again, be published to the world, and
+command its admiration and astonishment on account of their beauty and
+scholarship.[5] Before passing to the consideration of the cantata in its
+present form, the following abridged description of those written by
+Bach, taken from Bitter's Life of the composer, will be of interest:--
+
+  "The directors who preceded Bach at Leipsic used to choose the cantatas
+  or motets to be sung in the churches quite arbitrarily, without any
+  regard to their connection with the rest of the service. But Bach felt
+  that unless these elaborate pieces of music were really made a means of
+  edification, they were mere intellectual pastimes suitable for a
+  concert, but an interruption to divine worship; and he thought that
+  they could best edify the congregation if their subjects were the
+  themes to which attention was specially directed in the service and
+  sermon of the day. He therefore made it a rule to ascertain from the
+  clergymen of the four churches the texts of the sermons for the
+  following Sunday, and to choose cantatas on the same or corresponding
+  texts. As most of the clergy were in the habit of preaching on the
+  Gospel of the day, the service thus became a harmonious whole, and the
+  attention of the congregation was not divided between a variety of
+  subjects. The clergyman of highest standing at Leipsic, Superintendent
+  Deyling, a preacher of great eloquence and theological learning,
+  co-operated heartily with Bach in this scheme. A series of cantatas for
+  every Sunday and festival for five years--about three hundred and
+  eighty in all--was composed by Bach, chiefly during the first years of
+  his stay at Leipsic. Unfortunately many of these are lost; but one
+  hundred and eighty-six for particular days, and thirty-two without any
+  days specified, still remain. Their music is so completely in character
+  with the subject of the words as to form a perfect exposition of the
+  text. In some the orchestral introductions and accompaniments are made
+  illustrative of the scene of the text; as for instance in one on
+  Christ's appearing to His disciples in the evening after His
+  resurrection, the introduction is of a soft, calming character,
+  representing the peacefulness of evening and of the whole scene.
+  Another, on the text 'Like as the rain and snow fall from heaven,' is
+  introduced by a symphony in which the sound of gently-falling rain is
+  imitated. In others the instrumental parts and some of the voices
+  express the feelings excited by meditation on the words. Sometimes, in
+  the midst of a chorus in which the words of the text are repeated, and,
+  as it were, commented on, a single voice, with the accompaniment of a
+  few instruments, breaks off into some well-known hymn in a similar
+  strain of thought or feeling."
+
+Handel in his younger days wrote many cantatas for the church, though
+they are now but little known. The entire list numbers one hundred and
+fifty. On his return from England to his post of chapel-master at Hanover
+in 1711 he composed twelve, known as the Hanover cantatas, for the
+Princess Caroline, the words written by the Abbé Hortentio Mauro, to
+which no objection was offered by Handel's master and patron,
+notwithstanding he was a Lutheran prince. Several written in England are
+still preserved in the royal collections. On Holy Week of the year 1704,
+the same week in which Reinhardt Kaiser brought out his famous Passion
+oratorio, "The Bleeding and Dying Jesus," Handel's Passion cantata was
+first produced. Kaiser's work had been denounced as secular by the
+pastors, because it did not contain the words of Holy Scripture. Handel's
+was founded on the nineteenth chapter of St. John, and thus escaped the
+pulpit denunciation. This cantata is sometimes called the First Passion
+Oratorio, the second having been written at Hamburg in 1716.[6] In 1707
+Handel was in Florence, where he wrote several cantatas, and thence went
+to Rome, where he produced some church music in the same form, notably
+the "Dixit Dominus," for five voices and orchestra; "Nisi Dominus," also
+for five voices; and "Laudate pueri," for solos and full orchestral
+accompaniment. The famous anthems written for the private chapel of James
+Brydges, Duke of Chandos, familiarly known as the Chandos Anthems, are in
+reality cantatas, as each one is preceded by an overture and in its
+structural form comprises solos, choruses, and instrumentation for full
+band and choir. It is also noteworthy that it was during Handel's
+residence at the Duke's palace at Cannons that he wrote his first English
+oratorio, the legitimate successor of the Chandos Anthems, and the
+precursor of the great works destined to immortalize his name.
+
+The cantatas left by Haydn are mainly secular in character; but it may
+well be imagined that during the days of his early married life, when his
+fanatical and termagant spouse was forcing him to write so much music for
+the priests and monks whom she entertained so sumptuously below-stairs
+while he was laboring above, more than one cantata must have come from
+his pen, which would have been preserved had he not reluctantly parted
+company with them to pacify his wife.
+
+The term "cantata," as it is now used, is very elastic, and covers a
+range of compositions which are too large to be considered as dramatic
+arias or ballads,--though ballads are sometimes written for various
+voices and orchestra,--and too small to be called operas or oratorios. It
+can best be defined, perhaps, as a lyric narrative, sacred, didactic, or
+dramatic in character, set to music for the concert stage only, being
+without _dramatis personæ_ in the theatrical acceptation of those words.
+Its general form is that of the oratorio, being for solo voices, usually
+the quartet, full chorus, and orchestra, though its shortness as compared
+with the oratorio adapts it to performance by a small chorus, and
+sometimes with only piano accompaniment. Among the most perfect forms of
+the modern cantatas are such works as Mendelssohn's "Walpurgis Night,"
+Sterndale Bennett's "May Queen," Max Bruch's "Odysseus" and "Frithjof's
+Saga," Cowen's "Sleeping Beauty," Gade's "Comala," Hiller's "Song of
+Victory," Romberg's somewhat antiquated "Song of the Bell," Sullivan's
+"Golden Legend," Randegger's "Fridolin," and Dudley Buck's "Don Munio"
+and "Light of Asia." But besides such as these there are numerous other
+works, not usually classed as cantatas, which clearly belong to the same
+musical family; such as Berlioz's "Damnation of Faust," Brahms's
+"Triumphlied," Mendelssohn's settings of various Psalms, Handel's "Acis
+and Galatea" and "Alexander's Feast," Hofmann's "Melusina," Liszt's
+"Prometheus," Rheinberger's "Toggenberg," Schubert's "Song of Miriam,"
+Schumann's ballads and "Advent Hymn," and Weber's "Kampf und Sieg." These
+and others of the same kin are drawn upon as illustrations and for
+analysis in the pages which follow.
+
+Considering the possibilities of the cantata, its adaptability to every
+form of narrative, and the musical inducements it holds out, particularly
+in these days, when a new opera or oratorio must be of extraordinary
+merit to suit the public, it is somewhat remarkable that no more of them
+are written. Mr. Charles Barnard has made this point very aptly and
+forcibly in a short article printed in the "Century" for January, 1886,
+in which he urges the cantata form of composition upon our writers, and
+makes many excellent suggestions.[7] It is certainly an inviting field,
+especially to American composers, among whom but three or four have as
+yet produced works of this kind possessing real merit.
+
+
+[1] Its first use is to be found in the opera of "Enea," performed at
+    Genoa in 1676. Before 1680 it was universally adopted.
+
+[2] It is noteworthy that in this volume occur for the first time the
+    musical terms "adagio," "piu adagio," "affetuoso," "presto," and
+    "allegro." In the "Cantate da Camera a voce sola," published at
+    Bologna (1677) by Gio. Bat. Mazzaferrata, the terms "vivace,"
+    "largo," and "ardito" are also found for the first time.
+
+[3] Geminiani used to relate that Franceschelli, a celebrated performer
+    on the violoncello at the beginning of this century, accompanied one
+    of these cantatas at Rome so admirably, while Scarlatti was at the
+    harpsichord, that the company, being good Catholics, and living in a
+    country where miraculous powers have not yet ceased, were firmly
+    persuaded it was not Franceschelli who had played the violoncello,
+    but an angel that had descended and assumed his shape.--_Burney's
+    History_, vol. iv. p. 169 (1789).
+
+[4] Doctor Arbuthnot, in a humorous pamphlet called out by the operatic
+    war, entitled "Harmony in an Uproar," calls Handel the Nightingale,
+    and Porpora the Cuckoo.
+
+[5] It is curious to remember that the sacred cantatas were not composed
+    for universal fame or for a musical public, but for the use of
+    congregations who probably looked on them as a necessary part of the
+    service, and thought little about the merits of their composition. In
+    those days art-criticism was in its infancy, and they were scarcely
+    noticed beyond the walls of Leipsic till after the composer's
+    death.--_Bitter's Life of Bach_.
+
+[6] Handel's Second German Passion, as it is now generally called,
+    differs entirely from the earlier Passion according to St. John, and
+    bears no analogy at all to the Passion Music of Sebastian Bach. The
+    choruses are expressive or vigorous in accordance with the nature of
+    the words; but none exhibit any very striking form of contrapuntal
+    development; nor do they ever rise to the grandeur of the Utrecht Te
+    Deum or Jubilate.--_Rockstro's Life of Handel_.
+
+[7] The following list of cantatas by Americans hardly sustains Mr.
+    Barnard in his assertion that there are but a few of them: Baker, B.
+    F., "Burning Ship;" "Storm King."--Bechel, J. C., "Pilgrim's
+    Progress;" "The Nativity;" "Ruth."--Bradbury, W. B.,
+    "Esther."--Brandeis, F., "The Ring."--Bristow, G. F., "The Pioneers;"
+    "No More."--Buck, Dudley, "Don Munio;" "Centennial;" "Easter
+    Cantatas;" "The Golden Legend;" "Light of Asia;" "Voyage of
+    Columbus."--Butterfield, J. A., "Belshazzar;" "Ruth."--Chadwick, G.
+    W., "The Viking's Last Voyage."--Damrosch, Leopold, "Ruth and Naomi;"
+    "Sulamith."--Foote, A., "Hiawatha."--Gilchrist, W. W., "Forty-sixth
+    Psalm;" "The Rose."--Gleason, F. G., "God our Deliverer;" "Culprit
+    Fay;" "Praise of Harmony."--Hamerik, A., "Christmas
+    Cantata."--Leavitt, W. J. D., "The Lord of the Sea;" "Cambyses; or,
+    the Pearl of Persia."--Marsh, S. B., "The Saviour;" "King of the
+    Forest."--Paine, J. K., "Oedipus Tyrannus;" "The Nativity;" "Phoebus,
+    Arise;" "Realm of Fancy."--Parker, J. G., "Redemption Hymn."--Parker,
+    H. W., "King Trojan."--Pratt, S. G., "Inca's Downfall."--Root, G. F.,
+    "Flower Queen;" "Daniel;" "Pilgrim Fathers;" "Belshazzar's Feast;"
+    "Haymakers;" "Song Tournament;" "David."--Singer, Otto, "Landing of
+    the Pilgrim Fathers;" "Festival Ode."--Trajetta, Philip, "The
+    Christian's Joy;" "Prophecy;" "The Nativity;" "Day of
+    Rest."--Whiting, G. E., "Dream Pictures;" "Tale of the Viking;"
+    "Lenora;" and many others.
+
+
+
+
+                                    BACH.
+
+
+Johann Sebastian Bach, the most eminent of the world's organ-players and
+contrapuntists, was born at Eisenach, March 21, 1685, and was the most
+illustrious member of a long line of musicians, the Bach family having
+been famous almost from time immemorial for its skill in music. He first
+studied the piano with his brother, Johann Christoph, and the organ with
+Reinecke in Hamburg, and Buxtehude in Lübeck. In 1703 he was court
+musician in Weimar, and afterwards was engaged as organist in Arnstadt
+and Mühlhausen. In 1708 he was court organist, and in 1714 concert-master
+in Weimar. In 1718 he was chapel-master to the Prince von Köthen, and in
+1723 was appointed music-director and cantor at the St. Thomas School in
+Leipsic,--a position which he held during the remainder of his life. He
+has left for the admiration of posterity an almost endless list of vocal
+and instrumental works, including cantatas, chorales, motets,
+magnificats, masses, fugues, sonatas, and fantasies, the "Christmas
+Oratorio," and several settings of the Passion, of which the most famous
+are the "St. John" and "St. Matthew," the latter of which Mendelssohn
+re-introduced to the world in 1829, after it had slumbered an entire
+century. His most famous instrumental work is the "Well-tempered
+Clavichord,"--a collection of forty-eight fugues and preludes, which was
+written for his second wife, Anna Magdalena Bach, to whom he also
+dedicated a large number of piano pieces and songs. His first wife was
+his cousin, Maria Barbara Bach, the youngest daughter of Johann Michael
+Bach, a composer of no common ability. By these two wives he had
+twenty-one children, of whom the most celebrated were Carl Phillipp
+Emanuel, born in 1714, known as the "Berlin Bach;" Johann Christoph
+Friedrich, born in 1732, the "Bücheburger Bach;" and Johann Christian,
+born in 1735, who became famous as the "London Bach." Large as the family
+was, it is now extinct. Bach was industrious, simple, honest, and
+God-fearing, like all his family. He was an incessant and laborious
+writer from necessity, as his compensation was hardly sufficient to
+maintain his large family, and nearly all his music was prepared for the
+service of the church by contract. The prominent characteristics of his
+work are profound knowledge, the clearest statements of form, strength of
+logical sequences, imposing breadth, and deep religious sentiment. The
+latter quality was the outcome of his intense religious nature. Upon
+everyone of his principal compositions he inscribed "S. D. G.," "to the
+glory of God alone." He died July 28, 1750, and was buried at Leipsic;
+but no cross or stone marks the spot where he lies. His last composition
+was the beautiful chorale, "Wenn wir in höchsten Nöthen sein," freely
+translated, "When my last hour is close at hand," as it was written in
+his last illness. The only record of his death is contained in the
+official register: "A man, aged sixty-seven, M. Johann Sebastian Bach,
+musical director and singing-master at the St. Thomas School, was carried
+to his grave in the hearse, July 30, 1750."
+
+
+                      Ich hatte viel Bekümmerniss.
+
+The cantata with the above title, best known in English as "My Heart was
+full of Heaviness," was the first sacred piece in this form which Bach
+wrote. Its date is 1714, in which year he was living at Weimar, and its
+composition grew out of a difficulty which he had with the elders of the
+Liebfrauenkirche at Halle, touching his application for the position of
+organist. It occasioned him great sorrow, and it was while in this sad
+plight that he wrote the cantata. It was composed for the third Sunday
+after Trinity, June 17, and consists of eleven numbers,--an instrumental
+prelude, four choruses, three arias, a duet, and two recitatives.
+
+The prelude, which is brief and quiet in character, introduces the
+opening chorus ("Deep within my Heart was Sorrowing and great
+Affliction"), which in turn leads to the first aria ("Sighing, Mourning,
+Sorrow, Tears waste away my troubled Heart"), a tender and beautiful
+number for soprano, with oboe and string accompaniment. It is followed by
+the tenor recitative and aria, "Why hast Thou, O my God, in my sore Need
+so turned Thy Face from me?" in which the feeling of sorrow is
+intensified in utterance. The chorus, "Why, my Soul, art thou vexed?" a
+very pathetic number, closes the mournful but beautiful first part of the
+cantata.
+
+The second part is more tranquil and hopeful. It opens with a duet for
+soprano and bass, the two parts representing the soul and Christ, and
+sustaining a most expressive dialogue, leading up to a richly harmonized
+chorus ("O my Soul, be content and be thou peaceful") in which a chorale
+is introduced with consummate skill. A graceful tenor aria with a
+delightful and smoothly flowing accompaniment ("Rejoice, O my Soul,
+change Weeping to Smiling") follows and leads to the final number, which
+is based on the same subject as that of the "Hallelujah" in Handel's
+"Messiah." All the voices give out the words, "The Lamb that for us is
+slain, to Him will we render Power and Glory," with majestic effect;
+after which the solo bass utters the theme, "Power and Glory and Praise
+be unto Him forevermore," introducing the "Hallelujah," which closes the
+work in a burst of tremendous power, by voices and instruments.
+
+
+                              Gottes Zeit.
+
+During the first half of the period in which Bach resided at Weimar,
+occupying the position of court and chamber musician to Duke Wilhelm
+Ernst, he wrote three cantatas in the old church form which are notable
+as being the last he composed before adopting the newer style, and as the
+most perfect of that kind extant. The first of these, "Nach dir, Herr,
+verlanget mich," is based upon the first two verses of the Twenty-fifth
+Psalm. The second, "Aus der Tiefe rufe ich," includes the whole of the
+One hundred and thirtieth Psalm and two verses of the hymn "Herr Jesu
+Christ, du höchstes Gut." The third and most famous of the trio, "Gottes
+Zeit ist die allerbeste Zeit" ("God's time is the best of all"), is
+generally known as the "Actus Tragicus," and sometimes as the "Mourning
+Cantata." Of its origin Spitta says:--
+
+  "Judging by its contents it was designed for the mourning for some man,
+  probably of advanced age, to whom the song of Simeon could be suitably
+  applied. No such death took place in the ducal house at this time, for
+  Prince Johann Ernst died when a youth, and also when Bach's style of
+  composition had reached a different stage. Possibly the cantata has
+  reference to Magister Philipp Grossgebauer, the rector of the Weimar
+  school before its reorganization, who died in 1711; at least, I can
+  find no other suitable occasion. The contrast between the spirit of the
+  Old and New Testaments,--between the wrath of an avenging God and the
+  atoning love of Christ,--which had already appeared in the One hundred
+  and thirtieth Psalm, is the germ and root of this cantata to such a
+  degree that it is evident that Bach had fully realized by this time how
+  fertile a subject for treatment it was. It contains no chorus of such
+  depth and force as those of the One hundred and thirtieth Psalm. Its
+  character is much more entirely individual and personal, and so it has
+  a depth and intensity of expression which reach the extreme limits of
+  possibility of representation by music. The arrangement of the poetic
+  material is most excellent; it does not wholly consist of Scripture
+  texts and verses of hymns; and in several fit and expressive thoughts,
+  which are freely interspersed, we can almost recognize Bach's own hand.
+  If such be the case, the whole arrangement of the poetry may with
+  reason be ascribed to him."
+
+The introduction to the work is a quiet, tender movement in sonata form,
+written for two flutes, two viol-da-gambas and figured bass, which gives
+out some of the themes in the middle of the cantata. The opening chorus
+("God's own Time is the best, ever best of all. In Him we live, move, and
+have our Being, as long as He wills. And in Him we die at His good Time")
+is very descriptive in character, opening with a slow and solemn
+movement, then passing to a quick fugue, and closing with phrases of
+mournful beauty to suit the last sentence of the text. A tenor solo
+follows, set to the words, "O Lord, incline us to consider that our Days
+are numbered; make us apply our Hearts unto Wisdom," and accompanied by
+the flutes, leading into a mournful aria for the bass, which forms the
+second part of the tenor solo ("Set in order thine House, for thou shalt
+die and not live"). The choir resumes with a new theme ("It is the old
+Decree, Man, thou art mortal"), in which the lower voices carry a double
+fugue, the soprano sings alone ("Yea, come, Lord Jesus"), and the
+instruments have the melody of the old hymn:--
+
+  "I have cast all my care on God,
+  E'en let Him do what seems Him good;
+  Whether I die, or whether live,
+      No more I'll strive.
+  But all my will to Him will give."
+
+Of this effective movement and its successor Spitta says:--
+
+  "The design is clear. The curse of death has been changed into blessing
+  by the coming of Christ, and that which mankind dreaded before, they
+  now stretch out entreating hands to; the bliss of the new condition of
+  things shines out in supernatural glory against the dark background of
+  a dispensation that has been done away. This is the idea of the
+  concerted vocal parts; and the fact that thousands upon thousands have
+  agreed in the joy of this faith is shown by the chorale tune now
+  introduced; for to the understanding listener its worldless sounds
+  convey the whole import of the hymn which speaks so sweetly of comfort
+  in the hour of death, sounds which must recall to every pious heart all
+  the feelings they had stirred when, among the chances and changes of
+  life, this hymn had been heard,--feelings of sympathy with another's
+  grief or of balm to the heart's own anxiety."
+
+The alto voice follows with the words spoken on the cross ("Into Thy
+Hands my Spirit I commend"), to which the bass replies in an arioso
+("Thou shalt be with Me to-day in Paradise"). The next number is a
+chorale ("In Joy and Peace I pass away whenever God willeth") sung by the
+alto, the bass continuing its solo at the same time through a portion of
+the chorale. The final chorus is the so-called fifth Gloria:--
+
+  "All glory, praise, and majesty
+  To Father, Son, and Spirit be,
+  The holy, blessed Trinity;
+        Whose power to us
+        Gives victory
+  Through Jesus Christ.    Amen."
+
+The "Actus Tragicus" was one of the youthful compositions of Bach, but it
+has always attracted the notice of the best musical critics. It was a
+great favorite with Mendelssohn. Spitta says:--
+
+  "It is a work of art well rounded off and firm in its formation, and
+  warmed by the deepest intensity of feeling even in the smallest
+  details."
+
+Hauptmann writes to Jahn:--
+
+  "Yesterday, at the Euterpe concert, Bach's 'Gottes Zeit' was given.
+  What a marvellous intensity pervades it, without a bar of
+  conventionality! Of the cantatas known to me, I know none in which such
+  design and regard are had to the musical import and its expression."
+
+
+                       Festa Ascensionis Christi.
+
+The cantata beginning with the words, "Wer da glaubet und getauft wird"
+("Whoso believeth and is baptized"), commonly known as the Ascension
+cantata, was written for four voices, with accompaniment of two oboes,
+two violins, viola, and "continuo,"--the latter word implying a bass
+part, the harmonies indicated by figures from which the organist built up
+his own accompaniment. The original score has been lost; but it has been
+reconstructed from the parts, which are preserved in the Royal Library at
+Berlin.
+
+The cantata is in five numbers. A short prelude of a quiet and cheerful
+character introduces the stately opening chorus ("Who believeth and
+obeyeth will be blest forever"). Another brief prelude prepares the way
+for the brilliant tenor aria ("Of Love, Faith is the Pledge and Token"),
+which leads up to the chorale, "Lord God, my Father, holy One," based
+upon the old chorale, "Wie schön leucht uns der Morgenstern" ("How
+brightly shines the Morning Star"), which has always been a favorite in
+the church service, and which more than one composer has chosen for the
+embellishment of his themes. The chorale is not employed in its original
+form, but is elaborated with all the contrapuntal skill for which Bach
+was so famous. The next number is a short recitative for the bass voice
+("Ye Mortals, hear, all ye who would behold the Face of God"), and leads
+to a stately bass aria ("Through Faith the Soul has Eagle's Pinions").
+The cantata closes, after the customary manner of Bach, with a strong,
+earnest chorale ("Oh, give me Faith, my Father!"), in plain, solid
+harmony, for the use of the congregation, thus forming an effective
+devotional climax to the work.
+
+
+                            Ein' Feste Burg.
+
+  "A safe stronghold our God is still,
+    A trusty shield and weapon;
+  He'll help us clear from all the ill
+    That hath us now o'ertaken.
+  The ancient Prince of Hell
+  Hath risen with purpose fell;
+  Strong mail of craft and power
+  He weareth in this hour.
+    On Earth is not his fellow.
+
+  *       *       *       *       *
+
+  "And were this world all devils o'er,
+    And watching to devour us,
+  We lay it not to heart so sore,
+    Not they can overpower us.
+  And let the Prince of Ill
+  Look grim as e'er he will,
+  He harms us not a whit;
+  For why? His doom is writ,
+    A word shall quickly slay him."
+
+There is now but little question that Martin Luther not only wrote the
+words but the music of the grand old hymn, the first and third stanzas of
+which, taken from Carlyle's free and rugged translation, are given above.
+Sleidan, a contemporary historian, indeed says that "Luther made a tune
+for it singularly suited to the words and adapted to stir the heart." The
+date of its composition is a matter of controversy; but it is clear that
+it must have been either in 1529 or 1530, and most writers agree that it
+was just before the Diet at Augsburg, where it was sung. Niederer, in a
+work published at Nuremberg, 1759, fixes the date as 1530, and finds it
+in Preussen's psalm-book, printed in 1537. Winterfeld observes it for the
+first time in the "Gesangbuch" of the composer Walther, a friend of
+Luther. Its usual title is, "Der XLVI. Psalm: Deus noster Refugium et
+virtus, pp. D., Martin Luther." It matters little, however, the exact
+year in which the sturdy old Reformer wrote the hymn which has stirred
+the human heart more than any other. It is indissolubly connected with
+his name, and every line of it is a reflex of his indomitable and
+God-fearing nature. Heine and Carlyle have paid it noble tributes. The
+German poet says:--
+
+  "The hymn which he composed on his way to Worms,[8] and which he and
+  his companions chanted as they entered that city, is a regular
+  war-song. The old cathedral trembled when it heard these novel sounds.
+  The very rooks flew from their nests in the towers. That hymn, the
+  Marseillaise of the Reformation, has preserved to this day its potent
+  spell over German hearts."
+
+Carlyle still more forcibly says:--
+
+  "With words he had now learned to make music; it was by deeds of love
+  or heroic valor that he spoke freely. Nevertheless, though in imperfect
+  articulation, the same voice, if we listen well, is to be heard also in
+  his writings, in his poems. The one entitled 'Ein' feste Burg,'
+  universally regarded as the best, jars upon our ears; yet there is
+  something in it like the sound of Alpine avalanches, or the first
+  murmur of earthquakes, in the very vastness of which dissonance a
+  higher unison is revealed to us. Luther wrote this song in times of
+  blackest threatenings, which, however, could in no sense become a time
+  of despair. In these tones, rugged and broken as they are, do we hear
+  the accents of that summoned man, who answered his friends' warning not
+  to enter Worms, in this wise: 'Were there as many devils in Worms as
+  these tile roofs, I would on.'"
+
+It was the battle-song of the Reformation, stirring men to valiant deeds;
+and it did equal service in sustaining and consoling the Reformers in
+their darkest hours. "Come, Philip, let us sing the Forty-sixth Psalm,"
+was Luther's customary greeting to Melanchthon, when the gentler spirit
+quailed before approaching danger, or success seemed doubtful. In music
+it has frequently served an important purpose. Not only Bach, but other
+composers of his time arranged it. Mendelssohn uses it with powerful
+effect in his Reformation symphony. Nicolai employs it in his Fest
+overture. Meyerbeer more than once puts it in the mouth of Marcel the
+Huguenot, when dangers gather about his master, though the Huguenots were
+not Lutherans but Calvinists; and Wagner introduces it with overwhelming
+power in his triumphal Kaiser March.
+
+Bitter, in his Life of Bach, says:--
+
+  "The bicentenary Reformation Festival was celebrated in October and
+  November, 1717, and at Weimar especially it was, as an old chronicle
+  tells us, a great jubilee. Bach composed his cantata, 'Ein' feste
+  Burg,' for the occasion. In this piece it is clear that he had passed
+  through his first phase of development and reached a higher stage of
+  perfection."
+
+Winterfeld is inclined to the same belief; but Spitta, in his exhaustive
+biography of Bach, argues that it must have been written either for the
+Reformation Festival of 1730, or for the two hundredth anniversary of
+Protestantism in Saxony, May 17, 1739. The former date would bring its
+composition a year after the completion of his great Passions music, and
+four years before his still more famous "Christmas Oratorio,"--a period
+when he was at the height of his productive power; which favors the
+argument of Spitta, that in 1717 a chorus like the opening one in the
+cantata was beyond his capacity.[9] In the year 1730 Bach wrote three
+Jubilee cantatas, rearranged from earlier works, and Spitta claims that
+it was only about this period that he resorted to this practice. Further,
+he adds that "the Chorale Chorus [the opening number], in its grand
+proportions and vigorous flow, is the natural and highest outcome of
+Bach's progressive development, and he never wrote anything more
+stupendous."
+
+The cantata has eight numbers, three choruses and five solos. The solo
+numbers are rearranged from an earlier cantata, "Alles was von Gott
+geboren" ("All that is of God's creation"), written for the third Sunday
+in Lent, March 15, 1716. The opening number is a colossal fugue based
+upon a variation on the old melody and set to the first verse of the
+Luther hymn. It is followed by a duet for soprano and bass, including the
+second verse of the hymn and an interpolated verse by Franck,[10] who
+prepared the text. The third and fourth numbers are a bass recitative and
+soprano aria, the words also by Franck, leading up to the second great
+chorale chorus set to the words of the third stanza of the hymn,
+
+  "And were the world all devils o'er,"
+
+of which Spitta says:--
+
+  "The whole chorus sings the _Cantus firmus_ in unison, while the
+  orchestra plays a whirl of grotesque and wildly leaping figures,
+  through which the chorus makes its way undistracted and never misled,
+  an illustration of the third verse, as grandiose and characteristic as
+  it is possible to conceive."
+
+The sixth number is a recitative for tenor followed by a duet for alto
+and tenor ("How blessed then are they who still on God are calling"). The
+work closes with a repetition of the chorale, set to the last verse of
+the hymn, sung without accompaniment. The cantata is colossal in its
+proportions, and is characterized throughout by the stirring spirit and
+bold vigorous feeling of the Reformation days whose memories it
+celebrated.
+
+
+[8] This assumption, repeated by others, grows out of the similarity of
+    sentiment in the third stanza to that of Luther's famous reply when
+    he was urged not to attend the Diet of Worms.
+
+[9] There is yet a fourth rearrangement, which we may assign to 1730. The
+    assertion is no doubt well founded that in this year the celebration
+    of the Reformation Festival was considered of special importance, and
+    kept accordingly; and it is evident that the cantata "Ein' feste
+    Burg" must have been intended for some such extraordinary
+    solemnity.--_Spitta_, vol. ii. p. 470.
+
+    The Reformation Festival had no doubt a very distinct poetical
+    sentiment of its own; and when any special occasion took the
+    precedence, as in 1730 and 1739, the years of Jubilee, it would be
+    misleading to seek for any close connection between the sermon and
+    the cantata. Thus the cantata, "Ein' feste Burg," may very well have
+    been connected with the sermon in 1730; still, it is possible that it
+    was not written till 1739.--_Ibid._, vol. iii. p. 283.
+
+[10] Salomo Franck, a poet of more than ordinary ability, was born at
+    Weimar, March 6, 1759. He published several volumes of sacred lyrics.
+
+
+
+
+                                    BALFE.
+
+
+Michael William Balfe was born at Dublin, Ireland, May 15, 1808. Of all
+the English opera-composers, his career was the most versatile, as his
+success, for a time at least, was the most remarkable. At seven years of
+age he scored a polacca of his own for a band. In his eighth year he
+appeared as a violinist, and in his tenth was composing ballads. At
+sixteen he was playing in the Drury Lane orchestra, and about this time
+began taking lessons in composition. In 1825, aided by the generosity of
+a patron, he went to Italy, where for three years he studied singing and
+counterpoint. In his twentieth year he met Rossini, who offered him an
+engagement as first barytone at the Italian opera in Paris. He made his
+début with success in 1828, and at the close of his engagement returned
+to Italy, where he appeared again on the stage. About this time
+(1829-1830) he began writing Italian operas, and before he left the
+country had produced three which met with considerable success. In 1835
+he returned to England; and it was in this year that his first English
+opera, "The Siege of Rochelle," was brought out. It was played
+continuously at Drury Lane for over three months. In 1835 appeared his
+"Maid of Artois;" in 1837, "Catharine Grey" and "Joan of Arc;" and in
+1838, "Falstaff." During these years he was still singing in concerts and
+opera, and in 1840 undertook the management of the Lyceum. His finest
+works were produced after this date,--"The Bohemian Girl," in 1843; "The
+Enchantress," in 1844; "The Rose of Castile," "La Zingara," and
+"Satanella," in 1858; and "The Puritan's Daughter" in 1861. His last
+opera was "The Knight of the Leopard," known in Italian as "Il
+Talismano," which has also been performed in English as "The Talisman."
+He married Mademoiselle Rosen, a German singer, whom he met in Italy in
+1835. His daughter Victoire, who subsequently married Sir John Crampton,
+and afterwards the Duc de Frias, also appeared as a singer in 1856. Balfe
+died Oct. 20, 1870, upon his own estate in Hertfordshire.
+
+
+                                Mazeppa.
+
+The cantata of "Mazeppa," the words written by Jessica Rankin, was one of
+the last productions of Balfe, having been produced in 1862, a year after
+"The Puritan's Daughter," and several years after he had passed his
+musical prime. The text is based upon the familiar story as told by Byron
+in his poem of the wild ride of the page of King Casimir, "The Ukraine's
+hetman, calm and bold," and of the
+
+              "noble steed,
+  A Tartar of the Ukraine breed,
+  Who looked as though the speed of thought
+  Was in his limbs."
+
+The main incidents in the story--the guilty love of the page Mazeppa for
+the Count Palatine's Theresa, his surprise and seizure by the spies, her
+mysterious fate, the wild flight of the steed with his wretched load
+through forest and over desert, and the final rescue by the Cossack
+maid--are preserved, but liberties of every description are taken in the
+recital of the narrative. It is but a feeble transcript of Byron's
+glowing verse, and in its diluted form is but a vulgar story of ordinary
+love, jealousy, and revenge.
+
+The cantata comprises twelve numbers. The first is a prelude in triplets
+intended to picture the gallop of the steed, a common enough device since
+the days when Virgil did it much better without the aid of musical
+notation, in his well-known line,--
+
+  "Quadrupedante putrem sonitu quatit ungula campum."
+
+It leads to a stirring chorus which is followed by still another, based
+upon a very pleasant melody. The third number is a solo for barytone, in
+which the Count gives expression to his jealousy, which brings us to the
+heroine, who makes her appearance in a florid number. The next is a duet
+for Theresa and Mazeppa, followed by a solo for the tenor (Mazeppa) which
+is very effective. The chorus then re-enter and indicate the madness of
+the Count in words, the following sample of which will show their
+unsingableness:--
+
+  "Revenge fires his turbulent soul;
+  No power his boundless rage can control."
+
+The eighth number is another duet for the Countess and Mazeppa in the
+conventional Italian style. It is followed by a graceful aria for tenor,
+which leads up to the best number in the work, a trio in canon form. A
+final aria by the Count leads to the last chorus, in which the repetition
+of the triplet gallop forebodes the ride into the desert and the
+punishment of the page. As might be inferred from the description, the
+cantata is like Hamlet with _Hamlet_ left out. There is very little of
+Mazeppa and his Tartar steed in the work, but very much of the jealousy
+and revenge which lead up to the penalty.
+
+
+
+
+                               BEETHOVEN.
+
+
+Ludwig von Beethoven was born Dec. 16, 1770, at Bonn, Germany. His father
+was a court-singer in the Chapel of the Elector of Cologne. The great
+composer studied in Vienna with Haydn, with whom he did not always agree,
+however, and afterwards with Albrechtsberger. His first symphony appeared
+in 1801,--his earlier symphonies, in what is called his first period,
+being written in the Mozart style. His only opera, "Fidelio," for which
+he wrote four overtures, was first brought out in Vienna, in 1805; his
+oratorio, "Christ on the Mount of Olives," in 1812; and his colossal
+Ninth Symphony, with its choral setting of Schiller's "Ode to Joy," in
+1824. In addition to his symphonies, his opera, oratorios, and masses,
+and the immortal series of piano sonatas, which were almost revelations
+in music, he developed chamber music to an extent far beyond that reached
+by his predecessors, Mozart and Haydn. His symphonies exhibit surprising
+power, a marvellous comprehension of the deeper feelings in life, and the
+influences of nature, both human and physical. He wrote with the deepest
+earnestness, alike in the passion and the repose of his music, and he
+invested it also with a genial humor as well as with the highest
+expression of pathos. His works are epic in style. He was the great
+tone-poet of music. His subjects were always lofty and dignified, and to
+their treatment he brought not only a profound knowledge of musical
+technicality, but intense sympathy with the innermost feelings of human
+nature, for he was a humanitarian in the broadest sense. By the common
+consent of the musical world he stands at the head of all composers since
+his time, and has always been their guide and inspiration. He died March
+26, 1827, in the midst of a raging thunder-storm,--one of his latest
+utterances being a recognition of the "divine spark" in Schubert's music.
+
+
+                          The Ruins of Athens.
+
+The most important compositions by Beethoven in 1811 were the music to
+two dramatic works written by the poet Kotzebue to celebrate the opening
+of the new theatre at Pesth, Hungary. One of these was a prologue in one
+act with overture and choruses, entitled "König Stephan,[11] Ungarn's
+erster Wohlthäter" ("King Stephen, Hungary's first Benefactor"); the
+other, an allegorical sketch, called "The Ruins of Athens," the subject
+of which is thus concisely stated by Macfarren:--
+
+  "Minerva has been since the golden age of Grecian art, the glorious
+  epoch of Grecian liberty, for some or other important offence against
+  the Olympian tribunal, the particulars of which I am unable to furnish,
+  fettered with chains of heaven-wrought adamant by the omnipotent
+  thunderer within a rock impenetrable alike to the aspirations of man
+  and to the intelligence of the goddess, a rock through which neither
+  his spirit of inquiry could approach, nor her wisdom diffuse itself
+  upon the world. The period of vengeance is past; Jove relents, and the
+  captive deity is enfranchised. The first steps of her freedom naturally
+  lead Minerva to the scene of her ancient greatness. She finds Athens,
+  her Athens, her especially beloved and most carefully cherished city,
+  in ruins, the descendants of her fostered people enslaved to a
+  barbarous and fanatic race; the trophies of her former splendor, the
+  wrecks of that art which is the example and the regret of all time,
+  appropriated to the most degrading purposes of vulgar householdry; and
+  the frenzied worshippers of a faith that knows not the divine presence
+  in its most marvellous manifestation, the intellect of man. Here is no
+  longer the home of wisdom and the arts; so the liberated goddess
+  proceeds to Pesth, where she establishes anew her temple in the new
+  theatre, and presides over a triumphal procession in honor of the
+  Emperor, its patron, under whose auspices the golden age is to prevail
+  again."
+
+After the opening performances the music to "King Stephen" was laid aside
+until 1841, when it was given in Vienna; but the after-piece, "The Ruins
+of Athens," was presented again during Beethoven's lifetime upon the
+occasion of the opening of a theatre in that city. The new text, which
+was prepared for it by Carl Meisl, was entitled "Die Weihe des Hauses"
+("The Dedication of the House"), and Beethoven wrote for it the overture
+which is now so famous, solos for soprano and violin, and a final chorus
+with dances.
+
+The music to the "Ruins of Athens" comprises eight numbers. The overture
+is very light and unpretentious, and by many critics, among them
+Ferdinand Ries, Beethoven's pupil, has been deemed unworthy of the
+composer. Thayer says:--
+
+  "When the overture was first played at Leipsic, people could hardly
+  trust their ears, could hardly believe it to be the work of the author
+  of the symphonies, of the overtures to 'Coriolan,' 'Egmont,' and
+  'Leonore' (Fidelio)."
+
+The opening number is a chorus ("Daughter of mighty Jove, awake!"), which
+is followed by a beautiful duet ("Faultless, yet hated"), voicing the
+lament of two Greek slaves for the destruction of their temples and the
+degradation of their land. The duet is very pathetic in character, and
+the melody, carried by the two voices, leaves an impression of sadness
+which cannot be resisted. The third number is the well-known chorus of
+Dervishes sung in unison by tenors and basses, thus forming a kind of
+choral chant. The melody is a weird one, and full of local color, but its
+powerful effect is gained by the manner of treatment. It begins
+pianissimo and is gradually worked to the extreme pitch of true Dervish
+delirium, culminating in the exclamation, "Great Prophet, hail!" and then
+gradually subsiding until it dies away, apparently from the exhaustion of
+such fervor. It is followed by the familiar Turkish march, founded on the
+theme of the Variations in D, op. 76, very simple in construction,
+Oriental in its character throughout, and peculiarly picturesque in
+effect. After an instrumental movement behind the scenes, a triumphal
+march and chorus ("Twine ye a Garland") is introduced. The seventh number
+is a recitative and aria by the high priest with chorus, which lead to a
+beautifully melodious chorus ("Susceptible Hearts"). An adagio aria for
+bass ("Deign, great Apollo") and a vigorous chorus ("Hail, our King")
+bring the work to a close. The piece was first brought out in England by
+Mendelssohn in 1844 at one of the Philharmonic Society's concerts; and
+ten or twelve years later an English version of it was performed at the
+Prince's Theatre, when the Royal Exchange and statue of Wellington were
+substituted for the Pesth Theatre, and Shakspeare took the place of the
+Emperor of Austria, concerning the good taste of which Macfarren pithily
+says:--
+
+  "Modifications admirably adapted to the commercial character and the
+  blind vainglory that so eminently mark the British nation."
+
+
+[11] Born in the year 977 at Gran, and known in Austrian and Hungarian
+    history as Saint Stephen.
+
+
+                          The Glorious Moment.
+
+In September, 1814, the same year in which the Allies entered Paris, the
+Vienna Congress met to adjust the relations of the various European
+States. It was an occasion of great moment in the ancient city,--this
+gathering of sovereigns and distinguished statesmen,--and the magistracy
+prepared themselves to celebrate it with befitting pomp and ceremony.
+Beethoven was requested to set a poem, written by Dr. Aloys Weissenbach,
+of Salzburg, in cantata form, which was to be sung as a greeting to the
+royal visitors. It was "Der glorreiche Augenblick," sometimes written
+"Der heilige Augenblick" ("The Glorious Moment"). The time for its
+composition was very brief, and was made still shorter by the quarrels
+the composer had with the poet in trying to reduce the barbarous text to
+a more inspiring and musical form. He began the composition in September,
+and it was first performed on the 29th of the following November,
+together with the "Battle of Vittoria," and the A major (Seventh)
+symphony, written in the previous year. The concert took place in the
+presence of the sovereigns and an immense audience which received his
+works with every demonstration of enthusiasm, particularly "The Glorious
+Moment,"--a moment which all hailed as the precursor of a happier epoch
+for Europe, soon to be freed from Napoleonic oppression. The occasion was
+one of great benefit to the composer at a time when he was sorely in need
+of assistance. The distinguished foreign visitors thronged the salon of
+the Archduke Rudolph to pay him homage. Handsome gifts were lavished upon
+him so that he was enabled to make a permanent investment of 20,000 marks
+in shares of the bank of Austria. Brilliant entertainments were given by
+the Russian ambassador, Prince Rasoumowsky,[12] in his palace, at one of
+which Beethoven was presented to the sovereigns. The Empress of Russia
+also gave him a reception and made him magnificent presents. Schindler
+says:
+
+  "Not without feeling did the great master afterwards recall those days
+  in the Imperial Palace and that of the Russian Prince; and once with a
+  certain pride remarked that he had allowed the crowned heads to pay
+  court to him, and that he had carried himself thereby proudly."
+
+The stern old republican, however, who could rebuke Goethe for taking off
+his hat in the presence of royalty, spoke such sentiments jocosely. He
+expresses his real feelings in a letter written to the attorney, Herr J.
+Kauka, of Prague:--
+
+  "I write nothing about our monarchs and monarchies, for the newspapers
+  give you every information on these subjects. The intellectual realm is
+  the most precious in my eyes, and far above all temporal and spiritual
+  monarchies."
+
+The cantata itself, while not one of the most meritorious of the
+composer's works, for reasons which are sufficiently apparent, still is
+very effective in its choruses. The detailed parts do not need special
+description; they are six in number, as follows: No. 1, chorus ("Europa
+steht"); No. 2, recitative and chorus ("O, seht sie nah und näher
+treten"); No. 3, grand scena, soprano, with violin obligato and chorus
+("O Himmel, welch' Entzücken"); No. 4, soprano solo and chorus ("Das Auge
+schaut"); No. 5, recitative and quartet for two sopranos, tenor, and bass
+("Der den Bund im Sturme festgehalten"); No. 6, chorus and fugue ("Es
+treten hervor die Scharen der Frauen"), closing with a stirring "Heil und
+Gluck" to Vindobona, the ancient name of the city. In 1836, nine years
+after the composer's death, the cantata appeared with a new poetical
+setting by Friedrich Rochlitz, under the title of "Preis der Tonkunst"
+("Praise of Music"), in which form it was better adapted for general
+performance.
+
+Among other compositions of Beethoven which assimilate to the cantata
+form, are Op. 112, "Meeresstille und glückliche Fahrt," for four voices,
+with orchestra accompaniment; Op. 121, "Opferlied," for soprano solo,
+with chorus and orchestra accompaniment; and Op. 122, "Bundeslied," for
+two solo voices, three-part chorus, and accompaniment of two clarinets,
+two bassoons, and two horns.
+
+
+[12] Prince Rasoumowsky, who was the Russian ambassador at the Austrian
+    Court for twenty years, was himself a thorough musician, and ranked
+    as one of the best players in Vienna, of the Haydn and Beethoven
+    quartets. His instrument was the second violin.
+
+
+
+
+                                    BENEDICT.
+
+
+Sir Julius Benedict, whose name is so intimately connected with music in
+England, was born at Stuttgart, Nov. 27, 1804. After a short period of
+study with Hummel at Weimar he became a pupil of Weber. He progressed so
+rapidly that at the age of nineteen he conducted operatic performances in
+Vienna, and a few years afterwards was leader at the San Carlo in Naples,
+where he produced his first opera, "Giacinta ed Ernesto." In 1835 he went
+to Paris and thence to London, where he remained until his death. In 1836
+he led the orchestra at the Lyceum Theatre, and was also conductor at
+Drury Lane during the memorable seasons in which the best of Balfe's
+operas were brought out. It was during this period also that he produced
+two of his own operas,--"The Brides of Venice" and "The Crusaders," which
+are ranked among his best works of this class. In 1850 he accompanied
+Jenny Lind on her memorable tour through this country. On his return to
+England he was engaged as conductor at Her Majesty's Theatre, and
+afterwards at Drury Lane. In 1860 he produced the cantata of "Undine;" in
+1862 the opera "Lily of Killarney;" in 1863 the cantata "Richard Coeur de
+Leon;" in 1864 the operetta "Bride of Song;" in 1866 the cantata "St.
+Cecilia;" and in 1870 the oratorio "St. Peter." In 1871 he received the
+honor of knighthood, and in 1873 brought out a symphony which met with
+great success. In 1874, the occasion of his seventieth birthday, he was
+made Knight Commander of the orders of Francis and Joseph and of
+Frederic, Austrian and Wurtembergian decorations. Nearly every sovereign
+in Europe had thus honored him. He was also conductor of the London
+Monday Popular Concerts for many years, and directed many chamber
+concerts. He died full of honors in June, 1885.
+
+
+                              St. Cecilia.
+
+The legend of St. Cecilia for two centuries has inspired the poet and
+composer, and the custom of celebrating her festival has obtained in
+nearly all European countries during the same period. The earliest
+observance was at Evreux, France, in 1571. The first celebration in
+England of which any record remains was that of 1683; though it is clear
+from the accounts of musical writers in the seventeenth century that the
+custom had been practised many years prior to that date. From 1683 to
+1750 St. Cecilia festivals were given annually in London, and for these
+occasions an ode was written and set to music.[13] In the latter year the
+distinctive name of the festival fell into disuse, though large musical
+festivals were frequently held after that year on the saint's day. In
+France regular entertainments were given on St. Cecilia's Day from 1573
+to 1601, when the record terminates. In Italy the anniversary of the
+saint has not been celebrated except as a church festival. In Germany the
+custom prevailed as early as the sixteenth century; and in the next
+century Cecilia festivals were quite common in Spain. Prior to Benedict's
+work the most modern composition having the legend for its basis was a
+cantata by Van Bree, of Amsterdam, written in 1845.
+
+These preliminaries will enable the reader the better to understand the
+introduction which Mr. Chorley has written to the text of the cantata by
+Benedict, composed for the Norwich Festival of 1866. Mr. Chorley says:--
+
+  "It has long been a favorite fancy of mine to treat the legend of St.
+  Cecilia for music with a view to the possible revival of such
+  celebrations as were held in gone-by years, when English sympathy for
+  the art was more limited in every respect than at the present time. It
+  is true that the names of Dryden and Addison among the poets, and of
+  Handel among the musicians, who have made 'divine Cecilia's' praise
+  immortal, might be thought to deter anyone from dealing with the
+  subject. But theirs were merely votive odes indirectly bearing on the
+  power of the art of which Cecilia is patron saint. This cantata of mine
+  sets forth her story, which, so far as I am aware, has not been done
+  before in any of the works produced for the Cecilian festivals in
+  England. All who are familiar with the accepted legend, as told in the
+  'Legenda Aurea' of Jacobus Januensis, Archbishop of Genoa, will
+  perceive that I have treated it with a certain liberty. Some of the
+  minor incidents--such as the conversion and martyrdom of Tiburtius, the
+  brother of Valerianus--have been omitted with a view of avoiding the
+  introduction of secondary persons, and of concentrating the main
+  interest in the martyr heroine. Further, the catastrophe which (to cite
+  Dryden's known line in defiance of its original import)
+
+  "Raised a mortal to the skies,"
+
+  has been simplified. The legend narrates that after the agony of slow
+  fire, which failed to kill the Christian bride, the sword ended her
+  days. A literal adherence to this tradition might have weakened the
+  closing scene by presenting two situations of the same character.
+  Others must judge how far I have been indiscreet, or the reverse, in
+  its omission."
+
+The story of the cantata is strikingly similar to that which forms the
+theme of Donizetti's opera "Il Poliuto," though the manner of the
+conversions differs. In the former it is Valerianus, the lover of
+Cecilia, who is turned from heathenism by the angelic vision. In the
+latter it is Paulina, the wife of the Roman convert Polyutus, who
+witnesses the divine illumination and hears the celestial harps, which
+induce her to abjure the worship of the gods and join her husband in
+martyrdom. It is in fact the old, old story of the persecutions of a new
+faith by the old. Cecilia, though married to Valerianus, hears the divine
+call summoning the bride away from her lover until he shall have been
+converted. She appeals to Heaven in his behalf. A vision of angels
+appears to him and their songs win his soul. The infuriated prefect, who
+has but just performed the rites of their marriage, orders their
+death,--Valerianus to be beheaded, and Cecilia to die by the slow
+martyrdom of fire. The tragedy of the former is left to the imagination.
+Cecilia dies surrounded by the angels and hears their voices:--
+
+  "Before mine eyes, already dim,
+    Doth heaven unclose the gate;
+  I hear the choiring seraphim
+    Around the throne that wait.
+  To join the song of that bright choir
+    Thy mercy sets me free;
+  And so I triumph o'er the fire,
+    And rise, O Lord, to Thee."
+
+The work contains thirteen numbers, and the solos are divided as follows:
+Cecilia, soprano; Valerianus, tenor; the Prefect of Rome, bass; a
+Christian woman, contralto. The remaining numbers are assigned to
+choruses of Roman citizens, Christians, and angels. A tender and
+sorrowful prelude, foreshadowing the tragedy, introduces a bright and
+joyous wedding chorus ("Let the Lutes play their loudest"), which in its
+middle part is divided between male and female choir, returning to
+four-part harmony in the close. The next number is an ecstatic love-song
+for Valerianus ("The Love too deep for Words to speak"), which leads up
+to a scena and duet for Valerianus and Cecilia ("O my Lord, if I must
+grieve you"), which is very dramatic in its texture. The conversion
+music, including an obligato soprano solo with chorus of angels ("Praise
+the Lord"), recitative and air for tenor with choral responses ("Cease
+not, I pray you"), and an animated chorus of angels ("From our Home"),
+follows, and closes the first part.
+
+The second part opens with the curse of the prefect, a very passionate
+aria for bass ("What mean these Zealots vile?"), following which in
+marked contrast is a lovely aria for contralto ("Father, whose Blessing
+we entreat"). The next number, a quartet with full choral accompaniment
+("God is our Hope and Strength"), is one of the most effective in the
+work, and is followed by the trial scene, a duet between Valerianus and
+the prefect, the latter accompanied by chorus. A short funeral march
+intervenes. Valerianus and Cecilia bid each other farewell; the former is
+borne away, and Cecilia sings her dying song ("Those whom the Highest One
+befriends") amid the triumphant hallelujahs of the angels.
+
+
+[13] The Ode for St. Cecilia's Day in 1683 was written by Christopher
+    Fishburn and set to music by Purcell. The most famous odes of the
+    next hundred years were as follows: "A song for St. Cecilia's Day,
+    1687," by John Dryden, originally composed by Draghi, afterwards by
+    Handel; ode by Thomas d'Urfrey, music by Dr. Blow, 1691; "Alexander's
+    Feast," by Dryden, original music by Jeremiah Clark afterwards
+    composed by Handel, 1697; ode by Joseph Addison, composed by Purcell,
+    1699; "Hymn to Harmony," by Congreve, composed by John Eccles, 1701;
+    ode by Pope in 1708, set to music in 1757 by William Walond; an ode
+    by Christopher Smart, composed by William Russell, 1800.
+
+
+
+
+                                    BENNETT.
+
+
+William Sterndale Bennett, one of the most gifted and individual of
+English composers, was born at Sheffield, April 13, 1816. His musical
+genius displayed itself early, and in his tenth year he was placed in the
+Royal Academy of Music, of which in his later years he became principal.
+He received his early instruction in composition from Lucas and Dr.
+Crotch, and studied the piano with Cipriani Potter, who had been a pupil
+of Mozart. The first composition which gained him distinction was the
+Concerto in D minor, written in 1832, which was followed by the Capriccio
+in D minor. During the next three years he produced the overture to
+"Parisina," the F minor Concerto, and the "Naïades" overture, the success
+of which was so great that a prominent musical house in London offered to
+send him to Leipsic for a year. He went there, and soon won his way to
+the friendship of Schumann and Mendelssohn. With the latter he was on
+very intimate terms, which has led to the erroneous statement that he was
+his pupil. In 1840 he made a second visit to Leipsic, where he composed
+his Caprice in E, and the "Wood Nymphs" overture. In 1842 he returned to
+England, and for several years was busily engaged with chamber concerts.
+In 1849 he founded the Bach Society, arranged the "Matthew Passion" music
+of that composer, as well as his "Christmas Oratorio," and brought out
+the former work in 1854. The previous year he was offered the
+distinguished honor of the conductorship of the Gewandhaus concerts at
+Leipsic, but did not accept. In 1856 he was appointed conductor of the
+Philharmonic Society, and filled the position for ten years, resigning it
+to take the head of the Royal Academy of Music. In the same year he was
+elected musical professor at Cambridge, where he received the degree of
+Doctor of Music and other honors. In 1858 his beautiful cantata "The May
+Queen" was produced at the Leeds Festival, and in 1862 the "Paradise and
+the Peri" overture, written for the Philharmonic Society. In 1867 his
+oratorio, or, as he modestly terms it, "sacred cantata," "The Woman of
+Samaria," was produced with great success at the Birmingham Festival. In
+1870 he was honored with a degree by the University of Oxford, and a year
+later received the empty distinction of knighthood. His last public
+appearance was at a festival in Brighton in 1874, where he conducted his
+"Woman of Samaria." He died Feb. 1, 1875, and was buried in Westminster
+Abbey with distinguished honors.
+
+
+                             The May Queen.
+
+"The May Queen," a pastoral cantata, the libretto by Henry F. Chorley,
+was first performed at the Leeds Festival of 1858. The solo parts are
+written for the May Queen (soprano); the Queen (contralto); the Lover
+(tenor); and the Captain of the Foresters, as Robin Hood (bass). The
+opening scene pictures the dressing of the tree for the spring festivity
+on the banks of the Thames, and the preparations for the reception of the
+May Queen. A despondent lover enters and sings his melancholy plight as
+he reflects upon the fickleness of the May Queen, interrupted at
+intervals by the merry shouts of the chorus:--
+
+  "With a laugh as we go round
+  To the merry, merry sound
+  Of the tabor and the pipe,
+    We will frolic on the green;
+  For since the world began,
+  And our royal river ran,
+  Was never such a May Day,
+    And never such a Queen."
+
+The lover continues his doleful lamenting, which is at last interrupted
+by the entrance of the May Queen herself, who chides him for his
+complaints and argues her right to coquet on such a day. As their
+interview closes, a band of foresters enter with their greenwood king,
+Robin Hood, at their head, who after a rollicking hunting-song makes open
+love to the May Queen. The enraged lover resents his impertinence, and at
+last strikes him a blow, which by the laws exposes him to the loss of his
+hand. Before he can make his escape there is a flourish of trumpets, and
+the Queen enters and demands the reason for the brawl. The revellers
+inform her that the lover has struck the forester. She orders his arrest,
+whereupon the May Queen intercedes with her for her lover's release and
+declares her affection for him. Her appeal for mercy is granted. The
+forester is banished from the royal presence for lowering himself to the
+level of a peasant girl, the May Queen is ordered to wed her lover on the
+coming morn, and all ends happily with the joyous chorus:--
+
+  "And the cloud hath passed away,
+  That was heavy on the May;
+  And the river floweth fair,
+    And the meadow bloometh green.
+  They embrace, no more to part,
+  While we sing from every heart,
+    A blessing on the bridal!
+    A blessing on the Queen!"
+
+The music of the cantata is divided into ten numbers, which are
+characterized by exquisite refinement and artistic taste. The solos,
+particularly No. 2, for tenor ("O Meadow, clad in early Green"), No. 4,
+the obligato soprano ("With the Carol in the Tree"), and No. 6, the
+forester's lusty greenwood song ("'Tis jolly to hunt in the bright
+Moonlight"), are very melodious, and well adapted to the individual
+characters. The concerted music is written in the most scholarly manner,
+the choruses are full of life and spirit, and the instrumentation is
+always effective. There are few more beautiful cantatas than "The May
+Queen," though the composer was hampered by a dull and not very inspiring
+libretto. Poor words, however, could not affect his delightful grace and
+fancy, which manifest themselves in every number of this little pastoral.
+It is surprising that so excellent a work, and one which is so well
+adapted to chorus singing and solo display, without making very severe
+demands upon the singers, is not more frequently given in this country.
+
+
+                           The Exhibition Ode.
+
+The music for the opening of the International Exhibition at London,
+which occurred in May, 1862, was of unusual excellence. Auber sent a
+composition which, though called a march, was in reality a brilliant
+overture. Meyerbeer contributed an overture in march form, in which three
+marches were blended in one, the whole culminating in "Rule Britannia."
+Verdi wrote a cantata, which was rejected by the Commissioners because by
+the side of the national anthem he had introduced the revolutionary
+Marseillaise and the Italian war-song called "Garibaldienne." Its
+rejection not only caused great indignation in the musical world, but at
+once made it famous; and it was afterwards publicly performed,
+Mademoiselle Titiens taking the soprano solos, Sir Julius Benedict
+conducting.
+
+The prominent feature of the musical programme, however, was the Ode
+which the poet laureate and Bennett conjointly furnished. Never before
+were Mr. Tennyson's verses more completely united with music. The work is
+divided into three parts, all choral, linked by recitatives. The first
+number is a hymn to the Deity ("Uplift a thousand Voices full and
+sweet"), written as a four-part chorale, which is very jubilant in style.
+The next movement,--
+
+  "O silent father of our kings to be,
+  Mourned in this golden hour of jubilee,
+  For this, for all, we weep our thanks to thee,"
+
+eloquently referring to the Prince Consort, is set in the minor key, and
+is one of the most pathetic musical passages ever written. Then follows a
+descriptive catalogue of the industries represented,--"harvest tool and
+husbandry," "loom and wheel and engin'ry," and so on, through which the
+music labors some, as might have been expected; but in the close it once
+more resumes its melodious flow, leading up to the final chorus, in which
+the theme of the opening chorale is borrowed and developed with peculiar
+originality and artistic skill into a movement of great richness in
+effects and beauty in expression. It is unfortunate for the popularity of
+such an excellent work that it was composed for a special occasion.
+
+
+
+
+                                BERLIOZ.
+
+
+Hector Berlioz, one of the most renowned of modern French composers, and
+an acute critic and skilful conductor as well, was born, Dec. 11, 1803,
+at La Côte St. André, in France. His father was a physician, and intended
+him for the same profession. He reluctantly went to Paris and began the
+study of medicine; but music became his engrossing passion, and medicine
+was abandoned. He entered the Conservatory as a pupil of Lesueur, and
+soon showed himself superior to all his masters except Cherubini, which
+aroused a strong opposition to him and his compositions. It was only
+after repeated trials that he took the first prize, which entitled him to
+go to Italy for three years. On his return to Paris he encountered
+renewed antipathy. His music was not well received, and he was obliged to
+support himself by conducting at concerts and writing articles for the
+press. As a final resort he organized a concert-tour through Germany and
+Russia, the details of which are contained in his extremely interesting
+Autobiography. At these concerts his own music was the staple of the
+programmes, and it met with great success, though not always played by
+the best of orchestras, and not always well by the best, as his own
+testimony shows; for his compositions are very exacting, and call for
+every resource known to the modern orchestra. The Germans were quick in
+appreciating his music; but it was not until after his death that his
+ability was conceded in France. In 1839 he was appointed librarian of the
+Conservatory, and in 1856 was made a member of the French Academy. These
+were the only honors he received, though he long sought to obtain a
+professorship in the Conservatory. A romantic but sad incident in his
+life was his violent passion for Miss Smithson, an Irish actress, whom he
+saw upon the Paris stage in the _rôle_ of Ophelia, at a time when Victor
+Hugo had revived an admiration for Shakspeare among the French. He
+married her, but did not live with her long, owing to her bad temper and
+ungovernable jealousy; though after the separation he honorably
+contributed to her support out of the pittance he was earning. Among his
+great works are the opera, "Benvenuto Cellini;" the symphony with chorus,
+"Romeo and Juliet;" "Beatrice and Benedict;" "Les Troyens," the text from
+Virgil's "Æneid;" the symphony, "Harold in Italy;" the symphony, "Funèbre
+et Triomphe;" the "Damnation of Faust;" a double-chorused "Te Deum;" the
+"Symphony Fantastique;" the "Requiem;" and the sacred trilogy, "L'Enfance
+du Christ." Berlioz stands among all other composers as the foremost
+representative of "programme music," and has left explicit and very
+detailed explanations of the meaning of his works, so that the hearer may
+listen intelligently by seeing the external objects his music is intended
+to picture. In the knowledge of individual instruments and the grouping
+of them for effect, in warmth of imagination and brilliancy of color, and
+in his daring combinations and fantastic moods, which are sometimes
+carried to the very verge of eccentricity, he is a colossus among modern
+musicians. He died in Paris, March 8, 1869.
+
+
+                            Romeo and Juliet.
+
+"Dramatic symphony, with choruses, solos, chant, and prologue in choral
+recitative" is the title which Berlioz gives to his "Romeo and Juliet."
+It was written in 1839, and its composition commemorates an interesting
+episode in his career. In the previous year he had written his symphony
+"Harold in Italy," the subject inspired by Byron's "Childe Harold."
+Paganini, the wonder of the musical world at that time, was present at
+its performance, and was so pleased with the work that he sent Berlioz an
+enthusiastic tribute of applause as well as of substantial
+remembrance.[14] The composer at that time was in straitened
+circumstances, and in his gratitude for this timely relief he resolved to
+write a work which should be worthy of dedication to the great violinist.
+His Autobiography bears ample testimony to the enthusiasm with which he
+worked. He says:--
+
+  "At last, after much indecision, I hit upon the idea of a symphony,
+  with choruses, vocal solos, and choral recitatives, on the sublime and
+  ever novel theme of Shakspeare's 'Romeo and Juliet.' I wrote in prose
+  all the text intended for the vocal pieces which came between the
+  instrumental selections. Émile Deschamps, with his usual delightful
+  good-nature and marvellous facility, set it to verse for me, and I
+  began....
+
+  "During all that time how ardently did I live! How vigorously I struck
+  out on that grand sea of poetry caressed by the playful breeze of
+  fancy, beneath the hot rays of that sun of love which Shakspeare
+  kindled, always confident of my power to reach the marvellous island
+  where stands the temple of true art! Whether I succeeded or not it is
+  not for me to decide."
+
+The work opens with a fiery introduction representing the combats and
+tumults of the two rival houses of Capulet and Montague, and the
+intervention of the Prince. It is followed by a choral recitative for
+four altos, tenors, and basses ("Long smouldering Hatreds"), with which
+is interwoven a contralto solo ("Romeo too is there"), the number closing
+with a passionate chorus ("The Revels now are o'er"). A beautiful effect
+is made at this point by assigning to the alto voice two couplets ("Joys
+of first Love") which are serious in style but very rich in melody. A
+brief bit of choral recitative and a few measures for tenor--Mercutio's
+raillery--lead up to a dainty scherzetto for tenor solo and small chorus
+("Mab! bright Elf of Dreamland"), and a short choral passage brings this
+scene to a close.
+
+The second scene, which is for orchestra only, an impressive declamatory
+phrase developing into a tender melody, representing the sadness of
+Romeo, set in tones against the brilliant dance music in the distance
+accompanying the revel of the Capulets, is one of the most striking
+effects Berlioz has accomplished, and illustrates his astonishing command
+of instrumentation. The third scene represents Capulet's garden in the
+stillness of night, the young Capulets passing through it, bidding each
+other adieu and repeating snatches of the dance music. As their strains
+die away in the distance the balcony scene between Romeo and Juliet is
+given by the orchestra alone in a genuine love-poem full of passion and
+sensuousness. No words could rival the impassioned beauty of this
+melodious number. The fourth scene is also given to the orchestra, and is
+a setting of Mercutio's description of Queen Mab. It is a scherzo
+intensely swift in its movement and almost ethereal in its dainty,
+graceful rhythm. The instrumentation is full of subtle effects,
+particularly in the romantic passages for the horns.
+
+In the fifth scene we pass from the tripping music of the fairies to the
+notes of woe. It describes the funeral procession of Juliet, beginning
+with a solemn march in fugue style, at first instrumental, with
+occasional entrances of the voices in monotone, and then vocal ("O mourn,
+O mourn, strew choicest Flowers"), the monotone being assigned to the
+instruments. It preludes a powerful orchestral scene representing Romeo's
+invocation, Juliet's awakening, and the despair and death of the
+lovers.[15] The finale is mainly for double chorus, representing the
+quarrel between the Montagues and Capulets in the cemetery, which is
+written with great dramatic power and conceived on the large scale of an
+operatic _ensemble_ both in the voice parts and instrumentation, and the
+final reconciliation through the intercession of Friar Laurence, whose
+declamatory solos are very striking, particularly the air, "Poor Children
+mine, let me mourn you." The work is one of almost colossal difficulty,
+and requires great artists, singers and players, to give expression to
+its daring realism. Among all of Berlioz's programme-music, this
+tone-picture of the principal episodes in Shakspeare's tragedy stands out
+clear and sharp by virtue of its astonishing dramatic power.
+
+
+[14] My dear Friend,--Beethoven is dead, and Berlioz alone can revive
+    him. I have heard your divine composition, so worthy of your genius,
+    and beg you to accept, in token of my homage, twenty thousand francs,
+    which will be handed to you by the Baron de Rothschild on
+    presentation of the enclosed.--Your most affectionate friend,
+      Nicolo Paganini.
+      Paris, Dec. 18, 1838.
+
+[15] Composer's Note. The public has no imagination; therefore pieces
+    which are addressed solely to the imagination have no public. The
+    following instrumental scene is in this case, and I think it should
+    be omitted whenever this symphony is given before an audience not
+    having a feeling for poetry, and not familiar with the fifth act of
+    Shakspeare's tragedy. This implies its omission ninety-nine times out
+    of a hundred. It presents, moreover, immense difficulties of
+    execution. Consequently, after Juliet's funeral procession a moment
+    of silence should be observed, then the finale should be taken up.
+
+
+                         The Damnation of Faust.
+
+The "Damnation of Faust," dramatic legend, as Berlioz calls it, was
+written in 1846. It is divided in four parts, the first containing three,
+the second four, the third six, and the fourth five scenes, the last
+concluding with an epilogue and the apotheosis of Marguerite. It was
+first produced in Paris in November, 1846, and had its first hearing in
+this country Feb. 12, 1880, when the late Dr. Leopold Damrosch brought it
+out with the assistance of the New York Symphony, Oratorio, and Arion
+Societies.
+
+Berlioz has left in his Autobiography an extremely interesting account of
+the manner in which he composed it. Though he had had the plan of the
+work in his mind for many years, it was not until 1846 that he began the
+legend. During this year he was travelling on a concert-tour through
+Austria, Hungary, Bohemia, and Silesia, and the different numbers were
+written at intervals of leisure. He says:--
+
+  "I wrote when I could and where I could; in the coach, on the railroad,
+  in steamboats, and even in towns, notwithstanding the various cares
+  entailed by my concerts."
+
+He began with Faust's invocation to Nature, which was finished "in my old
+German post-chaise." The introduction was written in an inn at Passau,
+and at Vienna he finished up the Elbe scene, Mephistopheles' song, and
+the exquisite Sylph's ballet. As to the introduction of the Rákóczy
+march, his words deserve quoting in this connection, as they throw some
+light on the general character of the work. He says:--
+
+  "I have already mentioned my writing a march at Vienna, in one night,
+  on the Hungarian air of Rákóczy. The extraordinary effect it produced
+  at Pesth made me resolve to introduce it in Faust, by taking the
+  liberty of placing my hero in Hungary at the opening of the act, and
+  making him present at the march of a Hungarian army across the plain. A
+  German critic considered it most extraordinary in me to have made Faust
+  travel in such a place. I do not see why, and I should not have
+  hesitated in the least to bring him in in any other direction if it
+  would have benefited the piece. I had not bound myself to follow
+  Goethe's plot, and the most eccentric travels may be attributed to such
+  a personage as Faust without transgressing the bounds of possibility.
+  Other German critics took up the same thesis, and attacked me with even
+  greater violence about my modifications of Goethe's text and plot; just
+  as though there were no other Faust but Goethe's, and as if it were
+  possible to set the whole of such a poem to music without altering its
+  arrangement. I was stupid enough to answer them in the preface to the
+  'Damnation of Faust.' I have often wondered why I was never reproached
+  about the book of 'Romeo and Juliet,' which is not very like the
+  immortal tragedy. No doubt because Shakspeare was not a German.
+  Patriotism! Fetichism! Idiotcy!"
+
+One night when he had lost his way in Pesth he wrote the choral refrain
+of the "Ronde des Paysans" by the gaslight in a shop; and at Prague he
+arose in the middle of the night to write down the Angels' Chorus in
+Marguerite's apotheosis. At Breslau he wrote the Students' Latin Song,
+"Jam nox stellata velamina pandit;" and on his return to France he
+composed the grand trio in the work while visiting a friend near Rouen.
+He concludes:
+
+  "The rest was written in Paris, but always improvised, either at my own
+  house, or at the café, or in the Tuileries gardens, and even on a stone
+  in the Boulevard du Temple. I did not search for ideas, I let them
+  come; and they presented themselves in a most unforeseen manner. When
+  at last the whole outline was sketched, I set to work to re-do the
+  whole, touch up the different parts, unite and blend them together with
+  all the patience and determination of which I am capable, and to finish
+  off the instrumentation, which had only been indicated here and there.
+  I look upon this as one of my best works, and hitherto the public seems
+  to be of the same opinion."
+
+This opinion, however, was of slow growth, for of the first performance
+of the work he says:--
+
+  "It was the end of November, 1846; snow was falling; the weather was
+  dreadful. I had no fashionable cantatrice to sing the part of
+  Marguerite. As for Roger, who did Faust, and Herman Léon, who took the
+  part of Mephistopheles, they might be heard any day in this same
+  theatre; moreover, they were no longer the fashion. The result was that
+  Faust was twice performed to a half-empty room. The concert-going
+  Parisian public, supposed to be fond of music, stayed quietly at home,
+  caring as little about my new work as if I had been an obscure student
+  at the Conservatoire; and these two performances at the Opéra Comique
+  were no better attended than if they had been the most wretched operas
+  on the list."
+
+The opening scene introduces Faust alone in the fields at sunrise on the
+Hungarian plains. He gives expression to his delight in a tender, placid
+strain ("The Winter has departed, Spring is here"). It is followed by an
+instrumental prelude of a pastoral character, in which are heard
+fragments of the roundelay of the peasants and of the fanfare in the
+Hungarian march, leading up to the "Dance of Peasants," a brisk,
+vivacious chorus ("The Shepherd donned his best Array"), beginning with
+the altos, who are finally joined by the sopranos, tenors, and basses in
+constantly accelerating time. The scene then changes to another part of
+the plain and discloses the advance of an army to the brilliant and
+stirring music of the Rákóczy march.[16]
+
+The second part (Scene IV.) opens in north Germany and discloses Faust
+alone in his chamber, as in Gounod's opera; he sings a soliloquy, setting
+forth his discontent with worldly happiness, and is about to drown his
+sorrow with poison, when he is interrupted by the Easter Hymn ("Christ is
+risen from the Dead"), a stately and jubilant six-part chorus, in the
+close of which he joins. As it comes to an end he continues his song
+("Heavenly Tones, why seek me in the Dust?"), but is again interrupted by
+the sudden apparition of Mephistopheles, who mockingly sings, "Oh, pious
+Frame of Mind," and entraps him in the compact. They disappear, and we
+next find them in Auerbach's cellar in Leipsic, where the carousing
+students are singing a rollicking drinking-song ("O what Delight when
+Storm is crashing"). The drunken Brander is called upon for a song, and
+responds with a characteristic one ("There was a Rat in the Cellar
+Nest"), to which the irreverent students improvise a fugue on the word
+"Amen," using a motive of the song. Mephistopheles compliments them on
+the fugue, and being challenged to give them an air trolls out the lusty
+_lied_, "There was a King once reigning, who had a big black Flea," in
+the accompaniment of which Berlioz makes some very realistic effects.
+Amid the bravas of the drunken students they disappear again, and are
+next found in the flowery meadows of the Elbe, where Mephistopheles sings
+a most enchanting melody ("In this fair Bower"). Faust is lulled to
+slumber, and in his vision hears the chorus of the gnomes and sylphs
+("Sleep, happy Faust"), a number of extraordinary beauty and fascinating
+charm. Its effect is still further heightened by the sylphs' ballet in
+waltz time. As they gradually disappear, Faust wakes and relates to
+Mephistopheles his vision of the "angel in human form." The latter
+promises to conduct him to her chamber, and they join a party of soldiers
+and students who will pass "before thy beauty's dwelling." The finale of
+the scene is composed of a stirring soldiers' chorus ("Stoutly-walled
+Cities we fain would win") and a characteristic students' song in Latin
+("Jam nox stellata"), at first sung separately and then combined with
+great skill.
+
+The third part begins with a brief instrumental prelude, in which the
+drums and trumpets sound the tattoo, introducing a scene in Marguerite's
+chamber, where Faust sings a passionate love-song ("Thou sweet Twilight,
+be welcome"), corresponding with the well-known "Salve dimora" in
+Gounod's garden scene. At its close Mephistopheles warns him of the
+approach of Marguerite and conceals him behind a curtain. She enters, and
+in brief recitative tells her dream, in which she has seen the image of
+Faust, and discloses her love for him. Then while disrobing she sings the
+ballad "There was a King in Thule." As its pathetic strains come to a
+close, the music suddenly changes and Mephistopheles in a characteristic
+strain summons the will-o'-the-wisps to bewilder the maiden. It is
+followed by their lovely and graceful minuet, in which Berlioz again
+displays his wonderful command of orchestral realism. It is followed by
+Mephistopheles' serenade ("Why dost thou wait at the Door of thy
+Lover?"), with a choral accompaniment by the will-o'-the-wisps,
+interspersed with demoniac laughter. The last number is a trio ("Angel
+adored") for Marguerite, Faust, and Mephistopheles, wonderfully
+expressive in its utterances of passion, and closing with a chorus of
+mockery which indicates the coming tragedy.
+
+The fourth part opens with a very touching romance ("My Heart with Grief
+is heavy"), the familiar "Meine Ruh' ist hin" of Goethe, sung by
+Marguerite, and the scene closes with the songs of the soldiers and
+students heard in the distance. In the next scene Faust sings a sombre
+and powerful invocation to Nature ("O boundless Nature, Spirit sublime").
+Mephistopheles is seen scaling the rocks and in agitated recitative tells
+his companion the story of Marguerite's crime and imprisonment. He bids
+him sign a scroll which will save him from the consequences of the deed,
+and Faust thus delivers himself over to the Evil One. Then begins the
+wild "Ride to Hell," past the peasants praying at the cross, who flee in
+terror as they behold the riders, followed by horrible beasts, monstrous
+birds, and grinning, dancing skeletons, until at last they disappear in
+an abyss and are greeted by the chorus of the spirits of hell in a
+tempest of sound, which is literally a musical pandemonium ("Has! Irimiru
+Karabras," etc.) in its discordant vocal strains and in the mighty
+dissonances and supernatural effects in the accompaniment. A brief
+epilogue, "On Earth," follows, in which Faust's doom is told, succeeded
+by a correspondingly brief one, "In Heaven," in which the seraphim plead
+for Marguerite. The legend closes with "Marguerite's Glorification," a
+jubilant double chorus announcing her pardon and acceptance among the
+blest.
+
+
+[16] This march, though the best known of all Hungarian airs, is liable
+    to be confounded with others bearing the same name. It forms one of
+    the group of national patriotic melodies called into existence by the
+    heroism of the Transylvanian prince Franz Rákótzy, who at the
+    beginning of the last century fought with rare valor, though little
+    success, against the dominating power of Austria. Who composed it
+    remains as unknown as the authorship of its less familiar companions;
+    but though the origin of the tune, like that of so many others which
+    nations cherish, is veiled in mystery, the march has enjoyed an
+    enviable prominence. It was proscribed by the Austrian Government in
+    the bad days when Hungary was treated as a conquered appanage of the
+    Hapsburgs; its performance was a criminal act, and the possession of
+    printed or written copies, if suspected, brought down domiciliary
+    visits from the police.--_Albert Hall Programmes_, 1874.
+
+
+
+
+                                    BRAHMS.
+
+
+Johannes Brahms, one of the most eminent of living German composers, was
+born at Hamburg, May 7, 1833. His father was a double-bass player in the
+orchestra in that city, and devoted his son at a very early age to his
+own profession. His first piano teacher was Cossell; but to Edward
+Marxsen, the royal music director, he owes his real success as a
+composer. Brahms remained in Hamburg until 1853, when he went upon a
+concert-tour with Reményí, the eccentric and somewhat sensational
+Hungarian, who has been a familiar figure upon the American
+concert-stage. He remained with him however but a very short time, for in
+October of that year they parted company. Brahms had attracted the notice
+of Liszt and Joachim, and it may have been through their advice that the
+musical partnership was dissolved. In any event, soon after leaving
+Reményí he went to Düsseldorf and visited Schumann, who announced him to
+the musical world in a very enthusiastic manner. The next year (1854)
+appeared his first works,--three sonatas, a trio and scherzo for piano,
+and three books of songs. After a visit to Liszt at Weimar he settled
+down as chorus-conductor and music-teacher at the court of Lippe-Detmold,
+where he remained a few years. After leaving Detmold he successively
+resided in Hamburg, Zürich, and Baden-Baden, though most of his time has
+been spent in Vienna, where he has directed the Singakademie and the
+concerts of the Gesellschaft der Musikfreunde. Among his most famous
+compositions are a funeral hymn for chorus and wind-band; the "German
+Requiem;" "Triumphlied," for double chorus and orchestra;
+"Schicksalslied," for chorus and orchestra; six symphonies; variations on
+a theme of Haydn, for orchestra; the "Tragic" and "Academic" overtures;
+besides several trios, quartets, quintets, sextets, concertos, and
+sonatas.
+
+
+                              Triumphlied.
+
+"Triumphlied" ("Song of Triumph") was written by Brahms in commemoration
+of the victories of German arms and the re-establishment of the Empire,
+and is dedicated to "the German Emperor Wilhelm I." It was first
+performed at the fifty-first festival of the Lower Rhine at Cologne in
+1873. The text is a paraphrase of certain verses in the nineteenth
+chapter of Revelation, and reads as follows:--
+
+  "Hallelujah, praise the Lord! Honor and power and glory to God!
+
+  "For in righteousness and truth the Lord giveth judgment.
+
+  "Glory be to God, all ye His servants, and ye that fear Him, all both
+  humble and mighty.
+
+  "Hallelujah, for the omnipotent God hath exalted His kingdom.
+
+  "O, be joyful, let all be glad, to Him alone give honor.
+
+  "Behold, the heavens opened wide, and yonder a snow-white horse, and on
+  him sat one called Steadfast and Faithful, who warreth and judgeth all
+  with righteousness.
+
+  "And he treads the wine-press of wrath of the Lord God Almighty.
+
+  "Lo! a great name hath he written upon his vesture and upon his girdle.
+
+  "A King of kings and Lord of lords! Hallelujah! Amen!"
+
+The scriptural selections are divided into three movements, written for
+double chorus (with the exception of two short barytone solos),
+orchestra, and organ, and are introduced by a brief instrumental prelude
+of a solemn but animated and exultant character, in the closing measures
+of which both choirs break in with jubilant shouts of "Hallelujah! praise
+the Lord!" The theme of the movement is the stirring old German song
+"Heil dir im Siegerkranz,"[17] which is worked up with consummate skill.
+The first part closes with a climax of power and contrapuntal effect
+hardly to be found elsewhere outside the choruses of Handel.
+
+The second movement ("Glory be to God!") is of the same general character
+as the first. After the opening ascription, a short fugue intervenes,
+leading to a fresh melody alternately sung by both choruses.
+
+The third movement, after a very brief but spirited orchestral flourish,
+opens with an exultant barytone solo ("And behold then the Heavens opened
+wide"). The choruses respond with animation ("And yonder a snow-white
+Horse"). Again the barytone intervenes ("And lo! a great Name hath He
+written"), and then the choruses take up the majestic theme, "King of
+Kings and Lord of Lords," each answering the other with triumphant shouts
+that gather force and fire as they proceed, and closing with a mighty
+hallelujah in which voices, orchestra, and organ join with fullest power
+to produce one of the grandest harmonies ever written. The work is one of
+extreme difficulty, as the two choirs are treated independently and their
+harmonies are complicated, though blended in general effect. Neither
+choir receives assistance from the other. In fact, each rank of voices is
+required to perform music of the most exacting kind, so that a perfect
+performance of this great jubilee hymn requires singers of trained skill
+and more than ordinary intelligence. When thus given, few choruses of
+modern times reveal such artistic richness and symmetrical proportions.
+
+
+[17] A German national song, written by Heinrich Harries, a Holstein
+    clergyman, for the birthday of Christian VII. of Denmark. It was
+    originally in eight stanzas, but was reduced to five and otherwise
+    slightly modified for Prussian use by B. G. Schumacher, and in this
+    form appeared as a "Berliner Volkslied" in the _Spenersche Zeitung_
+    of Dec. 17, 1793.--_Grove's Dictionary_.
+
+
+
+
+                                    BRUCH.
+
+
+Max Bruch, one of the most successful choral composers of the present
+time, was born at Cologne, Jan. 6, 1838. His father was a government
+official, and his mother a singer of more than ordinary ability. He
+received his early instructions, under her watchful supervision, from
+Professor Breidenstein, at Bonn. In 1852 he continued his studies with
+Hiller, Reinecke, and Breuning, at Cologne; and at this time began to
+produce compositions which gave unusual promise. In 1865 he was musical
+director at Coblenz, and subsequently at Berlin, where he conducted the
+Singakademie. In 1867 he was appointed chapel-master to the Prince of
+Schwarzburg-Sondershausen,--a post which he held until 1870. Since that
+time he has also been honored with a call to the directorship of the
+Liverpool Philharmonic Society. For some years past he has lived at Bonn
+and Berlin, and devoted himself exclusively to composition. His first
+public appearance as a composer was in connection with the performance of
+his operetta, "Scherz, List und Rache," set to Goethe's words; following
+which he produced several chamber compositions, among them a trio (op.
+5), two string quartets (op. 9, 10), Capriccio (op. 2) for four hands,
+Fantasie (op. 11) for two pianos, the G minor and D minor violin
+concertos, besides two symphonies. He has also written an oratorio,
+"Arminius," and two operas, "Loreley," to the text which the poet Geibel
+wrote for Mendelssohn, and "Hermione," an adaptation of Shakspeare's
+"Winter's Tale." His greatest successes, however, have been made with his
+works in the cantata form, as he is a recognized master in writing for
+large masses of voices and instruments, though many of his solo melodies
+possess great beauty. In this class of his compositions the most
+conspicuous are "Scenes from the Frithjof-Saga," familiarly known as
+"Frithjof," "Flight of the Holy Family," "Roman Triumph Song," "Roman
+Obsequies," "Salamis," "Fair Ellen," "Odysseus," and "Rorate Coeli."
+
+
+                                Frithjof.
+
+The story of the old Norse hero Frithjof is told with exceeding spirit
+and beauty in the "Frithjof's Saga" of Esaias Tegnér, Bishop of Wexiö,
+Sweden, which has been translated into almost every European language,
+and to which music has been adapted by Crusell, Hedda Wrangel, Boman,
+Sandberg, Zanders, Caroline Ridderstolpe, Panny, Silcher, and other
+Scandinavian and German composers. It was Bishop Tegnér's Saga from which
+Bruch derived the incidents of his musical setting of this stirring Norse
+theme.[18]
+
+To make the text of the libretto intelligible, the incidents leading up
+to it must be briefly told. Frithjof was the son of Thorstein, a friend
+of King Bele of Baldershage, and was in love with Ingeborg, the king's
+daughter and his foster sister. Bele died, and left his kingdom to his
+two sons. When Thorstein passed away, he bequeathed to his son his ship
+"Ellida" and his gold ring. Soon thereafter Frithjof sailed across the
+fiord to demand the hand of Ingeborg. Her brothers Helge and Halfdan
+scorned his suit, whereupon Frithjof swore they should never have help
+from him. King Ring, a neighboring monarch, hearing of the trouble
+between them, improved the opportunity to menace their kingdom. The
+brothers appealed to Frithjof for aid, but he turned a deaf ear; and when
+they took the field against Bele, he returned to Baldershage and made
+love to Ingeborg, with whom he exchanged rings. Helge and Halfdan were
+defeated by Ring, and as part of the indemnity he demanded Ingeborg's
+hand. Finding upon their return that Frithjof had been there without
+their permission, they required him as a penalty to go to the Orkneys and
+collect the tribute which the islanders had neglected to pay since the
+death of Bele. Frithjof sailed away in "Ellida." Meanwhile the brothers
+resorted to witchcraft to raise a storm that should destroy his vessel,
+burned his barrow, and married the lamenting Ingeborg to Ring.
+
+It is at this point that the text of the cantata begins. The first scene
+pictures the return of Frithjof and his joy at the prospect of seeing
+Ingeborg, whose hand the false brothers had promised him if he were
+successful. Learning what had occurred in his absence, Frithjof goes to
+the temple where the kings are sacrificing, hurls the tribute in Helge's
+face, fires the edifice, and hurries to the sea, pursued by his enemies.
+The hero sails away again in "Ellida," and becomes a sea-rover. The text
+closes with this incident. In the Saga, after gaining great fame,
+Frithjof returns and goes disguised as a salt-burner to Ring's palace.
+The king recognized him, and moved by his sad story became his friend and
+appointed him guardian of his heir. Ring died soon after, and Frithjof
+married Ingeborg. Helge and Halfdan made war against him, Helge was
+killed, and Halfdan became his vassal.
+
+The cantata opens with an animated instrumental introduction, "Frithjof's
+Return," leading to the barytone recitative and aria ("How bravely o'er
+the Flood so bright"),--a very expressive song, interspersed with the
+tender, graceful chorus of his companions ("O, 'tis Delight when the Land
+far appeareth"). The second scene is preluded with a wedding march, whose
+blithe measures are in marked contrast with the bridal chorus ("Sadly the
+Skald walks before the Train"), and Ingeborg's song ("My Heart with
+Sorrow overflowing"), which describes her grief over her unhappy destiny.
+The third scene ("Frithjof's Revenge"), for barytone, chorus, and
+orchestra, is one of great power in its dramatic and descriptive
+character, as well as in its masterly instrumentation. It begins with a
+chorus of priests ("Midnight Sun on the Mountain burns"), gradually
+accelerating until it is interrupted by Frithjof's cry ("Go to Helas'
+dark Abode"). Three bars of chorus intervene ("Woe! O wicked Deed"), when
+Frithjof, after a short recitative, sings a spirited aria ("Where my
+Father rests"). At its close, as he rescues Ingeborg's ring and fires the
+temple, the chorus resumes ("Woe! he tugs with all his Might at the
+Ring"). The choral finale of this scene, with its effective
+instrumentation, is a masterpiece of dramatic music, worthy to rank with
+the highest work of its kind in opera. After the storm, the calm. In that
+calm occurs a melodical episode of an extraordinary character. The melody
+itself is so unlike anything which precedes or follows it that it must
+have been interpolated. In grateful contrast with the revenge of
+Frithjof, the burning of the temple, and the curses of the infuriated
+priests, comes the fourth scene, "Frithjof's Departure from the
+Northland,"--a solo quartet for male voices ("Sun in the Sky now mounteth
+high"), of exquisite harmony, leading up to and accompanying a barytone
+solo which has rarely been surpassed in the tender beauty of its melody
+or the majestic sonority of its style:[19]--
+
+  "World's grandest region, thou mighty North!
+  From thy dominions I am driven forth;
+  Within thy border I lov'd to dwell;
+  Midsummer sun, farewell, farewell.
+  Thou mighty North, farewell.
+  My love is foiled, my roof-tree rent,
+  Mine honor soiled, I in exile sent!
+  Cheerless is my soul within me,
+  Hopeless I must bear my lot.
+  Ye rugged mountains, where heroes dwell,
+  And Thor commandeth clouds and winds;
+  Ye azure lakes, that I love so well,
+  Ye woods and brakes, farewell."
+
+The fifth scene is Ingeborg's lament for her lost lover ("Storms wildly
+roar"),--a soprano solo, which, if not as dramatic as the music assigned
+to Frithjof, is nevertheless full of beautiful sentiment. The work closes
+with a delightful chorus, with short phrases for Frithjof ("Now he
+crosseth the Floods of the salt desert Waste"), supposed to be sung on
+board the hero's good ship "Ellida" as they sail off for conquest and the
+enjoyment of the booty he has promised his companions.
+
+
+[18] An admirable translation of the Saga was made by George Stephens,
+    published in London and Stockholm in 1839. It includes besides the
+    Saga, a life of Tegnér, by Bishop Franzén of Hernösand, Sweden; the
+    Frithjof literature; description of Ingeborg's Arm Ring, by
+    Hildebrand, the Royal Antiquarian of Sweden; Crusell's songs; and
+    numerous notes and illustrations.
+
+[19] In the original Saga the "Farewell" has six verses, the first,
+    second, and sixth of which are thus literally translated:--
+
+      "Heimskringla's forehead,
+      Thou lofty North!
+      Away I'm hurried
+      From this thine earth.
+      My race from thee goes,
+      I boasting tell;
+      Now, nurse of heroes,
+      Farewell! Farewell!
+
+      "Farewell, high-gleaming
+      Walhalla's throne,
+      Night's eye, bright-beaming,
+      Midsummer's sun!
+      Sky! where, as in hero's
+      Soul, pure depths dwell,
+      And thronging star-rows,
+      Farewell! Farewell!
+
+      *       *       *       *       *
+
+      "My love insulted,
+      My palace brent,
+      My honor tarnished,
+      In exile sent,
+      From land in sadness
+      To the sea we appeal,
+      But life's young gladness,
+      Farewell! Farewell!"
+
+
+                                Salamis.
+
+"Salamis, Triumphal Hymn of the Greeks" was written in 1862. It is a
+composition mostly for male chorus, and is admirably adapted for festival
+purposes. The poem, which celebrates the defeat of Xerxes, is by H.
+Lingg, and runs as follows:--
+
+  "Adorn the ships with Persian trophies!
+  Let the purple sails be swelled!
+  Joy floats about the masts!
+  Evoe, the mighty foe, is vanquished!
+  We broke, O sea, we broke the bond,
+  Which the Persian Prince threw around thy neck.
+  Thou rollest now unfettered, no longer embittered
+  By the hateful trampling of the horses,
+  Which thy waving surface,
+  Thy bridge-fettered wrath, bore reluctantly.
+  Fate overtook Xerxes
+  And achieved a Hellenic victory on the waves.
+  To the tyrant, to the arbitrary master,
+  Did not succumb the people that dwell by the sea,
+  For the old ruler of the sea filled his beloved race
+  With boundless courage for the sea-fight.
+  All around, the waves with delight
+  Hear many an Ionic song;
+  They roar and join the pæan
+  After the splendid struggle
+  There arise dithyrambic days of liberty!"
+
+The instrumental introduction to the work is written in massive style,
+its grand chorus being elegantly interwoven with runs by the wood
+instruments, preparing the way for the festive adorning of the ships,--a
+very beautiful allegro movement. This is followed by a slower movement
+which pictures the breaking of the bond, the rolling of the sea, and the
+trampling of the horses with all that vividness for which the composer is
+famous. It is succeeded by a passage which is very stately, particularly
+in the basses ("Fate overtook Xerxes"), leading up to the grand climax
+("All around, the Waves with Delight"), when the orchestra and voices are
+in splendid accord. After a short repetition of the opening allegro the
+hymn closes. It would be hard to find a more admirable musical setting of
+a poem than this, whether in the strength and beauty of its vocal parts,
+or in the color, vigor, and general effectiveness of the instrumentation.
+
+
+                               Fair Ellen.
+
+The heroic defence of Lucknow by its British garrison in 1857, during the
+Sepoy rebellion, is one of the most memorable events in the English
+administration of India. The world is familiar with the story of the
+disaffection of the native troops, the failure of Sir Henry Lawrence, who
+was in command, to overcome the mutiny, the stubborn defence which the
+brave little garrison made against the repeated assaults of the native
+troops, their temporary assistance from Outram and Havelock, who cut
+their way into the city, and the final relief which was brought to them
+by Sir Colin Campbell. Of all the stirring incidents of the siege,
+however, not one has made such a strong impression as the fanciful story
+of the Scotch girl who heard the slogan of the MacGregors far away and
+knew the Highlanders were coming to their rescue.
+
+It is this incident which Bruch has used as the theme of his cantata
+"Schön Ellen" ("Fair Ellen"). The story is identical with the one so
+often told in prose and poetry, but the _dramatis personæ_ differ.
+Instead of General Lawrence we have Lord Edward, and instead of familiar
+Jessie Brown we have "Fair Ellen." The text of the libretto is weak and
+spiritless as compared with that of the poetical versions. The salient
+point of the story is thus versified in the former:--
+
+  "The Campbells are coming, I told you true;
+    I hear the bugle blowing:
+  The pibroch is borne adown the wind,
+    The tones on the breezes quiver;
+  'Neath the tread of battalions that hurry along
+    Afar the plains do shiver."
+
+Compare the above with the corresponding verses from Robert Lowell's fine
+poem:--
+
+  "The Highlanders! O dinna ye hear
+    The slogan far awa?
+  The MacGregors? Ah! I ken it weel;
+    It's the grandest of them a'.
+
+  *       *       *       *       *
+
+  "Then Jessie said, 'The slogan's dune,
+    But can ye no hear them noo?
+  The Campbells are comin'! It's nae a dream;
+    Our succors hae broken through."
+
+Weak as the text may be, the strong healthy music of the cantata makes
+ample compensation. It is quite brief, there being but two solo parts,
+"Fair Ellen" (soprano) and Lord Edward (barytone), and five short chorus
+numbers. The former are vigorous and somewhat declamatory in style, but
+the choruses are very melodious and stirring. The instrumentation is
+unusually effective, and a fine point is made in the climax by the
+interweaving of the familiar air, "The Campbells are Coming," with the
+orchestral score. It lends spirit and color to the finale, and closes up
+the work with a fine burst of powerful effect. Short as it is, "Fair
+Ellen" will always be a favorite with popular audiences.
+
+
+                                Odysseus.
+
+The cantata of "Odysseus," like that of "Frithjof," is made up of
+detached scenes, in this case selected from the Odyssey and arranged by
+William Paul Graff. The work was first produced in 1872, and has met with
+great success in Germany, England, and the United States. It is divided
+into two parts, the first containing four, and the second, six scenes.
+The characters are as numerous as those of a grand opera, and include
+Odysseus, barytone; Penelope, alto; Alcinoos, King of the Pheaces, bass;
+Arete, his consort, alto; Nausicaa, their daughter, soprano; the
+Helmsman, bass; Pallas Athene, soprano; Leucothea, soprano; Spirit of
+Tiresias, bass; Spirit of Anticlia, Odysseus' mother, alto; and Hermes,
+tenor. In performance, however, the parts of Arete and the Spirit of
+Anticlia, as well as of Nausicaa and Pallas Athene, are usually doubled.
+The choruses, which are a very important feature of the work, are
+assigned to Odysseus' companions, Spirits of the Departed, Sirens,
+Tritons, Nymphs of the sea, Pheaces, Rhapsodes, boatmen and people of
+Ithaca.
+
+In the first scene Odysseus is discovered on Calypso's enchanted island
+longing for home. Hermes, the messenger of the gods, appears to him and
+announces that the Immortals, touched by his sorrow, will rescue him and
+restore him to Penelope. In the next scene the wanderer has reached the
+abysses of Erebus, "where, loud thundering, the flood of Cocytus pours
+its black wave into Acheron's tide." Here he invokes the world of shades.
+The spirits of children, brides, youths, and old men successively appear
+to him and narrate their mournful stories. Then Tiresias the bard warns
+him of the Sirens, and Anticlia his mother bids him hasten to Penelope.
+In the third scene he passes the isles of the Sirens, and escapes their
+wiles through the firmness of his companions. The fourth scene describes
+the storm at sea, the wreck of the vessel, and Odysseus' rescue by
+Leucothea, who gives him the veil the Immortals have woven, and bids the
+Oceanides and Tritons guide him safely to land; and the first part closes
+with our hero peacefully sleeping on the flowery shore of the island of
+Pheacia.
+
+The second part opens with the lament of Penelope and her prayer to the
+gods to restore her husband to her. The sixth scene changes to the island
+again, and discloses Odysseus awakened from his slumbers by the sports
+and dances of Nausicaa and her joyful maidens. He appeals to her for help
+and refreshment, and is bidden to partake of their hospitality. In the
+next scene a sumptuous banquet is spread for him, at which he reveals his
+identity and asks that he be allowed to return to his home. The fair
+Nausicaa, though suddenly enamoured of the handsome stranger, conceals
+her passion and expedites his departure. The eighth scene gives us a
+sketch of Penelope weaving the garment, the _ruse_ by which she kept her
+suitors aloof.
+
+  "This garment by day I weave in my sorrow,
+  And ravel the web in the still hour of night;
+  Thus wearying long, yet my tears greet the morrow,
+  Hope vanishes as the long years take flight."
+
+The ninth scene opens with the arrival of Odysseus at Ithaca. The
+sleeping wanderer is borne ashore by his comrades, and upon awaking from
+his slumbers fails to recognize his own country until Pallas Athene
+appears to him. The goddess convinces him that he is at home once more,
+and then discloses the plot of the suitors, who are revelling in his
+palace, to compel Penelope to select one of them that day in order that
+they may gain possession of his property, as well as their conspiracy for
+his destruction, from which she promises to protect him. The final scene
+describes the glad acclamations of the people as they recognize Odysseus,
+and the joy of Penelope as she welcomes him home once more.
+
+The orchestral introduction is very free and flowing in character, and
+its themes are taken from the duet of Odysseus and Penelope, which occurs
+later on. The opening chorus of Calypso's nymphs ("Here, O Hermes, in
+midst of the Island") is very graceful in its movement and is set to a
+most delightful accompaniment. It is followed by Odysseus' lament ("Flow,
+ye Tears, since Days are hateful"), at first tender in its character,
+then changing to passionate utterances as the remembrance of Penelope
+comes to him, and closing with a hopeful strain after the promise of help
+from Zeus. In the second or Hades scene the music changes from its bright
+color to a gloomier minor tone. It opens with a male chorus ("The Bounds
+we have reached of the deep flowing Ocean"), pianissimo, gradually
+increasing in intensity and accompanied by remarkable effects in
+tone-color as the orchestra describes "the thundering of the flood
+Cocytus" and "the surging aloft of the shadows of the departed." It is
+followed by semi-choruses of the shades, and closes with a very spirited
+and dramatic male chorus ("Dread on Dread! Lo, surging aloft, the
+numberless Hosts of Departed"). The third scene opens with a fresh and
+characteristic male chorus ("Our Sails to the Breezes"), followed by the
+graceful and alluring chorus of the sirens ("Come, great Odysseus, Hero
+of Might"). The last scene is almost entirely choral and very dramatic in
+its effect, especially the opening number for the Oceanides and Tritons
+("Hark! the Storm gathers from afar"), with its vigorous instrumental
+description of the tempest, and the closing number for full chorus
+("Yonder beckons the wood-crested Harbor"), which in its tenderness and
+joyousness forms a striking contrast to the earlier part of the scene.
+
+The second part is introduced with a dignified and sombre recitative
+("Thou far-darting Sun"), followed by an aria of the same character ("Oh!
+Atritone") in which Penelope bewails the absence of Odysseus. In the next
+scene the music changes to a bright and tripping strain, the chorus of
+Nausicaa's maidens ("On the flowery Mead, girt by the dimpling Tide"),
+which closely resembles that of Calypso's nymphs in the first scene.
+After Odysseus' fervent appeal ("Hark to me! Queen, or heaven-dwelling
+Goddess") the banquet scene occurs. It begins with an animated chorus of
+the Pheacians ("Be welcome, Stranger, to Pheacia's Land"), followed by an
+exquisite unison chorus of the Rhapsodes ("Ten Years now are past since
+Troy in the Dust was laid"), set to an accompaniment of harps. A simple
+and tender melody ("Let me then depart in Peace"), sung by Odysseus, in
+which the chorus singers gradually join, closes the scene. The eighth
+scene contains the most expressive solo number of the work, Penelope's
+aria ("This Garment by Day I weave in my Sorrow"), with a characteristic
+descriptive accompaniment. The gems of the ninth scene are Odysseus'
+passionate aria ("O my Fatherland! blest Remembrance!") and his furious
+revenge song ("Miscreant! woe to Thee"). The last scene opens with a
+joyous chorus of the people ("Say, have ye heard the Tidings of Joy?"),
+followed by a fervent duet between Odysseus and Penelope ("Omnipotent
+Zeus! we call on thy Name"). The final chorus begins in chorale style
+("In Flames ascending"), and after repeating the melody of Odysseus' song
+in the seventh scene ("Nowhere abides such Delight"), closes with a fine
+fugued passage ("Slayer of Darkness").
+
+
+
+
+                                  BUCK.
+
+
+Dudley Buck, one of the most eminent of American organists and composers,
+was born March 10, 1839, at Hartford, Conn., where his father was engaged
+in the mercantile business. He studied both the piano and organ, the
+latter with such success that at the age of sixteen he was appointed
+organist at St. John's Church in his native city. In 1858 he went to
+Europe and entered the Leipsic Conservatory, where he studied the piano
+with Plaidy and Moscheles, and composition with Hauptmann and Richter.
+After remaining there a year and a half he went to Dresden and began the
+study of Bach's music with Johann Schneider. A year and a half later he
+went to Paris, and there acquainted himself with French music and
+musicians. He returned to this country in 1862, and accepted the position
+of organist at the Park Church, Hartford, but after the death of his
+parents removed to Chicago, where he obtained the position of organist at
+St. James's Episcopal Church, and also devoted much of his time to
+teaching and composition. In that city his home became a musical centre.
+His library, fine organ, and music-room were great attractions, and he
+had laid the foundation of a brilliant musical career, when the great
+fire of 1871 swept away his entire property, including many manuscript
+compositions. Like many other musicians at that time he left the city,
+seeing no prospect of advantage to him where it would require a long time
+to recover purely material losses. He went with his family to Boston,
+where his fame was already established, and obtained the position of
+organist at St. Paul's Church, as well as the charge of the large organ
+in the Music Hall. After remaining a short time in that city he removed
+to New York, where he has since resided. His life has been a very busy
+one, and he has had an important influence, both personally and in
+connection with Theodore Thomas, upon the progress of music in this
+country. It is not extravagant to say that there are few Protestant
+churches whose music has not been dignified and improved by his
+contributions, particularly of anthems and Te Deums, as well as of
+compositions for the organ, of which he is a consummate master. Singing
+societies are also indebted to him for many elegant four-part songs.
+Among his larger works are the cantata "Don Munio" (1874); the
+"Centennial," written for the Centennial at Philadelphia; "The Nun of
+Nidaros" (1878); "The Golden Legend," which was the prize cantata at the
+Cincinnati Festival of 1880; an Easter cantata; the Forty-sixth Psalm,
+written for the Boston Handel and Haydn Society; two volumes of sacred
+songs and motets; "Marmion," a symphonic overture, and other works for
+orchestra; the cantatas "Voyage of Columbus" (1885) and the "Light of
+Asia" (1886). The last two cantatas were issued in Europe, the one in
+Germany and the other in England, and thus came to this country bearing a
+foreign imprint,--a novelty for an American composer.
+
+
+                                Don Munio
+
+"Don Munio," a dramatic cantata for solos, chorus, and orchestra, was
+written in 1874. The story of it is taken from Washington Irving's
+Spanish papers, and the scene is laid in the period of the wars with the
+Moors. While hunting one morning, Don Munio de Hinojosa captures a
+cavalcade which is escorting the Moorish Prince, Abadil, and his
+betrothed, Constanza, on the way to their wedding. The Prince, all escape
+being cut off, seeks to purchase the good-will of Don Munio with his gold
+and jewels, and implores him not to separate him from his affianced. The
+Don, touched by their unfortunate condition, invites them to spend a
+fortnight at his castle, promising that the nuptials shall be celebrated
+there, and then they shall be released. The lovers accept, and Don Munio
+is faithful to his promise. Shortly after their departure he is ordered
+by the king to join in the expedition to Palestine. In one of the
+encounters of this crusade he is killed by Abadil, who does not recognize
+his former benefactor with his visor closed. His death is greatly mourned
+in Spain, but they are consoled when Roderigo, a messenger from
+Palestine, arrives and tells them that one evening while strolling near
+the Holy Sepulchre he saw seventy Christian knights riding in ghostly
+procession, with the late Don Munio at their head. This is regarded as an
+assurance that all is well with him. _Requiescat in pace._
+
+These are the incidents which Mr. Buck has chosen for musical treatment,
+and he has done the work excellently well. After the orchestral
+introduction follows a spirited hunting-song for male chorus. The next
+scene opens in the chamber of Donna Maria, wife of Don Munio, who laments
+his absence in a minor strain, to which succeeds a rondo movement. The
+third is religious in character, marked "Evening. Close of vesper service
+in the chapel of the castle. Escobedo, the chaplain, with the women, and
+such retainers as have not followed Don Munio on his expedition." It
+begins with a prelude closing with full orchestra and organ, and leading
+to barytone solo and chorus, and a short exhortation to prayer by
+Escobedo. The next number is an Ave Maria for full chorus, which is very
+beautifully harmonized. In the next scene we encounter Don Munio in the
+forest, and are treated to the conventional hunting-song. The next number
+hints at the approach of the Moors, which is soon disclosed by a pretty
+three-part chorus of "the females of the Moorish cavalcade as they
+journey." The eighth scene contains some powerful chorus work, divided
+between the furious Spaniards and the frightened women, and set to a very
+vigorous accompaniment. After the tumult ends, Abadil very melodiously
+appeals to Don Munio, followed by a brief arioso in which the latter
+makes his terms, and a spirited chorus of gratitude to the Don, which
+close the first part.
+
+After a short prelude, the second part opens with a tenor aria for Abadil
+("O, thou my Star") which is very refined in sentiment. It is followed by
+the chorale "Jesu, dulcis Memoria," sung by the chapel choir. A duet
+ensues between the two lovers on the castle terrace, which is very
+Italian in its flavor, and one of the most effective numbers in the
+cantata. The next two numbers furnish the wedding music,--a happy bridal
+chorus, and a charming bolero for orchestra. These lead to an
+unaccompanied quartet between Don Munio, Donna Maria, Abadil, and
+Constanza ("It is the Lot of Friends to part"). In the next scene occurs
+a vigorous duet between Don Munio and his wife, in which he informs her
+of his speedy departure for Palestine, followed by a stirring battle-hymn
+for male chorus. The next scene, "The chapel of the castle, choir
+chanting the dirge for the dead," is in strong contrast with the
+preceding. Mr. Buck has rarely written anything better in his sacred
+music than this beautiful requiem. In the next two numbers the messenger
+describes the manner of Don Munio's death, and the ghostly vision at the
+sepulchre, and at the end of his message the requiem changes to a
+jubilant chorus of gratitude ("In thankful Hymns ascending"). "Don Munio"
+is one of the most powerful and spontaneous of American compositions, and
+needs but little more amplification to deserve the name of opera.
+
+
+                 The Centennial Meditation of Columbia.
+
+The National Centennial celebration at Philadelphia was inaugurated May
+10, 1876, with a special musical programme, in which the cantata with the
+above formidable title occupied a prominent place. The ode was written by
+Sydney Lanier, of Georgia, a poet who prior to that time had made
+considerable reputation by two poems printed in "Lippincott's Magazine."
+The national idea was satisfied by assigning the music to Dudley Buck, at
+that time living in Connecticut. It must be acknowledged that the work
+did not make a deep impression, although it contains some excellent
+musical writing, and for two sufficient reasons. First, it is not a work
+of musical genius or inspiration, as it was ordered by a commission for a
+popular show. It was not singular in this respect. The "Centennial
+March," written by Richard Wagner, for the same occasion, is page after
+page of sound and fury, executed for a most exorbitant remuneration. To
+ascertain its real want of inspiration one has but to place it by the
+side of the "Kaiser March," with its massive chords, its grand thematic
+treatment, and its stately movement, the outcome of patriotic fervor and
+national triumph. Second, the stilted and unmusical lines furnished by
+Mr. Lanier must have hampered the composer in every verse. This is all
+the more remarkable because Mr. Lanier himself was a practical musician.
+He had been for some time a violinist in the Peabody orchestra at
+Baltimore, under that accomplished leader, Asgar Hamerik. It is
+remarkable, therefore, that he should not have recognized the
+difficulties he was placing in the way both of the composer and the
+performers.
+
+The ode has sixty-one lines, divided into eight stanzas of unequal
+lengths. It sketches the past and present of the nation, the powers which
+opposed its progress and hindered the development of its freedom, and the
+elements which at last produced success, closing with cheering auguries
+for the future, and a welcome to the world. All this might have been set
+to smooth and fluent verse, which would readily have adapted itself to
+music; but what composer could have treated successfully such verses as
+these?--
+
+  "Mayflower, Mayflower, slowly hither flying,
+  Trembling westward o'er yon balking sea,
+  Hearts within, 'Farewell, dear England,' sighing,
+  Winds without, 'But dear in vain,' replying,
+  Gray-lipp'd waves about thee shouted, crying,
+          'No! it shall not be!'
+
+  "Jamestown, out of thee--
+  Plymouth, thee--thee, Albany--
+  Winter cries, 'Ye freeze; away!'
+  Fever cries, 'Ye burn; away!'
+  Hunger cries, 'Ye starve; away!'
+  Vengeance cries, 'Your graves shall stay!'
+
+          "Hark!
+  Huguenots whispering 'Yea' in the dark,
+  Puritans answering 'Yea' in the dark!
+  'Yea,' like an arrow shot true to his mark,
+  Darts through the tyrannous heart of Denial.
+  Patience and Labor and solemn-souled Trial,
+          Foiled, still beginning,
+          Soiled, but not sinning,
+  Toil through the stertorous death of the Night,
+  Toil, when wild brother-wars new-dark the light,
+  Toil, and forgive, and kiss o'er, and re-plight."
+
+Even in the last verse, where the composer must make his climax, and the
+singers must be most effective, they are confronted with this unsingable
+line:--
+
+  "And wave the world's best lover's welcome to the world."
+
+The only musical verse is the reply of the angel to Columbia in the midst
+of her ragged and cacophonous meditation, which the composer selected as
+a solo for bass voice:[20]--
+
+  "Long as thine Art shall love true love,
+  Long as thy Science truth shall know,
+  Long as thine Eagle harms no Dove,
+  Long as thy Law by law shall grow,
+  Long as thy God is God above,
+  Thy brother every man below,
+  So long, dear Land of all my love,
+  Thy name shall shine, thy fame shall grow."
+
+The prelude for orchestra determines the motive of the whole cantata, and
+is very spirited; for here, at least, the composer was not hampered by
+words. The opening verse,--
+
+  "From this hundred-terraced height,"
+
+is set very effectively in chorale form; but the next two verses, already
+quoted, are arranged for semi-chorus and full chorus, and close in a
+vocal stretto quite as hysterical as the words. Then follows the
+whispering of the Huguenots and Puritans, commencing _sotto voce_, and
+gradually increasing to a _forte_ at the close. A few bars for the horn
+lead to the bass solo, "Long as thine Art," with horn obligato,--a very
+impressive and dignified aria, and one which would speedily become a
+favorite in the concert-room if adapted to the words. The final number
+("Music from this Height of Time") begins in full choral harmony and
+closes with a vigorous and well-written fugue.
+
+
+[20] Sung upon that occasion by Mr. Myron D. Whitney.
+
+
+                           The Golden Legend.
+
+"The Golden Legend" was written in competition for the prize of one
+thousand dollars, which the Cincinnati May Festival Association offered
+in 1879 for the best work of a native composer. The judges were Theodore
+Thomas, Otto Singer, Asgar Hamerik, Carl Zerrahn, and the late Dr.
+Leopold Damrosch. Their award was made to "The Golden Legend," and it was
+first performed at the Festival of 1880, with Miss Annie B. Norton as
+Elsie, Mr. Frederick Harvey as Prince Henry, Mr. J. F. Rudolphsen as
+Lucifer, and Mr. M. D. Whitney as Friar Paul.
+
+The text of the cantata is composed of a prologue, epilogue, and twelve
+scenes taken from Longfellow's Episode in "Christus" by the same name.
+The mediæval story is a very simple one. Prince Henry of Hoheneck,
+stricken down with an incurable ailment, after vainly seeking a remedy,
+is visited by Lucifer disguised as a physician, who tempts him to adopt a
+remedy prescribed by a doctor of Salerno; namely, the blood of a maiden
+who will voluntarily offer herself as a sacrifice. Elsie devotes her life
+to the Prince, and they journey together to Salerno, where her death must
+take place. Arrived at the spot, the Prince, touched by her magnanimity,
+entreats her to forego her purpose; but she insists upon it, bids him
+farewell in the school, and enters an inner apartment with Lucifer
+disguised as a friar. Before the tragedy can be consummated, the Prince
+bursts open the door, with the aid of his followers, and rescues her. The
+pair return to the castle on the Rhine, where of course the rapidly
+convalescing Prince marries Elsie, and the story closes with an epilogue
+reciting the discomfiture of Lucifer and the triumph of good over evil.
+
+Out of this material the composer has constructed his work, eliminating
+from and adding to the original matter to suit his musical scheme, but at
+the same time preserving the general spirit of the story. After a very
+spirited and energetic prelude, the prologue begins with the fruitless
+attempt of Lucifer to pull down the cross on the spire of Strasburg
+cathedral, the protests of the spirits of the air (first and second
+sopranos), the defiance of the bells (male chorus) as each attempt fails,
+and the final disappearance of the spirits amid the chanting of the
+majestic Latin hymn, "Nocte surgentes," by full chorus in the church,
+accompanied by the organ. The second scene opens in Prince Henry's
+chamber in the tower of the Vautsberg castle, and reminds one of the
+opening scene of "Faust," as set by Gounod. After an expressive
+declamation of his melancholy and his longing for rest and health ("I
+cannot sleep, my fervid Brain calls up the vanished Past again"), Lucifer
+appears in a flash of light, dressed as a travelling physician, and a
+dialogue ensues, the purport of which has already been told, which closes
+with an ingenious and beautifully-written number for the two voices,
+accompanied by a four-part chorus of mixed voices and a small semi-chorus
+of sopranos and altos ("Golden Visions wave and hover"). The fourth scene
+is an unaccompanied quartet, "The Evening Song," sung by Elsie, Bertha,
+Max, and Gottlieb in their peasant home in the Odenwald, as they light
+the lamps ("O gladsome Light of the Father"). It is a simple, tranquil
+hymn, but full of that sacred sentiment which this composer expresses so
+admirably in music. The fifth scene, Elsie's prayer in her chamber ("My
+Redeemer and my Lord"), in its calm beauty and religious feeling makes a
+fitting pendant to the quartet. In the next number, the orchestra is
+utilized to carry on the action, and in march tempo describes the
+pilgrimage to Salerno with stately intervals, in which is heard the
+sacred song, "Urbs coelestis, urbs beata," supposed to be sung by the
+pilgrims "moving slowly on their long journey with uncovered feet." The
+seventh scene is laid in the refectory of the convent of Hirschau, in the
+Black Forest, where Lucifer enters the gaudiolum of monks, disguised as a
+friar, and sings the rollicking Latin drinking-song, "Ave color vini
+clari," which Mr. Edmund C. Stedman versified for this work as follows:--
+
+  "Hail! thou vintage clear and ruddy!
+  Sweet of taste and fine of body,
+  Through thine aid we soon shall study
+      How to make us glorious!
+
+  "Oh! thy color erubescent!
+  Oh! thy fragrance evanescent!
+  Oh! within the mouth how pleasant!
+      Thou the tongue's prætorius!
+
+  "Blest the stomach where thou wendest!
+  Blest the throat which thou distendest!
+  Blest the mouth which thou befriendest,
+      And the lips victorious!
+
+                            Chorus of Monks.
+
+      "Pour the wine, then, pour it!
+      Let the wave bear all before it!
+      There's none to score it,
+      So pour it in plenty, pour it!"
+
+The next number is for orchestra only, and once more the instruments are
+used for a continuance of the action by a description of the carousal of
+the monks in a characteristic allegro bacchanale, the abbot testifying
+his indignation through the medium of the trombone and the use of the
+Gregorian melody. The sentiment of the latter is expressed by the
+following verse:--
+
+  "What mean this revel and carouse?
+  Is this a tavern and drinking-house?
+  Are you Christian monks or heathen devils,
+  To pollute this convent with your revels?"
+
+The ninth scene changes to Genoa. Elsie, on a terrace overlooking the
+sea, sings a charming aria ("The Night is calm and cloudless"), with a
+choral refrain of "Kyrie Eleison." The tenth is a graceful barcarolle for
+orchestra, but it is somewhat in the nature of an interpolation, and is
+only connected with the movement of the story by a thin thread, as will
+be seen from the verse which gives its motive:--
+
+  "The fisherman who lies afloat,
+  With shadowy sail in yonder boat,
+  Is singing softly to the night.
+    A single step and all is o'er;
+  And thou, dear Elsie, wilt be free
+  From martyrdom and agony."
+
+The eleventh scene is a spirited and beautifully-written male chorus of
+sailors ("The Wind upon our Quarter lies"). The twelfth reaches the
+climax in the scene at the college of Salerno between Lucifer, Elsie, and
+the Prince, with accompaniment of attendants, and is very dramatic
+throughout. It is followed by a tender love-duet for Elsie and the Prince
+on the terrace of the castle of Vautsberg, which leads to the epilogue,
+"O Beauty of Holiness," for full chorus and orchestra, in which the
+composer is at his very best both in the construction of the vocal parts
+and the elaborately worked-up accompaniments.
+
+
+                         The Voyage of Columbus.
+
+"The Voyage of Columbus" was written in 1885, and first published in
+Germany. The text of the libretto was prepared by the composer himself,
+extracts from Washington Irving's "Columbus" forming the theme of each of
+the six scenes, all of which are supposed to transpire at evening, and
+are therefore styled by the composer "night-scenes." Their arrangement,
+which is very skilfully accomplished, is as follows:--
+
+Scene I. In the chapel of St. George at Palos, Aug. 2, 1492. "The
+squadron being ready to put to sea, Columbus, with his officers and crew,
+confessed themselves to the friar, Juan Perez. They entered upon the
+enterprise full of awe, committing themselves to the especial guidance
+and protection of Heaven."
+
+Scene II. On the deck of the Santa Maria. "Eighteen years elapsed after
+Columbus conceived his enterprise before he was enabled to carry it into
+effect. The greater part of that time was passed in almost hopeless
+solicitation, poverty, and ridicule."
+
+Scene III. The Vesper Hymn. "In the evening, according to the invariable
+custom on board the admiral's ship, the mariners sang the Vesper Hymn to
+the Virgin."
+
+Scene IV. Discontent and Mutiny. "In this way they fed each other's
+discontent, gathering into little knots, and fomenting a spirit of
+mutinous opposition ... finally breaking forth into turbulent clamor."
+
+Scene V. In distant Andalusia. "He compares the pure and balmy mornings
+to those of April in Andalusia, and observes that they wanted but the
+song of the nightingale to complete the illusion."
+
+Scene VI. Land and Thanksgiving. "As the evening darkened, Columbus took
+his station on the top of the castle or cabin, on the high poop of his
+vessel, ranging his eye along the horizon, and maintaining an intense and
+unremitting watch."
+
+The cantata opens with a brief orchestral prelude of a sombre character
+begun by the trombone sounding the Gregorian intonation, and leading to
+the barytone solo of the priest ("Ye men of Spain, the Time is nigh"),
+appealing to the crew to commit themselves to Heaven, to which the full
+male chorus responds with ever-increasing power, reaching the climax in
+the "Ora pro nobis." Twice the priest repeats his adjuration, followed by
+the choral response, the last time with joy and animation as the flag of
+Castile is raised and they bid farewell to the shores of Spain. A short
+allegro brings the scene to a close.
+
+The second scene is a bass aria for Columbus ("Eighteen long Years of
+Labor, Doubt, and Scorn"), of a vigorous and spirited character, changing
+to a solemn adagio in the prayer, "Lord of all Power and Might," and
+closing with a few spirited phrases in the opening tempo. It is followed
+by the Vesper Hymn, "Ave Maris Stella," a number in which the composer's
+eminent ability in sacred music is clearly shown. Its tranquil harmony
+dies away in the softest of pianissimos, and is followed by an agitated
+prelude introducing the furious chorus of the mutinous crew "Come,
+Comrades, come," which gathers intensity as it progresses, voices and
+instruments uniting in broken but powerful phrases, sometimes in full
+chorus and again in solo parts, until the climax is reached, when
+Columbus intervenes in brief solos of great dignity, to which the chorus
+responds, the scene closing with the renewal of allegiance,--a stirring
+bass solo with choral accompaniment.
+
+The fifth scene is a tenor recitative and love-song of a most graceful
+character, and one which will become a favorite when it is well known:--
+
+  "In Andalusia the nightingale
+  Sings,--sings through the live-long night;
+  Sings to its mate in pure delight:
+      But, ah me! ah, my love!
+  Vanished and lost to my sight
+      In distant Andalusia."
+
+The final scene is very elaborate in its construction, and brings the
+work to a sonorous and stately close. It opens with a very dramatic
+recitative by Columbus ("The Night is dark, but many a Sign seen through
+this Day proclaims the Goal at Hand"), at the close of which there is a
+short orchestral prelude, which serves to introduce a trio ("Here at your
+Bidding") for Columbus and two officers (first tenor and first bass). At
+the cry of a seaman, "Land ho!" the chorus responds with animation.
+Columbus bids his crew join him "in prayer and grateful praise." The
+answer comes in a splendidly-written "Hallelujah," which is fairly
+majestic in its progression, reaching its close in full broad harmony,
+with the accompanying strains of trumpets.
+
+
+                           The Light of Asia.
+
+Mr. Buck's latest cantata, "The Light of Asia," well-nigh reaches the
+dimensions of an opera or oratorio. It was written in 1886 and first
+published in England. Its name reveals its source, and the composer has
+made compensation for the privilege of using Mr. Edwin Arnold's beautiful
+poem, by a graceful dedication of the work to him. The libretto was
+prepared by the composer himself, who has shown great skill in making his
+selections in such manner as not to disturb the continuity of the story.
+The purely philosophical portions are omitted, and only those are
+retained which have a human interest. In this manner he has avoided the
+obstacle which the lack of human sympathy in the poem, beautiful as it
+is, would otherwise have placed in his way. The text, as will be
+remembered, has no definite metre, much of it being in blank verse, and
+does not readily lend itself to musical expression; but it will be
+conceded that the composer has also overcome this difficulty in a very
+remarkable manner. The cantata is divided into four parts,--Prologue, the
+Renunciation and Temptation, the Return, and Epilogue and Finale.
+
+The first part has nine numbers. A brief prelude leads to the opening
+chorus:--
+
+  "Below the highest sphere four regents sit,
+  Who rule the world; and under them are zones
+  Nearer, but high, where saintliest spirits dead,
+  Wait thrice ten thousand years, then live again."
+
+It begins with a fugue, opened by the basses, simple in its construction
+but stately in theme and very dignified throughout. It is followed by a
+bass solo of descriptive character ("The King gave Order that his Town
+should keep high Festival"), closing with a few choral measures, _sotto
+voce_, relating that the King had ordered a festival in honor of the
+advent of Buddha, and how a venerable saint, Asita, recognized the
+divinity of the child and "the sacred primal signs," and foretold his
+mission. The third number is the description of the young Siddârtha, set
+in graceful recitative and semi-chorus for female voices, with a charming
+accompaniment. The fourth is a spring song ("O come and see the Pleasance
+of the Spring"), begun by tenors and basses and then developing into full
+chorus with animated descriptive effects for the orchestra, picturing
+"the thickets rustling with small life," the rippling waters among the
+palms, the blue doves' cooings, the jungles laughing with the
+nesting-songs, and the far-off village drums beating for marriage feasts.
+A recitative for bass ("Bethink ye, O my Ministers"), in which the King
+counsels with his advisers as to the training of the child, leads to a
+four-part song for tenors and basses ("Love will cure these thin
+Distempers"), in which they urge him to summon a court of pleasure in
+which the young prince may award prizes to the fair. Then
+
+                          "If one or two
+  Change the fixed sadness of his tender cheek,
+  So may we choose for love with love's own eye."
+
+The King orders the festival, and in the next number--a march and
+animated three-part chorus for female voices--Kapilavastu's maidens flock
+to the gate, "each with her dark hair newly smoothed and bound." Then
+comes the recognition, briefly told in soprano recitative. Yasôdhara
+passes, and "at sudden sight of her he changed." A beautiful love-duet
+for soprano and tenor ("And their Eyes mixed, and from the Look sprang
+Love") closes the scene. The next number is a bass solo narrating the
+triumph of Siddârtha over all other suitors, leading to a jubilant and
+graceful wedding chorus ("Enter, thrice-happy! enter, thrice-desired!"),
+the words of which are taken from the "Indian Song of Songs."
+
+The second part opens with a soprano solo describing his pleasure with
+Yasôdhara, in the midst of which comes the warning of the Devas:--
+
+  "We are the voices of the wandering wind,
+  That moan for rest and rest can never find.
+  Lo! as the wind is, so is mortal life,--
+  A moan, a sigh, a sob, a storm, a strife."
+
+This number is a semi-chorus, set for female voices, interspersed with
+brief phrases for tenor, and after a bass solo, relating the King's dream
+and the hermit's interpretation, which induces him to doubly guard
+Siddârtha's pleasure-house, leads up to a beautiful chorus, divided
+between two sopranos, alto, two tenors, and two basses:--
+
+  "Softly the Indian night sunk o'er the plain,
+  Fragrant with blooms and jewelled thick with stars,
+  And cool with mountain airs sighing adown
+  From snow-flats on Himâla high outspread.
+  The moon above the eastern peaks
+  Silvered the roof-tops of the pleasure-house,
+  And all the sleeping land."
+
+The next scene opens with a soprano solo ("Within the Bower of inmost
+Splendor"), in which Yasôdhara relates her dream of the voice crying "The
+Time is nigh," to Siddârtha, and closes with a tender duet for soprano
+and tenor. The next number is a brief chorus ("Then in her Tears she
+slept"), followed by the tenor solo, "I will depart," in which Siddârtha
+proclaims his resolve "to seek deliverance and the unknown light," and
+leading to a richly-colored and majestic chorus:
+
+  "There came a wind which lulled each sense aswoon
+  Of captains and of soldiers:
+  The gates of triple brass rolled back all silently
+  On their grim hinges;
+  Then, lightly treading, where those sleepers lay,
+  Into the night Siddârtha passed,
+  While o'er the land a tremor spread,
+  As if earth's soul beneath stirred with an unknown hope,
+  And rich celestial music thrilled the air
+  From hosts on hosts of shining ones."
+
+A tenor solo describes the six long years of wandering, followed by a
+characteristic chorus of voices of earth and air bidding him pass to the
+tree under whose leaves it was foretold that truth should come to him for
+the saving of the world. A short bass recitative leads to a vigorous
+descriptive chorus relating the temptations of Siddârtha, in which the
+orchestra is used with masterly effect. A brief soprano solo, the
+apparition of Yasôdhara among the wanton shapes floating about the tree,
+imploring him to return, and the tenor response, bidding the shadow
+depart, intervene; and then the chorus resumes with increased vigor,
+reaching a furious climax as the legions of hell tempt him, but dying
+away in the close to phrases of tender beauty:--
+
+  "Radiant, rejoicing, strong, Buddha arose,
+  And far and near there spread an unknown peace.
+  As that divinest daybreak lightened earth,
+  The world was glad."
+
+The third part (the Return) opens with a soprano solo of a slow and
+mournful character, relating the sorrow of Yasôdhara and the visit of her
+damsels, who announce the arrival of merchants with tidings of Siddârtha.
+They are summoned, and tell their story in a short chorus, which is
+followed by a brief soprano solo ("Uprose Yasôdhara with Joy"), an
+exultant chorus ("While the Town rang with Music"), and another brief
+phrase for soprano, leading to a fine choral outburst ("'Tis he!
+Siddârtha, who was lost"). The next number, a bass solo describing the
+King's wrath when he learns that Siddârtha has returned as a yellow-robed
+hermit instead of with "shining spears and tramp of horse and foot," is
+very sonorous as well as dramatic, and is followed by a tenor and bass
+dialogue developing into a trio of great beauty ("Thus passed the Three
+into the Way of Peace"). The final number is a masterpiece of choral work
+both in the elaborateness of its construction and the majesty of its
+effect, and brings the cantata to a close with the mystic words:--
+
+  "The Dew is on the Lotus! Rise, great Sun!
+  And lift my leaf and mix it with the wave.
+  The Sunrise comes! the Sunrise comes!
+  The Dewdrop slips into the shining sea.
+        Hail, High Deliverer, Hail!"
+
+
+
+
+                                 CORDER.
+
+
+Frederick Corder, the English composer and conductor, was born at
+Hackney, London, Jan. 26, 1852. He was a student at the Royal Academy of
+Music in 1874, and in the following year gained the Mendelssohn
+scholarship. From 1875 to 1878 he studied at Cologne with Hiller, and in
+1879 returned to London, where he engaged for a time in literary
+pursuits. His abilities as a writer are very clearly shown in the
+librettos to his works. In 1880 he was appointed conductor of the
+orchestra at the Brighton Aquarium, and since that time he has devoted
+himself to teaching and composition. His principal works are "In the
+Black Forest," an orchestral suite, and "Evening on the Seashore," idyl
+for orchestra (1876); the opera "Morte d'Arthur" (1877); the one-act
+opera "Philomel" (1879); cantata, "The Cyclops" (1880); "Ossian," a
+concert overture for orchestra, produced by the London Philharmonic
+Society (1882); the cantata "Bridal of Triermain" (1886); and the opera
+"Nordisa," founded upon a Norwegian subject and brought out with great
+success in January, 1887 by the Carl Rosa opera troupe. Mr. Corder is one
+of the most ambitious and promising of all the younger English composers,
+and his music shows in a special degree the influence of Wagner. That he
+has also literary talent of a high order is evinced by his contributions
+to periodical literature and the librettos of his last two works,--"The
+Bridal of Triermain" and "Nordisa."
+
+
+                        The Bridal of Triermain.
+
+"The Bridal of Triermain" was written for the Wolverhampton (England)
+Festival of 1886, and was one of the most notable successes in the
+festival performances of that year. The subject is taken from Walter
+Scott's poem of the same name. The adaptation has been made in a very
+free manner, but the main incidents of the poem have been carefully
+preserved. Sir Roland's vision of the "Maid of Middle Earth;" the bard
+Lyulph's recital of the Arthurian legend, which tells of Gyneth's
+enchantment in the valley of St. John by Merlin, where she must sleep
+
+  "Until a knight shall wake thee
+  For feats of arms as far renowned
+  As warrior of the Table Round;"
+
+the magic wrought by Merlin in the valley to delude Roland and thwart his
+effort to rescue Gyneth; his daring entrance into the palace grounds; the
+discovery of the Princess in the enchanted hall, and her final rescue are
+the themes which the composer has treated. In arranging his libretto he
+has, as has been said, made a free adaptation of the poem, sometimes
+using verses entire, at other times changing the text and rearranging it
+to suit the composer's musical demands, even at the expense of the
+original beauty and symmetry of the work.
+
+The cantata has no overture, but opens with a choral introduction ("Where
+is the Maiden of Mortal Strain?"). An orchestral interlude in the form of
+a tender graceful nocturne follows, leading up to the tenor solo, "The
+Dawn of an autumn Day did creep," in which the Baron relates the
+apparition he has seen in his dream. A short bass recitative by Lyulph
+the bard introduces the Legend, which is told in an effective number for
+soprano solo, bass solo, and chorus ("In Days e'en Minstrels now
+forget"). The next number, a very dramatic dialogue for soprano and
+tenor, gives us the conversation between Arthur and Gyneth, and leads to
+an energetic full chorus with very descriptive accompaniment, picturing
+the bloody tourney and its sudden interruption by the appearance of
+Merlin the enchanter. The first part closes with a charming number
+("'Madmen,' he cried, 'your Strife forbear'") arranged for bass solo,
+quartet, and chorus, in which is described the spell which Merlin casts
+upon Gyneth.
+
+The second part, after a short allegro movement for orchestra, opens with
+a contralto solo ("Of wasted Fields and plundered Flocks") which prepares
+the way for a concerted number for solos and chorus ("And now the Moon
+her Orb has hid"), describing the magical arts which Merlin employed to
+thwart the Baron. This number alone is sufficient to stamp Mr. Corder as
+a composer of extraordinary ability. A succession of bass, tenor, and
+contralto recitatives ("Wroth waxed the Warrior") leads to another
+powerful chorus ("Rash Adventurer, bear thee back"), the song of the
+"four maids whom Afric bore," in which the composer has caught the weird,
+strange color of the scene and given it vivid expression. A tenor
+recitative ("While yet the distant Echoes roll") leads up to a graceful,
+sensuous soprano solo and female chorus ("Gentle Knight, awhile delay").
+Its counterpart is found in the tenor recitative and spirited, dignified
+male chorus ("Son of Honor, Theme of Story"). The _dénouement_ now
+begins. A contralto solo, declamatory in style ("In lofty Hall, with
+Trophies graced"), and a short soprano solo of a joyous character ("Thus
+while she sang") lead to the final number ("Gently, lo! the Warrior
+kneels"), beginning with full chorus, which after short solos for tenor
+and soprano takes a spirited martial form ("And on the Champion's Brow
+was found") and closes with a quartet and chorus worked up to an imposing
+climax.
+
+The work is largely in narrative form; but this, instead of being a
+hindrance, seems to have been an advantage to the composer, who has not
+failed to invest his music with dramatic force that is remarkable. Mr.
+Corder is credited with being an ardent disciple of Wagner, and his
+cantata certainly shows the influences of that school. It is throughout a
+vigorous, effective work, and gives promise that its composer will yet be
+heard from outside the English musical world.
+
+
+
+
+                                 COWEN.
+
+
+Frederic H. Cowen, the favorite English song-writer, was born at
+Kingston, Jamaica, Jan. 29, 1852, and went to England at a very early
+age. His first teachers were Benedict and Sir J. Goss, with whom he
+studied until 1865. During the next three years he continued his musical
+education at the conservatories of Leipsic and Berlin, returning to
+England in 1868. His earlier works were an operetta called "Garibaldi," a
+fantasie-sonata and piano concerto, a few pieces of chamber music, and a
+symphony in C minor. These served to introduce him to public notice, and
+since that time nearly all of his works have met with remarkable success,
+among them "The Rose Maiden" (1870); music to Schiller's "Joan of Arc"
+(1871); festival overture (1872); "The Corsair," composed for the
+Birmingham Festival of 1876; a symphony in F major and the Norwegian
+symphony, which have been favorably received in this country. His most
+important opera is "Pauline," which was produced in London with great
+success by the Carl Rosa company, Nov. 22, 1876. As a song-writer, Mr.
+Cowen is also well known; many of his lyrics, especially those written
+for Antoinette Sterling and Mrs. E. Aline Osgood, the American singers,
+having obtained a wide-spread popularity.
+
+
+                          The Sleeping Beauty.
+
+"The Sleeping Beauty," written for the Birmingham Festival of 1885, the
+poem by Francis Hueffer, has for its theme the well-known fairy tale
+which has been so often illustrated in music and upon canvas. It is a
+great favorite in England, and has also met with a successful reception
+in Paris, where it was brought out not long since by the Concordia
+Society of that city, under the title of "La Belle au Bois Dormant," the
+translation having been made by Miss Augusta Holmes, herself a musician
+of considerable repute.
+
+After a brief orchestral introduction, a three-part chorus (altos,
+tenors, and basses) tells the story of the ancient King to whom an
+heiress was born when all hope of offspring had been abandoned, the gay
+carousal which he ordered, and the sudden appearance of the twelve fays,
+guardians of his house, with their spinning-wheels and golden flax, who
+sing as they weave:--
+
+  "Draw the thread and weave the woof
+  For the little child's behoof:
+  Future, dark to human eyes,
+  Openly before us lies;
+  As we will and as we give,
+  Haply shall the maiden live;
+  Draw the thread and weave the woof
+  For the little child's behoof."
+
+In beauty of melody and gracefulness of orchestration this chorus of the
+fays is specially noticeable. Its charming movement, however, is
+interrupted by a fresh passage for male chorus, of an agitated character,
+describing the entrance of the Wicked Fay, who bends over the cradle of
+the child and sings a characteristic contralto aria:--
+
+  "From the gold of the flaxen reel
+  Threads of bliss have been spun to thee;
+  By the whirl of the spinning wheel
+  Cruel grief shall be done to thee.
+  Thy fate I descry:
+  Ere the buds of thy youth are blown,
+  Ere a score of thy years have flown,
+  Thou shalt prick thy hand, thou shalt die."
+
+Following this aria, the male chorus has a few measures, invoking a curse
+upon the Fay, which leads to a full chorus of an animated character,
+foretelling that there shall dawn a day when a young voice, more powerful
+than witchcraft, will save her; at the close of which the guardian fays
+are again heard drawing the thread and weaving the woof in low, murmuring
+tones, with a spinning accompaniment. It is followed by a trio (soprano,
+tenor, and bass), with chorus accompaniment, announcing the departure of
+the fays, and leading to a very melodious tenor solo, with two graceful
+orchestral interludes, which moralizes on what has occurred and closes
+the prologue.
+
+The first scene opens in a hall in the King's palace, and is full of
+animation. A brilliant orchestral prelude leads to the full chorus in
+waltz time ("At Dawn of Day on the first of May"), which moves along with
+a fascinating swing, and closes in a very vigorous climax. At this point
+the King makes his appearance and expresses his joy that the time has
+passed when the prophecy of the Wicked Fay could take effect, for this is
+the Princess's twentieth birthday. A dialogue follows between the King
+and his daughter, closing with a beautiful chorus ("Pure as thy Heart"),
+after which the dance-music resumes. Unobserved the Princess leaves the
+banqueting-hall, glides along a gallery, and ascends the staircase to a
+turret chamber. Before she enters she sings an aria, of a tranquil,
+dreamy nature ("Whither away, my Heart?"), and interwoven with it are
+heard the gradually lessening strains of the dance-music, which ceases
+altogether as her song comes to an almost inaudible close.
+
+The second scene opens in the turret chamber, where the Wicked Fay,
+disguised as an old crone, is spinning. After a short dialogue, in which
+the Fay explains to the Princess the use of the wheel, she bids her
+listen, and sings a weird ballad ("As I sit at my Spinning-wheel, strange
+Dreams come to me"), closing with the refrain of the old prophecy, "Ere
+the Buds of her Youth are blown." The Princess dreamily repeats the
+burden of the song, and then, fearing the presence of some ill-omen,
+opens the door to escape. She hears the dance-music again, but the Fay
+gently draws her back and induces her to touch the flax. As she does so,
+the Fay covertly pricks her finger with the spindle. She swoons away, the
+dance-music suddenly stops, and there is a long silence, broken at last
+by the Fay's triumphant declaration: "Thus have I wrought my Vengeance."
+The next number is the Incantation Music ("Spring from the Earth, red
+Roses"), a very dramatic declamation, sung by the Fay and interwoven with
+snatches of chorus and the refrain of the prophecy. A choral interlude
+("Sleep in Bower and Hall") follows, describing in a vivid manner, both
+with voices and instruments, the magic sleep that fell upon the castle
+and all its inmates, and the absence of all apparent life save the
+spiders weaving their webs on the walls as the years go by:--
+
+  "The spells of witchcraft which enthrall
+  Each sleeper in that desolate hall,
+  Who can break them?
+  Say, who can lift the deathly blight
+  That covers king and lord and knight,
+  To give them back to life and light,
+  And awake them?"
+
+The answer comes in an animated prelude, through which is heard the
+strain of a horn signal, constantly growing louder, and heralding the
+Prince, who enters the silent palace, sword in hand, among the sleeping
+courtiers, knights, and ladies. After a vigorous declamation ("Light,
+Light at last") he passes on his way to the turret chamber, where he
+beholds the sleeping Princess. The love-song which follows ("Kneeling
+before Thee, worshipping wholly") is one of the most effective portions
+of the work. His kiss awakes her, and as she springs up, the dance-music
+at once resumes from the bar where it had stopped in the scene with the
+Wicked Fay. An impassioned duet follows, and the work closes with the
+animated waltz-chorus which opened the first scene.
+
+
+
+
+                                 DVORÁK.
+
+
+Anton Dvorák, the Bohemian composer who has risen so suddenly into
+prominence, was born at Mülhausen, near Prague, Sept. 8, 1841. His father
+combined the business of tavern-keeper and butcher, and young Dvorák
+assisted him in waiting upon customers, as well as in the slaughtering
+business. As the laws of Bohemia stipulate that music shall be a part of
+common-school education, Dvorák learned the rudiments in the village
+school, and also received violin instruction. At the age of thirteen he
+went to work for an uncle, who resided in the village where the
+schoolmaster was a proficient musician. The latter, recognizing his
+ability, gave him lessons on the organ, and allowed him to copy music.
+Piano lessons followed, and he had soon grounded himself quite thoroughly
+in counterpoint. At the age of sixteen he was admitted to the
+organ-school of Prague, of which Joseph Pitsch was the principal. Pitsch
+died soon after, and was succeeded by Kreyci, who made Dvorák acquainted
+with the music of Mozart, Beethoven, and Mendelssohn. The first
+orchestral work he heard was Beethoven's "Ninth Symphony," during its
+rehearsal under Spohr's direction. In 1860, being then in his nineteenth
+year, he obtained an engagement, with the meagre salary of one hundred
+and twenty-five dollars a year, as violinist in a band that played at
+cafés and dances. Two years later he secured a position in the Bohemian
+Opera House at Prague, then under the direction of Mayer, where he
+remained until 1871, in which year he left the theatre and devoted
+himself to teaching, with the prospect of earning two hundred and fifty
+dollars a year. These were hard days for the young musician; but while he
+was there struggling for a bare subsistence, he continued writing
+compositions, though he had no prospect of selling them or of having them
+played. About this time he wrote his "Patriotic Hymn" and the opera
+"König und Köhler." The latter was rejected after an orchestral trial;
+but he continued his work, undaunted by failure. Shortly after this he
+received the appointment of organist at the Adelbert Church, Prague, and
+fortune began to smile upon him. His Symphony in F was laid before the
+Minister of Instruction in Vienna, and upon the recommendation of Herbeck
+secured him a grant of two hundred dollars. When Brahms replaced Herbeck
+on the committee which reported upon artists' stipends, he fully
+recognized Dvorák's ability, and not only encouraged him, but also
+brought him before the world by securing him a publisher and commending
+him to Joachim, who still further advanced his interests by securing
+performances of his works in Germany and England. Since that time he has
+risen rapidly, and is now recognized as one of the most promising of
+living composers. Among his works which have been produced during the
+past few years are the "Stabat Mater," the cantata "The Spectre's Bride,"
+three operas in the Czechist dialect, three orchestral symphonies,
+several Slavonic rhapsodies, overtures, violin and piano concertos, an
+exceedingly beautiful sextet, and numerous songs.
+
+
+                          The Spectre's Bride.
+
+The legend of the Spectre's Bride is current in various forms among all
+the Slavonic nations. The Russians, Servians, Slovaks, Lithuanians, and
+Poles all have poems in which the ghostly ride of the spectre and the
+maiden forms the theme. The German version, told by Bürger in his famous
+ballad "Lenore," is best known; and Raff has given it a musical setting
+in his Lenore Symphony. In general, the story is the same. The Spectre
+comes for his Bride and she rides away with him through the night, amid
+all manner of supernatural horrors, only to find at the end that she has
+ridden to the grave with a skeleton. The Bohemian poem used by Dvorák is
+that of Karel Jaromir Erben, a poet who obtained a national fame by
+making collections of the songs and legends of his country during his
+service as Secretary of the Royal Bohemian Museum and Keeper of the
+Archives at Prague. In his version, unlike the German, the Spectre and
+his Bride make their grewsome journey on foot. The _dénouement_ in the
+churchyard differs also, as the maiden is saved by an appeal to the
+Virgin. In the opening scene she is represented gazing at a picture of
+the Virgin, mourning the death of her parents and the absence of her
+lover, who has failed to keep his promise to return. His parting words
+were:--
+
+  "Sow flax, my love, I counsel thee,
+  And every day remember me.
+  Spin in the first year, spin with care,
+  Bleach in the next the fabric fair;
+  Then garments make, when the years are three,
+  And every day remember me.
+  Twine I that year a wreath for thee;
+  We two that year shall wedded be."
+
+She has faithfully followed the counsel. The three years have expired,
+but still no tidings have come. As she appeals to the Virgin to bring him
+back, the picture moves, the flame of the lamp upleaps, there is an
+ominous knock at the door, and the voice of the apparition is heard
+urging her to cease praying and follow him to his home. She implores him
+to wait until the night is past, but the importunate Spectre bids her go
+with him, and she consents. On they speed over rough bowlders, through
+thorny brakes and swamps, attended by the baying of wolves, the
+screeching of owls, the croaking of frogs, and the fitful glow of
+corpse-candles. One by one he compels her to throw away her prayer-book,
+chaplet, and cross, and resisting all her appeals to stop and rest, at
+last they reach the churchyard wall. He calms her fears with the
+assurance that the church is his castle and the yard his garden, and bids
+her leap the wall with him. She promises to follow him, but after he has
+cleared it, sudden fear seizes her; she flies to a tiny house near by and
+enters. A ghastly scene takes place; spectres are dancing before the
+door, and the moonlight reveals to her a corpse lying upon a plank. As
+she gazes, horror-stricken, a knock is heard, and a voice bids the dead
+arise and thrust the living one out. Thrice the summons is repeated, and
+then as the corpse opens its eyes and glares upon her, she prays once
+more to the Virgin. At this instant the crowing of a cock is heard. The
+dead man falls back, the ghastly, spectral crew disappear, and night
+gives way to a peaceful morning.
+
+  "All who to Mass at morning went
+  Stood still in great astonishment;
+  One tomb there was to ruin gone,
+  And in the dead-house a maiden wan;
+  On looking round, amazed were they,
+  On every grave a garment lay.
+
+  "Well was it, maiden, that thy mind
+  Turned unto God, defence to find,
+  For He thy foes did harmless bind;
+  Had'st thou thyself, too, nothing done,
+  Ill with thy soul it then had gone;
+  Thy body, as the garments were,
+  Mangled had been, and scattered there."
+
+Such is the horrible story which forms the theme of Dvorák's cantata. It
+was written for the Birmingham Festival of 1884, and the text was
+translated by the Rev. Dr. Troutbeck, from a German translation of the
+original poem made by K. J. Müller. It contains eighteen numbers, each of
+considerable length, of which eleven are descriptive, the barytone, with
+chorus response, acting the part of the narrator, and accompanied by
+instrumentation which vividly paints the horrors of the nocturnal tramp,
+even to the realistic extent of imitating the various sounds described.
+It is unnecessary to specify each of these numbers in detail, as they are
+all closely allied in color and general effect. The music which
+accompanies them is picturesque and weird, increasing in its power and
+actual supernaturalism until it reaches its climax in the dead-house
+where the maiden takes refuge; and in these numbers the orchestra bears
+the burden of the work. The remaining numbers are almost magical in their
+beauty and fascination, particularly the first song of the maiden,
+lamenting her lover, and closing with the prayer to the Virgin, which is
+thoroughly devotional music, and the second prayer, which saves her from
+her peril. There are four duets, soprano and tenor, between the Bride and
+Spectre, and one with chorus, in which are recounted the episodes of the
+chaplet, prayer-book, and cross, besides the hurried dialogue between
+them as he urges her on. These, too, abound in quaint rhythms and strange
+harmonies set against a highly-colored instrumental background. The story
+is not a pleasant one for musical treatment,--at least for voices,--and
+the prevailing tone of the composition is sombre; but of the wonderful
+power of the music and its strange fascination there can be no doubt.
+
+
+
+
+                                 FOOTE.
+
+
+Arthur Foote, a rising young composer of Boston, whose works have already
+made more than a local reputation, was born at Salem, Mass., March 5,
+1853. While at Harvard College he studied composition with Prof. J. K.
+Paine, and after graduation determined to devote himself to the musical
+profession. He studied the piano-forte and organ with Mr. B. J. Lang of
+Boston, and soon made his mark as a musician of more than ordinary
+promise. Among his published works which have attracted favorable
+attention are various songs and piano compositions; pieces for violin and
+piano, violoncello and piano; a string quartet; trio for piano, violin,
+and violoncello; and "Hiawatha," a ballad for male voices and orchestra.
+A suite for strings, in manuscript, has obtained the honor of performance
+at the London symphony concerts (January, 1887), and an overture, "In the
+Mountains," also in manuscript, was played by the Boston Symphony
+Orchestra in February, 1887. He is now living in Boston, where he is
+engaged in teaching the piano and organ.
+
+
+                                Hiawatha.
+
+"The Farewell of Hiawatha," for barytone solo, male voices, and
+orchestra, modestly styled by its composer a ballad, is a cantata in its
+lighter form. Its subject is taken from Longfellow's familiar poem, and
+includes the beautiful close of the legend beginning with the stanza:--
+
+  "From his place rose Hiawatha,
+  Bade farewell to old Nokomis,
+  Spake in whispers, spake in this wise,
+  Did not wake the guests, that slumbered."
+
+The composer has made use of the remainder of the poem without change,
+except in repetitions demanded by musical necessity and in the omission
+of the seven lines immediately preceding the final words of farewell,
+which does not mar the context. A short orchestral introduction, _andante
+con moto_, followed by a chorus of tenors and basses in a few bars,
+recitative in form and sung pianissimo, lead to a barytone solo for
+Hiawatha ("I am going, O Nokomis") of a quiet and tender character. A
+graceful phrase for the violoncello introduces another choral morceau
+relating Hiawatha's farewell to the warriors ("I am going, O my People")
+a melodious combination of sweetness and strength, though it only rises
+to a display of energy in the single phrase, "The Master of Life has sent
+them," after which it closes quietly, and tenderly, in keeping with the
+sentiment of the text. The remainder of the work is choral. The westward
+sail of Hiawatha into the "fiery sunset," "the purple vapors," and "the
+dusk of evening" is set to a very picturesque accompaniment, which dies
+away in soft strains as he disappears in the distance. An allegro
+movement with a crescendo of great energy introduces the farewell of "the
+forests dark and lonely," moving "through all their depths of darkness,"
+of the waves "rippling on the pebbles," and of "the heron, the
+Shuh-shuh-gah, from her haunts among the fen-lands." The last division of
+the chorus is an allegro, beginning pianissimo and closing with an
+exultant outburst:--
+
+  "Thus departed Hiawatha,
+  Hiawatha the Beloved,
+  In the glory of the sunset,
+  In the purple mists of evening,
+  To the regions of the home-wind,
+  Of the Northwest wind Keewaydin,
+  To the Islands of the Blessed,
+  To the kingdom of Ponemah,
+  To the land of the Hereafter!"
+
+The work, which was written for the Apollo Club of Boston, is not a long
+one, nor is it at all ambitious in style. The composer has evidently
+tried to reflect the quiet and tender sentiment of the farewell in his
+music, and has admirably succeeded. Poetic beauty is its most striking
+feature, both in the instrumental parts, which are well sustained, and in
+the vocal, which are earnest, expressive, and at times very pathetic, of
+this pretty tone-picture.
+
+
+
+
+                                  GADE.
+
+
+Niels W. Gade was born at Copenhagen, Oct. 22, 1817. His father was a
+musical-instrument maker and intrusted his early education to the Danish
+masters Wershall, Berggren, and Weyse. He made such good progress that he
+soon entered the royal orchestra of that city as a violinist and began to
+be known as a composer. His first important work, the overture
+"Nachklänge von Ossian," obtained a prize from the Copenhagen Musical
+Union and also secured for him the favor of the King, who provided him
+with the means for making a foreign journey. Prior to starting he sent a
+copy of a symphony to Mendelssohn, which met with the latter's
+enthusiastic approval. He arrived at Leipsic in 1843, and after producing
+his first symphony with success, travelled through Italy, returning to
+Leipsic in 1844, where during the winter of that year he conducted the
+Gewandhaus concerts in the place of Mendelssohn, who was absent in
+Berlin. In the season of 1845-46 he assisted Mendelssohn in the same
+concerts, and after the latter's death became the principal director, a
+post which he held until 1848, when he returned to Copenhagen and took a
+position as organist, and also conducted the concerts of the Musical
+Union. In 1861 he was appointed Hofcapellmeister, and was honored with
+the title of Professor of Music. Since that time he has devoted himself
+to composition, and has produced many excellent works, especially for
+festivals in England and elsewhere. Among them are the cantatas "Comala,"
+"Spring Fantasie," "The Erl King's Daughter," "The Holy Night," "Spring's
+Message," "The Crusaders," and "Zion;" the overtures "In the Highlands,"
+"Hamlet," and "Michael Angelo;" seven symphonies, and a large number of
+songs and piano pieces, as well as chamber-music compositions.
+
+
+                                 Comala.
+
+"Comala," one of the earliest of Gade's larger vocal works, was first
+produced at Leipsic in March, 1843. Its subject is taken from Ossian, and
+relates the tragedy of "Comala," daughter of Sarno, King of Innistore,
+who had conceived a violent passion for Fingal, King of Morven. Her love
+is returned by the warrior, and disguised as a youth the princess follows
+him on his expedition against Caracul, King of Lochlin. On the day of the
+battle Fingal places her on a height, near the shore of the Carun, whence
+she can overlook the fight, and promises her if victorious that he will
+return at evening. Comala, though filled with strange forebodings,
+hopefully waits her royal lover's coming. As the tedious hours pass on a
+fearful storm arises, and amid the howling of the blast the spirits of
+the fathers sweep by her on their way to the battlefield to conduct to
+their home the souls of the fallen,--the same majestic idea which Wagner
+uses with such consummate power in his weird ride of the Valkyries.
+Comala imagines that the battle has been lost, and overcome with grief
+falls to the ground and dies. The victorious Fingal returns as evening
+approaches, accompanied by the songs of his triumphant warriors, only to
+hear the tidings of Comala's death from her weeping maidens. Sorrowing he
+orders the bards to chant her praises, and joining with her attendants to
+waft her departing soul "to the fathers' dwelling" with farewell hymns.
+
+The cantata is almost equally divided between male and female choruses,
+and these are the charm of the work. Many of the songs of Comala and her
+maids are in graceful ballad form, fresh in their melody, and marked by
+that peculiar refinement which characterizes all of Gade's music. The
+parting duet between Fingal and Comala is very beautiful, but the
+principal interest centres in the choruses. Those of the bards and
+warriors are very stately in their style and abound in dramatic power,
+particularly the one accompanying the triumphal return of Fingal. The
+chorus of spirits is very impressive, and in some passages almost
+supernatural. The female choruses, on the other hand, are graceful,
+tender, and pathetic; the final full chorus, in which the bards and
+maidens commend the soul of Comala to "the fathers' dwelling," has rarely
+been surpassed in beauty or pathos. The music of the cantata is in
+keeping with the stately grandeur and richly-hued tones of the Ossianic
+poem. The poetry and music of the North are happily wedded.
+
+
+                            Spring Fantasie.
+
+Though the "Spring Fantasie" is in undoubted cantata form, Gade
+designates it as a "Concertstück;" that is, a musical composition in
+which the instrumental parts are essential to its complete unity. Its
+origin is unquestionably to be found in the idea of Beethoven's "Choral
+Fantasie," which was subsequently developed in the choral symphony on a
+still larger and grander scale. The instrumental elements of the "Spring
+Fantasie" are unquestionably the most prominent. They do not play the
+subordinate part of accompaniment, but really enunciate the ideas of the
+poem, which are still further illustrated by the voices, acting as the
+interpreters of the meaning of the instrumentation.
+
+The "Fantasie" was written in 1850, its subject being a poem by Edmund
+Lobedanz, which of itself might appropriately be called a fantasy. The
+work consists of four movements, for four solo voices, orchestra, and
+piano-forte. The prominence which Gade has given to the instrumental
+parts is shown by his characterizing the movements,--I. _Allegro moderato
+e sostenuto_; II. _Allegro molto e con fuoco_; III. _Allegro vivace_. The
+poem in the original is one of more than ordinary excellence. The
+translation in most common use is one made by Mrs. Vander Weyde for a
+performance of the work in London in 1878 at the Royal Normal College and
+Academy of Music for the Blind, under the direction of Herr von Bülow.
+
+The first movement is in the nature of an invocation to spring, in which
+the longing for May and its flowers is very tenderly expressed. The
+second movement depicts with great vigor the return of the wintry storms,
+the raging of the torrents, the gradual rolling away of the clouds, the
+approach of more genial breezes, and the rising of the star, typifying
+"the joy of a fair maiden's love." The closing movement is full of
+rejoicing that the spring has come. Voices and instruments share alike in
+the jubilation:--
+
+  "For the spring-time has come, the May is here,
+  On hill and in vale all is full of delight.
+  How sweet is the spring-time, how lovely and bright,--
+  Its kingdom is over us all."
+
+
+                        The Erl King's Daughter.
+
+"The Erl King's Daughter" was written in 1852. Its story differs from
+that told in Goethe's famous poem, and set to music equally famous by
+Schubert in his familiar song. In Goethe's poem the father rides through
+the night clasping his boy and followed by the Erl King and his
+daughters, who entice the child unseen by the parent. In vain he assures
+him that the Erl King's voice is but the "sad wind sighing through the
+withered leaves," that his train is but the mist, and that his daughters
+are the aged gray willows deceiving his sight. The boy at first is
+charmed with the apparition, but cries in mortal terror as the Erl King
+seizes him, while the father gallops at last into the courtyard, only to
+find his child dead in his arms.
+
+In the poem used by Gade it is the Erl King's daughter who tempts a
+knight to his death. The prologue relates that Sir Oluf at eve stayed his
+steed and rested beneath the alders by the brook, where he was visited by
+two of the daughters, one of whom caressed him while the other invited
+him to join their revels. At sound of the cock-crow, however, they
+disappeared. It was the eve of Sir Oluf's wedding day. He arrives home in
+a distraught condition, and in spite of his mother's appeals decides to
+return to the alder grove in quest of the beauties who had bewitched him.
+He finds the alder-maids dancing in the moonlight, singing and beckoning
+him to join them. One of the fairest tempts him with a silken gown for
+the bride and silver armor for himself. When he refuses to dance with
+her, she seizes him by the arm and predicts his death on the morrow
+morning. "Ride home to your bride in robe of red," she cries as he
+hastens away. In the morning the mother anxiously waits his coming, and
+at last beholds him riding desperately through "the waving corn." He has
+lost his shield and helmet, and blood drips from his stirrups. As he
+draws rein at the door of the castle he drops dead from his saddle. A
+brief epilogue points the moral of the story in quaint fashion. It is to
+the effect that knights who will on horseback ride should not like Oluf
+stay in elfin groves with elfin maidens till morning. It is unnecessary
+to specify the numbers in detail; as with the exception of the
+melodramatic finale, where the music becomes quite vigorous, it is all of
+the same graceful, flowing, melodic character, and needs no key to
+explain it to the hearer.
+
+
+                             The Crusaders.
+
+"The Crusaders" is one of the most powerful as well as beautiful of
+modern cantatas. It was written for performance in Copenhagen in 1866,
+and ten years later was produced at the Birmingham Festival, under the
+composer's direction. It is divided into three parts, and its story may
+be told in a word. Its theme is the same as that which Wagner has treated
+in "Lohengrin" and in "Tännhauser,"--the conflict of the human soul with
+the powers of darkness, sensual beauty and sorcery, and its final
+triumph. It is the story of the temptation of Rinaldo d'Este, the bravest
+of the Crusaders, by Armida and her sirens, who at last calls upon the
+Queen of Spirits to aid them in their hopeless task, the thwarting of the
+powers of evil, and the final triumph before Jerusalem.
+
+The first part opens with a chorus of pilgrims and women in the band of
+the Crusaders, expressive of the weariness and sufferings they have
+endured in their long wanderings, the end of which still appears so far
+away. As the beautiful music dies away, the inspiring summons of Peter
+the Hermit is heard, leading up to the Crusaders' song,--a vigorous,
+war-like melody, full of manly hope and religious fervor. An evening
+prayer of pious longing and exalted devotion closes this part.
+
+The second part is entitled "Armida," and introduces the evil genius of
+the scene. A strange, mysterious orchestral prelude indicates the baneful
+magic of the sorcerer's wiles. In a remarkably expressive aria, Armida
+deplores her weakness in trying to overcome the power of the cross. As
+she sees Rinaldo, who has left his tent to wander for a time in the night
+air, she calls to the spirits to obey her incantation:--
+
+              "Cause a palace grand to rise,
+              Let a sea before it glimmer.
+              In the walls of richest gold
+              Let the purest diamonds shimmer;
+              Round the fountains' pearly rim,
+              Where bright the sunbeams are glancing,
+              Plashing low and murmuring sweet,
+              Set the merry wavelets dancing.
+  In yon hedge of roses where fairies rock in softest dreaming,
+  Fays and elfins bid appear, and sirens float in waters dreaming.
+              All around let music ring,
+              Fill the air with sweetest singing;
+              Lure them on with magic power,
+              To our midst all captive bringing.
+              Sing remembrance from their hearts,
+              Till they bow, my will fulfilling;
+              Make them every thought forego,
+              Every wish, save mine own, stilling."
+
+After another invocation of the spirits, the sirens appear, singing a
+sensuous melody ("I dip my white Breast in the soft-flowing Tide"). Then
+begins the temptation of the wandering Knight. He starts in surprise as
+he hears the voices rising from the waves, and again they chant their
+alluring song. They are followed by Armida, who appeals to him in a
+seductive strain ("O Rinaldo, come to never-ending Bliss"). The Knight
+joins with her in a duet of melodious beauty. He is about to yield to the
+temptation, when he hears in the distance the tones of the Crusaders'
+song. He wavers in his resolution, Armida and the sirens appeal to him
+again, and again he turns as if he would follow them. The Crusaders' song
+grows louder, and rouses the Knight from the spell which has been cast
+about him, and the scene closes with a beautifully concerted number, in
+which Rinaldo, Armida, the chorus of Crusaders and of sirens contend for
+the mastery. The fascination of the Crusaders' song is the strongest. The
+cross triumphs over the sorceress, and in despair she sings,--
+
+  "Sink, scenes illusive, deep in dark abyss of doom!
+  The light of day is turned to blackest night of gloom."
+
+The third part, entitled "Jerusalem," is religious in character, and
+mostly choral. In rapid succession follow the morning hymn with beautiful
+horn accompaniment, the march of the Pilgrims full of the highest
+exaltation, the hermit's revelation of the Holy City to them, their
+joyous greeting to it, Rinaldo's resolution to expiate his offence by his
+valor, the hermit's last call to strife, their jubilant reply, and the
+final victory:--
+
+  "As our God wills it. Up, arouse thee!
+  Up! yon flag with hope endows thee.
+  Jerusalem! the goal is there.
+  We cry aloud, 'Hosanna!'"
+
+
+
+
+                               GILCHRIST.
+
+
+William W. Gilchrist, the American composer, was born at Jersey City, N.
+J., in 1846. He began his studies with H. A. Clarke, professor of music
+in the University of Pennsylvania. In 1872 he accepted the position of
+organist at the New Jerusalem Church in Cincinnati, Ohio, and was also
+appointed teacher in the Conservatory of Miss Bauer. A year later he
+returned to Philadelphia, where he has since resided. During this time he
+has done a great work for music in that city, having been conductor of
+several societies. He has been the recipient of honors on many occasions,
+having obtained several prizes from the Philadelphia Art Society and
+others for his compositions. In 1880 he contended for the prize offered
+by the Cincinnati Musical Festival Association, but stood third on the
+list, Dudley Buck being first and George E. Whiting second. In 1882 he
+made another trial for the Association's prize, and was successful; the
+committee, consisting of Carl Reinecke of Leipsic, M. Saint-Saens of
+Paris, and Theodore Thomas of New York, making him the award.
+
+
+                         The Forty-sixth Psalm.
+
+The composition referred to in the sketch of Mr. Gilchrist's life which
+secured for him the Cincinnati prize in 1882 was "The Forty-sixth Psalm."
+The composer's own analysis of the work, furnished at the time, is
+appended:--
+
+  "The composition is a setting of the Forty-sixth Psalm for soprano
+  solo, chorus, orchestra, and organ, and has four principal divisions
+  exclusive of an introduction, each following the other without pause,
+  and connected by a gradual decrescendo in the orchestra. The opening of
+  the Psalm seemed to me to indicate a strong outburst of praise or of
+  thanksgiving for a deliverance from trials, which the introduction is
+  intended to convey. But instead of beginning with a strong outburst, I
+  lead up to it from a very subdued beginning, working gradually to a
+  climax at the entrance of the chorus on the words, 'God is our refuge
+  and our strength.' The opening movement of the chorus becomes a little
+  subdued very shortly as it takes up the words, 'A very present help in
+  trouble,' which is followed again by an _allegro con fuoco_ movement on
+  the words, 'Therefore we will not fear though the earth be removed,
+  though the mountains be carried into the midst of the sea.' This
+  movement leads into still another, a furioso movement on the words,
+  'Though the waters thereof roar, though the mountains shake with the
+  swelling thereof.' This is followed by an elaborate coda, in which all
+  the themes of the preceding movement are worked together, and which
+  brings the chorus to a close.
+
+  The second division, in E major, is marked by an _andante
+  contemplativo_ on the words, 'There is a river the streams whereof
+  shall make glad the city of God.' This movement is intended to be one
+  of tranquillity, varied with occasional passionate outbursts on the
+  words, 'God is in the midst of her; she shall not be moved.' A peculiar
+  rhythmical effect is sought by the alternation of 4/4 and 3/4 time,
+  three bars of the first being answered by two bars of the second. This
+  movement ends very tranquilly on the words, 'God shall help her, and
+  that right early,' and is immediately followed by an _allegro molto_,
+  in B minor, on the words, 'The heathen raged, the kingdoms were moved;
+  he uttered his voice, the earth melted.' In the middle of this chorus
+  the soprano solo enters for the first time on the words, 'He maketh
+  wars to cease unto the end of the earth; He breaketh the bow and
+  cutteth the spear in sunder.' The chorus works up to a strong climax on
+  the words, 'He burneth the chariot with fire,' which is suddenly
+  interrupted by a decrescendo on the words, 'Be still, and know that I
+  am God.'
+
+  This leads to the third division, which is a return of the second
+  division in E major, and which is played through almost entirely by the
+  orchestra, the chorus merely meditating on the words last quoted. This
+  leads to the final chorus, which is a fugue, in E major, with _alla
+  breve_ time, on the words, 'And the Lord of Hosts is with us; the God
+  of Jacob is our refuge,' towards the close of which a _Gloria Patri_ is
+  introduced, being woven in with fragments of the fugue to a strong
+  climax. The whole composition finishes with an impetuous accelerando.
+  My central idea was to make a choral and orchestral work, the solo,
+  while requiring a good singer, being only secondary. The Psalm seemed
+  to me particularly adapted for musical composition, as being capable of
+  a varied, even dramatic effect."
+
+
+
+
+                                GLEASON.
+
+
+Frederick Grant Gleason was born at Middletown, Conn., Dec. 17, 1848. He
+inherited the love of music from his parents,--his father having been a
+flutist and his mother an alto singer and pianist. In his sixteenth year
+he showed a decided talent for composition; and two of his works, an
+oratorio, "The Captivity," and a Christmas oratorio, though crudely
+written, gave such promise that he was placed under the tuition of Dudley
+Buck, with whom he studied the piano and composition. He made such rapid
+progress that his parents were induced to send him to Germany, where he
+at once entered the Leipsic Conservatory. Moscheles taught him the piano,
+and Richter harmony, and he also took private lessons from Plaidy and
+Lobe. In 1870 he went to Berlin, where he continued his piano studies
+with Raif, a pupil of Tausig, and his tuition in harmony with Weitzmann.
+After a visit home he went to England and resumed lessons on the piano
+with Berringer, another pupil of Tausig, and also studied English music.
+He subsequently made a second visit to Berlin, and improved his time by
+studying theory with Weitzmann, the piano with Loeschorn, and the organ
+with Haupt. During this visit he also issued a valuable work entitled
+"Gleason's Motet Collection." After the completion of his studies he
+returned home and accepted the position of organist at one of the
+Hartford churches. In 1876 he removed to Chicago and engaged as teacher
+in the Hershey School of Musical Art. At present he is still occupied in
+teaching and also fills the position of musical critic for the "Tribune"
+of that city. During these years his pen has been very busy, as the list
+of his compositions shows. Among his principal works are two operas,
+still in manuscript,--"Otho Visconti" and "Montezuma;" the cantatas "God
+our Deliverer," "The Culprit Fay," and "Praise of Harmony;" and several
+trios, sonatas, and other works for the chamber, as well as many songs.
+The selections from his operas which have been played by the Thomas
+orchestra show that they are compositions of unusual excellence and
+scholarship.
+
+
+                            The Culprit Fay.
+
+"The Culprit Fay," a musical setting of Joseph Rodman Drake's well-known
+fairy poem, was written in 1879. It is divided into three parts,--the
+first containing five, the second five, and the third eight numbers; the
+solos being divided among soprano, alto, tenor, and barytone, the last
+named taking the part of the Fairy King. The exquisitely graceful fairy
+story told in the poem is too well known to need description. It is
+admirably adapted to music by its rhythmic fluency as well as by the
+delicacy of its poetical sentiment; and while it does not call for
+earnestness or strength in any of its movements, there is ample
+opportunity for melodious and attractive pictures in tone of the dainty
+descriptions of the poet. The composer has improved these opportunities
+with much skill, and, notwithstanding the intrinsic lightness of the
+score, has secured musical unity and poetical coherence by the artistic
+use of the _leit-motif_. Nine of these motives are employed,
+characterizing the summer night, the elfin mystery, the life of the
+fairies, the fay's love for the mortal maid, the penalty for this
+violation of fairy law, night on the river, the spells of the water imps,
+the penalties imposed upon the culprit, and the Sylphide Queen's passion
+for the Fay. The skilfulness with which these motives are adapted to
+characters and situations, and interwoven with the general movement in
+their proper recurrence, shows that the composer has not studied Wagner,
+the master of the _leit-motif_, in vain.
+
+After a short introduction for the horns and strings, the cantata opens
+with a full chorus of graceful, flowing character ("'Tis the Middle Watch
+of a Summer's Night") describing the moonlight scene about "Old Cro'
+Nest." It is followed by the mystery motive announcing a weird alto solo,
+"'Tis the Hour of Fairy Ban and Spell." It is the summons of the sentry
+elf, ringing the hour of twelve, indicated in the score by the triangle,
+and calling the fairies to confront the culprit. A stirring and blithe
+instrumental introduction, followed by a short chorus ("They come from
+Beds of Lichen green"), describes the gathering of the fays, retarded at
+the close, and growing sombre as it is announced that "an ouphe has
+broken his vestal vow." A tenor solo ("He has loved an earthly Maid")
+tells the sad story of the guilty one who "has lain upon her lip of dew"
+and "nestled on her snowy breast." They gather about to hear his doom,
+and do not have to wait long; for the tenor song leads without break to a
+barytone solo, in recitative form, by the Fairy King ("Fairy, Fairy, list
+and mark"), pronouncing the penalties he must pay for his
+transgression,--the catching of a drop from the sturgeon's silver bow to
+wash away the stain on his wings, and the relighting of his flamewood
+lamp by the last faint spark in the train of a shooting star.
+
+A graceful chorus ("Soft and pale is the moony Beam") opens the second
+part, picturing the scene upon the strand bordering the elfin land; and
+the leaps of the sturgeon, followed by a tenor solo and recitative
+describing the sorrow of the lonely sprite and his desperate effort to
+push his mussel-shell boat down to the verge of the haunted land. The
+alto, which does all the mystery work, goes on with the description of
+the vain attempt of the river imps to wreck his frail craft, and his
+discovery and pursuit of the sturgeon; then there is a pause. The full
+chorus, in a quick movement, pictures the pretty scene of the sturgeon's
+leap, the arch of silver sheen, and the puny goblin waiting to catch the
+drop. The tenor recitative announces his success, and a full jubilant
+chorus of the sprites ("Joy to thee, Fay! thy Task is done") bids him
+hasten back to the elfin shore.
+
+The third part opens with a full chorus, very animated in its progression
+("Up to the Cope, careering swift"), describing the ride of the Fay past
+the sphered moon and up to the bank of the Milky Way, where he checks his
+courser to wait for the shooting star. In the next number, a short
+recitative, the alto has a more grateful task; this time it is the
+graceful sylphs of heaven who appear, weaving their dance about the Fay,
+and leading him on to the palace of the Sylphide Queen. It is followed by
+two charming soprano solos,--the one descriptive of her beauty as she
+listens to the story of the Fay, and the other ("O Sweet Spirit of
+Earth") of her sudden passion and the tempting inducements by which she
+seeks to make him forget the joys of fairy-land. Once more the tenor, who
+plays the part of narrator, enters, and in solo and recitative assures us
+how like a brave homunculus the Fay resisted her blandishments. A very
+vigorous and descriptive chorus, as fast as can be sung, pictures the Fay
+careering along on the wings of the blast up to the northern plain, where
+at length a star "bursts in flash and flame." The tenor announces his
+second success, and the final chorus ("Ouphe and Goblin! Imp and Sprite")
+sings his welcome back in an animated manner, beginning with a moderate
+movement which constantly accelerates and works up to a fine climax;
+after which--
+
+  "The hill-tops glow in morning's spring,
+  The skylark shakes his dappled wing,
+  The day glimpse glimmers on the lawn,
+  The cock has crowed and the fays are gone."
+
+
+                       The Praise Song to Harmony.
+
+"The Praise Song to Harmony," written in 1886, is a musical setting of a
+poem of the same name by David Ebeling, a German poet who lived in the
+latter part of the eighteenth century. The composition is in a strict
+sense a symphonic cantata, somewhat in the manner of Mendelssohn's "Hymn
+of Praise," being prefaced with a symphonic allegro in the classical form
+which is written in a very scholarly manner and displays great skill in
+thematic treatment.
+
+The cantata proper opens with a short introduction, consisting of massive
+chord foundations for the full orchestra, connected by a figure for the
+strings, ushering in a chorus for male voices ("Hail thee, O Harmony,
+offspring of Heaven"). The words contain a description of the creation of
+worlds and of music, as the song of stars unites with the angel chorus in
+praise of the Almighty. At the close of this number begins a choral theme
+for trumpets, horns, and trombones, followed by strings and woodwinds,
+and introducing a soprano recitative ("With Grace, thy Gaze, O Harmony")
+descriptive of the blessing brought into the world by music, followed by
+a picture of the misery of the race without its consolation. At the close
+the brasses give out a solemn march-like theme. A short chorus ("Joy to
+us! Again descending, thou Heavenly One") describes the might of song. A
+brief orchestral interlude follows, preparing the entrance of a barytone
+solo with chorus ("Blessed Comforter in Grief"). The work closes with a
+partial repetition of the opening chorus, with a more elaborate and
+brilliant figural accompaniment, in the course of which the march-like
+subject is heard again in the brasses. At the end the strings maintain a
+tremolo while the rest of the orchestra presents a passage with varied
+harmonies. The opening theme of the cantata, though not a repetition,
+bears a strong analogy to the introduction of the symphony movement.
+
+
+
+
+                                 HANDEL.
+
+
+George Frederick Handel was born at Halle, in Lower Saxony, Feb. 23,
+1685, and like many another composer revealed his musical promise at a
+very early age, only to encounter parental opposition. His father
+intended him to be a lawyer; but Nature had her way, and in spite of
+domestic antagonism triumphed. The Duke of Saxe-Weissenfels recognized
+his ability and overcame the father's determination. Handel began his
+studies with Zachau, organist of the Halle cathedral. After the death of
+his father, in 1697, he went to Hamburg, and for a time played in the
+orchestra of the German opera. It was during his residence in that city
+that he wrote his first opera, "Almira" (1705). In the following year he
+went to Italy, where he remained several months under the patronage of
+the Grand Duke of Florence. During the next two years he visited Venice,
+Rome, and Naples, and wrote several operas and minor oratorios. In 1709
+he returned to Germany, and the Elector of Hanover, subsequently George
+I. of England, offered him the position of capellmeister, which he
+accepted upon the condition that he might visit England, having received
+many invitations from that country. The next year he arrived in London
+and brought out his opera of "Rinaldo," which proved a great success. At
+the end of six months he was obliged to return to his position in
+Hanover; but the English success made him impatient of the dulness of the
+court. In 1712 he was in London again, little dreaming that the Elector
+would soon follow him as king. Incensed with him for leaving Hanover, the
+King at first refused to receive him; but some music which Handel
+composed for an aquatic fête in his honor brought about the royal
+reconciliation. In 1718 he accepted the position of chapel-master to the
+Duke of Chandos, for whom he wrote the famous Chandos Te Deum and
+Anthems, the serenata "Acis and Galatea," and "Esther," his first English
+oratorio. In 1720 he was engaged as director of Italian opera by the
+society of noblemen known as the Royal Academy of Music, and from that
+time until 1740 his career was entirely of an operatic character. Opera
+after opera came from his pen. Some were successful, others failed. At
+first composer, then director, he finally became _impresario_, only to
+find himself confronted with bitter rivalry, especially at the hands of
+Bononcini and Porpora. Cabals were instituted against him. Unable to
+contend with them alone, he formed a partnership with Heidegger,
+proprietor of the King's Theatre, in 1729. It was broken in 1734, and he
+took the management of Covent Garden. The Italian conspiracies against
+him broke out afresh. He failed in his undertaking and became a bankrupt.
+Slanders of all sorts were circulated, and his works were no longer well
+received. In the midst of his adversity sickness overtook him, ending
+with a partial stroke of paralysis. When sufficiently recovered he went
+to the Continent, where he remained for a few months. On his return to
+London he brought out some new works, but they were not favorably
+received. A few friends who had remained faithful to him persuaded him to
+give a benefit concert, which was a great success. It inspired him with
+fresh courage; but he did not again return to the operatic world.
+Thenceforward he devoted himself to oratorio, in which he made his name
+famous for all time. He himself said: "Sacred music is best suited to a
+man descending in the vale of years." "Saul" and the colossal "Israel in
+Egypt," written in 1740, head the list of his wonderful oratorios. In
+1741 he was invited to visit Ireland. He went there in November, and many
+of his works were produced during the winter and received with great
+enthusiasm. In April, 1742, his immortal "Messiah" was brought out at
+Dublin. It was followed by "Samson," "Joseph," "Semele," "Belshazzar,"
+and "Hercules," which were also successful; but even in the midst of his
+oratorio work his rivals did not cease their conspiracies against him,
+and in 1744 he was once more a bankrupt. For over a year his pen was
+idle. In 1746 the "Occasional Oratorio" and "Judas Maccabæus" appeared,
+and these were speedily followed by "Joshua," "Solomon," "Susanna,"
+"Theodora," and "Jephthah." It was during the composition of the
+last-named work that he was attacked with the illness which finally
+proved fatal. He died April 14, 1759, and was buried in Westminster
+Abbey. During the last few days of his life he was heard to express the
+wish that "he might breathe his last on Good Friday, in hopes of meeting
+his good God, his sweet Lord and Saviour, on the day of His
+resurrection." The wish was granted him; for it was on Good Friday that
+he passed away, leaving behind him a name and fame that will be cherished
+so long as music retains its power over the human heart.
+
+
+                            Acis and Galatea.
+
+The first idea of Handel's famous pastoral, "Acis and Galatea," is to be
+found in a serenata, "Aci, Galatea, e Polifemo," which he produced at
+Naples in July, 1708. The plan of the work resembles that of the later
+pastoral, though its musical setting is entirely different.[21] Little
+was known of it however until nearly a quarter of a century afterwards,
+when the composer revived portions of it in one of his London concerts,
+as will shortly be seen.
+
+In 1718 Handel entered the service of James, Duke of Chandos, as
+chapel-master, succeeding Dr. Pepusch. His patron had accumulated an
+immense fortune and spent it in a princely manner. He had built a marble
+palace, at an enormous expense, at Cannons in Middlesex, where he lived
+in almost regal state. It was the chapel attached to this mansion over
+which Handel was called to preside, and there were ready for his use a
+large choir, a band of instrumental performers, and a fine organ. The
+anthems and services of his predecessor were laid aside, and that year
+Handel's busy pen supplied two new settings of the Te Deum and the twelve
+Chandos Anthems, which are really cantatas in form. His first English
+opera, "Esther," was also composed at Cannons, and was followed by the
+beautiful pastoral which forms the subject of this sketch. "Esther" was
+first performed Aug. 20, 1720, and it is generally agreed that "Acis and
+Galatea" followed it in the same year, though Schoelcher in his biography
+assigns 1721 as the date. Nine characters are contained in the original
+manuscript,--Galatea, Clori, and Eurilla, sopranos; Acis, Filli, Dorinda,
+and Damon, altos; Silvio, tenor; and Polifemo, bass.
+
+After this private performance the pastoral was not again heard from
+until 1731-32, when it was given under peculiar circumstances. On the
+13th of March, 1731, it was performed for the benefit of one Rochetti,
+who took the rôle of Acis; but with this representation Handel had
+nothing to do. The act of piracy was repeated in the following year, when
+Mr. Arne, father of Dr. Arne the composer, and the lessee of the Little
+Theatre in the Haymarket, announced its performance as follows:--
+
+  "At the new theatre in the Haymarket, on Thursday next, 11th May, will
+  be performed in English a pastoral opera called 'Acis and Galatea,'
+  with all the choruses, scenes, machines, and other decorations, etc.
+  (as before), being the first time it was ever performed in a theatrical
+  way. The part of Acis by Mr. Mourtier, being the first time of his
+  appearance in character on any stage; Galatea, Miss Arne.[22] Pit and
+  boxes, 5_s._"
+
+Handel had taken no notice of the 1731 performance; but this
+representation, given at a theatre directly opposite the one of which he
+was manager, roused his resentment, though piracy of this kind was very
+common in those days. He determined to outdo the manager "over the way."
+On the 5th of June he announced in the "Daily Journal":--
+
+  "In the King's Theatre in the Haymarket, the present Saturday, being
+  the 10th of June, will be performed a serenata called 'Acis and
+  Galatea,' formerly composed by Mr. Handel, and now revised by him, with
+  several additions, and to be performed by a great number of the best
+  voices and instruments. There will be no action on the stage,[23] but
+  the scene will represent in a picturesque manner a rural prospect, with
+  rocks, groves, fountains, and grottos, among which will be disposed a
+  chorus of nymphs and shepherds; the habits, and every other decoration,
+  suited to the subject. Also on the 13th, 17th, 20th. The libretto
+  printed for J. Watts, in three acts."
+
+The rival establishment had produced the work as it was originally given
+at Cannons; but as intimated in his advertisement, Handel made additions,
+interpolating a number of airs and choruses from the serenata which he
+had composed at Naples, thus requiring the work to be sung both in
+Italian and English,--a polyglot practice from which our own times are
+not exempt. The part of Acis was sung by Senesino, a male soprano;
+Galatea by Signora Strada; and Polyphemus by Montagnana. The other
+parts--Clori and Eurilla sopranos, Filli and Dorinda contraltos, and
+Silvio tenor--were also represented. It was performed eight times in
+1732, and was brought out in the same form at Oxford in 1733; but in 1739
+Handel restored it to its original shape as it had been given at Cannons.
+It is now generally performed in two parts with the three characters
+Galatea, Acis, and Polyphemus, and choruses of nymphs and shepherds.
+
+The pretty pastoral will always possess more than ordinary interest, as
+four celebrated poets are represented in the construction of the poem.
+Gay wrote the most of it. It also contains a strophe by Hughes, a verse
+by Pope,[24] and an extract from Dryden's translation of the Galatea myth
+in the Metamorphoses of Ovid.[25] The story is based on the seventh fable
+in the thirteenth book of the Metamorphoses,--the sad story which
+Galatea, daughter of Nereus, tells to Scylla. The nymph was passionately
+in love with the shepherd Acis, son of Faunus and of the nymph Symoethis,
+and pursued him incessantly. She too was pursued by Polyphemus, the
+one-eyed Cyclops of Ætna, contemner of the gods. One day, reclining upon
+the breast of Acis, concealed behind a rock, she hears the giant pouring
+out to the woods and mountains his story of love and despair: "I, who
+despise Jove and the heavens and the piercing lightnings, dread thee,
+daughter of Nereus; than the lightnings is thy wrath more dreadful to me.
+But I should be more patient under these slights if thou didst avoid all
+men. For why, rejecting the Cyclop, dost thou love Acis? And why prefer
+Acis to my embraces?" As he utters these last complaints, he espies the
+lovers. Then, raging and roaring so that the mountains shook and the sea
+trembled, he hurled a huge rock at Acis and crushed him. The shepherd's
+blood gushing forth from beneath the rock was changed into a river; and
+Galatea, who had fled to the sea, was consoled.
+
+The overture to the work, consisting of one movement, is thoroughly
+pastoral in its style and marked by all that grace and delicacy which
+characterize the composer's treatment of movements of this kind. It
+introduces a chorus ("O the Pleasures of the Plains!") in which the easy,
+careless life of the shepherds and their swains is pictured. Galatea
+enters seeking her lover, and after the recitative, "Ye verdant Plains
+and woody Mountains," relieves her heart with an outburst of melodious
+beauty:--
+
+  "Hush, ye pretty warbling choir!
+        Your thrilling strains
+        Awake my pains
+        And kindle fierce desire.
+  Cease your song and take your flight;
+  Bring back my Acis to my sight."
+
+Acis answers her, after a short recitative, with another aria equally
+graceful ("Love in her Eyes sits playing and sheds delicious Death"). The
+melodious and sensuous dialogue is continued by Galatea, who once more
+sings:--
+
+  "As when the dove
+  Laments her love
+  All on the naked spray;
+  When he returns
+  No more she mourns,
+  But loves the live-long day.
+  Billing, cooing,
+  Panting, wooing,
+  Melting murmurs fill the grove,
+  Melting murmurs, lasting love."--
+
+Then in a duet, sparkling with the happiness of the lovers ("Happy We"),
+closing with chorus to the same words, this pretty picture of ancient
+pastoral life among the nymphs and shepherds comes to an end.
+
+In the second part there is another tone both to scene and music. The
+opening chorus of alarm ("Wretched Lovers") portends the coming of the
+love-sick Cyclops; the mountains bow, the forests shake, the waves run
+frightened to the shore as he approaches roaring and calling for "a
+hundred reeds of decent growth," that on "such pipe" his capacious mouth
+may play the praises of Galatea. The recitative, "I melt, I rage, I
+burn," is very characteristic, and leads to the giant's love-song, an
+unctuous, catching melody almost too full of humor and grace for the
+fierce brute of Ætna:--
+
+  "O ruddier than the cherry!
+  O sweeter than the berry!
+      O nymph more bright
+      Than moonshine night,
+  Like kidlings, blithe and merry.
+
+  "Ripe as the melting cluster,
+  No lily has such lustre.
+      Yet hard to tame
+      As raging flame,
+  And fierce as storms that bluster."
+
+In marked contrast with this declaration follows the plaintive tender
+song of Acis ("Love sounds the Alarm"). Galatea appeals to him to trust
+the gods, and then the three join in a trio ("The Flocks shall leave the
+Mountain"). Enraged at his discomfiture, the giant puts forth his power.
+He is no longer the lover piping to Galatea and dissembling his real
+nature, but a destructive raging force; and the fragment of mountain
+which he tears away buries poor Acis as effectually as Ætna sometimes
+does the plains beneath. The catastrophe accomplished, the work closes
+with the sad lament of Galatea for her lover ("Must I my Acis still
+bemoan?") and the choral consolations of the shepherds and their
+swains:--
+
+  "Galatea, dry thy tears,
+  Acis now a god appears;
+  See how he rears him from his bed!
+  See the wreath that binds his head!
+  Hail! thou gentle murmuring stream;
+  Shepherds' pleasure, Muses' theme;
+  Through the plains still joy to rove,
+  Murmuring still thy gentle love."
+
+
+[21] The superior attractions of the English serenata will probably
+    prevent the earlier work from ever becoming a popular favorite; more
+    especially since the rôle of Polifemo needs a bass singer with a
+    voice of the extraordinary compass of two octaves and a
+    half.--_Rockstro's Life of Handel_.
+
+[22] Miss Arne, afterwards Mrs. Cibber, enjoyed, under the latter name, a
+    great reputation as a singer. Her husband was Theophilus Cibber, the
+    brother of Colley Cibber, a poet laureate in the reign of George
+    II.--_Schoelcher's Life of Handel_.
+
+[23] This undoubtedly is the manner in which this charming little piece
+    ought to be performed. It is a dramatic poem, but not an acting play,
+    and the incidents are such as cannot be represented on the stage. A
+    few years ago another attempt was made to perform it as an opera, but
+    without success. Polyphemus is entirely an ideal character, and any
+    attempt to personate him must be ridiculous; and the concluding
+    scene, in which the giant throws a huge rock at the head of his
+    rival, produced shouts of merriment. "Acis and Galatea" is performed
+    in an orchestra in the manner in which oratorios are performed; but
+    its effect would certainly be heightened by the picturesque scenery
+    and decorations employed by Handel himself.--_Hogarth's Musical
+    Drama_.
+
+[24]
+      "Not showers to larks so pleasing,
+        Not sunshine to the bee,
+      Not sleep to toil so easing,
+        As these dear smiles to me."
+
+[25]
+      "Help! Galatea! Help, ye parent gods!
+      And take me dying to your deep abodes."
+
+
+                           Alexander's Feast.
+
+Handel composed the music for Dryden's immortal ode in 1736. In the
+original score the close of the first part is dated January 5, and the
+end of the work January 17, showing rapid composition. Three years before
+this time he had had a violent quarrel with Senesino, his principal
+singer at the opera-house in the Haymarket, which led to his abandonment
+of the theatre and its occupancy by his rival, Porpora. After an
+unsuccessful attempt to compete with the latter, which nearly bankrupted
+him in health and purse, he decided to quit opera altogether. He sought
+relief for his physical ailments at Aix-la-Chapelle, and upon his return
+to London in October, 1735, publicly announced that "Mr. Handel will
+perform Oratorios and have Concerts of Musick this Winter at Covent
+Garden Theatre." One of the first works for these concerts was
+"Alexander's Feast," completed, as stated above, Jan. 17, 1736. The poem
+was prepared by Newburgh Hamilton, who says in his preface:--
+
+  "I determined not to take any unwarrantable liberty with the poem,
+  which has long done honor to the nation, and which no man can add to or
+  abridge in anything material without injuring it. I therefore confined
+  myself to a plain division of it into airs, recitatives or choruses,
+  looking upon the words in general so sacred as scarcely to violate one
+  in the order of its first place. How I have succeeded the world is to
+  judge, and whether I have preserved that beautiful description of the
+  passions, so exquisitely drawn, at the same time I strove to reduce
+  them to the present taste in sounds. I confess my principal view was,
+  not to lose this favorable opportunity of its being set to music by
+  that great master who has with pleasure undertaken the task, and who
+  only is capable of doing it justice; whose compositions have long shown
+  that they can conquer even the most obstinate partiality, and inspire
+  life into the most senseless words. If this entertainment can in the
+  least degree give satisfaction to the real judges of poetry or music, I
+  shall think myself happy in having promoted it; being persuaded that it
+  is next to an improbability to offer the world anything in those arts
+  more perfect than the united labors and utmost efforts of a Dryden and
+  a Handel."
+
+In addition to the preface Hamilton appended a poem "To Mr. Handel on his
+setting to Musick Mr. Dryden's Feast of Alexander," in which he
+enthusiastically sings:--
+
+  "Two glowing sparks of that celestial flame
+  Which warms by mystick art this earthly frame,
+  United in one blaze of genial heat,
+  Produced this piece in sense and sounds complete.
+  The Sister Arts, as breathing from one soul,
+  With equal spirit animate the whole.
+  Had Dryden lived the welcome day to bless,
+  Which clothed his numbers in so fit a dress,
+  When his majestick poetry was crowned
+  With all your bright magnificence of sound,
+  How would his wonder and his transport rise,
+  Whilst famed Timotheus yields to you the prize!"
+
+The work was first performed at Covent Garden Theatre, February 19, about
+a month after it was written; the principal singers being Signora Strada,
+Miss Young,[26] John Beard, and Mr. Erard. It met with remarkable
+success. The London "Daily Post," on the morning after its production,
+said:--
+
+  "Never was upon the like Occasion so numerous and splendid an Audience
+  at any Theatre in London, there being at least 1,300 Persons present;
+  and it is judged that the Receipt of the House could not amount to less
+  than £450."
+
+It was repeated four times, and then withdrawn to make room for "Acis and
+Galatea" and the oratorio of "Esther." In March, 1737, it was revived,
+with two additional choruses made by Hamilton for the work; and upon the
+same occasion an Italian cantata in praise of Saint Cecilia was sung.
+
+It is unnecessary to inform the reader of the nature of a poem familiar
+the world over. The overture is written for strings and two oboes.
+Throughout the work the orchestration is thin, bassoons and horns being
+the only instruments added to those named above; but in 1790 Mozart
+amplified the accompaniments,--an improvement which he also made for the
+score of "Acis and Galatea." The great solos of the composition are the
+furious aria, "'Revenge, Revenge!' Timotheus cries," and the descriptive
+recitative, "Give the Vengeance due to the valiant Crew," in which Handel
+employs his imitative powers with consummate effect. Clouet, in his
+"Chants Classiques," says of the passage "And the king seized a flambeau
+with zeal to destroy:--
+
+  "He paints Alexander issuing forth in the midst of an orgie, arming
+  himself with a torch, and followed by his generals, running to set fire
+  to Persepolis. While the accompaniment sparkles with the confused and
+  unequal glare of the torches, the song expresses truthfully the
+  precipitation and the tumult of the crowd, the rolling of the flames,
+  and the living splendor of a conflagration."
+
+The choruses of the work are equally strong, and some of them are among
+the best Handel ever wrote, particularly, "He sang Darius great and
+good," "Break his Bands of Sleep asunder," "Let old Timotheus yield the
+Prize," and "The many rend the Skies with loud Applause." They are as
+genuine inspirations as the best choruses of the "Messiah" or of "Israel
+in Egypt."
+
+In 1739 Handel also set to music Dryden's shorter "Ode for St. Cecilia's
+Day," beginning,
+
+  "From Harmony, from heavenly Harmony
+    This universal frame began,"
+
+the music for which had been originally composed in 1687 by Giovanni
+Baptista Draghi, an Italian, who was music-master to Queen Anne and Queen
+Mary, and at that time was organist to Catharine of Braganza, widow of
+Charles II. Handel's setting was first performed on the anniversary of
+the saint's festival, Nov. 22, 1739. The programme announced:
+
+  "Lincoln's Inn Fields. At the Theatre Royal in Lincoln's Inn Fields,
+  Thursday next, November 22 (being St. Cecilia's Day), will be performed
+  an Ode of Mr. Dryden's, with two new Concertos for several instruments,
+  which will be preceded by Alexander's Feast and a Concerto on the
+  organ."
+
+Though one of the shortest of his vocal works, it contains some
+magnificent choruses.
+
+
+[26] Cecilia, a pupil of Geminiani, and afterwards wife of Dr. Arne.
+
+
+                               L'Allegro.
+
+"L'Allegro, il Penseroso ed il Moderato," the first two movements of
+which contain a musical setting of Milton's well-known poem, was written
+in the seventeen days from Jan. 19 to Feb. 6, 1740, and was first
+performed on the 27th of the latter month at the Royal Theatre, Lincoln's
+Inn Fields, London. Upon this occasion the first and second parts were
+preceded, according to the handbook, by "a new concerto for several
+instruments," and the third by "a new concerto on the organ," which was
+played by the composer himself. It was performed again Jan. 31, 1741,
+with the addition of ten new numbers to the music, which in the original
+manuscript appear at the end, marked by Handel, "l'Additione." At a still
+later period Handel omitted the third part ("Moderato") entirely, and
+substituted for it Dryden's "Ode on St. Cecilia's Day," which he composed
+in 1739.
+
+The text of the first two parts is by Milton, Allegro, as is well known,
+chanting the praises of pleasure, Penseroso those of melancholy; Allegro
+represented by tenor and Penseroso by soprano, and each supported by a
+chorus which joins in the discussion of the two moods. There is a radical
+difference between the poem as Milton wrote it and as it appears set to
+Handel's music. Milton presented two distinct poems, though allied by
+antithesis, and Penseroso does not speak until Allegro has finished. In
+the poem as adapted for music they alternate in sixteen strophes and
+antistrophes. The adaptation of these two parts was made by Charles
+Jennens, who was a frequent collaborator with Handel.[27] He also
+suggested the addition of a third part, the Moderato, and wrote the
+words, in which he counsels both Allegro and Penseroso to take the middle
+course of moderation as the safest. The wisdom of the poet in suggesting
+the _via media_ is more to be commended than his boldness in
+supplementing Milton's stately verse with commonplaces, however wise they
+may have been. Chrysander, the German biographer of Handel presents a
+philosophical view of the case. He says:
+
+  "In the two pictures a deeply thoughtful mind has fixed for itself two
+  far-reaching goals. With these the poem has reached its perfect end,
+  and in the sense of its inventor there is nothing further to be added.
+  The only possible, the only natural outlet was that into a _life of
+  action_, according to the direction which the spirit now should take;
+  already it was the first step into this new domain which called forth
+  the divided feeling. The two moods do not run together into any third
+  mood as their point of union, but into active real life, as different
+  characters, forever separate. Therefore 'Moderation' could not bring
+  about the reconciliation; only life could do it; not contemplation, but
+  deeds. Gladness and Melancholy are symptoms of a vigorous soul;
+  moderation would be mediocrity. And herein lies the unpoetic nature of
+  the addition by Jennens; read according to Milton, the concluding moral
+  of a rich English land-owner whose inherited abundance points to
+  nothing but a golden mean, and whose only real problem is to keep the
+  balance in the lazy course of an inactive life, makes a disheartening
+  impression."
+
+The work as a whole is one of Handel's finest inspirations. The Allegro
+is bright and spirited throughout; the Penseroso grave and tender; and
+the Moderato quiet and respectable, as might be expected of a person who
+never experiences the enthusiasms of joy or the comforts of melancholy.
+The most of the composition is assigned to solo voices which carry on the
+discussion, though in the Moderato it is mainly the chorus which urges
+the sedate compromise between the two.
+
+The work opens without overture, its place having originally been
+supplied by an orchestral concerto. In vigorous and very dramatic
+recitative Allegro bids "loathed Melancholy" hence, followed by
+Penseroso, who in a few bars of recitative far less vigorously consigns
+"vain, deluding joys" to "some idle brain;" Allegro replies with the
+first aria ("Come, come, thou Goddess fair"), a beautifully free and
+flowing melody, responded to by Penseroso, who in an aria of stately
+rhythm appeals to his goddess, "Divinest Melancholy." Now Allegro summons
+his retinue of mirth:--
+
+  "Haste thee, nymph, and bring with thee
+  Jest and youthful jollity,
+  Quips and cranks and wanton wiles,
+  Nods and becks and wreathèd smiles,
+  Such as hang on Hebe's cheek,
+  And love to live in dimple sleek,
+  Sport, that wrinkled care derides,
+  And Laughter, holding both his sides;"
+
+and the chorus takes up the jovial refrain in the same temper. The aria
+itself is well known as the laughing song. Indeed, both aria and chorus
+are full of unrestrained mirth, and go laughingly along in genuine
+musical giggles.[28] The effect is still further enhanced by the next
+aria for Allegro ("Come and trip it as you go"), a graceful minuet, which
+is also taken by the chorus. After a recitative by Penseroso ("Come,
+pensive Nun"), and the aria, "Come, but keep thy wonted State" the first
+Penseroso chorus occurs ("Join with thee calm Peace and Quiet"), a short
+but beautiful passage of tranquil harmony. Once more in recitative
+Allegro bids "loathed Melancholy" hence, and then in the aria, "Mirth,
+admit me of thy Crew," leading into a chorus, sings of the lark,
+"startling dull Night" and bidding good-morrow at his window,--a
+brilliant number accompanied with an imitation of the lark's song.
+Penseroso replies with an equally brilliant song ("Sweet Bird, that
+shuns't the Noise of Folly"), in which the nightingale plays the part of
+accompaniment. Another aria by Allegro ("Mirth, admit me of thy Crew")
+gives an opportunity for a blithe and jocund hunting-song for the bass,
+followed by one of the most beautiful numbers in the work ("Oft on a Plat
+of rising Ground") sung by Penseroso, in which the ringing of the far-off
+curfew, "swinging slow, with sullen roar," is introduced with telling
+effect. This is followed by a quiet meditative aria ("Far from all
+Resorts of Mirth"), when once again Allegro takes up the strain in the
+two arias, "Let me wander not unseen," and "Straight mine Eye hath caught
+new Pleasures." The first part closes with the Allegro aria and chorus
+("Or let the merry Bells ring round"), full of the very spirit of joy and
+youth; and ending with an exquisite harmonic effect as the gay crowd
+creep to bed, "by whispering winds soon lulled to sleep."
+
+The second part begins with a stately recitative and aria by Penseroso
+("Sometimes let gorgeous Tragedy"), followed by one of the most
+characteristic arias in the work ("But O, sad Virgin, that thy Power
+might raise!") in which the passage,
+
+  "Or bid the soul of Orpheus sing
+  Such notes as warbled to the string
+  Drew iron tears down Pluto's cheek,"
+
+is accompanied by long persistent trills that admirably suit the words.
+The next number ("Populous Cities please me then") is a very descriptive
+solo for Allegro, with chorus which begins in canon form for the voices
+and then turns to a lively movement as it pictures the knights
+celebrating their triumphs and the "store of ladies" awarding prizes to
+their gallants. Again Allegro in a graceful aria sings, "There let Hymen
+oft appear." It is followed by a charming canzonet ("Hide me from Day's
+garish Eye") for Penseroso, which leads to an aria for Allegro ("I'll to
+the well-trod Stage anon"), opening in genuinely theatrical style, and
+then changing to a delightfully melodious warble at the words,--
+
+  "Or sweetest Shakspeare, Fancy's child,
+  Warble his native wood-notes wild."
+
+This is followed by three characteristic arias, "And ever, against eating
+Cares," "Orpheus himself may heave his Head," and "These Delights, if
+thou canst give,"--the last with chorus. Penseroso has a short chorus in
+plain but stately harmony ("There let the pealing Organ blow"), with
+pauses for the organ _ad libitum_, followed by the aria, "May at last my
+weary Age," and the majestic devotional fugued chorus, "These Pleasures,
+Melancholy, give!" which close the second part.
+
+The third part, "Il Moderato," is rarely given, and the work may well
+close with the fugue that so beautifully and harmoniously ends the second
+part. It opens with an aria in which Moderato tenders the sage advice:--
+
+  "Come, with native lustre shine,
+  Moderation, grace divine,
+  Whom the wise God of nature gave,
+  Mad mortals from themselves to save.
+  Keep as of old the middle way,
+  Nor deeply sad nor idly gay;
+  But still the same in look and gait,
+  Easy, cheerful, and sedate,
+  Keep as of old the middle way."
+
+With such didactic commonplaces as the above, Moderato commends
+temperance, health, contentment, frugality, equanimity, and chaste love,
+and bids them,--
+
+  "Come, with gentle hand restrain
+  Those who fondly court their bane;
+  One extreme with caution shunning,
+  To another blindly running.
+  Kindly teach how blest are they
+  Who nature's equal rules obey,
+  Who safely steer two rocks between,
+  And prudent keep the golden mean."
+
+Thus Mr. Jennens's mild philosophy goes on, one of his verses, "As steals
+the Morn upon the Night," set to a brilliant tenor and soprano duet,
+followed by the closing chorus, "Thy Pleasures, Moderation, give," in
+full, broad, rich harmony. There needs no other proof of Handel's genius,
+than that he could link such Tupperisms to his grand measures.
+
+
+[27] Jennens was an amateur poet of the period, descended from a
+    manufacturing family of Birmingham, from whom he inherited a large
+    fortune. He lived on terms of close intimacy with Handel, and was
+    mentioned in his will. He died Nov. 20, 1773.
+
+[28] I was lucky enough to meet with the approbation of Mr. Bates in the
+    recitative of "Deeper and deeper still;" my next song was the
+    laughing one. Mr. Harrison, my predecessor at those concerts, was a
+    charming singer: his singing "Oft on a plat of rising ground," his
+    "Lord, remember David," and "O come let us worship and fall down,"
+    breathed pure religion. No divine from the pulpit, though gifted with
+    the greatest eloquence, could have inspired his auditors with a more
+    perfect sense of duty to their Maker than Harrison did by his
+    melodious tones and chaste style; indeed, it was faultless: but in
+    the animated songs of Handel he was very deficient. I heard him sing
+    the laughing song without moving a muscle, and determined, though it
+    was a great risk, to sing it my own way, and the effect produced
+    justified the experiment; instead of singing it with the serious
+    tameness of Harrison, I laughed all through it, as I conceived it
+    ought to be sung, and as must have been the intention of the
+    composer. The infection ran; and their Majesties, and the whole
+    audience, as well as the orchestra, were in a roar of laughter, and a
+    signal was given from the royal box to repeat it, and I sang it again
+    with increased effect.--_Michael Kelly's Reminiscences_, 1789.
+
+
+
+
+                                    HATTON.
+
+
+John Liphot Hatton, a composer well known in America, not only by his
+songs and other works, but also by his visits here, was born in Liverpool
+in 1809. Though his early musical education was very scanty, he soon
+became known as a composer after his removal to London in 1832, and his
+works met with a very cordial reception. In 1842 he became conductor at
+Drury Lane Theatre, and while acting in that capacity brought out one of
+his operettas, called "The Queen of the Thames." In 1844 he went to
+Vienna and produced his opera "Pascal Bruno." Shortly afterwards he
+issued several songs under the _nom de plume_ of "Czapek," which secured
+for themselves widespread popularity. In 1848 he came to this country,
+and some years later made a concert-tour here. Upon his return to England
+he assumed direction of the music at the Princess' Theatre, and while
+engaged there wrote incidental music for "Macbeth," "Sardanapalus,"
+"Faust and Marguerite," "King Henry VIII.," "Pizarro," "King Richard
+II.," "King Lear," "The Merchant of Venice," and "Much Ado About
+Nothing." In 1856 he wrote "Robin Hood," a cantata; in 1864 the opera
+"Rose, or Love's Ransom," for Covent Garden; and in 1877 "Hezekiah," a
+sacred drama, which was performed at the Crystal Palace. He has also
+written a large number of part songs, which are great favorites with
+quartet clubs, and nearly two hundred songs which are very popular; among
+them, "Good-by, Sweetheart, good-by," which has been a stock piece with
+concert tenors for years, and which the late Signor Brignoli used to sing
+with excellent effect. His music is specially characterized by grace and
+melodiousness. Hatton died in 1886.
+
+
+                               Robin Hood.
+
+The pastoral cantata of "Robin Hood" was written for the Bradford
+(England) Triennial Festival of 1856, Sims Reeves creating the part of
+the hero. Its name suggests the well-known story of the greenwood outlaw
+which has been charmingly versified by George Linley in the libretto. The
+personages are Maid Marian, Robin Hood, Little John, and "The Bishop."
+Maid Marian, it will be remembered, was the mistress who followed Robin
+into the Sherwood Forest and shared his wild life; and Little John was
+his stalwart lieutenant, whose name was transposed after he joined the
+band, thus heightening the incongruity between his name and his great
+size. The incident contained in Linley's poem appears to have been
+suggested by Robin Hood's penchant for capturing bishops and other
+ecclesiastics, notwithstanding his religious professions, which were
+exemplified by the retention of Friar Tuck as chaplain in the bold
+archer's household; or it may be based upon the historical story of the
+expedition which Edward II. and some of his retainers, disguised as
+monks, made into the forest for the purpose of exterminating the outlaws
+and thus stopping their slaughter of the royal deer. As the old story
+goes, they were led into an ambuscade by a forester who had agreed to
+conduct them to the haunts of Robin, and were captured. When Robin
+recognized the King in the disguise of the abbot, he craved forgiveness
+for himself and his band, which was granted upon condition that he should
+accompany his sovereign to Court and take a place in the royal household.
+The old collection of ballads, "The Lytell Geste of Robyn Hood," tells
+the same story and continues it, relating how after "dwelling in the
+Kynge's courte" a year, he tired of it and obtained permission to make a
+visit to the woods again, but forfeited his word and never returned,
+dying at last in Kirklees priory, through the treachery of the abbess,
+and how in his last moments he blew a loud blast on his horn, summoning
+Little John from the forest, to whom, after he had forced his way into
+his chamber, the dying Robin said:
+
+  "Give me my bent bow in my hand,
+    And an arrow I'll let free,
+  And where that arrow is taken up,
+    There let my grave digged be."
+
+The cantata opens with a chorus of the outlaws, who vigorously assert
+their independence of tribute, laws, and monarchs, followed by a
+bombastic bass aria by the Bishop, who threatens them for destroying the
+King's deer. His grandiloquence is speedily interrupted by the outlaws,
+with Robin at their head, who surround him without further ado and make
+him the butt of their sport. Robin Hood sings a charmingly melodious
+ballad, "Under the Greenwood Tree," in which the Bishop is invited to
+become one of their number and share their sylvan enjoyments. A trio and
+chorus follow, in the course of which the Bishop parts with his personal
+possessions in favor of the gentlemen around him in Lincoln green with
+"bent bows." A chorus ("Strike the Harp") also informs us that the
+ecclesiastic is forced to dance for the genial band much against his will
+as well as his dignity. Robin's sentimentalizing about the pleasures
+under the greenwood tree is still further emphasized by a madrigal for
+female voices, supposed to be sung by the forest maidens, though their
+identity is not very clear, as Marian was the only maid that accompanied
+the band. After the plundering scene, the cantata grows more passionate
+in character, describing a pretty and tender love-scene between Robin and
+Marian, which is somewhat incongruous, whether Marian be considered as
+the outlaw's mistress, or, as some of the old chroniclers have it, his
+wife Matilda, who changed her name when she followed him into the forest.
+From the musical standpoint, however, it affords an opportunity for
+another graceful ballad of sentiment, in which Marian describes her heart
+as "a frail bark upon the waters of love;" a duet in which the lovers
+passionately declare their love for each other as well as their delight
+with the forest; and a final chorus of the band, jubilantly proclaiming
+their hatred of kings and courtiers, and their loyalty to Robin Hood and
+Maid Marian. It may be worthy of note in this connection that Bishop, the
+English composer, wrote a legendary opera called "Maid Marian, or the
+Huntress of Arlingford," in which the heroine is Matilda.
+
+
+
+
+                                 HAYDN.
+
+
+Joseph Haydn, the creator of the symphony and the string quartet, was
+born at Rohrau, a little Austrian village on the river Leitha, March 31,
+1732. His father was a wheelwright and his mother a cook, in service with
+Count Harrach. Both the parents were fond of music, and both sang, the
+father accompanying himself upon the harp, which he played by ear. The
+child displayed a voice so beautiful that in his sixth year he was
+allowed to study music, and was also given a place in the village
+church-choir. Reutter, the capellmeister of St. Stephen's, Vienna, having
+heard him, was so impressed with the beauty of his voice that he offered
+him a position as chorister. Haydn eagerly accepted it, as it gave him an
+opportunity for study. While in the service of St. Stephen's he had
+lessons on the violin and piano, as well as in composition. When his
+voice broke, and his singing was of no further value, he was thrown upon
+the tender mercies of the world. Fortune favored him, however. He
+obtained a few pupils, and gave himself to composition. He made the
+acquaintance of Metastasio, Porpora, and Gluck. His trios began to
+attract attention, and he soon found himself rising into prominence. In
+1759, through the influence of a wealthy friend and amateur, he was
+appointed to the post of musical director and composer in the service of
+Count Morzin, and about this time wrote his first symphony. When the
+Count dismissed his band, Prince Paul Anton Esterhazy received him as his
+second capellmeister, under Werner. When the latter died, in 1766, Haydn
+took his place as sole director. His patron meanwhile had died, and was
+succeeded by his son Nicolaus, between whom and Haydn there was the
+utmost good feeling. Up to this time Haydn had written thirty symphonies,
+a large number of trios, quartets, and several vocal pieces. His
+connection with the Prince lasted until 1790, and was only terminated by
+the latter's death. During this period of twenty-eight years his musical
+activity was unceasing; and as he had an orchestra of his own, and his
+patron was ardently devoted to music, the incentive to composition was
+never lacking. Anton succeeded Nicolaus, and was generous enough to
+increase Haydn's pension; but he dismissed the entire chapel, and the
+composer took up his abode in Vienna. He was hardly established before he
+received a flattering proposition from Salomon, the manager, to go to
+England. He had already had many pressing invitations from others, but
+could not accept them, owing to his engagement to Esterhazy. Now that he
+was free, he decided to make the journey. On New Year's Day, 1791, he
+arrived in London. Success greeted him at once. He became universally
+popular. Musicians and musical societies paid him devoted attention. He
+gave a series of symphony concerts which aroused the greatest enthusiasm.
+He was treated with distinguished courtesy by the royal family. Oxford
+gave him the honorary degree of Doctor of Music. The nobility entertained
+him sumptuously. After a year of continuous fêtes he returned to Germany,
+where he remained two years, during a portion of which time Beethoven was
+his pupil. In 1794 he made his second journey to England, where his
+former successes were repeated, and fresh honors were showered upon him.
+In 1804 he was notified by Prince Esterhazy that he was about to
+reorganize his chapel, and wished him for its conductor again. Haydn
+accordingly returned to his old position, where he remained during the
+rest of his life. He was already an old man, but it was during this
+period that his most remarkable works were produced, among them the
+Austrian National Hymn ("Gott erhalte Franz den Kaiser"), the "Seven
+Words," the "Creation," the "Seasons," and many of his best trios and
+quartets. He died May 31, 1809, a few days after the occupation of Vienna
+by the French, and among the mourners at his funeral were many French
+officers. Funeral services were held in all the principal European
+cities. Honored and respected all over Europe, he was most deeply loved
+by his own countrymen, who still affectionately speak of him as "Papa"
+Haydn.
+
+
+                            The Seven Words.
+
+"The Seven Words of Jesus on the Cross," sometimes called "The Passion,"
+was written by Haydn in 1785, for the cathedral of Cadiz, upon a
+commission from the chapter for appropriate music for Good Friday. It was
+at first composed as an instrumental work, consisting of seven adagio
+movements, and in this form was produced in London by the composer
+himself as a "Passione instrumentale." He afterwards introduced solos and
+choruses, and divided it into two parts, separating them by a largo
+movement for wind instruments. It was then given at Eisenstadt in 1797,
+and four years later was published in the new form, with the following
+preface by the composer himself:--
+
+  About fifteen years ago I was applied to by a clergyman in Cadiz, and
+  requested to write instrumental music to the seven words of Jesus on
+  the cross. It was then customary every year, during Lent, to perform an
+  Oratorio in the Cathedral at Cadiz, the effect of which the following
+  arrangements contributed to heighten. The walls, windows, and columns
+  of the church were hung with black cloth, and only one large lamp,
+  hanging in the centre, lighted the solemn and religious gloom. At noon
+  all the doors were closed, and the music began. After a prelude, suited
+  to the occasion, the bishop ascended the pulpit, pronounced one of the
+  seven words, which was succeeded by reflections upon it. As soon as
+  these were ended he descended from the pulpit and knelt before the
+  altar. The pause was filled by music. The bishop ascended and descended
+  again a second, a third time, and so on; and each time the orchestra
+  filled up the intervals in the discourse.
+
+  My composition must be judged on a consideration of these
+  circumstances. The task of writing seven adagios, each of which was to
+  last about ten minutes, to preserve a connection between them, without
+  wearying the hearers, was none of the lightest, and I soon found that I
+  could not confine myself within the limits of the time prescribed.
+
+  The music was originally without text, and was printed in that form. It
+  was only at a later period that I was induced to add the text. The
+  Oratorio entitled "The Seven Words of our Redeemer on the Cross," as a
+  complete and, as regards the vocal parts, an entirely new work, was
+  first published by Messrs. Breitkopf and Härtel, of Leipsic. The
+  partiality with which this work has been received by scientific
+  musicians leads me to hope that it will not be without effect on the
+  public at large.
+
+                                                           Joseph Haydn.
+
+  Vienna, March 1, 1880.
+
+
+As the various movements are all of the same general tone and character,
+though varied with all that skill and mastery of instrumental effect for
+which Haydn was so conspicuous, it is needless to describe each
+separately. By many of the musicians of his day it was considered one of
+his most sublime productions; and Bombet declares that Haydn on more than
+one occasion, when he was asked to which of his works he gave the
+preference, replied, "The Seven Words."
+
+It opens with an adagio for full orchestra, of a very sorrowful but
+impressive character. Then follow each of the Seven Words, given out in
+simple chorale form, followed by its chorus, namely:--
+
+                                   I.
+                                PATIENCE.
+
+"Father, forgive them; for they know not what they do."
+
+_Chorus_: "Lamb of God! Surely Thou hast borne our sorrows."
+
+                                   II.
+                         THE PENITENT FORGIVEN.
+
+"Verily I say unto thee, this day shalt thou be with me in Paradise."
+
+_Chorus_: "Lord, have mercy on me after Thy great goodness."
+
+                                  III.
+                              THE MOURNERS.
+
+"Woman, behold thy Son. Son, behold Thy mother."
+
+_Chorus_: "Daughters of Jerusalem, weep not for Me."
+
+                                   IV.
+                               DESOLATION.
+
+"Eli, Eli, lama sabacthani?"
+
+_Chorus_: "O my God, look upon Me."
+
+                                   V.
+                             THE BITTER CUP.
+
+"I thirst."
+
+_Chorus_: "He treadeth the winepress of the fierceness and wrath."
+
+                                   VI.
+                           COMPLETE OBEDIENCE.
+
+"It is finished."
+
+_Chorus_: "He came down from Heaven."
+
+                                  VII.
+                           THE GREAT OBLATION.
+
+"Father, into Thy hands I commend my spirit."
+
+_Chorus_: "Into Thy hands, O Lord."
+
+Following immediately after the last number the whole spirit of the music
+changes with the chorus, "The Veil of the Temple was rent in twain," a
+presto movement, sung fortissimo, describing the darkness, the quaking of
+the earth, the rending of the rocks, the opening of the graves, and the
+arising of the bodies of the saints who slept, with all that vividness in
+imitation and sublimity of effect which characterize so many of the
+composer's passages in "The Creation" and "The Seasons." Haydn was by
+nature a deeply religious man, and that he felt the inspiration of the
+solemn subject is shown by the manner in which he conceived it, and by
+the exalted devotion of the music which accompanies the last words of the
+Man of Sorrows. The lines which Bombet quotes from Dante in this
+connection are hardly exaggerated:--
+
+  "He with such piety his thought reveals,
+  And with such heavenly sweetness clothes each tone,
+  That hell itself the melting influence feels."
+
+
+                                Ariadne.
+
+The cantata "Ariana a Naxos" was written in 1792, and is for a single
+voice with orchestra. As an illustration of the original cantata form, it
+is one of the most striking and perfect. Its story is an episode familiar
+in mythology. When Minos, King of Crete, had vanquished the Athenians, he
+imposed upon Ægeus, their king, the severe penalty that seven youths
+should be annually sent to Crete to be devoured by the Minotaur. In the
+fourth year the king's son, Theseus, was among the number. He was more
+fortunate than his predecessors, for he slew the Minotaur and was rescued
+from the labyrinth by following the thread of Ariadne, daughter of Minos,
+who had conceived a violent passion for the handsome warrior, conqueror
+of Centaurs and Amazons. Upon his return to Athens she accompanied him as
+far as the island Naxos, where the ungrateful wretch perfidiously left
+her. It is this scene of desertion which Haydn chose for his cantata.
+
+Ariadne is supposed to have just awakened from sleep and reclines upon a
+mossy bank. The first number is a recitative and largo in which she
+hopefully calls upon Theseus to return. The melody is noble and spirited
+in style, and yet tender and fervent in its expression of love for the
+absent one. In the next number, a recitative and andante ("No one
+listens! My sad Words Echo but repeats"), hopefulness turns to anxiety.
+The contrast between the blissful longing of the one and the growing
+solicitude expressed in the other number is very striking. The next
+melody, an _allegro vivace_,--
+
+  "What see I? O heavens! Unhappy me!
+  Those are the sails of the Argosy! Greeks are those yonder!
+  Theseus! 'Tis he stands at the prow,"--
+
+is remarkable for its passionate intensity and dramatic strength. The
+clouds of despair close over her, and she calls down the vengeance of the
+gods upon the deserter. In the next two numbers, an adagio ("To whom can
+I turn me?"), and an andante ("Ah! how for Death I am longing"), the
+melodies closely follow the sentiment of the text, accompanied by very
+expressive instrumentation. An _allegro presto_, infused with the very
+spirit of hopeless gloom and despair, ends the cantata:--
+
+  "Woe's me! deceived, betrayed!
+  Earth holds no consolation."
+
+In the mythological version, however, consolation came; for Bacchus,
+"ever young," and full of pity for lorn maids, married her, and gave her
+a crown of seven stars, which after her death was placed among the
+constellations. The music presents many difficulties for a singer, as it
+requires the noblest style of declamation, peculiar refinement of
+sentiment, and rare musical intelligence, as well as facility in
+execution to give expression to its recitative and strongly contrasting
+melodies, which have no unity of key, but follow the varying sentiments,
+with their changes of tone-color, as closely as Theseus followed his
+thread.
+
+
+
+
+                                 HILLER.
+
+
+Ferdinand Hiller, one of the most eminent of modern German composers,
+and a writer of more than ordinary ability, was born at
+Frankfort-on-the-Main, Oct. 24, 1811. His musical talent displayed itself
+so early that in his tenth year he appeared in concerts. In 1825 he began
+his studies with Hummel, and two years afterwards accompanied him on a
+concert-tour to Vienna, where he published his first work, a piano-forte
+quartet. He next went to Paris, where he remained until 1835, occupying
+for a time the position of professor in Choron's "Institution de
+Musique," but principally devoting himself to piano-playing, composition,
+and concerts. In 1836 he returned to Frankfort, and for more than a year
+conducted the concerts of the Coecilienverein. He then went to Milan,
+where he met Rossini, and with his assistance brought out his opera
+"Romilda" at La Scala, but without much success. About the same time he
+began his oratorio "The Destruction of Jerusalem," one of his most
+important works. In 1841 he made a second journey to Italy and gave
+particular attention to church music. On his return he first resided at
+Frankfort, but was soon in Leipsic, where he conducted the Gewandhaus
+concerts (1843-44), and after that time in Dresden, where he produced two
+more operas, "Traum in der Christ-nacht" and "Conradin." In 1847 he was
+appointed municipal capellmeister at Düsseldorf, and three years later
+took a similar position at Cologne, where he organized the Conservatory.
+In that city he exercised a widespread influence, not alone by his
+teaching, but also by his direction of the famous Lower Rhine festivals.
+He also made many musical tours which increased his fame. In 1852-53 he
+conducted opera in Paris; in 1870, gave a series of successful concerts
+in St. Petersburg; and in 1871-72 visited England, where he produced his
+works both in public concerts and festivals. His compositions are very
+numerous, including among the most prominent, five operas, four
+overtures, a festival march for the opening of the Albert Hall, the
+Spring Symphony, the oratorios "Destruction of Jerusalem" and "Saul," and
+the cantatas "Heloise," "Night," "Loreley," "O weint um Sie," "Ver
+sacrum," "Nala and Damajanti," "Song of Victory," "Song of the Spirits
+over the Water," "Prometheus," and "Rebecca." He has also enriched
+musical literature with many important works, among them, "Aus dem
+Tonleben unserer Zeit" (1867), "Personalisches und Musikalisches" (1876),
+"Recollections of Mendelssohn" (1874), and "Letters to an Unknown"
+(1877). He died in May, 1885.
+
+
+                            Song of Victory.
+
+The "Song of Victory," a cantata for soprano solo, chorus, and orchestra,
+was first produced at the Cologne Festival of 1871, and was written to
+celebrate the victorious conclusion of the Franco-German war of 1870. It
+consists of eight numbers, all of which are sacred in character, though
+their purpose is to express gratitude and joy over the triumph of the
+German arms.
+
+The opening number is a vigorous, jubilant chorus ("The Lord great
+Wonders for us hath wrought"). It begins with a slow movement in massive
+chords, gathering animation as it proceeds, and closing pianissimo on the
+words, "There is none that searcheth or understandeth." The second number
+is a soprano solo and chorus ("Praise, O Jerusalem, praise the Lord")
+declamatory in style. The third ("The Heathen are fallen in the Pit") is
+assigned to chorus, and is the most dramatic in the work, describing as
+it does the terrors of war. In the fourth ("See, it is written in the
+Book of the Righteous"), a short soprano solo, the melody is a tender
+lament for the dead. The fifth ("He in Tears that soweth") is a soprano
+solo with chorus of first and second sopranos and altos. In this number
+lamentation gives way to hope and gladness, leading up to the last three
+numbers,--the six-part chorus ("Mighty is our God"), full of effective
+sustained harmony, and the soprano solos and choruses of praise and
+hallelujah which resume the triumphant style of the opening chorus with
+increased power and enthusiasm.
+
+
+
+
+                                HOFMANN.
+
+
+Heinrich Karl Johann Hofmann was born Jan. 13, 1842, at Berlin. In his
+younger days he was a scholar at the Kullak Conservatory, and studied
+composition with Grell, Dehn, and Wüerst. Prior to 1873 he devoted
+himself to private instruction, but since that time he has been engaged
+exclusively in composition. Among his works which first attracted public
+attention by their intrinsic excellence as well as by the knowledge of
+orchestration which they displayed, were an "Hungarian Suite" and the
+"Frithjof Symphony." Among his piano compositions are the following
+four-handed pieces, which have been remarkably popular: "Italienische
+Liebesnovelle," "Liebesfrühling," "Trompeter von Säckingen,"
+"Steppenbilder," and "Aus meinem Tagebuch." His choral works are
+"Nonnengesang," "Die Schöne Melusine," "Aschenbrödel," and "Cinderella."
+Among his operas are "Cartouche" (1869), "Armin" (1878), and "Annchen von
+Tharau" (1878). He has also written several works for mixed chorus and
+männerchor, piano pieces, songs, duets, a violoncello concerto, piano
+trios and quartets, and a string sextet.
+
+
+                                Melusina.
+
+The beautiful story of Melusina has always had an attraction for artists
+and musicians. Moritz von Schwind, the painter, has illustrated it in a
+cycle of frescos; Julius Zellner has told it for us in a series of
+orchestral tone-pictures; and Mendelssohn has chosen it as the subject of
+one of his most charming overtures. The version which Hofmann uses in his
+cantata entitled "The Fable of the Fair Melusina" (written in 1875) runs
+as follows: Melusina, the nymph of a beautiful fountain in the Bressilian
+forest, and Count Raymond have fallen in love with each other. They
+declare their passion in the presence of her nymphs, and plight their
+troth. Melusina engages to be his dutiful wife the first six days of the
+week, but makes Raymond promise never to inquire or seek to discover what
+she does on the seventh, which, she assures him, shall "never see her
+stray from the path of duty." On that day she must assume her original
+form, half fish and half woman, and bathe with her nymphs. Raymond
+promises, calls his hunters, introduces his bride to them, and the
+wedding cortège moves joyfully on to the castle. In the second part
+Raymond's mother, Clotilda, and her brother, Sintram, intrigue against
+Melusina. They denounce her as a witch, and the accusation seems to be
+justified by a drought which has fallen upon the land since the marriage.
+The suffering people loudly clamor for the surrender of the "foul witch."
+After long resistance Raymond is induced to break into the bathing-house
+which he had erected over the fountain. Melusina and her nymphs,
+surprised by him, call upon the king of the water-spirits to avenge his
+treason. The king appears and consigns him to death. Seized with pity,
+Melusina intercedes for him, and the king agrees to spare his life upon
+condition that they shall separate. Raymond once more embraces her,
+neither of them knowing that it will be fatal to him, dies in her arms,
+and the sorrowing Melusina returns to the flood.
+
+The prologue describes Melusina's fountain, and contains a leading motive
+which characterizes Raymond. The chorus part is very romantic in its
+style, and is set to a graceful, poetical accompaniment. The opening
+number introduces Melusina and her nymphs in a chorus extolling their
+watery abode ("For the Flood is life-giving"). In the second number she
+describes the passion she feels when thinking of Raymond. The song is
+interrupted by horn signals indicating the approach of her lover and his
+hunters, who join in a fresh, vigorous hunting-song and then disperse. In
+the fourth number Raymond gives expression to his love for Melusina,
+followed by a fervid duet between them, in which the lovers interchange
+vows of constancy. The sixth number, describing their engagement in
+presence of the nymphs, and concluding with a stirring chorus of nymphs
+and hunters, closes the first part.
+
+The second part begins with a theme from the love-duet, followed by a
+significant theme in the minor, ominous of approaching danger. In the
+eighth number the people clamor in furious chorus for the witch. In the
+ninth, a trio and chorus, Clotilda warns her son of the misery he has
+brought upon his house and people, and urges him to discover what his
+wife does on the seventh day. The next number introduces Melusina and her
+nymphs in the bath, the former singing a plaintive song ("Love is
+freighted with Sorrow and Care"). A noise is heard at the gate, and the
+nymphs join in a chorus in canon form ("Hark! hark! Who has come to
+watch"). As Raymond appears, the scene grows very dramatic. The king of
+the water-spirits is summoned; but before he rises from the water
+Melusina, in very melodious recitative, laments her lover's treason. The
+scene culminates in the sentence, "Let Death be his lot." He is spared by
+her intercession, but she is commanded to return to the flood. Raymond
+appeals for forgiveness, and a part of the love-duet is repeated. The
+final embrace is fatal to him, and he dies in her arms. The chorus
+repeats the melody of the opening number ("For the Flood is
+life-giving"), and she bids her dead lover a last farewell, and
+disappears with the nymphs and water-spirits, singing, "Forget with the
+Dwellers on Earth all earthly Woe." The epilogue is substantially the
+same as the prologue.
+
+
+
+
+                                 LESLIE.
+
+
+Henry David Leslie was born in London, June 18, 1822, and in his
+sixteenth year began his musical studies with Charles Lucas, a famous
+violoncellist and for a long time principal of the Royal Academy of
+Music. Like his master, Leslie played the violoncello several years in
+the concerts of the Sacred Harmonic Society, subsequently becoming its
+conductor,--a position which he held until 1861. In 1855 he organized the
+famous Leslie choir of one hundred voices, which took the first prize at
+the international competition of 1878 in Paris. In 1863 he was chosen
+conductor of the Herefordshire Philharmonic Society, and in the following
+year became principal of the National College of Music. In 1874 he was
+appointed conductor of the Guild of Amateur Musicians in London. He has
+been a prolific and very popular composer, among his works being the
+following: Te Deum and Jubilate in D (1846); symphony in F (1847);
+anthem, "Let God arise" (1849); overture, "The Templar" (1852); oratorio,
+"Immanuel" (1853); operetta, "Romance, or Bold Dick Turpin" (1857);
+oratorio, "Judith," written for the Birmingham Festival (1858); cantata,
+"Holyrood" (1860); cantata, "The Daughter of the Isles" (1861); and the
+opera "Ida" (1864). In addition to these he has written a large number of
+songs, anthems, part songs, madrigals, and piano pieces, besides music
+for his choir.
+
+
+                                Holyrood.
+
+"Holyrood" was written in 1861, and was first produced in February of
+that year at St. James's Hall, London. Leslie's collaborator was the
+accomplished scholar Chorley, who has certainly prepared one of the most
+refined and attractive librettos ever furnished a composer. The story
+represents an episode during the period of Queen Mary's innocent life,
+overshadowed in the close by the dismal prophecy of the terrible fate so
+rapidly approaching her. The characters are Queen Mary (soprano), Mary
+Beatoun (Beton), her maid of honor (contralto); Rizzio, the ill-fated
+minstrel (tenor); and John Knox (bass). The scene is laid in a court of
+the palace of Holyrood, and introduces a coterie of the court ladies and
+gentlemen engaged in one of those joyous revels of which Mary was so
+fond. In the midst of the pleasantry, however, the Queen moves pensively
+about, overcome with sadness, as if her thoughts were far away. Her
+favorite maid tries in vain to rouse her from her melancholy with a
+Scotch ballad. The minstrel Rizzio is then urged to try his skill. He
+takes his lute and sings an Italian canzonet which has the desired
+effect. The sensuous music of the South diverts her. She expresses her
+delight, and seizing his lute sings her new joy in a French romance. It
+is interrupted by a Puritan psalm of warning heard outside. The revellers
+seek to drown it; but it grows in power, and only ceases when the leader,
+John Knox, enters with stern and forbidding countenance. The Queen is
+angry at first, but bids him welcome provided his mission is a kindly
+one. He answers with a warning. As he has the gift of prophecy, she
+orders him to read her future. After the bridal, the murder of the
+bridegroom; after the murder, battle; after the battle, prison; after the
+prison, the scaffold, is the tragic fate he foresees. The enraged
+courtiers call for his arrest and punishment, but the light-hearted Queen
+bids him go free:--
+
+  "Let him go, and hear our laughter!
+  Mirth to-day, whate'er come after."
+
+The cantata opens with a chorus for female voices in three divisions,
+with a contralto solo, in the Scotch style:--
+
+  "The mavis carols in the shaw,
+  The leaves are green on every tree,
+  And June, whose car the sunbeams draw,
+  Is dropping gold on bank and lea;
+  The hind is merry in the mead,
+    The child that gathers gowan flower,
+  The Thane upon his prancing steed,
+    The high-born lady in her bower,--
+        Gay, gay, all are gay,
+        On this happy summer day."
+
+After a short recitative passage in which Mary Beatoun appeals to the
+revellers to lure the Queen from her loneliness, and their reply ("O
+Lady, never sit alone"), the maid sings a very characteristic and
+engaging Scotch ballad:--
+
+  "There once was a maiden in Melrose town
+    (Oh! the bright Tweed is bonny to see!)
+  Who looked on the best in the country down,
+    Because she had lovers, one, two, three.
+  The first was a lord with his chest of gold,
+    The second a ruddy shepherd so tall,
+  The third was a spearsman bluff and bold,--
+    But Pride, it goeth before a fall.
+
+  "One hour she smilèd, the next she wept
+    (Oh! the bright Tweed is bonny to see!)
+  And with frowns and blushes a chain she kept
+    Round the necks of her hapless lovers three.
+  For the lord in her lap poured wide his gold,
+    And the shepherd ran at her beck and call,
+  And the spearsman swore she was curst and cold,
+    But Pride, it goeth before a fall.
+
+  "At last it fell out on a bleak March day
+    (Oh! the bright Tweed is bonny to see!)
+  There sate at her window the maiden gay
+    And looked o'er the frost for her lovers three.
+  But the lord had to France sailed forth with his gold,
+    And the shepherd had married her playmate small,
+  And the spearsman in battle lay stark and cold,--
+    So Pride, it goeth before a fall."
+
+As might have been expected, this mournful ditty fails to rouse the Queen
+from her melancholy, whereupon Rizzio takes his lute and sings the
+canzonet "Calla stagion novella," a very slow and graceful movement,
+closing with a sensuous allegro, written in the genuine Italian style,
+though rather Verdi-ish for the times of Rizzio. The canzonet has the
+desired effect, and is followed by a delightful French romance, sung by
+the Queen, in which a tender minor theme is set off against a fascinating
+waltz melody, closing with a brilliant finale:--
+
+  "In my pleasant land of France
+    There is gladness everywhere;
+  In the very streams a dance,
+    Full of life, yet debonair,
+  Ah, me! ah, me!
+    To have left it was a sin,
+  Even for this kind countrie.
+    But we will not mourn to-day,
+    Bid the harp and rebec play,
+      Merrilie, merrilie,
+  Sing and smile, and jocund be;
+  If my father's land is dear,
+  Mirth and valor still are here;
+  Maidens faithful, champions gay,
+  France has melted far away
+      Beyond the sea."
+
+At the close of the pretty romance, the revel begins with a stately
+minuet and vocal trio ("Fal, lal, la") for the Queen, Mary Beatoun, and
+Rizzio. It is interrupted by the unison psalm-tune of the Puritans, a
+stern, severe old melody set to a "moving bass" accompaniment:--
+
+  "O thou who sittest on the throne
+    And wilt exalt thine horn on high,
+  While captive men in prison groan,
+    And women poor of hunger die,
+  Beware! albeit a Haman proud,
+    Served by thy slaves on bended knee,
+  The heaven can speak in thunder loud
+    And rend to dust both them and thee."
+
+There is a temporary pause in the revels, but at the Queen's command they
+are resumed with a quick-step introduced by the pipes and full of the
+genuine Scotch spirit and bustle, the "Fal lal" trio and chorus still
+accompanying it. It is interrupted afresh by a repetition of the psalm
+("A Hand of Fire was on the Wall"), after which John Knox enters. With
+his entrance the gay music closes and the work assumes a gloomy tragic
+cast as the dialogue proceeds and the terrible incidents of the prophecy
+are unfolded. It is a relief when they join in a hopeful duet ("E'en if
+Earth should wholly fail me") which is very quiet and melodious. It leads
+to the Queen's farewell, a quaintly-written bit, with an old-fashioned
+cadenza, followed by the final chorus, which takes up a theme in the same
+joyous spirit as the opening one:--
+
+  "Hence with evil omen,
+    Doleful bird of night,
+  Who in tears of women
+    Takest chief delight!
+  Think not to alarm her,
+    As with mystic power;
+  Nought shall ever harm her,
+    Scotland's lily flower."
+
+
+
+
+                                 LISZT.
+
+
+Franz Liszt, the most eminent pianist of his time, who also obtained
+world-wide celebrity as a composer and orchestral conductor, was born at
+Raiding, Hungary, Oct. 22, 1811. His father was an accomplished amateur,
+and played the piano and violoncello with more than ordinary skill. He
+was so impressed with the promise of his son that he not only gave him
+lessons in music, but also devoted himself to his artistic progress with
+the utmost assiduity. In his ninth year Liszt played for the first time
+in public at Oedenburg. His performances aroused such enthusiasm that
+several Hungarian noblemen encouraged him to continue his studies, and
+guaranteed him sufficient to defray the expenses of six years' tuition.
+He went to Vienna at once and studied the piano with Czerny, besides
+taking lessons in composition of Salieri and Randhartinger. It was while
+in that city that his first composition, a variation on a waltz of
+Diabelli, appeared. In 1823 he went to Paris, hoping to secure permission
+to enter the Conservatory; but Cherubini refused it on account of his
+foreign origin, though Cherubini himself was a foreigner. Nothing
+daunted, young Liszt continued his studies with Reicha and Paer, and two
+years afterwards brought out a two-act opera entitled "Don Sancho," which
+met with a very cordial reception. The slight he received from Cherubini
+aroused popular sympathy for him. His wonderful playing attracted
+universal attention and gained him admission into the most brilliant
+Parisian salons. He was a favorite with every one, especially with the
+ladies. For two or three years he made artistic tours through France,
+Switzerland, and England, accompanied by his father, and everywhere met
+with the most brilliant success. In 1827 the father died, leaving him
+alone in the world; but good fortune was on his side. During his stay in
+Paris he had made the friendship of Victor Hugo, George Sand, Lamartine,
+and other great lights in literature and music, and their influence
+prepared the way for his permanent success. From 1839 to 1847 he
+travelled from one city to another, arousing the most extraordinary
+enthusiasm; his progress was one continued ovation. In 1849 he went to
+Weimar and accepted the post of conductor at the Court Theatre. He made
+that city the musical centre of Europe. It was there that his greatest
+compositions were written, that the school of the music of the future was
+founded, and that Wagner's operas first gained an unprejudiced hearing;
+and it is from Weimar that his distinguished pupils, like Von Bülow,
+Tausig, Bendel, Bronsart, Klindworth, Winterberger, Reubke, and many
+others date their success. In 1859 he resigned his position and after
+that time resided at Rome, Pesth, and Weimar, working for the best
+interest of his beloved art, and encouraging young musicians to reach the
+highest standards. Few men of this century have had such a powerful
+influence upon music, or have done so much to elevate and purify it. His
+most important works were the "Divina Commedia" and "Faust" symphonies,
+the twelve symphonic poems, the six Hungarian rhapsodies, the "Graner
+Mass," the "Hungarian Coronation Mass," and the oratorios "Christus" and
+"The Legend of the Holy Elizabeth." Besides these he wrote a large number
+of orchestral pieces, songs, and cantatas, and a rich and varied
+collection of piano-forte solos, transcriptions, and arrangements. He
+died July 31, 1886.
+
+
+                               Prometheus.
+
+Liszt's cantata "Prometheus," composed in 1850, is based upon the poem of
+the same name, written by Johann Gottfried von Herder, the court preacher
+of Weimar. The poem closely follows the well-known legend of Prometheus'
+punishment for stealing fire from heaven, and his ultimate rescue by
+Hercules from the vulture which preyed upon his vitals. The poet pictures
+the victim in the midst of his sufferings, consoled by the knowledge that
+he has been a benefactor to the human race. The spirits of the ocean mock
+and menace him, but the harvesters and tillers of the soil praise him for
+the bounteous gifts he has given to the earth. Ceres and Bacchus,
+protectors of the soil and its products, also pay their tribute of
+sympathy to him and thank him for the blessing of fire. Hercules at last
+releases him from his torture by killing the vulture and breaking the
+chains which bind him to his rock. The sufferer is brought before Themis,
+who announces that the divine wrath has been appeased by his long
+punishment, and that the gods forgive him.
+
+In building up his cantata Liszt has introduced several prologues from
+the poem without music, which serve as narrators explaining the
+situations, linking and leading up to the musical numbers, which are
+mainly choral. Thus the opening prologue pictures the sufferings of
+Prometheus, the crime for which he is forced to endure such a terrible
+penalty, and the patience, hope, and heroism of the victim. The closing
+lines,--
+
+  "Now through the hush of night burst well-known voices
+  Upon his ear. From out the slumbering ocean,
+  Fanning his cheek with breath of the sea waves,
+  The daughters of Oceanus approach,"--
+
+introduce the opening chorus of sea-nymphs ("Prometheus, Woe to thee"),
+for female voices, arranged in double parts, and set to a restless,
+agitated accompaniment, expressive of fear and despair. The second
+prologue, reciting the wrath of Oceanus "on his swift-winged ocean
+steed," that mortals should have dared to vex his peaceful waters, and
+the reply of Prometheus that "on the broad earth each place is free to
+all," introduces the choruses of Tritons and Oceanides. The first is a
+mixed chorus full of brightness and spirit ("Freedom! afar from Land upon
+the open Sea"). Their exultant song is followed by a fascinating melody
+("Hail! O Prometheus, hail!") for female chorus, with short but
+expressive solos for soprano and alto ("When to our Waters the golden
+Time shall come"), the number closing with double chorus in full rich
+harmony ("Holy and grand and free is the Gift of Heaven"). Thereupon
+follows the third prologue:--
+
+  "Scarcely has ceased the Ocean's song of joy,
+  Which, breathing peace unto Prometheus' soul,
+  Wakens within his breast long-buried hope,
+  When once again the sound of lamentation
+  Bursts on his ear and fills the air with sighs.
+  Seated within a lion-drawn chariot comes
+  The founder of his race--Gæa herself--
+  With her a train of wood-nymphs, loudly weeping."
+
+It introduces a chorus of Dryads ("Woe to thee, Prometheus") of the same
+general character as the opening chorus of sea-nymphs, and containing a
+very dramatic and declamatory alto solo ("Deserted stand God's sacred
+Altars in the old Forest"). A dialogue follows between Gæa and
+Prometheus, in which the latter bravely defends his course. As the Dryads
+disappear, Prometheus soliloquizes:--
+
+              "'This is, in truth, the noblest deed
+  Mortal has ever dared. Beat high, my heart!
+  On this foundation built I up my race,--
+  On deathless friendship and fraternity.
+  Courage, Alcides! Bravely fight thy fight.
+  Conquer, and thou shalt free me.' From his dreams,
+  Roused is the Titan by a song of joy.
+  Before him, crowned with the rich harvest, stands
+  Ceres with her train of reapers."
+
+A mixed chorus of gleaners follows ("With the Lark sweetly singing"),
+which can hardly be excelled for grace and loveliness of melody. In the
+next prologue Ceres consoles Prometheus, and while she is speaking a
+shout of gladness rises and Bacchus appears. He smites the rock, and at
+his touch a bower of grape-vines and ivy boughs interlaces over the head
+of the Titan and shadows him. This serves to introduce the chorus of
+Vine-dressers ("Hail to the Pleasure-giver"), a lively strain for male
+voices with an effective solo quartet. As Prometheus resumes his
+soliloquy, Hermes approaches, leading Pandora, and seeks to allure him
+from his purpose by her enchantments, but in vain:--
+
+  "The Titan conquers, and he feels the hour--
+  The fated hour--draw near. Above his head
+  The vulture hovers, fearing to approach;
+  While the earth trembles, and the rocks are shaken.
+  Voices are heard from out the gloomy depths."
+
+The voices are those of the spirits in the lower regions singing a very
+melodramatic chorus ("Woe! woe! the sacred Sleep of the Dead has been
+disturbed"). An _allegro moderato_ for orchestra follows, preluding the
+approach of Hercules, who bends his giant bow and kills the vulture,
+strikes the fetters off and bids him "Go hence unto thy Mother's Throne."
+The scene introduces the seventh number ("All human Foresight wanders in
+deepest Night"), an expressive and stately male chorus with solo quartet.
+The last prologue describes the scene at the throne of Themis, the pardon
+of Prometheus, and her assurance that "Henceforth Olympus smiles upon the
+Earth." Pallas presents him with a veiled figure as the reward of his
+heroism, "who will bring to thy race the richest blessing,--Truth." The
+goddess unveils her and declares her name "Agathea. She brings to man the
+purest, holiest gift,--Charity." The closing chorus of the Muses
+follows:--
+
+  "Of all bright thoughts that bloom on earth,
+  That raise poor mortals high as heaven,
+  The holiest, the blessedest is Charity.
+  Hail, Prometheus! Hail to mankind!"
+
+
+                         The Bells of Strasburg.
+
+"Die Glocken des Strassburger Münsters" ("The Bells of Strasburg
+Cathedral") was written in 1874, and is dedicated to the poet Longfellow,
+from whose "Golden Legend" the composer took his theme for musical
+treatment. The cantata, however, does not deal with the beautiful legend
+itself as related by the old minnesinger, Hartmann von Aue, which
+Longfellow has told so powerfully in his "Christus," but simply with the
+prologue, describing the futile attempt of Lucifer and the Powers of the
+Air to tear down the cross of the Strasburg Cathedral during the night
+storm. It was a subject peculiarly attractive to Liszt, as it offered him
+free scope for his fancies and unlimited opportunity for the display of
+his unique and sometimes eccentric orchestration. The work is written for
+barytone solo and mixed chorus, and is divided into two parts,--a short
+prelude which is entitled "Excelsior" (_andante maestoso_), and in which
+this word is several times repeated by the chorus with gradually
+increasing power from piano to fortissimo; and "The Bells," which
+comprises the principal part of the work.
+
+The second part opens with a massive introduction (_allegro agitato
+assai_), in which the bells, horns, and trumpets play an important part,
+leading up to the furious invocation of Lucifer:--
+
+        "Hasten! Hasten!
+        O ye spirits!
+  From its station drag the ponderous
+  Cross of iron that to mock us
+  Is uplifted high in air!"
+
+Without a break comes the response of the spirits, first and second
+sopranos, altos, and tenors ("Oh! we cannot, for around it"), followed by
+the Latin chant of the bells sung by tenors and basses, with a soft
+tremolo accompaniment:--
+
+        "Laudo Deum verum!
+        Plebem voco!
+        Congrego clerum!"
+
+Again with increasing power Lucifer shouts his command:--
+
+        "Lower! Lower!
+        Hover downward!
+  Seize the loud, vociferous bells, and
+  Clashing, clanging to the pavement,
+  Hurl them from their windy tower!"
+
+As before, the chorus responds in a sweet harmonious strain ("All thy
+Thunders here are harmless"), again followed by the slow and sonorous
+chant of the bells:--
+
+        "Defunctos ploro!
+        Pestem fugo!
+        Festa decoro!"
+
+Lucifer reiterates his command with constantly increasing energy:--
+
+        "Shake the casements
+        Break the painted
+  Panes that flame with gold and crimson;
+  Scatter them like leaves of autumn,
+  Swept away before the blast."
+
+In its response this time the chorus is full of energy and impetuosity as
+it shouts with great power, "O, we cannot! the Archangel Michael flames
+from every window." The chant of the bells is now taken by the basses
+alone:--
+
+        "Funera plango!
+        Fulgura frango!
+        Sabbato pango!"
+
+Lucifer makes his last appeal with all the strength that voice and
+orchestra can reach:--
+
+        "Aim your lightnings
+        At the oaken
+  Massive, iron-studded portals!
+  Sack the house of God, and scatter
+  Wide the ashes of the dead."
+
+In the choral response ("The Apostles and the Martyrs wrapped in
+Mantles") the sopranos and altos are in unison, making with the first and
+second tenors a splendid effect. For the last time the first and second
+basses sing the chant of the bells:--
+
+        "Excito lentos!
+        Dissipo ventos!
+        Paco cruentos!"
+
+With no abatement of vigor the baffled Lucifer sounds his signal for
+retreat, and the voices reply, sopranos and altos in unison:--
+
+        "Onward! onward!
+        With the night-wind,
+  Over field and farm and forest,
+  Lonely homestead, darksome hamlet,
+  Blighting all we breathe upon."
+
+As the voices die away, choir, organ, and orchestra join with majestic
+effect in the intonation of the Gregorian chant:--
+
+        "Nocte surgentes
+        Vigilemus omnes!
+        Laudemus Deum verum."
+
+The cantata shows Liszt's talent rather than his genius. It is a
+wonderful mosaic-work of fancies, rather than an original, studied
+composition with definite purpose. Its motives, while not inspired, are
+finely conceived, and are presented not only gracefully, but in keeping
+with the spirituality of the subject.
+
+
+
+
+                               MACFARREN.
+
+
+George Alexander Macfarren, one of the most prominent of modern English
+composers, was born in London, March 2, 1813. He began the study of music
+under the tuition of Charles Lucas in 1827. Two years later he entered
+the Royal Academy of Music, and in 1834 became one of its professors. The
+latter year dates the beginning of his career as a composer, his first
+work having been a symphony in F minor. During the next thirty years his
+important works were as follows: overture, "Chevy Chace" (1836); "Devil's
+Opera," produced at the Lyceum (1838); "Emblematical Tribute on the
+Queen's Marriage" and an arrangement of Purcell's "Dido and Æneas"
+(1840); editions of "Belshazzar," "Judas Maccabæus," and "Jephthah," for
+the Handel Society (1843); the opera "Don Quixote" (1846); the opera
+"Charles II." (1849); serenata, "The Sleeper Awakened," and the cantata
+"Lenora" (1851); the cantata "May Day," for the Bradford Festival (1856);
+the cantata "Christmas" (1859); the opera "Robin Hood" (1860); the masque
+"Freya's Gift" and opera "Jessy Lea" (1863); and the operas "She Stoops
+to Conquer," "The Soldier's Legacy," and "Helvellyn" (1864). About the
+last year his sight, which had been impaired for many years, failed. His
+blindness, however, did not diminish his activity. He still served as
+professor in the Royal Academy, and dictated compositions,--indeed some
+of his best works were composed during this time of affliction. In 1873
+appeared his oratorio "St. John the Baptist," which met with an
+enthusiastic reception at the Bristol Festival of that year. In 1875 he
+was elected professor of music at Cambridge, to fill the vacancy
+occasioned by the death of Sterndale Bennett, and in the same year was
+also appointed principal of the Royal Academy of Music. In 1876 his
+oratorio "The Resurrection" was performed at the Birmingham Festival, and
+in 1877 the oratorio "Joseph" at Leeds, besides the cantata "The Lady of
+the Lake" at Glasgow. Grove catalogues his other compositions as follows:
+a cathedral service, anthems, chants, psalm-tunes, and introits for the
+Holy Days and Seasons of the English Church (1866); "Songs in a
+Cornfield" (1868); "Shakspeare Songs for Four Voices" (1860-64); songs
+from Lane's "Arabian Nights," and Kingsley's and Tennyson's poems:
+overtures to "The Merchant of Venice," "Romeo and Juliet," "Hamlet," and
+"Don Carlos;" symphonies, string quartets, and a quintet; a concerto for
+violin and orchestra; and sonatas for piano-forte alone, and in
+combination with other instruments. As lecturer, writer, and critic, Sir
+George Macfarren also holds a high place, among his important works being
+"Rudiments of Harmony" (1860); six Lectures on Harmony (1867); analyses
+of oratorios for the Sacred Harmonic Society (1853-57), and of orchestral
+works for the Philharmonic Society (1869-71); and a "Musical History,"
+being a reprint of an article on this subject contributed by him to the
+Encyclopædia Britannica.
+
+
+                               Christmas.
+
+"Christmas," the poem by John Oxenford, was written in 1859, and was
+first performed at one of the concerts of the Musical Society of London,
+on the 9th of May 1860. The poem itself contains no story. It is merely a
+tribute to the season; but at the same time it is not destitute of
+incident, so that it possesses considerable dramatic interest.
+
+After a short instrumental introduction the cantata opens with a double
+chorus in antiphonal style, in which both the bright and the dark sides
+of winter are celebrated. The second choir takes up the theme:--
+
+  "The trees lift up their branches bare
+    Against the sky:
+  Through the keen and nipping air
+    For spring's return they seem to cry,
+  As the winds with solemn tone
+  About them sadly moan;"
+
+and the first choir replies:--
+
+  "Old Winter's hand is always free,
+    He scatters diamonds round;
+  They dart their light from every tree,
+    They glisten on the ground.
+  Then who shall call the branches bare,
+  When gems like those are sparkling there?"
+
+The two then join and bring their friendly contest to a close:--
+
+  2nd Choir.--"Come in, and closely shut the door
+                Against the wintry weather;
+              Of frost and snow we'll think no more,
+                While round the fire we sit together."
+
+  1st Choir.--"Rush out from every cottage door,
+                'Tis brave and bracing weather;
+              A madder throng ne'er met before,
+                Than those which now have come together."
+
+This double number, which is very effective, is followed by a soprano
+recitative and romance ("Welcome, blest Season"), tender and yet joyous
+in character, which celebrates the delight of friendly reunions at
+Christmas tide, and the pleasure with which those long absent seek "the
+old familiar door." In the next number, an old English carol ("A Blessing
+on this noble House and all who in it dwell"), Christmas is fairly
+introduced. It is sung first in unison by full chorus, then changes to
+harmony, in which one choir retains the melody, and closes with a new
+subject for orchestral treatment, the united choirs singing the carol.
+Christmas would not be complete without its story; and this we have in
+the next number for contralto solo and chorus, entitled "A Christmas
+Tale." It is preceded by recitative, written in the old English style,
+and each verse closes with a refrain, first sung as a solo, and then
+repeated in full harmony by the chorus:--
+
+  "A bleak and kindless morning had broke on Althenay,
+  Where shunning Danish foemen the good King Alfred lay;
+  'In search of food our hunters departed long ago,
+  I fear that they have perished, embedded in the snow.'
+  While thus he sadly muses, an aged man he sees,
+  With white hair on his forehead like frost upon the trees.
+  An image of the winter the haggard pilgrim stands,
+  And breathing forth his sorrows, lifts up his withered hands:
+          'The Heavenly King, who reigns on high,
+          Bless him who hears the poor man's cry.'
+
+  "'Our hearts are moved with pity, thy sufferings we deplore,'
+  Said Alfred's queen, the gentle, 'but scanty is our store;
+  One loaf alone is left us.' 'Then give it,' said the King,
+  'For He who feeds the ravens, yes, He will fresh abundance bring.'
+  The wind was roaring loudly, the snow was falling fast,
+  As from the lofty turret the last, last loaf he cast.
+  An image of the winter, the haggard pilgrim stands,
+  And Alfred's welcome pittance he catches with his hands.
+          'The Heavenly King, who reigns on high,
+          Bless him who hears the poor man's cry.'
+
+  "The snow is thickly falling, the winter wind is loud,
+  But yonder in the distance appears a joyous crowd.
+  The hunters bring their booty, the peasants bring their corn,
+  And cheering songs of triumph along the blast are borne.
+  Before another morning down-stricken is the foe,
+  And blood of Danish warriors is red upon the snow.
+  Amid the conquering Saxons the aged pilgrim stands,
+  And like a holy prophet exclaims with lifted hands,
+          'The Heavenly King, who reigns on high,
+          Bless him who hears the poor man's cry.'"
+
+A graceful little duet for female voices ("Little Children, all
+rejoice"), picturing the delights of childhood and its exemption from
+care, follows the Saxon story and leads up to the finale, which is choral
+throughout, and gives all the pleasant details of Christmas cheer,--the
+feast in the vaulted hall, the baron of beef, the boar with the lemon in
+his jaw, the pudding, "gem of all the feast," the generous wassail, and
+the mistletoe bough with its warning to maids. In delightfully
+picturesque old English music the joyous scene comes to an end:--
+
+    "Varied sports the evening close,
+    Dancers form in busy rows:
+    Hoodwink'd lovers roam about,
+    Hope to find the right one out,
+  And when they fail how merry is the shout!
+    Round yon flickering flame of blue
+    Urchins sit, an anxious crew;
+    Dainties rich the bold invite,
+  While from the fire the timid shrink with fright.
+    Welcome all, welcome all.
+    'Tis merry now in the vaulted hall,
+    The mistletoe is overhead,
+    The holly flaunts its berries red,
+    The wassail-bowl goes gayly round;
+    Our mirth awakes the echoes sound,
+    All eyes are bright, all hearts are gay;
+    Thus ends our Christmas day."
+
+
+
+
+                               MACKENZIE.
+
+
+Alexander C. Mackenzie, one of the very few successful Scotch composers,
+was born at Edinburgh, in 1847. His father was a musician, and
+recognizing his son's talent, sent him to Germany at the age of ten. He
+began his studies with Ulrich Eduard Stein at Schwartzburg-Sondershausen,
+and four years later entered the ducal orchestra as violinist. He
+remained there until 1862, when he went to England to study the violin
+with M. Sainton. In the same year he was elected king's scholar of the
+Royal Academy of Music. Three years later he returned to Edinburgh and
+established himself as a piano-teacher. The main work of his life,
+however, has been composition, and to this he has devoted himself with
+assiduity and remarkable success. Grove catalogues among his works:
+"Cervantes," an overture for orchestra; a scherzo, for ditto; overture to
+a comedy; a string quintet, and many other pieces in MS.; piano-forte
+quartet in B., op. 11; Trois Morceaux pour Piano, op. 15; two songs, op.
+12; besides songs, part-songs, anthems, and pieces for the piano. This
+catalogue can now be increased by four of the most important works he has
+produced: a Scotch Rhapsody, introduced into this country by the Theodore
+Thomas orchestra; the oratorio "Rose of Sharon" (1884); an opera, "The
+Troubadour" (1885), and the cantata, "The Story of Sayid" (1886), which
+forms the subject of the subjoined sketch.
+
+
+                           The Story of Sayid.
+
+"The Story of Sayid," a dramatic cantata in two parts, the libretto by
+Joseph Bennett, was first produced at the Leeds Triennial Festival, Oct.
+13, 1886. Its story is founded upon that of a poem in Edwin Arnold's
+"Pearls of the Faith," and embodies a myth which is current among nearly
+all Oriental nations. The characters are Ilmas, daughter of Sâwa
+(soprano); Sayid, an Arab chief (tenor); Sâwa, a Hindoo prince
+(barytone); a watchman (tenor or barytone); and a horseman (barytone).
+The opening scene pictures the desolation of the land of Sâwa, caused by
+the invasion of an Arab band, led by their chieftain, Sayid. In the midst
+of the popular lamentations a messenger announces the defeat of the Arabs
+and the capture of their leader, who is brought to the city and sentenced
+to death on the spot. As Sayid prepares to meet his fate, he is
+recognized by Sâwa as his rescuer at a time when he was hunting in the
+hills and perishing with thirst. He offers him any boon he may ask except
+that of life. Sayid entreats that he may be allowed to visit his aged
+father, promising to return afterwards and suffer his fate. When Sâwa
+asks who will be hostage for him, his own daughter, Ilmas, offers
+herself. Moved to pity for the Arab, she persists in her offer, and her
+father at last reluctantly consents. The second scene opens in Ilmas's
+palace, and we discover that pity has grown into passion for Sayid during
+his absence. She is interrupted in her meditations by Sâwa, who enters
+with his counsellors, and announces that lightnings have flashed from the
+altars of Siva, and that the gods have demanded that the hostage must
+suffer in the absence of Sayid. Ilmas bids her attendants array her in
+bridal robes, and in the next scene appears in an open space near the
+city gate, surrounded by the court retinue and soldiers, and accompanied
+by her maidens, strewing flowers in her path. Ilmas is led to the centre
+of the space and kneels down, the executioner standing over her and
+awaiting the signal to be given by the watchman when the sun sets. Before
+that time comes the latter excitedly announces the rapid approach of an
+Arab horseman. While the crowd stand eagerly waiting his arrival, Sayid
+gallops through the gateway and presents himself to the Prince. He then
+turns to Ilmas, who warmly receives him, and affirms that whatever fate
+may overtake him she shall always cherish his memory. Sâwa relents, bids
+the Arab live and be his friend, and we infer the happiness of the lovers
+from the invocation of "Love the Conqueror," which brings the Damon and
+Pythias story, to a close.
+
+A very brief orchestral prelude introduces the opening chorus with
+solos:--
+
+  "Alas! our land is desolate,
+    The children cry for bread;
+  Around, fierce fire and sword devour,
+    Our women wail their dead.
+
+  "We pray for vengeance on the foe,
+    To death consign them all;
+  Siva, arise and fight for us,
+    Or see thine altars fall."
+
+As the expressive chorus comes to a close, an allegro movement leads to a
+dialogue between the people and the watchman, and subsequently with the
+horseman, who announces the approach of the victorious army, followed by
+a second chorus of the people invoking Siva ("Vishnu, Vishnu, thou hast
+heard our Cry!"). The scene is very dramatic throughout, and is
+accompanied by vigorous and suggestive music. The next number is a
+triumphal march, remarkable for its local color, and gradually increasing
+in power and effect as the army approaches the city. It is followed by an
+excited dialogue between Sâwa and Sayid, with choral responses, and leads
+up to a beautiful melody for Sayid:--
+
+  "Where sets the sun adown the crimson west
+    My native valley lies;
+  There by a gentle stream that murmurs rest
+    My father's tents arise.
+
+  "Fearing no harm, the happy peasant tills,
+    The woolly flocks increase;
+  The shepherd's pipe is heard upon the hills,
+    And all around is peace."
+
+Another dramatic scene follows, in which Sâwa consents to Sayid's return
+to his father, and accepts Ilmas as his bondswoman, which leads to a very
+spirited and elaborate melody for the latter ("First of his Prophet's
+Warriors he"). The first part closes with the departure of Sayid and a
+repetition of the choral invocation of Siva.
+
+The second part opens in an apartment of Sâwa's palace, and discloses
+Ilmas sitting with her maidens, as a thunderstorm dies away in the
+distance. The latter join in a graceful chorus, which is one of the most
+beautiful numbers in the cantata:--
+
+  "Sweet the balmy days of spring,
+  And blushing roses that they bring;
+        But sweeter far is love."
+
+Ilmas answers them in a broad and exultant strain ("Ay, sweet indeed is
+Love"). As the song ends, Sâwa and attendants enter, and the scene closes
+with a very dramatic chorus and solos, accompanying the preparations for
+death. The second scene opens with a solemn march for orchestra,
+preparing the way for the climax, and leading up to a chorus and solo for
+Ilmas ("What have these Sounds to do with bridal Robes?"). As she kneels,
+awaiting her fate, an orchestral interlude, set to the rhythm of the
+gallop, indicates the rapid approach of Sayid. A short and agitated
+dialogue follows between the watchman and the people. Sayid declares his
+presence, and a graceful duet with Ilmas ensues ("Noble Maiden, low
+before thee Sayid bows"), leading to a powerful choral finale ("Never
+before was known a Deed like this"), closing with a stirring outburst for
+all the voices:--
+
+  "O Love, thy car triumphal
+  Rolls round the subject world
+  More glorious than the chariot
+              Of the sun.
+
+  "We hail thee, Love victorious!
+  Ride on with strength divine,
+  And quench all mortal passion
+              In thine own."
+
+
+                            Jubilee Ode.[29]
+
+This work, upon which Dr. Mackenzie has been engaged for some time past,
+is now complete, and on its way to several distant parts of the Empire,
+where arrangements are making to perform it in celebration of the
+Jubilee. Primarily, as our readers know, the Ode was intended for the
+Crystal Palace only, but it will be given also in Canada, Australia,
+Trinidad, Cape Colony, etc.; thus standing out from all its fellows as in
+some sort an Imperial work.
+
+Without anticipating the criticism which will follow upon performance, we
+may here give some idea of the scope and character of the Ode. Mr. Joseph
+Bennett, the writer of the words, has kept strictly in view the
+exigencies of a musical setting. He has obviously prepared, not a short
+poem for readers, but one for musical hearers. Hence a variety of rhythm
+and structure which otherwise would certainly not have been ventured
+upon. From the same cause arises also the manner in which the subject is
+laid out, with a view to contrast of musical effect. We may indicate the
+nature of this arrangement. In the first vocal number, a chorus, the news
+of the Jubilee is proclaimed, and its diffusion throughout the Empire
+called for. The second number, a tenor solo, conveys to the Queen the
+affectionate greetings of her home-lands, declaring that, to keep the
+feast with unanimity, all weapons of party warfare are laid aside. In the
+third number the Colonies and Dependencies pay their homage, the idea
+worked out being that of a procession passing before the throne. First
+comes the Dominion, followed by Australia, the smaller colonies and
+islands, and, lastly, by India. Each of these divisions has a section of
+the chorus to itself. The fifth number, a soprano solo, dwells upon the
+personal virtues of the Sovereign; while the sixth, and last, opening
+with a choral prayer for the Empire, continues with lines leading to the
+National Anthem, for which a new second verse has been written. How far
+the writer has been guided by consideration for musical opportunities
+need not, after this outline sketch, be indicated. The spirit in which
+Mr. Bennett has approached his theme best appears, perhaps, in the
+opening verses:--
+
+          "For fifty years our Queen!
+                          Victoria! hail!
+          Take up the cry, glad voices,
+            And pass the strain
+            O'er hill and plain,
+  Peaceful hamlet, roaring city, flowing river,
+          Till all the land rejoices.
+  Wild clanging bells and thund'rous cannon
+  With your loudest shock the air, and make it quiver
+  From Dee to Tamar, Thames to Shannon.
+
+          "For fifty years our Queen!
+                          Victoria! hail!
+          Take up the cry, old ocean,
+            And hoarsely shout
+            The words about.
+  British ships and world-wide British lands will cheer them,
+          Rouse an Empire's full devotion.
+  O blowing wind, come hither, bearing
+  Answering voices, loud acclaiming. Hark! we hear them.
+  They our loyal pride are sharing."
+
+In setting the words to music, Dr. Mackenzie has necessarily to consider
+the place of performance and the number of performers. This, however, was
+an amiable and fortunate obligation, since the result has been to give us
+a work built upon broad lines, and marked by plainness of structure to an
+extent unusual with the composer. We think that the music will be found
+to have a true festive ring, and a majestic solidity befitting the
+occasion. In the solos, with their more subdued expression, Dr. Mackenzie
+has kept contrast in view, without sacrifice of simplicity; but it is in
+the choruses that he best shows himself a master of bold and striking
+effects. Every bar goes straight to the point, while avoiding the
+commonplaces that naturally suggest themselves in the writing of festive
+music. The procession chorus is, in this respect, most noteworthy of all,
+and may be found no mean rival of that in the "Rose of Sharon."
+
+
+[29] As the score of Mr. Mackenzie's Ode has not yet reached this
+    country, the author has taken the liberty of transferring the above
+    analysis of it to his work from the London "Musical Times" for May,
+    1887. Although its local character may preclude its performance here,
+    it is not improbable that the composition of a composer so eminent
+    will attract attention among American musicians.
+
+
+
+
+                                    MASSENET.
+
+
+Jules Émile Frédéric Massenet, a composer as yet but little known in this
+country, was born at Montaud, France, May 12, 1842. His musical education
+was obtained in the Paris Conservatory, in which between the years 1859
+and 1863 he carried off two first prizes and one second. After leaving
+the Conservatory, he went to Italy for a time and pursued his studies in
+composition. On his return to Paris one of his operas, "La Grand Tante,"
+was produced at the Opéra Comique (1867) through the influence of
+Ambroise Thomas, and this performance called attention to the works of
+the rising young musician. In 1872 he brought out "Don Cæsar de Bazan,"
+an opéra comique in three acts, and in the following year incidental
+music to the tragedy "Les Erinnyes," after Æschylus. Among his works
+written since that time are "Le Roi de Lahore" (1877); "Herodiade"
+(1882); "Manon" (1885); "Le Cid" (1885); the cantata "Paix et Liberté"
+(1867); "Marie Magdaleine" (1873); "Eve," a mystery (1875); "La Vierge,"
+sacred legend; and "Narcisse," antique idylle (1878). Among his
+orchestral works the best known are "Suites d'orchestre;" "Scenes
+Hongroises;" "Scenes Pittoresques;" "Scenes Dramatiques;" overture
+"Phèdre;" and "Pompeia," fantasia-symphony. He has also written numerous
+songs and piano-forte pieces. His operas thus far have been his most
+successful works, though several of his large concert pieces have been
+very favorably received. He now occupies a position in the Paris
+Conservatory, and is regarded as one of the most promising members of the
+modern French school.
+
+
+                             Mary Magdalen.
+
+"Mary Magdalen" was written in 1873, and was first performed at the
+Odéon, Paris, in that year, with Mmes. Viardot and Vidal and MM. Bosquin
+and Petit in the solo parts. It is styled by its composer a sacred drama,
+and is divided into three acts, the first entitled "The Magdalen at the
+Fountain;" the second, "Jesus before the Magdalen;" the third,
+"Golgotha," "The Magdalen at the Cross," and "The Tomb of Jesus and the
+Resurrection;" the first two scenes in the last act being included in one
+tableau, and the third in another. The characters represented are Mary
+Magdalen, Martha, Jesus, and Judas, the chorus parts being assigned to
+the Disciples, Pharisees, Scribes, publicans, soldiers, servants, holy
+women, and people.
+
+After a short introduction, pastoral in character, the work begins with a
+scene representing Mary at the fountain of Magdala near sunset, among
+women, publicans, Scribes, and Pharisees, strolling along the banks of
+the little stream that flows from it. The women sing a short chorus full
+of Oriental color anticipating the approach of the beautiful Nazarene. A
+group of young Magdalens pass along singing blithely of love and gay
+cavaliers ("C'est l'heure où conduisant de longues Caravanes"), and the
+song of the women blends with it. Next follows a chorus of the Scribes,
+discussing this Stranger, and pronouncing Him an impostor, and again the
+young Magdalens take up their strain. The second number is a pathetic
+aria by Mary ("O mes Soeurs"), which is full of tender beauty. The women
+shrink back from her and join in a taunting chorus ("La belle Pécheresse
+oublie"). Next, Judas appears upon the scene, and servilely saluting Mary
+counsels her to abandon sadness and return to love, in an aria which is a
+good illustration of irony in music. It is followed by a powerful and
+mocking chorus of women, Pharisees, and Scribes ("Vainement tu pleures"),
+in which she is taunted with her shame, despite her sad appeals for pity.
+The next scene is an aria and trio. Jesus appears in their midst, and in
+a calm impressive aria ("Vous qui flétrissez les Erreurs des autres")
+rebukes them. Mary prostrates herself at His feet and implores pardon,
+and the scene closes with a trio for Jesus, Mary, and Judas, leading up
+to a strong concerted finale closing the act, in which Jesus bids the
+Magdalen rise and return to her home, whither He is about to repair.
+
+The second act opens in the Magdalen's house, which is richly decorated
+with flowers and redolent with perfume. It begins with a sensuous female
+chorus ("Le Seuil est paré de Fleurs rares") followed by Martha's
+admonition to the servants that He who is more powerful than earthly
+kings cares not for vain shows. The chorus resumes its song, and at its
+close Judas appears and a long dialogue follows in which Martha rebukes
+his hypocrisy. As he departs, Mary and Martha in a very graceful duet
+discourse of the Saviour's coming, which is interrupted by His presence
+and invocation of blessing. After a duet between Jesus and Mary, in which
+He commends her to the Good Shepherd, the act closes with a powerful and
+very dramatic finale containing Jesus' rebuke to Judas and His
+declaration of the coming betrayal, after which the Disciples join in a
+simple but very effective prayer ("Notre Père, loué soit Nom radieux").
+
+The third act is divided into two tableaux. In the first we have the
+scene of the crucifixion, the agitated choruses of the groups about the
+Cross, the mocking strains of the Pharisees bidding Him descend if He is
+the Master, the sorrowing song of Mary ("O Bien-aimé sous la sombre
+Couronne"), and the final tragedy. The second is devoted to the
+resurrection and apparition, which are treated very dramatically, closing
+with an exultant Easter hymn ("Christ est vivant, ressuscité").
+
+In the first two acts the music is full of rich Oriental color and is
+gracefully melodious and well adapted to the situation; but in the last
+act the awful solemnity of the tragedy is somewhat lost in the theatrical
+manner of its treatment. Indeed it was hardly necessary that the composer
+should have disclaimed the title of oratorio which some have assigned to
+the work. His division of it into acts and tableaux was sufficient to
+indicate that he had the stage in mind when he was writing; or at least
+that his scheme was operatic in style.
+
+
+
+
+                              MENDELSSOHN.
+
+
+Felix Mendelssohn Bartholdy, the son of a Berlin banker, was born at
+Hamburg, Feb. 3, 1809, and, unlike almost all other composers, was reared
+in the lap of luxury. He enjoyed every advantage which wealth could
+procure, with the result that he became highly educated in the other arts
+as well as in music. His teachers in music were Zelter and Ludwig Berger,
+and he made such progress that in his ninth year he appeared in public as
+a pianist in Berlin and afterwards in Paris. The first of his
+compositions to attract general notice were the overture to Shakspeare's
+"Midsummer Night's Dream" and the little opera "The Marriage of Camacho,"
+which were brought out in Berlin in 1827. After several concert-tours, in
+which he met with great success, he resided for some time in Düsseldorf.
+In 1835 he went to Leipsic as director of the famous Gewandhaus
+concerts,--which are still given in that city. Two years later he married
+Cécile Jeanrenaud, the beautiful daughter of a minister of the Reformed
+Church in Frankfort, and shortly afterwards went to Berlin as general
+director of church music. In 1843 he returned to his former post in
+Leipsic, and also took a position in the newly established Conservatory,
+where he spent the remainder of his days in company with his family, to
+whom he was closely attached. He has left a large and rich collection of
+musical works, which are favorites the world over. His three great
+oratorios are the "Hymn of Praise," catalogued as a symphony-cantata,
+"St. Paul," and "Elijah." Besides these oratorios, the exquisite music to
+the "Midsummer Night's Dream," which is familiar the world over, and his
+stately dramatic music to "Antigone," he has left five symphonies, of
+which the "Scotch," the "Italian," and the "Reformation" are best known;
+four beautiful overtures, "Ruy Blas," "Calm Sea and Prosperous Voyage,"
+"Hebrides," and "Melusina;" the very dramatic cantata, "The Walpurgis
+Night;" a long list of songs for one or more voices; the incidental music
+to Racine's "Athalia;" a very large collection of sacred music, such as
+psalms, hymns, anthems, and cantatas; several trios and other specimens
+of chamber music; and the lovely "Songs without Words," which are to be
+found upon almost every piano, the beauty and freshness of which time has
+not impaired. Mendelssohn never wrote a grand opera, owing to his
+fastidiousness as to a libretto; though he finally obtained one from
+Geibel on the subject of the "Loreley" which suited him. He had begun to
+write it, and had finished the finale to the first act, when death
+interrupted his work, Nov. 4, 1847. In addition to the subjoined
+compositions selected for description, the following may be mentioned as
+possessing the cantata characteristics: op. 31, the 115th Psalm, for
+solo, chorus, and orchestra; op. 46, the 95th Psalm, for chorus and
+orchestra; op. 51, the 114th Psalm, for double chorus and orchestra; op.
+78, three Psalms for solo and chorus; op. 91, the 98th Psalm, for double
+chorus and orchestra; and op. 96, Hymn ("Lass, O Herr mich") for alto
+solo, chorus, and orchestra.
+
+
+                          The Walpurgis Night.
+
+It was during his Italian travels in 1831 that Mendelssohn composed the
+music to Goethe's poem "The First Walpurgis Night." His letters throw
+much and interesting light upon the composition and his ideas while
+writing it. In a letter written at Rome, Feb. 22, 1831, he says:--
+
+  "Listen and wonder! Since I left Vienna I have partly composed Goethe's
+  'First Walpurgis Night,' but have not yet had courage to write it down.
+  The composition has now assumed a form and become a grand cantata, with
+  full orchestra, and may turn out well. At the opening there are songs
+  of spring, etc., and plenty others of the same kind. Afterwards, when
+  the watchmen with their 'Gabeln, und Zacken, und Eulen,' make a great
+  noise, the fairy frolics begin, and you know that I have a particular
+  foible for them; the sacrificial Druids then appear with their
+  trombones in C major, when the watchmen come in again in alarm; and
+  here I mean to introduce a light, mysterious, tripping chorus, and
+  lastly to conclude with a grand sacrificial hymn. Do you not think that
+  this might develop into a new style of cantata? I have an instrumental
+  introduction as a matter of course, and the effect of the whole is
+  spirited."
+
+On the 27th of April ensuing he refers to it again:--
+
+  "I must however return to my witches, so you must forgive my not
+  writing any more to-day. This whole letter seems to hover in
+  uncertainty, or rather I do so in my 'Walpurgis Night,' whether I am to
+  introduce the big drum or not. 'Zacken, Gabeln, und wilde
+  Klapperstöcke' seem to force me to the big drum, but moderation
+  dissuades me. I certainly am the only person who ever composed for the
+  scene on the Brocken without employing a piccolo-flute, but I can't
+  help regretting the big drum; and before I can receive Fanny's[30]
+  advice, the 'Walpurgis Night' will be finished and packed up."
+
+On his way back to Germany he writes from Milan, July 13, 1831, to the
+artist and operatic director, Eduard Devrient:--
+
+  "I have been writing a large composition that perhaps will one day make
+  some effect,--'The First Walpurgis Night' of Goethe. I began it simply
+  because it pleased and excited me; I did not think of any performance.
+  But now that it is finished, I see that it is well suited for a large
+  concert piece, and in my first subscription concert in Berlin you shall
+  sing the bearded Druid,--the chorus sung by ----, kindly assisted by
+  ----. I have written the part of the Druid into your throstle (by
+  permission), and you will have to sing it out again."
+
+It was several years before the "Walpurgis Night" was publicly performed,
+and meanwhile it underwent several changes. On the 28th of November,
+1842, he writes to his mother:--
+
+  "I am really anxious to make the 'Walpurgis Night' into a
+  symphony-cantata, for which it was originally intended, but did not
+  become so from want of courage on my part."
+
+On the 11th of December of the same year he writes her:--
+
+  "My 'Walpurgis Night' is to appear once more in the second part, in a
+  somewhat different garb indeed from the former one, which was somewhat
+  too richly endowed with trombones, and rather poor in the vocal parts;
+  but to effect this I have been obliged to re-write the whole score from
+  A to Z, and to add two new arias, not to mention the rest of the
+  clipping and cutting. If I don't like it now, I solemnly vow to give it
+  up for the rest of my life."
+
+The cantata was first publicly performed in Leipsic, Feb. 2, 1843, at a
+concert, in which it occupied the second part of the programme. It had to
+stand a severe test of comparison, for the first part was very brilliant,
+including a Haydn symphony, a Mozart aria, Beethoven's "Choral Fantasie,"
+the piano part played by Madame Schumann, the overture from "Euryanthe,"
+and the chorus from Weber's "Lyre and Sword;" but it made a success, and
+was received with great enthusiasm.
+
+The subject of the cantata is a very simple one. The witches of the
+Northern mythology were supposed to hold their revels on the summit of
+the Brocken on the eve of the 1st of May (Walpurgis Night), and the
+details of their wild and infernal "Sabbath" are familiar to every reader
+of "Faust." In his separate poem Goethe seeks to go back to the origin of
+the first Walpurgis Night. May-day eve was consecrated to Saint
+Walpurgis, who converted the Saxons from Druidism to Christianity, and on
+that night the evil spirits were said to be abroad. Goethe conceived the
+idea that the Druids on that night betook themselves to the mountains to
+celebrate their rites without interference from the Christians,
+accomplishing their purpose by disguising their sentinels as demons, who,
+when the Christians approached, ran through the woods with torches,
+clashed their arms, uttered hideous noises, and thus frightened them
+away, leaving the Druids free to finish their sacrifices.
+
+The cantata begins with an overture in two movements, an _allegro con
+fuoco_ and an _allegro vivace_, which describes in vivid tone-colors the
+passing of the season from winter to spring. The first number is a tenor
+solo and chorus of Druids, which are full of spring feeling, rising to
+religious fervor in the close:--
+
+      "Now May again
+      Breaks winter's chain,
+  The buds and bloom are springing;
+      No snow is seen,
+      The vales are green,
+  The woodland choirs are singing!
+      Yon mountain height
+      Is wintry white;
+  Upon it we will gather,--
+      Begin the ancient holy rite;
+  Praise our Almighty Father."
+
+The next number is an alto solo, the warning of an aged woman of the
+people, which is very dramatic in its style:--
+
+  "Know ye not a deed so daring
+  Dooms us all to die despairing?
+  Know ye not it is forbidden
+  By the edicts of our foemen?"
+
+The warning is followed by a stately exhortation from the Druid priest
+("The man who flies our sacrifice"), leading up to a short chorus of a
+very stirring character in which the Druids resolve to go on with their
+rites. It is followed by a pianissimo chorus of the guards whispering to
+each other to "secure the passes round the glen." One of them suggests
+the demon scheme for frightening the enemy, which leads to the chorus:--
+
+  "Come with torches brightly flashing;
+  Rush along with billets clashing;
+  Through the night-gloom lead and follow,
+  In and out each rocky hollow.
+      Owls and ravens,
+  Howl with us and scare the cravens."
+
+In this chorus the composer has given the freest rein to his fancy, and
+presents the weird scene in a grotesque chaos of musical effects, both
+vocal and instrumental, which may fairly be called infernal, and yet
+preserves form and rhythm throughout. It is followed by an exalted and
+impressive hymn for bass solo and chorus, which is a relief after the
+diablerie of the preceding number:--
+
+      "Restrained by might
+      We now by night
+  In secret here adore Thee.
+      Still it is day
+      Whene'er we pray,
+  And humbly bow before Thee.
+      Thou canst assuage
+      Our foemen's rage
+  And shield us from their terrors.
+      The flame aspires!
+      The smoke retires!
+  Thus clear our faith from errors!
+      Our customs quelled,
+      Our rights withheld,
+  Thy light shall shine forever."
+
+Following this impressive hymn comes the terrified warning of the
+Christian guard (tenor) and the response of his equally terrified
+comrades:--
+
+  "Help, my comrades! see a legion
+  Yonder comes from Satan's region!
+  See yon group of witches gliding
+    To and fro in flames advancing;
+  Some on wolves and dragons riding,
+    See, ah, see them hither prancing!
+  What a clattering troop of evil!
+  Let us, let us quickly fly them!
+      Imp and devil
+      Lead the revel;
+      See them caper,
+  Wrapt in clouds of lurid vapor."
+
+As the Christians disappear, scared by the demon _ruse_, the Druids once
+more, led by their priest, resume their rites, closing with another
+choral hymn of praise similar in style to the first.
+
+
+[30] His sister.
+
+
+                                Antigone.
+
+Mendelssohn wrote incidental music to four great dramas,--the "Antigone"
+of Sophocles (1841); the "Oedipus at Colonos" of Sophocles (1843); the
+"Athalia" of Racine (1843); and the "Midsummer Night's Dream" of
+Shakspeare (1843), the overture to which was written by him in 1826. The
+latter is mainly instrumental. Of the other three, the music to
+"Antigone" and "Oedipus" is most frequently performed, and for that
+reason has been selected for description.
+
+In June, 1841, the King of Saxony invited Mendelssohn to become his
+Capellmeister. Frederick William IV. of Prussia had made him a similar
+offer about the same time. He accepted the latter and removed to Berlin,
+and the first duty imposed upon him by the King was the composition of
+music to the "Antigone" of Sophocles. With the assistance of the poet
+Tieck, who helped arrange the text, the work was accomplished in the
+short space of eleven days, and was given on the Potsdam Court stage
+October 28, to a private audience. It was first performed in public at
+Leipsic, March 5, 1842. It is written for male chorus and orchestra, and
+includes seven numbers; namely, 1. Introduction and maestoso ("Strahl des
+Helios schönstes Licht"); 2. Andante con moto ("Vieles Gewaltige lebt");
+3. Moderato ("Ihr Seligen deren"); 4. Adagio ("O Eros, Allsieger im
+Kampf"); 5. Recitative and chorus ("Noch toset des Sturmes Gewalt"); 6.
+Allegro maestoso ("Vielnamiger! Wonn' und Stolz"); 7. Andante alla marcia
+("Hier Kommt er ja selbst").
+
+The following extracts will give a comprehensive view of this powerful
+and felicitous music. Lampadius, writing of the first public performance,
+says:--
+
+  "On the 5th of March the 'Antigone' of Sophocles, translated by Donner
+  and set to music by Mendelssohn, was brought out at the Leipsic theatre
+  before a full audience. The composer directed, and was received with
+  great applause. The music indeed was not antique, if to be so it must
+  be played on the {syrinx}, the {salpinx}, and the {phorminx}, or if the
+  composer must confine himself to that Greek type of melody and harmony
+  of which all we know is that it was extremely simple, and, according to
+  our ideas, meagre; but it was antique completely, in its being filled
+  with the fire of the tragedy and making its spirit intelligible to us
+  moderns, strengthening the meaning of the words, and giving a running
+  musical commentary on them.... With us at Leipsic, as indeed
+  everywhere, the Eros Chorus, with its solemn awe in the presence of the
+  divine omnipotence of love, and the Bacchus Chorus, which, swinging the
+  thyrsus, celebrates the praise of the Theban maiden's son in joyous
+  strains, as well as the melodramatic passages, where Antigone enters,
+  wailing, the chamber where her dead lover lay, and whither Creon has
+  borne in his son's corpse, had an imposing effect. The impression of
+  the whole piece, taken by itself, was very powerful. With amazement our
+  modern world realized the sublimity of the ancient tragic muse, and
+  recognized the 'great, gigantic fate which exalts man while grinding
+  him to powder.'"
+
+Devrient, the director of the opera at Carlsruhe, in his "Recollections
+of Mendelssohn," has left a delightful sketch of the composition of the
+work. He says:--
+
+  "Felix did not enter upon his task without the fullest consideration.
+  The first suggestion was to set the chorus in unison throughout, and to
+  recitative interspersed with solos; and as nearly as possible to intone
+  or recite the words, with accompaniment of such instruments only as may
+  be supposed in character with the time of Sophocles,--flutes, tubas,
+  and harps, in the absence of lyres. I opposed to this plan that the
+  voice parts would be intolerably monotonous, without the compensatory
+  clearness of the text being attained....
+
+  "Nevertheless Felix made the attempt to carry out this view, but after
+  a few days he confessed to me that it was impracticable; that I was
+  right in maintaining the impossibility of making the words clear in
+  choral singing, except in a few places that are obviously suited for
+  recitative;[31] that the chanting of a chorus would be vexatiously
+  monotonous, tedious, and unmusical; and that accompaniments for so few
+  instruments would give so little scope for variety of expression that
+  it would make the whole appear as a mere puerile imitation of the
+  ancient music, about which, after all, we knew nothing. He concluded
+  therefore that the choruses must be sung, as the parts must be recited,
+  not to assimilate themselves with the usages of Attic tragedy (which
+  might easily lead us into absurdity) but as we would now express
+  ourselves in speech and song.... With this I fully concurred; and Felix
+  set, so vigorously to work, that in a few weeks he played me sketches,
+  and by the end of September nearly the whole chain of choruses was
+  completed. Besides my delight at the beauty of these choruses, they
+  confirmed me in the certainty that Felix's genius was eminently
+  dramatic. They not only gave the key to every scene, the expression to
+  each separate verse, from the narrow complacency of the Theban citizens
+  to their heartful and exalted sympathy, but also a dramatic accent
+  soaring far beyond the words of the poet. I allude particularly to the
+  dithyrambus that occurs between Creon's attempt to rescue Antigone and
+  the relation of its terrible failure. This song of praise really
+  consists entirely of glorifying appeals to Bacchus, and its dramatic
+  application lies only in the verse:--
+
+  'She was its pride,
+  Who, clasping the Thunderer, died;
+  And now, seeking its lost repose,
+  We pray thee to come and heal its woes.
+  Oh, hither bend;
+  From thy Parnassian heights descend.'
+
+  "To raise this chorus to be the terrible turning-point of the action;
+  to bring here to its culmination the tension excited by the awful
+  impending doom; to give this continually gathering power to the
+  invocation, 'Hear us, Bacchus!' till it becomes a cry of agony; to give
+  this exhaustive musical expression to the situation, marks the composer
+  to have a specially dramatic gift. And this is betokened no less in the
+  melodramatic portions. The idea of adding rhythmical accompaniments to
+  spoken words may have been suggested by a few well-set passages in the
+  music to 'Faust' by Prince Radziwill. It is to be regretted that the
+  public is scarcely able to appreciate how exquisitely Mendelssohn has
+  done this, since the representatives of Antigone and of Creon are
+  seldom sufficiently musical to enter completely into the composer's
+  intention; besides that in two passages of the accompanied dialogue of
+  Antigone the words are not correctly set under the music."
+
+Of the private performance before the King and Court, Oct. 28, 1841, the
+same writer says:--
+
+  "We had two more rehearsals on the following day, the evening one in
+  the presence of the King, and the performance itself took place on the
+  28th, before the Court and all the invited celebrities of art and
+  science. It produced a very great sensation. The deep impression that
+  the revival of an ancient tragedy could produce in our theatrical life
+  promised to become an influence; it has purified our musical
+  atmosphere, and it is certain that to Mendelssohn must be ascribed
+  great and important merit in the cause.
+
+  "Although the learned, of whom each expected the ancient tragedy to be
+  put upon the stage according to his peculiar conception of it (which
+  would of course be totally different in every case) might find the
+  music too modern, too operatic, in fact, not sufficiently philological,
+  it is undeniable that Mendelssohn's music has made the tragedy of
+  Sophocles accessible to the sympathies of the general public, without
+  in any wise violating the spirit and aroma of the poem, but rather
+  lending it new life and intelligibility."
+
+
+[31] The passages, "But see, the son of Menoetius comes," etc., and "See,
+    Hæmon appears," etc., are examples.
+
+
+                           Oedipus at Colonos.
+
+The story of "Oedipus Tyrannus" is told in this work in connection with
+Professor Paine's composition. The "Oedipus at Colonos," to which
+Mendelssohn set music, is the continuation of Sophocles' tragedy,
+describing the banishment of the blind hero, the loving care of his
+daughters, his arrival at Attica, and his death in the gardens of the
+Eumenides at Colonos, absolved by the fate which had so cruelly pursued
+him.
+
+The music to "Oedipus" was written at the command of the King of Prussia
+in 1843, and was first produced at Potsdam, Nov. 1, 1845. It contains a
+short introduction and nine choral numbers. The first and second choruses
+describe the entrance of Oedipus and Antigone into the grove of the
+Eumenides, their discovery by the people, the story of his sorrows which
+he relates to them, his meeting with his daughter Ismene, and the arrival
+of Theseus the King. The third number is the gem of the work, and is
+often given on the concert-stage. The free translation of the text for
+this beautiful double chorus is as follows:--
+
+  "_Strophe_.--Thou hast come, O stranger, to the seats of this land,
+  renowned for the steed; to seats the fairest on earth, the chalky
+  Colonos; where the vocal nightingale, chief abounding, trills her
+  plaintive note in the green dells, tenanting the dark-hued ivy and the
+  leafy grove of the god, untrodden, teeming with fruits, impervious to
+  the sun, and unshaken by the winds of every storm; where Bacchus, the
+  reveller, ever roams attending his divine nurses.
+
+  "_Antistrophe_.--And ever day by day the narcissus, with its beauteous
+  clusters, bursts into bloom by heaven's dew, the ancient coronet of the
+  mighty goddesses, and the saffron with golden ray; nor do the sleepless
+  founts of Cephisus that wander through the fields fail, but ever each
+  day it rushes o'er the plains with its limpid wave, fertilizing the
+  bosom of the earth; nor have the choirs of the muses loathed this
+  clime; nor Venus, too, of the golden reign.
+
+  "_Strophe_.--And there is a tree, such as I hear not to have ever
+  sprung in the land of Asia, nor in the mighty Doric island of Pelops, a
+  tree unplanted by hand, of spontaneous growth, terror of the hostile
+  spear, which flourishes chiefly in this region, the leaf of the pale
+  gray olive that nourishes our young. This shall neither any one in
+  youth nor in old age, marking for destruction, and having laid it waste
+  with his hand, bring to nought; for the eye that never closes of Morian
+  Jove regards it, and the blue-eyed Minerva.
+
+  "_Antistrophe_.--And I have other praise for this mother-city to tell,
+  the noblest gift of the mighty divinity, the highest vaunt, that she is
+  the great of chivalry, renowned for the steed and famous on the main;
+  for thou, O sovereign Neptune, son of Saturn, hast raised her to this
+  glory, having first, in these fields, founded the bit to tame the
+  horse; and the well-rowed boat, dashed forth by the hand, bounds
+  marvellously through the brine, tracking on the hundred-footed
+  daughters of Nereus."
+
+The first strophe is begun by one choir in unison after a short but
+graceful introduction which is repeated at the end of the strophe in
+another form, and then the second choir begins the antistrophe, set to
+the same beautiful melody. At its close the music changes in character
+and grows vigorous and excited as the first choir sings the second
+strophe, with which shortly the second choir joins in splendid eight-part
+harmony. The latter takes up the strain again in the second antistrophe,
+singing the praise of "the mother-city," and the number closes with the
+united invocation to Neptune,--an effect which has hardly been excelled
+in choral music. The fourth chorus, which is very dramatic in its effect,
+tells of the assault of Creon upon Oedipus, and the fifth, his protection
+by Theseus, who comes to the rescue. In this number the double choirs
+unite with magnificent effect in the appeal to the gods ("Dread Power,
+that fillest Heaven's high Throne") to defend Theseus in the conflict.
+The sixth number ("When the Health and Strength are gone") is a pathetic
+description of the blind hero's pitiful condition, and prepares the way
+for the powerful choruses in which his impending fate is foreshadowed by
+the thunderbolts of Jove which rend the heavens. The eighth and ninth
+choruses are full of the mournful spirit of the tragedy itself, and tell
+in notes as eloquent as Sophocles' lines of the mysterious disappearance
+of the Theban hero, ingulfed in the opening earth, and the sorrowful
+lamentations of the daughters for the father whom they had served and
+loved so devotedly.
+
+
+                           As the Hart Pants.
+
+The music to the Forty-second Psalm, familiarly known by the caption
+which forms the title of this sketch, was first performed at the tenth
+subscription Gewandhaus concert in Leipsic in 1838, Clara Novello taking
+the soprano part. Though not constructed upon the large scale of the
+"Hymn of Praise," or even of the "Walpurgis Night," it is a work which is
+thoroughly artistic, and just as complete and symmetrical in its way. It
+contains seven numbers. After a slow and well-sustained introduction, the
+work begins with a chorus ("As the Hart pants after the Water Brooks, so
+panteth my soul for Thee, O God") which is a veritable prayer in its
+tenderness and expression of passionate longing. After the chorus a
+delicate and refined soprano solo ("For my Soul thirsteth for God")
+continues the sentiment, first given out in an oboe solo, and then
+uttered by the voice in a beautifully melodious adagio. The third number
+is a soprano recitative ("My Tears have been my Meat") leading to a
+chorus in march time by the sopranos and altos ("For I had gone with the
+Multitude; I went with them to the House of God"). Then follows a full
+chorus beginning with male voices in unison ("Why, my Soul, art thou cast
+down?"), answered by the female voices ("Trust thou in God"). Again the
+soprano voice is heard in pathetic recitative ("O my God! my Soul is cast
+down within me; all Thy Waves and thy Billows are gone over me"). A
+beautiful quartet of male voices with string accompaniment replies: "The
+Lord will command His Loving-kindness in the Day-time; and in the Night
+His Song shall be with me, and my Prayer unto the God of my Life." The
+response is full of hope and consolation; but through it all runs the
+mournful strain of the soprano (forming a quintet at the end), coming to
+a close only when the full chorus joins in a repetition of the fourth
+number ("Trust thou in God"), this time elaborated with still greater
+effect, and closing with a stately ascription of praise to the God of
+Israel.
+
+
+                       The Gutenberg Fest-Cantata.
+
+The occasion for which the short festival cantata known as the
+"Gutenberg" was written, was the fourth centennial celebration of the art
+of printing, which was observed at Leipsic in 1840 by the unveiling of
+Gutenberg's statue in the public square, and other ceremonies. The
+direction of the musical part of the festivity was intrusted to
+Mendelssohn. The text for the hymn to be sung at the unveiling, which
+occurred on the morning of June 24, immediately after the public service
+in Church, was furnished by Adolphus Prölsz, a teacher in the Gymnasium
+at Freiberg. Lampadius, in his Life of Mendelssohn, says of the
+performance:--
+
+  "Mendelssohn arranged it with trombone accompaniment. When the opening
+  words, 'Fatherland! within thy Confines broke the dawning Light,'--so
+  the opening ran, if my memory is correct,--were heard in the Music Hall
+  at the first rehearsal, the heartiest applause arose among the
+  performers as well as the invited guests. Nothing so simple, powerful,
+  joyous, and unconstrained had been heard for a long time.... Many will
+  remember how, on the very day of the public performance, the slight
+  form of Mendelssohn was seen moving nervously around to find just the
+  right place for the trombonists, and how nearly he came to a fall from
+  the platform. During that performance the singers were divided into two
+  choirs, which sat at some distance from each other; one of them was
+  conducted by David, and the other by Mendelssohn."
+
+The cantata opens with a stately chorale ("With solemn Hymn of Praise")
+set to the old tune "Honor to God alone," followed by the song in memory
+of Gutenberg ("Fatherland! within thy Confines"), which has been
+separately arranged and printed as a solo. The third number is a quick,
+spirited movement for tenors ("And God said, 'Let there be Light'")
+followed by another effective chorale ("Now, thank God all"), which
+brings the work to a close. On the afternoon of the same day
+Mendelssohn's much more important work, "The Hymn of Praise," was given.
+A sketch of this has already appeared in the "Standard Oratorios."
+
+
+                               Lauda Sion.
+
+The "Lauda Sion," or sequence sung at High Mass on the Feast of Corpus
+Christi, was chosen by Mendelssohn as the subject of one of his most
+beautiful cantatas, for four solo voices, chorus, and orchestra. The
+majestic rhythm of Saint Thomas Aquinas's verses loses none of its
+stateliness in this musical setting. The work was composed for the
+celebration of this Festival by the Church of St. Martin at Liège, and
+was first performed there June 11, 1846. Chorley, the English critic who
+accompanied Mendelssohn on that occasion, has left us in his "Modern
+German Music" an interesting sketch of its first production. He says:--
+
+  "The early summer of 1846 was a great year for the Rhine Land and its
+  adjacent district; since there the Lower Rhenish Festival at
+  Aix-la-Chapelle was conducted by Mendelssohn, and starred by Mlle.
+  Jenny Lind; and within a fortnight afterwards was celebrated at Liège
+  the 'Fête Dieu,' for which his 'Lauda Sion' was written....
+
+  "It was a pity that those who had commissioned such a composer to write
+  such a work had so entirely miscalculated their means of presenting it
+  even respectably. The picturesque old Church of St. Martin is one of
+  those buildings which swallow up all sound, owing to the curve of the
+  vaults and the bulk of the piers; the orchestra was little more
+  powerful, when heard from below, than the distant scraping of a
+  Christmas serenade far down the street; the chorus was toneless, and
+  out of tune; and only one solo singer, the soprano, was even tolerable.
+  On arriving at Liège with the purpose of conducting his work,
+  Mendelssohn gave up the matter in despair. 'No! it is not good, it
+  cannot go well, it will make a bad noise,' was his greeting to us....
+
+  "We drove with him that afternoon up to St. Martin's Church, to hear,
+  as he merrily styled it, 'the execution of his music.' The sight of the
+  steep, narrow, winding street, decked out with fir-trees and banners
+  and the escutcheons of the different towns of Belgium, pleased him, for
+  he was as keen a lover of a show as a child, and had a true artist's
+  quick sense of the picturesque....
+
+  "Not envy's self could have helped being in pain for its composer, so
+  slack and tuneless and ineffective was the execution of this clear and
+  beautiful work, by a scrannel orchestra, and singers who could hardly
+  be heard, and who evidenced their nationality by resolutely holding
+  back every movement. But in the last verse, _alla breve_--
+
+  'Ecce panis angelorum'--
+
+  there came a surprise of a different quality. It was scenically
+  accompanied by an unforeseen exposition of the Host, in a gorgeous gilt
+  tabernacle, that slowly turned above the altar, so as to reveal the
+  consecrated elements to the congregation. Incense was swung from
+  censers, and the evening sun, breaking in with a sudden brightness,
+  gave a fairy-like effect to the curling fumes as they rose; while a
+  very musical bell, that timed the movement twice in a bar, added its
+  charm to the rite. I felt a quick grasp on my wrist, as Mendelssohn
+  whispered to me, eagerly, 'Listen! how pretty that is! it makes amends
+  for all their bad playing and singing,--and I shall hear the rest
+  better some other time.' That other time I believe never came for the
+  composer of the 'Lauda Sion,'--since this was only the year before his
+  death."
+
+The work is composed in seven numbers. After a short introduction the
+voices give out the theme, "Lauda Sion," followed by a chorus, "Laudis
+Thema," full of devotional spirit. The soprano then enunciates in the
+"Sit Laus plena" phrases repeated by the chorus, followed by a
+beautifully accompanied quartet, "In hac Mensa." The fifth number is a
+solemn chorale in unison, leading to a soprano solo in the arioso style,
+"Caro cibus," which is exquisitely beautiful. The work concludes with a
+very dramatic solo and chorus, "Sumit unus," set to the words "Bone
+pastor," and the closing verses of the hymn itself. Short as the cantata
+is, it is one of the most felicitous of all Mendelssohn's settings of the
+ritual.
+
+
+
+
+                                 MOZART.
+
+
+Johann Chrysostomus Wolfgang Amadeus Mozart, one of the most remarkable
+of musical geniuses, and the only one of his contemporaries whose operas
+still hold the stage with unimpaired freshness, was born at Salsburg,
+Jan. 27, 1756. He was the son of Leopold Mozart, the Salzburgian
+Vice-Capellmeister, who gave him and his sister Nannerl their earliest
+instruction in music, and with such good results that the children
+travelled and gave concerts with great success. Before he was seven years
+of age he had composed several pieces for piano and violin, his earliest
+having been written at the age of five. At twelve he became court
+capellmeister in Salzburg. After his musical travels he went to Vienna,
+and there began his period of classic activity, which commenced with
+"Idomeneus," reached its culmination in "Don Giovanni," and closed with
+the "Requiem,"--the "swan-song" of his wonderful career. In his brief
+life Mozart composed more than fifty great works, besides hundreds of
+minor ones in every possible form of musical writing. His greatest
+compositions may be classed in the following order: "Idomeneus" (1780);
+"Entführung aus dem Serail" (1781); "Figaro's Hochzeit" ("The Marriage of
+Figaro"), (1785); "Don Giovanni" (1787); "Cosi fan Tutti," "Zauberflöte"
+("The Magic Flute"), and "Titus" (1790); and the "Requiem" (1791, the
+year of his death). The catalogue of Mozart's works is an immense one,
+for his period of productivity was unusually long. From the age of five
+to his death there was not a year that was not crowded with his music.
+Besides his numerous operas, of which only the more famous are given
+above, he wrote a large number of symphonies (of which the "Jupiter" is
+now the best known), sonatas, concertos, for all kinds of instruments,
+even to musical-glasses, trios, quartets, quintets, and sextets for all
+possible combinations of instruments, marches, fugues, masses, hymns,
+arias of extraordinary brilliancy, liturgies, cantatas, songs and
+ballads, and indeed every form of music that is now known. His style was
+studied by Beethoven, and so closely imitated that the music of his first
+period, if published without autograph, would readily be attributed to
+Mozart. His style was so spontaneous and characteristic that it has been
+well said there is but one Mozart. The distinguishing trait of his music
+is its rich melodic beauty and its almost ravishing sweetness. His melody
+pours along in a bright unbroken stream that sometimes even overflows its
+banks, so abundant is it. It is peculiarly the music of youth and
+spring-time, exquisite in form, graceful in technique, and delightful in
+expression. It was the source where all his immediate successors went for
+their inspiration, though it lacked the maturity, majesty, and emotional
+depths which were reached by such a Titan as Beethoven. Old as it is, and
+antiquated in form, especially as compared with the work of the new
+schools, its perennial freshness, grace, and beauty have made it
+immortal.
+
+
+                              King Thamos.
+
+The historical drama, "Thamos, King of Egypt," was written by Freiherr
+von Gebler. Otto Jahn, in his Life of Mozart, gives the following sketch
+of its story:--
+
+   "Menes, King of Egypt, has been deposed by a usurper, Rameses, and, as
+  it is thought, assassinated; but he is living, under the name of
+  Sethos, as high priest of the Temple of the Sun, the secret being known
+  only to the priest Hammon and the general Phanes. After the death of
+  Rameses, his son Thamos is heir to the throne. The day arrives when
+  Thamos attains majority, is to be invested with the diadem, and to
+  select a bride. The friends of Menes seek in vain to persuade him to
+  dispute the throne. He will not oppose the noble youth, whom he loves
+  and esteems. But Pheron, a prince and confidant of Thamos, has, in
+  conjunction with Mirza, the chief of the Virgins of the Sun, organized
+  a conspiracy against Thamos, and won over a portion of the army.
+  Tharsis, daughter of Menes, who is believed by all, even her father, to
+  be dead, has been brought up by Mirza under the name of Sais. It is
+  arranged that she shall be proclaimed rightful heir to the throne, and,
+  as she will then have the right to choose her consort, Mirza will
+  secure her beforehand for Pheron. When she discovers that Sais loves
+  Thamos, and he her, she induces Sais to believe that Thamos prefers her
+  playmate Myris, and Sais is generous enough to sacrifice her love and
+  her hopes of the throne to her friend. Equally nobly Thamos rejects all
+  suspicions against Pheron, and awards him supreme command. As the time
+  for action draws near, Pheron discloses to Sethos, whom he takes for a
+  devoted follower of Menes, and consequently for an enemy to Thamos, the
+  secret of Sais' existence and his own plans. Sethos prepares secretly
+  to save Thamos. Sais also, after being pledged to silence by an oath,
+  is initiated into the secret by Mirza and Pheron, and directed to
+  choose Pheron. She declines to give a decided answer, and Pheron
+  announces to Mirza his determination to seize the throne by force in
+  case of extremity. Sais, who believes herself not loved by Thamos, and
+  will not therefore choose him as consort, but will not deprive him of
+  the throne, takes the solemn and irrevocable oath as Virgin of the Sun.
+  Thamos enters, and they discover, to their sorrow, their mutual love.
+  Sethos, entering, enlightens Thamos as to the treachery of Pheron,
+  without disclosing the parentage of Sais. Pheron, disturbed by the
+  report that Menes is still living, comes to take council of Sethos, and
+  adheres to his treacherous design. In solemn assembly Thamos is about
+  to be declared king, when Mirza reveals the fact that Sais is the lost
+  Tharsis, and heiress to the throne. Thamos is the first to offer her
+  his homage. When she is constrained to choose between Thamos and Pheron
+  she declares herself bound by her oath, and announces Thamos as the
+  possessor of the throne. Then Pheron calls his followers to arms, but
+  Sethos steps forward and discloses himself as Menes; whereupon all fall
+  at his feet in joyful emotion. Pheron is disarmed and led off; Mirza
+  stabs herself; Menes, as father and ruler, releases Sais from her oath,
+  unites her with Thamos, and places the pair on the throne. A message
+  arrives that Pheron has been struck with lightning by Divine judgment,
+  and the piece ends."
+
+To this drama Mozart composed the incidental music in 1779 and 1780 at
+Salzburg, where it was produced under Böhm and Shickaneder's direction.
+The play did not keep the stage long. Mozart refers to this circumstance
+in a letter to his father, written Feb. 15, 1783:--
+
+  "I regret much not being able to make use of the music for 'Thamos,'
+  for not having pleased here, it is included among the tabooed pieces,
+  no longer to be performed. For the sake of the music alone it might
+  possibly be given again, but it is not likely. It is really a pity."
+
+The music consists of five entr'actes and three choruses constructed in a
+large and majestic style and specially adapted to ceremonial performance.
+The first is a responsive chorus of maidens and priests ("Before thy
+Light, Sun-god, thy Foe the Darkness takes Wing") sung in the temple of
+the sun at Heliopolis. The second ("Godhead, throned in Power eternal")
+is also sung in the temple before Thamos' coronation, at the beginning of
+the fifth act, and contains short snatches of solos for a priest and
+maiden, leading to a close in full harmony for the voices, and an
+instrumental finale of soft music during which the priest offers
+sacrifice upon the altar. The third opens with a majestic bass solo for
+the high priest ("Ye Children of Dust, come, with Trembling, adore ye")
+and closes with a stately strain for all the voices ("We Children of Dust
+in our Reverence tremble").
+
+Although the play was shelved, the music was not lost. Mozart
+subsequently set the choruses to Latin and German words, and they were
+adapted as hymns and motets for church use. They are now familiar to
+musicians as "Splendente te Deus," "Deus tibi Laus et Honor," and "Ne
+Pulvis et Cinis." Nohl says of them:--
+
+   "A certain solemnity pervades them such as few of his sacred works
+  possess, and an elevation of feeling only surpassed in the 'Flauto
+  Magico.' But the composer has relied on theatrical effect; and thus, in
+  spite of his graver intentions, we find more worldly pomp than
+  religious depth in these choruses, which Mozart worked out with all
+  love and care, even in their most minute details, and which manifest
+  the thoughtful mood that absorbed his soul."
+
+
+                           Davidde Penitente.
+
+The cantata "Davidde Penitente" was the outcome of a work of love. Before
+his marriage with Constance Weber, Mozart vowed that when he brought her
+to Salzburg as his wife he would write a mass for the occasion and have
+it performed there. In a letter written to his father, Jan. 4, 1783, he
+says: "As a proof of the fulfilment of this vow, the score of a
+'half-mass' is now lying by, in hopes of some day being finished."
+Holmes, in his admirable Life of Mozart, says:--
+
+   "To exercise his pen in the grand contrapuntal style of church music
+  was at all times agreeable to him; and he was now free from the local
+  restrictions under which he had written his numerous masses at
+  Salzburg, where neither the style, the length of the pieces, nor their
+  instrumentation was left to his own discretion; hence, making due
+  allowance for the effect of some few years in developing the composer's
+  genius, the great superiority of 'Davidde Penitente,' by which title
+  this mass was in the sequel better known over all the earlier masses,
+  as well for breadth of style as in true ecclesiastical solemnity."
+
+The "half-mass" which Mozart brought to Salzburg in fulfilment of his vow
+comprised only the Kyrie, Gloria, Sanctus, and Benedictus. The remaining
+numbers were supplied from another mass, and in this form the work was
+produced at St. Peter's Church, Aug. 25, 1783, his wife taking the solo
+part. The original work is described as exceedingly majestic and
+beautiful, particularly the "Gratias" for five, and the "Qui Tollis" for
+eight-voiced chorus. Jahn says of them that the same wonderful and
+mysterious impression of the supernatural conveyed by the most beautiful
+numbers in his Requiem characterizes these choruses.
+
+The "half-mass" was destined to undergo still more radical changes. In
+the spring of 1785 the committee of the society for the relief of the
+widows and orphans of musicians at Vienna wished to celebrate their
+annual festival with some new work, and commissioned Mozart to write a
+cantata. As the time was very short, he took the Kyrie and Gloria of the
+mass, set Italian words to them, and added four new numbers, in which
+form it was produced under the title of "Davidde Penitente" at the
+Burg-theatre, March 13, the solo singers being Fraulein Cavalieri,[32]
+Fraulein Distler, and Herr Adamberger.[33] The cantata comprises ten
+numbers. The first number is a chorus ("Alzai le flebile voci") taken
+from the "Kyrie" of the mass; the second, an allegro chorus ("Cantiam le
+lodi"), from the "Gloria;" the third, a soprano solo ("Lungi le cure"),
+from the "Laudamus;" the fourth, an adagio chorus ("Sii pur sempre") from
+the "Gratias;" the fifth, a very melodious soprano duet ("Sorgi o
+Signore"), from the "Domine Deus;" the sixth, a beautiful tenor aria ("A
+te fra tanti affanni"), written for Adamberger; the seventh, a double
+chorus ("Se vuoi, puniscimi"); the eighth, a bravura aria for soprano
+("Fra le oscure Ombre"), written for Mademoiselle Cavalieri; the ninth, a
+terzetto ("Tutti le mie speranze"); and the tenth, a final chorus and
+fugue which, by general consent of the critics of the time, was called
+the "queen of vocal fugues." Notwithstanding the introduction of
+specially-written arias, and the brilliant music assigned to the soprano,
+the cantata is regarded as one of the purest examples of Mozart's church
+style.
+
+
+[32] Catharina Cavalieri, born in 1761, died June 30, 1801. She was a
+    singer in Italian and German opera in Vienna from 1775 to 1783; but
+    as she never left that city her reputation was purely local. Mozart
+    wrote for her the part of Constanza in his opera "Die Entführing."
+
+[33] Valentin Adamberger was born at Munich, July 6, 1743, and was famed
+    for his splendid tenor voice. Mozart composed for him the part of
+    Belmont in the "Entführing," and highly esteemed him as a friend and
+    adviser. He died Aug. 24, 1804.
+
+
+                          The Masonic Cantatas.
+
+Mozart became a member of the Masonic fraternity shortly after his
+arrival in Vienna in 1784, and devoted himself to its objects with all
+the ardor of his nature. In the following year his father visited him and
+was also persuaded to join, though not without considerable entreaty on
+the son's part. He was a devoted member of the Church and entertained a
+deep reverence for its forms. The Church then, as now, was hostile to all
+secret orders, and was particularly inimical to the Masons because they
+had attacked certain alleged abuses in the cloisters. His prejudices were
+overcome, however, and he soon became as ardent a devotee of Masonry as
+his son. It formed one of the principal subjects of their correspondence;
+but unfortunately all these letters were destroyed by the cautious father
+a short time before his death, which occurred May 28, 1787. In only one
+letter do we find reference to the subject, and that in a guarded manner.
+On the 3d of April of that year Mozart heard of his father's illness, and
+the next day he writes to him:--
+
+   "I have this moment heard tidings which distress me exceedingly, and
+  the more so that your last letter led me to suppose you were so well;
+  but I now hear that you are really ill. I need not say how anxiously I
+  shall long for a better report of you to comfort me, and I do hope to
+  receive it, though I am always prone to anticipate the worst. As death
+  (when closely considered) is the true goal of our life, I have made
+  myself so thoroughly acquainted with this good and faithful friend of
+  man, that not only has its image no longer anything alarming to me, but
+  rather something most peaceful and consolatory; and I thank my Heavenly
+  Father that He has vouchsafed to grant me the happiness, _and has given
+  me the opportunity (you understand me), to learn that it is the key to
+  our true felicity_."
+
+Mozart's membership in the order began at an opportune time for him.
+Though at the height of his fame he was at the very lowest depth of his
+finances; and both in 1787 and 1789, though he was Imperial Chamber
+Musician and his opera "Don Giovanni" was having a successful run, he was
+obliged to apply repeatedly to his friend and brother Mason, the merchant
+Puchberg of Vienna, for loans, and also to Herr Hofdämmel, who was about
+to become a Mason upon Mozart's solicitation. During the short remainder
+of his life he was devotedly attached to the order, and he was buried in
+the dress of the brotherhood; but, strange to say, not one of the members
+accompanied their illustrious associate to the grave.
+
+Four of Mozart's works were directly inspired by Masonry. In 1785 he
+wrote a simple but beautiful lodge song for voice, with piano
+accompaniment ("Die ihr einern neuen Grade"). This was followed by the
+wonderfully beautiful "Freemason's Funeral Music" for orchestra, written
+upon the occasion of the death of two brothers in the fraternity, of
+which Jahn says:--
+
+   "Mozart has written nothing more beautiful, from its technical
+  treatment and finished effect of sound, its earnest feeling and
+  psychological truth, than this short adagio. It is the utterance of a
+  resolute, manly character, which, in the face of death, pays the
+  rightful tribute to sorrow without being either crushed or stunned by
+  it."
+
+In the same year he composed a small cantata, "Die Maurerfreude," for
+tenor and chorus, in honor of Herr Born, the master of the lodge to which
+he belonged in Vienna, which is full of true feeling combined with
+graceful melody.
+
+The second cantata, catalogued in Köchel "Eine Kleine Freimaurer Cantate,
+'Laut verkünde unsre Freude,'" better known by its title "Lob der
+Freundschaft" ("Praise of Friendship") is notable as the last work
+written by Mozart. Its date is Nov. 15, 1791, only three weeks before his
+death. At this time he was engaged in finishing up his "Requiem," which
+had such a depressing effect upon him that he was ordered by his
+physician to lay it aside. The rest he thus secured had such a good
+effect that by the middle of November he was able to attend a Masonic
+meeting and produce the little cantata which he had just written for
+them. On reaching home after the performance he said to his wife, "O
+Stänerl, how madly they have gone on about my cantata! If I did not know
+that I had written better things, I should have thought this my best
+composition." It is constructed upon a larger scale than the cantata of
+1785, and is very pleasing and popular, but lacks the spirit and
+earnestness of the former. It has six numbers: 1. Chorus, "Laut verkünde
+unsre Freude;" 2. Recitative, "Zum ersten Male;" 3. Tenor aria, "Dieser
+Gottheit Allmacht;" 4. Recitative, "Wohlan, ihr Brüder;" 5. Duet, "Lange
+sallen diese Mauern"; 6. Chorus, "Lasst uns mit geschlungen Händen." It
+was Mozart's swan-song. Two days after its performance he was stricken
+down with his last illness.
+
+
+
+
+                                 PAINE.
+
+
+John K. Paine, one of the very few really eminent American composers, was
+born at Portland, Me., Jan. 9, 1839. He studied the piano, organ, and
+composition with Kotzschmar in that city, and made his first public
+appearance as an organist, June 25, 1857. During the following year he
+went to Germany, and studied the organ, composition, and instrumentation
+with Haupt and other masters in Berlin. He returned to this country in
+1861, and gave several concerts, in which he played many of the organ
+works of the best writers for the first time in the United States.
+Shortly after his return he was appointed instructor of music in Harvard
+University, and in 1876 was honored with the elevation to a professorship
+and given a regular chair. He is best known as a composer, and several of
+his works have been paid the rare compliment of performance in Germany,
+among them his Mass in D and all his symphonies. The former was given at
+the Berlin Singakademie in 1867, under his own direction. Among his
+principal compositions are the oratorio "St. Peter," the music to
+"Oedipus," the cantatas, "Nativity," "The Realm of Fancy," and "Phoebus,
+Arise;" the Mass in D; the Centennial Hymn, set to Whittier's poem, and
+sung at the opening of the Philadelphia Centennial Exhibition; the
+overture to "As You Like It;" "The Tempest," in the style of a symphonic
+poem; the symphony in C minor, and "Spring" symphony; besides numerous
+sonatas, fantasias, preludes, songs, and arrangements for organ and
+piano. His larger orchestral works have been made familiar to American
+audiences by Mr. Theodore Thomas's band, and have invariably met with
+success. His style of composition is large, broad, and dignified, based
+upon the best classic models, and evinces a high degree of musical
+scholarship.
+
+
+                            Oedipus Tyrannus.
+
+The first public performance of the "Oedipus Tyrannus" of Sophocles in
+this country was given at the Sanders Theatre (Harvard College),
+Cambridge, Mass., May 17, 1881, for which occasion Mr. Paine composed the
+music incidental to the world-famous tragedy. The performance was a
+memorable one in many ways. The tragedy was given in the original
+language. It was the first event of the kind in America. The audience was
+a representative one in culture, education, and social brilliancy. The
+programme was also unique, being printed in Greek, and translated into
+English was as follows:--
+
+                     TO ALL THE SPECTATORS GREETING.
+
+                           [The college seal.]
+
+              _Six verses from the Eumenides of Æschylus:_
+
+  "Hail people of the city
+  That sit near to Zeus,
+  Friends of the friendly goddess,
+  Wise in your generation,
+  Ye whom under the wings of Pallas
+  The father guards."
+
+                    THE OEDIPUS TYRANNUS OF SOPHOCLES
+        WILL BE REPRESENTED IN THE THEATRE OF HARVARD UNIVERSITY
+                on the 17th of May ({Thargêliôn}), 1881,
+                 and again on the 19th, 20th, and 21st.
+
+                            DRAMATIS PERSONÆ.
+
+  Oedipus, King of Thebes                                 George Riddle.
+  Priest of Zeus                                  William Hobbs Manning.
+  Creon, Jocasta's brother                                 Henry Norman.
+  Teiresias, the blind seer                                Curtis Guild.
+  Jocasta, Queen of Thebes                     Leonard Eckstein Opdycke.
+  Messenger, from Corinth                     Arthur Wellington Roberts.
+  Servant of Laius                                 Gardiner Martin Lane.
+  Messenger from the Palace                                 Owen Wister.
+
+                               ATTENDANTS.
+
+  Attendants on Oedipus                   J. R. Coolidge, E. J. Wendell.
+  Attendants on Jocasta                   J. J. Greenough, W. L. Putnam.
+  Attendants on Creon                               G. P. Keith, J. Lee.
+  Boy guide of Teiresias                                  C. H. Goodwin.
+  Antigone                                                   E. Manning.
+  Ismene                                               J. K. Whittemore.
+  Suppliants.--  G. P. Keith, G. D. Markham (priests), W. H. Herrick, J.
+                    Lee, E. Lovering, H. Putnam, L. A. Shaw, C. M. Walsh
+                 (chosen youths), C. H. Goodwin, E. Manning, R. Manning,
+                      W. Merrill, E. R. Thayer, J. K. Whittemore (boys).
+
+                        CHORUS OF THEBAN OLD MEN.
+
+  Coryphæus                                         Louis Butler McCagg.
+  Assistant to the chorus in the third stasmon, with solo
+                                                   George Laurie Osgood.
+
+                         MEMBERS OF THE CHORUS.
+
+  N. M. Brigham,
+  Frederick R. Burton,
+  Henry G. Chapin,
+  Sumner Coolidge,
+  Edward P. Mason,
+  Marshall H. Cushing,
+  Wendell P. Davis,
+  Morris Earle,
+  Percival J. Eaton,
+  Gustavus Tuckerman,
+  Charles S. Hamlin,
+  Jared S. How,
+  Howard Lilienthal,
+  Charles F. Mason.
+
+  Leader of the chorus and composer of the music     John Knowles Paine.
+  Prompter                                          George L. Kittredge.
+
+
+  The scene is laid in front of the palace in Boetian Thebes. The chorus
+  is composed of Theban old men. Oedipus speaks first. The managers
+  request all the spectators to remain sitting until the postlude is
+  ended. Immediately after the last chorus has been sung there will be a
+  pause for those who wish to go out. After this the doors will be
+  closed.
+
+  After the play, horse-cars ({hamaxai hipposidêrodromikai}) will be
+  ready for those who want to go to the city.
+
+  Wilsons, printers. ({Oyilsônes typois egapsan}.)
+
+
+The story of the Theban hero, his ignorance of his own parentage, his
+dismay at the revelation of the oracle that he would kill his father and
+marry his mother, his quarrel with the former, resulting in the very
+tragedy he was seeking to avoid, his solution of the riddle of the
+sphinx, the reward of the Queen's hand which Creon had promised, leading
+to the unfortunate marriage with his mother, Jocasta, thus completing the
+revelation of the oracle, does not need description in detail. The
+marriage was followed by a pestilence that wasted Thebes, and at this
+point the plot of the drama begins. It concerns itself with the efforts
+of Oedipus to unravel the mystery of the death of his father, Laius,
+which lead to the discovery that he himself was the murderer, and that he
+had been guilty of incest with his own mother. Jocasta hangs herself, and
+Oedipus, rushing frantically into the palace, beholds her, and
+overwhelmed with horror at the sight and the fulfilment of the oracle,
+seizes her brooch-pin and blinds himself. In the Oedipus at Colonos the
+sequel is told. The hero dies in the gardens of the Eumenides, happy in
+the love of his daughters and the pardon which fate grants him.
+
+The music to the tragedy is thoroughly classical in spirit, and has all
+the nobility, breadth, dignity, and grace characteristic of the Greek
+idea. The principal lyric movements of the chorus, the choral odes, of
+which there are six, comprise the scheme of the composer. The
+melodramatic practice of the orchestra accompanying spoken dialogue only
+appears to a limited extent in the third ode; and the chorus, as
+narrator, is accompanied by music only in the seven last lines of the
+play, which form the postlude. The orchestral introduction, which is
+treated in a very skilful and scholarly manner, epitomizes the spirit of
+the work. The odes are divided as usual into strophes and antistrophes,
+assigned alternately to a male chorus of fifteen and full chorus. The
+first ("Oracle sweet-tongued of Zeus"), which has the genuine antique
+dignity and elevation, is a description of the sufferings of the people
+from the pestilence which has wasted Thebes since the unnatural marriage
+of Oedipus and Jocasta, and a fervent prayer to the gods for aid. The
+second ("Thou Delphic Rock, who can he be?") concludes the scene where
+the blind prophet Teiresias arrives upon the summons of Creon and accuses
+Oedipus of the crime, accompanying the accusation with dark hints of
+further guilt. In this ode, which is specially noticeable for its rich
+and graceful treatment, the chorus expresses its disbelief of the
+charges. In the third scene, Creon enters to protest against the
+accusations of Oedipus, but a quarrel ensues between them, which results
+in the menace of death to the former. Jocasta appears, and upon her
+intercession Creon is allowed to depart. In the ode, the chorus joins in
+this appeal to Oedipus,--a strong, vigorous number, the effect of which
+is heightened by the intervening spoken parts of Creon, Oedipus, and
+Jocasta, with musical accompaniment. The fourth ode ("O may my Life be
+spent in Virtue") is a vigorous denunciation of the impiety of Jocasta in
+speaking scornfully of the oracles. The fifth ode ("If I the Prophet's
+Gift possess") is full of idyllic grace and sweetness, realizing in a
+remarkable degree the old Grecian idea of sensuous beauty. It is a
+speculation upon the divine origin of Oedipus, after the messenger
+relates the story of the King's exposure in his childhood upon Mount
+Cithæron, and contains a charming tenor solo. The last ode ("O Race of
+mortal Men") bewails the vicissitudes of fortune, and is full of the
+tragic significance of impending fate. The work comes to a close with the
+postlude:--
+
+  "Ye who dwell in Thebes our city, fix on Oedipus your eyes,
+  Who resolved the dark enigma, noblest liver and most wise.
+  Glorious like a sun he mounted, envied of the popular throng,
+  Now he sinks in seas of anguish, quenched the stormy waves among.
+  Therefore I await the final hour, to ancient wisdom known,
+  Ere I call one mortal happy. Never shall that thought be shown,
+  Till he end his earthly being, scathless of a sigh or groan."
+
+Six public performances of the "Oedipus" were given in 1881, and every
+season since that time selections from the music have been performed in
+New York, Boston, and other cities. As the most important and scholarly
+work an American composer has yet produced, it cannot be heard too often.
+
+
+                              The Nativity.
+
+The text of "The Nativity," for chorus, solo voices, and orchestra, is
+taken from the hymn in Milton's ode "On the Morning of Christ's
+Nativity," and is composed in three parts. The first part includes the
+first, third, fourth, fifth, sixth, and seventh; the second, a
+combination of the eighth and ninth; and the third, the thirteenth,
+fourteenth, and fifteenth verses. After a short instrumental
+introduction, which works up to an effective climax, the cantata begins
+with a chorus ("It was the Winter wild"), introduced by the soprano,
+developing to full harmony at the words, "Nature in Awe to Him," and
+closing pianissimo. After a short soprano solo ("But, He her Fears to
+cease") the chorus resumes ("With Turtle Wing the amorous Clouds
+dividing"). A succession of choral passages follows, admirably suggestive
+of the sentiment of the poem,--a vigorous, stirring allegro, "No War or
+Battle's Sound was heard the World around;" "And Kings sat still with
+awful Eye," broadly and forcibly written; and a tender, graceful number,
+"But peaceful was the Night." They are followed by another soprano solo
+("And though the shady Gloom"), full of brightness and animation, which
+leads directly to a majestic chorus ("He saw a greater Sun appear"),
+which closes the first part.
+
+The second part, a quartet and chorus, is pastoral in character, and
+reflects the idyllic quiet and beauty of the text. The quartet, "The
+Shepherds on the Lawn," is introduced by short tenor, bass, and alto
+solos, and also contains a very melodious and graceful solo for soprano
+("When such Music sweet their Hearts and Ears did greet"), after which
+the full quartet leads up to a vigorous chorus ("The Air such Pleasure
+loath to lose"), closing the part.
+
+The third part is choral, and forms an effective climax to the work. It
+opens with the powerful chorus, "Ring out, ye crystal Spheres,"
+emphasized by the organ bass with stately effect, and moves on
+majestically to the close,--
+
+  "And Heaven as at some festival
+  Will open wide the gates of her high palace hall."
+
+
+                           The Realm of Fancy.
+
+"The Realm of Fancy" is a short cantata, the music set to Keats's
+familiar poem:--
+
+  "Ever let the fancy roam,
+  Pleasure never is at home:
+  At a touch sweet pleasure melteth,
+  Like to bubbles when rain pelteth."
+
+With the exception of a dozen lines, the dainty poem is used entire, and
+is set to music with a keen appreciation of its graceful beauty. A short
+allegretto fancifully trips along to the opening chorus ("Ever let the
+Fancy roam"), which is admirable for its shifting play of musical color.
+A soprano solo ("She will bring in spite of Frost"), followed by a very
+expressive barytone solo ("Thou shalt at a Glance behold the Daisy and
+the Marigold"), leads up to a charming little chorus ("Shaded Hyacinth,
+always Sapphire Queen"). A short instrumental passage, in the time of the
+opening allegretto, introduces the final chorus ("O Sweet Fancy, let her
+loose"), charmingly worked up, and closing in canon form. The cantata is
+very short; but rarely have poem and music been more happily wedded than
+in this delightful tribute to fancy.
+
+
+                             Phoebus, Arise.
+
+Mr. Paine's ripe scholarship is shown to admirable advantage in his
+selection of the poem "Phoebus, Arise" from among the lyrics of the old
+Scottish poet, William Drummond, of Hawthornden, and the characteristic
+old-style setting he has given to it. Like "The Realm of Fancy," it is
+very short; but like that cantata, also, it illustrates the versatility
+of his talent and the happy manner in which he preserves the
+characteristics of the poem in his music. Drummond, who has been called
+"the Scottish Petrarch," and whose poems were so celebrated that even Ben
+Jonson could find it in his way to visit him, was noted for the grace and
+lightness of his verse, and the pensive cast with which it was tinged. It
+has little of the modern poetic style, and the composer has clothed his
+poem in a musical garb to correspond.
+
+The cantata is written for tenor solo, male chorus, and orchestra, and
+opens with a brilliant chorus ("Phoebus, arise, and paint the sable Skies
+with azure, white, and red"), closing with a crescendo in the old style.
+An expressive and somewhat pensive tenor solo follows:--
+
+  "This is that happy morn
+  And day, long-wishèd day,
+  Of all my life so dark
+  (If cruel stars have not my ruin sworn
+  And fates my hope betray),
+  Which purely white deserves
+  An everlasting diamond should it mark.
+  This is the morn should bring unto the grove
+  My love, to hear, and recompense my love."
+
+A short choral passage with tenor solo ("Fair King, who all preserves")
+leads to a full rich chorus ("Now, Flora, deck thyself in fairest
+Guise"). In the next number the chorus returns to the opening theme
+("Phoebus, Arise"), and develops it with constantly increasing power to
+the close.
+
+
+
+
+                                 PARKER.
+
+
+Horatio W. Parker, a young American composer of more than ordinary
+promise, was born at Auburndale, Mass., Sept. 15, 1863. After his
+fifteenth year he began the study of music, taking his earlier lessons of
+the three Boston teachers, Stephen A. Emery, John Orth, and G. W.
+Chadwick. In 1882 he went to Munich and studied the organ and composition
+with Josef Rheinberger, for three years. In the spring of 1885 he wrote
+the cantata "King Trojan," and it was produced for the first time in that
+city with success during the summer of the same year. Since then it has
+been given in this country by Mr. Jules Jordan, of Providence, R. I.,
+Feb. 8, 1887. His string quartet in F major was played at a concert of
+the Buffalo Philharmonic Society in January, 1886; and a short scherzo
+was performed by the Van der Stücken orchestra in New York City in the
+same year. Besides these compositions, he has written three overtures,
+quite a number of songs and pieces for the piano-forte, and a symphony in
+C, and ballade for chorus and orchestra, both of which were played in
+Munich last year. In 1886 he accepted the professorship of music at the
+Cathedral School of St. Paul, Garden City, L. I., and in February, 1887,
+went to New York, where he now resides, to take charge of a boy choir in
+St. Andrew's Church, Harlem.
+
+
+                              King Trojan.
+
+"King Trojan," composed for chorus, solos, and orchestra, was written in
+March, 1885, and first performed in July of the same year, at Munich. Its
+story is the poem of the same name, by Franz Alfred Muth, the English
+version being a free and excellent translation by the composer's mother,
+Mrs. Isabella G. Parker, of Auburndale, Mass.
+
+After a short and graceful introduction, the cantata opens with a solo
+describing the quiet beauty of a summer night, daintily accompanied by
+wind instruments and harp. A second voice replies ("O Summer Night"), and
+then the two join in a very vigorous duet ("O fill thou Even with Light
+of Heaven"). A short solo for third voice leads up to a chorus which
+gives us a picture of King Trojan's castle gleaming in the moonlight. It
+is followed by a very effective solo for the King ("The Horse is
+neighing, O Page of mine"), in which he bids his Page saddle his steed
+for a night ride to visit his distant love. The chorus intervenes with a
+reflective number ("What thinks she now?"), which is very dramatic in
+style, describing the mutual longing of the lovers to be together.
+
+The second scene opens with a short solo by the Page ("Up, up, O King,
+the Horses wait"), followed by the chorus as narrator, describing the
+ride of the King and his companion through the greenwood, with which is
+interwoven Trojan's solo ("How sweet and cool is yet the Night"). In the
+next number, a vivacious allegro, the story of the ride is continued by
+the chorus, with a characteristic accompaniment, and again Trojan sings a
+charming tribute to the summer night, which is followed by responsive
+solos of the King and the Page, in the allegro and penseroso style,--the
+one singing of the raptures of night, the other of the gladness of day
+and sunlight. A passionate bit of recitative ("Now swift, ye Horses") by
+Trojan reveals the secret of the King's haste. He is King of the night,
+and the morning ray will be fatal to him. A short choral number ("And
+forward fly they") brings the first part to a close with the arrival of
+the riders at the Queen's castle.
+
+The second part opens with a beautiful solo, quartet, and chorus
+("Good-Night, the Lindens whisper"), which describes the meeting of the
+lovers, while
+
+  "Beneath the lofty castle gate
+  Slumbers the page who so long must wait.
+  Then crows the cock, the hour is late."
+
+At this note of warning the Page appeals to his master to fly, for the
+sunlight will bring him pain and harm. The dallying King replies, "Hark!
+how the Nightingale yet sings." A small chorus intervenes with the
+warning, "Love is so fleeting, Night is so fair." The Queen appeals to
+him, "What seest thou, O King?" To which Trojan replies with agitation,
+"The ruddy Morning, it is my Death." Again comes the Page's warning. The
+King springs up in alarm and hastens to his steed. In a choral presto
+movement the ride back is described. The King conceals himself in a dark
+thicket, hoping to escape, but the night has vanished and the day has
+begun. Its beams penetrate his refuge, and with a last despairing cry
+("Accursed Light, I feel thee now") he expires. A short choral passage,
+with harp accompaniment, brings this very dramatic and fanciful
+composition to a close:--
+
+  "And from his horse the king now falls,
+    He was but king of the night;
+  The sunlight sparkles, the sunlight shines,
+    But death comes with morning light."
+
+
+
+
+                                 PARKER.
+
+
+James C. D. Parker, an American composer, was born at Boston, Mass., June
+2, 1828. He received his primary education in the schools of that city,
+was graduated from Harvard University in 1848, and immediately thereafter
+began the study of law. His love for music, however, was irresistible,
+and he soon dropped law-books and entered upon a thorough course of
+musical instruction, at first in Boston, and afterwards at the
+Conservatory in Leipsic, where he finished the regular course. He
+returned to Boston in 1854, and at once devoted himself to musical work
+in which he took a prominent part, and made an excellent reputation as
+pianist, organist, and teacher, as well as composer, though he has not as
+yet attempted any very large or ambitious works. In 1862 he organized an
+amateur vocal association under the name of the Parker Club, which has
+performed several works by Gade, Mendelssohn, Berlioz, Schumann, and
+others, with success. His most important composition is the "Redemption
+Hymn," which he wrote for the Boston Handel and Haydn Society during the
+period he was its organist. He has also held the position of organist and
+choir-director of Trinity Church in that city, and of Professor of the
+College of Music connected with the Boston University. During his
+unostentatious career he has earned an enviable reputation as an earnest,
+honest musician deeply devoted to his art.
+
+
+                          The Redemption Hymn.
+
+"The Redemption Hymn," for alto solo and chorus, was written for the
+Fourth Triennial Festival of the Handel and Haydn Society, and was first
+given on that occasion, May 17, 1877, Anna Louise Cary-Raymond taking the
+solo. The words are taken from Isaiah li. 9-11.
+
+  Chorus:--"Awake, put on strength, O arm of the Lord!
+  "Awake as in the ancient days, in the generations of old.
+  "Art thou not it that hath cut Rahab and wounded the dragon? Awake, put
+      on strength, O arm of the Lord!
+  Solo and Chorus:--"Art thou not it that hath dried the sea, the waters
+      of the great deep, that hath made the depths of the sea a way for
+      the ransomed to pass over? Therefore the redeemed of the Lord shall
+      return and come with singing unto Zion, and everlasting joy shall
+      be upon their head; they shall obtain gladness and joy, and sorrow
+      and mourning shall flee away."
+
+The work opens with a brief but spirited orchestral introduction, which
+leads to an exultant chorus ("Awake, O Arm of the Lord"), changing to a
+well-written fugue in the middle part ("Art thou not it?"), and returning
+to the first theme in the close. The next number is an effective alto
+solo ("Art thou not it which hath dried the Sea?") alternating with
+chorus. It is followed by a slow movement for alto solo and chorus
+("Therefore the Redeemed of the Lord shall return"), which closes very
+gracefully and tenderly on the words, "Sorrow and Mourning shall flee
+away." This little work has become a favorite with singing societies, by
+the scholarly and effective manner in which it is written.
+
+
+
+
+                               RANDEGGER.
+
+
+Alberto Randegger was born at Trieste, April 13, 1832, and began the
+study of music at an early age with Lafont and Ricci. In his twentieth
+year he had written numerous minor pieces of church music, several masses
+and two ballets which were produced with success in his native city. From
+1852 to 1854 he was engaged as a conductor in the theatres of Fiume,
+Zera, Brescia, and Venice. In the latter year he brought out a grand
+opera in Brescia, called "Bianca Capello," shortly after which he went to
+London, where he has since resided and made a world-wide reputation as a
+teacher. In 1857 he conducted Italian opera at St. James's Theatre; in
+1864 brought out a comic opera, "The Rival Beauties," at the Theatre
+Royal, Leeds; in 1868 was appointed Professor of Singing at the Royal
+Academy of Music, in which he has since become a director; in 1879-80 was
+conductor for the Carl Rosa English Opera Company at Her Majesty's
+Theatre, London; and has since been appointed conductor of the Norwich
+Festival in the place of Benedict. His principal works, besides those
+already mentioned, are: "Medea," a scena, sung by Madame Rudersdorff at
+the Gewandhaus, Leipsic (1869); the One hundred and fiftieth Psalm, for
+soprano solo, chorus, orchestra, and organ (1872); cantata, "Fridolin"
+(1873); soprano scena, "Saffo" (1875); funeral anthem for the death of
+the Prince Consort; and a large number of songs which are great favorites
+on the concert-stage.
+
+
+                                Fridolin.
+
+"Fridolin, or the Message to the Forge" was written for the Birmingham
+Triennial Musical Festival of 1873. The words, by Mme. Erminia
+Rudersdorff, are founded on Schiller's ballad, "Der Gang nach dem
+Eisenhammer." The _dramatis personæ_ are Waldemar, Count of Saverne;
+Eglantine, Countess of Saverne; Fridolin, page to the Countess; and
+Hubert, squire to the Count. The story closely follows that of Schiller.
+The preface to the piano score gives its details as follows:--
+
+   "Fridolin and Hubert are in the service of the Count of Saverne.
+  Hubert, aspiring to win the affections of his beautiful mistress,
+  conceives a violent hatred of Fridolin, whom he regards as an obstacle
+  in his path. Taking advantage of Fridolin's loyal devotion to the
+  Countess, Hubert excites the jealousy of the Count, and prompts a stern
+  revenge. The Count forthwith writes to some mechanic serfs, ordering
+  that whoever comes asking a certain question shall be at once thrown
+  into their furnace. Fridolin, innocent of wrong and unconscious of
+  danger, receives the 'message to the forge;' but, ere setting out, he
+  waits upon his mistress for such commands as she might have to give.
+  The Countess desires him to enter the chapel he would pass on his way
+  and offer up a prayer for her. Fridolin obeys, and thus saves his own
+  life; but vengeance overtakes the traitor Hubert, who, going to the
+  forge to learn whether the plot has succeeded, himself asks the fatal
+  question, 'Is obeyed your lord's command?' and himself becomes the
+  victim. Fridolin subsequently appears, and is about to perish likewise,
+  when the Count and Countess, between whom explanations have taken
+  place, arrive on the scene, to preserve the innocent and to learn the
+  fate of the guilty."
+
+The cantata opens with a short but stirring prelude, introducing the
+declamatory prologue-chorus:--
+
+  "A pious youth was Fridolin,
+    Who served the Lord with zeal,
+  And did his duty faithfully,
+    Come thereby woe or weal.
+  For this when subtle foe conspired
+    And sought o'er him to boast,
+  About his path in direst need
+    Kept guard the angel host."
+
+The cantata proper opens with a recitative by Fridolin ("Arising from the
+Lap of star-clad Night"), leading up to the quiet, dreamy air, "None but
+holy, lofty Thoughts." It is followed by a bass scena for Hubert
+("Proceed thou, hateful Minion, on thy Path") which opens in an agitated
+manner, but grows more reposeful and tender in style as the subject
+changes in the passage, "For one kind Glance from out those Eyes divine."
+Again the scena changes and becomes vigorous in the recitative,
+"Dispelled by jealous Rage is Hope's fond Dream," set to an imposing
+accompaniment, and leading to a brilliant fiery allegro ("A thousand
+hideous Deaths I'd make him die"). The next number is a very graphic and
+spirited hunting-chorus ("Hark! the Morn awakes the Horn"), introduced
+and accompanied by the horns, and full of breezy, out-door feeling. A
+long dialogue follows between Hubert and the Count, somewhat gloomy in
+character, in which the former arouses his master's jealous suspicions.
+The gloom still further deepens as Hubert suggests the manner of
+Fridolin's death ("Mid yon gloomy Mountains"). Then follows the message
+to the forge by the Count in monotone phrases ("Mark, ye Serfs, your
+Lord's Commands") and the scene closes with a very dramatic duet ("Death
+and Destruction fall upon his Head"). In striking contrast with these
+stormy numbers comes the charming, graceful chorus of the handmaidens
+("Calmly flow the equal Hours"), followed by a very expressive song for
+the Countess ("No Bliss can be so great"). A short scene in recitative
+leads up to a tender duet ("Above yon Sun, the Stars above") for Fridolin
+and the Countess, closing with a powerful quartet for the four principal
+parts ("Now know I, Hubert, thou speakest true").
+
+The ninth scene is admirably constructed. It opens with an animated and
+picturesque dance and chorus of villagers ("Song is resounding, Dancers
+are bounding"), which swings along in graceful rhythm until it is
+interrupted by a solemn phrase for organ, introduced by horns, which
+prepares the way for a chorale ("Guardian Angels sweet and fair"),
+closing with Fridolin's prayer at the shrine, interwoven with a beautiful
+sacred chorus ("Sancta Maria, enthroned above"). In a recitative and
+ballad ("The wildest Conflicts rage within my fevered Soul") the Count
+mourns over what he supposes to be the infidelity of his wife, followed
+by a long and very dramatic scene with the Countess ("My Waldemar, how
+erred thine Eglantine?"). The last scene is laid at the forge, and after
+a short but vigorous prelude opens with a chorus of the smiths ("Gift of
+Demons, raging Fire"), in which the composer has produced the effect of
+clanging anvils, roaring fire, and hissing sparks with wonderful realism.
+The chorus closes with passages describing the providential rescue of
+Fridolin and the fate of Hubert, and an _andante religioso_ ("Let your
+Voices Anthems raise"). The epilogue is mainly choral, and ends this very
+dramatic work in broad flowing harmonies.
+
+
+
+
+                              RHEINBERGER.
+
+
+Joseph Gabriel Rheinberger was born at Vaduz, in Lichtenstein, March 17,
+1839, and displayed his musical talent at a very early age. He studied
+the piano in his fifth year, and in his seventh was organist in the
+church of his native place. At the age of twelve he entered the Munich
+Conservatory, where he remained as a scholar until he was nineteen, when
+he was appointed one of its teachers; at the same time he became organist
+at the Hofkirche of St. Michael, and afterwards director of the Munich
+Oratorio Society. In 1867 he was appointed professor and inspector of the
+Royal Music School, and since 1877 has been the royal Hofkapellmeister,
+directing the performances of the Kapellchor, an organization similar to
+that of the Berlin Domchor. He is a very prolific composer, nearly two
+hundred works having proceeded from his pen. Among them are the
+"Wallenstein" and "Florentine" symphonies; a Stabat Mater; two operas,
+"The Seven Ravens" and "Thürmer's Töchterlein;" incidental music to a
+drama of Calderon's; a symphony-sonata for piano; a requiem for the dead
+in the Franco-German war; theme and variations for string quartet; a
+piano concerto; five organ sonatas; the choral works, "Toggenburg,"
+"Klärchen auf Eberstein," "Wittekind," and "Christophorus;" and a large
+number of songs and church pieces, besides much chamber music.
+
+
+                             Christophorus.
+
+"Christophorus," a legend, as Rheinberger calls it, was written in 1879,
+and is composed for barytone, soprano, and alto solos, chorus, and
+orchestra. Its subject is taken from the familiar story of the giant who
+bore the infant Christ across the flood. The chorus acts the part of
+narrator, and in its opening number relates the legend of Christophorus'
+wanderings and his arrival before the castle whose master he would serve.
+He offers his services, but when they are accepted as an offering from
+the gods he haughtily declares that he only serves "for fame and
+chivalry." A voice thereupon in an impressive solo ("Trust not this
+loud-voiced Stranger") warns him away as an envoy of Satan, and the
+chorus repeats the warning. The giant departs with the intention of
+drawing his sword in Satan's cause,--
+
+  "For he alone must be lord of all,
+  Whose name doth so valiant a monarch appall."
+
+In a very picturesque number the chorus describes his wanderings among
+the mountain crags and rocks where Satan weaves his spells about him; and
+then suddenly changing to a tender, delicate strain ("Over us Stars
+shine") anticipates the Voice, which in a sensuous aria ("Who is the
+sovereign Lord of the Heart?") sings the power of love. In graceful
+chorus the spirits taunt him, whereupon he once more resolves to fly and
+to abandon the cause of Satan, but is thwarted by them. A weird chorus
+closes the first part ("Satan a-hunting is gone"), ending with an
+impressive strain:--
+
+  "Stormily falleth the night:
+  Frightened maidens fleeing,
+  Demon hordes all around.
+  'A cross, see, upraised!
+  Fly, master! too far we have come.
+  Hallowed is the ground.'"
+
+The second part opens with a reflective soliloquy by the giant, followed
+by a plaintive chorus ("All now is lone and silent") describing the
+suffering of our Saviour on the cross and the sadness of a hermit gazing
+upon the scene. The giant approaches the latter, and a dialogue ensues
+between them, in which the identity of the victim on the cross is
+revealed. Having found the King of the universe, Christophorus determines
+to devote himself to His cause, and inquires how he may serve Him. He is
+informed he must go to the swiftly-rolling river and carry the pilgrims
+across. A chanting chorus ("As flows the River seawards, so onward glide
+the Years") describes the work of the faithful toiler. Then comes a voice
+calling him, and he beholds an Infant waiting for him. He takes Him upon
+his shoulders and bears Him into the flood, but as he advances, bends and
+struggles beneath his load "as though the whole world he bore." He
+inquires the meaning, and the Voice replies:--
+
+  "Thou bear'st the world and bearest its Creator:
+  This Child is Jesus, God's own Son.
+  Soldier of Christ!
+  Thine arms were charity and mercy,
+  The arms of love.
+  Now mayst rejoice:
+  The prize of thy faith is won."
+
+A joyful, exultant chorus, ("Blessed of Rivers, the Child embrace")
+closes this very graceful little "legend."
+
+
+                               Toggenburg.
+
+"Toggenburg," a cycle of ballads, was written in 1880. The music is for
+solos and mixed chorus, the ballads being linked together by motives,
+thus forming a connected whole. The story is a very simple one. The
+bright opening chorus ("At Toggenburg all is in festive Array") describes
+the pageantry which has been prepared to welcome the return of Henry,
+Knight of Toggenburg, with his fair young Suabian bride, the Lady Etha.
+The chorus is followed by a duet and alto or barytone solo, which
+indicate the departure of the Knight for the wars, and the Lady Etha's
+loss of the wedding ring. The next number, a solo quartet and chorus
+("Ah! Huntsman, who gave thee the Diamond Ring?"), is very dramatic in
+its delineation of the return of the victorious Knight, who, observing
+the ring on the finger of the huntsman, slays him, and then in a fit of
+jealousy hurls the Lady Etha from the tower where she was waving his
+welcome. The next number is a female chorus ("On mossy Bed her gentle
+Form reposes"), very slow in its movement and plaintive in character. It
+is followed by a weird and solemn chorus ("Through the Night rings the
+Horn's Blast with Power"), picturing the mad ride of the Knight through
+the darkness, accompanied by the dismal notes of ravens and mysterious
+sounds like "greetings from the dead," which only cease when he discovers
+the corpse of his lady with the cross on its breast. A short closing
+chorus, funereal in style, ends the mournful story:--
+
+  "Toggenburg all is in mourning array,
+    The banners wave, the gate stands wide,
+  Count Henry returns to his home this day,
+    In death he anew has won his bride.
+  Once more for their coming the hall is prepared,
+    Where flickering tapers are ranged around,
+  And far through the night in the valley are heard
+    The chants of the monks with their mournful sound."
+
+Though the work has somewhat both of the Schumann and Mendelssohn
+sentiment in it, it is nevertheless original and characteristic in
+treatment. The melodies are pleasing throughout, and cover a wide range
+of expression, reaching from the tenderness of love to the madness of
+jealousy, and thence on to the elegiac finale.
+
+
+
+
+                                ROMBERG.
+
+
+Andreas Romberg was born April 27, 1767, at Vechte, near Münster. At a
+very early age he was celebrated as a violinist. In his seventeenth year
+he made a _furor_ by his playing at the Concerts Spirituels, Paris. In
+1790, with his cousin Bernhard, who was even more celebrated as a
+violoncellist (indeed the Rombergs, like the Bachs, were all musicians),
+he played in the Elector's band, and also went with him to Rome, where
+the cousins gave concerts together under the patronage of one of the
+cardinals. During the next four years Andreas travelled in Austria and
+France, and during his stay at Vienna made the acquaintance of Haydn, who
+was very much interested in his musical work. In 1800 he brought out an
+opera in Paris which made a failure. He then left for Hamburg, where he
+married and remained many years. In 1820 he was appointed court
+capellmeister at Gotha, and died there in the following year. Among his
+compositions are six symphonies; five operas, "Das graue Ungeheuer," "Die
+Macht der Musik," "Der Rabe," "Die Grossmuth des Scipio," and "Die Ruinen
+zu Paluzzi;" and several cantatas, quartets, quintets, and church
+compositions. Of all his works, however, his "Lay of the Bell" is the
+best known. A few years ago it was the stock piece of nearly every choral
+society in Germany, England, and the United States; and though now
+relegated to the repertory of old-fashioned music, it is still very
+popular.
+
+
+                            Lay of the Bell.
+
+The "Lay of the Bell" was composed in 1808, the music being set to
+Schiller's famous poem of the same name, whose stately measures are well
+adapted to musical treatment. It opens with a bass solo by the Master,
+urging on the workmen:--
+
+  "In the earth right firmly planted,
+    Stands well baked the mould of clay:
+  Up, my comrades, be ye helpful;
+    Let the bell be born to-day."
+
+The full chorus responds in a rather didactic strain ("The Labor we
+prepare in Earnest"), and as it closes the Master gives his directions
+for lighting the fire in the furnace and mixing the metals. In this
+manner the work progresses, the Master issuing his orders until the bell
+is ready for the casting, the solo singers or chorus replying with
+sentiments naturally suggested by the process and the future work of the
+bell. The first of these responses is the chorus, "What in the Earth
+profoundly hidden," a smoothly flowing number followed by a soprano solo
+("For with a Burst of joyous Clangor"), a pleasantly-rippling melody
+picturing the joys of childhood, and a spirited tenor solo ("The Youth,
+Girl-playmates proudly leaving") indicating the dawn of the tender
+passion which broadens out into love, as the two voices join in the
+charming duet, "O tender Longing, Hope delightsome." The bass still
+further emphasizes their delight in the recitative, "When stern and
+gentle Troth have plighted," leading up to a long but interesting tenor
+solo ("Though Passion gives way") which describes the homely joys of
+domestic life. The male chorus thereupon takes up the story in a joyful
+strain ("And the good Man with cheerful Eye"), and tells us of the
+prosperity of the happy pair and the good man's boast,--
+
+  "Firm as the solid earth,
+  Safe from misfortune's hand,
+  Long shall my dwelling stand;"
+
+to which comes the ominous response of the female chorus:--
+
+  "Yet none may with Fate supernal
+  Ever form a league eternal;
+  And misfortune swiftly strides."
+
+The Master now gives the signal to release the metal into the mould,
+whereupon follows a stirring and picturesque chorus ("Right helpful is
+the Might of Fire") describing the terrors of fire, the wild alarm, the
+fright and confusion of the people, the clanging bells and crackling
+flames, and the final destruction of the homestead, closing the first
+part.
+
+The second part opens with the anxious orders of the Master to cease from
+work and await the result of the casting. The chorus takes up a slow and
+stately measure ("To Mother Earth our Work committing") which closes in a
+mournful finale describing the passing funeral train, followed by a
+pathetic soprano solo which tells the sad story of the death of the good
+man's wife, while "To the orphaned Home a Stranger comes unloving Rule to
+bear." The scene now changes from a desolate to a happy home as the
+Master bids the workmen seek their pleasure while the bell is cooling. A
+soprano solo takes up a cheery strain ("Wends the weary Wanderer"),
+picturing the harvest home, the dance of the youthful reapers, and the
+joys of evening by the fireside, followed by a tribute to patriotism,
+sung by tenor and bass, the pleasant scene closing with an exultant full
+chorus ("Thousand active Hands combining"). The Master then gives the
+order to break the mould, and in contemplation of the ruin which might
+have been caused had the metal burst it, the chorus breaks out in strong,
+startling phrases picturing the horrors of civil strife ("The Master's
+Hand the Mould may shatter"). The work, however, is complete and
+successful, and in the true spirit of German Gemüthlichkeit the Master
+summons his workmen:--
+
+  "Let us, comrades, round her pressing,
+  Upon our bell invoke a blessing.
+  'Concordia,' let her name be called:
+  In concord and in love of one another,
+  Where'er she sound, may brother meet with brother."
+
+The cantata closes with a last invocation on the part of the Master,
+followed by a jubilant chorus ("She is moving, She is moving").
+
+
+
+
+                                SCHUBERT.
+
+
+Franz Peter Schubert was born in Vienna, Jan. 31, 1797, and received his
+first musical lessons from his father and his elder brother Ignaz. In his
+eleventh year he sang in the Lichtenthal choir and shortly afterwards
+entered the Imperial Convict School, where for the next three or four
+years he made rapid progress in composition. In 1813 he returned home,
+and to avoid the conscription entered his father's school as a teacher,
+where he remained for three years, doing drudgery but improving his
+leisure hours by studying with Salieri and devoting himself assiduously
+to composition. His life had few events in it to record. It was devoted
+entirely to teaching and composition. He wrote in almost every known form
+of music, but it was in the Lied that he has left the richest legacy to
+the world, and in that field he reigns with undisputed title.
+Unquestionably many of these songs were inspirations, like the "Erl
+King," for instance, which came to him in the midst of a carousal. The
+most famous of them are to be found in the cycluses "Müllerlieder," "Die
+Gesänge Ossians," "Die Geistlichen Lieder," "Die Winterreise," and "Der
+Schwanengesang." They are wonderful for their completeness, their
+expression of passion, their beauty and grace of form, the delicacy of
+their fancy, and their high artistic finish. Among the other great works
+he has left are the lovely "Song of the Spirits over the Water," for male
+voices; "Die Allmacht;" "Prometheus;" "Miriam's War Song;" the eight-part
+chorus "An den Heiligen Geist;" the "Momens Musicale;" impromptus and
+Hungarian fantasies for piano; the sonatas in C minor and B flat minor;
+nine symphonies, two of them unfinished; the trios in B flat and E flat;
+the quartets in D minor and G major; the quintet in C; two operas,
+"Alfonso and Estrella" and "Fierrabras;" the mass in G, which he wrote
+when but eighteen years of age, and the mass in E flat, which was his
+last church composition. His catalogued works number over a thousand. He
+died Nov. 19, 1828, and his last wish was to be buried by the side of
+Beethoven, who on his death-bed had recognized "the divine spark" in
+Schubert's music. Three graves only separate the great masters of the
+Symphony and the Lied in the cemetery of Währing.
+
+
+                           Miriam's War Song.
+
+The majestic cantata, "Miriam's War Song," was written in March, 1828,
+the last year of Schubert's life,--a year which was rich, however, in the
+productions of his genius. The beautiful symphony in C, the mass in E
+flat, the string quartet in C, the three piano sonatas dedicated to
+Schumann, the eight-voiced "Hymn to the Holy Ghost," the 92d Psalm, a
+"Tantum Ergo," and several songs, among them "Am Strom," "Der Hirt auf
+den Felsen," and a part of the "Schwanengesang," all belong to this year.
+The authorities differ as to the time of the first performance of
+"Miriam's War Song." Nottebohm in his catalogue says that it was first
+sung at a concert, Jan. 30, 1829, given for the purpose of raising funds
+to erect a monument in memory of the composer, who died on the 19th of
+the previous November. Others assert that Schubert was induced to give a
+concert, March 26, 1828, the programme being composed entirely of his own
+music, and that it was first heard on that occasion.
+
+The work is for soprano solo and chorus, the words by the poet
+Grillparzer, and the accompaniment, for the piano, as Schubert left it.
+He had intended arranging it for orchestra, but did not live to complete
+it. The work, however, was done a year or two afterwards by his friend
+Franz Lachner, at that time officiating as Capellmeister at the
+Kärnthnerthor Theatre in Vienna.
+
+The theme of the cantata is Miriam's hymn of praise for the escape of the
+Israelites, and the exultant song of victory by the people, rejoicing not
+alone at their own delivery but at the destruction of the enemy. It opens
+with a spirited and broad harmony, "Strike the Cymbals," changing to a
+calm and graceful song, describing the Lord as a shepherd leading his
+people forth from Egypt. The next number, depicting the awe of the
+Israelites as they passed through the divided waters, the approach of
+Pharaoh's hosts, and their destruction, is worked up with great power. As
+the sea returns to its calm again, the opening chorus is repeated,
+closing with a powerful fugue. The cantata is short, but it is a work of
+imperishable beauty.
+
+
+
+
+                                SCHUMANN.
+
+
+Robert Schumann was born at Zwickau, in Saxony, June 8, 1810. In his
+earliest youth he was recognized as a child of genius. His first teacher
+in music was Baccalaureus Kuntzch, who gave him piano instruction. He
+studied the piano with Wieck, whose daughter Clara he subsequently
+married, now world-famous as a pianist. In 1830, in which year his
+artistic career really opened, he began the theoretical study of music,
+first with Director Kupsch in Leipsic and later with Heinrich Dorn, and
+at the same time entered upon the work of composition. Schumann was not
+only a musician but an able critic and graceful writer; and in 1834, with
+Schunke, Knorr, and Wieck, he founded the "Neue Zeitschrift für Musik,"
+which had an important influence upon musical progress in Germany, and in
+which the great promise of such musicians as Chopin and Brahms was first
+recognized. He married Clara Wieck in 1840, after much opposition from
+her father; and in this year appeared some of his best songs, including
+the three famous cycluses, "Liederkreis," "Woman's Life and Love," and
+"Poet's Love," which now have a world-wide fame. In the following year
+larger works came from his pen, among them his B minor symphony,
+overture, scherzo, and finale in E major, and the symphony in D minor.
+During this period in his career he made many artistic journeys with his
+wife, which largely increased the reputation of both. In 1843 he
+completed his great "romantic oratorio," "Paradise and the Peri," set to
+Moore's text, and many favorite songs and piano compositions, among them
+the "Phantasiestücke" and "Kinderscenen," and his elegant piano quintet
+in E flat. In 1844, in company with his wife, he visited St. Petersburg
+and Moscow, and their reception was a royal one. The same year he
+abandoned his "Zeitschrift," in which "Florestan," "Master Raro,"
+"Eusebius," and the other pseudonyms had become familiar all over
+Germany, and took the post of director in Düsseldorf, in the place of
+Ferdinand Hiller. During the last few years of his life he was the victim
+of profound melancholy, owing to an affection of the brain, and he even
+attempted suicide by throwing himself into the Rhine. He was then removed
+to an asylum at Endenich, where he died July 20, 1856. The two men who
+exercised most influence upon Schumann were Jean Paul and Franz Schubert.
+He was deeply pervaded with the romance of the one and the emotional
+feeling of the other. His work is characterized by genial humor, a rich
+and warm imagination, wonderfully beautiful instrumentation, especially
+in his accompaniments, the loftiest form of expression, and a rigid
+adherence to the canons of art.
+
+
+                              Advent Hymn.
+
+In a letter to Strakerjan, Schumann writes:--
+
+  "To apply his powers to sacred music is the artist's highest aim. But
+  in youth we are all very firmly rooted to earth, with its joys and
+  sorrows; in old age the twigs tend upwards. And so I hope that that day
+  may not be too far distant from me."
+
+The first of his works indicated in the above words to his friend was the
+"Advent Hymn," written in 1848, based upon Rückert's poem. It was
+followed later by a requiem and a mass, these comprising his only sacred
+music.
+
+The "Advent Hymn" describes the entry of Christ into Jerusalem,
+reflectively considers his peaceful career as compared with that of
+earthly kings, and appeals to His servants to bear tidings of Him
+throughout the world, closing with a prayer that He will bring His peace
+to all its people. It is a hymn full of simple devotion and somewhat
+narrow in its limitations; but Schumann has treated it with all the
+dignity and breadth of the oratorio style. It opens with a melodious
+soprano solo ("In lowly Guise thy King appeareth"), with choral responses
+by sopranos and altos, leading to an effective five-part chorus ("O King
+indeed, though no Man hail Thee"), begun by first and second tenors and
+basses, and closing in full harmony with the added female voices. The
+soprano voice again announces a subject ("Thy Servants faithful, Tidings
+bearing"), which is taken up by full chorus, in somewhat involved form,
+though closing in plain harmony. The third number ("When Thou the stormy
+Sea art crossing") is given out by the soprano and repeated by the female
+chorus with a charming pianissimo effect. A few bars for male chorus
+("Lord of Grace and Truth unfailing") lead into full chorus. The fifth
+number ("Need is there for Thyself returning"), also choral, is very
+elaborately treated with interchanging harmonies and bold rhythms,
+leading up to the final choruses, which are very intricate in
+construction, but at the close resolve into a double chorus of great
+power and genuine religious exaltation.
+
+There are other works of Schumann's which are more or less in the cantata
+form, such as "The King's Son," op. 116, set to a ballad of Uhland's;
+"The New Year's Song," op. 144, poem by Rückert; "The Luck of Edenhall,"
+op. 143, poem by Uhland; "Of the Page and the King's Daughter," op. 140,
+poem by Geibel; the "Spanish Love Song," op. 138; the "Minnespiel," op.
+101; and the "Ritornelle," op. 65.
+
+
+                       The Pilgrimage of the Rose.
+
+"The Pilgrimage of the Rose," for solo and chorus, with piano
+accompaniment, twenty-four numbers, was written in the spring of 1851,
+and was first performed May 6, 1852, at a Düsseldorf subscription
+concert. The story is taken from a somewhat vapid fairy-tale by Moritz
+Horn, and has little point or meaning. It turns upon the commonplace
+adventures of a young girl whose origin is disclosed by a rose which was
+never to fall from her hand.
+
+The principal numbers are the opening song, a joyous hymn to spring, in
+canon form, for two sopranos; the dancing choruses of the elves, for two
+sopranos and alto; the male chorus, "In the thick Wood," which is very
+effective in harmony; the exultant bridal songs, "Why sound the Horns so
+gayly?" and "Now at the Miller's;" the duet, "In the smiling Valley, 'mid
+the Trees so green;" the Grave Song; the quartet, "Oh, Joy! foretaste of
+Heaven's Rest;" and the duet, "I know a blushing Rosebud."
+
+The work as a whole has never attained the popularity of his "Paradise
+and the Peri," though detached numbers from it are frequently given with
+great success. The inadequacy of the poem has much to do with this; and
+it must also be remembered that it was written at a time when Schumann's
+powers had begun to weaken under the strain of the mental disorder which
+finally proved fatal. Reissmann, in his analysis of the work, says:--
+
+  "The man who had hitherto refused to allow even the simplest
+  composition to flow from any but a distinct idea, who constantly strove
+  to enter into relations with some distinct movement of the heart or the
+  imagination, here grasped at a poem utterly destitute of any rational
+  fundamental idea, and so arbitrary in execution, so tasteless in parts,
+  that the musical inspiration it offered could never have moved any
+  other composer to set it to music."
+
+
+                          The Minstrel's Curse.
+
+"The Minstrel's Curse," for solo voice, chorus and orchestra, was written
+in 1852, and first performed in the same year. Its text is based upon
+Uhland's beautiful ballad of the same name, which was adapted for the
+composer by Richard Pohl. The libretto shows numerous variations from the
+original text. Some of the verses are literally followed, others are
+changed, and many new songs and motives are introduced. Several of
+Uhland's other ballads are assigned to the minstrel, the youth, and the
+queen, among them "Die Drei Lieder," "Entsagung," and "Hohe Liebe," as
+well as extracts from "Rudello," "Lied des Deutschen Sängers," "Gesang
+und Krieg," and "Das Thal." Instead of the beautiful verse in the
+original poem:--
+
+  "They sing of spring and love, of happy golden youth,
+  Of freedom, manly worth, of sanctity and truth.
+  They sing of all emotions sweet the human breast that move,
+  They sing of all things high the human heart doth love.
+  The courtly crowd around forget to sneer and nod,
+  The king's bold warriors bow before their God.
+  The queen, to pleasure and to melancholy willing prey,
+  Down to the singers casts the rose which on her bosom lay,"--
+
+which leads up to the tragedy, it is the singing of the "Hohe Liebe"
+which is made the motive by Pohl, who from this point on follows the
+story as told by Uhland.
+
+The work contains fourteen numbers. The first two verses, describing the
+castle and its haughty monarch, are sung by the narrator, and are
+followed by an alto solo, very bright and joyous in style, which tells of
+the arrival of the two minstrels. The fourth number is a Provençal song,
+full of grace and poetical feeling, sung by the youth, followed by full
+chorus. The King angrily interposes in the next number, "Enough of Spring
+and Pleasure," whereupon the harper sings a beautiful ballad interpolated
+by the librettist. The queen follows with a quiet, soothing strain,
+appealing for further songs, and in reply the youth and harper once more
+sing of spring. The youth's powerful song of love, which changes to a
+trio in the close, the queen and harper joining, indicates the coming
+tragedy, and from this number on the chorus follows the story as told by
+Uhland, with great power and spirit. The general style of the work is
+declamatory, but in many of its episodes the ballad form is used with
+great skill and effect.
+
+
+
+
+                                 SINGER.
+
+
+Otto Singer was born in Saxony, July 26, 1833, and attended the Leipsic
+Conservatory from 1851 to 1855, studying with Richter, Moscheles, and
+Hauptmann. In 1859 he went to Dresden and for two years thereafter
+studied with Liszt, of whom he was not only a favorite scholar but always
+a most zealous advocate. In 1867 he came to this country to take a
+position in the Conservatory at New York, then under the direction of
+Theodore Thomas and William Mason. In 1873, upon Mr. Thomas's suggestion,
+he went to Cincinnati and became the assistant musical director of the
+festival chorus of that city, a position which he filled with eminent
+ability for several years. At the festival of 1878 he conducted the first
+performance of Liszt's "Graner Mass" in this country, and also his own
+"Festival Ode" set to a poem by F. A. Schmitt, and written to commemorate
+the dedication of the new Music Hall. In the same year the Cincinnati
+College of Music was organized, and he was engaged as one of the
+principal instructors, a position which he still holds, and in which he
+has displayed signal ability. Mr. Singer has written many compositions
+for piano and orchestra, and besides his "Festival Ode," the cantata
+"Landing of the Pilgrims" (1876).
+
+
+                      The Landing of the Pilgrims.
+
+"The Landing of the Pilgrims," written in 1876, was Mr. Singer's
+Centennial offering to the patriotic music of that year. The text of the
+cantata is the familiar poem written by Mrs. Felicia Hemans, which was
+first set to music by her own sister, Miss Browne, though in somewhat
+different style from this work of the modern school.
+
+The cantata opens with an instrumental prelude which gives out the
+principal motive as we afterwards find it set to the words, "With their
+Hymns of lofty Cheer;" and truly lofty cheer it is, that antique, strong
+melody. Breathed softly at first, as from afar, it is repeated after a
+rapid crescendo with the whole weight of the orchestra, to melt away
+again on an organ point in more subdued tone-color. In the second
+movement (andante) it appears in quadruple time, augmented in its cadence
+by a chromatic harmony which serves well to enrich the working-up of this
+fine piece of orchestral writing. A short interlude containing the germ
+of a second theme, which afterwards appears at the words, "This was their
+Welcome Home," now prepares the entrance of the voices. To the words,
+"The breaking Waves dashed high," the basses and tenors give out the
+first motive, and after declaiming the stormy opening lines of the poem
+break forth in unison with "When a Band of Exiles moored their Bark on
+the wild New England Shore." The time again changing, the composer very
+happily contrasts the phrases, "Not as a Conqueror comes" and "They the
+true-hearted came." Soon, however, the ever-pliable principal theme falls
+into a martial stride, and a very effective setting of the words, "Not
+with the Roll of stirring Drums," concludes the opening male chorus. Here
+follows the Centennial Hymn as given out in the beginning, sung first by
+an alto voice, and repeated by the full chorus of mixed voices. After the
+close, the orchestra, dreaming along in the spell, as it were, seems to
+spiritualize the sturdy Pilgrim Fathers into meek Pilgrims of the
+Cross,--a piece of exquisite tenderness, Liszt-Wagnerish, and yet
+beautiful. After some alto recitatives and short choral phrases, the
+leading theme once more enters with heavy martial step to the words,
+"There was Manhood's Brow," etc. The musical setting of the question,
+"What sought they?" etc., is cast in simpler form, and the response,
+"They sought a Faith's pure Shrine," is given in six measures, _a
+capella_, for five voices. This brings us to the last movement, _andante
+maestoso_. The leading motive, now contracted into one measure, is tossed
+about in the double basses as on the waves of a heavy surf until it
+reaches the climax on the words "Freedom to worship God." The cantata
+forms a valuable addition to our musical literature, and was first sung
+by the Cincinnati Harmonic Society, of which Mr. Singer was leader at the
+time.
+
+
+
+
+                                 SMART.
+
+
+Henry Smart, one of the most prominent of the modern English composers,
+was born in London, Oct. 26, 1813. Though almost entirely self-taught, he
+soon made his mark as a musician of more than ordinary ability. For many
+years he was principally known as an organist and organ-writer. He wrote
+numerous compositions for that instrument, which are still largely in
+use, and from 1836 to 1864 was famous in London for his contributions to
+the church service. In 1855 his opera, "Bertha, or the Gnome of
+Hartzburg," was produced with success in that city. Among his festival
+works were the cantatas, "The Bride of Dunkerron," for Birmingham (1864);
+"King René's Daughter" and "The Fishermaidens," for female voices (1871);
+the sacred cantata "Jacob," for Glasgow (1873); and two anthems for
+solos, chorus, and organ, for the London Choral Choirs' Association
+Festivals of 1876 and 1878. As a writer of part-songs he has also
+achieved a wide reputation. Grove states that he also was "a very
+accomplished mechanic, and had he taken up engineering instead of music,
+would no doubt have been successful. As a designer of organs he was often
+employed." Shortly after 1864 he lost his sight and thereafter composed
+entirely by dictation. His services for music secured him a government
+pension in June, 1879, but he did not live to enjoy it, dying July 6 of
+the same year.
+
+
+                         The Bride of Dunkerron.
+
+"The Bride of Dunkerron," words by Frederick Enoch, was written for the
+Birmingham Festival of 1864, and is based upon a tradition, the scene
+located at the Castle of Dunkerron, on the coast of Kerry, which has also
+been made the subject of a ballad by Crofton Croker. The story is a very
+simple one. The Lord of Dunkerron becomes enamoured of a sea-maiden, and
+as she is unable to leave her element he follows her to her abode. She
+seeks the Sea-King to obtain his consent to their union, but returns to
+her lover with the sad message that she is doomed to death for loving a
+mortal. He in turn is driven from the Sea-King's realm, and is cast back
+by the tempest to the shores of the upper world; and the work closes with
+the laments of the sea-spirits for the maiden, and of the serfs for their
+master.
+
+After an expressive orchestral introduction the cantata opens with a
+chorus of the serfs (tenors and basses) ("Ere the Wine-cup is dry"),
+followed by a very romantic chorus of sea-maidens, the two at times
+interwoven and responsive,--the one describing Lord Dunkerron's nightly
+vigils on the seashore, and the other the melody of the maidens which
+tempts him. A charming orchestral intermezzo, full of the feeling of the
+sea, ensues, and is followed by recitative and aria ("The full Moon is
+beaming") for Dunkerron, which is very simple in style but effective as a
+song, even apart from its setting. It leads up to another chorus of the
+sea-maidens ("Let us sing, the moonlit Shores along") and a long love
+dialogue between Dunkerron and the Maiden. The next number is a very
+spirited and picturesque chorus ("Down through the Deep") describing the
+passage of the lovers to the Maiden's home, which is followed by a
+sturdy, sonorous recitative and aria for bass voice ("Oh, the Earth is
+fair in Plain and Glade") sung by the Sea-King. Two very attractive
+choruses follow, the first ("O Storm King, hear us") with a solo for the
+Sea-King, and the second ("Hail to thee, Child of the Earth") by the
+sea-maidens. Another graceful melody, "Our Home shall be on this bright
+Isle," is assigned to the Maiden, leading to a duet with Dunkerron, in
+which she announces her departure to obtain the Sea-King's consent to
+their union. A chorus of the storm-spirits ("Roar, Wind of the Tempest,
+roar") indicates her doom and leads up to the finale. A powerful trio for
+the Maiden, Dunkerron, and Sea-King, followed by the angry commands of
+the latter ("Hurl him back!"), tells of the death of the lovers, and the
+work closes as it opened, with the intermingled choruses of serfs and
+sea-maidens, this time, however, full of lamentation over the sad
+tragedy.
+
+
+                          King René's Daughter.
+
+"King René's Daughter," a cantata for female voices only, the poem by
+Frederick Enoch, was written in 1871. The story is freely adapted from
+Henrik Hertz's lyric drama. Iolanthe, the daughter of King René, Count of
+Provence, was betrothed in her infancy to the son of the Count of
+Vaudemont. When but a year old she was stricken with blindness. She has
+been reared in ignorance of her affliction by a strict concealment from
+her of all knowledge of the blessings of sight. A wandering magician
+agrees to cure her by the use of an amulet, provided she is first
+informed of the existence of the missing sense; but her father refuses
+permission. Her betrothed has never seen her, but wandering one day
+through the valley of Vaucluse, singing his troubadour lays, he beholds
+her, and is captivated by her beauty. His song reveals to her the faculty
+of which she has been kept in ignorance, and the magician, his condition
+thus having been fulfilled, restores her to sight.
+
+The work is divided into thirteen numbers, the solo parts being Iolanthe
+(soprano), Martha (mezzo-soprano), and Beatrice (contralto). In the third
+number another soprano voice is required in a trio and chorus of
+vintagers; and in the sixth number, a soprano and contralto in the
+quartet, which acts the part of narrator, and tells of the troubadour's
+rose song to Iolanthe. It is unnecessary to specify the numbers in
+detail, as they are of the same general character,--smooth, flowing, and
+graceful in melody throughout. The most striking of them are No. 3, trio
+and chorus ("See how gay the Valley shines"); No. 5, arietta for Martha
+("Listening to the Nightingales"); No. 6, quartet ("Who hath seen the
+Troubadour?"); No. 8, Iolanthe's song ("I love the Rose"); No. 11, duet
+and chorus ("Sweet the Angelus is ringing"); and the finale, with the
+jubilant chorus:--
+
+  "René the king will ride forth from the gate
+  With his horsemen and banners in state;
+  And the trumpets shall fanfaron ring
+  To René, to René, the king.
+  Then with rebec and lute and with drum
+  The bride in her beauty will come;
+  And the light of her eyes, they will say, has surpassed
+  The diamonds that shine at her waist,--
+  The diamonds that shine in her long golden hair,--
+  King René's daughter the fair."
+
+
+
+
+                                SULLIVAN.
+
+
+Arthur Seymour Sullivan was born in London, May 13, 1842. His father, a
+band-master and clarinet-player of distinction, intrusted his musical
+education at first to the Rev. Thomas Hilmore, master of the children of
+the Chapel Royal. He entered the chapel in 1854 and remained there three
+years, and also studied in the Royal Academy of Music under Goss and
+Sterndale Bennett, during this period, leaving the latter institution in
+1858, in which year he went to Leipsic. He remained in the Conservatory
+there until 1861, when he returned to London and introduced himself to
+its musical public, with his music to Shakspeare's "Tempest," which made
+a great success. The enthusiasm with which this was received, and the
+favors he gained at the hands of Chorley, at that time musical critic of
+the "Athenæum," gave him a secure footing. The cantata "Kenilworth,"
+written for the Birmingham Festival, the music to the ballet "L'Île
+enchantée," and an opera, "The Sapphire Necklace," were produced in 1864.
+In 1866 appeared his first symphony and an overture, "In Memoriam," a
+tribute to his father, who died that year. The next year his overture
+"Marmion" was first performed. In 1869 he wrote his first oratorio, "The
+Prodigal son," in 1873 "The Light of the World," and in 1880 "The Martyr
+of Antioch;" the first for the Worcester, the second for the Birmingham,
+and the third for the Leeds festival. The beautiful "Overture di Ballo,"
+so frequently played in this country by the Thomas orchestra, was written
+for Birmingham in 1870, and the next year appeared his brilliant little
+cantata, "On shore and Sea." On the 11th of May, 1867, was first heard in
+public his comic operetta, "Cox and Box." It was the first in that series
+of extraordinary successes, really dating from "The Sorcerer," which are
+almost without parallel in the operatic world, and which have made his
+name, and that of his collaborator, Gilbert, household words. He has done
+much for sacred as well as secular music. In addition to his oratorios he
+has written numerous anthems, forty-seven hymn tunes, two Te Deums,
+several carols, part-songs, and choruses, and in 1872 edited the
+collection of "Church Hymns with Tunes" for the Christian Knowledge
+Society. His latest works are the opera "Ruddygore" and the cantata "The
+Golden Legend," both written in 1886. He received the honorary degree of
+Doctor of Music from Cambridge in 1876, and from Oxford in 1879, and in
+1883 was knighted by the Queen.
+
+
+                            On Shore and Sea.
+
+The cantata "On Shore and Sea" was written for the London International
+Exhibition of 1871. The solo parts are allotted to La Sposina, a Riviera
+woman, and Il Marinajo, a Genoese sailor. The action passes in the
+sixteenth century, at a port of the Riviera and on board of a Genoese and
+Moorish galley at sea. The cantata opens with a joyous sailors' chorus
+and the lament of the mothers and wives as the seamen weigh anchor and
+set sail. The scene then changes to the sea. On board one of the galleys,
+in the midnight watch, the Marinajo invokes the protection of Our Lady,
+Star of the Sea, for the loved one left behind. The scene next changes to
+the return of the fleet, triumphant in its encounters with the Moorish
+vessels. The women throng to the shore, headed by La Sposina, to welcome
+the sailors back, but the galley on board which her lover served is
+missing. It has been captured by the Moors, and in a pathetic song she
+gives expression to her sorrow. In the next scene we find him toiling at
+the oar at the bidding of his Moorish masters. While they are revelling
+he plans a rising among his fellow-captives which is successful. They
+seize the galley and steer back to the Riviera, entering port amid
+choruses of rejoicing. The cantata is full of charming melodies, the
+instrumentation is Oriental in color, and the choruses, particularly the
+closing ones, are very stirring.
+
+
+                           The Golden Legend.
+
+"The Golden Legend" was first produced at the Leeds Musical Festival,
+Oct. 16, 1886. The story of the legend has already been told in the
+description of Mr. Buck's cantata by the same name, which took the
+Cincinnati Festival prize in 1880. The adaptation of Mr. Longfellow's
+poem for the Sullivan cantata was made by Joseph Bennett, who while
+omitting its mystical parts, except the prologue, has confined himself to
+the story of Prince Henry and Elsie. All the principal scenes, though
+sometimes rearranged to suit the musical demands of the composer, have
+been retained, so that the unity of the legend is preserved.
+
+The prologue, representing the effort of Lucifer and the spirits of the
+air to tear down the cathedral cross, is used without change. The part of
+Lucifer is assigned to the barytone voice, the spirits of the air to the
+sopranos and altos, and the bells to the tenors and basses, the whole
+closing with the Gregorian Chant. The orchestral accompaniment is very
+realistic, particularly in the storm music and in the final number, where
+the organ adds its voice to the imposing harmony. The first scene opens
+with the soliloquy of Prince Henry in his chamber ("I cannot sleep"),
+followed by a dramatic duet with Lucifer, describing the temptation, and
+closes with a second solo by the Prince, accompanied by a warning chorus
+of angels. The second scene opens before the cottage of Ursula at
+evening, with a short alto recitative ("Slowly, slowly up the Wall") with
+pastoral accompaniment, followed by a very effective choral hymn ("O
+Gladsome Light") sung by the villagers ere they depart for their homes,
+the Prince's voice joining in the Amen. The remainder of the scene
+includes a dialogue between Elsie and her mother, in which the maid
+expresses her determination to die for the Prince, and a beautiful prayer
+("My Redeemer and my Lord") in which she pleads for strength to carry out
+her resolution, closing with her noble offer to the Prince, which he
+accepts, the angels responding Amen to the blessing he asks for her.
+
+The third scene opens with Elsie, the Prince, and their attendants on the
+road to Salerno where the cure is to be effected by her sacrifice. They
+fall in with a band of pilgrims, among whom is Lucifer in the disguise of
+a monk. The two bands part company, and as night comes on the Prince's
+attendants encamp near the sea. The continuity of the narrative is varied
+by a simple, graceful duet for the Prince and Elsie ("Sweet is the Air
+with budding Haws"); the Gregorian music of the pilgrims in the distance
+("Cujus clavis lingua Petri"); the mocking characteristic song of Lucifer
+("Here am I too in the pious Band"), interwoven with the chant; the song
+of greeting to the sea by the Prince ("It is the Sea"); and a very
+effective solo for Elsie ("The Night is calm and cloudless"), which is
+repeated by full chorus with soprano obligato dwelling upon the words
+"Christe Eleison." The fourth scene opens in the Medical School at
+Salerno, and discloses Lucifer disguised as the physician Friar Angelo,
+who receives Elsie and takes her into an inner apartment, notwithstanding
+the protests of the Prince, who suddenly resolves to save her, and
+finally effects her rescue. The music to this scene is very dramatic, and
+it also contains a short but striking unaccompanied chorus ("O Pure in
+Heart").
+
+The fifth scene is short. It passes at the door of Ursula's cottage,
+where a forester brings the mother the news of Elsie's safety and of the
+Prince's miraculous cure. The dialogue is followed by a prayer of
+thanksgiving ("Virgin, who lovest the Poor and Lowly"). The last scene
+opens on the terrace of the castle of Vautsberg. It is the evening of the
+wedding day, and amid the sound of bells heard in the distance the Prince
+relates to Elsie the story of Charlemagne and Fastrada, at the close of
+which the happy pair join in an exultant duet. The cantata ends with a
+choral epilogue, worked up to a fine fugal climax in which Elsie's "deed
+divine" is compared to the mountain brook flowing down from "the cool
+hills" to bless "the broad and arid plain."
+
+
+
+
+                                 WAGNER.
+
+
+Richard Wagner, who has been sometimes ironically called the musician of
+the future, and whose music has been relegated to posterity by a
+considerable number of his contemporaries, was born at Leipsic, May 22,
+1813. After his preliminary studies in Dresden and Leipsic, he took his
+first lessons in music from Cantor Weinlig. In 1836 he was appointed
+musical director in the theatre at Magdeburg, and later occupied the same
+position at Königsberg. Thence he went to Riga, where he began his opera
+"Rienzi." He then went to Paris by sea, was nearly shipwrecked on his way
+thither, and landed without money or friends. After two years of hard
+struggling he returned to Germany. His shipwreck and forlorn condition
+suggested the theme of "The Flying Dutchman," and while on his way to
+Dresden he passed near the castle of Wartburg, in the valley of
+Thuringia, whose legends inspired his well-known opera of "Tannhäuser."
+He next removed to Zurich, and about this time appeared "Lohengrin," his
+most popular opera. "Tristan and Isolde" was produced in 1856, and his
+comic opera, "Die Meistersinger von Nürnberg," three years later. In 1864
+he received the patronage of King Louis of Bavaria, which enabled him to
+complete and perform his great work, "Der Ring der Nibelungen." He laid
+the foundation of the new theatre at Baireuth in 1872, and in 1875 the
+work was produced, and created a profound sensation all over the musical
+world. "Parsifal," his last opera, was first performed in 1882. His works
+have aroused great opposition, especially among conservative musicians,
+for the reason that he has set at defiance the conventional operatic
+forms, and in carrying out his theory of making the musical and dramatic
+elements of equal importance, and employing the former as the language of
+the latter in natural ways, has made musical declamation take the place
+of set melody, and swept away the customary arias, duets, quartets, and
+concerted numbers of the Italian school, to suit the dramatic exigencies
+of the situations. Besides his musical compositions, he enjoys almost
+equal fame as a littérateur, having written not only his own librettos,
+but four important works,--"Art and the Revolution," "The Art Work of the
+Future," "Opera and Drama," and "Judaism in Music." His music has made
+steady progress through the efforts of such advocates as Liszt, Von
+Bülow, and Richter in Germany, Pasdeloup in France, Hueffer in England,
+and Theodore Thomas in the United States. In 1870 he married Frau Cosima
+von Bülow, the daughter of Liszt,--an event which produced almost as much
+comment in social circles as his operas have in musical. He died during a
+visit to Venice, Feb. 13, 1883.
+
+
+                       Love Feast of the Apostles.
+
+"Das Liebesmahl der Apostel" ("The Love Feast of the Apostles"), a
+Biblical scene for male voices and orchestra, dedicated to Frau Charlotte
+Emilie Weinlig, the widow of the composer's old teacher, was written in
+1843, the year after "Rienzi," and was first performed in the
+Frauen-Kirche in Dresden at the Men's Singing Festival, July 6 of that
+year.
+
+The work opens with a full chorus of Disciples ("Gegrüsst seid, Brüder,
+in des Herren Namen"), who have gathered together for mutual help and
+strength to endure the persecutions with which they are afflicted. The
+movement flows on quietly, though marked by strong contrasts, for several
+measures, after which the chorus is divided, a second and third chorus
+taking up the two subjects, "Uns droht der Mächt'gen Hass," and "O fasst
+Vertrau'n," gradually accelerating and working up to a climax, and
+closing pianissimo ("Der Mächt'gen Späh'n verfolgt uns überall").
+
+In the next number the Apostles enter (twelve bass voices) with a
+sonorous welcome ("Seid uns gegrüsst, ihr lieben Brüder"), reinforced by
+the Disciples, pianissimo ("Wir sind versammelt im Namen Jesu Christi"),
+the united voices at last in powerful strains ("Allmächt'ger Vater, der
+du hast gemacht Himmel und Erd' und Alles was darin") imploring divine
+help and the sending of the Holy Ghost to comfort them. At its close
+voices on high are heard ("Seid getrost, ich bin euch nah, und mein Geist
+ist mit euch"). The Disciples reply with increasing vigor ("Welch Brausen
+erfüllt die Luft"). The Apostles encourage them to steadfast reliance
+upon the Spirit ("Klein müthige! Hört an was jetzt der Geist zu Künden
+uns gebeut"), and the work comes to a close with a massive chorale ("Denn
+ihm ist alle Herrlichkeit von Ewigkeit zu Ewigkeit"), worked up with
+overpowering dramatic force, particularly in the instrumentation. Though
+but a small composition compared with the masterpieces for the stage
+which followed it, it is peculiarly interesting in its suggestions of the
+composer's great dramatic power which was to find its fruition in the
+later works from his pen.
+
+
+
+
+                                 WEBER.
+
+
+Carl Maria von Weber was born Dec. 18, 1786, at Eutin, and may almost be
+said to have been born on the stage, as his father was at the head of a
+theatrical company, and the young Carl was carried in the train of the
+wandering troupe all over Germany. His first lessons were given to him by
+Henschkel, conductor of the orchestra of Duke Friedrich of Meiningen. At
+the age of fourteen he wrote his first opera, "Das Waldmädchen," which
+was performed several times during the year 1800. In 1801 appeared his
+two-act comic opera, "Peter Schmoll and his Neighbors," and during these
+two years he also frequently played in concerts with great success. He
+then studied with the Abbé Vogler, and in his eighteenth year was engaged
+for the conductorship of the Breslau opera. About this time appeared his
+first important opera, "Rubezahl." At the conclusion of his studies with
+Vogler he was made director of the opera at Prague. In 1816 he went to
+Berlin, where he was received with the highest marks of popular esteem,
+and thence to Dresden as hofcapellmeister. This was the most brilliant
+period in his career. It was during this time that he married Caroline
+Brandt, the actress and singer, who had had a marked influence upon his
+musical progress, and to whom he dedicated his exquisite "Invitation to
+the Dance." The first great work of his life, "Der Freischütz,"
+was written at this period. Three other important operas
+followed,--"Preciosa," "Euryanthe," the first performance of which took
+place in Vienna in 1823, and "Oberon," which he finished in London and
+brought out there. Weber's last days were spent in the latter city, and
+it was while making preparations to return to Germany, which he longed to
+see again, that he was stricken down with his final illness. On the 4th
+of June, 1826, he was visited by Sir George Smart, Moscheles, and other
+musicians who were eager to show him attention. He declined to have any
+one watch by his bedside, thanked them for their kindness, bade them
+good-by, and then turned to his friend Fürstenau, and said, "Now let me
+sleep." These were his last words. The next morning he was found dead in
+his bed. He has left a rich legacy of works besides his operas,--a large
+collection of songs, many cantatas (of which the "Jubilee" and "Kampf und
+Sieg" are the finest), some masses, of which that in E flat is the most
+beautiful, and several concertos, besides many brilliant rondos,
+polaccas, and marches for the piano.
+
+
+                            Jubilee Cantata.
+
+The "Jubilee Cantata" was written in 1818 to celebrate the fiftieth
+anniversary of the reign of King Friedrich August of Saxony. The King
+having expressed a desire that there should be a court concert on the day
+of the anniversary, September 20, Count Vitzthum commissioned Weber to
+write a grand jubilee cantata. The poet Friedrich Kind supplied the
+words. While engaged in its composition Weber was informed by friends
+that other arrangements were being made for the concert, and on the 12th
+of September the information was confirmed by a letter from the Count
+which informed him that notwithstanding his personal protests, the
+Jubilee Cantata was not to be given. The son in his biography of his
+father intimates that the change was the result of intrigues on the part
+of his Italian rivals, Morlacchi, Zingarelli, and Nicolini. The same
+authority says that the cantata was finally produced in the Neustadt
+church for the benefit of the destitute peasantry in the Hartz mountains,
+Weber himself conducting the performance, and that only the overture to
+the work, now famous the world over as the "Jubel," was played at the
+court concert. The best authorities, however, now believe that the Jubel
+overture is an entirely independent work, having no connection with the
+cantata. The text of the cantata, which commemorates many special events
+in the life of the King, being found unsuitable for general performance,
+a second text was subsequently written by Amadeus Wendt, under the title
+of "Ernte-Cantata" ("Harvest Cantata") which is the one now in common
+use, although still another version was made under the name of "The
+Festival of Peace," by Hampdon Napier, which was used at a performance in
+London under the direction of the composer himself only a few days before
+his death.
+
+The cantata is written for the four solo voices, chorus, and orchestra.
+It opens after a short allegro movement with a full jubilant chorus
+("Your thankful Songs upraise"), the solo quartet joining in the middle
+part with chorus. The second number is a very expressive recitative and
+aria for tenor ("Happy Nation, still receiving"). The third is
+characterized by quiet beauty, and is very devotional in spirit. It
+begins with a soprano recitative and aria ("Yet not alone of Labor comes
+our Plenty"), leading up to a second recitative and aria ("The gracious
+Father hears us when we call"), which are very vivacious in style,
+closing with a tenor recitative ("The Air is mild and clear and grateful
+to the Reapers"). These prepare the way for a short but very powerful
+chorus ("Woe! see the Storm-Clouds"). In the next number ("How fearful
+are the Terrors Nature brings") the bass voice moralizes on the powers of
+Nature, followed by a plaintive strain for two sopranos, which leads up
+to a majestic prayer for chorus ("Lord Almighty, full of Mercy"). A bass
+recitative ("Lo, once our Prayer") introduces a beautiful quartet and
+chorus of thanksgiving ("Wreathe into Garlands the Gold of the Harvest").
+They are followed by a tenor recitative and soprano solo ("Soon noble
+Fruit by Toil was won"), and the work comes to a close with a stately
+chorus of praise ("Father, reigning in Thy Glory").
+
+
+                             Kampf und Sieg.
+
+In June, 1815, Weber arrived in Munich and during his stay made the
+acquaintance of Fraulein Wohlbrück, the singer, which led to an
+introduction to her father, who was both an actor and a poet. On the very
+day that he met Wohlbrück, the news came to Munich of the victory of the
+Allies at Waterloo, the whole city was decorated and illuminated, and a
+great crowd, Weber with them, went to St. Michael's Church to listen to a
+Te Deum. While there the idea of a grand cantata in commemoration of the
+victory came into his mind. On his return home he met Wohlbrück and
+communicated his purpose to him. The enthusiastic poet agreed to furnish
+the words. About the first of August the text was placed in Weber's
+hands, and he at once set it to music. It was first produced on the 22d
+of December at Prague, and made a profound impression by its stirring
+military character and vivid battle-descriptions.
+
+The cantata is written for the four solo voices, chorus of sopranos,
+altos, two tenors, and basses and orchestra. A stirring orchestral
+introduction leads up to a people's chorus which describes the
+disappearance of dissensions heralding the approach of victory. No. 3 is
+a bass solo entitled "Faith," with a delightful violoncello
+accompaniment. In No. 4, Love (soprano) and Hope (tenor) join with Faith
+in a song full of feeling. No. 5 is a soldiers' chorus of an enthusiastic
+and martial character, while in the distance is heard the Austrian
+Grenadier's march mingling with it. In the next number the approach of
+the enemy is heard as the chorus closes with the majestic phrase, "Mit
+Gott sei unser Werk gethan." The lively march of the enemy comes nearer
+and nearer, interwoven with the next chorus, which is set to Körner's
+prayer "Wie auch die Hölle braust." Then follows the opening of the
+battle, with the roar of cannon, the shouts of the soldiers, and the
+cries of the wounded, through which is heard the French national air
+defiantly sounding. Another soldiers' chorus follows. It pictures the
+advance of the Prussian Jägers ("Ha! welch ein Klang"), followed by the
+simple strains of "God save the King!" In No. 9 the fight is renewed, the
+music reaching a pitch of almost ferocious energy, until the joyous cry
+is heard, "Hurrah! Er flieht," and the triumphant march of victory
+emphasizes the exultant pæan, "Heil dir im Siegerkranz." The rest of the
+cantata is purely lyrical in style. Once more the voices of "Faith" and
+"Love" are heard, leading up to the final majestic chorus, "Herr Gott,
+Dich loben wir," accompanying a solo voice chanting the theme "Gieb und
+erhalte den Frieden der Welt."
+
+
+
+
+                                WHITING.
+
+
+George Elbridge Whiting was born at Holliston, Mass., Sept. 14, 1842. He
+began the study of the piano at a very early age, but soon abandoned it
+for the organ. His progress was so rapid that at the age of thirteen he
+made his public appearance as a player. In 1857 he went to Hartford,
+Conn., where he had accepted a position in one of the churches, and while
+there organized the Beethoven Society. In 1862 he removed to Boston, but
+shortly afterwards went to England, where he studied the organ for a year
+with Best. On his return he was engaged as organist of St. Joseph's
+Church, Albany, N. Y., but his ambition soon took him to Europe again.
+This time he went to Berlin and finished his studies with Radecke and
+Haupt. He then returned to Albany and remained there three years, leaving
+that city to accept a position at the church of the Immaculate
+Conception, Boston. In 1874 he was appointed organist at the Music Hall,
+and was also for some time at the head of the organ department of the New
+England Conservatory of Music. In 1878 he was organist for the third
+Cincinnati May Festival, and in 1879 accepted a position in the College
+of Music in that city, at the same time taking charge of the organ in the
+Music Hall, with what success those who attended the May Festivals in
+that city will remember. He remained in Cincinnati three years and then
+returned to his old position in Boston. Mr. Whiting ranks in the first
+class of American organists, and has also been a prolific composer. Among
+his vocal works are a mass in C minor (1872); mass in F minor (1874);
+prologue to Longfellow's "Golden Legend" (1873); cantatas, "Dream
+Pictures" (1877), "The Tale of the Viking" (1880); a concert overture
+("The Princess"); a great variety of organ music, including "The
+Organist," containing twelve pieces for that instrument, and "the First
+Six Months on the Organ," with twenty-five studies; several concertos,
+fantasies, and piano compositions, and a large number of songs.
+
+
+                         The Tale of the Viking.
+
+"The Tale of the Viking" was written in competition for the prize offered
+by the Cincinnati Musical Festival Association in 1879, and though
+unsuccessful, is still regarded as one of the most admirable and
+scholarly works yet produced in this country. The text of the cantata is
+Longfellow's "Skeleton in Armor," that weird and stirring story of the
+Viking, which the poet so ingeniously connected with the old mill at
+Newport.
+
+The work comprises ten numbers, and is written for three solo voices
+(soprano, tenor, and barytone), chorus, and orchestra. A long but very
+expressive overture, full of the dramatic sentiment of the poem, prepares
+the way for the opening number, a short male chorus:--
+
+  "'Speak! speak! thou fearful guest
+  Who, with thy hollow breast
+  Still in rude armor drest,
+      Comest to daunt me!
+  Wrapt not in Eastern balms,
+  But with thy fleshless palms
+  Stretched, as if asking alms,
+      Why dost thou haunt me?'"
+
+Next comes a powerful chorus for mixed voices ("Then from those cavernous
+Eyes"), which leads up to the opening of the Viking's story ("I was a
+Viking old"), a barytone solo, which is made very dramatic by the skilful
+division of the song between recitative and the melody. In the fourth
+number the male chorus continues the narrative ("But when I older grew"),
+describing in a vivacious and spirited manner the wild life of the
+marauders on the sea and their winter wassails as they told the Berserker
+legends over their cups of ale. In the fifth the soprano voice tells of
+the wooing of "The blue-eyed Maid" in an aria ("Once, as I told in Glee")
+remarkable for its varying shades of expression. At its close a brilliant
+march movement, very sonorous in style and highly colored, introduces a
+vigorous chorus ("Bright in her Father's Hall"), which describes the
+refusal of old Hildebrand to give his daughter's hand to the Viking. A
+dramatic solo for barytone ("She was a Prince's Child") pictures the
+flight of the dove with the sea-mew, which is followed by a chorus of
+extraordinary power as well as picturesqueness ("Scarce had I put to
+Sea"), vividly describing the pursuit, the encounter, and the Viking's
+escape with his bride. A graceful but pathetic romance for tenor ("There
+lived we many Years"), which relates her death, and burial beneath the
+tower, leads to the closing number, a soprano solo with a full stately
+chorus, admirably worked up, picturing the death of the Viking, who falls
+upon his spear, and ending in an exultant and powerful burst of harmony,
+set to the words:--
+
+  "'Thus, seamed with many scars,
+  Bursting these prison bars,
+  Up to its native stars
+      My soul ascended;
+  There from the flowing bowl
+  Deep drinks the warrior's soul,
+  _Skoal_! to the Northland! _skoal_!'
+      Thus the tale ended."
+
+
+
+
+                                APPENDIX.
+
+
+The following alphabetical list has been prepared to present the reader
+with the titles of the more important cantatas by well-known composers
+and the dates of their composition. To make an exhaustive catalogue of
+works of this class would be impossible, as a great number have been lost
+entirely, and hundreds of others are now only known by name; but the
+writer believes that those subjoined will provide musical students, as
+well as the general reader, with as complete a reference list as can be
+desired.
+
+  Adam, Adolphe.
+    Le Premiers Pas (1847);
+    La Fête des Arts (1852);
+    Chant de Victoire (1855);
+    Birth of the Prince Imperial (1856).
+  Anderton, Thomas.
+    The Song of Deborah and Barak (1871);
+    The Wreck of the Hesperus (1882);
+    The Norman Baron (1884);
+    Yuletide (1885).
+  Arnold, Samuel.
+    Sennacherib (1774).
+  Aspa, Edward.
+    The Gypsies (1870);
+    Endymion (1875).
+  Astorga, Emanuele.
+    Quando penso (1706);
+    Torne Aprile (1706);
+    In questo core (1707);
+    Dafni (1709).
+  Bach, John Sebastian.
+    Two hundred and twenty-six sacred cantatas, of which the following
+    are most commonly sung: Ich hatte viel Bekümmerniss; Festo
+    Ascensionis Christi; Ein' Feste Burg (Reformation festival of 1717);
+    Aus tiefer Noth schrei ich; Christ unser Herr zum Jordan kam; Ehre
+    sei Gott in der Höhe (Christmas cantata); Gottes Zeit ist die
+    allerbeste Zeit (mourning cantata); Lobe den Herrn (New Year's Day);
+    O Ewigkeit, du Donnerwort; Gott ist mein König; Wie schön leucht uns
+    der Morgenstern.
+    Twenty-eight birthday, funeral, and secular cantatas: among them,
+    Komische cantate, Kaffee cantate, Bauern oder Hochzeit's cantate.
+  Balfe, Michael.
+    Mazeppa (1862);
+    The Page (?).
+  Barnby, Joseph.
+    Rebekah (1870).
+  Barnett, John Francis.
+    The Ancient Mariner (1867);
+    Paradise and the Peri (1870);
+    Lay of the Last Minstrel (1874);
+    The Good Shepherd (1876);
+    The Building of the Ship (1880).
+  Beethoven, Ludwig von.
+    Der Glorreiche Augenblick (1814);
+    Meeresstille und glücklich Fahrt (1815).
+  Bendall, Wilfred.
+    Parizadeh (1870);
+    The Lady of Shalott (1871).
+  Benedict, Julius.
+    Undine (1860);
+    Richard Coeur de Leon (1863);
+    Legend of St. Cecilia (1866);
+    Legend of St. Elizabeth (1867);
+    St. Peter (1870);
+    Graziella (1882).
+  Bennett, William Sterndale.
+    May Queen (1858);
+    International Exhibition Ode (1862);
+    Cambridge Installation Ode (1862).
+  Berlioz, Hector.
+    Sardanaple (1830);
+    Romeo and Juliet (dramatic symphony with solos and chorus) (1839);
+    Damnation of Faust (dramatic scenes) (1846);
+    L'Imperiale (1855);
+    Le Cinq Mai (1857).
+  Bishop, Henry.
+    The Seventh Day (1840).
+  Boito, Arrigo.
+    Ode to Art (1880).
+  Brahms, Johannes.
+    Rinaldo (1868);
+    Rhapsodie (1870);
+    Schicksalslied (1871);
+    Triumphlied (1873);
+    Gesang der Parzen (1877);
+    Boadicea (1878).
+  Bridge, John Frederick.
+    Rock of Ages (1880);
+    Boadicea (1880).
+  Bristow, George Frederick.
+    Daniel (1876).
+  Bronsart, Hans von.
+    Christmarkt (1876).
+  Bruch, Max.
+    Die Birken und die Erlen (1853);
+    Jubilate-Amen (1856);
+    Rinaldo (1858);
+    Rorate Coeli (1861);
+    Frithjof's Saga (1862);
+    Salamis (1862);
+    Die Flucht der heilige Familie (1863);
+    Gesang der heiligen drei Könige (1864);
+    Römischer Triumphgesang (1864);
+    Römische Leichenfeier (1864);
+    Schön Ellen (1869);
+    Odysseus (1872);
+    Arminius (1873);
+    Normannenzug (1874);
+    Song of the Bell (1876);
+    Achilleus (1885).
+  Brüll, Ignaz.
+    Die Gesternähren (1875).
+  Buck, Dudley.
+    Forty-sixth Psalm (1872);
+    Don Munio (1874);
+    Centennial Cantata (1876);
+    The Nun of Nidaros (1878);
+    Golden Legend (1880);
+    Voyage of Columbus (1885);
+    Light of Asia (1886).
+  Caldicott, Alfred James.
+    La Primavera (1880);
+    The Widow of Nain (1881);
+    Rhine Legend (1883);
+    Queen of the May (1885).
+  Carissimi, Giacomo.
+    Jephthah (1660).
+  Cherubini, Marie Luigi.
+    La Pubblica Felicità (1774);
+    Arnphion (1786); and seventeen others.
+  Cimerosa, Domenico.
+    La Nascita del Delfino (1786); and one hundred others.
+  Clay, Frederick.
+    The Knights of the Cross (1866);
+    Lalla Rookh (1877).
+  Corder, Frederick.
+    The Cyclops (1880);
+    The Bridal of Triermain (1886).
+  Costa, Michael.
+    The Dream (1815);
+    La Passione (1827).
+  Cowen, Frederick Hymen.
+    The Rose Maiden (1870);
+    The Corsair (1876);
+    St. Ursula (1881);
+    The Sleeping Beauty (1885).
+  Cummings, William Hayman.
+    The Fairy Ring (1873).
+  Damrosch, Leopold.
+    Ruth and Naomi (1870);
+    Sulamith (1877).
+  David, Félicien César.
+    The Desert (1844).
+  Dvorák, Anton.
+    Patriotic Hymn (1880);
+    The Spectre's Bride (1885).
+  Erdmannsdorfer, Max.
+    Prinzessin Ilse (1870);
+    Die Schneewittchen (1871).
+  Foote, Arthur.
+    The Legend of Hiawatha (1879).
+  Foster, Myles Birkett.
+    The Bonnie Fishwives (1880).
+  Fry, William Henry.
+    The Fall of Warsaw (1858).
+  Gabriel, Virginia.
+    Dreamland (1870);
+    Evangeline (1873).
+  Gade, Niels Wilhelm.
+    Comala (1843);
+    Spring Fantasie (1850); The Holy Night (1851);
+    Erl King's Daughter (1852);
+    Frühlingsbotschaft (1853);
+    Kalamus (1853);
+    Psyche (1856);
+    Zion (1860);
+    The Crusaders (1866).
+  Gadsby, Henry Robert.
+    Alice Brand (1870);
+    Lord of the Isles (1880);
+    Columbus (1881).
+  Garcia, Manuel.
+    Endimione (1822).
+  Gaul, Alfred Robert.
+    Ruth (1881);
+    The Holy City (1882).
+  Gernsheim, Friedrich.
+    Odin's Meeresritt (1860).
+  Gilchrist, William Wallace.
+    Forty-seventh Psalm (1882);
+    The Rose (1886).
+  Gleason, Frederick Grant.
+    God our Deliverer (1878);
+    The Culprit Fay (1879);
+    Praise of Harmony (1886).
+  Glover, Ferdinand.
+    The Fire Worshippers (1857).
+  Glover, William.
+    The Corsair (1849).
+  Glover, William Howard.
+    Tam O'Shanter (1855).
+  Gluck, Christoph Willibald.
+    Alexander's Feast (1753);
+    De Profundis (1760);
+    The Last Judgment (finished by Salieri) (1761).
+  Goetz, Hermann.
+    By the Waters of Babylon (1874);
+    Noenia (1875).
+  Goldmark, Karl.
+    Frühling's Hymne (1876).
+  Gounod, Charles François.
+    Marie Stuart et Rizzio (1837);
+    Daughters of Jerusalem (1838);
+    Fernand (1839);
+    À la Frontière (1870);
+    Gallia (1871).
+  Grieg, Edward.
+    Land Kennung (1865).
+  Halévy, Jacques Fromental.
+    Les Plages du Nil (1850);
+    Italie (1850).
+  Hamerik, Asger.
+    Friedenshymne (1868).
+  Handel, George Frederick.
+    Passion (1704);
+    twelve called "Hanover" (1711);
+    seventy-nine written in Italy (1706-1712);
+    Acis and Galatea (1720);
+    Sei del cielo (1736);
+    Alexander's Feast (1736);
+    Ode on St. Cecilia's Day (1739);
+    L'Allegro, il Penseroso, ed il Moderato (1740).
+  Hatton, John Liphot.
+    Robin Hood (1856).
+  Hauptmann, Moritz.
+    Herr, Herr! wende dich zum Gebet (1840);
+    Die lustigen Musikanten (1842).
+  Haydn, Joseph.
+    Birthday of Prince Nicholas (1763);
+    Applausus Musicus (1768);
+    Die Erwahlung eines Kapellmeisters (1769);
+    Ah! come il core mi palpito (1783);
+    Invocation of Neptune (1783);
+    An die Freude (1786);
+    Das Erndtefest (1786);
+    Deutschland's Klage auf den Tod Friedrichs der Grossen (1787);
+    Des Dichter's Geburtsfest (1787);
+    Hier liegt Constantia (1787);
+    Ariadne a Naxos (1792);
+    Ombra del caro bene (1798);
+    Der Versohnung's Tod (1809).
+  Heap, C. Swinnerton.
+    The Maid of Astolat (1885).
+  Hesse, Adolph Friedrich.
+    Sei uns gnadig, Gott der gnaden (1831);
+    Von Leiden ist me in Herz bedrängt (1832).
+  Hiller, Ferdinand.
+    Die lustige Musikanten (1838);
+    O, weint um Sie (1839);
+    Morning of Palm Sunday (1839);
+    Whitsuntide (1840);
+    Israel's Siegesgesang (1841);
+    Song of the Spirits over the Water (1842);
+    Prometheus (1843);
+    Rebecca (1843);
+    The Night of the Nativity (1843);
+    Heloise (1844);
+    Loreley (1845);
+    Die Nacht (1846);
+    Ostermorgen (1850);
+    Richard Löwenherz (1855);
+    An das Vaterland (1861);
+    Song of Victory (1871);
+    Song of Heloise (1871);
+    Nala und Damajanti (1871);
+    Pentecost (1872);
+    Prince Papagei (1872).
+  Himmel, Friedrich Heinrich.
+    La Danza (1792);
+    Hessan's Söhne und Prussien's Töchter (1797);
+    Das Vertrauen auf Gott (1797);
+    Funeral Cantata (1799).
+  Hofmann, Heinrich K.
+    J. Deutschland's Erhebung (1874);
+    Aschenbrödel (1875);
+    Song of the Norns (1875);
+    Melusina (1876);
+    Cinderella (1879).
+  Hummel, Johann Nepomuk.
+    Diana ed Endimione (1818).
+  Isouard, Nicolo.
+    Hebe (1813).
+  Jackson, William.
+    Lycidas (1767);
+    The Praise of Music (1770);
+    The Year (1785).
+  Jensen, Adolf.
+    Jephtha's Daughter (1864);
+    Donald Caird ist wieder da (1875);
+    The Feast of Adonis (1881).
+  Krug, Arnold.
+    Nomadenzug (1877);
+    Sigurd (1882).
+  Kücken, Friedrich.
+    Friedenshymne (1870).
+  Kuhlau, Friedrich.
+    Die Feier des Wohlwollens (1818).
+  Lachner, Franz.
+    Die vier Menschenalter (1843);
+    Der Sturm (1845);
+    Sixty-third Psalm (1849);
+    Des Krieger's Gebet (1851);
+    Siegesgesang (1852);
+    Mozart Fest Cantate (1852);
+    Sturmesmythe (1853);
+    Bundeslied (1854);
+    One Hundred and Fiftieth Psalm (1854).
+  Lahee, Henry.
+    Building of the Ship (1869);
+    The Blessing of the Children (1870).
+  Lassen, Edward.
+    Les Flamands sous van Arteveldt (1854);
+    The Artists (1861);
+    Fest Cantate (1874).
+  Lefébvre, Wély Louis.
+    Après le Victoire (1863).
+  Leslie, Henry David.
+    Judith (1858);
+    Holyrood (1860);
+    The Daughter of the Isles (1861).
+  Lindpaintner, Peter Joseph von.
+    Widow of Nain (1846).
+  Liszt, Franz.
+    Prometheus (1850);
+    Ave Maria (1851);
+    Pater Noster (1852);
+    Schiller Cantata (1859);
+    Die Seligkeiten (arranged from "Christus") (1863);
+    Eighteenth Psalm (1867);
+    Beethoven Festival Cantata (1870);
+    Requiem (1870);
+    One Hundred and Sixteenth Psalm (1873);
+    The Bells of Strasburg (1874);
+    An den heiligen Franziskus (1874);
+    St. Cecilia (1875);
+    Thirteenth Psalm (1877).
+  Lloyd, Charles Harford.
+    Hero and Leander (1884);
+    The Song of Balder (1885);
+    Andromeda (1886).
+  Macfarren, George Alexander.
+    Lenora (1852);
+    May Day (1857);
+    The Soldier's Legacy (1857);
+    Christmas (1860);
+    Songs in a Cornfield (1868);
+    The Lady of the Lake (1877);
+    Outward Bound (1877).
+  Mackenzie, Alexander Campbell.
+    The Bride (1880);
+    Jason (1882);
+    Story of Sayid (1886).
+  Massenet, Jules Émile Frédéric.
+    David Rizzio (1863);
+    Paix et Liberté (1867);
+    Mary Magdalen (1873);
+    Eve (1875);
+    Narcisse (1877).
+  Mendelssohn, Bartholdy Felix.
+    Christe, du Lamm Gottes (1827);
+    Ach Gott von Himmel (1827);
+    Humboldt Fest Cantate (1828);
+    Walpurgis Night (1831);
+    As the Hart pants (1838);
+    Friedrich August Fest Cantate (1842);
+    Lauda Sion (1846);
+    To the Sons of Art (1846).
+  Mercadante, Saverio.
+    L'Unione delle belli Arte (1818);
+    The Seven Words (1821).
+  Meyerbeer, Giacomo.
+    Seven sacred Cantatas from Klopstock (1810);
+    God and Nature (1810);
+    March of the Bavarian Archers (1816);
+    The Genius of Music at the Grave of Beethoven (1830);
+    Gutenberg Cantata (1836);
+    Le Festa nella Corte di Ferrara (1843);
+    Maria und ihr Genius (1851).
+  Mozart, Wolfgang Amadeus.
+    Grabmusik (1767);
+    Davidde penitente (1783);
+    Die Seele (1783);
+    Die Maurer freude (1785);
+    La Betulia liberata (1786);
+    Eine Kleine Freimaurer Cantate (1791).
+  Neukomm, Sigismond.
+    Napoleon's Midnight Review (1828);
+    Easter Morning (1829).
+  Oxenford, Edward.
+    Crown of Roses (1886).
+  Pacini, Giovanni.
+    Dante Centenary (1865).
+  Paer, Ferdinand.
+    Bacco ed Ariadna (1804);
+    La Conversazione Armonica (1804);
+    Il Trionfo della chiesa Cattolica (1805);
+    Europa in Creta (1806);
+    Il S. Sepolcro (1815).
+  Paine, John Knowles.
+    Oedipus (1881);
+    Phoebus Arise (1882);
+    The Nativity (1883);
+    Realm of Fancy (1884).
+  Paine, Robert P.
+    From Death unto Life (1883);
+    Great is the Lord (1884);
+    The Lay of the Last Minstrel (1884);
+    A Day with our Lord (1885).
+  Paisiello, Giovanni.
+    Peleus (1763);
+    Achille in Sciro (1783);
+    Giunone Lucina (1784).
+  Parker, James C. D.
+    Redemption Hymn (1877);
+    The Blind King (1886).
+  Parker, H.
+    W. King Trojan (1885).
+  Pattison, Thomas Mee.
+    The Ancient Mariner (1885);
+    The Lay of the Last Minstrel (1885).
+  Pepusch, John Christopher.
+    Alexis (1712).
+  Pergolesi, Giovanni.
+    Siciliana (1730);
+    Euridice (1730).
+  Ponchielli, Amilcare.
+    Donizetti ed Mayr Cantata (1875).
+  Prout, Ebenezer.
+    Hereward (1878);
+    Freedom (1880);
+    Alfred (1881);
+    Queen Aimée (1885).
+  Raff, Joseph Joachim.
+    Wachet auf (1865);
+    Deutschland's Auferstehung (1865);
+    Einer Entschlaffener (1876);
+    One Hundred and Thirtieth Psalm, "De Profundis" (1878);
+    Die Tageszeiten (1878).
+  Randegger, Albert.
+    Medea (1869);
+    The One Hundred and Fiftieth Psalm (1872);
+    Fridolin (1873);
+    Saffo (1875).
+  Reichardt, Johann Friedrich.
+    Trauer Cantate auf den Tod Friedrich (1786);
+    La Danza (1790).
+  Reinecke, Karl.
+    Ein geistliche Abendlied (1851);
+    Schlachtlied (1852);
+    Schneewittchen (1852);
+    Salvum fac regem (1859);
+    Weinachts (1861);
+    Belshazzar (1863);
+    Te Deum Laudamus (1870);
+    Flucht der heilige Familie (1873);
+    Dörnroschen (1875);
+    Aschenbrödel (1877);
+    Hakon Jarl (1877);
+    Die wilden Schwäne (1881).
+  Reissiger, Karl Gottlieb.
+    Der Herr macht Alles wohl (1830).
+  Reissmann, August.
+    Drusus' Death (1870);
+    Lorelei (1871).
+  Rheinberger, Joseph.
+    Wasserfee (1867);
+    Die Nacht (1868);
+    Die tödte Braut (1873);
+    Johannisnacht (1875);
+    Klärchen auf Eberstein (1876);
+    Christophorus (1880);
+    Toggenburg (1880).
+  Ries, Ferdinand.
+    Der Morgen (1835).
+  Rockstro, William Smyth.
+    The little Daughter of Jairus (1871);
+    The Good Shepherd (1885).
+  Rode, Theodore.
+    Passion's Cantata (1864).
+  Romberg, Andreas.
+    The Transient and the Eternal (1801);
+    Lay of the Bell (1808).
+  Rossini, Gioachino.
+    Didone abandonnata (1811);
+    Eglo e Irene (1814);
+    Teti e Peleo (1816);
+    I pastori (1820);
+    Cara patria (1820);
+    La Riconoscenza (1821);
+    Il pianto delle Muse (1823);
+    La sacra Alleanza (1823);
+    Il vero ommagio (1823);
+    Joan of Arc (1859).
+  Rubinstein, Anton.
+    E dunque vero (1865);
+    Die Nixe (1866);
+    The Morning (1868);
+    Mignon (1869);
+    Hecuba (1872);
+    Hagar in the Wilderness (1872).
+  Ryan, Desmond L.
+    The Maid of Astolat (1886).
+  Saint-Saens, Charles Camille.
+    Les Noces de Prométhée (1867);
+    Le Deluge (1876);
+    Eighteenth Psalm (1877);
+    Chanson d' Ancêtre (1878);
+    La Lyre et la Harpe (1879);
+    Hymn to Victor Hugo (1885).
+  Salaman, Charles Kensington.
+    Shakspeare Jubilee (1850).
+  Salieri, Antonio.
+    Le Dernier Jugement (1788);
+    La Riconoscenza (1796).
+  Scarlatti, Alessandro.
+    Povera pelegrina (1697).
+  Scharwenka, Ludwig Philipp.
+    Herbstfeier (1882);
+    Sakuntala (1883).
+  Schira, Francesca.
+    The Lord of Burleigh (1873).
+  Schmitt, Aloys.
+    Die Wörter des Glaubens (1816);
+    Die Huldigung der Tonkunst (1818);
+    Die Hoffnung (1820).
+  Schubert, Franz.
+    Salieri's Jubilee (1815);
+    Prometheus (1816);
+    Cantata (Spendau) (1816);
+    Glaube, Hoffnung und Liebe (1816);
+    Der Frühlingsmorgen (1818);
+    Vogl Cantata (1818);
+    Die Allmacht (1820);
+    Constitution's Lied (1822);
+    À la belle Irene (1827);
+    Miriam's Song (1828).
+  Schumann, Robert.
+    Mignon's Requiem (1849);
+    Advent Hymn (1849);
+    Pilgrimage of the Rose (1851);
+    The King's Son (1851);
+    The Singer's Curse (1852);
+    The Page and the King's Daughter (1852);
+    The Luck of Edenhall (1853).
+  Singer, Otto.
+    Landing of the Pilgrims (1876);
+    Festival Ode (1877).
+  Smart, Henry.
+    Bride of Dunkerron (1864);
+    King René's Daughter (1871);
+    The Fishermaidens (1871);
+    Jacob (1873).
+  Spohr, Louis.
+    The Liberation of Germany (1814);
+    Lord, Thou art great (1815);
+    How lovely are Thy Dwellings (1815);
+    Jehovah, Lord of Hosts (1820);
+    The Lord's Prayer (1829);
+    Hymn to the holy Cecilia (1856).
+  Spontini, Gaspard.
+    Borussia (1826);
+    Gott segne der König (1828).
+  Stainer, John.
+    The Daughter of Jairus (1878);
+    St. Mary Magdalene (1883).
+  Stanford, Charles Villiers.
+    The Revenge (1880);
+    God is our Hope (1881).
+  Sullivan, Arthur.
+    Kenilworth (1864);
+    On Shore and Sea (1871);
+    The Martyr of Antioch (1875);
+    The Golden Legend (1886).
+  Svendsen, Johann.
+    Marriage Cantata (1873).
+  Thomas, Ambroise.
+    Lesueur Cantata (1852);
+    The Tyrol (1867);
+    Carnival of Rome (1868);
+    The Atlantic (1868);
+    Sabbath Night (1869);
+    Boieldieu Cantata (1875).
+  Thomas, Arthur Goring.
+    The Sun Worshippers (1881).
+  Tschaikowsky, Peter I.
+    Coronation Cantata (1882).
+  Volkmann, Friedrich R.
+    To-night (1867);
+    Sappho (1868).
+  Wagner, Richard.
+    New Year's (1834);
+    Das Liebesmahl der Apostel (1843);
+    Gelegensheit Cantate (1843).
+  Weber, Carl Maria von.
+    Der Ester Ton (1808);
+    Kampf und Sieg (1815);
+    Natur und Liebe (1818);
+    Jubilee Cantata (1818).
+  Whiting, George Elbridge.
+    Dream Pictures (1877);
+    Lenora (1879);
+    Tale of the Viking (1880);
+    Henry of Navarre (1885).
+  Winter, Peter.
+    Pigmalione;
+    Piramo e Thisbe;
+    Die verlassene Dido;
+    Vortigerne;
+    Hector;
+    Inez de Castro;
+    Henri IV.;
+    Baiersche Lustbarkeit;
+    Der Franz Lustgarten;
+    Die Hochzeit des Figaro;
+    Andromaque;
+    Prague et Philomela;
+    Timoteo;
+    Die Erlösung des Menschen;
+    Die Auferstehung Germania's Friedens; (all written between 1789 and
+    1793).
+  Zingarelli, Nicolo.
+    Telemaco (1785);
+    Eco (1802);
+    Cantata Sacra (1829).
+
+
+
+
+                                 INDEX.
+
+
+  Acis and Galatea, 27, 166.
+  Addison, 58, 59.
+  Advent Hymn, 27, 319.
+  Alexander's Feast, 27, 173.
+  American Cantatas, 28.
+  Antigone, 254.
+  Appendix, 353.
+  Ariadne, 198.
+  Arnold, Edwin, 117, 233.
+  As the Hart Pants, 262.
+  Auber, 66.
+
+  Bach, 22-25, 63, 308;
+    life of, 29.
+  Balfe, 56;
+    life of, 44.
+  Bassani, 18.
+  Beethoven, 20, 134, 135, 146, 250, 269, 314;
+    life of, 48.
+  Bells of Strasburg, 221.
+  Benedict, 66, 128, 299;
+    life of, 56.
+  Bennett, 27, 227, 332;
+    life of, 62.
+  Berlioz, 27, 295;
+    life of, 68.
+  Bononcini, 19, 164.
+  Brahms, 27, 135, 317;
+    life of, 82.
+  Bridal of Triermain, 124.
+  Bride of Dunkerron, 328.
+  Bruch, 27;
+    life of, 86.
+  Buck, 27, 28, 153, 156, 335;
+    life of, 101.
+  Burney, 14, 16, 18.
+  Byron, 45, 70.
+
+  Caldara, 19.
+  Cantata, origin of, 13;
+    earlier form, 14;
+    in France, 20;
+    in Germany, 21;
+    Church cantatas, 26-28;
+    modern cantatas, 26-28.
+  Carissimi, 13, 14, 16.
+  Carlyle, 38, 39, 40.
+  Centennial Meditation of Columbia, 28, 106.
+  Cesti, 16.
+  Chandos Anthems, 26, 164, 167.
+  Chopin, 317.
+  Chorley, 58, 64, 210, 265, 332.
+  Choron, 15, 201.
+  Christmas, 228.
+  Christophorus, 304.
+  Comala, 27, 144.
+  Corder, life of, 123.
+  Cowen, 27;
+    life of, 128.
+  Crusaders, 149.
+  Culprit Fay, 28, 157.
+
+  Damnation of Faust, 27, 74.
+  Dante, 198.
+  D'Astorga, 19.
+  Davidde Penitente, 274.
+  Donizetti, 59.
+  Don Munio, 27, 28, 103.
+  Dryden, 19, 58, 59, 170, 173, 175, 177, 178.
+  Drummond, 289.
+  Dvorák, life of, 134.
+
+  Ein' Feste Burg, 38.
+  Erl King's Daughter, 147.
+  Exhibition Ode, 66.
+
+  Fair Ellen, 93.
+  Festa Ascensionis Christi, 37.
+  Foote, 28,
+    life of, 140.
+  Forty-sixth Psalm, 28, 154.
+  Fridolin, 27, 299.
+  Frithjof's Saga, 27, 87.
+
+  Gade, 27, 295;
+    life of, 143.
+  Gasparini, 17, 18.
+  George Sand, 216.
+  Gilchrist, 28;
+    life of, 153.
+  Gleason, 28;
+    life of, 156.
+  Glorious Moment, The, 53.
+  Gluck, 192.
+  Goethe, 54, 80, 86, 148, 248, 249, 251.
+  Golden Legend (Buck), 28, 109.
+  Golden Legend (Sullivan), 27, 335.
+  Gottes Zeit, 33.
+  Gounod, 78, 79.
+  Gutenberg Fest, 263.
+
+  Hamerik, 28, 107, 109.
+  Handel, 19, 20, 25, 27, 32, 58, 59, 85;
+    life of, 163.
+  Handel's Passion Cantata, 25.
+  Hanover Cantatas, 25.
+  Hatton, life of, 186.
+  Hawkins, 13, 16.
+  Haydn, 26, 48, 54, 250;
+    life of, 191.
+  Heil der in Siegerkranz, 84.
+  Heine, 39.
+  Hiawatha, 28, 141.
+  Hiller, 27, 86, 123, 318;
+    life of, 201.
+  Hofmann, 27;
+    life of, 205.
+  Holyrood, 210.
+
+  Ich hatte viel Bekummerniss, 31.
+  Irving, 103, 114.
+  Italian Cantata writers, 16-20.
+
+  Jubilee Cantata, 344.
+  Jubilee Ode, 237.
+
+  Kampf und Sieg, 27, 346.
+  Keats, 288.
+  King René's Daughter, 330.
+  King Thamos, 270.
+  King Trojan, 28, 292.
+
+  L'Allegro, 178.
+  Lamartine, 216.
+  Landing of the Pilgrims, 28, 325.
+  Lauda Sion, 265.
+  Lay of the Bell, 27, 309.
+  Legrenzi, 17.
+  Leslie, life of, 209.
+  Light of Asia, 27, 28, 117.
+  Liszt, 27, 82, 83, 324, 339, 340;
+    life of, 215.
+  Lotti, 17, 19.
+  Longfellow, 110, 141, 221, 222, 335, 349.
+  Love Feast of the Apostles, 340.
+  Luther, 38, 39, 40, 42.
+
+  Macfarren, 50, 52;
+    life of, 226.
+  Mackenzie, life of, 232.
+  Marcello, 19.
+  Mary Magdalen, 242.
+  Masonic Cantatas, 276.
+  Massenet, life of, 241.
+  May Queen, 27, 64.
+  Mazeppa, 45.
+  Melusina, 27, 206.
+  Mendelssohn, 20, 27, 36, 40, 52, 62, 87, 134, 143, 161, 203, 206, 295,
+    307;
+    life of, 246.
+  Meyerbeer, 41, 66.
+  Milton, 178, 179, 286.
+  Minstrel's Curse, 322.
+  Miriam's War Song, 314.
+  Mozart, 20, 48, 62, 134, 176, 250;
+    life of, 268.
+
+  Nativity, The, 28, 286.
+  Nicolai, 41.
+
+  Odysseus, 27, 95.
+  Oedipus at Colonos, 259.
+  Oedipus Tyrannus, 28, 259, 281.
+  On Shore and Sea, 334.
+
+  Paganini, 70.
+  Paine, 28, 140;
+    life of, 280.
+  Paisiello, 20.
+  Parker, H. W., 28;
+    life of, 291.
+  Parker, J. C. D., 28;
+    life of, 295.
+  Pergolesi, 20.
+  Phoebus, Arise, 28, 289.
+  Pilgrimage of the Rose, 321.
+  Pope, 170.
+  Porpora, 19, 164, 192.
+  Praise Song to Harmony, 28, 161.
+  Prometheus, 27, 217.
+
+  Raff, 136.
+  Rákóczy March, 77.
+  Randegger, 27;
+    life of, 298.
+  Realm of Fancy, 28, 288.
+  Redemption Hymn, 28, 296.
+  Rheinberger, 27, 291;
+    life of, 303.
+  Robin Hood, 187.
+  Romberg, 27, 308.
+  Romeo and Juliet, 70.
+  Rosa Salvator, 17.
+  Rossi, 17.
+  Rossini, 44.
+  Rousseau, 20.
+  Ruins of Athens, 49.
+
+  Saint-Saens, 153.
+  Salamis, 92.
+  Salieri, 215, 313.
+  Sarti, 20.
+  Scarlatti, 18, 19.
+  Schiller, 299, 309.
+  Schubert, 27, 49, 148, 318,
+    life of, 313.
+  Schumann, 27, 62, 82, 251, 295, 307, 315;
+    life of, 317.
+  Scott, Walter, 124.
+  Seven Words, The, 194.
+  Shakspeare, 71, 75, 87, 227, 246, 254, 332.
+  Singer, 28, 109;
+    life of, 324.
+  Sleeping Beauty, 27, 129.
+  Smart, life of, 327.
+  Song of Miriam, 27.
+  Song of Victory, 27, 203.
+  Spectre's Bride, 136.
+  Spring Fantasie, 146.
+  St. Cecilia, 57.
+  Story of Sayid, 233.
+  Strozzi, 13.
+  Sullivan, 27;
+    life of, 332.
+
+  Tale of the Viking, 28, 349.
+  Tennyson, 67.
+  Thomas, Ambroise, 241.
+  Thomas, Theodore, 102, 109, 153, 233, 281, 324, 333, 339.
+  Toggenburg, 27, 306.
+  Triumphlied, 27, 83.
+
+  Uhland, 320, 322, 323.
+
+  Verdi, 66, 213.
+  Victor Hugo, 216.
+  Voyage of Columbus, 28, 114.
+
+  Wagner, 41, 106, 127, 145, 149, 216;
+    life of, 338.
+  Walpurgis Night, 27, 248, 262.
+  Weber, 27, 56, 251;
+    life of, 342.
+  Whiting, 28, 153;
+    life of, 348.
+
+
+
+
+
+End of Project Gutenberg's The Standard Cantatas, by George P. Upton
+
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+<pre>
+
+The Project Gutenberg EBook of The Standard Cantatas, by George P. Upton
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Standard Cantatas
+       Their Stories, Their Music, and Their Composers
+
+Author: George P. Upton
+
+Release Date: May 4, 2010 [EBook #32248]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE STANDARD CANTATAS ***
+
+
+
+
+Produced by Stephen Hutcheson, Charley Howard and the
+Online Distributed Proofreading Team at https://www.pgdp.net
+(This file was produced from images generously made
+available by The Internet Archive)
+
+
+
+
+
+
+</pre>
+
+<div id="titlepg">
+<div class="pb" id="pg_1">[1]</div>
+<h1><span class="smallest">THE</span>
+<br /><span class="sc">Standard Cantatas</span>
+<br /><span class="smallest">THEIR STORIES, THEIR MUSIC, AND THEIR COMPOSERS</span></h1>
+<p class="center"><span class="large"><b><i>A Handbook</i></b></span></p>
+<p class="center"><span class="sc">By</span> GEORGE P. UPTON
+<br /><span class="smaller">AUTHOR OF</span>
+<br />&ldquo;<span class="small">THE&nbsp;STANDARD&nbsp;OPERAS,</span>&rdquo; &ldquo;<span class="small">THE&nbsp;STANDARD&nbsp;ORATORIOS,</span>&rdquo; &ldquo;<span class="small">WOMAN&nbsp;IN&nbsp;MUSIC,</span>&rdquo; <span class="small">ETC.</span></p>
+<p class="center">CHICAGO
+<br /><span class="small"><span class="sc">A. C. McCLURG AND COMPANY</span></span>
+<br />1888</p>
+<div class="pb" id="pg_2">[2]</div>
+<p class="center"><span class="sc">Copyright
+<br />By A. C. McClurg and Co.
+<br /><span class="small">A.D.</span> 1887</span></p>
+</div>
+<div id="c001" title="Preface">
+<div class="pb" id="pg_3">[3]</div>
+<div class="img"><img src="images/p003.png" alt="" width="331" height="102" /></div>
+<h2>PREFACE.</h2>
+<p>The &ldquo;Standard Cantatas&rdquo; is the third of the
+series in which the &ldquo;Standard Operas&rdquo;
+and &ldquo;Standard Oratorios&rdquo; have been
+its predecessors. Of necessity, therefore,
+the same method has been followed in the arrangement
+and presentation of the author&rsquo;s scheme. As
+in the works above mentioned, short sketches of the
+music and stories of the cantatas are presented,
+together with biographies of their composers, some
+of which are reproduced from the other volumes
+with slight changes, the repetitions being necessary
+for the sake of uniformity. The sketches are prefaced
+by a comprehensive study of the cantata in its
+various forms, from its early simple recitative or aria
+style down to its present elaborate construction,
+which sometimes verges closely upon that of the
+opera or oratorio.</p>
+<p>The word &ldquo;cantata&rdquo; is so flexible and covers
+such a wide area in music, that it has been a work
+<span class="pb" id="pg_4">[4]</span>
+of some difficulty to decide upon the compositions
+that properly come within the scheme of this volume.
+During the past two centuries it has been
+variously applied to songs, like those of the early
+Italian school; to ballads, like those of the early
+English composers; to concert arias, like those of
+Mozart, Beethoven, and Mendelssohn; to short
+operettas, dramatic scenas, cycles of ballads, and
+even to oratorios, whose subjects are more or less
+dramatic. It is believed, however, that the most
+important of the modern cantatas are included in
+the volume, and with them will be found several
+works, such as the &ldquo;Damnation of Faust&rdquo; and the
+&ldquo;Romeo and Juliet&rdquo; vocal symphony and others,
+which, though not in the strict cantata form, are
+nevertheless compositions belonging to the concert-stage
+for voices and orchestra, performed without
+scenery, costumes, or stage accessories.</p>
+<p>The author has paid particular attention to cantatas
+by American composers, and has selected for
+description and analysis those which in his estimation
+rank the highest in musical merit. It would
+be manifestly impossible to include in a volume of
+the present size all the compositions by Americans
+which have been called cantatas, for their number
+is well-nigh &ldquo;legion.&rdquo; Those have been selected
+which are creditable to American musical scholarship
+and are making a name for American music.
+It is possible some have been omitted which fulfil
+these conditions; if so, it is only because they have
+not come within the author&rsquo;s observation. The
+<span class="pb" id="pg_5">[5]</span>
+Appendix has been a work of great care, labor, and
+research, and wherever it was practicable the date
+of each cantata was verified.</p>
+<p>Like its two predecessors, the &ldquo;Standard Cantatas&rdquo;
+has been prepared for the general public,
+which has not the time or opportunity to investigate
+such matters, rather than for musicians, who are
+presumed to be familiar with them. On this account
+the text is made as untechnical as possible, and
+description takes the place of criticism. The work
+is intended to answer the purpose of a handbook
+and guide which shall acquaint the reader with the
+principal facts and accomplishments in this very
+interesting form of composition. The favor so
+generously accorded to the &ldquo;Standard Operas&rdquo;
+and &ldquo;Standard Oratorios&rdquo; leads the author to hope
+that this volume will also be welcome to music-lovers,
+and will find a place by the side of its
+companions in their libraries.</p>
+<p class="jr">G. P. U.</p>
+<p><span class="sc">Chicago</span>, September, 1887.</p>
+<div class="imgtail"><img src="images/p005.png" alt="" width="119" height="63" /></div>
+</div>
+<div id="contents" title="Contents">
+<div class="pb" id="pg_7">[7]</div>
+<div class="img"><img src="images/p007.png" alt="" width="318" height="115" /></div>
+<h2>CONTENTS.</h2>
+<div class="toc">
+<div class="rjust"><span class="small">PAGE</span></div>
+<div><a href="#c001">PREFACE</a>  3</div>
+<div><a href="#c002">THE CANTATA</a>  13</div>
+<div><a href="#c003">BACH</a>  29</div>
+<div class="t1"><a href="#c004">Ich Hatte viel Bek&uuml;mmerniss</a>  31</div>
+<div class="t1"><a href="#c005">Gottes Zeit</a>  33</div>
+<div class="t1"><a href="#c006">Festa Ascensionis Christi</a>  37</div>
+<div class="t1"><a href="#c007">Ein&rsquo; Feste Burg</a>  38</div>
+<div><a href="#c008">BALFE</a>  44</div>
+<div class="t1"><a href="#c009">Mazeppa</a>  45</div>
+<div><a href="#c010">BEETHOVEN</a>  48</div>
+<div class="t1"><a href="#c011">The Ruins of Athens</a>  49</div>
+<div class="t1"><a href="#c012">The Glorious Moment</a>  53</div>
+<div><a href="#c013">BENEDICT</a>  56</div>
+<div class="t1"><a href="#c014">St. Cecilia</a>  57</div>
+<div><a href="#c015">BENNETT</a>  62</div>
+<div class="t1"><a href="#c016">The May Queen</a>  64</div>
+<div class="t1"><a href="#c017">The Exhibition Ode</a>  66</div>
+<div><a href="#c018">BERLIOZ</a>  68</div>
+<div class="t1"><a href="#c019">Romeo and Juliet</a>  70</div>
+<div class="t1"><a href="#c020">The Damnation of Faust</a>  74</div>
+<div><a href="#c021">BRAHMS</a>  82</div>
+<div class="t1"><a href="#c022">Triumphlied</a>  83</div>
+<div><a href="#c023">BRUCH</a>  86</div>
+<div class="t1"><a href="#c024">Frithjof</a>  87</div>
+<div class="t1"><a href="#c025">Salamis</a>  92</div>
+<div class="t1"><a href="#c026">Fair Ellen</a>  93</div>
+<div class="t1"><a href="#c027">Odysseus</a>  95</div>
+<div><a href="#c028">BUCK</a>  101</div>
+<div class="t1"><a href="#c029">Don Munio</a>  103</div>
+<div class="t1"><a href="#c030">Centennial Meditation of Columbia</a>  106</div>
+<div class="t1"><a href="#c031">The Golden Legend</a>  109</div>
+<div class="t1"><a href="#c032">The Voyage of Columbus</a>  114</div>
+<div class="t1"><a href="#c033">The Light of Asia</a>  117</div>
+<div><a href="#c034">CORDER</a>  123</div>
+<div class="t1"><a href="#c035">The Bridal of Triermain</a>  124</div>
+<div><a href="#c036">COWEN</a>  128</div>
+<div class="t1"><a href="#c037">The Sleeping Beauty</a>  129</div>
+<div><a href="#c038">DVO&#344;&Aacute;K</a>  134</div>
+<div class="t1"><a href="#c039">The Spectre&rsquo;s Bride</a>  136</div>
+<div><a href="#c040">FOOTE</a>  140</div>
+<div class="t1"><a href="#c041">Hiawatha</a>  141</div>
+<div><a href="#c042">GADE</a>  143</div>
+<div class="t1"><a href="#c043">Comala</a>  144</div>
+<div class="t1"><a href="#c044">Spring Fantasie</a>  146</div>
+<div class="t1"><a href="#c045">The Erl King&rsquo;s Daughter</a>  147</div>
+<div class="t1"><a href="#c046">The Crusaders</a>  149</div>
+<div><a href="#c047">GILCHRIST</a>  153</div>
+<div class="t1"><a href="#c048">The Forty-sixth Psalm</a>  154</div>
+<div><a href="#c049">GLEASON</a>  156</div>
+<div class="t1"><a href="#c050">The Culprit Fay</a>  157</div>
+<div class="t1"><a href="#c051">The Praise Song To Harmony</a>  161</div>
+<div><a href="#c052">HANDEL</a>  163</div>
+<div class="t1"><a href="#c053">Acis and Galatea</a>  166</div>
+<div class="t1"><a href="#c054">Alexander&rsquo;s Feast</a>  173</div>
+<div class="t1"><a href="#c055">L&rsquo;Allegro</a>  178</div>
+<div><a href="#c056">HATTON</a>  186</div>
+<div class="t1"><a href="#c057">Robin Hood</a>  187</div>
+<div><a href="#c058">HAYDN</a>  191</div>
+<div class="t1"><a href="#c059">The Seven Words</a>  194</div>
+<div class="t1"><a href="#c060">Ariadne</a>  198</div>
+<div><a href="#c061">HILLER</a>  201</div>
+<div class="t1"><a href="#c062">Song of Victory</a>  203</div>
+<div><a href="#c063">HOFMANN</a>  205</div>
+<div class="t1"><a href="#c064">Melusina</a>  206</div>
+<div><a href="#c065">LESLIE</a>  209</div>
+<div class="t1"><a href="#c066">Holyrood</a>  210</div>
+<div><a href="#c067">LISZT</a>  215</div>
+<div class="t1"><a href="#c068">Prometheus</a>  217</div>
+<div class="t1"><a href="#c069">The Bells of Strasburg</a>  221</div>
+<div><a href="#c070">MACFARREN</a>  226</div>
+<div class="t1"><a href="#c071">Christmas</a>  228</div>
+<div><a href="#c072">MACKENZIE</a>  232</div>
+<div class="t1"><a href="#c073">The Story of Sayid</a>  233</div>
+<div class="t1"><a href="#c074">Jubilee Ode</a>  237</div>
+<div><a href="#c075">MASSENET</a>  241</div>
+<div class="t1"><a href="#c076">Mary Magdalen</a>  242</div>
+<div><a href="#c077">MENDELSSOHN</a>  246</div>
+<div class="t1"><a href="#c078">The Walpurgis Night</a>  248</div>
+<div class="t1"><a href="#c079">Antigone</a>  254</div>
+<div class="t1"><a href="#c080">&OElig;dipus at Colonos</a>  259</div>
+<div class="t1"><a href="#c081">As the Hart Pants</a>  262</div>
+<div class="t1"><a href="#c082">The Gutenberg Fest-Cantata</a>  263</div>
+<div class="t1"><a href="#c083">Lauda Sion</a>  265</div>
+<div><a href="#c084">MOZART</a>  268</div>
+<div class="t1"><a href="#c085">King Thamos</a>  270</div>
+<div class="t1"><a href="#c086">Davidde Penitente</a>  274</div>
+<div class="t1"><a href="#c087">The Masonic Cantatas</a>  276</div>
+<div><a href="#c088">PAINE</a>  280</div>
+<div class="t1"><a href="#c089">&OElig;dipus Tyrannus</a>  281</div>
+<div class="t1"><a href="#c090">The Nativity</a>  286</div>
+<div class="t1"><a href="#c091">The Realm of Fancy</a>  288</div>
+<div class="t1"><a href="#c092">Ph&oelig;bus, Arise</a>  289</div>
+<div><a href="#c093">PARKER, H. W.</a>  291</div>
+<div class="t1"><a href="#c094">King Trojan</a>  292</div>
+<div><a href="#c095">PARKER, J. C. D.</a>  295</div>
+<div class="t1"><a href="#c096">The Redemption Hymn</a>  296</div>
+<div><a href="#c097">RANDEGGER</a>  298</div>
+<div class="t1"><a href="#c098">Fridolin</a>  299</div>
+<div><a href="#c099">RHEINBERGER</a>  303</div>
+<div class="t1"><a href="#c100">Christophorus</a>  304</div>
+<div class="t1"><a href="#c101">Toggenburg</a>  306</div>
+<div><a href="#c102">ROMBERG</a>  308</div>
+<div class="t1"><a href="#c103">Lay of the Bell</a>  309</div>
+<div><a href="#c104">SCHUBERT</a>  313</div>
+<div class="t1"><a href="#c105">Miriam&rsquo;s War Song</a>  314</div>
+<div><a href="#c106">SCHUMANN</a>  317</div>
+<div class="t1"><a href="#c107">Advent Hymn</a>  319</div>
+<div class="t1"><a href="#c108">The Pilgrimage of the Rose</a>  321</div>
+<div class="t1"><a href="#c109">The Minstrel&rsquo;s Curse</a>  322</div>
+<div><a href="#c110">SINGER</a>  324</div>
+<div class="t1"><a href="#c111">The Landing of the Pilgrims</a>  325</div>
+<div><a href="#c112">SMART</a>  327</div>
+<div class="t1"><a href="#c113">The Bride of Dunkerron</a>  328</div>
+<div class="t1"><a href="#c114">King Ren&eacute;&rsquo;s Daughter</a>  330</div>
+<div><a href="#c115">SULLIVAN</a>  332</div>
+<div class="t1"><a href="#c116">On Shore and Sea</a>  334</div>
+<div class="t1"><a href="#c117">The Golden Legend</a>  335</div>
+<div><a href="#c118">WAGNER</a>  338</div>
+<div class="t1"><a href="#c119">Love Feast of the Apostles</a>  340</div>
+<div><a href="#c120">WEBER</a>  342</div>
+<div class="t1"><a href="#c121">Jubilee Cantata</a>  344</div>
+<div class="t1"><a href="#c122">Kampf Und Sieg</a>  346</div>
+<div><a href="#c123">WHITING</a>  348</div>
+<div class="t1"><a href="#c124">The Tale of the Viking</a>  349</div>
+<div><a href="#c125">APPENDIX</a>  353</div>
+<div><a href="#c126">INDEX</a>  365</div>
+</div>
+</div>
+<div class="pb" id="pg_13">[13]</div>
+<div id="cantatas" title="The Standard Cantatas">
+<div class="img"><img src="images/p013.png" alt="" width="316" height="139" /></div>
+<h2>THE STANDARD CANTATAS.</h2>
+<div id="c002" title="The Cantata">
+<h3>THE CANTATA.</h3>
+<p>The origin of the cantata is a matter of
+controversy, but it is clear that it had
+its birth in Italy. Adami, an old writer,
+attributes its invention to Giovanni Domenico
+Poliaschi Romano, a papal chapel-singer,
+who, it is claimed, wrote several cantatas as early as
+1618. The same writer also asserts that the Cavalier
+da Spoleto, a singer in the same service, published
+cantatas in 1620. Hawkins asserts in one
+chapter of his &ldquo;History of Music&rdquo; that the invention
+is due to Carissimi, chapel-master of the Church of
+St. Apollinare in Rome, who unquestionably did an
+important service for dramatic music by perfecting
+recitative and introducing stringed accompaniments;
+but in a subsequent chapter the historian
+states that Barbara Strozzi, a Venetian lady contemporary
+<span class="pb" id="pg_14">[14]</span>
+with Carissimi, was the inventor, and assigns
+the year 1653 as the date when she published certain
+vocal compositions with the title &ldquo;Cantate, Ariette e
+Duetti,&rdquo; prefixed by an advertisement setting forth
+that having invented this form of music, she had
+published them as an experiment. Burney takes
+notice of the claim made for Romano and Da Spoleto,
+but does not think it valid, and says: &ldquo;The
+first time that I have found the term &lsquo;cantata&rsquo; used
+for a short narrative lyric poem was in the <i>Musiche
+varie a voce sola del Signor Benedetto Ferrari da
+Reggio</i>, printed at Venice, 1638.&rdquo; This, as will be
+observed, disposes of the Venetian lady&rsquo;s claim, as it
+is antedated twenty years, and Burney states his facts
+from personal investigation. He mentions several
+cantatas written about this period, among them a
+burlesque one describing the leap of Marcus Curtius
+into the gulf. He concedes to Carissimi, however,
+the transfer of the cantata from the chamber to the
+church, and on this point nearly all the early writers
+are agreed.</p>
+<p>The cantata in its earliest form was a recitative,
+which speedily developed into a mixture of recitative
+and melody for a single voice, and was suggested
+by the lyric opera. Burney says:&mdash;</p>
+<p class="bq">&ldquo;The chief events were related in recitative. In
+like manner they received several progressive changes
+during the last century previous to their perfection.
+First, they consisted, like opera scenes, of little more
+than recitative, with frequent formal closes, at which
+the singer, either accompanied by himself or another
+<span class="pb" id="pg_15">[15]</span>
+performer on a single instrument, was left at liberty to
+show his taste and talents.&rdquo;</p>
+<p>The form then changed to a single air in triple
+time, independent of the recitative, and repeated to
+the different verses as in a ballad, the melody being
+written every time, as the <i>Da Capo</i> was not then in
+use.<sup><a id="fr_1" href="#fn_1">[1]</a></sup>
+Choron defines the cantata as follows:&mdash;</p>
+<p class="bq">&ldquo;It is a little poem, which, considered in a literary
+sense, has no very determinate character, though it is
+usually the recital of a simple and interesting fact interspersed
+with reflections or the expression of some
+particular sentiment. It may be in all styles and all
+characters, sacred, profane, heroic, comic, and even
+ludicrous, representing the action or feeling of either
+a single or several persons. It even sometimes assumes
+the character of the oratorio.&rdquo;</p>
+<p>As applied to recitative, the new form was variously
+called &ldquo;recitativo,&rdquo; &ldquo;musica parlante,&rdquo; or
+&ldquo;stilo rappresentativo,&rdquo; one of the first works in
+which style was &ldquo;The Complaint of Dido,&rdquo; by the
+Cavalier Sigismondo d&rsquo;India, printed in Venice in
+1623. The mixture of recitative and air was eventually
+called &ldquo;ariose cantate;&rdquo; and with this title
+several melodies were printed by Sebastian Enno at
+Venice, 1655.<sup><a id="fr_2" href="#fn_2">[2]</a></sup></p>
+<div class="pb" id="pg_16">[16]</div>
+<p>The seventeenth century witnessed the rapid perfecting
+of the cantata in its early forms by the Italian
+composers. The best examples are said to have
+been those of Carissimi, of whom mention has already
+been made. Several of them are preserved
+in the British Museum and at Oxford; among them,
+one written on the death of Mary Queen of Scots.
+Burney says:&mdash;</p>
+<p class="bq">&ldquo;Of twenty-two of his cantatas preserved in the
+Christ Church collection, Oxon., there is not one which
+does not offer something that is still new, curious, and
+pleasing; but most particularly in the recitatives, many
+of which seem the most expressive, affecting, and perfect
+that I have seen. In the airs there are frequently
+sweet and graceful passages, which more than a hundred
+years have not impaired.&rdquo;</p>
+<p>Of the thirteenth in this collection the same
+authority says:&mdash;</p>
+<p class="bq">&ldquo;This single air, without recitative, seems the archetype
+of almost all the <i>arie di cantabile</i>, the adagios, and
+pathetic songs, as well as instrumental, slow movements,
+that have since been made.&rdquo;</p>
+<p>Fra Marc Antonio Cesti, in his later life a monk
+in the monastery of Arezzo, and chapel-master of
+the Emperor Ferdinand III., was a pupil of Carissimi,
+and devoted much attention to the cantata, the
+recitative of which he greatly improved. One of
+his most celebrated compositions of this kind was
+entitled, &ldquo;O cara Liberta,&rdquo; and selections from it
+are given both by Burney and Hawkins. He must
+<span class="pb" id="pg_17">[17]</span>
+have been one of the jolly monks of old, for all
+his cantatas are secular in character, and he was
+frequently censured for devoting so much time to
+theatrical instead of church music. Luigi Rossi was
+contemporary with Cesti, and has left several cantatas
+which are conspicuous for length and pedantry
+rather than for elegance or melodious charm.
+Giovanni Legrenzi of Bergamo, the master of Lotti
+and Gasparini, published twenty-four cantatas in
+Venice between 1674 and 1679, which were great
+favorites in his time. The celebrated painter Salvator
+Rosa not only wrote the words for many cantatas
+by his musical friends, but it is known that he
+composed both words and music to eight. The
+texts of these works have preserved for posterity
+pictures more graphic than any he could paint of
+his misanthropical character; for when he is not
+railing against his mistress he is launching satires
+against Nature and mankind in general. In one
+of these he complains that the earth is barren and
+the sun is dark. If he goes out to see a friend, it
+always rains. If he goes on shipboard, it always
+storms. If he buys provisions at the market, the
+bones outweigh the flesh. If he goes to court&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;The attendants at my dress make sport;</p>
+<p class="t0">Point at my garb, threadbare and shabby,</p>
+<p class="t0">And shun me, like a leper scabby.&rdquo;</p>
+</div>
+</div>
+<p>His only wealth is hope, which points to nothing
+better than &ldquo;workhouse or a rope.&rdquo; In the heat of
+summer he has to trudge in winter clothes. He
+cannot even run away from misfortune. In a word,
+<span class="pb" id="pg_18">[18]</span>
+nothing pleases the poor painter, as is evident from
+the gloomy moral which &ldquo;adorns the tale&rdquo;:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Then learn from me, ye students all,</p>
+<p class="t0">Whose wants are great and hopes are small,</p>
+<p class="t0">That better &rsquo;tis at once to die</p>
+<p class="t0">Than linger thus in penury;</p>
+<p class="t0">For &rsquo;mongst the ills with which we&rsquo;re curst,</p>
+<p class="t0">To live a beggar is the worst.&rdquo;</p>
+</div>
+</div>
+<p>In 1703 Giambatista Bassani, of Bologna, published
+twelve cantatas devoted to the tender passion,
+and all of them set to a violin accompaniment,&mdash;a
+practice first introduced by Scarlatti, of Naples, who
+was one of the most prolific writers of his day.
+The cantata was Scarlatti&rsquo;s favorite form of composition,
+and hundreds of them came from his busy
+pen, which were noted for their beauty and originality.
+The accompaniments were written for the
+violoncello as well as for the violin; those for the
+first-named instrument were so difficult and yet so
+excellent that those who could perform them were
+often thought to have supernatural assistance.<sup><a id="fr_3" href="#fn_3">[3]</a></sup>
+Contemporary with Scarlatti was Francesco Gasparini,
+a Roman composer and harpsichord player of
+such eminence that Scarlatti sent his son Domenico,
+who afterwards became famous by his musical
+<span class="pb" id="pg_19">[19]</span>
+achievements, to study with him. Gasparini wrote
+twelve cantatas,&mdash;not so scholarly but quite as
+popular as those by Scarlatti. As a return for the
+compliment which Scarlatti had paid him,
+Gasparini sent him a cantata, which was the
+signal for a lively cantata-correspondence between them, each
+trying to outdo the other. Following Gasparini came
+Bononcini, whose contentions with Handel in England
+are familiar to all musical readers. He was
+the most prolific cantata-writer of all the Italians
+next to Scarlatti, and dedicated a volume of them,
+in 1721, to the King of England. He also published
+in Germany a large number which show
+great knowledge of instrumentation, according
+to the musical historians of his time. Antonio
+Lotti, his contemporary, wrote several which are
+particularly noticeable for their harmony. His pupil
+Benedetto Marcello, the illustrious psalm-composer,
+excelled his master in this form of music.
+Two of his cantatas, &ldquo;Il Timoteo&rdquo; (after Dryden&rsquo;s
+ode) and &ldquo;Cassandra,&rdquo; were very celebrated. He
+was of noble family, and is famous even to this day
+by his masses, serenades, and sonnets, and by his
+beautiful poetical and musical paraphrase of the
+Psalms, which was translated into English, German,
+and Russian. The Baron d&rsquo;Astorga, whose &ldquo;Stabat
+Mater&rdquo; is famous, wrote many cantatas, but they
+do not reach the high standard of that work. Antonio
+Caldara, for many years composer to the
+Emperor at Vienna, published a volume of them
+at Venice in 1699. Porpora, who was a rival of
+<span class="pb" id="pg_20">[20]</span>
+Handel in England as an opera composer, published
+and dedicated twelve to the Prince of Wales in
+1735 as a mark of gratitude for the support which
+he had given him in his disputes with the testy German.<sup><a id="fr_4" href="#fn_4">[4]</a></sup>
+After Pergolesi, who made himself famous
+by his &ldquo;Stabat Mater,&rdquo; and published several
+cantatas at Rome, and Handel, who wrote many,
+which were eclipsed by his operas and oratorios,
+and are now hardly known, this style of the cantata
+languished, and gradually passed into the form of
+the concert aria, of which fine examples are to be
+found in the music of Mozart, Beethoven, and
+Mendelssohn. After the death of Pergolesi, Sarti
+and Paisiello made an attempt to revive it, and in
+so doing prepared the way for the cantata in its
+beautiful modern form. In the latter&rsquo;s &ldquo;Guinone
+Lucina,&rdquo; written for the churching of Caroline of
+Austria, Queen of Naples, and in his &ldquo;Dafne ed
+Alceo&rdquo; and &ldquo;Retour de Pers&eacute;e&rdquo; the melody is intermixed
+with choruses for the first time.</p>
+<p>Thus far the Italian cantatas have alone been considered;
+but it must not be supposed that this form
+of composition was confined to Italy. In France
+it was also a favorite style in the early part of the
+eighteenth century. Montclair, Campra, Mouret,
+Batistin, Clerambault, and Rousseau excelled in it.
+M. Ginguen&eacute;, in the &ldquo;Encyclop&aelig;dia Methodique,&rdquo;
+says of these composers and their works:&mdash;</p>
+<div class="pb" id="pg_21">[21]</div>
+<p class="bq">&ldquo;They have left collections in which may be
+discovered among all the faults of the age, when Italian
+music was unknown in France, much art and knowledge
+of harmony, happy traits of melody, well-worked
+basses, and above all recitatives in which the accent
+of declamation and the character of the language are
+strictly observed.&rdquo;</p>
+<p>In Germany, however, the cantata at this time
+was approximating to its present form. Koch, a
+celebrated musical scholar of the early part of the
+present century, says:&mdash;</p>
+<p class="bq">&ldquo;The cantata is a lyrical poem set to music in different,
+alternating compositions, and sung with the
+accompaniment of instrumental music. The various
+melodies of which the whole is composed are the aria,
+with its subordinate species, the recitative or accompaniment,
+and the arioso, frequently also intermixed
+with choruses.&rdquo;</p>
+<p>Heydenreich, another writer of the same period,
+says:&mdash;</p>
+<p class="bq">&ldquo;The cantata is always lyrical. Its distinctive
+character lies in the aptitude of the passions and feelings
+which it contains to be rendered by music. The
+cantata ought to be a harmonious whole of ideas poetically
+expressed, concurring to paint a main passion
+or feeling, susceptible of various kinds and degrees of
+musical expression. It sometimes may have the character
+of the hymn or ode, sometimes that of the elegy,
+or of a mixture of these, in which, however, one particular
+emotion must predominate.&rdquo;</p>
+<p>The church cantata, according to Du Cange, dates
+back to 1314; but subsequent writers have shown
+<span class="pb" id="pg_22">[22]</span>
+that the term prior to the seventeenth century was
+used indiscriminately and without reference to any
+well-defined style of vocal music, and that as applied
+to church compositions it meant the anthem
+such as we now have, although not as elaborate.
+The noblest examples of the sacred cantata are
+those by Sebastian Bach, three hundred and eighty
+in all, over a hundred of which have been published
+under the auspices of the Bach-Gesellschaft. They
+are written in from four to seven movements for four
+voices and full orchestra, usually opening with chorus
+and closing with a chorale, the intermediate movements
+being in the form of recitatives, arias, and
+duets. The text of these cantatas is either a literal
+transcription of the Gospel or of portions of it.
+In the latter case the Gospel of the Sunday for which
+the cantata was written is introduced entire in the
+body of the work as the nucleus around which the
+great composer grouped the remaining parts. For
+instance, the cantata for Sexagesima Sunday turns
+upon the parable of the sower, and this being the
+Gospel for the day is made its central point. In like
+manner the cantata for the fourteenth Sunday after
+Trinity has for its subject the story of the ten lepers,
+which is introduced in recitative form in the middle
+of the work. The astonishing industry of Bach is
+shown by the fact that for nearly five years he produced
+a new cantata for each Sunday, in addition to
+his numerous fugues, chorales, motets, magnificats,
+masses, sanctuses, glorias, and other church music.
+The artistic sincerity and true genius of the old master
+<span class="pb" id="pg_23">[23]</span>
+also reveal themselves in the skill with which he
+finished these works for the congregation of St.
+Thomas,&mdash;few of whom, it is to be feared, had any
+conception of their real merit,&mdash;and in the untiring
+regularity with which he produced them, unrewarded
+by the world&rsquo;s applause, and little dreaming that long
+years after he had passed away they would be brought
+to light again, be published to the world, and command
+its admiration and astonishment on account of
+their beauty and scholarship.<sup><a id="fr_5" href="#fn_5">[5]</a></sup>
+Before passing to the
+consideration of the cantata in its present form, the
+following abridged description of those written by
+Bach, taken from Bitter&rsquo;s Life of the composer, will
+be of interest:&mdash;</p>
+<p class="bq">&ldquo;The directors who preceded Bach at Leipsic used
+to choose the cantatas or motets to be sung in the
+churches quite arbitrarily, without any regard to their
+connection with the rest of the service. But Bach felt
+that unless these elaborate pieces of music were really
+made a means of edification, they were mere intellectual
+pastimes suitable for a concert, but an interruption to
+divine worship; and he thought that they could best
+edify the congregation if their subjects were the themes
+to which attention was specially directed in the service
+and sermon of the day. He therefore made it
+a rule to ascertain from the clergymen of the four
+<span class="pb" id="pg_24">[24]</span>
+churches the texts of the sermons for the following
+Sunday, and to choose cantatas on the same or corresponding
+texts. As most of the clergy were in the
+habit of preaching on the Gospel of the day, the service
+thus became a harmonious whole, and the attention
+of the congregation was not divided between a
+variety of subjects. The clergyman of highest standing
+at Leipsic, Superintendent Deyling, a preacher of
+great eloquence and theological learning, co-operated
+heartily with Bach in this scheme. A series of cantatas
+for every Sunday and festival for five years&mdash;about
+three hundred and eighty in all&mdash;was composed
+by Bach, chiefly during the first years of his stay at
+Leipsic. Unfortunately many of these are lost; but
+one hundred and eighty-six for particular days, and
+thirty-two without any days specified, still remain.
+Their music is so completely in character with the
+subject of the words as to form a perfect exposition
+of the text. In some the orchestral introductions and
+accompaniments are made illustrative of the scene of
+the text; as for instance in one on Christ&rsquo;s appearing
+to His disciples in the evening after His resurrection,
+the introduction is of a soft, calming character, representing
+the peacefulness of evening and of the whole
+scene. Another, on the text &lsquo;Like as the rain and
+snow fall from heaven,&rsquo; is introduced by a symphony
+in which the sound of gently-falling rain is imitated.
+In others the instrumental parts and some of the voices
+express the feelings excited by meditation on the words.
+Sometimes, in the midst of a chorus in which the words
+of the text are repeated, and, as it were, commented on,
+a single voice, with the accompaniment of a few instruments,
+breaks off into some well-known hymn in a
+similar strain of thought or feeling.&rdquo;</p>
+<div class="pb" id="pg_25">[25]</div>
+<p>Handel in his younger days wrote many cantatas
+for the church, though they are now but little known.
+The entire list numbers one hundred and fifty. On
+his return from England to his post of chapel-master
+at Hanover in 1711 he composed twelve,
+known as the Hanover cantatas, for the Princess
+Caroline, the words written by the Abb&eacute; Hortentio
+Mauro, to which no objection was offered by Handel&rsquo;s
+master and patron, notwithstanding he was a
+Lutheran prince. Several written in England are
+still preserved in the royal collections. On Holy
+Week of the year 1704, the same week in which
+Reinhardt Kaiser brought out his famous Passion
+oratorio, &ldquo;The Bleeding and Dying Jesus,&rdquo; Handel&rsquo;s
+Passion cantata was first produced. Kaiser&rsquo;s
+work had been denounced as secular by the pastors,
+because it did not contain the words of Holy Scripture.
+Handel&rsquo;s was founded on the nineteenth
+chapter of St. John, and thus escaped the pulpit
+denunciation. This cantata is sometimes called the First
+Passion Oratorio, the second having been written at Hamburg in
+1716.<sup><a id="fr_6" href="#fn_6">[6]</a></sup>
+In 1707 Handel was in Florence, where he wrote several cantatas, and
+thence went to Rome, where he produced some
+church music in the same form, notably the &ldquo;Dixit
+<span class="pb" id="pg_26">[26]</span>
+Dominus,&rdquo; for five voices and orchestra; &ldquo;Nisi
+Dominus,&rdquo; also for five voices; and &ldquo;Laudate
+pueri,&rdquo; for solos and full orchestral accompaniment.
+The famous anthems written for the private chapel
+of James Brydges, Duke of Chandos, familiarly
+known as the Chandos Anthems, are in reality
+cantatas, as each one is preceded by an overture
+and in its structural form comprises solos, choruses,
+and instrumentation for full band and choir. It is
+also noteworthy that it was during Handel&rsquo;s residence
+at the Duke&rsquo;s palace at Cannons that he
+wrote his first English oratorio, the legitimate successor
+of the Chandos Anthems, and the precursor of
+the great works destined to immortalize his name.</p>
+<p>The cantatas left by Haydn are mainly secular
+in character; but it may well be imagined that
+during the days of his early married life, when his
+fanatical and termagant spouse was forcing him to
+write so much music for the priests and monks
+whom she entertained so sumptuously below-stairs
+while he was laboring above, more than one cantata
+must have come from his pen, which would have
+been preserved had he not reluctantly parted company
+with them to pacify his wife.</p>
+<p>The term &ldquo;cantata,&rdquo; as it is now used, is very
+elastic, and covers a range of compositions which
+are too large to be considered as dramatic arias or
+ballads,&mdash;though ballads are sometimes written for
+various voices and orchestra,&mdash;and too small to be
+called operas or oratorios. It can best be defined,
+perhaps, as a lyric narrative, sacred, didactic, or
+<span class="pb" id="pg_27">[27]</span>
+dramatic in character, set to music for the concert
+stage only, being without <i>dramatis person&aelig;</i> in the
+theatrical acceptation of those words. Its general
+form is that of the oratorio, being for solo voices,
+usually the quartet, full chorus, and orchestra, though
+its shortness as compared with the oratorio adapts
+it to performance by a small chorus, and sometimes
+with only piano accompaniment. Among the most
+perfect forms of the modern cantatas are such works
+as Mendelssohn&rsquo;s &ldquo;Walpurgis Night,&rdquo; Sterndale
+Bennett&rsquo;s &ldquo;May Queen,&rdquo; Max Bruch&rsquo;s &ldquo;Odysseus&rdquo;
+and &ldquo;Frithjof&rsquo;s Saga,&rdquo; Cowen&rsquo;s &ldquo;Sleeping Beauty,&rdquo;
+Gade&rsquo;s &ldquo;Comala,&rdquo; Hiller&rsquo;s &ldquo;Song of Victory,&rdquo; Romberg&rsquo;s
+somewhat antiquated &ldquo;Song of the Bell,&rdquo;
+Sullivan&rsquo;s &ldquo;Golden Legend,&rdquo; Randegger&rsquo;s &ldquo;Fridolin,&rdquo;
+and Dudley Buck&rsquo;s &ldquo;Don Munio&rdquo; and &ldquo;Light
+of Asia.&rdquo; But besides such as these there are numerous
+other works, not usually classed as cantatas,
+which clearly belong to the same musical family;
+such as Berlioz&rsquo;s &ldquo;Damnation of Faust,&rdquo; Brahms&rsquo;s
+&ldquo;Triumphlied,&rdquo; Mendelssohn&rsquo;s settings of various
+Psalms, Handel&rsquo;s &ldquo;Acis and Galatea&rdquo; and &ldquo;Alexander&rsquo;s
+Feast,&rdquo; Hofmann&rsquo;s &ldquo;Melusina,&rdquo; Liszt&rsquo;s &ldquo;Prometheus,&rdquo;
+Rheinberger&rsquo;s &ldquo;Toggenberg,&rdquo; Schubert&rsquo;s
+&ldquo;Song of Miriam,&rdquo; Schumann&rsquo;s ballads and &ldquo;Advent
+Hymn,&rdquo; and Weber&rsquo;s &ldquo;Kampf und Sieg.&rdquo;
+These and others of the same kin are drawn upon
+as illustrations and for analysis in the pages which follow.</p>
+<p>Considering the possibilities of the cantata, its
+adaptability to every form of narrative, and the
+<span class="pb" id="pg_28">[28]</span>
+musical inducements it holds out, particularly in
+these days, when a new opera or oratorio must be
+of extraordinary merit to suit the public, it is somewhat
+remarkable that no more of them are written.
+Mr. Charles Barnard has made this point very aptly
+and forcibly in a short article printed in the &ldquo;Century&rdquo;
+for January, 1886, in which he urges the
+cantata form of composition upon our writers, and
+makes many excellent suggestions.<sup><a id="fr_7" href="#fn_7">[7]</a></sup>
+It is certainly an inviting field, especially to American composers,
+among whom but three or four have as yet produced
+works of this kind possessing real merit.</p>
+<div class="fnblock">
+<div class="fndef"><sup><a id="fn_1" href="#fr_1">[1]</a></sup> Its first use is to be found in the opera of &ldquo;Enea,&rdquo;
+performed at Genoa in 1676. Before 1680 it was universally adopted.
+</div>
+<div class="fndef"><sup><a id="fn_2" href="#fr_2">[2]</a></sup> It is noteworthy that in this volume occur for the first time
+the musical terms &ldquo;adagio,&rdquo; &ldquo;piu adagio,&rdquo; &ldquo;affetuoso,&rdquo; &ldquo;presto,&rdquo;
+and &ldquo;allegro.&rdquo; In the &ldquo;Cantate da Camera a voce sola,&rdquo; published
+at Bologna (1677) by Gio. Bat. Mazzaferrata, the terms &ldquo;vivace,&rdquo;
+&ldquo;largo,&rdquo; and &ldquo;ardito&rdquo; are also found for the first time.
+</div>
+<div class="fndef"><sup><a id="fn_3" href="#fr_3">[3]</a></sup> Geminiani
+used to relate that Franceschelli, a celebrated performer
+on the violoncello at the beginning of this century, accompanied
+one of these cantatas at Rome so admirably, while Scarlatti
+was at the harpsichord, that the company, being good Catholics,
+and living in a country where miraculous powers have not yet
+ceased, were firmly persuaded it was not Franceschelli who had
+played the violoncello, but an angel that had descended and assumed
+his shape.&mdash;<i>Burney&rsquo;s History</i>, vol. iv. p. 169 (1789).
+</div>
+<div class="fndef"><sup><a id="fn_4" href="#fr_4">[4]</a></sup> Doctor
+Arbuthnot, in a humorous pamphlet called out by the operatic
+war, entitled &ldquo;Harmony in an Uproar,&rdquo; calls Handel the
+Nightingale, and Porpora the Cuckoo.
+</div>
+<div class="fndef"><sup><a id="fn_5" href="#fr_5">[5]</a></sup> It is curious to remember that
+the sacred cantatas were not
+composed for universal fame or for a musical public, but for the use
+of congregations who probably looked on them as a necessary part
+of the service, and thought little about the merits of their composition.
+In those days art-criticism was in its infancy, and they were
+scarcely noticed beyond the walls of Leipsic till after the
+composer&rsquo;s death.&mdash;<i>Bitter&rsquo;s Life of Bach</i>.
+</div>
+<div class="fndef"><sup><a id="fn_6" href="#fr_6">[6]</a></sup> Handel&rsquo;s Second German Passion, as it is now generally called,
+differs entirely from the earlier Passion according to St. John, and
+bears no analogy at all to the Passion Music of Sebastian Bach.
+The choruses are expressive or vigorous in accordance with the
+nature of the words; but none exhibit any very striking form of
+contrapuntal development; nor do they ever rise to the grandeur
+of the Utrecht Te Deum or Jubilate.&mdash;<i>Rockstro&rsquo;s Life of Handel</i>.
+</div>
+<div class="fndef"><sup><a id="fn_7" href="#fr_7">[7]</a></sup> The following list of cantatas by Americans hardly sustains
+Mr. Barnard in his assertion that there are but a few of them:
+<span class="sc">Baker, B. F.</span>, &ldquo;Burning Ship;&rdquo; &ldquo;Storm King.&rdquo;&mdash;<span class="sc">Bechel, J.
+C.</span>, &ldquo;Pilgrim&rsquo;s Progress;&rdquo; &ldquo;The Nativity;&rdquo; &ldquo;Ruth.&rdquo;&mdash;<span class="sc">Bradbury,
+W. B.</span>, &ldquo;Esther.&rdquo;&mdash;<span class="sc">Brandeis, F.</span>, &ldquo;The Ring.&rdquo;&mdash;<span class="sc">Bristow,
+G. F.</span>, &ldquo;The Pioneers;&rdquo; &ldquo;No More.&rdquo;&mdash;<span class="sc">Buck, Dudley</span>,
+&ldquo;Don Munio;&rdquo; &ldquo;Centennial;&rdquo; &ldquo;Easter Cantatas;&rdquo; &ldquo;The Golden
+Legend;&rdquo; &ldquo;Light of Asia;&rdquo; &ldquo;Voyage of Columbus.&rdquo;&mdash;<span class="sc">Butterfield,
+J. A.</span>, &ldquo;Belshazzar;&rdquo; &ldquo;Ruth.&rdquo;&mdash;<span class="sc">Chadwick, G. W.</span>, &ldquo;The
+Viking&rsquo;s Last Voyage.&rdquo;&mdash;<span class="sc">Damrosch, Leopold</span>, &ldquo;Ruth and
+Naomi;&rdquo; &ldquo;Sulamith.&rdquo;&mdash;<span class="sc">Foote, A.</span>, &ldquo;Hiawatha.&rdquo;&mdash;<span class="sc">Gilchrist,
+W. W.</span>, &ldquo;Forty-sixth Psalm;&rdquo; &ldquo;The Rose.&rdquo;&mdash;<span class="sc">Gleason,
+F. G.</span>, &ldquo;God our Deliverer;&rdquo; &ldquo;Culprit Fay;&rdquo; &ldquo;Praise of
+Harmony.&rdquo;&mdash;<span class="sc">Hamerik, A.</span>, &ldquo;Christmas Cantata.&rdquo;&mdash;<span class="sc">Leavitt,
+W. J. D.</span>, &ldquo;The Lord of the Sea;&rdquo; &ldquo;Cambyses; or, the Pearl
+of Persia.&rdquo;&mdash;<span class="sc">Marsh, S. B.</span>, &ldquo;The Saviour;&rdquo; &ldquo;King of the
+Forest.&rdquo;&mdash;<span class="sc">Paine, J. K.</span>, &ldquo;&OElig;dipus Tyrannus;&rdquo; &ldquo;The Nativity;&rdquo;
+&ldquo;Ph&oelig;bus, Arise;&rdquo; &ldquo;Realm of Fancy.&rdquo;&mdash;<span class="sc">Parker, J. G.</span>,
+&ldquo;Redemption Hymn.&rdquo;&mdash;<span class="sc">Parker, H. W.</span>, &ldquo;King Trojan.&rdquo;&mdash;<span class="sc">Pratt,
+S. G.</span>, &ldquo;Inca&rsquo;s Downfall.&rdquo;&mdash;<span class="sc">Root, G. F.</span>, &ldquo;Flower
+Queen;&rdquo; &ldquo;Daniel;&rdquo; &ldquo;Pilgrim Fathers;&rdquo; &ldquo;Belshazzar&rsquo;s Feast;&rdquo;
+&ldquo;Haymakers;&rdquo; &ldquo;Song Tournament;&rdquo; &ldquo;David.&rdquo;&mdash;<span class="sc">Singer,
+Otto</span>, &ldquo;Landing of the Pilgrim Fathers;&rdquo; &ldquo;Festival Ode.&rdquo;&mdash;<span class="sc">Trajetta,
+Philip</span>, &ldquo;The Christian&rsquo;s Joy;&rdquo; &ldquo;Prophecy;&rdquo; &ldquo;The
+Nativity;&rdquo; &ldquo;Day of Rest.&rdquo;&mdash;<span class="sc">Whiting, G. E.</span>, &ldquo;Dream Pictures;&rdquo;
+&ldquo;Tale of the Viking;&rdquo; &ldquo;Lenora;&rdquo; and many others.
+</div>
+</div>
+</div>
+<div id="c003" title="Bach">
+<div class="pb" id="pg_29">[29]</div>
+<div class="img"><img src="images/p029.png" alt="" width="364" height="105" /></div>
+<h3>BACH.</h3>
+<p>Johann Sebastian Bach, the most
+eminent of the world&rsquo;s organ-players
+and contrapuntists, was born at Eisenach,
+March 21, 1685, and was the most
+illustrious member of a long line of musicians, the
+Bach family having been famous almost from time
+immemorial for its skill in music. He first studied
+the piano with his brother, Johann Christoph, and
+the organ with Reinecke in Hamburg, and Buxtehude
+in L&uuml;beck. In 1703 he was court musician
+in Weimar, and afterwards was engaged as organist
+in Arnstadt and M&uuml;hlhausen. In 1708 he was
+court organist, and in 1714 concert-master in
+Weimar. In 1718 he was chapel-master to the
+Prince von K&ouml;then, and in 1723 was appointed
+music-director and cantor at the St. Thomas School
+in Leipsic,&mdash;a position which he held during the
+remainder of his life. He has left for the admiration
+of posterity an almost endless list of vocal and
+instrumental works, including cantatas, chorales,
+motets, magnificats, masses, fugues, sonatas, and
+<span class="pb" id="pg_30">[30]</span>
+fantasies, the &ldquo;Christmas Oratorio,&rdquo; and several
+settings of the Passion, of which the most famous
+are the &ldquo;St. John&rdquo; and &ldquo;St. Matthew,&rdquo; the latter
+of which Mendelssohn re-introduced to the world
+in 1829, after it had slumbered an entire century.
+His most famous instrumental work is the &ldquo;Well-tempered
+Clavichord,&rdquo;&mdash;a collection of forty-eight
+fugues and preludes, which was written for his
+second wife, Anna Magdalena Bach, to whom he
+also dedicated a large number of piano pieces and
+songs. His first wife was his cousin, Maria Barbara
+Bach, the youngest daughter of Johann Michael
+Bach, a composer of no common ability. By these
+two wives he had twenty-one children, of whom the
+most celebrated were Carl Phillipp Emanuel, born in
+1714, known as the &ldquo;Berlin Bach;&rdquo; Johann Christoph
+Friedrich, born in 1732, the &ldquo;B&uuml;cheburger
+Bach;&rdquo; and Johann Christian, born in 1735, who
+became famous as the &ldquo;London Bach.&rdquo; Large as
+the family was, it is now extinct. Bach was industrious,
+simple, honest, and God-fearing, like all his
+family. He was an incessant and laborious writer
+from necessity, as his compensation was hardly
+sufficient to maintain his large family, and nearly all
+his music was prepared for the service of the church
+by contract. The prominent characteristics of his
+work are profound knowledge, the clearest statements
+of form, strength of logical sequences, imposing
+breadth, and deep religious sentiment. The
+latter quality was the outcome of his intense religious
+nature. Upon everyone of his principal
+<span class="pb" id="pg_31">[31]</span>
+compositions he inscribed &ldquo;S. D. G.,&rdquo; &ldquo;to the
+glory of God alone.&rdquo; He died July 28, 1750, and
+was buried at Leipsic; but no cross or stone marks
+the spot where he lies. His last composition was
+the beautiful chorale, &ldquo;Wenn wir in h&ouml;chsten
+N&ouml;then sein,&rdquo; freely translated, &ldquo;When my last
+hour is close at hand,&rdquo; as it was written in his last
+illness. The only record of his death is contained
+in the official register: &ldquo;A man, aged sixty-seven,
+M. Johann Sebastian Bach, musical director and
+singing-master at the St. Thomas School, was carried
+to his grave in the hearse, July 30, 1750.&rdquo;</p>
+</div>
+<div id="c004" title="Ich hatte viel Bek&uuml;mmerniss">
+<h4>Ich hatte viel Bek&uuml;mmerniss.</h4>
+<p>The cantata with the above title, best known in
+English as &ldquo;My Heart was full of Heaviness,&rdquo; was
+the first sacred piece in this form which Bach wrote.
+Its date is 1714, in which year he was living at
+Weimar, and its composition grew out of a difficulty
+which he had with the elders of the Liebfrauenkirche
+at Halle, touching his application for the position of
+organist. It occasioned him great sorrow, and it
+was while in this sad plight that he wrote the cantata.
+It was composed for the third Sunday after
+Trinity, June 17, and consists of eleven numbers,&mdash;an
+instrumental prelude, four choruses, three arias,
+a duet, and two recitatives.</p>
+<p>The prelude, which is brief and quiet in character,
+introduces the opening chorus (&ldquo;Deep within my
+Heart was Sorrowing and great Affliction&rdquo;), which
+<span class="pb" id="pg_32">[32]</span>
+in turn leads to the first aria (&ldquo;Sighing, Mourning,
+Sorrow, Tears waste away my troubled Heart&rdquo;), a
+tender and beautiful number for soprano, with oboe
+and string accompaniment. It is followed by the
+tenor recitative and aria, &ldquo;Why hast Thou, O my
+God, in my sore Need so turned Thy Face from
+me?&rdquo; in which the feeling of sorrow is intensified
+in utterance. The chorus, &ldquo;Why, my Soul, art
+thou vexed?&rdquo; a very pathetic number, closes the
+mournful but beautiful first part of the cantata.</p>
+<p>The second part is more tranquil and hopeful.
+It opens with a duet for soprano and bass, the two
+parts representing the soul and Christ, and sustaining
+a most expressive dialogue, leading up to a
+richly harmonized chorus (&ldquo;O my Soul, be content
+and be thou peaceful&rdquo;) in which a chorale
+is introduced with consummate skill. A graceful
+tenor aria with a delightful and smoothly flowing
+accompaniment (&ldquo;Rejoice, O my Soul, change
+Weeping to Smiling&rdquo;) follows and leads to the
+final number, which is based on the same subject as
+that of the &ldquo;Hallelujah&rdquo; in Handel&rsquo;s &ldquo;Messiah.&rdquo;
+All the voices give out the words, &ldquo;The Lamb that
+for us is slain, to Him will we render Power and
+Glory,&rdquo; with majestic effect; after which the solo
+bass utters the theme, &ldquo;Power and Glory and
+Praise be unto Him forevermore,&rdquo; introducing the
+&ldquo;Hallelujah,&rdquo; which closes the work in a burst of
+tremendous power, by voices and instruments.</p>
+</div>
+<div id="c005" title="Gottes Zeit">
+<div class="pb" id="pg_33">[33]</div>
+<h4>Gottes Zeit.</h4>
+<p>During the first half of the period in which Bach
+resided at Weimar, occupying the position of court
+and chamber musician to Duke Wilhelm Ernst, he
+wrote three cantatas in the old church form which
+are notable as being the last he composed before
+adopting the newer style, and as the most perfect of
+that kind extant. The first of these, &ldquo;Nach dir,
+Herr, verlanget mich,&rdquo; is based upon the first two
+verses of the Twenty-fifth Psalm. The second, &ldquo;Aus
+der Tiefe rufe ich,&rdquo; includes the whole of the One
+hundred and thirtieth Psalm and two verses of the
+hymn &ldquo;Herr Jesu Christ, du h&ouml;chstes Gut.&rdquo; The
+third and most famous of the trio, &ldquo;Gottes Zeit ist
+die allerbeste Zeit&rdquo; (&ldquo;God&rsquo;s time is the best of
+all&rdquo;), is generally known as the &ldquo;Actus Tragicus,&rdquo;
+and sometimes as the &ldquo;Mourning Cantata.&rdquo; Of its
+origin Spitta says:&mdash;</p>
+<p class="bq">&ldquo;Judging by its contents it was designed for the
+mourning for some man, probably of advanced age, to
+whom the song of Simeon could be suitably applied.
+No such death took place in the ducal house at this
+time, for Prince Johann Ernst died when a youth, and
+also when Bach&rsquo;s style of composition had reached a
+different stage. Possibly the cantata has reference to
+Magister Philipp Grossgebauer, the rector of the
+Weimar school before its reorganization, who died in
+1711; at least, I can find no other suitable occasion.
+The contrast between the spirit of the Old and New
+Testaments,&mdash;between the wrath of an avenging God
+<span class="pb" id="pg_34">[34]</span>
+and the atoning love of Christ,&mdash;which had already
+appeared in the One hundred and thirtieth Psalm, is
+the germ and root of this cantata to such a degree that
+it is evident that Bach had fully realized by this time
+how fertile a subject for treatment it was. It contains
+no chorus of such depth and force as those of the One
+hundred and thirtieth Psalm. Its character is much
+more entirely individual and personal, and so it has a
+depth and intensity of expression which reach the extreme
+limits of possibility of representation by music.
+The arrangement of the poetic material is most excellent;
+it does not wholly consist of Scripture texts and
+verses of hymns; and in several fit and expressive
+thoughts, which are freely interspersed, we can almost
+recognize Bach&rsquo;s own hand. If such be the case, the
+whole arrangement of the poetry may with reason be
+ascribed to him.&rdquo;</p>
+<p>The introduction to the work is a quiet, tender
+movement in sonata form, written for two flutes,
+two viol-da-gambas and figured bass, which gives out
+some of the themes in the middle of the cantata.
+The opening chorus (&ldquo;God&rsquo;s own Time is the best,
+ever best of all. In Him we live, move, and have
+our Being, as long as He wills. And in Him we
+die at His good Time&rdquo;) is very descriptive in character,
+opening with a slow and solemn movement,
+then passing to a quick fugue, and closing with
+phrases of mournful beauty to suit the last sentence
+of the text. A tenor solo follows, set to the
+words, &ldquo;O Lord, incline us to consider that our
+Days are numbered; make us apply our Hearts unto
+Wisdom,&rdquo; and accompanied by the flutes, leading
+<span class="pb" id="pg_35">[35]</span>
+into a mournful aria for the bass, which forms the
+second part of the tenor solo (&ldquo;Set in order thine
+House, for thou shalt die and not live&rdquo;). The choir
+resumes with a new theme (&ldquo;It is the old Decree,
+Man, thou art mortal&rdquo;), in which the lower voices
+carry a double fugue, the soprano sings alone (&ldquo;Yea,
+come, Lord Jesus&rdquo;), and the instruments have the
+melody of the old hymn:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;I have cast all my care on God,</p>
+<p class="t0">E&rsquo;en let Him do what seems Him good;</p>
+<p class="t0">Whether I die, or whether live,</p>
+<p class="t2">No more I&rsquo;ll strive.</p>
+<p class="t0">But all my will to Him will give.&rdquo;</p>
+</div>
+</div>
+<p>Of this effective movement and its successor
+Spitta says:&mdash;</p>
+<p class="bq">&ldquo;The design is clear. The curse of death has been
+changed into blessing by the coming of Christ, and
+that which mankind dreaded before, they now stretch
+out entreating hands to; the bliss of the new condition
+of things shines out in supernatural glory against
+the dark background of a dispensation that has been
+done away. This is the idea of the concerted vocal
+parts; and the fact that thousands upon thousands
+have agreed in the joy of this faith is shown by the
+chorale tune now introduced; for to the understanding
+listener its worldless sounds convey the whole import
+of the hymn which speaks so sweetly of comfort in the
+hour of death, sounds which must recall to every pious
+heart all the feelings they had stirred when, among the
+chances and changes of life, this hymn had been heard,&mdash;feelings
+of sympathy with another&rsquo;s grief or of balm
+to the heart&rsquo;s own anxiety.&rdquo;</p>
+<div class="pb" id="pg_36">[36]</div>
+<p>The alto voice follows with the words spoken on
+the cross (&ldquo;Into Thy Hands my Spirit I commend&rdquo;),
+to which the bass replies in an arioso (&ldquo;Thou shalt
+be with Me to-day in Paradise&rdquo;). The next number
+is a chorale (&ldquo;In Joy and Peace I pass away
+whenever God willeth&rdquo;) sung by the alto, the bass
+continuing its solo at the same time through a portion
+of the chorale. The final chorus is the so-called
+fifth Gloria:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;All glory, praise, and majesty</p>
+<p class="t0">To Father, Son, and Spirit be,</p>
+<p class="t0">The holy, blessed Trinity;</p>
+<p class="t3">Whose power to us</p>
+<p class="t3">Gives victory</p>
+<p class="t0">Through Jesus Christ.    Amen.&rdquo;</p>
+</div>
+</div>
+<p>The &ldquo;Actus Tragicus&rdquo; was one of the youthful compositions
+of Bach, but it has always attracted the
+notice of the best musical critics. It was a great
+favorite with Mendelssohn. Spitta says:&mdash;</p>
+<p class="bq">&ldquo;It is a work of art well rounded off and firm in
+its formation, and warmed by the deepest intensity of
+feeling even in the smallest details.&rdquo;</p>
+<p>Hauptmann writes to Jahn:&mdash;</p>
+<p class="bq">&ldquo;Yesterday, at the Euterpe concert, Bach&rsquo;s &lsquo;Gottes
+Zeit&rsquo; was given. What a marvellous intensity pervades
+it, without a bar of conventionality! Of the
+cantatas known to me, I know none in which such
+design and regard are had to the musical import and
+its expression.&rdquo;</p>
+</div>
+<div id="c006" title="Festa Ascensionis Christi">
+<div class="pb" id="pg_37">[37]</div>
+<h4>Festa Ascensionis Christi.</h4>
+<p>The cantata beginning with the words, &ldquo;Wer
+da glaubet und getauft wird&rdquo; (&ldquo;Whoso believeth
+and is baptized&rdquo;), commonly known as the Ascension
+cantata, was written for four voices, with
+accompaniment of two oboes, two violins, viola,
+and &ldquo;continuo,&rdquo;&mdash;the latter word implying a bass
+part, the harmonies indicated by figures from which
+the organist built up his own accompaniment. The
+original score has been lost; but it has been reconstructed
+from the parts, which are preserved in the
+Royal Library at Berlin.</p>
+<p>The cantata is in five numbers. A short prelude
+of a quiet and cheerful character introduces the
+stately opening chorus (&ldquo;Who believeth and obeyeth
+will be blest forever&rdquo;). Another brief prelude
+prepares the way for the brilliant tenor aria (&ldquo;Of
+Love, Faith is the Pledge and Token&rdquo;), which
+leads up to the chorale, &ldquo;Lord God, my Father,
+holy One,&rdquo; based upon the old chorale, &ldquo;Wie
+sch&ouml;n leucht uns der Morgenstern&rdquo; (&ldquo;How
+brightly shines the Morning Star&rdquo;), which has always
+been a favorite in the church service, and
+which more than one composer has chosen for the
+embellishment of his themes. The chorale is not
+employed in its original form, but is elaborated
+with all the contrapuntal skill for which Bach was
+so famous. The next number is a short recitative
+for the bass voice (&ldquo;Ye Mortals, hear, all ye who
+<span class="pb" id="pg_38">[38]</span>
+would behold the Face of God&rdquo;), and leads to a
+stately bass aria (&ldquo;Through Faith the Soul has
+Eagle&rsquo;s Pinions&rdquo;). The cantata closes, after the
+customary manner of Bach, with a strong, earnest
+chorale (&ldquo;Oh, give me Faith, my Father!&rdquo;), in
+plain, solid harmony, for the use of the congregation,
+thus forming an effective devotional climax to
+the work.</p>
+</div>
+<div id="c007" title="Ein&rsquo; Feste Burg">
+<h4>Ein&rsquo; Feste Burg.</h4>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;A safe stronghold our God is still,</p>
+<p class="t">A trusty shield and weapon;</p>
+<p class="t0">He&rsquo;ll help us clear from all the ill</p>
+<p class="t">That hath us now o&rsquo;ertaken.</p>
+<p class="t0">The ancient Prince of Hell</p>
+<p class="t0">Hath risen with purpose fell;</p>
+<p class="t0">Strong mail of craft and power</p>
+<p class="t0">He weareth in this hour.</p>
+<p class="t">On Earth is not his fellow.</p>
+</div>
+<div class="verse">
+<p class="t0"><span class="gs3">*       *       *       *       *</span></p>
+</div>
+<div class="verse">
+<p class="t0">&ldquo;And were this world all devils o&rsquo;er,</p>
+<p class="t">And watching to devour us,</p>
+<p class="t0">We lay it not to heart so sore,</p>
+<p class="t">Not they can overpower us.</p>
+<p class="t0">And let the Prince of Ill</p>
+<p class="t0">Look grim as e&rsquo;er he will,</p>
+<p class="t0">He harms us not a whit;</p>
+<p class="t0">For why? His doom is writ,</p>
+<p class="t">A word shall quickly slay him.&rdquo;</p>
+</div>
+</div>
+<p>There is now but little question that Martin
+Luther not only wrote the words but the music
+of the grand old hymn, the first and third stanzas
+of which, taken from Carlyle&rsquo;s free and rugged
+<span class="pb" id="pg_39">[39]</span>
+translation, are given above. Sleidan, a contemporary
+historian, indeed says that &ldquo;Luther made
+a tune for it singularly suited to the words and
+adapted to stir the heart.&rdquo; The date of its composition
+is a matter of controversy; but it is clear
+that it must have been either in 1529 or 1530, and
+most writers agree that it was just before the Diet
+at Augsburg, where it was sung. Niederer, in a
+work published at Nuremberg, 1759, fixes the date
+as 1530, and finds it in Preussen&rsquo;s psalm-book,
+printed in 1537. Winterfeld observes it for the
+first time in the &ldquo;Gesangbuch&rdquo; of the composer
+Walther, a friend of Luther. Its usual title is,
+&ldquo;Der XLVI. Psalm: Deus noster Refugium et
+virtus, pp. D., Martin Luther.&rdquo; It matters little,
+however, the exact year in which the sturdy old
+Reformer wrote the hymn which has stirred the
+human heart more than any other. It is indissolubly
+connected with his name, and every line of
+it is a reflex of his indomitable and God-fearing
+nature. Heine and Carlyle have paid it noble
+tributes. The German poet says:&mdash;</p>
+<p class="bq">&ldquo;The hymn which he composed on his way to Worms,<sup><a id="fr_8" href="#fn_8">[8]</a></sup>
+and which he and his companions chanted
+as they entered that city, is a regular war-song. The
+old cathedral trembled when it heard these novel
+sounds. The very rooks flew from their nests in the
+towers. That hymn, the Marseillaise of the Reformation,
+<span class="pb" id="pg_40">[40]</span>
+has preserved to this day its potent spell over
+German hearts.&rdquo;</p>
+<p>Carlyle still more forcibly says:&mdash;</p>
+<p class="bq">&ldquo;With words he had now learned to make music;
+it was by deeds of love or heroic valor that he spoke
+freely. Nevertheless, though in imperfect articulation,
+the same voice, if we listen well, is to be heard
+also in his writings, in his poems. The one entitled
+&lsquo;Ein&rsquo; feste Burg,&rsquo; universally regarded as the best,
+jars upon our ears; yet there is something in it like
+the sound of Alpine avalanches, or the first murmur
+of earthquakes, in the very vastness of which dissonance
+a higher unison is revealed to us. Luther wrote
+this song in times of blackest threatenings, which,
+however, could in no sense become a time of despair.
+In these tones, rugged and broken as they are, do we
+hear the accents of that summoned man, who answered
+his friends&rsquo; warning not to enter Worms, in this wise:
+&lsquo;Were there as many devils in Worms as these tile
+roofs, I would on.&rsquo;&rdquo;</p>
+<p>It was the battle-song of the Reformation, stirring
+men to valiant deeds; and it did equal service
+in sustaining and consoling the Reformers in their
+darkest hours. &ldquo;Come, Philip, let us sing the
+Forty-sixth Psalm,&rdquo; was Luther&rsquo;s customary greeting
+to Melanchthon, when the gentler spirit quailed
+before approaching danger, or success seemed
+doubtful. In music it has frequently served an
+important purpose. Not only Bach, but other composers
+of his time arranged it. Mendelssohn uses
+it with powerful effect in his Reformation symphony.
+<span class="pb" id="pg_41">[41]</span>
+Nicolai employs it in his Fest overture.
+Meyerbeer more than once puts it in the mouth of
+Marcel the Huguenot, when dangers gather about
+his master, though the Huguenots were not Lutherans
+but Calvinists; and Wagner introduces it
+with overwhelming power in his triumphal Kaiser
+March.</p>
+<p>Bitter, in his Life of Bach, says:&mdash;</p>
+<p class="bq">&ldquo;The bicentenary Reformation Festival was celebrated
+in October and November, 1717, and at Weimar
+especially it was, as an old chronicle tells us, a
+great jubilee. Bach composed his cantata, &lsquo;Ein&rsquo; feste
+Burg,&rsquo; for the occasion. In this piece it is clear that
+he had passed through his first phase of development
+and reached a higher stage of perfection.&rdquo;</p>
+<p>Winterfeld is inclined to the same belief; but
+Spitta, in his exhaustive biography of Bach, argues
+that it must have been written either for the Reformation
+Festival of 1730, or for the two hundredth
+anniversary of Protestantism in Saxony, May 17,
+1739. The former date would bring its composition
+a year after the completion of his great Passions
+music, and four years before his still more
+famous &ldquo;Christmas Oratorio,&rdquo;&mdash;a period when he
+was at the height of his productive power; which
+favors the argument of Spitta, that in 1717 a chorus like the
+opening one in the cantata was beyond his capacity.<sup><a id="fr_9" href="#fn_9">[9]</a></sup>
+In the year 1730 Bach wrote three
+<span class="pb" id="pg_42">[42]</span>
+Jubilee cantatas, rearranged from earlier works, and
+Spitta claims that it was only about this period that
+he resorted to this practice. Further, he adds that
+&ldquo;the Chorale Chorus [the opening number], in
+its grand proportions and vigorous flow, is the natural
+and highest outcome of Bach&rsquo;s progressive
+development, and he never wrote anything more
+stupendous.&rdquo;</p>
+<p>The cantata has eight numbers, three choruses
+and five solos. The solo numbers are rearranged
+from an earlier cantata, &ldquo;Alles was von Gott geboren&rdquo;
+(&ldquo;All that is of God&rsquo;s creation&rdquo;), written for
+the third Sunday in Lent, March 15, 1716. The opening
+number is a colossal fugue based upon a variation
+on the old melody and set to the first verse of
+the Luther hymn. It is followed by a duet for soprano
+and bass, including the second verse of the
+hymn and an interpolated verse by Franck,<sup><a id="fr_10" href="#fn_10">[10]</a></sup>
+who prepared the text. The third and fourth numbers
+are a bass recitative and soprano aria, the words
+<span class="pb" id="pg_43">[43]</span>
+also by Franck, leading up to the second great
+chorale chorus set to the words of the third stanza
+of the hymn,</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;And were the world all devils o&rsquo;er,&rdquo;</p>
+</div>
+</div>
+<p>of which Spitta says:&mdash;</p>
+<p class="bq">&ldquo;The whole chorus sings the <i>Cantus firmus</i> in unison,
+while the orchestra plays a whirl of grotesque and
+wildly leaping figures, through which the chorus makes
+its way undistracted and never misled, an illustration
+of the third verse, as grandiose and characteristic as
+it is possible to conceive.&rdquo;</p>
+<p>The sixth number is a recitative for tenor followed
+by a duet for alto and tenor (&ldquo;How blessed then are
+they who still on God are calling&rdquo;). The work closes
+with a repetition of the chorale, set to the last verse
+of the hymn, sung without accompaniment. The
+cantata is colossal in its proportions, and is characterized
+throughout by the stirring spirit and bold
+vigorous feeling of the Reformation days whose
+memories it celebrated.</p>
+<div class="fnblock">
+<div class="fndef"><sup><a id="fn_8" href="#fr_8">[8]</a></sup> This
+assumption, repeated by others, grows out of the similarity
+of sentiment in the third stanza to that of Luther&rsquo;s famous
+reply when he was urged not to attend the Diet of Worms.
+</div>
+<div class="fndef"><sup><a id="fn_9" href="#fr_9">[9]</a></sup> There
+is yet a fourth rearrangement, which we may assign to
+1730. The assertion is no doubt well founded that in this year
+the celebration of the Reformation Festival was considered of special
+importance, and kept accordingly; and it is evident that the
+cantata &ldquo;Ein&rsquo; feste Burg&rdquo; must have been intended for some such
+extraordinary solemnity.&mdash;<i>Spitta</i>, vol. ii. p. 470.
+<p class="fnp">The Reformation Festival had no doubt a very distinct poetical
+sentiment of its own; and when any special occasion took the
+precedence, as in 1730 and 1739, the years of Jubilee, it would be
+misleading to seek for any close connection between the sermon
+and the cantata. Thus the cantata, &ldquo;Ein&rsquo; feste Burg,&rdquo; may very
+well have been connected with the sermon in 1730; still, it is possible
+that it was not written till 1739.&mdash;<i>Ibid.</i>, vol. iii. p. 283.</p>
+</div>
+<div class="fndef"><sup><a id="fn_10" href="#fr_10">[10]</a></sup> Salomo Franck, a poet
+of more than ordinary ability, was born at Weimar, March 6, 1759.
+He published several volumes of sacred lyrics.
+</div>
+</div>
+<div class="imgtail"><img src="images/p043.png" alt="" width="65" height="65" /></div>
+</div>
+<div id="c008" title="Balfe">
+<div class="pb" id="pg_44">[44]</div>
+<div class="img"><img src="images/p044.png" alt="" width="363" height="99" /></div>
+<h3>BALFE.</h3>
+<p>Michael William Balfe was born at
+Dublin, Ireland, May 15, 1808. Of all the
+English opera-composers, his career was
+the most versatile, as his success, for a
+time at least, was the most remarkable. At seven
+years of age he scored a polacca of his own for a
+band. In his eighth year he appeared as a violinist,
+and in his tenth was composing ballads. At sixteen
+he was playing in the Drury Lane orchestra,
+and about this time began taking lessons in composition.
+In 1825, aided by the generosity of a patron,
+he went to Italy, where for three years he studied
+singing and counterpoint. In his twentieth year he
+met Rossini, who offered him an engagement as first
+barytone at the Italian opera in Paris. He made
+his d&eacute;but with success in 1828, and at the close of
+his engagement returned to Italy, where he appeared
+again on the stage. About this time (1829-1830)
+he began writing Italian operas, and before he left
+the country had produced three which met with considerable
+success. In 1835 he returned to England;
+and it was in this year that his first English opera,
+<span class="pb" id="pg_45">[45]</span>
+&ldquo;The Siege of Rochelle,&rdquo; was brought out. It was
+played continuously at Drury Lane for over three
+months. In 1835 appeared his &ldquo;Maid of Artois;&rdquo;
+in 1837, &ldquo;Catharine Grey&rdquo; and &ldquo;Joan of Arc;&rdquo;
+and in 1838, &ldquo;Falstaff.&rdquo; During these years he was
+still singing in concerts and opera, and in 1840 undertook
+the management of the Lyceum. His finest
+works were produced after this date,&mdash;&ldquo;The Bohemian
+Girl,&rdquo; in 1843; &ldquo;The Enchantress,&rdquo; in 1844;
+&ldquo;The Rose of Castile,&rdquo; &ldquo;La Zingara,&rdquo; and &ldquo;Satanella,&rdquo;
+in 1858; and &ldquo;The Puritan&rsquo;s Daughter&rdquo; in
+1861. His last opera was &ldquo;The Knight of the
+Leopard,&rdquo; known in Italian as &ldquo;Il Talismano,&rdquo; which
+has also been performed in English as &ldquo;The Talisman.&rdquo;
+He married Mademoiselle Rosen, a German
+singer, whom he met in Italy in 1835. His daughter
+Victoire, who subsequently married Sir John Crampton,
+and afterwards the Duc de Frias, also appeared
+as a singer in 1856. Balfe died Oct. 20, 1870, upon
+his own estate in Hertfordshire.</p>
+</div>
+<div id="c009" title="Mazeppa">
+<h4>Mazeppa.</h4>
+<p>The cantata of &ldquo;Mazeppa,&rdquo; the words written by
+Jessica Rankin, was one of the last productions of
+Balfe, having been produced in 1862, a year after
+&ldquo;The Puritan&rsquo;s Daughter,&rdquo; and several years after
+he had passed his musical prime. The text is based
+upon the familiar story as told by Byron in his poem
+<span class="pb" id="pg_46">[46]</span>
+of the wild ride of the page of King Casimir, &ldquo;The
+Ukraine&rsquo;s hetman, calm and bold,&rdquo; and of the</p>
+<div class="bq">
+<div class="verse">
+<p class="t6">&ldquo;noble steed,</p>
+<p class="t0">A Tartar of the Ukraine breed,</p>
+<p class="t0">Who looked as though the speed of thought</p>
+<p class="t0">Was in his limbs.&rdquo;</p>
+</div>
+</div>
+<p>The main incidents in the story&mdash;the guilty love of
+the page Mazeppa for the Count Palatine&rsquo;s Theresa,
+his surprise and seizure by the spies, her mysterious
+fate, the wild flight of the steed with his wretched
+load through forest and over desert, and the final
+rescue by the Cossack maid&mdash;are preserved, but
+liberties of every description are taken in the recital
+of the narrative. It is but a feeble transcript
+of Byron&rsquo;s glowing verse, and in its diluted form is
+but a vulgar story of ordinary love, jealousy, and
+revenge.</p>
+<p>The cantata comprises twelve numbers. The first
+is a prelude in triplets intended to picture the gallop
+of the steed, a common enough device since the
+days when Virgil did it much better without the aid
+of musical notation, in his well-known line,&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Quadrupedante putrem sonitu quatit ungula campum.&rdquo;</p>
+</div>
+</div>
+<p>It leads to a stirring chorus which is followed by
+still another, based upon a very pleasant melody.
+The third number is a solo for barytone, in which the
+Count gives expression to his jealousy, which brings
+us to the heroine, who makes her appearance in a
+florid number. The next is a duet for Theresa and
+<span class="pb" id="pg_47">[47]</span>
+Mazeppa, followed by a solo for the tenor (Mazeppa)
+which is very effective. The chorus then re-enter
+and indicate the madness of the Count in words,
+the following sample of which will show their unsingableness:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Revenge fires his turbulent soul;</p>
+<p class="t0">No power his boundless rage can control.&rdquo;</p>
+</div>
+</div>
+<p>The eighth number is another duet for the Countess
+and Mazeppa in the conventional Italian style. It
+is followed by a graceful aria for tenor, which leads
+up to the best number in the work, a trio in canon
+form. A final aria by the Count leads to the last
+chorus, in which the repetition of the triplet gallop
+forebodes the ride into the desert and the punishment
+of the page. As might be inferred from the
+description, the cantata is like Hamlet with <i>Hamlet</i>
+left out. There is very little of Mazeppa and his
+Tartar steed in the work, but very much of the jealousy
+and revenge which lead up to the penalty.</p>
+<div class="imgtail"><img src="images/p047.png" alt="" width="94" height="59" /></div>
+</div>
+<div id="c010" title="Beethoven">
+<div class="pb" id="pg_48">[48]</div>
+<div class="img"><img src="images/p048.png" alt="" width="345" height="87" /></div>
+<h3>BEETHOVEN.</h3>
+<p>Ludwig von Beethoven was born
+Dec. 16, 1770, at Bonn, Germany. His
+father was a court-singer in the Chapel
+of the Elector of Cologne. The great
+composer studied in Vienna with Haydn, with
+whom he did not always agree, however, and afterwards
+with Albrechtsberger. His first symphony
+appeared in 1801,&mdash;his earlier symphonies, in what
+is called his first period, being written in the Mozart
+style. His only opera, &ldquo;Fidelio,&rdquo; for which he
+wrote four overtures, was first brought out in Vienna,
+in 1805; his oratorio, &ldquo;Christ on the Mount of
+Olives,&rdquo; in 1812; and his colossal Ninth Symphony,
+with its choral setting of Schiller&rsquo;s &ldquo;Ode to
+Joy,&rdquo; in 1824. In addition to his symphonies, his
+opera, oratorios, and masses, and the immortal series
+of piano sonatas, which were almost revelations
+in music, he developed chamber music to an extent
+far beyond that reached by his predecessors, Mozart
+and Haydn. His symphonies exhibit surprising
+power, a marvellous comprehension of the deeper
+feelings in life, and the influences of nature, both
+<span class="pb" id="pg_49">[49]</span>
+human and physical. He wrote with the deepest
+earnestness, alike in the passion and the repose of
+his music, and he invested it also with a genial humor
+as well as with the highest expression of pathos.
+His works are epic in style. He was the great
+tone-poet of music. His subjects were always lofty
+and dignified, and to their treatment he brought
+not only a profound knowledge of musical technicality,
+but intense sympathy with the innermost feelings
+of human nature, for he was a humanitarian
+in the broadest sense. By the common consent of
+the musical world he stands at the head of all composers
+since his time, and has always been their
+guide and inspiration. He died March 26, 1827,
+in the midst of a raging thunder-storm,&mdash;one of his
+latest utterances being a recognition of the &ldquo;divine
+spark&rdquo; in Schubert&rsquo;s music.</p>
+</div>
+<div id="c011" title="The Ruins of Athens">
+<h4>The Ruins of Athens.</h4>
+<p>The most important compositions by Beethoven
+in 1811 were the music to two dramatic works
+written by the poet Kotzebue to celebrate the
+opening of the new theatre at Pesth, Hungary.
+One of these was a prologue in one act with
+overture and choruses, entitled &ldquo;K&ouml;nig Stephan,<sup><a id="fr_11" href="#fn_11">[11]</a></sup>
+Ungarn&rsquo;s erster Wohlth&auml;ter&rdquo; (&ldquo;King Stephen,
+Hungary&rsquo;s first Benefactor&rdquo;); the other, an allegorical
+<span class="pb" id="pg_50">[50]</span>
+sketch, called &ldquo;The Ruins of Athens,&rdquo;
+the subject of which is thus concisely stated by
+Macfarren:&mdash;</p>
+<p class="bq">&ldquo;Minerva has been since the golden age of Grecian
+art, the glorious epoch of Grecian liberty, for some or
+other important offence against the Olympian tribunal,
+the particulars of which I am unable to furnish, fettered
+with chains of heaven-wrought adamant by the
+omnipotent thunderer within a rock impenetrable alike
+to the aspirations of man and to the intelligence of the
+goddess, a rock through which neither his spirit of inquiry
+could approach, nor her wisdom diffuse itself
+upon the world. The period of vengeance is past;
+Jove relents, and the captive deity is enfranchised.
+The first steps of her freedom naturally lead Minerva
+to the scene of her ancient greatness. She finds
+Athens, her Athens, her especially beloved and
+most carefully cherished city, in ruins, the descendants
+of her fostered people enslaved to a barbarous
+and fanatic race; the trophies of her former splendor,
+the wrecks of that art which is the example and the
+regret of all time, appropriated to the most degrading
+purposes of vulgar householdry; and the frenzied worshippers
+of a faith that knows not the divine presence
+in its most marvellous manifestation, the intellect of
+man. Here is no longer the home of wisdom and the
+arts; so the liberated goddess proceeds to Pesth, where
+she establishes anew her temple in the new theatre,
+and presides over a triumphal procession in honor of
+the Emperor, its patron, under whose auspices the
+golden age is to prevail again.&rdquo;</p>
+<p>After the opening performances the music to
+&ldquo;King Stephen&rdquo; was laid aside until 1841, when
+<span class="pb" id="pg_51">[51]</span>
+it was given in Vienna; but the after-piece, &ldquo;The
+Ruins of Athens,&rdquo; was presented again during
+Beethoven&rsquo;s lifetime upon the occasion of the
+opening of a theatre in that city. The new text,
+which was prepared for it by Carl Meisl, was entitled
+&ldquo;Die Weihe des Hauses&rdquo; (&ldquo;The Dedication
+of the House&rdquo;), and Beethoven wrote for
+it the overture which is now so famous, solos
+for soprano and violin, and a final chorus with
+dances.</p>
+<p>The music to the &ldquo;Ruins of Athens&rdquo; comprises
+eight numbers. The overture is very light and unpretentious,
+and by many critics, among them Ferdinand
+Ries, Beethoven&rsquo;s pupil, has been deemed
+unworthy of the composer. Thayer says:&mdash;</p>
+<p class="bq">&ldquo;When the overture was first played at Leipsic,
+people could hardly trust their ears, could hardly believe
+it to be the work of the author of the symphonies,
+of the overtures to &lsquo;Coriolan,&rsquo; &lsquo;Egmont,&rsquo; and
+&lsquo;Leonore&rsquo; (Fidelio).&rdquo;</p>
+<p>The opening number is a chorus (&ldquo;Daughter
+of mighty Jove, awake!&rdquo;), which is followed by a
+beautiful duet (&ldquo;Faultless, yet hated&rdquo;), voicing the
+lament of two Greek slaves for the destruction of
+their temples and the degradation of their land. The
+duet is very pathetic in character, and the melody,
+carried by the two voices, leaves an impression of
+sadness which cannot be resisted. The third number
+is the well-known chorus of Dervishes sung in
+unison by tenors and basses, thus forming a kind of
+<span class="pb" id="pg_52">[52]</span>
+choral chant. The melody is a weird one, and full
+of local color, but its powerful effect is gained by the
+manner of treatment. It begins pianissimo and is
+gradually worked to the extreme pitch of true Dervish
+delirium, culminating in the exclamation, &ldquo;Great
+Prophet, hail!&rdquo; and then gradually subsiding until it
+dies away, apparently from the exhaustion of such
+fervor. It is followed by the familiar Turkish march,
+founded on the theme of the Variations in D, op. 76,
+very simple in construction, Oriental in its character
+throughout, and peculiarly picturesque in effect. After
+an instrumental movement behind the scenes, a triumphal
+march and chorus (&ldquo;Twine ye a Garland&rdquo;)
+is introduced. The seventh number is a recitative
+and aria by the high priest with chorus, which
+lead to a beautifully melodious chorus (&ldquo;Susceptible
+Hearts&rdquo;). An adagio aria for bass (&ldquo;Deign, great
+Apollo&rdquo;) and a vigorous chorus (&ldquo;Hail, our
+King&rdquo;) bring the work to a close. The piece
+was first brought out in England by Mendelssohn
+in 1844 at one of the Philharmonic Society&rsquo;s concerts;
+and ten or twelve years later an English version
+of it was performed at the Prince&rsquo;s Theatre,
+when the Royal Exchange and statue of Wellington
+were substituted for the Pesth Theatre, and Shakspeare
+took the place of the Emperor of Austria,
+concerning the good taste of which Macfarren
+pithily says:&mdash;</p>
+<p class="bq">&ldquo;Modifications admirably adapted to the commercial
+character and the blind vainglory that so eminently
+mark the British nation.&rdquo;</p>
+<div class="fnblock">
+<div class="fndef"><sup><a id="fn_11" href="#fr_11">[11]</a></sup> Born in the year 977 at Gran, and known in Austrian and
+Hungarian history as Saint Stephen.
+</div>
+</div>
+</div>
+<div id="c012" title="The Glorious Moment">
+<div class="pb" id="pg_53">[53]</div>
+<h4>The Glorious Moment.</h4>
+<p>In September, 1814, the same year in which the
+Allies entered Paris, the Vienna Congress met to
+adjust the relations of the various European States.
+It was an occasion of great moment in the ancient
+city,&mdash;this gathering of sovereigns and distinguished
+statesmen,&mdash;and the magistracy prepared
+themselves to celebrate it with befitting pomp and
+ceremony. Beethoven was requested to set a poem,
+written by Dr. Aloys Weissenbach, of Salzburg, in
+cantata form, which was to be sung as a greeting
+to the royal visitors. It was &ldquo;Der glorreiche
+Augenblick,&rdquo; sometimes written &ldquo;Der heilige Augenblick&rdquo;
+(&ldquo;The Glorious Moment&rdquo;). The time
+for its composition was very brief, and was made
+still shorter by the quarrels the composer had with
+the poet in trying to reduce the barbarous text to a
+more inspiring and musical form. He began the
+composition in September, and it was first performed
+on the 29th of the following November,
+together with the &ldquo;Battle of Vittoria,&rdquo; and the A
+major (Seventh) symphony, written in the previous
+year. The concert took place in the presence of
+the sovereigns and an immense audience which received
+his works with every demonstration of enthusiasm,
+particularly &ldquo;The Glorious Moment,&rdquo;&mdash;a
+moment which all hailed as the precursor of a
+happier epoch for Europe, soon to be freed from
+Napoleonic oppression. The occasion was one of
+<span class="pb" id="pg_54">[54]</span>
+great benefit to the composer at a time when he
+was sorely in need of assistance. The distinguished
+foreign visitors thronged the salon of the Archduke
+Rudolph to pay him homage. Handsome gifts
+were lavished upon him so that he was enabled to
+make a permanent investment of 20,000 marks in
+shares of the bank of Austria. Brilliant entertainments
+were given by the Russian ambassador,
+Prince Rasoumowsky,<sup><a id="fr_12" href="#fn_12">[12]</a></sup>
+in his palace, at one of
+which Beethoven was presented to the sovereigns.
+The Empress of Russia also gave him a reception and
+made him magnificent presents. Schindler says:</p>
+<p class="bq">&ldquo;Not without feeling did the great master afterwards
+recall those days in the Imperial Palace and that of
+the Russian Prince; and once with a certain pride remarked
+that he had allowed the crowned heads to pay
+court to him, and that he had carried himself thereby
+proudly.&rdquo;</p>
+<p>The stern old republican, however, who could
+rebuke Goethe for taking off his hat in the presence
+of royalty, spoke such sentiments jocosely. He expresses
+his real feelings in a letter written to the
+attorney, Herr J. Kauka, of Prague:&mdash;</p>
+<p class="bq">&ldquo;I write nothing about our monarchs and monarchies,
+for the newspapers give you every information
+on these subjects. The intellectual realm is the most
+precious in my eyes, and far above all temporal and
+spiritual monarchies.&rdquo;</p>
+<div class="pb" id="pg_55">[55]</div>
+<p>The cantata itself, while not one of the most
+meritorious of the composer&rsquo;s works, for reasons
+which are sufficiently apparent, still is very effective
+in its choruses. The detailed parts do not need
+special description; they are six in number, as follows:
+No. 1, chorus (&ldquo;Europa steht&rdquo;); No. 2,
+recitative and chorus (&ldquo;O, seht sie nah und n&auml;her
+treten&rdquo;); No. 3, grand scena, soprano, with violin
+obligato and chorus (&ldquo;O Himmel, welch&rsquo; Entz&uuml;cken&rdquo;);
+No. 4, soprano solo and chorus (&ldquo;Das
+Auge schaut&rdquo;); No. 5, recitative and quartet for
+two sopranos, tenor, and bass (&ldquo;Der den Bund im
+Sturme festgehalten&rdquo;); No. 6, chorus and fugue
+(&ldquo;Es treten hervor die Scharen der Frauen&rdquo;), closing
+with a stirring &ldquo;Heil und Gluck&rdquo; to Vindobona,
+the ancient name of the city. In 1836, nine years
+after the composer&rsquo;s death, the cantata appeared
+with a new poetical setting by Friedrich Rochlitz,
+under the title of &ldquo;Preis der Tonkunst&rdquo; (&ldquo;Praise
+of Music&rdquo;), in which form it was better adapted
+for general performance.</p>
+<p>Among other compositions of Beethoven which
+assimilate to the cantata form, are Op. 112, &ldquo;Meeresstille
+und gl&uuml;ckliche Fahrt,&rdquo; for four voices, with
+orchestra accompaniment; Op. 121, &ldquo;Opferlied,&rdquo;
+for soprano solo, with chorus and orchestra accompaniment;
+and Op. 122, &ldquo;Bundeslied,&rdquo; for two
+solo voices, three-part chorus, and accompaniment
+of two clarinets, two bassoons, and two horns.</p>
+<div class="fnblock">
+<div class="fndef"><sup><a id="fn_12" href="#fr_12">[12]</a></sup> Prince Rasoumowsky, who was the Russian ambassador at the
+Austrian Court for twenty years, was himself a thorough musician,
+and ranked as one of the best players in Vienna, of the Haydn and
+Beethoven quartets. His instrument was the second violin.
+</div>
+</div>
+</div>
+<div id="c013" title="Benedict">
+<div class="pb" id="pg_56">[56]</div>
+<div class="img"><img src="images/p056.png" alt="" width="354" height="78" /></div>
+<h3>BENEDICT.</h3>
+<p>Sir Julius Benedict, whose name is
+so intimately connected with music in
+England, was born at Stuttgart, Nov. 27,
+1804. After a short period of study with
+Hummel at Weimar he became a pupil of Weber.
+He progressed so rapidly that at the age of nineteen
+he conducted operatic performances in Vienna, and
+a few years afterwards was leader at the San Carlo in
+Naples, where he produced his first opera, &ldquo;Giacinta
+ed Ernesto.&rdquo; In 1835 he went to Paris and thence
+to London, where he remained until his death. In
+1836 he led the orchestra at the Lyceum Theatre,
+and was also conductor at Drury Lane during the
+memorable seasons in which the best of Balfe&rsquo;s operas
+were brought out. It was during this period also
+that he produced two of his own operas,&mdash;&ldquo;The
+Brides of Venice&rdquo; and &ldquo;The Crusaders,&rdquo; which
+are ranked among his best works of this class. In
+1850 he accompanied Jenny Lind on her memorable
+tour through this country. On his return to
+England he was engaged as conductor at Her
+Majesty&rsquo;s Theatre, and afterwards at Drury Lane.
+<span class="pb" id="pg_57">[57]</span>
+In 1860 he produced the cantata of &ldquo;Undine;&rdquo; in
+1862 the opera &ldquo;Lily of Killarney;&rdquo; in 1863 the
+cantata &ldquo;Richard C&oelig;ur de Leon;&rdquo; in 1864 the
+operetta &ldquo;Bride of Song;&rdquo; in 1866 the cantata
+&ldquo;St. Cecilia;&rdquo; and in 1870 the oratorio &ldquo;St. Peter.&rdquo;
+In 1871 he received the honor of knighthood, and
+in 1873 brought out a symphony which met with
+great success. In 1874, the occasion of his seventieth
+birthday, he was made Knight Commander of
+the orders of Francis and Joseph and of Frederic,
+Austrian and Wurtembergian decorations. Nearly
+every sovereign in Europe had thus honored him.
+He was also conductor of the London Monday
+Popular Concerts for many years, and directed
+many chamber concerts. He died full of honors
+in June, 1885.</p>
+</div>
+<div id="c014" title="St. Cecilia">
+<h4>St. Cecilia.</h4>
+<p>The legend of St. Cecilia for two centuries has inspired
+the poet and composer, and the custom of
+celebrating her festival has obtained in nearly all
+European countries during the same period. The
+earliest observance was at Evreux, France, in 1571.
+The first celebration in England of which any record
+remains was that of 1683; though it is clear from the
+accounts of musical writers in the seventeenth century
+that the custom had been practised many years
+prior to that date. From 1683 to 1750 St. Cecilia
+festivals were given annually in London, and for
+these occasions an ode was written and set to music.<sup><a id="fr_13" href="#fn_13">[13]</a></sup>
+<span class="pb" id="pg_58">[58]</span>
+In the latter year the distinctive name of the
+festival fell into disuse, though large musical festivals
+were frequently held after that year on the
+saint&rsquo;s day. In France regular entertainments were
+given on St. Cecilia&rsquo;s Day from 1573 to 1601,
+when the record terminates. In Italy the anniversary
+of the saint has not been celebrated except as
+a church festival. In Germany the custom prevailed
+as early as the sixteenth century; and in the next
+century Cecilia festivals were quite common in
+Spain. Prior to Benedict&rsquo;s work the most modern
+composition having the legend for its basis was
+a cantata by Van Bree, of Amsterdam, written in
+1845.</p>
+<p>These preliminaries will enable the reader the
+better to understand the introduction which Mr.
+Chorley has written to the text of the cantata by
+Benedict, composed for the Norwich Festival of
+1866. Mr. Chorley says:&mdash;</p>
+<p class="bq">&ldquo;It has long been a favorite fancy of mine to treat
+the legend of St. Cecilia for music with a view to
+the possible revival of such celebrations as were held
+<span class="pb" id="pg_59">[59]</span>
+in gone-by years, when English sympathy for the art
+was more limited in every respect than at the present
+time. It is true that the names of Dryden and Addison
+among the poets, and of Handel among the musicians,
+who have made &lsquo;divine Cecilia&rsquo;s&rsquo; praise immortal, might
+be thought to deter anyone from dealing with the subject.
+But theirs were merely votive odes indirectly bearing
+on the power of the art of which Cecilia is patron
+saint. This cantata of mine sets forth her story, which,
+so far as I am aware, has not been done before in any
+of the works produced for the Cecilian festivals in England.
+All who are familiar with the accepted legend,
+as told in the &lsquo;Legenda Aurea&rsquo; of Jacobus Januensis,
+Archbishop of Genoa, will perceive that I have treated
+it with a certain liberty. Some of the minor incidents&mdash;such
+as the conversion and martyrdom of Tiburtius,
+the brother of Valerianus&mdash;have been omitted with a
+view of avoiding the introduction of secondary persons,
+and of concentrating the main interest in the martyr
+heroine. Further, the catastrophe which (to cite
+Dryden&rsquo;s known line in defiance of its original
+import)</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Raised a mortal to the skies,&rdquo;</p>
+</div>
+</div>
+<p class="bq">has been simplified. The legend narrates that after
+the agony of slow fire, which failed to kill the Christian
+bride, the sword ended her days. A literal adherence
+to this tradition might have weakened the closing
+scene by presenting two situations of the same character.
+Others must judge how far I have been
+indiscreet, or the reverse, in its omission.&rdquo;</p>
+<p>The story of the cantata is strikingly similar to
+that which forms the theme of Donizetti&rsquo;s opera
+&ldquo;Il Poliuto,&rdquo; though the manner of the conversions
+<span class="pb" id="pg_60">[60]</span>
+differs. In the former it is Valerianus, the lover of
+Cecilia, who is turned from heathenism by the angelic
+vision. In the latter it is Paulina, the wife of
+the Roman convert Polyutus, who witnesses the divine
+illumination and hears the celestial harps, which
+induce her to abjure the worship of the gods and
+join her husband in martyrdom. It is in fact the
+old, old story of the persecutions of a new faith
+by the old. Cecilia, though married to Valerianus,
+hears the divine call summoning the bride away
+from her lover until he shall have been converted.
+She appeals to Heaven in his behalf. A vision of
+angels appears to him and their songs win his soul.
+The infuriated prefect, who has but just performed
+the rites of their marriage, orders their death,&mdash;Valerianus
+to be beheaded, and Cecilia to die by the
+slow martyrdom of fire. The tragedy of the former
+is left to the imagination. Cecilia dies surrounded
+by the angels and hears their voices:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Before mine eyes, already dim,</p>
+<p class="t">Doth heaven unclose the gate;</p>
+<p class="t0">I hear the choiring seraphim</p>
+<p class="t">Around the throne that wait.</p>
+<p class="t0">To join the song of that bright choir</p>
+<p class="t">Thy mercy sets me free;</p>
+<p class="t0">And so I triumph o&rsquo;er the fire,</p>
+<p class="t">And rise, O Lord, to Thee.&rdquo;</p>
+</div>
+</div>
+<p>The work contains thirteen numbers, and the solos
+are divided as follows: Cecilia, soprano; Valerianus,
+tenor; the Prefect of Rome, bass; a Christian woman,
+contralto. The remaining numbers are assigned
+to choruses of Roman citizens, Christians, and angels.
+<span class="pb" id="pg_61">[61]</span>
+A tender and sorrowful prelude, foreshadowing the
+tragedy, introduces a bright and joyous wedding
+chorus (&ldquo;Let the Lutes play their loudest&rdquo;), which
+in its middle part is divided between male and female
+choir, returning to four-part harmony in the close.
+The next number is an ecstatic love-song for Valerianus
+(&ldquo;The Love too deep for Words to speak&rdquo;),
+which leads up to a scena and duet for Valerianus
+and Cecilia (&ldquo;O my Lord, if I must grieve you&rdquo;),
+which is very dramatic in its texture. The conversion
+music, including an obligato soprano solo with
+chorus of angels (&ldquo;Praise the Lord&rdquo;), recitative and
+air for tenor with choral responses (&ldquo;Cease not, I
+pray you&rdquo;), and an animated chorus of angels
+(&ldquo;From our Home&rdquo;), follows, and closes the first
+part.</p>
+<p>The second part opens with the curse of the prefect,
+a very passionate aria for bass (&ldquo;What mean
+these Zealots vile?&rdquo;), following which in marked contrast
+is a lovely aria for contralto (&ldquo;Father, whose
+Blessing we entreat&rdquo;). The next number, a quartet
+with full choral accompaniment (&ldquo;God is our Hope
+and Strength&rdquo;), is one of the most effective in the
+work, and is followed by the trial scene, a duet between
+Valerianus and the prefect, the latter accompanied
+by chorus. A short funeral march intervenes.
+Valerianus and Cecilia bid each other farewell; the
+former is borne away, and Cecilia sings her dying
+song (&ldquo;Those whom the Highest One befriends&rdquo;)
+amid the triumphant hallelujahs of the angels.</p>
+<div class="fnblock">
+<div class="fndef"><sup><a id="fn_13" href="#fr_13">[13]</a></sup> The Ode for St. Cecilia&rsquo;s Day in 1683 was written by Christopher
+Fishburn and set to music by Purcell. The most famous odes
+of the next hundred years were as follows: &ldquo;A song for St. Cecilia&rsquo;s
+Day, 1687,&rdquo; by John Dryden, originally composed by Draghi, afterwards
+by Handel; ode by Thomas d&rsquo;Urfrey, music by Dr. Blow,
+1691; &ldquo;Alexander&rsquo;s Feast,&rdquo; by Dryden, original music by Jeremiah
+Clark afterwards composed by Handel, 1697; ode by Joseph Addison,
+composed by Purcell, 1699; &ldquo;Hymn to Harmony,&rdquo; by Congreve,
+composed by John Eccles, 1701; ode by Pope in 1708, set to
+music in 1757 by William Walond; an ode by Christopher Smart,
+composed by William Russell, 1800.
+</div>
+</div>
+</div>
+<div id="c015" title="Bennett">
+<div class="pb" id="pg_62">[62]</div>
+<div class="img"><img src="images/p062.png" alt="" width="360" height="90" /></div>
+<h3>BENNETT.</h3>
+<p>William Sterndale Bennett, one
+of the most gifted and individual of English
+composers, was born at Sheffield,
+April 13, 1816. His musical genius displayed
+itself early, and in his tenth year he was
+placed in the Royal Academy of Music, of which in
+his later years he became principal. He received
+his early instruction in composition from Lucas
+and Dr. Crotch, and studied the piano with Cipriani
+Potter, who had been a pupil of Mozart. The first
+composition which gained him distinction was the
+Concerto in D minor, written in 1832, which was
+followed by the Capriccio in D minor. During the
+next three years he produced the overture to &ldquo;Parisina,&rdquo;
+the F minor Concerto, and the &ldquo;Na&iuml;ades&rdquo;
+overture, the success of which was so great that a
+prominent musical house in London offered to send
+him to Leipsic for a year. He went there, and
+soon won his way to the friendship of Schumann
+and Mendelssohn. With the latter he was on very
+intimate terms, which has led to the erroneous statement
+that he was his pupil. In 1840 he made a
+<span class="pb" id="pg_63">[63]</span>
+second visit to Leipsic, where he composed his
+Caprice in E, and the &ldquo;Wood Nymphs&rdquo; overture.
+In 1842 he returned to England, and for several
+years was busily engaged with chamber concerts.
+In 1849 he founded the Bach Society, arranged the
+&ldquo;Matthew Passion&rdquo; music of that composer, as
+well as his &ldquo;Christmas Oratorio,&rdquo; and brought out
+the former work in 1854. The previous year he
+was offered the distinguished honor of the conductorship
+of the Gewandhaus concerts at Leipsic, but
+did not accept. In 1856 he was appointed conductor
+of the Philharmonic Society, and filled the
+position for ten years, resigning it to take the head
+of the Royal Academy of Music. In the same year
+he was elected musical professor at Cambridge,
+where he received the degree of Doctor of Music
+and other honors. In 1858 his beautiful cantata
+&ldquo;The May Queen&rdquo; was produced at the Leeds
+Festival, and in 1862 the &ldquo;Paradise and the Peri&rdquo;
+overture, written for the Philharmonic Society. In
+1867 his oratorio, or, as he modestly terms it,
+&ldquo;sacred cantata,&rdquo; &ldquo;The Woman of Samaria,&rdquo; was
+produced with great success at the Birmingham
+Festival. In 1870 he was honored with a degree
+by the University of Oxford, and a year later received
+the empty distinction of knighthood. His
+last public appearance was at a festival in Brighton
+in 1874, where he conducted his &ldquo;Woman of Samaria.&rdquo;
+He died Feb. 1, 1875, and was buried in
+Westminster Abbey with distinguished honors.</p>
+</div>
+<div id="c016" title="The May Queen">
+<div class="pb" id="pg_64">[64]</div>
+<h4>The May Queen.</h4>
+<p>&ldquo;The May Queen,&rdquo; a pastoral cantata, the libretto
+by Henry F. Chorley, was first performed at
+the Leeds Festival of 1858. The solo parts are
+written for the May Queen (soprano); the Queen
+(contralto); the Lover (tenor); and the Captain
+of the Foresters, as Robin Hood (bass). The
+opening scene pictures the dressing of the tree for
+the spring festivity on the banks of the Thames,
+and the preparations for the reception of the May
+Queen. A despondent lover enters and sings his
+melancholy plight as he reflects upon the fickleness
+of the May Queen, interrupted at intervals by the
+merry shouts of the chorus:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;With a laugh as we go round</p>
+<p class="t0">To the merry, merry sound</p>
+<p class="t0">Of the tabor and the pipe,</p>
+<p class="t">We will frolic on the green;</p>
+<p class="t0">For since the world began,</p>
+<p class="t0">And our royal river ran,</p>
+<p class="t0">Was never such a May Day,</p>
+<p class="t">And never such a Queen.&rdquo;</p>
+</div>
+</div>
+<p>The lover continues his doleful lamenting, which
+is at last interrupted by the entrance of the May
+Queen herself, who chides him for his complaints
+and argues her right to coquet on such a day. As
+their interview closes, a band of foresters enter with
+their greenwood king, Robin Hood, at their head,
+who after a rollicking hunting-song makes open
+love to the May Queen. The enraged lover resents
+<span class="pb" id="pg_65">[65]</span>
+his impertinence, and at last strikes him a blow,
+which by the laws exposes him to the loss of his
+hand. Before he can make his escape there is a
+flourish of trumpets, and the Queen enters and
+demands the reason for the brawl. The revellers
+inform her that the lover has struck the forester.
+She orders his arrest, whereupon the May Queen
+intercedes with her for her lover&rsquo;s release and declares
+her affection for him. Her appeal for mercy
+is granted. The forester is banished from the royal
+presence for lowering himself to the level of a peasant
+girl, the May Queen is ordered to wed her lover
+on the coming morn, and all ends happily with the
+joyous chorus:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;And the cloud hath passed away,</p>
+<p class="t0">That was heavy on the May;</p>
+<p class="t0">And the river floweth fair,</p>
+<p class="t">And the meadow bloometh green.</p>
+<p class="t0">They embrace, no more to part,</p>
+<p class="t0">While we sing from every heart,</p>
+<p class="t">A blessing on the bridal!</p>
+<p class="t">A blessing on the Queen!&rdquo;</p>
+</div>
+</div>
+<p>The music of the cantata is divided into ten
+numbers, which are characterized by exquisite refinement
+and artistic taste. The solos, particularly
+No. 2, for tenor (&ldquo;O Meadow, clad in early
+Green&rdquo;), No. 4, the obligato soprano (&ldquo;With the
+Carol in the Tree&rdquo;), and No. 6, the forester&rsquo;s
+lusty greenwood song (&ldquo;&rsquo;Tis jolly to hunt in the
+bright Moonlight&rdquo;), are very melodious, and well
+adapted to the individual characters. The concerted
+music is written in the most scholarly manner,
+<span class="pb" id="pg_66">[66]</span>
+the choruses are full of life and spirit, and the
+instrumentation is always effective. There are few
+more beautiful cantatas than &ldquo;The May Queen,&rdquo;
+though the composer was hampered by a dull and
+not very inspiring libretto. Poor words, however,
+could not affect his delightful grace and fancy,
+which manifest themselves in every number of this
+little pastoral. It is surprising that so excellent a
+work, and one which is so well adapted to chorus
+singing and solo display, without making very severe
+demands upon the singers, is not more frequently
+given in this country.</p>
+</div>
+<div id="c017" title="The Exhibition Ode">
+<h4>The Exhibition Ode.</h4>
+<p>The music for the opening of the International
+Exhibition at London, which occurred in May, 1862,
+was of unusual excellence. Auber sent a composition
+which, though called a march, was in reality a
+brilliant overture. Meyerbeer contributed an overture
+in march form, in which three marches were
+blended in one, the whole culminating in &ldquo;Rule
+Britannia.&rdquo; Verdi wrote a cantata, which was rejected
+by the Commissioners because by the side
+of the national anthem he had introduced the revolutionary
+Marseillaise and the Italian war-song
+called &ldquo;Garibaldienne.&rdquo; Its rejection not only
+caused great indignation in the musical world, but
+at once made it famous; and it was afterwards
+publicly performed, Mademoiselle Titiens taking the
+soprano solos, Sir Julius Benedict conducting.</p>
+<div class="pb" id="pg_67">[67]</div>
+<p>The prominent feature of the musical programme,
+however, was the Ode which the poet laureate and
+Bennett conjointly furnished. Never before were
+Mr. Tennyson&rsquo;s verses more completely united with
+music. The work is divided into three parts, all
+choral, linked by recitatives. The first number is
+a hymn to the Deity (&ldquo;Uplift a thousand Voices
+full and sweet&rdquo;), written as a four-part chorale,
+which is very jubilant in style. The next movement,&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;O silent father of our kings to be,</p>
+<p class="t0">Mourned in this golden hour of jubilee,</p>
+<p class="t0">For this, for all, we weep our thanks to thee,&rdquo;</p>
+</div>
+</div>
+<p>eloquently referring to the Prince Consort, is set
+in the minor key, and is one of the most pathetic
+musical passages ever written. Then follows a descriptive
+catalogue of the industries represented,&mdash;&ldquo;harvest
+tool and husbandry,&rdquo; &ldquo;loom and wheel
+and engin&rsquo;ry,&rdquo; and so on, through which the music
+labors some, as might have been expected; but
+in the close it once more resumes its melodious
+flow, leading up to the final chorus, in which the
+theme of the opening chorale is borrowed and developed
+with peculiar originality and artistic skill
+into a movement of great richness in effects and
+beauty in expression. It is unfortunate for the
+popularity of such an excellent work that it was
+composed for a special occasion.</p>
+</div>
+<div id="c018" title="Berlioz">
+<div class="pb" id="pg_68">[68]</div>
+<div class="img"><img src="images/p068.png" alt="" width="366" height="80" /></div>
+<h3>BERLIOZ.</h3>
+<p>Hector Berlioz, one of the most renowned
+of modern French composers,
+and an acute critic and skilful conductor
+as well, was born, Dec. 11, 1803, at La
+C&ocirc;te St. Andr&eacute;, in France. His father was a physician,
+and intended him for the same profession.
+He reluctantly went to Paris and began the study
+of medicine; but music became his engrossing passion,
+and medicine was abandoned. He entered
+the Conservatory as a pupil of Lesueur, and soon
+showed himself superior to all his masters except
+Cherubini, which aroused a strong opposition to
+him and his compositions. It was only after repeated
+trials that he took the first prize, which
+entitled him to go to Italy for three years. On his
+return to Paris he encountered renewed antipathy.
+His music was not well received, and he was obliged
+to support himself by conducting at concerts and
+writing articles for the press. As a final resort he
+organized a concert-tour through Germany and
+Russia, the details of which are contained in his
+extremely interesting Autobiography. At these
+concerts his own music was the staple of the programmes,
+<span class="pb" id="pg_69">[69]</span>
+and it met with great success, though not
+always played by the best of orchestras, and not
+always well by the best, as his own testimony shows;
+for his compositions are very exacting, and call for
+every resource known to the modern orchestra.
+The Germans were quick in appreciating his music;
+but it was not until after his death that his ability
+was conceded in France. In 1839 he was appointed
+librarian of the Conservatory, and in 1856
+was made a member of the French Academy.
+These were the only honors he received, though he
+long sought to obtain a professorship in the Conservatory.
+A romantic but sad incident in his life
+was his violent passion for Miss Smithson, an Irish
+actress, whom he saw upon the Paris stage in the
+<i>r&ocirc;le</i> of Ophelia, at a time when Victor Hugo had
+revived an admiration for Shakspeare among the
+French. He married her, but did not live with her
+long, owing to her bad temper and ungovernable
+jealousy; though after the separation he honorably
+contributed to her support out of the pittance he
+was earning. Among his great works are the opera,
+&ldquo;Benvenuto Cellini;&rdquo; the symphony with chorus,
+&ldquo;Romeo and Juliet;&rdquo; &ldquo;Beatrice and Benedict;&rdquo;
+&ldquo;Les Troyens,&rdquo; the text from Virgil&rsquo;s &ldquo;&AElig;neid;&rdquo;
+the symphony, &ldquo;Harold in Italy;&rdquo; the symphony,
+&ldquo;Fun&egrave;bre et Triomphe;&rdquo; the &ldquo;Damnation of
+Faust;&rdquo; a double-chorused &ldquo;Te Deum;&rdquo; the
+&ldquo;Symphony Fantastique;&rdquo; the &ldquo;Requiem;&rdquo; and
+the sacred trilogy, &ldquo;L&rsquo;Enfance du Christ.&rdquo; Berlioz
+stands among all other composers as the foremost
+<span class="pb" id="pg_70">[70]</span>
+representative of &ldquo;programme music,&rdquo; and
+has left explicit and very detailed explanations of
+the meaning of his works, so that the hearer may
+listen intelligently by seeing the external objects his
+music is intended to picture. In the knowledge of
+individual instruments and the grouping of them
+for effect, in warmth of imagination and brilliancy
+of color, and in his daring combinations and fantastic
+moods, which are sometimes carried to the
+very verge of eccentricity, he is a colossus among
+modern musicians. He died in Paris, March 8,
+1869.</p>
+</div>
+<div id="c019" title="Romeo and Juliet">
+<h4>Romeo and Juliet.</h4>
+<p>&ldquo;Dramatic symphony, with choruses, solos, chant,
+and prologue in choral recitative&rdquo; is the title which
+Berlioz gives to his &ldquo;Romeo and Juliet.&rdquo; It was
+written in 1839, and its composition commemorates
+an interesting episode in his career. In the previous
+year he had written his symphony &ldquo;Harold
+in Italy,&rdquo; the subject inspired by Byron&rsquo;s &ldquo;Childe
+Harold.&rdquo; Paganini, the wonder of the musical
+world at that time, was present at its performance,
+and was so pleased with the work that he sent Berlioz
+an enthusiastic tribute of applause as well as of
+substantial remembrance.<sup><a id="fr_14" href="#fn_14">[14]</a></sup>
+The composer at that
+<span class="pb" id="pg_71">[71]</span>
+time was in straitened circumstances, and in his
+gratitude for this timely relief he resolved to write
+a work which should be worthy of dedication to the
+great violinist. His Autobiography bears ample
+testimony to the enthusiasm with which he worked.
+He says:&mdash;</p>
+<p class="bq">&ldquo;At last, after much indecision, I hit upon the idea
+of a symphony, with choruses, vocal solos, and choral
+recitatives, on the sublime and ever novel theme of
+Shakspeare&rsquo;s &lsquo;Romeo and Juliet.&rsquo; I wrote in prose all
+the text intended for the vocal pieces which came between
+the instrumental selections. &Eacute;mile Deschamps,
+with his usual delightful good-nature and marvellous
+facility, set it to verse for me, and I began....</p>
+<p class="bq">&ldquo;During all that time how ardently did I live!
+How vigorously I struck out on that grand sea of
+poetry caressed by the playful breeze of fancy, beneath
+the hot rays of that sun of love which Shakspeare
+kindled, always confident of my power to reach the
+marvellous island where stands the temple of true
+art! Whether I succeeded or not it is not for me to
+decide.&rdquo;</p>
+<p>The work opens with a fiery introduction representing
+the combats and tumults of the two rival
+houses of Capulet and Montague, and the intervention
+of the Prince. It is followed by a choral
+recitative for four altos, tenors, and basses (&ldquo;Long
+smouldering Hatreds&rdquo;), with which is interwoven a
+contralto solo (&ldquo;Romeo too is there&rdquo;), the number
+closing with a passionate chorus (&ldquo;The Revels now
+are o&rsquo;er&rdquo;). A beautiful effect is made at this point
+by assigning to the alto voice two couplets (&ldquo;Joys
+<span class="pb" id="pg_72">[72]</span>
+of first Love&rdquo;) which are serious in style but very
+rich in melody. A brief bit of choral recitative
+and a few measures for tenor&mdash;Mercutio&rsquo;s raillery&mdash;lead
+up to a dainty scherzetto for tenor solo and
+small chorus (&ldquo;Mab! bright Elf of Dreamland&rdquo;),
+and a short choral passage brings this scene to a
+close.</p>
+<p>The second scene, which is for orchestra only,
+an impressive declamatory phrase developing into a
+tender melody, representing the sadness of Romeo,
+set in tones against the brilliant dance music in the
+distance accompanying the revel of the Capulets, is
+one of the most striking effects Berlioz has accomplished,
+and illustrates his astonishing command of
+instrumentation. The third scene represents Capulet&rsquo;s
+garden in the stillness of night, the young
+Capulets passing through it, bidding each other adieu
+and repeating snatches of the dance music. As
+their strains die away in the distance the balcony
+scene between Romeo and Juliet is given by the
+orchestra alone in a genuine love-poem full of passion
+and sensuousness. No words could rival the
+impassioned beauty of this melodious number. The
+fourth scene is also given to the orchestra, and is
+a setting of Mercutio&rsquo;s description of Queen Mab.
+It is a scherzo intensely swift in its movement and
+almost ethereal in its dainty, graceful rhythm. The
+instrumentation is full of subtle effects, particularly
+in the romantic passages for the horns.</p>
+<p>In the fifth scene we pass from the tripping
+music of the fairies to the notes of woe. It describes
+<span class="pb" id="pg_73">[73]</span>
+the funeral procession of Juliet, beginning
+with a solemn march in fugue style, at first instrumental,
+with occasional entrances of the voices in
+monotone, and then vocal (&ldquo;O mourn, O mourn,
+strew choicest Flowers&rdquo;), the monotone being assigned
+to the instruments. It preludes a powerful
+orchestral scene representing Romeo&rsquo;s invocation,
+Juliet&rsquo;s awakening, and the despair and death of
+the lovers.<sup><a id="fr_15" href="#fn_15">[15]</a></sup>
+The finale is mainly for double chorus,
+representing the quarrel between the Montagues
+and Capulets in the cemetery, which is written with
+great dramatic power and conceived on the large
+scale of an operatic <i>ensemble</i> both in the voice
+parts and instrumentation, and the final reconciliation
+through the intercession of Friar Laurence,
+whose declamatory solos are very striking, particularly
+the air, &ldquo;Poor Children mine, let me
+mourn you.&rdquo; The work is one of almost colossal
+difficulty, and requires great artists, singers and
+players, to give expression to its daring realism.
+Among all of Berlioz&rsquo;s programme-music, this tone-picture
+of the principal episodes in Shakspeare&rsquo;s
+<span class="pb" id="pg_74">[74]</span>
+tragedy stands out clear and sharp by virtue of its
+astonishing dramatic power.</p>
+<div class="fnblock">
+<div class="fndef"><sup><a id="fn_14" href="#fr_14">[14]</a></sup> <span class="sc">My dear Friend</span>,&mdash;Beethoven is dead, and Berlioz alone
+can revive him. I have heard your divine composition, so worthy
+of your genius, and beg you to accept, in token of my homage,
+twenty thousand francs, which will be handed to you by the Baron
+de Rothschild on presentation of the enclosed.&mdash;Your most affectionate
+friend,
+<div class="verse">
+<p class="t0"><span class="sc">Nicolo Paganini.</span></p>
+<p class="t0"><span class="sc">Paris</span>, Dec. 18, 1838.</p>
+</div>
+</div>
+<div class="fndef"><sup><a id="fn_15" href="#fr_15">[15]</a></sup> <span class="sc">Composer&rsquo;s Note.</span> The public has no imagination; therefore
+pieces which are addressed solely to the imagination have no
+public. The following instrumental scene is in this case, and I
+think it should be omitted whenever this symphony is given before
+an audience not having a feeling for poetry, and not familiar with
+the fifth act of Shakspeare&rsquo;s tragedy. This implies its omission
+ninety-nine times out of a hundred. It presents, moreover, immense
+difficulties of execution. Consequently, after Juliet&rsquo;s funeral procession
+a moment of silence should be observed, then the finale
+should be taken up.
+</div>
+</div>
+</div>
+<div id="c020" title="The Damnation of Faust">
+<h4>The Damnation of Faust.</h4>
+<p>The &ldquo;Damnation of Faust,&rdquo; dramatic legend, as
+Berlioz calls it, was written in 1846. It is divided
+in four parts, the first containing three, the second
+four, the third six, and the fourth five scenes, the
+last concluding with an epilogue and the apotheosis
+of Marguerite. It was first produced in Paris in
+November, 1846, and had its first hearing in this
+country Feb. 12, 1880, when the late Dr. Leopold
+Damrosch brought it out with the assistance of
+the New York Symphony, Oratorio, and Arion
+Societies.</p>
+<p>Berlioz has left in his Autobiography an extremely
+interesting account of the manner in which he composed
+it. Though he had had the plan of the
+work in his mind for many years, it was not until
+1846 that he began the legend. During this
+year he was travelling on a concert-tour through
+Austria, Hungary, Bohemia, and Silesia, and the different
+numbers were written at intervals of leisure.
+He says:&mdash;</p>
+<p class="bq">&ldquo;I wrote when I could and where I could; in the
+coach, on the railroad, in steamboats, and even in
+towns, notwithstanding the various cares entailed by
+my concerts.&rdquo;</p>
+<p>He began with Faust&rsquo;s invocation to Nature,
+which was finished &ldquo;in my old German post-chaise.&rdquo;
+<span class="pb" id="pg_75">[75]</span>
+The introduction was written in an inn
+at Passau, and at Vienna he finished up the Elbe
+scene, Mephistopheles&rsquo; song, and the exquisite
+Sylph&rsquo;s ballet. As to the introduction of the R&aacute;k&oacute;czy
+march, his words deserve quoting in this
+connection, as they throw some light on the general
+character of the work. He says:&mdash;</p>
+<p class="bq">&ldquo;I have already mentioned my writing a march at
+Vienna, in one night, on the Hungarian air of R&aacute;k&oacute;czy.
+The extraordinary effect it produced at Pesth made
+me resolve to introduce it in Faust, by taking the
+liberty of placing my hero in Hungary at the opening
+of the act, and making him present at the march of a
+Hungarian army across the plain. A German critic
+considered it most extraordinary in me to have made
+Faust travel in such a place. I do not see why, and
+I should not have hesitated in the least to bring him
+in in any other direction if it would have benefited the
+piece. I had not bound myself to follow Goethe&rsquo;s
+plot, and the most eccentric travels may be attributed
+to such a personage as Faust without transgressing
+the bounds of possibility. Other German critics took
+up the same thesis, and attacked me with even greater
+violence about my modifications of Goethe&rsquo;s text and
+plot; just as though there were no other Faust but
+Goethe&rsquo;s, and as if it were possible to set the whole of
+such a poem to music without altering its arrangement.
+I was stupid enough to answer them in the
+preface to the &lsquo;Damnation of Faust.&rsquo; I have often
+wondered why I was never reproached about the book
+of &lsquo;Romeo and Juliet,&rsquo; which is not very like the immortal
+tragedy. No doubt because Shakspeare was
+not a German. Patriotism! Fetichism! Idiotcy!&rdquo;</p>
+<div class="pb" id="pg_76">[76]</div>
+<p>One night when he had lost his way in Pesth
+he wrote the choral refrain of the &ldquo;Ronde des
+Paysans&rdquo; by the gaslight in a shop; and at Prague
+he arose in the middle of the night to write down
+the Angels&rsquo; Chorus in Marguerite&rsquo;s apotheosis. At
+Breslau he wrote the Students&rsquo; Latin Song, &ldquo;Jam
+nox stellata velamina pandit;&rdquo; and on his return to
+France he composed the grand trio in the work
+while visiting a friend near Rouen. He concludes:</p>
+<p class="bq">&ldquo;The rest was written in Paris, but always improvised,
+either at my own house, or at the caf&eacute;, or
+in the Tuileries gardens, and even on a stone in the
+Boulevard du Temple. I did not search for ideas, I
+let them come; and they presented themselves in a
+most unforeseen manner. When at last the whole
+outline was sketched, I set to work to re-do the whole,
+touch up the different parts, unite and blend them
+together with all the patience and determination of
+which I am capable, and to finish off the instrumentation,
+which had only been indicated here and there.
+I look upon this as one of my best works, and hitherto
+the public seems to be of the same opinion.&rdquo;</p>
+<p>This opinion, however, was of slow growth, for of
+the first performance of the work he says:&mdash;</p>
+<p class="bq">&ldquo;It was the end of November, 1846; snow was
+falling; the weather was dreadful. I had no fashionable
+cantatrice to sing the part of Marguerite. As for
+Roger, who did Faust, and Herman L&eacute;on, who took
+the part of Mephistopheles, they might be heard any
+day in this same theatre; moreover, they were no
+longer the fashion. The result was that Faust was
+twice performed to a half-empty room. The concert-going
+<span class="pb" id="pg_77">[77]</span>
+Parisian public, supposed to be fond of music,
+stayed quietly at home, caring as little about my new
+work as if I had been an obscure student at the Conservatoire;
+and these two performances at the Op&eacute;ra
+Comique were no better attended than if they had
+been the most wretched operas on the list.&rdquo;</p>
+<p>The opening scene introduces Faust alone in the
+fields at sunrise on the Hungarian plains. He gives
+expression to his delight in a tender, placid strain
+(&ldquo;The Winter has departed, Spring is here&rdquo;). It is
+followed by an instrumental prelude of a pastoral
+character, in which are heard fragments of the
+roundelay of the peasants and of the fanfare in the
+Hungarian march, leading up to the &ldquo;Dance of
+Peasants,&rdquo; a brisk, vivacious chorus (&ldquo;The Shepherd
+donned his best Array&rdquo;), beginning with the
+altos, who are finally joined by the sopranos, tenors,
+and basses in constantly accelerating time. The
+scene then changes to another part of the plain and
+discloses the advance of an army to the brilliant and
+stirring music of the R&aacute;k&oacute;czy march.<sup><a id="fr_16" href="#fn_16">[16]</a></sup></p>
+<div class="pb" id="pg_78">[78]</div>
+<p>The second part (Scene IV.) opens in north Germany
+and discloses Faust alone in his chamber, as
+in Gounod&rsquo;s opera; he sings a soliloquy, setting
+forth his discontent with worldly happiness, and is
+about to drown his sorrow with poison, when he is
+interrupted by the Easter Hymn (&ldquo;Christ is risen
+from the Dead&rdquo;), a stately and jubilant six-part
+chorus, in the close of which he joins. As it comes
+to an end he continues his song (&ldquo;Heavenly Tones,
+why seek me in the Dust?&rdquo;), but is again interrupted
+by the sudden apparition of Mephistopheles,
+who mockingly sings, &ldquo;Oh, pious Frame of Mind,&rdquo;
+and entraps him in the compact. They disappear,
+and we next find them in Auerbach&rsquo;s cellar in Leipsic,
+where the carousing students are singing a rollicking
+drinking-song (&ldquo;O what Delight when Storm
+is crashing&rdquo;). The drunken Brander is called
+upon for a song, and responds with a characteristic
+one (&ldquo;There was a Rat in the Cellar Nest&rdquo;), to
+which the irreverent students improvise a fugue on
+the word &ldquo;Amen,&rdquo; using a motive of the song.
+Mephistopheles compliments them on the fugue,
+and being challenged to give them an air trolls out
+the lusty <i>lied</i>, &ldquo;There was a King once reigning,
+who had a big black Flea,&rdquo; in the accompaniment
+of which Berlioz makes some very realistic effects.
+Amid the bravas of the drunken students they disappear
+again, and are next found in the flowery
+meadows of the Elbe, where Mephistopheles sings a
+most enchanting melody (&ldquo;In this fair Bower&rdquo;).
+Faust is lulled to slumber, and in his vision hears
+<span class="pb" id="pg_79">[79]</span>
+the chorus of the gnomes and sylphs (&ldquo;Sleep,
+happy Faust&rdquo;), a number of extraordinary beauty
+and fascinating charm. Its effect is still further
+heightened by the sylphs&rsquo; ballet in waltz time. As
+they gradually disappear, Faust wakes and relates to
+Mephistopheles his vision of the &ldquo;angel in human
+form.&rdquo; The latter promises to conduct him to her
+chamber, and they join a party of soldiers and
+students who will pass &ldquo;before thy beauty&rsquo;s dwelling.&rdquo;
+The finale of the scene is composed of a
+stirring soldiers&rsquo; chorus (&ldquo;Stoutly-walled Cities we
+fain would win&rdquo;) and a characteristic students&rsquo;
+song in Latin (&ldquo;Jam nox stellata&rdquo;), at first sung
+separately and then combined with great skill.</p>
+<p>The third part begins with a brief instrumental
+prelude, in which the drums and trumpets sound the
+tattoo, introducing a scene in Marguerite&rsquo;s chamber,
+where Faust sings a passionate love-song
+(&ldquo;Thou sweet Twilight, be welcome&rdquo;), corresponding
+with the well-known &ldquo;Salve dimora&rdquo; in Gounod&rsquo;s
+garden scene. At its close Mephistopheles
+warns him of the approach of Marguerite and conceals
+him behind a curtain. She enters, and in brief
+recitative tells her dream, in which she has seen
+the image of Faust, and discloses her love for him.
+Then while disrobing she sings the ballad &ldquo;There
+was a King in Thule.&rdquo; As its pathetic strains come
+to a close, the music suddenly changes and Mephistopheles
+in a characteristic strain summons the will-o&rsquo;-the-wisps
+to bewilder the maiden. It is followed
+by their lovely and graceful minuet, in which Berlioz
+<span class="pb" id="pg_80">[80]</span>
+again displays his wonderful command of orchestral
+realism. It is followed by Mephistopheles&rsquo;
+serenade (&ldquo;Why dost thou wait at the Door of thy
+Lover?&rdquo;), with a choral accompaniment by the will-o&rsquo;-the-wisps,
+interspersed with demoniac laughter.
+The last number is a trio (&ldquo;Angel adored&rdquo;) for
+Marguerite, Faust, and Mephistopheles, wonderfully
+expressive in its utterances of passion, and closing
+with a chorus of mockery which indicates the
+coming tragedy.</p>
+<p>The fourth part opens with a very touching romance
+(&ldquo;My Heart with Grief is heavy&rdquo;), the familiar
+&ldquo;Meine Ruh&rsquo; ist hin&rdquo; of Goethe, sung by
+Marguerite, and the scene closes with the songs of
+the soldiers and students heard in the distance. In
+the next scene Faust sings a sombre and powerful
+invocation to Nature (&ldquo;O boundless Nature, Spirit
+sublime&rdquo;). Mephistopheles is seen scaling the rocks
+and in agitated recitative tells his companion the
+story of Marguerite&rsquo;s crime and imprisonment. He
+bids him sign a scroll which will save him from the
+consequences of the deed, and Faust thus delivers
+himself over to the Evil One. Then begins the
+wild &ldquo;Ride to Hell,&rdquo; past the peasants praying at
+the cross, who flee in terror as they behold the
+riders, followed by horrible beasts, monstrous birds,
+and grinning, dancing skeletons, until at last they
+disappear in an abyss and are greeted by the chorus
+of the spirits of hell in a tempest of sound, which
+is literally a musical pandemonium (&ldquo;Has! Irimiru
+Karabras,&rdquo; etc.) in its discordant vocal strains and in
+<span class="pb" id="pg_81">[81]</span>
+the mighty dissonances and supernatural effects in
+the accompaniment. A brief epilogue, &ldquo;On Earth,&rdquo;
+follows, in which Faust&rsquo;s doom is told, succeeded
+by a correspondingly brief one, &ldquo;In Heaven,&rdquo; in
+which the seraphim plead for Marguerite. The
+legend closes with &ldquo;Marguerite&rsquo;s Glorification,&rdquo; a
+jubilant double chorus announcing her pardon and
+acceptance among the blest.</p>
+<div class="fnblock">
+<div class="fndef"><sup><a id="fn_16" href="#fr_16">[16]</a></sup> This march, though the best known of all Hungarian airs, is
+liable to be confounded with others bearing the same name. It
+forms one of the group of national patriotic melodies called into
+existence by the heroism of the Transylvanian prince Franz R&aacute;k&oacute;tzy,
+who at the beginning of the last century fought with rare
+valor, though little success, against the dominating power of Austria.
+Who composed it remains as unknown as the authorship
+of its less familiar companions; but though the origin of the tune,
+like that of so many others which nations cherish, is veiled in
+mystery, the march has enjoyed an enviable prominence. It was
+proscribed by the Austrian Government in the bad days when Hungary
+was treated as a conquered appanage of the Hapsburgs; its
+performance was a criminal act, and the possession of printed or
+written copies, if suspected, brought down domiciliary visits from
+the police.&mdash;<i>Albert Hall Programmes</i>, 1874.
+</div>
+</div>
+</div>
+<div id="c021" title="Brahms">
+<div class="pb" id="pg_82">[82]</div>
+<div class="img"><img src="images/p082.png" alt="" width="326" height="116" /></div>
+<h3>BRAHMS.</h3>
+<p>Johannes Brahms, one of the most
+eminent of living German composers,
+was born at Hamburg, May 7, 1833.
+His father was a double-bass player in
+the orchestra in that city, and devoted his son at
+a very early age to his own profession. His first
+piano teacher was Cossell; but to Edward Marxsen,
+the royal music director, he owes his real success
+as a composer. Brahms remained in Hamburg
+until 1853, when he went upon a concert-tour with
+Rem&eacute;ny&iacute;, the eccentric and somewhat sensational
+Hungarian, who has been a familiar figure upon the
+American concert-stage. He remained with him
+however but a very short time, for in October of
+that year they parted company. Brahms had attracted
+the notice of Liszt and Joachim, and it may
+have been through their advice that the musical
+partnership was dissolved. In any event, soon
+after leaving Rem&eacute;ny&iacute; he went to D&uuml;sseldorf and
+visited Schumann, who announced him to the musical
+world in a very enthusiastic manner. The next
+year (1854) appeared his first works,&mdash;three sonatas,
+a trio and scherzo for piano, and three books
+<span class="pb" id="pg_83">[83]</span>
+of songs. After a visit to Liszt at Weimar he
+settled down as chorus-conductor and music-teacher
+at the court of Lippe-Detmold, where he remained
+a few years. After leaving Detmold he successively
+resided in Hamburg, Z&uuml;rich, and Baden-Baden,
+though most of his time has been spent in Vienna,
+where he has directed the Singakademie and the
+concerts of the Gesellschaft der Musikfreunde.
+Among his most famous compositions are a funeral
+hymn for chorus and wind-band; the &ldquo;German
+Requiem;&rdquo; &ldquo;Triumphlied,&rdquo; for double chorus and
+orchestra; &ldquo;Schicksalslied,&rdquo; for chorus and orchestra;
+six symphonies; variations on a theme of
+Haydn, for orchestra; the &ldquo;Tragic&rdquo; and &ldquo;Academic&rdquo;
+overtures; besides several trios, quartets,
+quintets, sextets, concertos, and sonatas.</p>
+</div>
+<div id="c022" title="Triumphlied">
+<h4>Triumphlied.</h4>
+<p>&ldquo;Triumphlied&rdquo; (&ldquo;Song of Triumph&rdquo;) was written
+by Brahms in commemoration of the victories
+of German arms and the re-establishment of the
+Empire, and is dedicated to &ldquo;the German Emperor
+Wilhelm I.&rdquo; It was first performed at the fifty-first
+festival of the Lower Rhine at Cologne in 1873.
+The text is a paraphrase of certain verses in the
+nineteenth chapter of Revelation, and reads as
+follows:&mdash;</p>
+<p class="bq">&ldquo;Hallelujah, praise the Lord! Honor and power
+and glory to God!</p>
+<p class="bq">&ldquo;For in righteousness and truth the Lord giveth
+judgment.</p>
+<div class="pb" id="pg_84">[84]</div>
+<p class="bq">&ldquo;Glory be to God, all ye His servants, and ye that
+fear Him, all both humble and mighty.</p>
+<p class="bq">&ldquo;Hallelujah, for the omnipotent God hath exalted
+His kingdom.</p>
+<p class="bq">&ldquo;O, be joyful, let all be glad, to Him alone give
+honor.</p>
+<p class="bq">&ldquo;Behold, the heavens opened wide, and yonder a
+snow-white horse, and on him sat one called Steadfast
+and Faithful, who warreth and judgeth all with righteousness.</p>
+<p class="bq">&ldquo;And he treads the wine-press of wrath of the Lord
+God Almighty.</p>
+<p class="bq">&ldquo;Lo! a great name hath he written upon his vesture
+and upon his girdle.</p>
+<p class="bq">&ldquo;A King of kings and Lord of lords! Hallelujah!
+Amen!&rdquo;</p>
+<p>The scriptural selections are divided into three
+movements, written for double chorus (with the
+exception of two short barytone solos), orchestra,
+and organ, and are introduced by a brief instrumental
+prelude of a solemn but animated and exultant
+character, in the closing measures of which
+both choirs break in with jubilant shouts of &ldquo;Hallelujah!
+praise the Lord!&rdquo; The theme of the movement
+is the stirring old German song &ldquo;Heil dir im
+Siegerkranz,&rdquo;<sup><a id="fr_17" href="#fn_17">[17]</a></sup>
+which is worked up with consummate
+skill. The first part closes with a climax of
+<span class="pb" id="pg_85">[85]</span>
+power and contrapuntal effect hardly to be found
+elsewhere outside the choruses of Handel.</p>
+<p>The second movement (&ldquo;Glory be to God!&rdquo;) is
+of the same general character as the first. After
+the opening ascription, a short fugue intervenes,
+leading to a fresh melody alternately sung by both
+choruses.</p>
+<p>The third movement, after a very brief but spirited
+orchestral flourish, opens with an exultant barytone
+solo (&ldquo;And behold then the Heavens opened
+wide&rdquo;). The choruses respond with animation
+(&ldquo;And yonder a snow-white Horse&rdquo;). Again the
+barytone intervenes (&ldquo;And lo! a great Name hath
+He written&rdquo;), and then the choruses take up the
+majestic theme, &ldquo;King of Kings and Lord of Lords,&rdquo;
+each answering the other with triumphant shouts
+that gather force and fire as they proceed, and closing
+with a mighty hallelujah in which voices, orchestra,
+and organ join with fullest power to produce
+one of the grandest harmonies ever written. The
+work is one of extreme difficulty, as the two choirs
+are treated independently and their harmonies are
+complicated, though blended in general effect.
+Neither choir receives assistance from the other.
+In fact, each rank of voices is required to perform
+music of the most exacting kind, so that a perfect
+performance of this great jubilee hymn requires
+singers of trained skill and more than ordinary intelligence.
+When thus given, few choruses of
+modern times reveal such artistic richness and
+symmetrical proportions.</p>
+<div class="fnblock">
+<div class="fndef"><sup><a id="fn_17" href="#fr_17">[17]</a></sup> A German national song, written by Heinrich Harries, a Holstein
+clergyman, for the birthday of Christian VII. of Denmark.
+It was originally in eight stanzas, but was reduced to five and otherwise
+slightly modified for Prussian use by B. G. Schumacher, and
+in this form appeared as a &ldquo;Berliner Volkslied&rdquo; in the <i>Spenersche
+Zeitung</i> of Dec. 17, 1793.&mdash;<i>Grove&rsquo;s Dictionary</i>.
+</div>
+</div>
+</div>
+<div id="c023" title="Bruch">
+<div class="pb" id="pg_86">[86]</div>
+<div class="img"><img src="images/p086.png" alt="" width="343" height="121" /></div>
+<h3>BRUCH.</h3>
+<p>Max Bruch, one of the most successful
+choral composers of the present time, was
+born at Cologne, Jan. 6, 1838. His father
+was a government official, and his mother
+a singer of more than ordinary ability. He received
+his early instructions, under her watchful supervision,
+from Professor Breidenstein, at Bonn. In 1852
+he continued his studies with Hiller, Reinecke, and
+Breuning, at Cologne; and at this time began to
+produce compositions which gave unusual promise.
+In 1865 he was musical director at Coblenz, and
+subsequently at Berlin, where he conducted the
+Singakademie. In 1867 he was appointed chapel-master
+to the Prince of Schwarzburg-Sondershausen,&mdash;a
+post which he held until 1870. Since that time
+he has also been honored with a call to the directorship
+of the Liverpool Philharmonic Society. For
+some years past he has lived at Bonn and Berlin,
+and devoted himself exclusively to composition.
+His first public appearance as a composer was in
+connection with the performance of his operetta,
+&ldquo;Scherz, List und Rache,&rdquo; set to Goethe&rsquo;s words;
+<span class="pb" id="pg_87">[87]</span>
+following which he produced several chamber compositions,
+among them a trio (op. 5), two string
+quartets (op. 9, 10), Capriccio (op. 2) for four
+hands, Fantasie (op. 11) for two pianos, the G minor
+and D minor violin concertos, besides two symphonies.
+He has also written an oratorio, &ldquo;Arminius,&rdquo;
+and two operas, &ldquo;Loreley,&rdquo; to the text which the
+poet Geibel wrote for Mendelssohn, and &ldquo;Hermione,&rdquo;
+an adaptation of Shakspeare&rsquo;s &ldquo;Winter&rsquo;s
+Tale.&rdquo; His greatest successes, however, have been
+made with his works in the cantata form, as he is
+a recognized master in writing for large masses of
+voices and instruments, though many of his solo
+melodies possess great beauty. In this class of his
+compositions the most conspicuous are &ldquo;Scenes
+from the Frithjof-Saga,&rdquo; familiarly known as &ldquo;Frithjof,&rdquo;
+&ldquo;Flight of the Holy Family,&rdquo; &ldquo;Roman Triumph
+Song,&rdquo; &ldquo;Roman Obsequies,&rdquo; &ldquo;Salamis,&rdquo;
+&ldquo;Fair Ellen,&rdquo; &ldquo;Odysseus,&rdquo; and
+&ldquo;Rorate Coeli.&rdquo;</p>
+</div>
+<div id="c024" title="Frithjof">
+<h4>Frithjof.</h4>
+<p>The story of the old Norse hero Frithjof is told
+with exceeding spirit and beauty in the &ldquo;Frithjof&rsquo;s
+Saga&rdquo; of Esaias Tegn&eacute;r, Bishop of Wexi&ouml;, Sweden,
+which has been translated into almost every European
+language, and to which music has been
+adapted by Crusell, Hedda Wrangel, Boman, Sandberg,
+Zanders, Caroline Ridderstolpe, Panny, Silcher,
+and other Scandinavian and German composers. It
+was Bishop Tegn&eacute;r&rsquo;s Saga from which Bruch derived
+<span class="pb" id="pg_88">[88]</span>
+the incidents of his musical setting of this
+stirring Norse theme.<sup><a id="fr_18" href="#fn_18">[18]</a></sup></p>
+<p>To make the text of the libretto intelligible, the
+incidents leading up to it must be briefly told.
+Frithjof was the son of Thorstein, a friend of King
+Bele of Baldershage, and was in love with Ingeborg,
+the king&rsquo;s daughter and his foster sister. Bele died,
+and left his kingdom to his two sons. When Thorstein
+passed away, he bequeathed to his son his
+ship &ldquo;Ellida&rdquo; and his gold ring. Soon thereafter
+Frithjof sailed across the fiord to demand the hand
+of Ingeborg. Her brothers Helge and Halfdan
+scorned his suit, whereupon Frithjof swore they
+should never have help from him. King Ring, a
+neighboring monarch, hearing of the trouble between
+them, improved the opportunity to menace
+their kingdom. The brothers appealed to Frithjof
+for aid, but he turned a deaf ear; and when they
+took the field against Bele, he returned to Baldershage
+and made love to Ingeborg, with whom he
+exchanged rings. Helge and Halfdan were defeated
+by Ring, and as part of the indemnity he
+demanded Ingeborg&rsquo;s hand. Finding upon their
+return that Frithjof had been there without their
+permission, they required him as a penalty to go
+to the Orkneys and collect the tribute which the
+<span class="pb" id="pg_89">[89]</span>
+islanders had neglected to pay since the death of
+Bele. Frithjof sailed away in &ldquo;Ellida.&rdquo; Meanwhile
+the brothers resorted to witchcraft to raise a
+storm that should destroy his vessel, burned his barrow,
+and married the lamenting Ingeborg to Ring.</p>
+<p>It is at this point that the text of the cantata begins.
+The first scene pictures the return of Frithjof
+and his joy at the prospect of seeing Ingeborg,
+whose hand the false brothers had promised him if
+he were successful. Learning what had occurred
+in his absence, Frithjof goes to the temple where
+the kings are sacrificing, hurls the tribute in Helge&rsquo;s
+face, fires the edifice, and hurries to the sea, pursued
+by his enemies. The hero sails away again
+in &ldquo;Ellida,&rdquo; and becomes a sea-rover. The text
+closes with this incident. In the Saga, after gaining
+great fame, Frithjof returns and goes disguised as a
+salt-burner to Ring&rsquo;s palace. The king recognized
+him, and moved by his sad story became his friend
+and appointed him guardian of his heir. Ring died
+soon after, and Frithjof married Ingeborg. Helge
+and Halfdan made war against him, Helge was
+killed, and Halfdan became his vassal.</p>
+<p>The cantata opens with an animated instrumental
+introduction, &ldquo;Frithjof&rsquo;s Return,&rdquo; leading to the
+barytone recitative and aria (&ldquo;How bravely o&rsquo;er
+the Flood so bright&rdquo;),&mdash;a very expressive song,
+interspersed with the tender, graceful chorus of his
+companions (&ldquo;O, &rsquo;tis Delight when the Land far
+appeareth&rdquo;). The second scene is preluded with
+a wedding march, whose blithe measures are in
+<span class="pb" id="pg_90">[90]</span>
+marked contrast with the bridal chorus (&ldquo;Sadly the
+Skald walks before the Train&rdquo;), and Ingeborg&rsquo;s song
+(&ldquo;My Heart with Sorrow overflowing&rdquo;), which describes
+her grief over her unhappy destiny. The
+third scene (&ldquo;Frithjof&rsquo;s Revenge&rdquo;), for barytone,
+chorus, and orchestra, is one of great power in its
+dramatic and descriptive character, as well as in its
+masterly instrumentation. It begins with a chorus of
+priests (&ldquo;Midnight Sun on the Mountain burns&rdquo;),
+gradually accelerating until it is interrupted by
+Frithjof&rsquo;s cry (&ldquo;Go to Helas&rsquo; dark Abode&rdquo;).
+Three bars of chorus intervene (&ldquo;Woe! O wicked
+Deed&rdquo;), when Frithjof, after a short recitative, sings
+a spirited aria (&ldquo;Where my Father rests&rdquo;). At its
+close, as he rescues Ingeborg&rsquo;s ring and fires the
+temple, the chorus resumes (&ldquo;Woe! he tugs with
+all his Might at the Ring&rdquo;). The choral finale of
+this scene, with its effective instrumentation, is a
+masterpiece of dramatic music, worthy to rank with
+the highest work of its kind in opera. After the
+storm, the calm. In that calm occurs a melodical
+episode of an extraordinary character. The melody
+itself is so unlike anything which precedes or follows
+it that it must have been interpolated. In
+grateful contrast with the revenge of Frithjof, the
+burning of the temple, and the curses of the infuriated
+priests, comes the fourth scene, &ldquo;Frithjof&rsquo;s
+Departure from the Northland,&rdquo;&mdash;a solo quartet
+for male voices (&ldquo;Sun in the Sky now mounteth
+high&rdquo;), of exquisite harmony, leading up to and accompanying
+a barytone solo which has rarely been
+<span class="pb" id="pg_91">[91]</span>
+surpassed in the tender beauty of its melody or the majestic
+sonority of its style:<sup><a id="fr_19" href="#fn_19">[19]</a></sup>&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;World&rsquo;s grandest region, thou mighty North!</p>
+<p class="t0">From thy dominions I am driven forth;</p>
+<p class="t0">Within thy border I lov&rsquo;d to dwell;</p>
+<p class="t0">Midsummer sun, farewell, farewell.</p>
+<p class="t0">Thou mighty North, farewell.</p>
+<p class="t0">My love is foiled, my roof-tree rent,</p>
+<p class="t0">Mine honor soiled, I in exile sent!</p>
+<p class="t0">Cheerless is my soul within me,</p>
+<p class="t0">Hopeless I must bear my lot.</p>
+<p class="t0">Ye rugged mountains, where heroes dwell,</p>
+<p class="t0">And Thor commandeth clouds and winds;</p>
+<p class="t0">Ye azure lakes, that I love so well,</p>
+<p class="t0">Ye woods and brakes, farewell.&rdquo;</p>
+</div>
+</div>
+<div class="pb" id="pg_92">[92]</div>
+<p>The fifth scene is Ingeborg&rsquo;s lament for her lost
+lover (&ldquo;Storms wildly roar&rdquo;),&mdash;a soprano solo,
+which, if not as dramatic as the music assigned to
+Frithjof, is nevertheless full of beautiful sentiment.
+The work closes with a delightful chorus, with short
+phrases for Frithjof (&ldquo;Now he crosseth the Floods
+of the salt desert Waste&rdquo;), supposed to be sung on
+board the hero&rsquo;s good ship &ldquo;Ellida&rdquo; as they sail off
+for conquest and the enjoyment of the booty he has
+promised his companions.</p>
+<div class="fnblock">
+<div class="fndef"><sup><a id="fn_18" href="#fr_18">[18]</a></sup> An admirable translation of the Saga was made by George
+Stephens, published in London and Stockholm in 1839. It includes
+besides the Saga, a life of Tegn&eacute;r, by Bishop Franz&eacute;n of
+Hern&ouml;sand, Sweden; the Frithjof literature; description of Ingeborg&rsquo;s
+Arm Ring, by Hildebrand, the Royal Antiquarian of Sweden;
+Crusell&rsquo;s songs; and numerous notes and illustrations.
+</div>
+<div class="fndef"><sup><a id="fn_19" href="#fr_19">[19]</a></sup> <span class="fntop">In the original Saga the
+&ldquo;Farewell&rdquo; has six verses, the first, second, and
+sixth of which are thus literally translated:&mdash;</span>
+<div class="verse">
+<p class="t0">&ldquo;Heimskringla&rsquo;s forehead,</p>
+<p class="t0">Thou lofty North!</p>
+<p class="t0">Away I&rsquo;m hurried</p>
+<p class="t0">From this thine earth.</p>
+<p class="t0">My race from thee goes,</p>
+<p class="t0">I boasting tell;</p>
+<p class="t0">Now, nurse of heroes,</p>
+<p class="t0">Farewell! Farewell!</p>
+</div>
+<div class="verse">
+<p class="t0">&ldquo;Farewell, high-gleaming</p>
+<p class="t0">Walhalla&rsquo;s throne,</p>
+<p class="t0">Night&rsquo;s eye, bright-beaming,</p>
+<p class="t0">Midsummer&rsquo;s sun!</p>
+<p class="t0">Sky! where, as in hero&rsquo;s</p>
+<p class="t0">Soul, pure depths dwell,</p>
+<p class="t0">And thronging star-rows,</p>
+<p class="t0">Farewell! Farewell!</p>
+</div>
+<div class="verse">
+<p class="t0"><span class="gs3">*       *       *       *       *</span></p>
+</div>
+<div class="verse">
+<p class="t0">&ldquo;My love insulted,</p>
+<p class="t0">My palace brent,</p>
+<p class="t0">My honor tarnished,</p>
+<p class="t0">In exile sent,</p>
+<p class="t0">From land in sadness</p>
+<p class="t0">To the sea we appeal,</p>
+<p class="t0">But life&rsquo;s young gladness,</p>
+<p class="t0">Farewell! Farewell!&rdquo;</p>
+</div>
+</div>
+</div>
+</div>
+<div id="c025" title="Salamis">
+<h4>Salamis.</h4>
+<p>&ldquo;Salamis, Triumphal Hymn of the Greeks&rdquo; was
+written in 1862. It is a composition mostly for
+male chorus, and is admirably adapted for festival
+purposes. The poem, which celebrates the defeat
+of Xerxes, is by H. Lingg, and runs as follows:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Adorn the ships with Persian trophies!</p>
+<p class="t0">Let the purple sails be swelled!</p>
+<p class="t0">Joy floats about the masts!</p>
+<p class="t0">Evoe, the mighty foe, is vanquished!</p>
+<p class="t0">We broke, O sea, we broke the bond,</p>
+<p class="t0">Which the Persian Prince threw around thy neck.</p>
+<p class="t0">Thou rollest now unfettered, no longer embittered</p>
+<p class="t0">By the hateful trampling of the horses,</p>
+<p class="t0">Which thy waving surface,</p>
+<p class="t0">Thy bridge-fettered wrath, bore reluctantly.</p>
+<p class="t0">Fate overtook Xerxes</p>
+<p class="t0">And achieved a Hellenic victory on the waves.</p>
+<p class="t0">To the tyrant, to the arbitrary master,</p>
+<p class="t0">Did not succumb the people that dwell by the sea,</p>
+<p class="t0">For the old ruler of the sea filled his beloved race</p>
+<p class="t0">With boundless courage for the sea-fight.</p>
+<div class="pb" id="pg_93">[93]</div>
+<p class="t0">All around, the waves with delight</p>
+<p class="t0">Hear many an Ionic song;</p>
+<p class="t0">They roar and join the p&aelig;an</p>
+<p class="t0">After the splendid struggle</p>
+<p class="t0">There arise dithyrambic days of liberty!&rdquo;</p>
+</div>
+</div>
+<p>The instrumental introduction to the work is
+written in massive style, its grand chorus being
+elegantly interwoven with runs by the wood instruments,
+preparing the way for the festive adorning of
+the ships,&mdash;a very beautiful allegro movement. This
+is followed by a slower movement which pictures
+the breaking of the bond, the rolling of the sea, and
+the trampling of the horses with all that vividness
+for which the composer is famous. It is succeeded
+by a passage which is very stately, particularly in
+the basses (&ldquo;Fate overtook Xerxes&rdquo;), leading up to
+the grand climax (&ldquo;All around, the Waves with
+Delight&rdquo;), when the orchestra and voices are in
+splendid accord. After a short repetition of the
+opening allegro the hymn closes. It would be hard
+to find a more admirable musical setting of a poem
+than this, whether in the strength and beauty of its
+vocal parts, or in the color, vigor, and general effectiveness
+of the instrumentation.</p>
+</div>
+<div id="c026" title="Fair Ellen">
+<h4>Fair Ellen.</h4>
+<p>The heroic defence of Lucknow by its British
+garrison in 1857, during the Sepoy rebellion, is one
+of the most memorable events in the English administration
+of India. The world is familiar with
+the story of the disaffection of the native troops,
+<span class="pb" id="pg_94">[94]</span>
+the failure of Sir Henry Lawrence, who was in
+command, to overcome the mutiny, the stubborn
+defence which the brave little garrison made against
+the repeated assaults of the native troops, their
+temporary assistance from Outram and Havelock,
+who cut their way into the city, and the final
+relief which was brought to them by Sir Colin
+Campbell. Of all the stirring incidents of the
+siege, however, not one has made such a strong
+impression as the fanciful story of the Scotch girl
+who heard the slogan of the MacGregors far
+away and knew the Highlanders were coming to
+their rescue.</p>
+<p>It is this incident which Bruch has used as the
+theme of his cantata &ldquo;Sch&ouml;n Ellen&rdquo; (&ldquo;Fair
+Ellen&rdquo;). The story is identical with the one so
+often told in prose and poetry, but the <i>dramatis
+person&aelig;</i> differ. Instead of General Lawrence
+we have Lord Edward, and instead of familiar
+Jessie Brown we have &ldquo;Fair Ellen.&rdquo; The text
+of the libretto is weak and spiritless as compared
+with that of the poetical versions. The
+salient point of the story is thus versified in the
+former:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;The Campbells are coming, I told you true;</p>
+<p class="t">I hear the bugle blowing:</p>
+<p class="t0">The pibroch is borne adown the wind,</p>
+<p class="t">The tones on the breezes quiver;</p>
+<p class="t0">&rsquo;Neath the tread of battalions that hurry along</p>
+<p class="t">Afar the plains do shiver.&rdquo;</p>
+</div>
+</div>
+<p>Compare the above with the corresponding verses
+from Robert Lowell&rsquo;s fine poem:&mdash;</p>
+<div class="pb" id="pg_95">[95]</div>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;The Highlanders! O dinna ye hear</p>
+<p class="t">The slogan far awa?</p>
+<p class="t0">The MacGregors? Ah! I ken it weel;</p>
+<p class="t">It&rsquo;s the grandest of them a&rsquo;.</p>
+</div>
+<div class="verse">
+<p class="t0"><span class="gs3">*       *       *       *       *</span></p>
+</div>
+<div class="verse">
+<p class="t0">&ldquo;Then Jessie said, &lsquo;The slogan&rsquo;s dune,</p>
+<p class="t">But can ye no hear them noo?</p>
+<p class="t0">The Campbells are comin&rsquo;! It&rsquo;s nae a dream;</p>
+<p class="t">Our succors hae broken through.&rdquo;</p>
+</div>
+</div>
+<p>Weak as the text may be, the strong healthy
+music of the cantata makes ample compensation.
+It is quite brief, there being but two solo parts,
+&ldquo;Fair Ellen&rdquo; (soprano) and Lord Edward (barytone),
+and five short chorus numbers. The former
+are vigorous and somewhat declamatory in style,
+but the choruses are very melodious and stirring.
+The instrumentation is unusually effective, and a fine
+point is made in the climax by the interweaving of
+the familiar air, &ldquo;The Campbells are Coming,&rdquo; with
+the orchestral score. It lends spirit and color to
+the finale, and closes up the work with a fine burst
+of powerful effect. Short as it is, &ldquo;Fair Ellen&rdquo;
+will always be a favorite with popular audiences.</p>
+</div>
+<div id="c027" title="Odysseus">
+<h4>Odysseus.</h4>
+<p>The cantata of &ldquo;Odysseus,&rdquo; like that of &ldquo;Frithjof,&rdquo;
+is made up of detached scenes, in this case
+selected from the Odyssey and arranged by William
+Paul Graff. The work was first produced in
+1872, and has met with great success in Germany,
+England, and the United States. It is divided into
+<span class="pb" id="pg_96">[96]</span>
+two parts, the first containing four, and the second,
+six scenes. The characters are as numerous as
+those of a grand opera, and include Odysseus,
+barytone; Penelope, alto; Alcinoos, King of the
+Pheaces, bass; Arete, his consort, alto; Nausicaa,
+their daughter, soprano; the Helmsman, bass; Pallas
+Athene, soprano; Leucothea, soprano; Spirit of
+Tiresias, bass; Spirit of Anticlia, Odysseus&rsquo; mother,
+alto; and Hermes, tenor. In performance, however,
+the parts of Arete and the Spirit of Anticlia,
+as well as of Nausicaa and Pallas Athene, are usually
+doubled. The choruses, which are a very important
+feature of the work, are assigned to Odysseus&rsquo;
+companions, Spirits of the Departed, Sirens, Tritons,
+Nymphs of the sea, Pheaces, Rhapsodes, boatmen
+and people of Ithaca.</p>
+<p>In the first scene Odysseus is discovered on
+Calypso&rsquo;s enchanted island longing for home.
+Hermes, the messenger of the gods, appears to
+him and announces that the Immortals, touched
+by his sorrow, will rescue him and restore him to
+Penelope. In the next scene the wanderer has
+reached the abysses of Erebus, &ldquo;where, loud
+thundering, the flood of Cocytus pours its black
+wave into Acheron&rsquo;s tide.&rdquo; Here he invokes the
+world of shades. The spirits of children, brides,
+youths, and old men successively appear to him and
+narrate their mournful stories. Then Tiresias the
+bard warns him of the Sirens, and Anticlia his
+mother bids him hasten to Penelope. In the third
+scene he passes the isles of the Sirens, and escapes
+<span class="pb" id="pg_97">[97]</span>
+their wiles through the firmness of his companions.
+The fourth scene describes the storm at sea, the
+wreck of the vessel, and Odysseus&rsquo; rescue by
+Leucothea, who gives him the veil the Immortals
+have woven, and bids the Oceanides and Tritons
+guide him safely to land; and the first part closes
+with our hero peacefully sleeping on the flowery
+shore of the island of Pheacia.</p>
+<p>The second part opens with the lament of Penelope
+and her prayer to the gods to restore her
+husband to her. The sixth scene changes to the
+island again, and discloses Odysseus awakened from
+his slumbers by the sports and dances of Nausicaa
+and her joyful maidens. He appeals to her for
+help and refreshment, and is bidden to partake of
+their hospitality. In the next scene a sumptuous
+banquet is spread for him, at which he reveals his
+identity and asks that he be allowed to return to
+his home. The fair Nausicaa, though suddenly
+enamoured of the handsome stranger, conceals her
+passion and expedites his departure. The eighth
+scene gives us a sketch of Penelope weaving the
+garment, the <i>ruse</i> by which she kept her suitors
+aloof.</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;This garment by day I weave in my sorrow,</p>
+<p class="t0">And ravel the web in the still hour of night;</p>
+<p class="t0">Thus wearying long, yet my tears greet the morrow,</p>
+<p class="t0">Hope vanishes as the long years take flight.&rdquo;</p>
+</div>
+</div>
+<p>The ninth scene opens with the arrival of
+Odysseus at Ithaca. The sleeping wanderer is
+borne ashore by his comrades, and upon awaking
+<span class="pb" id="pg_98">[98]</span>
+from his slumbers fails to recognize his own country
+until Pallas Athene appears to him. The goddess
+convinces him that he is at home once more, and
+then discloses the plot of the suitors, who are revelling
+in his palace, to compel Penelope to select one
+of them that day in order that they may gain
+possession of his property, as well as their conspiracy
+for his destruction, from which she promises
+to protect him. The final scene describes the
+glad acclamations of the people as they recognize
+Odysseus, and the joy of Penelope as she welcomes
+him home once more.</p>
+<p>The orchestral introduction is very free and flowing
+in character, and its themes are taken from the
+duet of Odysseus and Penelope, which occurs later
+on. The opening chorus of Calypso&rsquo;s nymphs
+(&ldquo;Here, O Hermes, in midst of the Island&rdquo;) is very
+graceful in its movement and is set to a most delightful
+accompaniment. It is followed by Odysseus&rsquo;
+lament (&ldquo;Flow, ye Tears, since Days are hateful&rdquo;),
+at first tender in its character, then changing to passionate
+utterances as the remembrance of Penelope
+comes to him, and closing with a hopeful strain after
+the promise of help from Zeus. In the second or
+Hades scene the music changes from its bright color
+to a gloomier minor tone. It opens with a male
+chorus (&ldquo;The Bounds we have reached of the deep
+flowing Ocean&rdquo;), pianissimo, gradually increasing in
+intensity and accompanied by remarkable effects in
+tone-color as the orchestra describes &ldquo;the thundering
+of the flood Cocytus&rdquo; and &ldquo;the surging aloft of
+<span class="pb" id="pg_99">[99]</span>
+the shadows of the departed.&rdquo; It is followed by
+semi-choruses of the shades, and closes with a very
+spirited and dramatic male chorus (&ldquo;Dread on
+Dread! Lo, surging aloft, the numberless Hosts of
+Departed&rdquo;). The third scene opens with a fresh
+and characteristic male chorus (&ldquo;Our Sails to the
+Breezes&rdquo;), followed by the graceful and alluring
+chorus of the sirens (&ldquo;Come, great Odysseus, Hero
+of Might&rdquo;). The last scene is almost entirely choral
+and very dramatic in its effect, especially the opening
+number for the Oceanides and Tritons (&ldquo;Hark!
+the Storm gathers from afar&rdquo;), with its vigorous instrumental
+description of the tempest, and the closing
+number for full chorus (&ldquo;Yonder beckons the
+wood-crested Harbor&rdquo;), which in its tenderness and
+joyousness forms a striking contrast to the earlier
+part of the scene.</p>
+<p>The second part is introduced with a dignified and
+sombre recitative (&ldquo;Thou far-darting Sun&rdquo;), followed
+by an aria of the same character (&ldquo;Oh! Atritone&rdquo;)
+in which Penelope bewails the absence of Odysseus.
+In the next scene the music changes to a bright and
+tripping strain, the chorus of Nausicaa&rsquo;s maidens
+(&ldquo;On the flowery Mead, girt by the dimpling Tide&rdquo;),
+which closely resembles that of Calypso&rsquo;s nymphs
+in the first scene. After Odysseus&rsquo; fervent appeal
+(&ldquo;Hark to me! Queen, or heaven-dwelling Goddess&rdquo;)
+the banquet scene occurs. It begins with
+an animated chorus of the Pheacians (&ldquo;Be welcome,
+Stranger, to Pheacia&rsquo;s Land&rdquo;), followed by an exquisite
+unison chorus of the Rhapsodes (&ldquo;Ten Years
+<span class="pb" id="pg_100">[100]</span>
+now are past since Troy in the Dust was laid&rdquo;), set
+to an accompaniment of harps. A simple and tender
+melody (&ldquo;Let me then depart in Peace&rdquo;), sung
+by Odysseus, in which the chorus singers gradually
+join, closes the scene. The eighth scene contains
+the most expressive solo number of the work, Penelope&rsquo;s
+aria (&ldquo;This Garment by Day I weave in my
+Sorrow&rdquo;), with a characteristic descriptive accompaniment.
+The gems of the ninth scene are Odysseus&rsquo;
+passionate aria (&ldquo;O my Fatherland! blest
+Remembrance!&rdquo;) and his furious revenge song
+(&ldquo;Miscreant! woe to Thee&rdquo;). The last scene opens
+with a joyous chorus of the people (&ldquo;Say, have ye
+heard the Tidings of Joy?&rdquo;), followed by a fervent
+duet between Odysseus and Penelope (&ldquo;Omnipotent
+Zeus! we call on thy Name&rdquo;). The final chorus
+begins in chorale style (&ldquo;In Flames ascending&rdquo;),
+and after repeating the melody of Odysseus&rsquo; song
+in the seventh scene (&ldquo;Nowhere abides such Delight&rdquo;),
+closes with a fine fugued passage (&ldquo;Slayer
+of Darkness&rdquo;).</p>
+<div class="imgtail"><img src="images/p100.png" alt="" width="102" height="78" /></div>
+</div>
+<div id="c028" title="Buck">
+<div class="pb" id="pg_101">[101]</div>
+<div class="img"><img src="images/p101.png" alt="" width="315" height="103" /></div>
+<h3>BUCK.</h3>
+<p>Dudley Buck, one of the most eminent
+of American organists and composers, was
+born March 10, 1839, at Hartford, Conn.,
+where his father was engaged in the mercantile
+business. He studied both the piano and
+organ, the latter with such success that at the age
+of sixteen he was appointed organist at St. John&rsquo;s
+Church in his native city. In 1858 he went to Europe
+and entered the Leipsic Conservatory, where
+he studied the piano with Plaidy and Moscheles, and
+composition with Hauptmann and Richter. After
+remaining there a year and a half he went to Dresden
+and began the study of Bach&rsquo;s music with Johann
+Schneider. A year and a half later he went to Paris,
+and there acquainted himself with French music and
+musicians. He returned to this country in 1862,
+and accepted the position of organist at the Park
+Church, Hartford, but after the death of his parents
+removed to Chicago, where he obtained the position
+of organist at St. James&rsquo;s Episcopal Church, and also
+devoted much of his time to teaching and composition.
+In that city his home became a musical centre.
+<span class="pb" id="pg_102">[102]</span>
+His library, fine organ, and music-room were
+great attractions, and he had laid the foundation of
+a brilliant musical career, when the great fire of 1871
+swept away his entire property, including many manuscript
+compositions. Like many other musicians at
+that time he left the city, seeing no prospect of advantage
+to him where it would require a long time
+to recover purely material losses. He went with his
+family to Boston, where his fame was already established,
+and obtained the position of organist at St.
+Paul&rsquo;s Church, as well as the charge of the large
+organ in the Music Hall. After remaining a short
+time in that city he removed to New York, where
+he has since resided. His life has been a very busy
+one, and he has had an important influence, both
+personally and in connection with Theodore Thomas,
+upon the progress of music in this country. It is
+not extravagant to say that there are few Protestant
+churches whose music has not been dignified and
+improved by his contributions, particularly of anthems
+and Te Deums, as well as of compositions for
+the organ, of which he is a consummate master.
+Singing societies are also indebted to him for many
+elegant four-part songs. Among his larger works
+are the cantata &ldquo;Don Munio&rdquo; (1874); the &ldquo;Centennial,&rdquo;
+written for the Centennial at Philadelphia;
+&ldquo;The Nun of Nidaros&rdquo; (1878); &ldquo;The Golden Legend,&rdquo;
+which was the prize cantata at the Cincinnati
+Festival of 1880; an Easter cantata; the Forty-sixth
+Psalm, written for the Boston Handel and Haydn
+Society; two volumes of sacred songs and motets;
+<span class="pb" id="pg_103">[103]</span>
+&ldquo;Marmion,&rdquo; a symphonic overture, and other works
+for orchestra; the cantatas &ldquo;Voyage of Columbus&rdquo;
+(1885) and the &ldquo;Light of Asia&rdquo; (1886). The last
+two cantatas were issued in Europe, the one in Germany
+and the other in England, and thus came to
+this country bearing a foreign imprint,&mdash;a novelty
+for an American composer.</p>
+</div>
+<div id="c029" title="Don Munio">
+<h4>Don Munio</h4>
+<p>&ldquo;Don Munio,&rdquo; a dramatic cantata for solos, chorus,
+and orchestra, was written in 1874. The
+story of it is taken from Washington Irving&rsquo;s Spanish
+papers, and the scene is laid in the period of the
+wars with the Moors. While hunting one morning,
+Don Munio de Hinojosa captures a cavalcade
+which is escorting the Moorish Prince, Abadil, and
+his betrothed, Constanza, on the way to their
+wedding. The Prince, all escape being cut off,
+seeks to purchase the good-will of Don Munio with
+his gold and jewels, and implores him not to separate
+him from his affianced. The Don, touched by
+their unfortunate condition, invites them to spend a
+fortnight at his castle, promising that the nuptials
+shall be celebrated there, and then they shall be
+released. The lovers accept, and Don Munio is
+faithful to his promise. Shortly after their departure
+he is ordered by the king to join in the expedition
+to Palestine. In one of the encounters of
+this crusade he is killed by Abadil, who does not
+<span class="pb" id="pg_104">[104]</span>
+recognize his former benefactor with his visor closed.
+His death is greatly mourned in Spain, but they are
+consoled when Roderigo, a messenger from Palestine,
+arrives and tells them that one evening while
+strolling near the Holy Sepulchre he saw seventy
+Christian knights riding in ghostly procession, with
+the late Don Munio at their head. This is regarded
+as an assurance that all is well with him. <i>Requiescat
+in pace.</i></p>
+<p>These are the incidents which Mr. Buck has
+chosen for musical treatment, and he has done the
+work excellently well. After the orchestral introduction
+follows a spirited hunting-song for male
+chorus. The next scene opens in the chamber of
+Donna Maria, wife of Don Munio, who laments his
+absence in a minor strain, to which succeeds a
+rondo movement. The third is religious in character,
+marked &ldquo;Evening. Close of vesper service in
+the chapel of the castle. Escobedo, the chaplain,
+with the women, and such retainers as have not
+followed Don Munio on his expedition.&rdquo; It begins
+with a prelude closing with full orchestra and
+organ, and leading to barytone solo and chorus,
+and a short exhortation to prayer by Escobedo.
+The next number is an Ave Maria for full chorus,
+which is very beautifully harmonized. In the next
+scene we encounter Don Munio in the forest, and
+are treated to the conventional hunting-song. The
+next number hints at the approach of the Moors,
+which is soon disclosed by a pretty three-part chorus
+of &ldquo;the females of the Moorish cavalcade as
+<span class="pb" id="pg_105">[105]</span>
+they journey.&rdquo; The eighth scene contains some
+powerful chorus work, divided between the furious
+Spaniards and the frightened women, and set to a
+very vigorous accompaniment. After the tumult
+ends, Abadil very melodiously appeals to Don Munio,
+followed by a brief arioso in which the latter
+makes his terms, and a spirited chorus of gratitude
+to the Don, which close the first part.</p>
+<p>After a short prelude, the second part opens
+with a tenor aria for Abadil (&ldquo;O, thou my Star&rdquo;)
+which is very refined in sentiment. It is followed
+by the chorale &ldquo;Jesu, dulcis Memoria,&rdquo; sung by
+the chapel choir. A duet ensues between the two
+lovers on the castle terrace, which is very Italian in
+its flavor, and one of the most effective numbers
+in the cantata. The next two numbers furnish the
+wedding music,&mdash;a happy bridal chorus, and a
+charming bolero for orchestra. These lead to an
+unaccompanied quartet between Don Munio, Donna
+Maria, Abadil, and Constanza (&ldquo;It is the Lot of
+Friends to part&rdquo;). In the next scene occurs a vigorous
+duet between Don Munio and his wife, in
+which he informs her of his speedy departure for
+Palestine, followed by a stirring battle-hymn for
+male chorus. The next scene, &ldquo;The chapel of the
+castle, choir chanting the dirge for the dead,&rdquo; is in
+strong contrast with the preceding. Mr. Buck has
+rarely written anything better in his sacred music
+than this beautiful requiem. In the next two numbers
+the messenger describes the manner of Don
+Munio&rsquo;s death, and the ghostly vision at the sepulchre,
+<span class="pb" id="pg_106">[106]</span>
+and at the end of his message the requiem
+changes to a jubilant chorus of gratitude (&ldquo;In
+thankful Hymns ascending&rdquo;). &ldquo;Don Munio&rdquo; is
+one of the most powerful and spontaneous of American
+compositions, and needs but little more amplification
+to deserve the name of opera.</p>
+</div>
+<div id="c030" title="Centennial Meditation of Columbia">
+<h4>The Centennial Meditation of Columbia.</h4>
+<p>The National Centennial celebration at Philadelphia
+was inaugurated May 10, 1876, with a special
+musical programme, in which the cantata with
+the above formidable title occupied a prominent
+place. The ode was written by Sydney Lanier, of
+Georgia, a poet who prior to that time had made
+considerable reputation by two poems printed in
+&ldquo;Lippincott&rsquo;s Magazine.&rdquo; The national idea was
+satisfied by assigning the music to Dudley Buck, at
+that time living in Connecticut. It must be acknowledged
+that the work did not make a deep impression,
+although it contains some excellent musical
+writing, and for two sufficient reasons. First, it is
+not a work of musical genius or inspiration, as it
+was ordered by a commission for a popular show.
+It was not singular in this respect. The &ldquo;Centennial
+March,&rdquo; written by Richard Wagner, for the
+same occasion, is page after page of sound and
+fury, executed for a most exorbitant remuneration.
+To ascertain its real want of inspiration one has but
+<span class="pb" id="pg_107">[107]</span>
+to place it by the side of the &ldquo;Kaiser March,&rdquo; with
+its massive chords, its grand thematic treatment,
+and its stately movement, the outcome of patriotic
+fervor and national triumph. Second, the stilted
+and unmusical lines furnished by Mr. Lanier must
+have hampered the composer in every verse. This
+is all the more remarkable because Mr. Lanier himself
+was a practical musician. He had been for
+some time a violinist in the Peabody orchestra at
+Baltimore, under that accomplished leader, Asgar
+Hamerik. It is remarkable, therefore, that he
+should not have recognized the difficulties he was
+placing in the way both of the composer and the
+performers.</p>
+<p>The ode has sixty-one lines, divided into eight
+stanzas of unequal lengths. It sketches the past
+and present of the nation, the powers which opposed
+its progress and hindered the development
+of its freedom, and the elements which at last produced
+success, closing with cheering auguries for
+the future, and a welcome to the world. All this
+might have been set to smooth and fluent verse,
+which would readily have adapted itself to music;
+but what composer could have treated successfully
+such verses as these?&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Mayflower, Mayflower, slowly hither flying,</p>
+<p class="t0">Trembling westward o&rsquo;er yon balking sea,</p>
+<p class="t0">Hearts within, &lsquo;Farewell, dear England,&rsquo; sighing,</p>
+<p class="t0">Winds without, &lsquo;But dear in vain,&rsquo; replying,</p>
+<p class="t0">Gray-lipp&rsquo;d waves about thee shouted, crying,</p>
+<p class="t4">&lsquo;No! it shall not be!&rsquo;</p>
+</div>
+<div class="pb" id="pg_108">[108]</div>
+<div class="verse">
+<p class="t0">&ldquo;Jamestown, out of thee&mdash;</p>
+<p class="t0">Plymouth, thee&mdash;thee, Albany&mdash;</p>
+<p class="t0">Winter cries, &lsquo;Ye freeze; away!&rsquo;</p>
+<p class="t0">Fever cries, &lsquo;Ye burn; away!&rsquo;</p>
+<p class="t0">Hunger cries, &lsquo;Ye starve; away!&rsquo;</p>
+<p class="t0">Vengeance cries, &lsquo;Your graves shall stay!&rsquo;</p>
+</div>
+<div class="verse">
+<p class="t4">&ldquo;Hark!</p>
+<p class="t0">Huguenots whispering &lsquo;Yea&rsquo; in the dark,</p>
+<p class="t0">Puritans answering &lsquo;Yea&rsquo; in the dark!</p>
+<p class="t0">&lsquo;Yea,&rsquo; like an arrow shot true to his mark,</p>
+<p class="t0">Darts through the tyrannous heart of Denial.</p>
+<p class="t0">Patience and Labor and solemn-souled Trial,</p>
+<p class="t4">Foiled, still beginning,</p>
+<p class="t4">Soiled, but not sinning,</p>
+<p class="t0">Toil through the stertorous death of the Night,</p>
+<p class="t0">Toil, when wild brother-wars new-dark the light,</p>
+<p class="t0">Toil, and forgive, and kiss o&rsquo;er, and re-plight.&rdquo;</p>
+</div>
+</div>
+<p>Even in the last verse, where the composer
+must make his climax, and the singers must be
+most effective, they are confronted with this
+unsingable line:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;And wave the world&rsquo;s best lover&rsquo;s welcome to the world.&rdquo;</p>
+</div>
+</div>
+<p>The only musical verse is the reply of the angel
+to Columbia in the midst of her ragged and cacophonous
+meditation, which the composer selected as a solo for bass
+voice:<sup><a id="fr_20" href="#fn_20">[20]</a></sup>&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Long as thine Art shall love true love,</p>
+<p class="t0">Long as thy Science truth shall know,</p>
+<p class="t0">Long as thine Eagle harms no Dove,</p>
+<p class="t0">Long as thy Law by law shall grow,</p>
+<p class="t0">Long as thy God is God above,</p>
+<p class="t0">Thy brother every man below,</p>
+<p class="t0">So long, dear Land of all my love,</p>
+<p class="t0">Thy name shall shine, thy fame shall grow.&rdquo;</p>
+</div>
+</div>
+<div class="pb" id="pg_109">[109]</div>
+<p>The prelude for orchestra determines the motive
+of the whole cantata, and is very spirited; for here,
+at least, the composer was not hampered by words.
+The opening verse,&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;From this hundred-terraced height,&rdquo;</p>
+</div>
+</div>
+<p>is set very effectively in chorale form; but the next
+two verses, already quoted, are arranged for semi-chorus
+and full chorus, and close in a vocal stretto
+quite as hysterical as the words. Then follows the
+whispering of the Huguenots and Puritans, commencing
+<i>sotto voce</i>, and gradually increasing to a
+<i>forte</i> at the close. A few bars for the horn lead
+to the bass solo, &ldquo;Long as thine Art,&rdquo; with horn
+obligato,&mdash;a very impressive and dignified aria,
+and one which would speedily become a favorite
+in the concert-room if adapted to the words.
+The final number (&ldquo;Music from this Height of
+Time&rdquo;) begins in full choral harmony and closes
+with a vigorous and well-written fugue.</p>
+<div class="fnblock">
+<div class="fndef"><sup><a id="fn_20" href="#fr_20">[20]</a></sup> Sung upon that occasion by Mr. Myron D. Whitney.
+</div>
+</div>
+</div>
+<div id="c031" title="The Golden Legend">
+<h4>The Golden Legend.</h4>
+<p>&ldquo;The Golden Legend&rdquo; was written in competition
+for the prize of one thousand dollars, which the
+Cincinnati May Festival Association offered in 1879
+for the best work of a native composer. The judges
+were Theodore Thomas, Otto Singer, Asgar Hamerik,
+Carl Zerrahn, and the late Dr. Leopold Damrosch.
+Their award was made to &ldquo;The Golden Legend,&rdquo;
+and it was first performed at the Festival of 1880,
+<span class="pb" id="pg_110">[110]</span>
+with Miss Annie B. Norton as Elsie, Mr. Frederick
+Harvey as Prince Henry, Mr. J. F. Rudolphsen as
+Lucifer, and Mr. M. D. Whitney as Friar Paul.</p>
+<p>The text of the cantata is composed of a prologue,
+epilogue, and twelve scenes taken from Longfellow&rsquo;s
+Episode in &ldquo;Christus&rdquo; by the same name. The
+medi&aelig;val story is a very simple one. Prince Henry
+of Hoheneck, stricken down with an incurable ailment,
+after vainly seeking a remedy, is visited by
+Lucifer disguised as a physician, who tempts him
+to adopt a remedy prescribed by a doctor of Salerno;
+namely, the blood of a maiden who will voluntarily
+offer herself as a sacrifice. Elsie devotes her life to
+the Prince, and they journey together to Salerno,
+where her death must take place. Arrived at the
+spot, the Prince, touched by her magnanimity,
+entreats her to forego her purpose; but she insists
+upon it, bids him farewell in the school, and enters
+an inner apartment with Lucifer disguised as a friar.
+Before the tragedy can be consummated, the Prince
+bursts open the door, with the aid of his followers,
+and rescues her. The pair return to the castle on
+the Rhine, where of course the rapidly convalescing
+Prince marries Elsie, and the story closes with
+an epilogue reciting the discomfiture of Lucifer and
+the triumph of good over evil.</p>
+<p>Out of this material the composer has constructed
+his work, eliminating from and adding to the original
+matter to suit his musical scheme, but at the same
+time preserving the general spirit of the story. After
+a very spirited and energetic prelude, the prologue
+<span class="pb" id="pg_111">[111]</span>
+begins with the fruitless attempt of Lucifer to pull
+down the cross on the spire of Strasburg cathedral,
+the protests of the spirits of the air (first and second
+sopranos), the defiance of the bells (male chorus) as
+each attempt fails, and the final disappearance of
+the spirits amid the chanting of the majestic Latin
+hymn, &ldquo;Nocte surgentes,&rdquo; by full chorus in the
+church, accompanied by the organ. The second
+scene opens in Prince Henry&rsquo;s chamber in the
+tower of the Vautsberg castle, and reminds one of
+the opening scene of &ldquo;Faust,&rdquo; as set by Gounod.
+After an expressive declamation of his melancholy
+and his longing for rest and health (&ldquo;I cannot sleep,
+my fervid Brain calls up the vanished Past again&rdquo;),
+Lucifer appears in a flash of light, dressed as a travelling
+physician, and a dialogue ensues, the purport of
+which has already been told, which closes with an
+ingenious and beautifully-written number for the two
+voices, accompanied by a four-part chorus of mixed
+voices and a small semi-chorus of sopranos and altos
+(&ldquo;Golden Visions wave and hover&rdquo;). The fourth
+scene is an unaccompanied quartet, &ldquo;The Evening
+Song,&rdquo; sung by Elsie, Bertha, Max, and Gottlieb in
+their peasant home in the Odenwald, as they light
+the lamps (&ldquo;O gladsome Light of the Father&rdquo;).
+It is a simple, tranquil hymn, but full of that sacred
+sentiment which this composer expresses so admirably
+in music. The fifth scene, Elsie&rsquo;s prayer in her
+chamber (&ldquo;My Redeemer and my Lord&rdquo;), in its
+calm beauty and religious feeling makes a fitting
+pendant to the quartet. In the next number, the
+<span class="pb" id="pg_112">[112]</span>
+orchestra is utilized to carry on the action, and in
+march tempo describes the pilgrimage to Salerno
+with stately intervals, in which is heard the sacred
+song, &ldquo;Urbs c&oelig;lestis, urbs beata,&rdquo; supposed to be
+sung by the pilgrims &ldquo;moving slowly on their long
+journey with uncovered feet.&rdquo; The seventh scene
+is laid in the refectory of the convent of Hirschau,
+in the Black Forest, where Lucifer enters the gaudiolum
+of monks, disguised as a friar, and sings
+the rollicking Latin drinking-song, &ldquo;Ave color vini
+clari,&rdquo; which Mr. Edmund C. Stedman versified
+for this work as follows:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Hail! thou vintage clear and ruddy!</p>
+<p class="t0">Sweet of taste and fine of body,</p>
+<p class="t0">Through thine aid we soon shall study</p>
+<p class="t2">How to make us glorious!</p>
+</div>
+<div class="verse">
+<p class="t0">&ldquo;Oh! thy color erubescent!</p>
+<p class="t0">Oh! thy fragrance evanescent!</p>
+<p class="t0">Oh! within the mouth how pleasant!</p>
+<p class="t2">Thou the tongue&rsquo;s pr&aelig;torius!</p>
+</div>
+<div class="verse">
+<p class="t0">&ldquo;Blest the stomach where thou wendest!</p>
+<p class="t0">Blest the throat which thou distendest!</p>
+<p class="t0">Blest the mouth which thou befriendest,</p>
+<p class="t2">And the lips victorious!</p>
+</div>
+<p class="center"><span class="sc">Chorus of Monks.</span></p>
+<div class="verse">
+<p class="t2">&ldquo;Pour the wine, then, pour it!</p>
+<p class="t2">Let the wave bear all before it!</p>
+<p class="t2">There&rsquo;s none to score it,</p>
+<p class="t2">So pour it in plenty, pour it!&rdquo;</p>
+</div>
+</div>
+<p>The next number is for orchestra only, and once
+more the instruments are used for a continuance of
+the action by a description of the carousal of the
+<span class="pb" id="pg_113">[113]</span>
+monks in a characteristic allegro bacchanale, the
+abbot testifying his indignation through the medium
+of the trombone and the use of the Gregorian
+melody. The sentiment of the latter is
+expressed by the following verse:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;What mean this revel and carouse?</p>
+<p class="t0">Is this a tavern and drinking-house?</p>
+<p class="t0">Are you Christian monks or heathen devils,</p>
+<p class="t0">To pollute this convent with your revels?&rdquo;</p>
+</div>
+</div>
+<p>The ninth scene changes to Genoa. Elsie, on a terrace
+overlooking the sea, sings a charming aria (&ldquo;The
+Night is calm and cloudless&rdquo;), with a choral refrain
+of &ldquo;Kyrie Eleison.&rdquo; The tenth is a graceful barcarolle
+for orchestra, but it is somewhat in the
+nature of an interpolation, and is only connected
+with the movement of the story by a thin thread,
+as will be seen from the verse which gives its
+motive:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;The fisherman who lies afloat,</p>
+<p class="t0">With shadowy sail in yonder boat,</p>
+<p class="t0">Is singing softly to the night.</p>
+<p class="t">A single step and all is o&rsquo;er;</p>
+<p class="t0">And thou, dear Elsie, wilt be free</p>
+<p class="t0">From martyrdom and agony.&rdquo;</p>
+</div>
+</div>
+<p>The eleventh scene is a spirited and beautifully-written
+male chorus of sailors (&ldquo;The Wind upon
+our Quarter lies&rdquo;). The twelfth reaches the climax
+in the scene at the college of Salerno between
+Lucifer, Elsie, and the Prince, with accompaniment
+of attendants, and is very dramatic throughout. It
+is followed by a tender love-duet for Elsie and the
+Prince on the terrace of the castle of Vautsberg,
+<span class="pb" id="pg_114">[114]</span>
+which leads to the epilogue, &ldquo;O Beauty of Holiness,&rdquo;
+for full chorus and orchestra, in which the
+composer is at his very best both in the construction
+of the vocal parts and the elaborately worked-up
+accompaniments.</p>
+</div>
+<div id="c032" title="The Voyage of Columbus">
+<h4>The Voyage of Columbus.</h4>
+<p>&ldquo;The Voyage of Columbus&rdquo; was written in 1885,
+and first published in Germany. The text of the
+libretto was prepared by the composer himself, extracts
+from Washington Irving&rsquo;s &ldquo;Columbus&rdquo; forming
+the theme of each of the six scenes, all of which
+are supposed to transpire at evening, and are therefore
+styled by the composer &ldquo;night-scenes.&rdquo; Their
+arrangement, which is very skilfully accomplished,
+is as follows:&mdash;</p>
+<p><span class="sc">Scene I.</span> In the chapel of St. George at Palos,
+Aug. 2, 1492. &ldquo;The squadron being ready to put
+to sea, Columbus, with his officers and crew, confessed
+themselves to the friar, Juan Perez. They
+entered upon the enterprise full of awe, committing
+themselves to the especial guidance and protection
+of Heaven.&rdquo;</p>
+<p><span class="sc">Scene II.</span> On the deck of the Santa Maria.
+&ldquo;Eighteen years elapsed after Columbus conceived
+his enterprise before he was enabled to carry it
+into effect. The greater part of that time was
+passed in almost hopeless solicitation, poverty,
+and ridicule.&rdquo;</p>
+<div class="pb" id="pg_115">[115]</div>
+<p><span class="sc">Scene III.</span> The Vesper Hymn. &ldquo;In the evening,
+according to the invariable custom on board
+the admiral&rsquo;s ship, the mariners sang the Vesper
+Hymn to the Virgin.&rdquo;</p>
+<p><span class="sc">Scene IV.</span> Discontent and Mutiny. &ldquo;In this
+way they fed each other&rsquo;s discontent, gathering into
+little knots, and fomenting a spirit of mutinous opposition
+... finally breaking forth into turbulent
+clamor.&rdquo;</p>
+<p><span class="sc">Scene V.</span> In distant Andalusia. &ldquo;He compares
+the pure and balmy mornings to those of April in
+Andalusia, and observes that they wanted but the
+song of the nightingale to complete the illusion.&rdquo;</p>
+<p><span class="sc">Scene VI.</span> Land and Thanksgiving. &ldquo;As the
+evening darkened, Columbus took his station on
+the top of the castle or cabin, on the high poop of
+his vessel, ranging his eye along the horizon, and
+maintaining an intense and unremitting watch.&rdquo;</p>
+<p>The cantata opens with a brief orchestral prelude
+of a sombre character begun by the trombone
+sounding the Gregorian intonation, and leading to
+the barytone solo of the priest (&ldquo;Ye men of Spain,
+the Time is nigh&rdquo;), appealing to the crew to commit
+themselves to Heaven, to which the full male
+chorus responds with ever-increasing power, reaching
+the climax in the &ldquo;Ora pro nobis.&rdquo; Twice the
+priest repeats his adjuration, followed by the choral
+response, the last time with joy and animation as
+the flag of Castile is raised and they bid farewell
+to the shores of Spain. A short allegro brings
+the scene to a close.</p>
+<div class="pb" id="pg_116">[116]</div>
+<p>The second scene is a bass aria for Columbus
+(&ldquo;Eighteen long Years of Labor, Doubt, and Scorn&rdquo;),
+of a vigorous and spirited character, changing to a
+solemn adagio in the prayer, &ldquo;Lord of all Power and
+Might,&rdquo; and closing with a few spirited phrases in
+the opening tempo. It is followed by the Vesper
+Hymn, &ldquo;Ave Maris Stella,&rdquo; a number in which
+the composer&rsquo;s eminent ability in sacred music is
+clearly shown. Its tranquil harmony dies away in
+the softest of pianissimos, and is followed by an
+agitated prelude introducing the furious chorus of
+the mutinous crew &ldquo;Come, Comrades, come,&rdquo; which
+gathers intensity as it progresses, voices and instruments
+uniting in broken but powerful phrases,
+sometimes in full chorus and again in solo parts,
+until the climax is reached, when Columbus intervenes
+in brief solos of great dignity, to which the
+chorus responds, the scene closing with the renewal
+of allegiance,&mdash;a stirring bass solo with choral accompaniment.</p>
+<p>The fifth scene is a tenor recitative and love-song
+of a most graceful character, and one which
+will become a favorite when it is well known:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;In Andalusia the nightingale</p>
+<p class="t0">Sings,&mdash;sings through the live-long night;</p>
+<p class="t0">Sings to its mate in pure delight:</p>
+<p class="t2">But, ah me! ah, my love!</p>
+<p class="t0">Vanished and lost to my sight</p>
+<p class="t2">In distant Andalusia.&rdquo;</p>
+</div>
+</div>
+<p>The final scene is very elaborate in its construction,
+and brings the work to a sonorous and stately
+<span class="pb" id="pg_117">[117]</span>
+close. It opens with a very dramatic recitative by
+Columbus (&ldquo;The Night is dark, but many a Sign
+seen through this Day proclaims the Goal at Hand&rdquo;),
+at the close of which there is a short orchestral prelude,
+which serves to introduce a trio (&ldquo;Here at
+your Bidding&rdquo;) for Columbus and two officers (first
+tenor and first bass). At the cry of a seaman, &ldquo;Land
+ho!&rdquo; the chorus responds with animation. Columbus
+bids his crew join him &ldquo;in prayer and grateful
+praise.&rdquo; The answer comes in a splendidly-written
+&ldquo;Hallelujah,&rdquo; which is fairly majestic in its progression,
+reaching its close in full broad harmony,
+with the accompanying strains of trumpets.</p>
+</div>
+<div id="c033" title="The Light of Asia">
+<h4>The Light of Asia.</h4>
+<p>Mr. Buck&rsquo;s latest cantata, &ldquo;The Light of Asia,&rdquo;
+well-nigh reaches the dimensions of an opera or
+oratorio. It was written in 1886 and first published
+in England. Its name reveals its source, and the
+composer has made compensation for the privilege
+of using Mr. Edwin Arnold&rsquo;s beautiful poem,
+by a graceful dedication of the work to him. The
+libretto was prepared by the composer himself, who
+has shown great skill in making his selections in such
+manner as not to disturb the continuity of the story.
+The purely philosophical portions are omitted, and
+only those are retained which have a human interest.
+In this manner he has avoided the obstacle
+which the lack of human sympathy in the poem,
+beautiful as it is, would otherwise have placed in
+<span class="pb" id="pg_118">[118]</span>
+his way. The text, as will be remembered, has no
+definite metre, much of it being in blank verse, and
+does not readily lend itself to musical expression;
+but it will be conceded that the composer has
+also overcome this difficulty in a very remarkable
+manner. The cantata is divided into four parts,&mdash;Prologue,
+the Renunciation and Temptation, the
+Return, and Epilogue and Finale.</p>
+<p>The first part has nine numbers. A brief prelude
+leads to the opening chorus:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Below the highest sphere four regents sit,</p>
+<p class="t0">Who rule the world; and under them are zones</p>
+<p class="t0">Nearer, but high, where saintliest spirits dead,</p>
+<p class="t0">Wait thrice ten thousand years, then live again.&rdquo;</p>
+</div>
+</div>
+<p>It begins with a fugue, opened by the basses,
+simple in its construction but stately in theme and
+very dignified throughout. It is followed by a
+bass solo of descriptive character (&ldquo;The King gave
+Order that his Town should keep high Festival&rdquo;),
+closing with a few choral measures, <i>sotto voce</i>, relating
+that the King had ordered a festival in honor
+of the advent of Buddha, and how a venerable saint,
+Asita, recognized the divinity of the child and
+&ldquo;the sacred primal signs,&rdquo; and foretold his mission.
+The third number is the description of the young
+Sidd&acirc;rtha, set in graceful recitative and semi-chorus
+for female voices, with a charming accompaniment.
+The fourth is a spring song (&ldquo;O come and see the
+Pleasance of the Spring&rdquo;), begun by tenors and basses
+and then developing into full chorus with animated
+descriptive effects for the orchestra, picturing &ldquo;the
+<span class="pb" id="pg_119">[119]</span>
+thickets rustling with small life,&rdquo; the rippling waters
+among the palms, the blue doves&rsquo; cooings, the jungles
+laughing with the nesting-songs, and the far-off
+village drums beating for marriage feasts. A recitative
+for bass (&ldquo;Bethink ye, O my Ministers&rdquo;), in
+which the King counsels with his advisers as to the
+training of the child, leads to a four-part song for
+tenors and basses (&ldquo;Love will cure these thin Distempers&rdquo;),
+in which they urge him to summon a
+court of pleasure in which the young prince may
+award prizes to the fair. Then</p>
+<div class="bq">
+<div class="verse">
+<p class="t12">&ldquo;If one or two</p>
+<p class="t0">Change the fixed sadness of his tender cheek,</p>
+<p class="t0">So may we choose for love with love&rsquo;s own eye.&rdquo;</p>
+</div>
+</div>
+<p>The King orders the festival, and in the next number&mdash;a
+march and animated three-part chorus for
+female voices&mdash;Kapilavastu&rsquo;s maidens flock to the
+gate, &ldquo;each with her dark hair newly smoothed and
+bound.&rdquo; Then comes the recognition, briefly told
+in soprano recitative. Yas&ocirc;dhara passes, and &ldquo;at
+sudden sight of her he changed.&rdquo; A beautiful love-duet
+for soprano and tenor (&ldquo;And their Eyes mixed,
+and from the Look sprang Love&rdquo;) closes the scene.
+The next number is a bass solo narrating the triumph
+of Sidd&acirc;rtha over all other suitors, leading to a jubilant
+and graceful wedding chorus (&ldquo;Enter, thrice-happy!
+enter, thrice-desired!&rdquo;), the words of which
+are taken from the &ldquo;Indian Song of Songs.&rdquo;</p>
+<p>The second part opens with a soprano solo describing
+his pleasure with Yas&ocirc;dhara, in the midst of
+which comes the warning of the Devas:&mdash;</p>
+<div class="pb" id="pg_120">[120]</div>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;We are the voices of the wandering wind,</p>
+<p class="t0">That moan for rest and rest can never find.</p>
+<p class="t0">Lo! as the wind is, so is mortal life,&mdash;</p>
+<p class="t0">A moan, a sigh, a sob, a storm, a strife.&rdquo;</p>
+</div>
+</div>
+<p>This number is a semi-chorus, set for female voices,
+interspersed with brief phrases for tenor, and after a
+bass solo, relating the King&rsquo;s dream and the hermit&rsquo;s
+interpretation, which induces him to doubly guard
+Sidd&acirc;rtha&rsquo;s pleasure-house, leads up to a beautiful
+chorus, divided between two sopranos, alto, two
+tenors, and two basses:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Softly the Indian night sunk o&rsquo;er the plain,</p>
+<p class="t0">Fragrant with blooms and jewelled thick with stars,</p>
+<p class="t0">And cool with mountain airs sighing adown</p>
+<p class="t0">From snow-flats on Him&acirc;la high outspread.</p>
+<p class="t0">The moon above the eastern peaks</p>
+<p class="t0">Silvered the roof-tops of the pleasure-house,</p>
+<p class="t0">And all the sleeping land.&rdquo;</p>
+</div>
+</div>
+<p>The next scene opens with a soprano solo (&ldquo;Within
+the Bower of inmost Splendor&rdquo;), in which
+Yas&ocirc;dhara relates her dream of the voice crying
+&ldquo;The Time is nigh,&rdquo; to Sidd&acirc;rtha, and closes with
+a tender duet for soprano and tenor. The next
+number is a brief chorus (&ldquo;Then in her Tears she
+slept&rdquo;), followed by the tenor solo, &ldquo;I will depart,&rdquo;
+in which Sidd&acirc;rtha proclaims his resolve
+&ldquo;to seek deliverance and the unknown light,&rdquo; and
+leading to a richly-colored and majestic chorus:</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;There came a wind which lulled each sense aswoon</p>
+<p class="t0">Of captains and of soldiers:</p>
+<p class="t0">The gates of triple brass rolled back all silently</p>
+<p class="t0">On their grim hinges;</p>
+<p class="t0">Then, lightly treading, where those sleepers lay,</p>
+<div class="pb" id="pg_121">[121]</div>
+<p class="t0">Into the night Sidd&acirc;rtha passed,</p>
+<p class="t0">While o&rsquo;er the land a tremor spread,</p>
+<p class="t0">As if earth&rsquo;s soul beneath stirred with an unknown hope,</p>
+<p class="t0">And rich celestial music thrilled the air</p>
+<p class="t0">From hosts on hosts of shining ones.&rdquo;</p>
+</div>
+</div>
+<p>A tenor solo describes the six long years of wandering,
+followed by a characteristic chorus of voices
+of earth and air bidding him pass to the tree under
+whose leaves it was foretold that truth should come
+to him for the saving of the world. A short bass
+recitative leads to a vigorous descriptive chorus
+relating the temptations of Sidd&acirc;rtha, in which
+the orchestra is used with masterly effect. A brief
+soprano solo, the apparition of Yas&ocirc;dhara among
+the wanton shapes floating about the tree, imploring
+him to return, and the tenor response, bidding the
+shadow depart, intervene; and then the chorus resumes
+with increased vigor, reaching a furious climax
+as the legions of hell tempt him, but dying away in
+the close to phrases of tender beauty:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Radiant, rejoicing, strong, Buddha arose,</p>
+<p class="t0">And far and near there spread an unknown peace.</p>
+<p class="t0">As that divinest daybreak lightened earth,</p>
+<p class="t0">The world was glad.&rdquo;</p>
+</div>
+</div>
+<p>The third part (the Return) opens with a soprano
+solo of a slow and mournful character, relating the
+sorrow of Yas&ocirc;dhara and the visit of her damsels,
+who announce the arrival of merchants with tidings
+of Sidd&acirc;rtha. They are summoned, and tell their
+story in a short chorus, which is followed by a brief
+soprano solo (&ldquo;Uprose Yas&ocirc;dhara with Joy&rdquo;), an exultant
+chorus (&ldquo;While the Town rang with Music&rdquo;),
+<span class="pb" id="pg_122">[122]</span>
+and another brief phrase for soprano, leading to a
+fine choral outburst (&ldquo;&rsquo;Tis he! Sidd&acirc;rtha, who was
+lost&rdquo;). The next number, a bass solo describing
+the King&rsquo;s wrath when he learns that Sidd&acirc;rtha has
+returned as a yellow-robed hermit instead of with
+&ldquo;shining spears and tramp of horse and foot,&rdquo; is
+very sonorous as well as dramatic, and is followed
+by a tenor and bass dialogue developing into a trio
+of great beauty (&ldquo;Thus passed the Three into the
+Way of Peace&rdquo;). The final number is a masterpiece
+of choral work both in the elaborateness of its
+construction and the majesty of its effect, and brings
+the cantata to a close with the mystic words:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;The Dew is on the Lotus! Rise, great Sun!</p>
+<p class="t0">And lift my leaf and mix it with the wave.</p>
+<p class="t0">The Sunrise comes! the Sunrise comes!</p>
+<p class="t0">The Dewdrop slips into the shining sea.</p>
+<p class="t3">Hail, High Deliverer, Hail!&rdquo;</p>
+</div>
+</div>
+<div class="imgtail"><img src="images/p122.png" alt="" width="87" height="124" /></div>
+</div>
+<div id="c034" title="Corder">
+<div class="pb" id="pg_123">[123]</div>
+<div class="img"><img src="images/p123.png" alt="" width="342" height="105" /></div>
+<h3>CORDER.</h3>
+<p>Frederick Corder, the English composer
+and conductor, was born at Hackney,
+London, Jan. 26, 1852. He was a
+student at the Royal Academy of Music
+in 1874, and in the following year gained the Mendelssohn
+scholarship. From 1875 to 1878 he studied
+at Cologne with Hiller, and in 1879 returned
+to London, where he engaged for a time in literary
+pursuits. His abilities as a writer are very clearly
+shown in the librettos to his works. In 1880 he
+was appointed conductor of the orchestra at the
+Brighton Aquarium, and since that time he has
+devoted himself to teaching and composition. His
+principal works are &ldquo;In the Black Forest,&rdquo; an
+orchestral suite, and &ldquo;Evening on the Seashore,&rdquo;
+idyl for orchestra (1876); the opera &ldquo;Morte
+d&rsquo;Arthur&rdquo; (1877); the one-act opera &ldquo;Philomel&rdquo;
+(1879); cantata, &ldquo;The Cyclops&rdquo; (1880); &ldquo;Ossian,&rdquo;
+a concert overture for orchestra, produced by the
+London Philharmonic Society (1882); the cantata
+&ldquo;Bridal of Triermain&rdquo; (1886); and the opera
+&ldquo;Nordisa,&rdquo; founded upon a Norwegian subject and
+<span class="pb" id="pg_124">[124]</span>
+brought out with great success in January, 1887 by
+the Carl Rosa opera troupe. Mr. Corder is one
+of the most ambitious and promising of all the
+younger English composers, and his music shows in
+a special degree the influence of Wagner. That he
+has also literary talent of a high order is evinced by
+his contributions to periodical literature and the
+librettos of his last two works,&mdash;&ldquo;The Bridal of
+Triermain&rdquo; and &ldquo;Nordisa.&rdquo;</p>
+</div>
+<div id="c035" title="The Bridal of Triermain">
+<h4>The Bridal of Triermain.</h4>
+<p>&ldquo;The Bridal of Triermain&rdquo; was written for the
+Wolverhampton (England) Festival of 1886, and was
+one of the most notable successes in the festival
+performances of that year. The subject is taken
+from Walter Scott&rsquo;s poem of the same name. The
+adaptation has been made in a very free manner, but
+the main incidents of the poem have been carefully
+preserved. Sir Roland&rsquo;s vision of the &ldquo;Maid of
+Middle Earth;&rdquo; the bard Lyulph&rsquo;s recital of the
+Arthurian legend, which tells of Gyneth&rsquo;s enchantment
+in the valley of St. John by Merlin, where she
+must sleep</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Until a knight shall wake thee</p>
+<p class="t0">For feats of arms as far renowned</p>
+<p class="t0">As warrior of the Table Round;&rdquo;</p>
+</div>
+</div>
+<p>the magic wrought by Merlin in the valley to delude
+Roland and thwart his effort to rescue Gyneth; his
+daring entrance into the palace grounds; the discovery
+<span class="pb" id="pg_125">[125]</span>
+of the Princess in the enchanted hall, and
+her final rescue are the themes which the composer
+has treated. In arranging his libretto he has, as has
+been said, made a free adaptation of the poem,
+sometimes using verses entire, at other times changing
+the text and rearranging it to suit the composer&rsquo;s
+musical demands, even at the expense of the original
+beauty and symmetry of the work.</p>
+<p>The cantata has no overture, but opens with a
+choral introduction (&ldquo;Where is the Maiden of Mortal
+Strain?&rdquo;). An orchestral interlude in the form
+of a tender graceful nocturne follows, leading up to
+the tenor solo, &ldquo;The Dawn of an autumn Day did
+creep,&rdquo; in which the Baron relates the apparition
+he has seen in his dream. A short bass recitative
+by Lyulph the bard introduces the Legend, which
+is told in an effective number for soprano solo, bass
+solo, and chorus (&ldquo;In Days e&rsquo;en Minstrels now
+forget&rdquo;). The next number, a very dramatic dialogue
+for soprano and tenor, gives us the conversation
+between Arthur and Gyneth, and leads to an
+energetic full chorus with very descriptive accompaniment,
+picturing the bloody tourney and its
+sudden interruption by the appearance of Merlin
+the enchanter. The first part closes with a charming
+number (&ldquo;&lsquo;Madmen,&rsquo; he cried, &lsquo;your Strife forbear&rsquo;&rdquo;)
+arranged for bass solo, quartet, and chorus,
+in which is described the spell which Merlin casts
+upon Gyneth.</p>
+<p>The second part, after a short allegro movement
+for orchestra, opens with a contralto solo (&ldquo;Of
+<span class="pb" id="pg_126">[126]</span>
+wasted Fields and plundered Flocks&rdquo;) which prepares
+the way for a concerted number for solos and
+chorus (&ldquo;And now the Moon her Orb has hid&rdquo;),
+describing the magical arts which Merlin employed
+to thwart the Baron. This number alone is sufficient
+to stamp Mr. Corder as a composer of extraordinary
+ability. A succession of bass, tenor, and
+contralto recitatives (&ldquo;Wroth waxed the Warrior&rdquo;)
+leads to another powerful chorus (&ldquo;Rash Adventurer,
+bear thee back&rdquo;), the song of the &ldquo;four
+maids whom Afric bore,&rdquo; in which the composer
+has caught the weird, strange color of the scene
+and given it vivid expression. A tenor recitative
+(&ldquo;While yet the distant Echoes roll&rdquo;) leads up to
+a graceful, sensuous soprano solo and female chorus
+(&ldquo;Gentle Knight, awhile delay&rdquo;). Its counterpart
+is found in the tenor recitative and spirited,
+dignified male chorus (&ldquo;Son of Honor, Theme of
+Story&rdquo;). The <i>d&eacute;nouement</i> now begins. A contralto
+solo, declamatory in style (&ldquo;In lofty Hall,
+with Trophies graced&rdquo;), and a short soprano solo
+of a joyous character (&ldquo;Thus while she sang&rdquo;)
+lead to the final number (&ldquo;Gently, lo! the Warrior
+kneels&rdquo;), beginning with full chorus, which after
+short solos for tenor and soprano takes a spirited
+martial form (&ldquo;And on the Champion&rsquo;s Brow was
+found&rdquo;) and closes with a quartet and chorus
+worked up to an imposing climax.</p>
+<p>The work is largely in narrative form; but this,
+instead of being a hindrance, seems to have been
+an advantage to the composer, who has not failed
+<span class="pb" id="pg_127">[127]</span>
+to invest his music with dramatic force that is remarkable.
+Mr. Corder is credited with being an
+ardent disciple of Wagner, and his cantata certainly
+shows the influences of that school. It is throughout
+a vigorous, effective work, and gives promise
+that its composer will yet be heard from outside the
+English musical world.</p>
+<div class="imgtail"><img src="images/p127.png" alt="" width="114" height="62" /></div>
+</div>
+<div id="c036" title="Cowen">
+<div class="pb" id="pg_128">[128]</div>
+<div class="img"><img src="images/p128.png" alt="" width="316" height="95" /></div>
+<h3>COWEN.</h3>
+<p>Frederic H. Cowen, the favorite English
+song-writer, was born at Kingston,
+Jamaica, Jan. 29, 1852, and went to
+England at a very early age. His first
+teachers were Benedict and Sir J. Goss, with whom
+he studied until 1865. During the next three years
+he continued his musical education at the conservatories
+of Leipsic and Berlin, returning to England
+in 1868. His earlier works were an operetta called
+&ldquo;Garibaldi,&rdquo; a fantasie-sonata and piano concerto,
+a few pieces of chamber music, and a symphony in
+C minor. These served to introduce him to public
+notice, and since that time nearly all of his works
+have met with remarkable success, among them
+&ldquo;The Rose Maiden&rdquo; (1870); music to Schiller&rsquo;s
+&ldquo;Joan of Arc&rdquo; (1871); festival overture (1872);
+&ldquo;The Corsair,&rdquo; composed for the Birmingham Festival
+of 1876; a symphony in F major and the
+Norwegian symphony, which have been favorably
+received in this country. His most important opera
+is &ldquo;Pauline,&rdquo; which was produced in London with
+great success by the Carl Rosa company, Nov. 22,
+<span class="pb" id="pg_129">[129]</span>
+1876. As a song-writer, Mr. Cowen is also well
+known; many of his lyrics, especially those written
+for Antoinette Sterling and Mrs. E. Aline Osgood,
+the American singers, having obtained a wide-spread
+popularity.</p>
+</div>
+<div id="c037" title="The Sleeping Beauty">
+<h4>The Sleeping Beauty.</h4>
+<p>&ldquo;The Sleeping Beauty,&rdquo; written for the Birmingham
+Festival of 1885, the poem by Francis Hueffer,
+has for its theme the well-known fairy tale which
+has been so often illustrated in music and upon
+canvas. It is a great favorite in England, and has
+also met with a successful reception in Paris, where
+it was brought out not long since by the Concordia
+Society of that city, under the title of &ldquo;La Belle au
+Bois Dormant,&rdquo; the translation having been made
+by Miss Augusta Holmes, herself a musician of
+considerable repute.</p>
+<p>After a brief orchestral introduction, a three-part
+chorus (altos, tenors, and basses) tells the story of
+the ancient King to whom an heiress was born
+when all hope of offspring had been abandoned, the
+gay carousal which he ordered, and the sudden appearance
+of the twelve fays, guardians of his house,
+with their spinning-wheels and golden flax, who sing
+as they weave:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Draw the thread and weave the woof</p>
+<p class="t0">For the little child&rsquo;s behoof:</p>
+<p class="t0">Future, dark to human eyes,</p>
+<p class="t0">Openly before us lies;</p>
+<div class="pb" id="pg_130">[130]</div>
+<p class="t0">As we will and as we give,</p>
+<p class="t0">Haply shall the maiden live;</p>
+<p class="t0">Draw the thread and weave the woof</p>
+<p class="t0">For the little child&rsquo;s behoof.&rdquo;</p>
+</div>
+</div>
+<p>In beauty of melody and gracefulness of orchestration
+this chorus of the fays is specially noticeable.
+Its charming movement, however, is interrupted by
+a fresh passage for male chorus, of an agitated character,
+describing the entrance of the Wicked Fay,
+who bends over the cradle of the child and sings a
+characteristic contralto aria:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;From the gold of the flaxen reel</p>
+<p class="t0">Threads of bliss have been spun to thee;</p>
+<p class="t0">By the whirl of the spinning wheel</p>
+<p class="t0">Cruel grief shall be done to thee.</p>
+<p class="t0">Thy fate I descry:</p>
+<p class="t0">Ere the buds of thy youth are blown,</p>
+<p class="t0">Ere a score of thy years have flown,</p>
+<p class="t0">Thou shalt prick thy hand, thou shalt die.&rdquo;</p>
+</div>
+</div>
+<p>Following this aria, the male chorus has a few
+measures, invoking a curse upon the Fay, which
+leads to a full chorus of an animated character, foretelling
+that there shall dawn a day when a young
+voice, more powerful than witchcraft, will save her;
+at the close of which the guardian fays are again
+heard drawing the thread and weaving the woof in
+low, murmuring tones, with a spinning accompaniment.
+It is followed by a trio (soprano, tenor, and
+bass), with chorus accompaniment, announcing the
+departure of the fays, and leading to a very melodious
+tenor solo, with two graceful orchestral interludes,
+which moralizes on what has occurred and
+closes the prologue.</p>
+<div class="pb" id="pg_131">[131]</div>
+<p>The first scene opens in a hall in the King&rsquo;s palace,
+and is full of animation. A brilliant orchestral
+prelude leads to the full chorus in waltz time (&ldquo;At
+Dawn of Day on the first of May&rdquo;), which moves
+along with a fascinating swing, and closes in a very
+vigorous climax. At this point the King makes
+his appearance and expresses his joy that the time
+has passed when the prophecy of the Wicked Fay
+could take effect, for this is the Princess&rsquo;s twentieth
+birthday. A dialogue follows between the King
+and his daughter, closing with a beautiful chorus
+(&ldquo;Pure as thy Heart&rdquo;), after which the dance-music
+resumes. Unobserved the Princess leaves
+the banqueting-hall, glides along a gallery, and ascends
+the staircase to a turret chamber. Before she
+enters she sings an aria, of a tranquil, dreamy nature
+(&ldquo;Whither away, my Heart?&rdquo;), and interwoven with
+it are heard the gradually lessening strains of the
+dance-music, which ceases altogether as her song
+comes to an almost inaudible close.</p>
+<p>The second scene opens in the turret chamber,
+where the Wicked Fay, disguised as an old crone,
+is spinning. After a short dialogue, in which the
+Fay explains to the Princess the use of the wheel,
+she bids her listen, and sings a weird ballad (&ldquo;As I
+sit at my Spinning-wheel, strange Dreams come to
+me&rdquo;), closing with the refrain of the old prophecy,
+&ldquo;Ere the Buds of her Youth are blown.&rdquo; The
+Princess dreamily repeats the burden of the song,
+and then, fearing the presence of some ill-omen,
+opens the door to escape. She hears the dance-music
+<span class="pb" id="pg_132">[132]</span>
+again, but the Fay gently draws her back
+and induces her to touch the flax. As she does so,
+the Fay covertly pricks her finger with the spindle.
+She swoons away, the dance-music suddenly stops,
+and there is a long silence, broken at last by the
+Fay&rsquo;s triumphant declaration: &ldquo;Thus have I
+wrought my Vengeance.&rdquo; The next number is
+the Incantation Music (&ldquo;Spring from the Earth,
+red Roses&rdquo;), a very dramatic declamation, sung by
+the Fay and interwoven with snatches of chorus
+and the refrain of the prophecy. A choral interlude
+(&ldquo;Sleep in Bower and Hall&rdquo;) follows, describing
+in a vivid manner, both with voices and
+instruments, the magic sleep that fell upon the
+castle and all its inmates, and the absence of all
+apparent life save the spiders weaving their webs
+on the walls as the years go by:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;The spells of witchcraft which enthrall</p>
+<p class="t0">Each sleeper in that desolate hall,</p>
+<p class="t0">Who can break them?</p>
+<p class="t0">Say, who can lift the deathly blight</p>
+<p class="t0">That covers king and lord and knight,</p>
+<p class="t0">To give them back to life and light,</p>
+<p class="t0">And awake them?&rdquo;</p>
+</div>
+</div>
+<p>The answer comes in an animated prelude, through
+which is heard the strain of a horn signal, constantly
+growing louder, and heralding the Prince, who enters
+the silent palace, sword in hand, among the sleeping
+courtiers, knights, and ladies. After a vigorous declamation
+(&ldquo;Light, Light at last&rdquo;) he passes on his
+way to the turret chamber, where he beholds the
+sleeping Princess. The love-song which follows
+<span class="pb" id="pg_133">[133]</span>
+(&ldquo;Kneeling before Thee, worshipping wholly&rdquo;) is
+one of the most effective portions of the work.
+His kiss awakes her, and as she springs up, the
+dance-music at once resumes from the bar where
+it had stopped in the scene with the Wicked Fay.
+An impassioned duet follows, and the work closes
+with the animated waltz-chorus which opened the
+first scene.</p>
+<div class="imgtail"><img src="images/p133.png" alt="" width="85" height="102" /></div>
+</div>
+<div id="c038" title="Dvo&#345;&aacute;k">
+<div class="pb" id="pg_134">[134]</div>
+<div class="img"><img src="images/p134.png" alt="" width="237" height="107" /></div>
+<h3>DVO&#344;&Aacute;K.</h3>
+<p>Anton Dvo&#345;&aacute;k, the Bohemian composer
+who has risen so suddenly into
+prominence, was born at M&uuml;lhausen, near
+Prague, Sept. 8, 1841. His father combined
+the business of tavern-keeper and butcher,
+and young Dvo&#345;&aacute;k assisted him in waiting upon customers,
+as well as in the slaughtering business. As
+the laws of Bohemia stipulate that music shall be a
+part of common-school education, Dvo&#345;&aacute;k learned
+the rudiments in the village school, and also received
+violin instruction. At the age of thirteen he went
+to work for an uncle, who resided in the village
+where the schoolmaster was a proficient musician.
+The latter, recognizing his ability, gave him lessons
+on the organ, and allowed him to copy music.
+Piano lessons followed, and he had soon grounded
+himself quite thoroughly in counterpoint. At the
+age of sixteen he was admitted to the organ-school
+of Prague, of which Joseph Pitsch was the principal.
+Pitsch died soon after, and was succeeded by
+Kreyci, who made Dvo&#345;&aacute;k acquainted with the
+music of Mozart, Beethoven, and Mendelssohn.
+<span class="pb" id="pg_135">[135]</span>
+The first orchestral work he heard was Beethoven&rsquo;s
+&ldquo;Ninth Symphony,&rdquo; during its rehearsal under
+Spohr&rsquo;s direction. In 1860, being then in his
+nineteenth year, he obtained an engagement, with
+the meagre salary of one hundred and twenty-five
+dollars a year, as violinist in a band that played at
+caf&eacute;s and dances. Two years later he secured a
+position in the Bohemian Opera House at Prague,
+then under the direction of Mayer, where he remained
+until 1871, in which year he left the theatre
+and devoted himself to teaching, with the prospect
+of earning two hundred and fifty dollars a year.
+These were hard days for the young musician; but
+while he was there struggling for a bare subsistence,
+he continued writing compositions, though he had
+no prospect of selling them or of having them
+played. About this time he wrote his &ldquo;Patriotic
+Hymn&rdquo; and the opera &ldquo;K&ouml;nig und K&ouml;hler.&rdquo; The
+latter was rejected after an orchestral trial; but he
+continued his work, undaunted by failure. Shortly
+after this he received the appointment of organist at
+the Adelbert Church, Prague, and fortune began to
+smile upon him. His Symphony in F was laid before
+the Minister of Instruction in Vienna, and upon the
+recommendation of Herbeck secured him a grant of
+two hundred dollars. When Brahms replaced Herbeck
+on the committee which reported upon artists&rsquo;
+stipends, he fully recognized Dvo&#345;&aacute;k&rsquo;s ability, and
+not only encouraged him, but also brought him
+before the world by securing him a publisher and
+commending him to Joachim, who still further advanced
+<span class="pb" id="pg_136">[136]</span>
+his interests by securing performances of
+his works in Germany and England. Since that
+time he has risen rapidly, and is now recognized as
+one of the most promising of living composers.
+Among his works which have been produced during
+the past few years are the &ldquo;Stabat Mater,&rdquo; the
+cantata &ldquo;The Spectre&rsquo;s Bride,&rdquo; three operas in the
+Czechist dialect, three orchestral symphonies, several
+Slavonic rhapsodies, overtures, violin and piano
+concertos, an exceedingly beautiful sextet, and numerous
+songs.</p>
+</div>
+<div id="c039" title="The Spectre&rsquo;s Bride">
+<h4>The Spectre&rsquo;s Bride.</h4>
+<p>The legend of the Spectre&rsquo;s Bride is current in
+various forms among all the Slavonic nations. The
+Russians, Servians, Slovaks, Lithuanians, and Poles
+all have poems in which the ghostly ride of the
+spectre and the maiden forms the theme. The
+German version, told by B&uuml;rger in his famous ballad
+&ldquo;Lenore,&rdquo; is best known; and Raff has given it a
+musical setting in his Lenore Symphony. In general,
+the story is the same. The Spectre comes for his
+Bride and she rides away with him through the
+night, amid all manner of supernatural horrors,
+only to find at the end that she has ridden to the
+grave with a skeleton. The Bohemian poem used
+by Dvo&#345;&aacute;k is that of Karel Jaromir Erben, a poet
+who obtained a national fame by making collections
+of the songs and legends of his country during his
+<span class="pb" id="pg_137">[137]</span>
+service as Secretary of the Royal Bohemian Museum
+and Keeper of the Archives at Prague. In his version,
+unlike the German, the Spectre and his Bride
+make their grewsome journey on foot. The <i>d&eacute;nouement</i>
+in the churchyard differs also, as the maiden
+is saved by an appeal to the Virgin. In the opening
+scene she is represented gazing at a picture of
+the Virgin, mourning the death of her parents and
+the absence of her lover, who has failed to keep his
+promise to return. His parting words were:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Sow flax, my love, I counsel thee,</p>
+<p class="t0">And every day remember me.</p>
+<p class="t0">Spin in the first year, spin with care,</p>
+<p class="t0">Bleach in the next the fabric fair;</p>
+<p class="t0">Then garments make, when the years are three,</p>
+<p class="t0">And every day remember me.</p>
+<p class="t0">Twine I that year a wreath for thee;</p>
+<p class="t0">We two that year shall wedded be.&rdquo;</p>
+</div>
+</div>
+<p>She has faithfully followed the counsel. The three
+years have expired, but still no tidings have come.
+As she appeals to the Virgin to bring him back, the
+picture moves, the flame of the lamp upleaps, there
+is an ominous knock at the door, and the voice of
+the apparition is heard urging her to cease praying
+and follow him to his home. She implores him to
+wait until the night is past, but the importunate
+Spectre bids her go with him, and she consents. On
+they speed over rough bowlders, through thorny
+brakes and swamps, attended by the baying of
+wolves, the screeching of owls, the croaking of frogs,
+and the fitful glow of corpse-candles. One by one he
+compels her to throw away her prayer-book, chaplet,
+and cross, and resisting all her appeals to stop and
+<span class="pb" id="pg_138">[138]</span>
+rest, at last they reach the churchyard wall. He
+calms her fears with the assurance that the church
+is his castle and the yard his garden, and bids her
+leap the wall with him. She promises to follow him,
+but after he has cleared it, sudden fear seizes her;
+she flies to a tiny house near by and enters. A
+ghastly scene takes place; spectres are dancing before
+the door, and the moonlight reveals to her a
+corpse lying upon a plank. As she gazes, horror-stricken,
+a knock is heard, and a voice bids the dead
+arise and thrust the living one out. Thrice the
+summons is repeated, and then as the corpse opens
+its eyes and glares upon her, she prays once more
+to the Virgin. At this instant the crowing of a cock
+is heard. The dead man falls back, the ghastly,
+spectral crew disappear, and night gives way to a
+peaceful morning.</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;All who to Mass at morning went</p>
+<p class="t0">Stood still in great astonishment;</p>
+<p class="t0">One tomb there was to ruin gone,</p>
+<p class="t0">And in the dead-house a maiden wan;</p>
+<p class="t0">On looking round, amazed were they,</p>
+<p class="t0">On every grave a garment lay.</p>
+</div>
+<div class="verse">
+<p class="t0">&ldquo;Well was it, maiden, that thy mind</p>
+<p class="t0">Turned unto God, defence to find,</p>
+<p class="t0">For He thy foes did harmless bind;</p>
+<p class="t0">Had&rsquo;st thou thyself, too, nothing done,</p>
+<p class="t0">Ill with thy soul it then had gone;</p>
+<p class="t0">Thy body, as the garments were,</p>
+<p class="t0">Mangled had been, and scattered there.&rdquo;</p>
+</div>
+</div>
+<p>Such is the horrible story which forms the theme
+of Dvo&#345;&aacute;k&rsquo;s cantata. It was written for the Birmingham
+Festival of 1884, and the text was translated by
+the Rev. Dr. Troutbeck, from a German translation
+<span class="pb" id="pg_139">[139]</span>
+of the original poem made by K. J. M&uuml;ller. It contains
+eighteen numbers, each of considerable length,
+of which eleven are descriptive, the barytone, with
+chorus response, acting the part of the narrator, and
+accompanied by instrumentation which vividly paints
+the horrors of the nocturnal tramp, even to the
+realistic extent of imitating the various sounds described.
+It is unnecessary to specify each of these
+numbers in detail, as they are all closely allied in
+color and general effect. The music which accompanies
+them is picturesque and weird, increasing in
+its power and actual supernaturalism until it reaches
+its climax in the dead-house where the maiden takes
+refuge; and in these numbers the orchestra bears the
+burden of the work. The remaining numbers are
+almost magical in their beauty and fascination, particularly
+the first song of the maiden, lamenting her
+lover, and closing with the prayer to the Virgin,
+which is thoroughly devotional music, and the second
+prayer, which saves her from her peril. There are
+four duets, soprano and tenor, between the Bride
+and Spectre, and one with chorus, in which are recounted
+the episodes of the chaplet, prayer-book, and
+cross, besides the hurried dialogue between them
+as he urges her on. These, too, abound in quaint
+rhythms and strange harmonies set against a highly-colored
+instrumental background. The story is not
+a pleasant one for musical treatment,&mdash;at least for
+voices,&mdash;and the prevailing tone of the composition
+is sombre; but of the wonderful power of the music
+and its strange fascination there can be no doubt.</p>
+</div>
+<div id="c040" title="Foote">
+<div class="pb" id="pg_140">[140]</div>
+<div class="img"><img src="images/p140.png" alt="" width="325" height="120" /></div>
+<h3>FOOTE.</h3>
+<p>Arthur Foote, a rising young composer
+of Boston, whose works have already
+made more than a local reputation,
+was born at Salem, Mass., March 5, 1853.
+While at Harvard College he studied composition
+with Prof. J. K. Paine, and after graduation determined
+to devote himself to the musical profession.
+He studied the piano-forte and organ with Mr.
+B. J. Lang of Boston, and soon made his mark as
+a musician of more than ordinary promise. Among
+his published works which have attracted favorable
+attention are various songs and piano compositions;
+pieces for violin and piano, violoncello and piano;
+a string quartet; trio for piano, violin, and violoncello;
+and &ldquo;Hiawatha,&rdquo; a ballad for male voices
+and orchestra. A suite for strings, in manuscript,
+has obtained the honor of performance at the London
+symphony concerts (January, 1887), and an
+overture, &ldquo;In the Mountains,&rdquo; also in manuscript,
+was played by the Boston Symphony Orchestra in
+February, 1887. He is now living in Boston,
+where he is engaged in teaching the piano and
+organ.</p>
+</div>
+<div id="c041" title="Hiawatha">
+<div class="pb" id="pg_141">[141]</div>
+<h4>Hiawatha.</h4>
+<p>&ldquo;The Farewell of Hiawatha,&rdquo; for barytone solo,
+male voices, and orchestra, modestly styled by its
+composer a ballad, is a cantata in its lighter form.
+Its subject is taken from Longfellow&rsquo;s familiar poem,
+and includes the beautiful close of the legend beginning
+with the stanza:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;From his place rose Hiawatha,</p>
+<p class="t0">Bade farewell to old Nokomis,</p>
+<p class="t0">Spake in whispers, spake in this wise,</p>
+<p class="t0">Did not wake the guests, that slumbered.&rdquo;</p>
+</div>
+</div>
+<p>The composer has made use of the remainder of
+the poem without change, except in repetitions
+demanded by musical necessity and in the omission
+of the seven lines immediately preceding the final
+words of farewell, which does not mar the context.
+A short orchestral introduction, <i>andante con moto</i>,
+followed by a chorus of tenors and basses in a few
+bars, recitative in form and sung pianissimo, lead
+to a barytone solo for Hiawatha (&ldquo;I am going,
+O Nokomis&rdquo;) of a quiet and tender character. A
+graceful phrase for the violoncello introduces another
+choral morceau relating Hiawatha&rsquo;s farewell
+to the warriors (&ldquo;I am going, O my People&rdquo;)
+a melodious combination of sweetness and strength,
+though it only rises to a display of energy in the
+single phrase, &ldquo;The Master of Life has sent them,&rdquo;
+after which it closes quietly, and tenderly, in keeping
+with the sentiment of the text. The remainder of
+the work is choral. The westward sail of Hiawatha
+<span class="pb" id="pg_142">[142]</span>
+into the &ldquo;fiery sunset,&rdquo; &ldquo;the purple vapors,&rdquo;
+and &ldquo;the dusk of evening&rdquo; is set to a very picturesque
+accompaniment, which dies away in soft
+strains as he disappears in the distance. An allegro
+movement with a crescendo of great energy introduces
+the farewell of &ldquo;the forests dark and
+lonely,&rdquo; moving &ldquo;through all their depths of darkness,&rdquo;
+of the waves &ldquo;rippling on the pebbles,&rdquo; and
+of &ldquo;the heron, the Shuh-shuh-gah, from her haunts
+among the fen-lands.&rdquo; The last division of the
+chorus is an allegro, beginning pianissimo and closing
+with an exultant outburst:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Thus departed Hiawatha,</p>
+<p class="t0">Hiawatha the Beloved,</p>
+<p class="t0">In the glory of the sunset,</p>
+<p class="t0">In the purple mists of evening,</p>
+<p class="t0">To the regions of the home-wind,</p>
+<p class="t0">Of the Northwest wind Keewaydin,</p>
+<p class="t0">To the Islands of the Blessed,</p>
+<p class="t0">To the kingdom of Ponemah,</p>
+<p class="t0">To the land of the Hereafter!&rdquo;</p>
+</div>
+</div>
+<p>The work, which was written for the Apollo Club
+of Boston, is not a long one, nor is it at all ambitious
+in style. The composer has evidently tried
+to reflect the quiet and tender sentiment of the
+farewell in his music, and has admirably succeeded.
+Poetic beauty is its most striking feature, both in
+the instrumental parts, which are well sustained, and
+in the vocal, which are earnest, expressive, and at
+times very pathetic, of this pretty tone-picture.</p>
+</div>
+<div id="c042" title="Gade">
+<div class="pb" id="pg_143">[143]</div>
+<div class="img"><img src="images/p143.png" alt="" width="298" height="130" /></div>
+<h3>GADE.</h3>
+<p>Niels W. Gade was born at Copenhagen,
+Oct. 22, 1817. His father was a musical-instrument
+maker and intrusted his early
+education to the Danish masters Wershall,
+Berggren, and Weyse. He made such good
+progress that he soon entered the royal orchestra
+of that city as a violinist and began to be known as
+a composer. His first important work, the overture
+&ldquo;Nachkl&auml;nge von Ossian,&rdquo; obtained a prize
+from the Copenhagen Musical Union and also
+secured for him the favor of the King, who provided
+him with the means for making a foreign journey.
+Prior to starting he sent a copy of a symphony to
+Mendelssohn, which met with the latter&rsquo;s enthusiastic
+approval. He arrived at Leipsic in 1843, and
+after producing his first symphony with success,
+travelled through Italy, returning to Leipsic in 1844,
+where during the winter of that year he conducted
+the Gewandhaus concerts in the place of Mendelssohn,
+who was absent in Berlin. In the season of
+1845-46 he assisted Mendelssohn in the same concerts,
+and after the latter&rsquo;s death became the principal
+<span class="pb" id="pg_144">[144]</span>
+director, a post which he held until 1848, when he
+returned to Copenhagen and took a position as
+organist, and also conducted the concerts of the
+Musical Union. In 1861 he was appointed Hofcapellmeister,
+and was honored with the title of
+Professor of Music. Since that time he has devoted
+himself to composition, and has produced
+many excellent works, especially for festivals in
+England and elsewhere. Among them are the cantatas
+&ldquo;Comala,&rdquo; &ldquo;Spring Fantasie,&rdquo; &ldquo;The Erl King&rsquo;s
+Daughter,&rdquo; &ldquo;The Holy Night,&rdquo; &ldquo;Spring&rsquo;s Message,&rdquo;
+&ldquo;The Crusaders,&rdquo; and &ldquo;Zion;&rdquo; the overtures
+&ldquo;In the Highlands,&rdquo; &ldquo;Hamlet,&rdquo; and &ldquo;Michael
+Angelo;&rdquo; seven symphonies, and a large number
+of songs and piano pieces, as well as chamber-music
+compositions.</p>
+</div>
+<div id="c043" title="Comala">
+<h4>Comala.</h4>
+<p>&ldquo;Comala,&rdquo; one of the earliest of Gade&rsquo;s larger
+vocal works, was first produced at Leipsic in March,
+1843. Its subject is taken from Ossian, and relates
+the tragedy of &ldquo;Comala,&rdquo; daughter of Sarno, King
+of Innistore, who had conceived a violent passion
+for Fingal, King of Morven. Her love is returned
+by the warrior, and disguised as a youth the princess
+follows him on his expedition against Caracul, King
+of Lochlin. On the day of the battle Fingal places
+her on a height, near the shore of the Carun, whence
+she can overlook the fight, and promises her if
+<span class="pb" id="pg_145">[145]</span>
+victorious that he will return at evening. Comala,
+though filled with strange forebodings, hopefully
+waits her royal lover&rsquo;s coming. As the tedious
+hours pass on a fearful storm arises, and amid the
+howling of the blast the spirits of the fathers sweep
+by her on their way to the battlefield to conduct to
+their home the souls of the fallen,&mdash;the same majestic
+idea which Wagner uses with such consummate
+power in his weird ride of the Valkyries.
+Comala imagines that the battle has been lost, and
+overcome with grief falls to the ground and dies.
+The victorious Fingal returns as evening approaches,
+accompanied by the songs of his triumphant warriors,
+only to hear the tidings of Comala&rsquo;s death from her
+weeping maidens. Sorrowing he orders the bards
+to chant her praises, and joining with her attendants
+to waft her departing soul &ldquo;to the fathers&rsquo; dwelling&rdquo;
+with farewell hymns.</p>
+<p>The cantata is almost equally divided between
+male and female choruses, and these are the charm
+of the work. Many of the songs of Comala and her
+maids are in graceful ballad form, fresh in their
+melody, and marked by that peculiar refinement
+which characterizes all of Gade&rsquo;s music. The parting
+duet between Fingal and Comala is very beautiful,
+but the principal interest centres in the choruses.
+Those of the bards and warriors are very stately in
+their style and abound in dramatic power, particularly
+the one accompanying the triumphal return of
+Fingal. The chorus of spirits is very impressive, and
+in some passages almost supernatural. The female
+<span class="pb" id="pg_146">[146]</span>
+choruses, on the other hand, are graceful, tender, and
+pathetic; the final full chorus, in which the bards
+and maidens commend the soul of Comala to &ldquo;the
+fathers&rsquo; dwelling,&rdquo; has rarely been surpassed in
+beauty or pathos. The music of the cantata is in
+keeping with the stately grandeur and richly-hued
+tones of the Ossianic poem. The poetry and music
+of the North are happily wedded.</p>
+</div>
+<div id="c044" title="Spring Fantasie">
+<h4>Spring Fantasie.</h4>
+<p>Though the &ldquo;Spring Fantasie&rdquo; is in undoubted
+cantata form, Gade designates it as a &ldquo;Concertst&uuml;ck;&rdquo;
+that is, a musical composition in which the
+instrumental parts are essential to its complete unity.
+Its origin is unquestionably to be found in the idea
+of Beethoven&rsquo;s &ldquo;Choral Fantasie,&rdquo; which was subsequently
+developed in the choral symphony on a
+still larger and grander scale. The instrumental
+elements of the &ldquo;Spring Fantasie&rdquo; are unquestionably
+the most prominent. They do not play the
+subordinate part of accompaniment, but really enunciate
+the ideas of the poem, which are still further
+illustrated by the voices, acting as the interpreters
+of the meaning of the instrumentation.</p>
+<p>The &ldquo;Fantasie&rdquo; was written in 1850, its subject
+being a poem by Edmund Lobedanz, which of itself
+might appropriately be called a fantasy. The
+work consists of four movements, for four solo
+voices, orchestra, and piano-forte. The prominence
+<span class="pb" id="pg_147">[147]</span>
+which Gade has given to the instrumental parts is
+shown by his characterizing the movements,&mdash;I.
+<i>Allegro moderato e sostenuto</i>; II. <i>Allegro molto
+e con fuoco</i>; III. <i>Allegro vivace</i>. The poem in the
+original is one of more than ordinary excellence.
+The translation in most common use is one made
+by Mrs. Vander Weyde for a performance of the
+work in London in 1878 at the Royal Normal College
+and Academy of Music for the Blind, under the
+direction of Herr von B&uuml;low.</p>
+<p>The first movement is in the nature of an invocation
+to spring, in which the longing for May and
+its flowers is very tenderly expressed. The second
+movement depicts with great vigor the return of the
+wintry storms, the raging of the torrents, the gradual
+rolling away of the clouds, the approach of more
+genial breezes, and the rising of the star, typifying
+&ldquo;the joy of a fair maiden&rsquo;s love.&rdquo; The closing
+movement is full of rejoicing that the spring has
+come. Voices and instruments share alike in the
+jubilation:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;For the spring-time has come, the May is here,</p>
+<p class="t0">On hill and in vale all is full of delight.</p>
+<p class="t0">How sweet is the spring-time, how lovely and bright,&mdash;</p>
+<p class="t0">Its kingdom is over us all.&rdquo;</p>
+</div>
+</div>
+</div>
+<div id="c045" title="The Erl King&rsquo;s Daughter">
+<h4>The Erl King&rsquo;s Daughter.</h4>
+<p>&ldquo;The Erl King&rsquo;s Daughter&rdquo; was written in 1852.
+Its story differs from that told in Goethe&rsquo;s famous
+<span class="pb" id="pg_148">[148]</span>
+poem, and set to music equally famous by Schubert
+in his familiar song. In Goethe&rsquo;s poem the father
+rides through the night clasping his boy and followed
+by the Erl King and his daughters, who
+entice the child unseen by the parent. In vain he
+assures him that the Erl King&rsquo;s voice is but the
+&ldquo;sad wind sighing through the withered leaves,&rdquo;
+that his train is but the mist, and that his daughters
+are the aged gray willows deceiving his sight. The
+boy at first is charmed with the apparition, but
+cries in mortal terror as the Erl King seizes him,
+while the father gallops at last into the courtyard,
+only to find his child dead in his arms.</p>
+<p>In the poem used by Gade it is the Erl King&rsquo;s
+daughter who tempts a knight to his death. The
+prologue relates that Sir Oluf at eve stayed his steed
+and rested beneath the alders by the brook, where
+he was visited by two of the daughters, one of whom
+caressed him while the other invited him to join
+their revels. At sound of the cock-crow, however,
+they disappeared. It was the eve of Sir Oluf&rsquo;s
+wedding day. He arrives home in a distraught
+condition, and in spite of his mother&rsquo;s appeals decides
+to return to the alder grove in quest of the
+beauties who had bewitched him. He finds the
+alder-maids dancing in the moonlight, singing and
+beckoning him to join them. One of the fairest
+tempts him with a silken gown for the bride and
+silver armor for himself. When he refuses to dance
+with her, she seizes him by the arm and predicts his
+death on the morrow morning. &ldquo;Ride home to
+<span class="pb" id="pg_149">[149]</span>
+your bride in robe of red,&rdquo; she cries as he hastens
+away. In the morning the mother anxiously waits
+his coming, and at last beholds him riding desperately
+through &ldquo;the waving corn.&rdquo; He has lost his
+shield and helmet, and blood drips from his stirrups.
+As he draws rein at the door of the castle he drops
+dead from his saddle. A brief epilogue points the
+moral of the story in quaint fashion. It is to the
+effect that knights who will on horseback ride
+should not like Oluf stay in elfin groves with elfin
+maidens till morning. It is unnecessary to specify
+the numbers in detail; as with the exception of the
+melodramatic finale, where the music becomes quite
+vigorous, it is all of the same graceful, flowing, melodic
+character, and needs no key to explain it to the
+hearer.</p>
+</div>
+<div id="c046" title="The Crusaders">
+<h4>The Crusaders.</h4>
+<p>&ldquo;The Crusaders&rdquo; is one of the most powerful as
+well as beautiful of modern cantatas. It was written
+for performance in Copenhagen in 1866, and
+ten years later was produced at the Birmingham
+Festival, under the composer&rsquo;s direction. It is
+divided into three parts, and its story may be told
+in a word. Its theme is the same as that which
+Wagner has treated in &ldquo;Lohengrin&rdquo; and in &ldquo;T&auml;nnhauser,&rdquo;&mdash;the
+conflict of the human soul with the
+powers of darkness, sensual beauty and sorcery, and
+its final triumph. It is the story of the temptation
+of Rinaldo d&rsquo;Este, the bravest of the Crusaders, by
+<span class="pb" id="pg_150">[150]</span>
+Armida and her sirens, who at last calls upon the
+Queen of Spirits to aid them in their hopeless task,
+the thwarting of the powers of evil, and the final
+triumph before Jerusalem.</p>
+<p>The first part opens with a chorus of pilgrims and
+women in the band of the Crusaders, expressive of
+the weariness and sufferings they have endured in
+their long wanderings, the end of which still appears
+so far away. As the beautiful music dies away, the
+inspiring summons of Peter the Hermit is heard,
+leading up to the Crusaders&rsquo; song,&mdash;a vigorous, war-like
+melody, full of manly hope and religious fervor.
+An evening prayer of pious longing and exalted
+devotion closes this part.</p>
+<p>The second part is entitled &ldquo;Armida,&rdquo; and introduces
+the evil genius of the scene. A strange,
+mysterious orchestral prelude indicates the baneful
+magic of the sorcerer&rsquo;s wiles. In a remarkably expressive
+aria, Armida deplores her weakness in trying
+to overcome the power of the cross. As she
+sees Rinaldo, who has left his tent to wander for a
+time in the night air, she calls to the spirits to obey
+her incantation:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t6">&ldquo;Cause a palace grand to rise,</p>
+<p class="t6">Let a sea before it glimmer.</p>
+<p class="t6">In the walls of richest gold</p>
+<p class="t6">Let the purest diamonds shimmer;</p>
+<p class="t6">Round the fountains&rsquo; pearly rim,</p>
+<p class="t6">Where bright the sunbeams are glancing,</p>
+<p class="t6">Plashing low and murmuring sweet,</p>
+<p class="t6">Set the merry wavelets dancing.</p>
+<p class="t0">In yon hedge of roses where fairies rock in softest dreaming,</p>
+<p class="t0">Fays and elfins bid appear, and sirens float in waters dreaming.</p>
+<div class="pb" id="pg_151">[151]</div>
+<p class="t6">All around let music ring,</p>
+<p class="t6">Fill the air with sweetest singing;</p>
+<p class="t6">Lure them on with magic power,</p>
+<p class="t6">To our midst all captive bringing.</p>
+<p class="t6">Sing remembrance from their hearts,</p>
+<p class="t6">Till they bow, my will fulfilling;</p>
+<p class="t6">Make them every thought forego,</p>
+<p class="t6">Every wish, save mine own, stilling.&rdquo;</p>
+</div>
+</div>
+<p>After another invocation of the spirits, the sirens
+appear, singing a sensuous melody (&ldquo;I dip my
+white Breast in the soft-flowing Tide&rdquo;). Then
+begins the temptation of the wandering Knight.
+He starts in surprise as he hears the voices rising
+from the waves, and again they chant their alluring
+song. They are followed by Armida, who appeals
+to him in a seductive strain (&ldquo;O Rinaldo, come to
+never-ending Bliss&rdquo;). The Knight joins with her in
+a duet of melodious beauty. He is about to yield to
+the temptation, when he hears in the distance the
+tones of the Crusaders&rsquo; song. He wavers in his resolution,
+Armida and the sirens appeal to him again,
+and again he turns as if he would follow them. The
+Crusaders&rsquo; song grows louder, and rouses the Knight
+from the spell which has been cast about him, and
+the scene closes with a beautifully concerted number,
+in which Rinaldo, Armida, the chorus of Crusaders
+and of sirens contend for the mastery. The
+fascination of the Crusaders&rsquo; song is the strongest.
+The cross triumphs over the sorceress, and in despair
+she sings,&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Sink, scenes illusive, deep in dark abyss of doom!</p>
+<p class="t0">The light of day is turned to blackest night of gloom.&rdquo;</p>
+</div>
+</div>
+<div class="pb" id="pg_152">[152]</div>
+<p>The third part, entitled &ldquo;Jerusalem,&rdquo; is religious
+in character, and mostly choral. In rapid succession
+follow the morning hymn with beautiful
+horn accompaniment, the march of the Pilgrims full
+of the highest exaltation, the hermit&rsquo;s revelation
+of the Holy City to them, their joyous greeting to it,
+Rinaldo&rsquo;s resolution to expiate his offence by his
+valor, the hermit&rsquo;s last call to strife, their jubilant
+reply, and the final victory:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;As our God wills it. Up, arouse thee!</p>
+<p class="t0">Up! yon flag with hope endows thee.</p>
+<p class="t0">Jerusalem! the goal is there.</p>
+<p class="t0">We cry aloud, &lsquo;Hosanna!&rsquo;&rdquo;</p>
+</div>
+</div>
+<div class="imgtail"><img src="images/p152.png" alt="" width="78" height="60" /></div>
+</div>
+<div id="c047" title="Gilchrist">
+<div class="pb" id="pg_153">[153]</div>
+<div class="img"><img src="images/p153.png" alt="" width="363" height="82" /></div>
+<h3>GILCHRIST.</h3>
+<p>William W. Gilchrist, the American
+composer, was born at Jersey City, N. J.,
+in 1846. He began his studies with
+H. A. Clarke, professor of music in the
+University of Pennsylvania. In 1872 he accepted
+the position of organist at the New Jerusalem Church
+in Cincinnati, Ohio, and was also appointed teacher
+in the Conservatory of Miss Bauer. A year later he
+returned to Philadelphia, where he has since resided.
+During this time he has done a great work
+for music in that city, having been conductor of
+several societies. He has been the recipient of
+honors on many occasions, having obtained several
+prizes from the Philadelphia Art Society and others
+for his compositions. In 1880 he contended for
+the prize offered by the Cincinnati Musical Festival
+Association, but stood third on the list, Dudley
+Buck being first and George E. Whiting second. In
+1882 he made another trial for the Association&rsquo;s prize,
+and was successful; the committee, consisting of Carl
+Reinecke of Leipsic, M. Saint-Saens of Paris, and
+Theodore Thomas of New York, making him the
+award.</p>
+</div>
+<div id="c048" title="The Forty-sixth Psalm">
+<div class="pb" id="pg_154">[154]</div>
+<h4>The Forty-sixth Psalm.</h4>
+<p>The composition referred to in the sketch of Mr.
+Gilchrist&rsquo;s life which secured for him the Cincinnati
+prize in 1882 was &ldquo;The Forty-sixth Psalm.&rdquo; The
+composer&rsquo;s own analysis of the work, furnished at
+the time, is appended:&mdash;</p>
+<p class="bq">&ldquo;The composition is a setting of the Forty-sixth
+Psalm for soprano solo, chorus, orchestra, and organ,
+and has four principal divisions exclusive of an introduction,
+each following the other without pause, and
+connected by a gradual decrescendo in the orchestra.
+The opening of the Psalm seemed to me to indicate a
+strong outburst of praise or of thanksgiving for a deliverance
+from trials, which the introduction is intended to
+convey. But instead of beginning with a strong outburst,
+I lead up to it from a very subdued beginning,
+working gradually to a climax at the entrance of the
+chorus on the words, &lsquo;God is our refuge and our
+strength.&rsquo; The opening movement of the chorus becomes
+a little subdued very shortly as it takes up the
+words, &lsquo;A very present help in trouble,&rsquo; which is followed
+again by an <i>allegro con fuoco</i> movement on the
+words, &lsquo;Therefore we will not fear though the earth be
+removed, though the mountains be carried into the
+midst of the sea.&rsquo; This movement leads into still
+another, a furioso movement on the words, &lsquo;Though the
+waters thereof roar, though the mountains shake with
+the swelling thereof.&rsquo; This is followed by an elaborate
+coda, in which all the themes of the preceding movement
+are worked together, and which brings the chorus
+to a close.</p>
+<p class="bq">The second division, in E major, is marked by an
+<i>andante contemplativo</i> on the words, &lsquo;There is a river
+<span class="pb" id="pg_155">[155]</span>
+the streams whereof shall make glad the city of God.&rsquo;
+This movement is intended to be one of tranquillity,
+varied with occasional passionate outbursts on the
+words, &lsquo;God is in the midst of her; she shall not be
+moved.&rsquo; A peculiar rhythmical effect is sought by
+the alternation of 4/4 and 3/4 time, three bars of the first
+being answered by two bars of the second. This
+movement ends very tranquilly on the words, &lsquo;God
+shall help her, and that right early,&rsquo; and is immediately
+followed by an <i>allegro molto</i>, in B minor, on the words,
+&lsquo;The heathen raged, the kingdoms were moved; he
+uttered his voice, the earth melted.&rsquo; In the middle of
+this chorus the soprano solo enters for the first time on
+the words, &lsquo;He maketh wars to cease unto the end of
+the earth; He breaketh the bow and cutteth the spear
+in sunder.&rsquo; The chorus works up to a strong climax on
+the words, &lsquo;He burneth the chariot with fire,&rsquo; which is
+suddenly interrupted by a decrescendo on the words,
+&lsquo;Be still, and know that I am God.&rsquo;</p>
+<p class="bq">This leads to the third division, which is a return of
+the second division in E major, and which is played
+through almost entirely by the orchestra, the chorus
+merely meditating on the words last quoted. This
+leads to the final chorus, which is a fugue, in E major,
+with <i>alla breve</i> time, on the words, &lsquo;And the Lord of
+Hosts is with us; the God of Jacob is our refuge,&rsquo;
+towards the close of which a <i>Gloria Patri</i> is introduced,
+being woven in with fragments of the fugue to
+a strong climax. The whole composition finishes with
+an impetuous accelerando. My central idea was to
+make a choral and orchestral work, the solo, while
+requiring a good singer, being only secondary. The
+Psalm seemed to me particularly adapted for musical
+composition, as being capable of a varied, even dramatic
+effect.&rdquo;</p>
+</div>
+<div id="c049" title="Gleason">
+<div class="pb" id="pg_156">[156]</div>
+<div class="img"><img src="images/p156.png" alt="" width="357" height="90" /></div>
+<h3>GLEASON.</h3>
+<p>Frederick Grant Gleason was
+born at Middletown, Conn., Dec. 17,
+1848. He inherited the love of music
+from his parents,&mdash;his father having been
+a flutist and his mother an alto singer and pianist.
+In his sixteenth year he showed a decided talent
+for composition; and two of his works, an oratorio,
+&ldquo;The Captivity,&rdquo; and a Christmas oratorio, though
+crudely written, gave such promise that he was placed
+under the tuition of Dudley Buck, with whom he
+studied the piano and composition. He made such
+rapid progress that his parents were induced to send
+him to Germany, where he at once entered the
+Leipsic Conservatory. Moscheles taught him the
+piano, and Richter harmony, and he also took private
+lessons from Plaidy and Lobe. In 1870 he
+went to Berlin, where he continued his piano studies
+with Raif, a pupil of Tausig, and his tuition in harmony
+with Weitzmann. After a visit home he went
+to England and resumed lessons on the piano with
+Berringer, another pupil of Tausig, and also studied
+English music. He subsequently made a second
+<span class="pb" id="pg_157">[157]</span>
+visit to Berlin, and improved his time by studying
+theory with Weitzmann, the piano with Loeschorn,
+and the organ with Haupt. During this visit he
+also issued a valuable work entitled &ldquo;Gleason&rsquo;s
+Motet Collection.&rdquo; After the completion of his
+studies he returned home and accepted the position
+of organist at one of the Hartford churches. In
+1876 he removed to Chicago and engaged as teacher
+in the Hershey School of Musical Art. At present
+he is still occupied in teaching and also fills the
+position of musical critic for the &ldquo;Tribune&rdquo; of that
+city. During these years his pen has been very
+busy, as the list of his compositions shows. Among
+his principal works are two operas, still in manuscript,&mdash;&ldquo;Otho
+Visconti&rdquo; and &ldquo;Montezuma;&rdquo; the
+cantatas &ldquo;God our Deliverer,&rdquo; &ldquo;The Culprit Fay,&rdquo;
+and &ldquo;Praise of Harmony;&rdquo; and several trios, sonatas,
+and other works for the chamber, as well as many
+songs. The selections from his operas which have
+been played by the Thomas orchestra show that
+they are compositions of unusual excellence and
+scholarship.</p>
+</div>
+<div id="c050" title="The Culprit Fay">
+<h4>The Culprit Fay.</h4>
+<p>&ldquo;The Culprit Fay,&rdquo; a musical setting of Joseph
+Rodman Drake&rsquo;s well-known fairy poem, was written
+in 1879. It is divided into three parts,&mdash;the first
+containing five, the second five, and the third eight
+numbers; the solos being divided among soprano,
+alto, tenor, and barytone, the last named taking the
+<span class="pb" id="pg_158">[158]</span>
+part of the Fairy King. The exquisitely graceful
+fairy story told in the poem is too well known to
+need description. It is admirably adapted to music
+by its rhythmic fluency as well as by the delicacy of
+its poetical sentiment; and while it does not call for
+earnestness or strength in any of its movements,
+there is ample opportunity for melodious and attractive
+pictures in tone of the dainty descriptions
+of the poet. The composer has improved these opportunities
+with much skill, and, notwithstanding the
+intrinsic lightness of the score, has secured musical
+unity and poetical coherence by the artistic use of
+the <i>leit-motif</i>. Nine of these motives are employed,
+characterizing the summer night, the elfin mystery,
+the life of the fairies, the fay&rsquo;s love for the mortal
+maid, the penalty for this violation of fairy law, night
+on the river, the spells of the water imps, the penalties
+imposed upon the culprit, and the Sylphide
+Queen&rsquo;s passion for the Fay. The skilfulness with
+which these motives are adapted to characters and
+situations, and interwoven with the general movement
+in their proper recurrence, shows that the composer
+has not studied Wagner, the master of the
+<i>leit-motif</i>, in vain.</p>
+<p>After a short introduction for the horns and
+strings, the cantata opens with a full chorus of graceful,
+flowing character (&ldquo;&rsquo;Tis the Middle Watch of
+a Summer&rsquo;s Night&rdquo;) describing the moonlight scene
+about &ldquo;Old Cro&rsquo; Nest.&rdquo; It is followed by the
+mystery motive announcing a weird alto solo, &ldquo;&rsquo;Tis
+the Hour of Fairy Ban and Spell.&rdquo; It is the summons
+<span class="pb" id="pg_159">[159]</span>
+of the sentry elf, ringing the hour of twelve,
+indicated in the score by the triangle, and calling
+the fairies to confront the culprit. A stirring and
+blithe instrumental introduction, followed by a short
+chorus (&ldquo;They come from Beds of Lichen green&rdquo;),
+describes the gathering of the fays, retarded at the
+close, and growing sombre as it is announced that
+&ldquo;an ouphe has broken his vestal vow.&rdquo; A tenor
+solo (&ldquo;He has loved an earthly Maid&rdquo;) tells the sad
+story of the guilty one who &ldquo;has lain upon her lip
+of dew&rdquo; and &ldquo;nestled on her snowy breast.&rdquo; They
+gather about to hear his doom, and do not have to
+wait long; for the tenor song leads without break to
+a barytone solo, in recitative form, by the Fairy King
+(&ldquo;Fairy, Fairy, list and mark&rdquo;), pronouncing the
+penalties he must pay for his transgression,&mdash;the
+catching of a drop from the sturgeon&rsquo;s silver bow
+to wash away the stain on his wings, and the relighting
+of his flamewood lamp by the last faint spark in
+the train of a shooting star.</p>
+<p>A graceful chorus (&ldquo;Soft and pale is the moony
+Beam&rdquo;) opens the second part, picturing the scene
+upon the strand bordering the elfin land; and the
+leaps of the sturgeon, followed by a tenor solo
+and recitative describing the sorrow of the lonely
+sprite and his desperate effort to push his mussel-shell
+boat down to the verge of the haunted land.
+The alto, which does all the mystery work, goes on
+with the description of the vain attempt of the river
+imps to wreck his frail craft, and his discovery and
+pursuit of the sturgeon; then there is a pause. The
+<span class="pb" id="pg_160">[160]</span>
+full chorus, in a quick movement, pictures the pretty
+scene of the sturgeon&rsquo;s leap, the arch of silver sheen,
+and the puny goblin waiting to catch the drop. The
+tenor recitative announces his success, and a full
+jubilant chorus of the sprites (&ldquo;Joy to thee, Fay!
+thy Task is done&rdquo;) bids him hasten back to the
+elfin shore.</p>
+<p>The third part opens with a full chorus, very animated
+in its progression (&ldquo;Up to the Cope, careering
+swift&rdquo;), describing the ride of the Fay past the
+sphered moon and up to the bank of the Milky Way,
+where he checks his courser to wait for the shooting
+star. In the next number, a short recitative, the
+alto has a more grateful task; this time it is the
+graceful sylphs of heaven who appear, weaving their
+dance about the Fay, and leading him on to the
+palace of the Sylphide Queen. It is followed by
+two charming soprano solos,&mdash;the one descriptive
+of her beauty as she listens to the story of the Fay,
+and the other (&ldquo;O Sweet Spirit of Earth&rdquo;) of her
+sudden passion and the tempting inducements by
+which she seeks to make him forget the joys of fairy-land.
+Once more the tenor, who plays the part of
+narrator, enters, and in solo and recitative assures
+us how like a brave homunculus the Fay resisted her
+blandishments. A very vigorous and descriptive
+chorus, as fast as can be sung, pictures the Fay careering
+along on the wings of the blast up to the
+northern plain, where at length a star &ldquo;bursts in
+flash and flame.&rdquo; The tenor announces his second
+success, and the final chorus (&ldquo;Ouphe and Goblin!
+<span class="pb" id="pg_161">[161]</span>
+Imp and Sprite&rdquo;) sings his welcome back in an animated
+manner, beginning with a moderate movement
+which constantly accelerates and works up to
+a fine climax; after which&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;The hill-tops glow in morning&rsquo;s spring,</p>
+<p class="t0">The skylark shakes his dappled wing,</p>
+<p class="t0">The day glimpse glimmers on the lawn,</p>
+<p class="t0">The cock has crowed and the fays are gone.&rdquo;</p>
+</div>
+</div>
+</div>
+<div id="c051" title="The Praise Song To Harmony">
+<h4>The Praise Song to Harmony.</h4>
+<p>&ldquo;The Praise Song to Harmony,&rdquo; written in 1886,
+is a musical setting of a poem of the same name
+by David Ebeling, a German poet who lived in the
+latter part of the eighteenth century. The composition
+is in a strict sense a symphonic cantata, somewhat
+in the manner of Mendelssohn&rsquo;s &ldquo;Hymn of
+Praise,&rdquo; being prefaced with a symphonic allegro in
+the classical form which is written in a very scholarly
+manner and displays great skill in thematic
+treatment.</p>
+<p>The cantata proper opens with a short introduction,
+consisting of massive chord foundations
+for the full orchestra, connected by a figure for the
+strings, ushering in a chorus for male voices (&ldquo;Hail
+thee, O Harmony, offspring of Heaven&rdquo;). The
+words contain a description of the creation of
+worlds and of music, as the song of stars unites
+with the angel chorus in praise of the Almighty.
+At the close of this number begins a choral theme
+for trumpets, horns, and trombones, followed by
+<span class="pb" id="pg_162">[162]</span>
+strings and woodwinds, and introducing a soprano
+recitative (&ldquo;With Grace, thy Gaze, O Harmony&rdquo;)
+descriptive of the blessing brought into the world
+by music, followed by a picture of the misery of
+the race without its consolation. At the close the
+brasses give out a solemn march-like theme. A
+short chorus (&ldquo;Joy to us! Again descending,
+thou Heavenly One&rdquo;) describes the might of song.
+A brief orchestral interlude follows, preparing the
+entrance of a barytone solo with chorus (&ldquo;Blessed
+Comforter in Grief&rdquo;). The work closes with a
+partial repetition of the opening chorus, with a more
+elaborate and brilliant figural accompaniment, in
+the course of which the march-like subject is heard
+again in the brasses. At the end the strings maintain
+a tremolo while the rest of the orchestra presents
+a passage with varied harmonies. The opening
+theme of the cantata, though not a repetition, bears
+a strong analogy to the introduction of the symphony
+movement.</p>
+<div class="imgtail"><img src="images/p162.png" alt="" width="130" height="44" /></div>
+</div>
+<div id="c052" title="Handel">
+<div class="pb" id="pg_163">[163]</div>
+<div class="img"><img src="images/p163.png" alt="" width="358" height="107" /></div>
+<h3>HANDEL.</h3>
+<p>George Frederick Handel was
+born at Halle, in Lower Saxony, Feb. 23,
+1685, and like many another composer
+revealed his musical promise at a very
+early age, only to encounter parental opposition.
+His father intended him to be a lawyer; but Nature
+had her way, and in spite of domestic antagonism
+triumphed. The Duke of Saxe-Weissenfels recognized
+his ability and overcame the father&rsquo;s determination.
+Handel began his studies with Zachau,
+organist of the Halle cathedral. After the death
+of his father, in 1697, he went to Hamburg, and
+for a time played in the orchestra of the German
+opera. It was during his residence in that city that
+he wrote his first opera, &ldquo;Almira&rdquo; (1705). In
+the following year he went to Italy, where he remained
+several months under the patronage of the
+Grand Duke of Florence. During the next two
+years he visited Venice, Rome, and Naples, and
+wrote several operas and minor oratorios. In 1709
+he returned to Germany, and the Elector of Hanover,
+subsequently George I. of England, offered
+<span class="pb" id="pg_164">[164]</span>
+him the position of capellmeister, which he accepted
+upon the condition that he might visit England,
+having received many invitations from that
+country. The next year he arrived in London and
+brought out his opera of &ldquo;Rinaldo,&rdquo; which proved
+a great success. At the end of six months he was
+obliged to return to his position in Hanover; but
+the English success made him impatient of the
+dulness of the court. In 1712 he was in London
+again, little dreaming that the Elector would soon
+follow him as king. Incensed with him for leaving
+Hanover, the King at first refused to receive him;
+but some music which Handel composed for an
+aquatic f&ecirc;te in his honor brought about the royal
+reconciliation. In 1718 he accepted the position
+of chapel-master to the Duke of Chandos, for
+whom he wrote the famous Chandos Te Deum and
+Anthems, the serenata &ldquo;Acis and Galatea,&rdquo; and
+&ldquo;Esther,&rdquo; his first English oratorio. In 1720 he was
+engaged as director of Italian opera by the society
+of noblemen known as the Royal Academy of Music,
+and from that time until 1740 his career was entirely
+of an operatic character. Opera after opera
+came from his pen. Some were successful, others
+failed. At first composer, then director, he finally
+became <i>impresario</i>, only to find himself confronted
+with bitter rivalry, especially at the hands of Bononcini
+and Porpora. Cabals were instituted against
+him. Unable to contend with them alone, he
+formed a partnership with Heidegger, proprietor of
+the King&rsquo;s Theatre, in 1729. It was broken in 1734,
+<span class="pb" id="pg_165">[165]</span>
+and he took the management of Covent Garden.
+The Italian conspiracies against him broke out
+afresh. He failed in his undertaking and became
+a bankrupt. Slanders of all sorts were circulated,
+and his works were no longer well received. In
+the midst of his adversity sickness overtook him,
+ending with a partial stroke of paralysis. When
+sufficiently recovered he went to the Continent,
+where he remained for a few months. On his return
+to London he brought out some new works,
+but they were not favorably received. A few friends
+who had remained faithful to him persuaded him to
+give a benefit concert, which was a great success.
+It inspired him with fresh courage; but he did not
+again return to the operatic world. Thenceforward
+he devoted himself to oratorio, in which he made
+his name famous for all time. He himself said:
+&ldquo;Sacred music is best suited to a man descending
+in the vale of years.&rdquo; &ldquo;Saul&rdquo; and the colossal
+&ldquo;Israel in Egypt,&rdquo; written in 1740, head the list of
+his wonderful oratorios. In 1741 he was invited to
+visit Ireland. He went there in November, and
+many of his works were produced during the winter
+and received with great enthusiasm. In April, 1742,
+his immortal &ldquo;Messiah&rdquo; was brought out at Dublin.
+It was followed by &ldquo;Samson,&rdquo; &ldquo;Joseph,&rdquo; &ldquo;Semele,&rdquo;
+&ldquo;Belshazzar,&rdquo; and &ldquo;Hercules,&rdquo; which were also
+successful; but even in the midst of his oratorio
+work his rivals did not cease their conspiracies
+against him, and in 1744 he was once more a
+bankrupt. For over a year his pen was idle. In
+<span class="pb" id="pg_166">[166]</span>
+1746 the &ldquo;Occasional Oratorio&rdquo; and &ldquo;Judas Maccab&aelig;us&rdquo;
+appeared, and these were speedily followed
+by &ldquo;Joshua,&rdquo; &ldquo;Solomon,&rdquo; &ldquo;Susanna,&rdquo; &ldquo;Theodora,&rdquo;
+and &ldquo;Jephthah.&rdquo; It was during the composition
+of the last-named work that he was attacked
+with the illness which finally proved fatal. He died
+April 14, 1759, and was buried in Westminster
+Abbey. During the last few days of his life he was
+heard to express the wish that &ldquo;he might breathe
+his last on Good Friday, in hopes of meeting his
+good God, his sweet Lord and Saviour, on the day
+of His resurrection.&rdquo; The wish was granted him;
+for it was on Good Friday that he passed away,
+leaving behind him a name and fame that will be
+cherished so long as music retains its power over the
+human heart.</p>
+</div>
+<div id="c053" title="Acis and Galatea">
+<h4>Acis and Galatea.</h4>
+<p>The first idea of Handel&rsquo;s famous pastoral, &ldquo;Acis
+and Galatea,&rdquo; is to be found in a serenata, &ldquo;Aci,
+Galatea, e Polifemo,&rdquo; which he produced at Naples
+in July, 1708. The plan of the work resembles
+that of the later pastoral, though its musical setting
+is entirely different.<sup><a id="fr_21" href="#fn_21">[21]</a></sup>
+Little was known of it however
+until nearly a quarter of a century afterwards,
+<span class="pb" id="pg_167">[167]</span>
+when the composer revived portions of it in one
+of his London concerts, as will shortly be seen.</p>
+<p>In 1718 Handel entered the service of James,
+Duke of Chandos, as chapel-master, succeeding Dr.
+Pepusch. His patron had accumulated an immense
+fortune and spent it in a princely manner. He
+had built a marble palace, at an enormous expense,
+at Cannons in Middlesex, where he lived in almost
+regal state. It was the chapel attached to this mansion
+over which Handel was called to preside, and
+there were ready for his use a large choir, a band of
+instrumental performers, and a fine organ. The
+anthems and services of his predecessor were laid
+aside, and that year Handel&rsquo;s busy pen supplied two
+new settings of the Te Deum and the twelve Chandos
+Anthems, which are really cantatas in form.
+His first English opera, &ldquo;Esther,&rdquo; was also composed
+at Cannons, and was followed by the beautiful
+pastoral which forms the subject of this sketch.
+&ldquo;Esther&rdquo; was first performed Aug. 20, 1720, and
+it is generally agreed that &ldquo;Acis and Galatea&rdquo; followed
+it in the same year, though Schoelcher in his
+biography assigns 1721 as the date. Nine characters
+are contained in the original manuscript,&mdash;Galatea,
+Clori, and Eurilla, sopranos; Acis, Filli,
+Dorinda, and Damon, altos; Silvio, tenor; and
+Polifemo, bass.</p>
+<p>After this private performance the pastoral was
+not again heard from until 1731-32, when it was
+given under peculiar circumstances. On the 13th
+of March, 1731, it was performed for the benefit of
+<span class="pb" id="pg_168">[168]</span>
+one Rochetti, who took the r&ocirc;le of Acis; but with
+this representation Handel had nothing to do. The
+act of piracy was repeated in the following year,
+when Mr. Arne, father of Dr. Arne the composer,
+and the lessee of the Little Theatre in the Haymarket,
+announced its performance as follows:&mdash;</p>
+<p class="bq">&ldquo;At the new theatre in the Haymarket, on Thursday
+next, 11th May, will be performed in English a
+pastoral opera called &lsquo;Acis and Galatea,&rsquo; with all the
+choruses, scenes, machines, and other decorations,
+etc. (as before), being the first time it was ever performed
+in a theatrical way. The part of Acis by Mr.
+Mourtier, being the first time of his appearance in
+character on any stage; Galatea, Miss Arne.<sup><a id="fr_22" href="#fn_22">[22]</a></sup>
+Pit and boxes, 5<i>s.</i>&rdquo;</p>
+<p>Handel had taken no notice of the 1731 performance;
+but this representation, given at a theatre
+directly opposite the one of which he was manager,
+roused his resentment, though piracy of this kind
+was very common in those days. He determined to
+outdo the manager &ldquo;over the way.&rdquo; On the 5th of
+June he announced in the &ldquo;Daily Journal&rdquo;:&mdash;</p>
+<p class="bq">&ldquo;In the King&rsquo;s Theatre in the Haymarket, the
+present Saturday, being the 10th of June, will be performed
+a serenata called &lsquo;Acis and Galatea,&rsquo; formerly
+composed by Mr. Handel, and now revised by him,
+with several additions, and to be performed by a great
+<span class="pb" id="pg_169">[169]</span>
+number of the best voices and instruments. There
+will be no action on the stage,<sup><a id="fr_23" href="#fn_23">[23]</a></sup>
+but the scene will
+represent in a picturesque manner a rural prospect,
+with rocks, groves, fountains, and grottos, among
+which will be disposed a chorus of nymphs and shepherds;
+the habits, and every other decoration, suited
+to the subject. Also on the 13th, 17th, 20th. The
+libretto printed for J. Watts, in three acts.&rdquo;</p>
+<p>The rival establishment had produced the work
+as it was originally given at Cannons; but as intimated
+in his advertisement, Handel made additions,
+interpolating a number of airs and choruses from
+the serenata which he had composed at Naples,
+thus requiring the work to be sung both in Italian
+and English,&mdash;a polyglot practice from which our
+own times are not exempt. The part of Acis was
+sung by Senesino, a male soprano; Galatea by
+Signora Strada; and Polyphemus by Montagnana.
+The other parts&mdash;Clori and Eurilla sopranos, Filli
+and Dorinda contraltos, and Silvio tenor&mdash;were
+also represented. It was performed eight times in
+<span class="pb" id="pg_170">[170]</span>
+1732, and was brought out in the same form at
+Oxford in 1733; but in 1739 Handel restored it to
+its original shape as it had been given at Cannons.
+It is now generally performed in two parts with the
+three characters Galatea, Acis, and Polyphemus,
+and choruses of nymphs and shepherds.</p>
+<p>The pretty pastoral will always possess more than
+ordinary interest, as four celebrated poets are represented
+in the construction of the poem. Gay
+wrote the most of it. It also contains a strophe
+by Hughes, a verse by Pope,<sup><a id="fr_24" href="#fn_24">[24]</a></sup>
+and an extract from Dryden&rsquo;s translation of the Galatea myth in the
+Metamorphoses of Ovid.<sup><a id="fr_25" href="#fn_25">[25]</a></sup>
+The story is based on the seventh fable in the thirteenth book
+of the Metamorphoses,&mdash;the sad story which Galatea, daughter
+of Nereus, tells to Scylla. The nymph was passionately
+in love with the shepherd Acis, son of Faunus
+and of the nymph Sym&oelig;this, and pursued him incessantly.
+She too was pursued by Polyphemus,
+the one-eyed Cyclops of &AElig;tna, contemner of the
+gods. One day, reclining upon the breast of Acis,
+concealed behind a rock, she hears the giant pouring
+out to the woods and mountains his story of
+love and despair: &ldquo;I, who despise Jove and the
+heavens and the piercing lightnings, dread thee,
+daughter of Nereus; than the lightnings is thy wrath
+<span class="pb" id="pg_171">[171]</span>
+more dreadful to me. But I should be more patient
+under these slights if thou didst avoid all men.
+For why, rejecting the Cyclop, dost thou love
+Acis? And why prefer Acis to my embraces?&rdquo;
+As he utters these last complaints, he espies the
+lovers. Then, raging and roaring so that the mountains
+shook and the sea trembled, he hurled a huge
+rock at Acis and crushed him. The shepherd&rsquo;s
+blood gushing forth from beneath the rock was
+changed into a river; and Galatea, who had fled to
+the sea, was consoled.</p>
+<p>The overture to the work, consisting of one movement,
+is thoroughly pastoral in its style and marked
+by all that grace and delicacy which characterize
+the composer&rsquo;s treatment of movements of this
+kind. It introduces a chorus (&ldquo;O the Pleasures
+of the Plains!&rdquo;) in which the easy, careless life of
+the shepherds and their swains is pictured. Galatea
+enters seeking her lover, and after the recitative,
+&ldquo;Ye verdant Plains and woody Mountains,&rdquo; relieves
+her heart with an outburst of melodious
+beauty:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Hush, ye pretty warbling choir!</p>
+<p class="t3">Your thrilling strains</p>
+<p class="t3">Awake my pains</p>
+<p class="t3">And kindle fierce desire.</p>
+<p class="t0">Cease your song and take your flight;</p>
+<p class="t0">Bring back my Acis to my sight.&rdquo;</p>
+</div>
+</div>
+<p>Acis answers her, after a short recitative, with
+another aria equally graceful (&ldquo;Love in her Eyes
+sits playing and sheds delicious Death&rdquo;). The
+<span class="pb" id="pg_172">[172]</span>
+melodious and sensuous dialogue is continued by
+Galatea, who once more sings:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;As when the dove</p>
+<p class="t0">Laments her love</p>
+<p class="t0">All on the naked spray;</p>
+<p class="t0">When he returns</p>
+<p class="t0">No more she mourns,</p>
+<p class="t0">But loves the live-long day.</p>
+<p class="t0">Billing, cooing,</p>
+<p class="t0">Panting, wooing,</p>
+<p class="t0">Melting murmurs fill the grove,</p>
+<p class="t0">Melting murmurs, lasting love.&rdquo;&mdash;</p>
+</div>
+</div>
+<p>Then in a duet, sparkling with the happiness of
+the lovers (&ldquo;Happy We&rdquo;), closing with chorus to
+the same words, this pretty picture of ancient pastoral
+life among the nymphs and shepherds comes
+to an end.</p>
+<p>In the second part there is another tone both to
+scene and music. The opening chorus of alarm
+(&ldquo;Wretched Lovers&rdquo;) portends the coming of the
+love-sick Cyclops; the mountains bow, the forests
+shake, the waves run frightened to the shore as he
+approaches roaring and calling for &ldquo;a hundred
+reeds of decent growth,&rdquo; that on &ldquo;such pipe&rdquo; his
+capacious mouth may play the praises of Galatea.
+The recitative, &ldquo;I melt, I rage, I burn,&rdquo; is very
+characteristic, and leads to the giant&rsquo;s love-song, an
+unctuous, catching melody almost too full of humor
+and grace for the fierce brute of &AElig;tna:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;O ruddier than the cherry!</p>
+<p class="t0">O sweeter than the berry!</p>
+<p class="t2">O nymph more bright</p>
+<p class="t2">Than moonshine night,</p>
+<p class="t0">Like kidlings, blithe and merry.</p>
+</div>
+</div>
+<div class="pb" id="pg_173">[173]</div>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Ripe as the melting cluster,</p>
+<p class="t0">No lily has such lustre.</p>
+<p class="t2">Yet hard to tame</p>
+<p class="t2">As raging flame,</p>
+<p class="t0">And fierce as storms that bluster.&rdquo;</p>
+</div>
+</div>
+<p>In marked contrast with this declaration follows
+the plaintive tender song of Acis (&ldquo;Love sounds
+the Alarm&rdquo;). Galatea appeals to him to trust the
+gods, and then the three join in a trio (&ldquo;The Flocks
+shall leave the Mountain&rdquo;). Enraged at his discomfiture,
+the giant puts forth his power. He is no
+longer the lover piping to Galatea and dissembling
+his real nature, but a destructive raging force; and
+the fragment of mountain which he tears away
+buries poor Acis as effectually as &AElig;tna sometimes
+does the plains beneath. The catastrophe accomplished,
+the work closes with the sad lament of
+Galatea for her lover (&ldquo;Must I my Acis still bemoan?&rdquo;)
+and the choral consolations of the shepherds
+and their swains:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Galatea, dry thy tears,</p>
+<p class="t0">Acis now a god appears;</p>
+<p class="t0">See how he rears him from his bed!</p>
+<p class="t0">See the wreath that binds his head!</p>
+<p class="t0">Hail! thou gentle murmuring stream;</p>
+<p class="t0">Shepherds&rsquo; pleasure, Muses&rsquo; theme;</p>
+<p class="t0">Through the plains still joy to rove,</p>
+<p class="t0">Murmuring still thy gentle love.&rdquo;</p>
+</div>
+</div>
+<div class="fnblock">
+<div class="fndef"><sup><a id="fn_21" href="#fr_21">[21]</a></sup> The superior attractions of the English serenata will probably
+prevent the earlier work from ever becoming a popular favorite;
+more especially since the r&ocirc;le of Polifemo needs a bass singer with
+a voice of the extraordinary compass of two octaves and a half.&mdash;<i>Rockstro&rsquo;s
+Life of Handel</i>.
+</div>
+<div class="fndef"><sup><a id="fn_22" href="#fr_22">[22]</a></sup> Miss Arne, afterwards Mrs. Cibber, enjoyed, under the latter
+name, a great reputation as a singer. Her husband was Theophilus
+Cibber, the brother of Colley Cibber, a poet laureate in the reign of
+George II.&mdash;<i>Schoelcher&rsquo;s Life of Handel</i>.
+</div>
+<div class="fndef"><sup><a id="fn_23" href="#fr_23">[23]</a></sup> This undoubtedly is the manner in which this charming little
+piece ought to be performed. It is a dramatic poem, but not an
+acting play, and the incidents are such as cannot be represented on
+the stage. A few years ago another attempt was made to perform
+it as an opera, but without success. Polyphemus is entirely an
+ideal character, and any attempt to personate him must be ridiculous;
+and the concluding scene, in which the giant throws a huge
+rock at the head of his rival, produced shouts of merriment. &ldquo;Acis
+and Galatea&rdquo; is performed in an orchestra in the manner in which
+oratorios are performed; but its effect would certainly be heightened
+by the picturesque scenery and decorations employed by Handel
+himself.&mdash;<i>Hogarth&rsquo;s Musical Drama</i>.
+</div>
+<div class="fndef"><sup><a id="fn_24" href="#fr_24">[24]</a></sup>
+<div class="fnverse">
+<p class="t0">&ldquo;Not showers to larks so pleasing,</p>
+<p class="t">Not sunshine to the bee,</p>
+<p class="t0">Not sleep to toil so easing,</p>
+<p class="t">As these dear smiles to me.&rdquo;</p>
+</div>
+</div>
+<div class="fndef"><sup><a id="fn_25" href="#fr_25">[25]</a></sup>
+<div class="fnverse">
+<p class="t0">&ldquo;Help! Galatea! Help, ye parent gods!</p>
+<p class="t0">And take me dying to your deep abodes.&rdquo;</p>
+</div>
+</div>
+</div>
+</div>
+<div id="c054" title="Alexander&rsquo;s Feast">
+<h4>Alexander&rsquo;s Feast.</h4>
+<p>Handel composed the music for Dryden&rsquo;s immortal
+ode in 1736. In the original score the close
+of the first part is dated January 5, and the end of
+<span class="pb" id="pg_174">[174]</span>
+the work January 17, showing rapid composition.
+Three years before this time he had had a violent
+quarrel with Senesino, his principal singer at the
+opera-house in the Haymarket, which led to his
+abandonment of the theatre and its occupancy by
+his rival, Porpora. After an unsuccessful attempt
+to compete with the latter, which nearly bankrupted
+him in health and purse, he decided to quit opera
+altogether. He sought relief for his physical ailments
+at Aix-la-Chapelle, and upon his return to
+London in October, 1735, publicly announced that
+&ldquo;Mr. Handel will perform Oratorios and have
+Concerts of Musick this Winter at Covent Garden
+Theatre.&rdquo; One of the first works for these concerts
+was &ldquo;Alexander&rsquo;s Feast,&rdquo; completed, as stated
+above, Jan. 17, 1736. The poem was prepared by
+Newburgh Hamilton, who says in his preface:&mdash;</p>
+<p class="bq">&ldquo;I determined not to take any unwarrantable liberty
+with the poem, which has long done honor to the
+nation, and which no man can add to or abridge in
+anything material without injuring it. I therefore
+confined myself to a plain division of it into airs, recitatives
+or choruses, looking upon the words in general
+so sacred as scarcely to violate one in the order
+of its first place. How I have succeeded the world is
+to judge, and whether I have preserved that beautiful
+description of the passions, so exquisitely drawn, at
+the same time I strove to reduce them to the present
+taste in sounds. I confess my principal view was, not
+to lose this favorable opportunity of its being set to
+music by that great master who has with pleasure
+undertaken the task, and who only is capable of doing
+<span class="pb" id="pg_175">[175]</span>
+it justice; whose compositions have long shown that
+they can conquer even the most obstinate partiality,
+and inspire life into the most senseless words. If this
+entertainment can in the least degree give satisfaction
+to the real judges of poetry or music, I shall think
+myself happy in having promoted it; being persuaded
+that it is next to an improbability to offer
+the world anything in those arts more perfect than
+the united labors and utmost efforts of a Dryden and
+a Handel.&rdquo;</p>
+<p>In addition to the preface Hamilton appended a
+poem &ldquo;To Mr. Handel on his setting to Musick
+Mr. Dryden&rsquo;s Feast of Alexander,&rdquo; in which he
+enthusiastically sings:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Two glowing sparks of that celestial flame</p>
+<p class="t0">Which warms by mystick art this earthly frame,</p>
+<p class="t0">United in one blaze of genial heat,</p>
+<p class="t0">Produced this piece in sense and sounds complete.</p>
+<p class="t0">The Sister Arts, as breathing from one soul,</p>
+<p class="t0">With equal spirit animate the whole.</p>
+<p class="t0">Had Dryden lived the welcome day to bless,</p>
+<p class="t0">Which clothed his numbers in so fit a dress,</p>
+<p class="t0">When his majestick poetry was crowned</p>
+<p class="t0">With all your bright magnificence of sound,</p>
+<p class="t0">How would his wonder and his transport rise,</p>
+<p class="t0">Whilst famed Timotheus yields to you the prize!&rdquo;</p>
+</div>
+</div>
+<p>The work was first performed at Covent Garden
+Theatre, February 19, about a month after it was written;
+the principal singers being Signora Strada, Miss Young,<sup><a id="fr_26" href="#fn_26">[26]</a></sup>
+John Beard, and Mr. Erard. It met with
+<span class="pb" id="pg_176">[176]</span>
+remarkable success. The London &ldquo;Daily Post,&rdquo;
+on the morning after its production, said:&mdash;</p>
+<p class="bq">&ldquo;Never was upon the like Occasion so numerous
+and splendid an Audience at any Theatre in London,
+there being at least 1,300 Persons present; and it is
+judged that the Receipt of the House could not amount
+to less than &pound;450.&rdquo;</p>
+<p>It was repeated four times, and then withdrawn
+to make room for &ldquo;Acis and Galatea&rdquo; and the
+oratorio of &ldquo;Esther.&rdquo; In March, 1737, it was revived,
+with two additional choruses made by Hamilton
+for the work; and upon the same occasion an
+Italian cantata in praise of Saint Cecilia was sung.</p>
+<p>It is unnecessary to inform the reader of the nature
+of a poem familiar the world over. The overture is
+written for strings and two oboes. Throughout the
+work the orchestration is thin, bassoons and horns
+being the only instruments added to those named
+above; but in 1790 Mozart amplified the accompaniments,&mdash;an
+improvement which he also made
+for the score of &ldquo;Acis and Galatea.&rdquo; The great
+solos of the composition are the furious aria, &ldquo;&lsquo;Revenge,
+Revenge!&rsquo; Timotheus cries,&rdquo; and the descriptive
+recitative, &ldquo;Give the Vengeance due to
+the valiant Crew,&rdquo; in which Handel employs his
+imitative powers with consummate effect. Clouet,
+in his &ldquo;Chants Classiques,&rdquo; says of the passage
+&ldquo;And the king seized a flambeau with zeal to destroy:&mdash;</p>
+<p class="bq">&ldquo;He paints Alexander issuing forth in the midst of
+an orgie, arming himself with a torch, and followed by
+<span class="pb" id="pg_177">[177]</span>
+his generals, running to set fire to Persepolis. While
+the accompaniment sparkles with the confused and unequal
+glare of the torches, the song expresses truthfully
+the precipitation and the tumult of the crowd, the
+rolling of the flames, and the living splendor of a
+conflagration.&rdquo;</p>
+<p>The choruses of the work are equally strong, and
+some of them are among the best Handel ever
+wrote, particularly, &ldquo;He sang Darius great and
+good,&rdquo; &ldquo;Break his Bands of Sleep asunder,&rdquo; &ldquo;Let
+old Timotheus yield the Prize,&rdquo; and &ldquo;The many
+rend the Skies with loud Applause.&rdquo; They are
+as genuine inspirations as the best choruses of the
+&ldquo;Messiah&rdquo; or of &ldquo;Israel in Egypt.&rdquo;</p>
+<p>In 1739 Handel also set to music Dryden&rsquo;s
+shorter &ldquo;Ode for St. Cecilia&rsquo;s Day,&rdquo; beginning,</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;From Harmony, from heavenly Harmony</p>
+<p class="t">This universal frame began,&rdquo;</p>
+</div>
+</div>
+<p>the music for which had been originally composed
+in 1687 by Giovanni Baptista Draghi, an Italian,
+who was music-master to Queen Anne and Queen
+Mary, and at that time was organist to Catharine of
+Braganza, widow of Charles II. Handel&rsquo;s setting
+was first performed on the anniversary of the saint&rsquo;s
+festival, Nov. 22, 1739. The programme announced:</p>
+<p class="bq">&ldquo;Lincoln&rsquo;s Inn Fields. At the Theatre Royal in
+Lincoln&rsquo;s Inn Fields, Thursday next, November 22
+(being St. Cecilia&rsquo;s Day), will be performed an Ode
+of Mr. Dryden&rsquo;s, with two new Concertos for several
+instruments, which will be preceded by Alexander&rsquo;s
+Feast and a Concerto on the organ.&rdquo;</p>
+<div class="pb" id="pg_178">[178]</div>
+<p>Though one of the shortest of his vocal works,
+it contains some magnificent choruses.</p>
+<div class="fnblock">
+<div class="fndef"><sup><a id="fn_26" href="#fr_26">[26]</a></sup> Cecilia,
+a pupil of Geminiani, and afterwards wife of Dr. Arne.
+</div>
+</div>
+</div>
+<div id="c055" title="L&rsquo;Allegro">
+<h4>L&rsquo;Allegro.</h4>
+<p>&ldquo;L&rsquo;Allegro, il Penseroso ed il Moderato,&rdquo; the
+first two movements of which contain a musical setting
+of Milton&rsquo;s well-known poem, was written in
+the seventeen days from Jan. 19 to Feb. 6, 1740,
+and was first performed on the 27th of the latter
+month at the Royal Theatre, Lincoln&rsquo;s Inn Fields,
+London. Upon this occasion the first and second
+parts were preceded, according to the handbook,
+by &ldquo;a new concerto for several instruments,&rdquo; and
+the third by &ldquo;a new concerto on the organ,&rdquo; which
+was played by the composer himself. It was performed
+again Jan. 31, 1741, with the addition of
+ten new numbers to the music, which in the original
+manuscript appear at the end, marked by Handel,
+&ldquo;l&rsquo;Additione.&rdquo; At a still later period Handel
+omitted the third part (&ldquo;Moderato&rdquo;) entirely, and
+substituted for it Dryden&rsquo;s &ldquo;Ode on St. Cecilia&rsquo;s
+Day,&rdquo; which he composed in 1739.</p>
+<p>The text of the first two parts is by Milton,
+Allegro, as is well known, chanting the praises of pleasure,
+Penseroso those of melancholy; Allegro represented
+by tenor and Penseroso by soprano, and
+each supported by a chorus which joins in the
+discussion of the two moods. There is a radical
+difference between the poem as Milton wrote it
+and as it appears set to Handel&rsquo;s music. Milton
+<span class="pb" id="pg_179">[179]</span>
+presented two distinct poems, though allied by
+antithesis, and Penseroso does not speak until Allegro
+has finished. In the poem as adapted for
+music they alternate in sixteen strophes and antistrophes.
+The adaptation of these two parts was
+made by Charles Jennens, who was a frequent
+collaborator with Handel.<sup><a id="fr_27" href="#fn_27">[27]</a></sup>
+He also suggested the
+addition of a third part, the Moderato, and wrote the
+words, in which he counsels both Allegro and Penseroso
+to take the middle course of moderation as
+the safest. The wisdom of the poet in suggesting
+the <i>via media</i> is more to be commended than his
+boldness in supplementing Milton&rsquo;s stately verse with
+commonplaces, however wise they may have been.
+Chrysander, the German biographer of Handel presents
+a philosophical view of the case. He says:</p>
+<p class="bq">&ldquo;In the two pictures a deeply thoughtful mind has
+fixed for itself two far-reaching goals. With these
+the poem has reached its perfect end, and in the sense
+of its inventor there is nothing further to be added.
+The only possible, the only natural outlet was that
+into a <i>life of action</i>, according to the direction which
+the spirit now should take; already it was the first
+step into this new domain which called forth the divided
+feeling. The two moods do not run together
+into any third mood as their point of union, but into
+active real life, as different characters, forever separate.
+Therefore &lsquo;Moderation&rsquo; could not bring about the
+<span class="pb" id="pg_180">[180]</span>
+reconciliation; only life could do it; not contemplation,
+but deeds. Gladness and Melancholy are symptoms
+of a vigorous soul; moderation would be mediocrity.
+And herein lies the unpoetic nature of the addition by
+Jennens; read according to Milton, the concluding
+moral of a rich English land-owner whose inherited
+abundance points to nothing but a golden mean, and
+whose only real problem is to keep the balance in the
+lazy course of an inactive life, makes a disheartening
+impression.&rdquo;</p>
+<p>The work as a whole is one of Handel&rsquo;s finest
+inspirations. The Allegro is bright and spirited
+throughout; the Penseroso grave and tender; and
+the Moderato quiet and respectable, as might be
+expected of a person who never experiences the
+enthusiasms of joy or the comforts of melancholy.
+The most of the composition is assigned to solo
+voices which carry on the discussion, though in the
+Moderato it is mainly the chorus which urges the
+sedate compromise between the two.</p>
+<p>The work opens without overture, its place having
+originally been supplied by an orchestral concerto.
+In vigorous and very dramatic recitative
+Allegro bids &ldquo;loathed Melancholy&rdquo; hence, followed
+by Penseroso, who in a few bars of recitative far
+less vigorously consigns &ldquo;vain, deluding joys&rdquo; to
+&ldquo;some idle brain;&rdquo; Allegro replies with the first aria
+(&ldquo;Come, come, thou Goddess fair&rdquo;), a beautifully
+free and flowing melody, responded to by Penseroso,
+who in an aria of stately rhythm appeals to his
+goddess, &ldquo;Divinest Melancholy.&rdquo; Now Allegro
+summons his retinue of mirth:&mdash;</p>
+<div class="pb" id="pg_181">[181]</div>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Haste thee, nymph, and bring with thee</p>
+<p class="t0">Jest and youthful jollity,</p>
+<p class="t0">Quips and cranks and wanton wiles,</p>
+<p class="t0">Nods and becks and wreath&egrave;d smiles,</p>
+<p class="t0">Such as hang on Hebe&rsquo;s cheek,</p>
+<p class="t0">And love to live in dimple sleek,</p>
+<p class="t0">Sport, that wrinkled care derides,</p>
+<p class="t0">And Laughter, holding both his sides;&rdquo;</p>
+</div>
+</div>
+<p>and the chorus takes up the jovial refrain in the
+same temper. The aria itself is well known as the
+laughing song. Indeed, both aria and chorus are
+full of unrestrained mirth, and go laughingly along
+in genuine musical giggles.<sup><a id="fr_28" href="#fn_28">[28]</a></sup>
+The effect is still further
+enhanced by the next aria for Allegro (&ldquo;Come
+and trip it as you go&rdquo;), a graceful minuet, which
+is also taken by the chorus. After a recitative
+<span class="pb" id="pg_182">[182]</span>
+by Penseroso (&ldquo;Come, pensive Nun&rdquo;), and the
+aria, &ldquo;Come, but keep thy wonted State&rdquo; the
+first Penseroso chorus occurs (&ldquo;Join with thee
+calm Peace and Quiet&rdquo;), a short but beautiful passage
+of tranquil harmony. Once more in recitative
+Allegro bids &ldquo;loathed Melancholy&rdquo; hence, and then
+in the aria, &ldquo;Mirth, admit me of thy Crew,&rdquo; leading
+into a chorus, sings of the lark, &ldquo;startling dull
+Night&rdquo; and bidding good-morrow at his window,&mdash;a
+brilliant number accompanied with an imitation
+of the lark&rsquo;s song. Penseroso replies with an
+equally brilliant song (&ldquo;Sweet Bird, that shuns&rsquo;t the
+Noise of Folly&rdquo;), in which the nightingale plays the
+part of accompaniment. Another aria by Allegro
+(&ldquo;Mirth, admit me of thy Crew&rdquo;) gives an opportunity
+for a blithe and jocund hunting-song for the
+bass, followed by one of the most beautiful numbers
+in the work (&ldquo;Oft on a Plat of rising Ground&rdquo;)
+sung by Penseroso, in which the ringing of the far-off
+curfew, &ldquo;swinging slow, with sullen roar,&rdquo; is
+introduced with telling effect. This is followed by
+a quiet meditative aria (&ldquo;Far from all Resorts of
+Mirth&rdquo;), when once again Allegro takes up the
+strain in the two arias, &ldquo;Let me wander not unseen,&rdquo;
+and &ldquo;Straight mine Eye hath caught new Pleasures.&rdquo;
+The first part closes with the Allegro aria and
+chorus (&ldquo;Or let the merry Bells ring round&rdquo;), full
+of the very spirit of joy and youth; and ending
+with an exquisite harmonic effect as the gay crowd
+creep to bed, &ldquo;by whispering winds soon lulled
+to sleep.&rdquo;</p>
+<div class="pb" id="pg_183">[183]</div>
+<p>The second part begins with a stately recitative
+and aria by Penseroso (&ldquo;Sometimes let gorgeous
+Tragedy&rdquo;), followed by one of the most characteristic
+arias in the work (&ldquo;But O, sad Virgin, that thy
+Power might raise!&rdquo;) in which the passage,</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Or bid the soul of Orpheus sing</p>
+<p class="t0">Such notes as warbled to the string</p>
+<p class="t0">Drew iron tears down Pluto&rsquo;s cheek,&rdquo;</p>
+</div>
+</div>
+<p>is accompanied by long persistent trills that admirably
+suit the words. The next number (&ldquo;Populous
+Cities please me then&rdquo;) is a very descriptive solo
+for Allegro, with chorus which begins in canon form
+for the voices and then turns to a lively movement
+as it pictures the knights celebrating their triumphs
+and the &ldquo;store of ladies&rdquo; awarding prizes to their
+gallants. Again Allegro in a graceful aria sings,
+&ldquo;There let Hymen oft appear.&rdquo; It is followed
+by a charming canzonet (&ldquo;Hide me from Day&rsquo;s
+garish Eye&rdquo;) for Penseroso, which leads to an
+aria for Allegro (&ldquo;I&rsquo;ll to the well-trod Stage
+anon&rdquo;), opening in genuinely theatrical style, and
+then changing to a delightfully melodious warble
+at the words,&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Or sweetest Shakspeare, Fancy&rsquo;s child,</p>
+<p class="t0">Warble his native wood-notes wild.&rdquo;</p>
+</div>
+</div>
+<p>This is followed by three characteristic arias, &ldquo;And
+ever, against eating Cares,&rdquo; &ldquo;Orpheus himself may
+heave his Head,&rdquo; and &ldquo;These Delights, if thou
+canst give,&rdquo;&mdash;the last with chorus. Penseroso has
+a short chorus in plain but stately harmony (&ldquo;There
+<span class="pb" id="pg_184">[184]</span>
+let the pealing Organ blow&rdquo;), with pauses for the
+organ <i>ad libitum</i>, followed by the aria, &ldquo;May at last
+my weary Age,&rdquo; and the majestic devotional fugued
+chorus, &ldquo;These Pleasures, Melancholy, give!&rdquo;
+which close the second part.</p>
+<p>The third part, &ldquo;Il Moderato,&rdquo; is rarely given,
+and the work may well close with the fugue that so
+beautifully and harmoniously ends the second part.
+It opens with an aria in which Moderato tenders the
+sage advice:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Come, with native lustre shine,</p>
+<p class="t0">Moderation, grace divine,</p>
+<p class="t0">Whom the wise God of nature gave,</p>
+<p class="t0">Mad mortals from themselves to save.</p>
+<p class="t0">Keep as of old the middle way,</p>
+<p class="t0">Nor deeply sad nor idly gay;</p>
+<p class="t0">But still the same in look and gait,</p>
+<p class="t0">Easy, cheerful, and sedate,</p>
+<p class="t0">Keep as of old the middle way.&rdquo;</p>
+</div>
+</div>
+<p>With such didactic commonplaces as the above,
+Moderato commends temperance, health, contentment,
+frugality, equanimity, and chaste love, and
+bids them,&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Come, with gentle hand restrain</p>
+<p class="t0">Those who fondly court their bane;</p>
+<p class="t0">One extreme with caution shunning,</p>
+<p class="t0">To another blindly running.</p>
+<p class="t0">Kindly teach how blest are they</p>
+<p class="t0">Who nature&rsquo;s equal rules obey,</p>
+<p class="t0">Who safely steer two rocks between,</p>
+<p class="t0">And prudent keep the golden mean.&rdquo;</p>
+</div>
+</div>
+<p>Thus Mr. Jennens&rsquo;s mild philosophy goes on, one
+of his verses, &ldquo;As steals the Morn upon the Night,&rdquo;
+<span class="pb" id="pg_185">[185]</span>
+set to a brilliant tenor and soprano duet, followed
+by the closing chorus, &ldquo;Thy Pleasures, Moderation,
+give,&rdquo; in full, broad, rich harmony. There needs no
+other proof of Handel&rsquo;s genius, than that he could
+link such Tupperisms to his grand measures.</p>
+<div class="fnblock">
+<div class="fndef"><sup><a id="fn_27" href="#fr_27">[27]</a></sup> Jennens was an amateur poet of the period, descended from a
+manufacturing family of Birmingham, from whom he inherited a
+large fortune. He lived on terms of close intimacy with Handel,
+and was mentioned in his will. He died Nov. 20, 1773.
+</div>
+<div class="fndef"><sup><a id="fn_28" href="#fr_28">[28]</a></sup> I was lucky enough to meet with the approbation of Mr. Bates
+in the recitative of &ldquo;Deeper and deeper still;&rdquo; my next song was
+the laughing one. Mr. Harrison, my predecessor at those concerts,
+was a charming singer: his singing &ldquo;Oft on a plat of rising ground,&rdquo;
+his &ldquo;Lord, remember David,&rdquo; and &ldquo;O come let us worship and fall
+down,&rdquo; breathed pure religion. No divine from the pulpit, though
+gifted with the greatest eloquence, could have inspired his auditors
+with a more perfect sense of duty to their Maker than Harrison
+did by his melodious tones and chaste style; indeed, it was faultless:
+but in the animated songs of Handel he was very deficient.
+I heard him sing the laughing song without moving a muscle, and
+determined, though it was a great risk, to sing it my own way, and
+the effect produced justified the experiment; instead of singing it
+with the serious tameness of Harrison, I laughed all through it, as
+I conceived it ought to be sung, and as must have been the intention
+of the composer. The infection ran; and their Majesties, and the
+whole audience, as well as the orchestra, were in a roar of laughter,
+and a signal was given from the royal box to repeat it, and I sang
+it again with increased effect.&mdash;<i>Michael Kelly&rsquo;s Reminiscences</i>,
+1789.
+</div>
+</div>
+<div class="imgtail"><img src="images/p185.png" alt="" width="98" height="103" /></div>
+</div>
+<div id="c056" title="Hatton">
+<div class="pb" id="pg_186">[186]</div>
+<div class="img"><img src="images/p186.png" alt="" width="350" height="102" /></div>
+<h3>HATTON.</h3>
+<p>John Liphot Hatton, a composer
+well known in America, not only by his
+songs and other works, but also by his
+visits here, was born in Liverpool in 1809.
+Though his early musical education was very scanty,
+he soon became known as a composer after his removal
+to London in 1832, and his works met with a
+very cordial reception. In 1842 he became conductor
+at Drury Lane Theatre, and while acting in that
+capacity brought out one of his operettas, called
+&ldquo;The Queen of the Thames.&rdquo; In 1844 he went
+to Vienna and produced his opera &ldquo;Pascal Bruno.&rdquo;
+Shortly afterwards he issued several songs under the
+<i>nom de plume</i> of &ldquo;Czapek,&rdquo; which secured for themselves
+widespread popularity. In 1848 he came to
+this country, and some years later made a concert-tour
+here. Upon his return to England he assumed
+direction of the music at the Princess&rsquo; Theatre, and
+while engaged there wrote incidental music for
+&ldquo;Macbeth,&rdquo; &ldquo;Sardanapalus,&rdquo; &ldquo;Faust and Marguerite,&rdquo;
+&ldquo;King Henry VIII.,&rdquo; &ldquo;Pizarro,&rdquo; &ldquo;King
+Richard II.,&rdquo; &ldquo;King Lear,&rdquo; &ldquo;The Merchant of
+<span class="pb" id="pg_187">[187]</span>
+Venice,&rdquo; and &ldquo;Much Ado About Nothing.&rdquo; In
+1856 he wrote &ldquo;Robin Hood,&rdquo; a cantata; in 1864
+the opera &ldquo;Rose, or Love&rsquo;s Ransom,&rdquo; for Covent
+Garden; and in 1877 &ldquo;Hezekiah,&rdquo; a sacred drama,
+which was performed at the Crystal Palace. He
+has also written a large number of part songs, which
+are great favorites with quartet clubs, and nearly
+two hundred songs which are very popular; among
+them, &ldquo;Good-by, Sweetheart, good-by,&rdquo; which has
+been a stock piece with concert tenors for years,
+and which the late Signor Brignoli used to sing with
+excellent effect. His music is specially characterized
+by grace and melodiousness. Hatton died
+in 1886.</p>
+</div>
+<div id="c057" title="Robin Hood">
+<h4>Robin Hood.</h4>
+<p>The pastoral cantata of &ldquo;Robin Hood&rdquo; was
+written for the Bradford (England) Triennial Festival
+of 1856, Sims Reeves creating the part of the
+hero. Its name suggests the well-known story of
+the greenwood outlaw which has been charmingly
+versified by George Linley in the libretto. The
+personages are Maid Marian, Robin Hood, Little
+John, and &ldquo;The Bishop.&rdquo; Maid Marian, it will be
+remembered, was the mistress who followed Robin
+into the Sherwood Forest and shared his wild life;
+and Little John was his stalwart lieutenant, whose
+name was transposed after he joined the band, thus
+heightening the incongruity between his name and
+his great size. The incident contained in Linley&rsquo;s
+<span class="pb" id="pg_188">[188]</span>
+poem appears to have been suggested by Robin
+Hood&rsquo;s penchant for capturing bishops and other
+ecclesiastics, notwithstanding his religious professions,
+which were exemplified by the retention of
+Friar Tuck as chaplain in the bold archer&rsquo;s household;
+or it may be based upon the historical story of
+the expedition which Edward II. and some of his
+retainers, disguised as monks, made into the forest
+for the purpose of exterminating the outlaws and
+thus stopping their slaughter of the royal deer. As
+the old story goes, they were led into an ambuscade
+by a forester who had agreed to conduct them to
+the haunts of Robin, and were captured. When
+Robin recognized the King in the disguise of the
+abbot, he craved forgiveness for himself and his
+band, which was granted upon condition that he
+should accompany his sovereign to Court and take
+a place in the royal household. The old collection
+of ballads, &ldquo;The Lytell Geste of Robyn Hood,&rdquo; tells
+the same story and continues it, relating how after
+&ldquo;dwelling in the Kynge&rsquo;s courte&rdquo; a year, he tired
+of it and obtained permission to make a visit to the
+woods again, but forfeited his word and never returned,
+dying at last in Kirklees priory, through the
+treachery of the abbess, and how in his last moments
+he blew a loud blast on his horn, summoning Little
+John from the forest, to whom, after he had forced
+his way into his chamber, the dying Robin said:</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Give me my bent bow in my hand,</p>
+<p class="t">And an arrow I&rsquo;ll let free,</p>
+<p class="t0">And where that arrow is taken up,</p>
+<p class="t">There let my grave digged be.&rdquo;</p>
+</div>
+</div>
+<div class="pb" id="pg_189">[189]</div>
+<p>The cantata opens with a chorus of the outlaws,
+who vigorously assert their independence of tribute,
+laws, and monarchs, followed by a bombastic bass
+aria by the Bishop, who threatens them for destroying
+the King&rsquo;s deer. His grandiloquence is speedily
+interrupted by the outlaws, with Robin at their head,
+who surround him without further ado and make
+him the butt of their sport. Robin Hood sings a
+charmingly melodious ballad, &ldquo;Under the Greenwood
+Tree,&rdquo; in which the Bishop is invited to become
+one of their number and share their sylvan
+enjoyments. A trio and chorus follow, in the course
+of which the Bishop parts with his personal possessions
+in favor of the gentlemen around him in Lincoln
+green with &ldquo;bent bows.&rdquo; A chorus (&ldquo;Strike
+the Harp&rdquo;) also informs us that the ecclesiastic is
+forced to dance for the genial band much against
+his will as well as his dignity. Robin&rsquo;s sentimentalizing
+about the pleasures under the greenwood
+tree is still further emphasized by a madrigal for
+female voices, supposed to be sung by the forest
+maidens, though their identity is not very clear, as
+Marian was the only maid that accompanied the
+band. After the plundering scene, the cantata
+grows more passionate in character, describing a
+pretty and tender love-scene between Robin and
+Marian, which is somewhat incongruous, whether
+Marian be considered as the outlaw&rsquo;s mistress, or,
+as some of the old chroniclers have it, his wife
+Matilda, who changed her name when she followed
+him into the forest. From the musical standpoint,
+<span class="pb" id="pg_190">[190]</span>
+however, it affords an opportunity for another graceful
+ballad of sentiment, in which Marian describes
+her heart as &ldquo;a frail bark upon the waters of love;&rdquo;
+a duet in which the lovers passionately declare their
+love for each other as well as their delight with the
+forest; and a final chorus of the band, jubilantly
+proclaiming their hatred of kings and courtiers, and
+their loyalty to Robin Hood and Maid Marian.
+It may be worthy of note in this connection that
+Bishop, the English composer, wrote a legendary
+opera called &ldquo;Maid Marian, or the Huntress of
+Arlingford,&rdquo; in which the heroine is Matilda.</p>
+<div class="imgtail"><img src="images/p190.png" alt="" width="106" height="64" /></div>
+</div>
+<div id="c058" title="Haydn">
+<div class="pb" id="pg_191">[191]</div>
+<div class="img"><img src="images/p191.png" alt="" width="320" height="137" /></div>
+<h3>HAYDN.</h3>
+<p>Joseph Haydn, the creator of the symphony
+and the string quartet, was born
+at Rohrau, a little Austrian village on the
+river Leitha, March 31, 1732. His father
+was a wheelwright and his mother a cook, in
+service with Count Harrach. Both the parents
+were fond of music, and both sang, the father
+accompanying himself upon the harp, which he
+played by ear. The child displayed a voice so
+beautiful that in his sixth year he was allowed to
+study music, and was also given a place in the village
+church-choir. Reutter, the capellmeister of
+St. Stephen&rsquo;s, Vienna, having heard him, was so
+impressed with the beauty of his voice that he offered
+him a position as chorister. Haydn eagerly
+accepted it, as it gave him an opportunity for study.
+While in the service of St. Stephen&rsquo;s he had lessons
+on the violin and piano, as well as in composition.
+When his voice broke, and his singing was of no
+further value, he was thrown upon the tender mercies
+of the world. Fortune favored him, however.
+He obtained a few pupils, and gave himself to composition.
+<span class="pb" id="pg_192">[192]</span>
+He made the acquaintance of Metastasio,
+Porpora, and Gluck. His trios began to attract
+attention, and he soon found himself rising into
+prominence. In 1759, through the influence of
+a wealthy friend and amateur, he was appointed to
+the post of musical director and composer in the
+service of Count Morzin, and about this time wrote
+his first symphony. When the Count dismissed his
+band, Prince Paul Anton Esterhazy received him as
+his second capellmeister, under Werner. When the
+latter died, in 1766, Haydn took his place as sole
+director. His patron meanwhile had died, and was
+succeeded by his son Nicolaus, between whom and
+Haydn there was the utmost good feeling. Up to
+this time Haydn had written thirty symphonies, a
+large number of trios, quartets, and several vocal
+pieces. His connection with the Prince lasted
+until 1790, and was only terminated by the latter&rsquo;s
+death. During this period of twenty-eight years his
+musical activity was unceasing; and as he had an
+orchestra of his own, and his patron was ardently
+devoted to music, the incentive to composition was
+never lacking. Anton succeeded Nicolaus, and
+was generous enough to increase Haydn&rsquo;s pension;
+but he dismissed the entire chapel, and the composer
+took up his abode in Vienna. He was hardly established
+before he received a flattering proposition
+from Salomon, the manager, to go to England. He
+had already had many pressing invitations from
+others, but could not accept them, owing to his engagement
+to Esterhazy. Now that he was free, he
+<span class="pb" id="pg_193">[193]</span>
+decided to make the journey. On New Year&rsquo;s Day,
+1791, he arrived in London. Success greeted him
+at once. He became universally popular. Musicians
+and musical societies paid him devoted attention.
+He gave a series of symphony concerts which
+aroused the greatest enthusiasm. He was treated
+with distinguished courtesy by the royal family. Oxford
+gave him the honorary degree of Doctor of
+Music. The nobility entertained him sumptuously.
+After a year of continuous f&ecirc;tes he returned to
+Germany, where he remained two years, during
+a portion of which time Beethoven was his pupil.
+In 1794 he made his second journey to England,
+where his former successes were repeated, and
+fresh honors were showered upon him. In 1804
+he was notified by Prince Esterhazy that he was
+about to reorganize his chapel, and wished him
+for its conductor again. Haydn accordingly returned
+to his old position, where he remained during
+the rest of his life. He was already an old
+man, but it was during this period that his most
+remarkable works were produced, among them the
+Austrian National Hymn (&ldquo;Gott erhalte Franz den
+Kaiser&rdquo;), the &ldquo;Seven Words,&rdquo; the &ldquo;Creation,&rdquo;
+the &ldquo;Seasons,&rdquo; and many of his best trios and
+quartets. He died May 31, 1809, a few days after
+the occupation of Vienna by the French, and among
+the mourners at his funeral were many French
+officers. Funeral services were held in all the principal
+European cities. Honored and respected all
+over Europe, he was most deeply loved by his own
+<span class="pb" id="pg_194">[194]</span>
+countrymen, who still affectionately speak of him as
+&ldquo;Papa&rdquo; Haydn.</p>
+</div>
+<div id="c059" title="The Seven Words">
+<h4>The Seven Words.</h4>
+<p>&ldquo;The Seven Words of Jesus on the Cross,&rdquo; sometimes
+called &ldquo;The Passion,&rdquo; was written by Haydn
+in 1785, for the cathedral of Cadiz, upon a commission
+from the chapter for appropriate music for
+Good Friday. It was at first composed as an instrumental
+work, consisting of seven adagio movements,
+and in this form was produced in London
+by the composer himself as a &ldquo;Passione instrumentale.&rdquo;
+He afterwards introduced solos and choruses,
+and divided it into two parts, separating them
+by a largo movement for wind instruments. It was
+then given at Eisenstadt in 1797, and four years
+later was published in the new form, with the following
+preface by the composer himself:&mdash;</p>
+<p class="bq">About fifteen years ago I was applied to by a
+clergyman in Cadiz, and requested to write instrumental
+music to the seven words of Jesus on the cross. It
+was then customary every year, during Lent, to perform
+an Oratorio in the Cathedral at Cadiz, the effect
+of which the following arrangements contributed to
+heighten. The walls, windows, and columns of the
+church were hung with black cloth, and only one large
+lamp, hanging in the centre, lighted the solemn and
+religious gloom. At noon all the doors were closed,
+and the music began. After a prelude, suited to the
+occasion, the bishop ascended the pulpit, pronounced
+one of the seven words, which was succeeded by reflections
+<span class="pb" id="pg_195">[195]</span>
+upon it. As soon as these were ended he
+descended from the pulpit and knelt before the altar.
+The pause was filled by music. The bishop ascended
+and descended again a second, a third time, and so
+on; and each time the orchestra filled up the intervals
+in the discourse.</p>
+<p class="bq">My composition must be judged on a consideration
+of these circumstances. The task of writing seven
+adagios, each of which was to last about ten minutes, to
+preserve a connection between them, without wearying
+the hearers, was none of the lightest, and I soon found
+that I could not confine myself within the limits of the
+time prescribed.</p>
+<p class="bq">The music was originally without text, and was
+printed in that form. It was only at a later period
+that I was induced to add the text. The Oratorio entitled
+&ldquo;The Seven Words of our Redeemer on the
+Cross,&rdquo; as a complete and, as regards the vocal parts,
+an entirely new work, was first published by Messrs.
+Breitkopf and H&auml;rtel, of Leipsic. The partiality with
+which this work has been received by scientific musicians
+leads me to hope that it will not be without
+effect on the public at large.</p>
+<div class="bq">
+<p class="jr"><span class="sc">Joseph Haydn.</span></p>
+</div>
+<p class="bq"><span class="sc">Vienna</span>, March 1, 1880.</p>
+<p class="tb">As the various movements are all of the same
+general tone and character, though varied with all
+that skill and mastery of instrumental effect for
+which Haydn was so conspicuous, it is needless to
+describe each separately. By many of the musicians
+of his day it was considered one of his most sublime
+productions; and Bombet declares that Haydn
+on more than one occasion, when he was asked to
+<span class="pb" id="pg_196">[196]</span>
+which of his works he gave the preference, replied,
+&ldquo;The Seven Words.&rdquo;</p>
+<p>It opens with an adagio for full orchestra, of a
+very sorrowful but impressive character. Then follow
+each of the Seven Words, given out in simple
+chorale form, followed by its chorus, namely:&mdash;</p>
+<div class="bq">
+<p class="center">I.
+<br /><span class="small">PATIENCE.</span></p>
+<p class="tm1">&ldquo;Father, forgive them; for they know not what they
+do.&rdquo;</p>
+<p class="tm1"><i>Chorus</i>: &ldquo;Lamb of God! Surely Thou hast borne
+our sorrows.&rdquo;</p>
+<p class="center">II.
+<br /><span class="small">THE PENITENT FORGIVEN.</span></p>
+<p class="tm1">&ldquo;Verily I say unto thee, this day shalt thou be with
+me in Paradise.&rdquo;</p>
+<p class="tm1"><i>Chorus</i>: &ldquo;Lord, have mercy on me after Thy great
+goodness.&rdquo;</p>
+<p class="center">III.
+<br /><span class="small">THE MOURNERS.</span></p>
+<p class="tm1">&ldquo;Woman, behold thy Son. Son, behold Thy
+mother.&rdquo;</p>
+<p class="tm1"><i>Chorus</i>: &ldquo;Daughters of Jerusalem, weep
+not for Me.&rdquo;</p>
+<p class="center">IV.
+<br /><span class="small">DESOLATION.</span></p>
+<p class="tm1">&ldquo;Eli, Eli, lama sabacthani?&rdquo;</p>
+<p class="tm1"><i>Chorus</i>: &ldquo;O my God, look upon Me.&rdquo;</p>
+<div class="pb" id="pg_197">[197]</div>
+<p class="center">V.
+<br /><span class="small">THE BITTER CUP.</span></p>
+<p class="tm1">&ldquo;I thirst.&rdquo;</p>
+<p class="tm1"><i>Chorus</i>: &ldquo;He treadeth the
+winepress of the fierceness and wrath.&rdquo;</p>
+<p class="center">VI.
+<br /><span class="small">COMPLETE OBEDIENCE.</span></p>
+<p class="tm1">&ldquo;It is finished.&rdquo;</p>
+<p class="tm1"><i>Chorus</i>: &ldquo;He came down from Heaven.&rdquo;</p>
+<p class="center">VII.
+<br /><span class="small">THE GREAT OBLATION.</span></p>
+<p class="tm1">&ldquo;Father, into Thy hands I commend my spirit.&rdquo;</p>
+<p class="tm1"><i>Chorus</i>: &ldquo;Into Thy hands, O Lord.&rdquo;</p>
+</div>
+<p>Following immediately after the last number the
+whole spirit of the music changes with the chorus,
+&ldquo;The Veil of the Temple was rent in twain,&rdquo; a
+presto movement, sung fortissimo, describing the
+darkness, the quaking of the earth, the rending of
+the rocks, the opening of the graves, and the arising
+of the bodies of the saints who slept, with all that
+vividness in imitation and sublimity of effect which
+characterize so many of the composer&rsquo;s passages in
+&ldquo;The Creation&rdquo; and &ldquo;The Seasons.&rdquo; Haydn was
+by nature a deeply religious man, and that he felt
+the inspiration of the solemn subject is shown by
+the manner in which he conceived it, and by the exalted
+devotion of the music which accompanies the
+<span class="pb" id="pg_198">[198]</span>
+last words of the Man of Sorrows. The lines which
+Bombet quotes from Dante in this connection are
+hardly exaggerated:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;He with such piety his thought reveals,</p>
+<p class="t0">And with such heavenly sweetness clothes each tone,</p>
+<p class="t0">That hell itself the melting influence feels.&rdquo;</p>
+</div>
+</div>
+</div>
+<div id="c060" title="Ariadne">
+<h4>Ariadne.</h4>
+<p>The cantata &ldquo;Ariana a Naxos&rdquo; was written in
+1792, and is for a single voice with orchestra. As
+an illustration of the original cantata form, it is one
+of the most striking and perfect. Its story is an
+episode familiar in mythology. When Minos, King
+of Crete, had vanquished the Athenians, he imposed
+upon &AElig;geus, their king, the severe penalty that seven
+youths should be annually sent to Crete to be devoured
+by the Minotaur. In the fourth year the
+king&rsquo;s son, Theseus, was among the number. He
+was more fortunate than his predecessors, for he slew
+the Minotaur and was rescued from the labyrinth by
+following the thread of Ariadne, daughter of Minos,
+who had conceived a violent passion for the handsome
+warrior, conqueror of Centaurs and Amazons.
+Upon his return to Athens she accompanied him as
+far as the island Naxos, where the ungrateful wretch
+perfidiously left her. It is this scene of desertion
+which Haydn chose for his cantata.</p>
+<p>Ariadne is supposed to have just awakened from
+sleep and reclines upon a mossy bank. The first
+<span class="pb" id="pg_199">[199]</span>
+number is a recitative and largo in which she hopefully
+calls upon Theseus to return. The melody is
+noble and spirited in style, and yet tender and fervent
+in its expression of love for the absent one.
+In the next number, a recitative and andante (&ldquo;No
+one listens! My sad Words Echo but repeats&rdquo;),
+hopefulness turns to anxiety. The contrast between
+the blissful longing of the one and the growing solicitude
+expressed in the other number is very striking.
+The next melody, an <i>allegro vivace</i>,&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;What see I? O heavens! Unhappy me!</p>
+<p class="t0">Those are the sails of the Argosy! Greeks are those yonder!</p>
+<p class="t0">Theseus! &rsquo;Tis he stands at the prow,&rdquo;&mdash;</p>
+</div>
+</div>
+<p>is remarkable for its passionate intensity and dramatic
+strength. The clouds of despair close over
+her, and she calls down the vengeance of the gods
+upon the deserter. In the next two numbers, an
+adagio (&ldquo;To whom can I turn me?&rdquo;), and an andante
+(&ldquo;Ah! how for Death I am longing&rdquo;), the
+melodies closely follow the sentiment of the text,
+accompanied by very expressive instrumentation.
+An <i>allegro presto</i>, infused with the very spirit of
+hopeless gloom and despair, ends the cantata:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Woe&rsquo;s me! deceived, betrayed!</p>
+<p class="t0">Earth holds no consolation.&rdquo;</p>
+</div>
+</div>
+<p>In the mythological version, however, consolation
+came; for Bacchus, &ldquo;ever young,&rdquo; and full of pity
+for lorn maids, married her, and gave her a crown
+of seven stars, which after her death was placed
+among the constellations. The music presents many
+<span class="pb" id="pg_200">[200]</span>
+difficulties for a singer, as it requires the noblest
+style of declamation, peculiar refinement of sentiment,
+and rare musical intelligence, as well as facility
+in execution to give expression to its recitative
+and strongly contrasting melodies, which have no
+unity of key, but follow the varying sentiments, with
+their changes of tone-color, as closely as Theseus
+followed his thread.</p>
+<div class="imgtail"><img src="images/p200.png" alt="" width="150" height="76" /></div>
+</div>
+<div id="c061" title="Hiller">
+<div class="pb" id="pg_201">[201]</div>
+<div class="img"><img src="images/p201.png" alt="" width="367" height="83" /></div>
+<h3>HILLER.</h3>
+<p>Ferdinand Hiller, one of the most
+eminent of modern German composers,
+and a writer of more than ordinary ability,
+was born at Frankfort-on-the-Main,
+Oct. 24, 1811. His musical talent displayed itself
+so early that in his tenth year he appeared in concerts.
+In 1825 he began his studies with Hummel,
+and two years afterwards accompanied him on a
+concert-tour to Vienna, where he published his first
+work, a piano-forte quartet. He next went to Paris,
+where he remained until 1835, occupying for a
+time the position of professor in Choron&rsquo;s &ldquo;Institution
+de Musique,&rdquo; but principally devoting himself
+to piano-playing, composition, and concerts.
+In 1836 he returned to Frankfort, and for more
+than a year conducted the concerts of the C&oelig;cilienverein.
+He then went to Milan, where he met
+Rossini, and with his assistance brought out his
+opera &ldquo;Romilda&rdquo; at La Scala, but without much
+success. About the same time he began his oratorio
+&ldquo;The Destruction of Jerusalem,&rdquo; one of his
+most important works. In 1841 he made a second
+<span class="pb" id="pg_202">[202]</span>
+journey to Italy and gave particular attention to
+church music. On his return he first resided at
+Frankfort, but was soon in Leipsic, where he conducted
+the Gewandhaus concerts (1843-44), and
+after that time in Dresden, where he produced two
+more operas, &ldquo;Traum in der Christ-nacht&rdquo; and
+&ldquo;Conradin.&rdquo; In 1847 he was appointed municipal
+capellmeister at D&uuml;sseldorf, and three years later
+took a similar position at Cologne, where he organized
+the Conservatory. In that city he exercised
+a widespread influence, not alone by his
+teaching, but also by his direction of the famous
+Lower Rhine festivals. He also made many
+musical tours which increased his fame. In
+1852-53 he conducted opera in Paris; in 1870,
+gave a series of successful concerts in St. Petersburg;
+and in 1871-72 visited England, where he
+produced his works both in public concerts and
+festivals. His compositions are very numerous,
+including among the most prominent, five operas,
+four overtures, a festival march for the opening
+of the Albert Hall, the Spring Symphony, the
+oratorios &ldquo;Destruction of Jerusalem&rdquo; and &ldquo;Saul,&rdquo;
+and the cantatas &ldquo;Heloise,&rdquo; &ldquo;Night,&rdquo; &ldquo;Loreley,&rdquo;
+&ldquo;O weint um Sie,&rdquo; &ldquo;Ver sacrum,&rdquo; &ldquo;Nala and
+Damajanti,&rdquo; &ldquo;Song of Victory,&rdquo; &ldquo;Song of the
+Spirits over the Water,&rdquo; &ldquo;Prometheus,&rdquo; and &ldquo;Rebecca.&rdquo;
+He has also enriched musical literature
+with many important works, among them, &ldquo;Aus
+dem Tonleben unserer Zeit&rdquo; (1867), &ldquo;Personalisches
+und Musikalisches&rdquo; (1876), &ldquo;Recollections
+<span class="pb" id="pg_203">[203]</span>
+of Mendelssohn&rdquo; (1874), and &ldquo;Letters to an
+Unknown&rdquo; (1877). He died in May, 1885.</p>
+</div>
+<div id="c062" title="Song of Victory">
+<h4>Song of Victory.</h4>
+<p>The &ldquo;Song of Victory,&rdquo; a cantata for soprano
+solo, chorus, and orchestra, was first produced at
+the Cologne Festival of 1871, and was written to
+celebrate the victorious conclusion of the Franco-German
+war of 1870. It consists of eight numbers,
+all of which are sacred in character, though
+their purpose is to express gratitude and joy over
+the triumph of the German arms.</p>
+<p>The opening number is a vigorous, jubilant
+chorus (&ldquo;The Lord great Wonders for us hath
+wrought&rdquo;). It begins with a slow movement in
+massive chords, gathering animation as it proceeds,
+and closing pianissimo on the words, &ldquo;There is
+none that searcheth or understandeth.&rdquo; The second
+number is a soprano solo and chorus (&ldquo;Praise,
+O Jerusalem, praise the Lord&rdquo;) declamatory in
+style. The third (&ldquo;The Heathen are fallen in the
+Pit&rdquo;) is assigned to chorus, and is the most dramatic
+in the work, describing as it does the terrors
+of war. In the fourth (&ldquo;See, it is written in the
+Book of the Righteous&rdquo;), a short soprano solo, the
+melody is a tender lament for the dead. The fifth
+(&ldquo;He in Tears that soweth&rdquo;) is a soprano solo
+with chorus of first and second sopranos and altos.
+In this number lamentation gives way to hope and
+gladness, leading up to the last three numbers,&mdash;the
+<span class="pb" id="pg_204">[204]</span>
+six-part chorus (&ldquo;Mighty is our God&rdquo;), full
+of effective sustained harmony, and the soprano
+solos and choruses of praise and hallelujah which
+resume the triumphant style of the opening chorus
+with increased power and enthusiasm.</p>
+<div class="imgtail"><img src="images/p204.png" alt="" width="117" height="84" /></div>
+</div>
+<div id="c063" title="Hofmann">
+<div class="pb" id="pg_205">[205]</div>
+<div class="img"><img src="images/p205.png" alt="" width="331" height="70" /></div>
+<h3>HOFMANN.</h3>
+<p>Heinrich Karl Johann Hofmann
+was born Jan. 13, 1842, at
+Berlin. In his younger days he was a
+scholar at the Kullak Conservatory, and
+studied composition with Grell, Dehn, and W&uuml;erst.
+Prior to 1873 he devoted himself to private instruction,
+but since that time he has been engaged exclusively
+in composition. Among his works which
+first attracted public attention by their intrinsic excellence
+as well as by the knowledge of orchestration
+which they displayed, were an &ldquo;Hungarian
+Suite&rdquo; and the &ldquo;Frithjof Symphony.&rdquo; Among his
+piano compositions are the following four-handed
+pieces, which have been remarkably popular:
+&ldquo;Italienische Liebesnovelle,&rdquo; &ldquo;Liebesfr&uuml;hling,&rdquo;
+&ldquo;Trompeter von S&auml;ckingen,&rdquo; &ldquo;Steppenbilder,&rdquo;
+and &ldquo;Aus meinem Tagebuch.&rdquo; His choral works
+are &ldquo;Nonnengesang,&rdquo; &ldquo;Die Sch&ouml;ne Melusine,&rdquo;
+&ldquo;Aschenbr&ouml;del,&rdquo; and &ldquo;Cinderella.&rdquo; Among his
+operas are &ldquo;Cartouche&rdquo; (1869), &ldquo;Armin&rdquo; (1878),
+and &ldquo;Annchen von Tharau&rdquo; (1878). He has
+also written several works for mixed chorus and
+<span class="pb" id="pg_206">[206]</span>
+m&auml;nnerchor, piano pieces, songs, duets, a violoncello
+concerto, piano trios and quartets, and a
+string sextet.</p>
+</div>
+<div id="c064" title="Melusina">
+<h4>Melusina.</h4>
+<p>The beautiful story of Melusina has always had
+an attraction for artists and musicians. Moritz von
+Schwind, the painter, has illustrated it in a cycle
+of frescos; Julius Zellner has told it for us in a
+series of orchestral tone-pictures; and Mendelssohn
+has chosen it as the subject of one of his most
+charming overtures. The version which Hofmann
+uses in his cantata entitled &ldquo;The Fable of the
+Fair Melusina&rdquo; (written in 1875) runs as follows:
+Melusina, the nymph of a beautiful fountain in the
+Bressilian forest, and Count Raymond have fallen in
+love with each other. They declare their passion
+in the presence of her nymphs, and plight their
+troth. Melusina engages to be his dutiful wife the
+first six days of the week, but makes Raymond
+promise never to inquire or seek to discover what
+she does on the seventh, which, she assures him,
+shall &ldquo;never see her stray from the path of duty.&rdquo;
+On that day she must assume her original form,
+half fish and half woman, and bathe with her
+nymphs. Raymond promises, calls his hunters, introduces
+his bride to them, and the wedding cort&egrave;ge
+moves joyfully on to the castle. In the second
+part Raymond&rsquo;s mother, Clotilda, and her brother,
+Sintram, intrigue against Melusina. They denounce
+<span class="pb" id="pg_207">[207]</span>
+her as a witch, and the accusation seems to be
+justified by a drought which has fallen upon the
+land since the marriage. The suffering people
+loudly clamor for the surrender of the &ldquo;foul witch.&rdquo;
+After long resistance Raymond is induced to break
+into the bathing-house which he had erected over
+the fountain. Melusina and her nymphs, surprised
+by him, call upon the king of the water-spirits
+to avenge his treason. The king appears and consigns
+him to death. Seized with pity, Melusina
+intercedes for him, and the king agrees to spare
+his life upon condition that they shall separate.
+Raymond once more embraces her, neither of
+them knowing that it will be fatal to him, dies in
+her arms, and the sorrowing Melusina returns to
+the flood.</p>
+<p>The prologue describes Melusina&rsquo;s fountain, and
+contains a leading motive which characterizes Raymond.
+The chorus part is very romantic in its
+style, and is set to a graceful, poetical accompaniment.
+The opening number introduces Melusina
+and her nymphs in a chorus extolling their watery
+abode (&ldquo;For the Flood is life-giving&rdquo;). In the second
+number she describes the passion she feels when
+thinking of Raymond. The song is interrupted by
+horn signals indicating the approach of her lover and
+his hunters, who join in a fresh, vigorous hunting-song
+and then disperse. In the fourth number Raymond
+gives expression to his love for Melusina,
+followed by a fervid duet between them, in which
+the lovers interchange vows of constancy. The sixth
+number, describing their engagement in presence of
+<span class="pb" id="pg_208">[208]</span>
+the nymphs, and concluding with a stirring chorus
+of nymphs and hunters, closes the first part.</p>
+<p>The second part begins with a theme from the love-duet,
+followed by a significant theme in the minor,
+ominous of approaching danger. In the eighth
+number the people clamor in furious chorus for
+the witch. In the ninth, a trio and chorus, Clotilda
+warns her son of the misery he has brought
+upon his house and people, and urges him to discover
+what his wife does on the seventh day. The
+next number introduces Melusina and her nymphs
+in the bath, the former singing a plaintive song
+(&ldquo;Love is freighted with Sorrow and Care&rdquo;). A
+noise is heard at the gate, and the nymphs join in
+a chorus in canon form (&ldquo;Hark! hark! Who
+has come to watch&rdquo;). As Raymond appears, the
+scene grows very dramatic. The king of the water-spirits
+is summoned; but before he rises from the
+water Melusina, in very melodious recitative, laments
+her lover&rsquo;s treason. The scene culminates
+in the sentence, &ldquo;Let Death be his lot.&rdquo; He is
+spared by her intercession, but she is commanded
+to return to the flood. Raymond appeals
+for forgiveness, and a part of the love-duet is repeated.
+The final embrace is fatal to him, and he
+dies in her arms. The chorus repeats the melody of
+the opening number (&ldquo;For the Flood is life-giving&rdquo;),
+and she bids her dead lover a last farewell,
+and disappears with the nymphs and water-spirits,
+singing, &ldquo;Forget with the Dwellers on
+Earth all earthly Woe.&rdquo; The epilogue is substantially
+the same as the prologue.</p>
+</div>
+<div id="c065" title="Leslie">
+<div class="pb" id="pg_209">[209]</div>
+<div class="img"><img src="images/p209.png" alt="" width="311" height="115" /></div>
+<h3>LESLIE.</h3>
+<p>Henry David Leslie was born in
+London, June 18, 1822, and in his sixteenth
+year began his musical studies
+with Charles Lucas, a famous violoncellist
+and for a long time principal of the Royal
+Academy of Music. Like his master, Leslie played
+the violoncello several years in the concerts of the
+Sacred Harmonic Society, subsequently becoming
+its conductor,&mdash;a position which he held until
+1861. In 1855 he organized the famous Leslie
+choir of one hundred voices, which took the first
+prize at the international competition of 1878 in
+Paris. In 1863 he was chosen conductor of the
+Herefordshire Philharmonic Society, and in the
+following year became principal of the National
+College of Music. In 1874 he was appointed conductor
+of the Guild of Amateur Musicians in London.
+He has been a prolific and very popular
+composer, among his works being the following:
+Te Deum and Jubilate in D (1846); symphony in
+F (1847); anthem, &ldquo;Let God arise&rdquo; (1849);
+overture, &ldquo;The Templar&rdquo; (1852); oratorio, &ldquo;Immanuel&rdquo;
+<span class="pb" id="pg_210">[210]</span>
+(1853); operetta, &ldquo;Romance, or Bold
+Dick Turpin&rdquo; (1857); oratorio, &ldquo;Judith,&rdquo; written
+for the Birmingham Festival (1858); cantata, &ldquo;Holyrood&rdquo;
+(1860); cantata, &ldquo;The Daughter of the
+Isles&rdquo; (1861); and the opera &ldquo;Ida&rdquo; (1864). In
+addition to these he has written a large number of
+songs, anthems, part songs, madrigals, and piano
+pieces, besides music for his choir.</p>
+</div>
+<div id="c066" title="Holyrood">
+<h4>Holyrood.</h4>
+<p>&ldquo;Holyrood&rdquo; was written in 1861, and was first
+produced in February of that year at St. James&rsquo;s
+Hall, London. Leslie&rsquo;s collaborator was the accomplished
+scholar Chorley, who has certainly prepared
+one of the most refined and attractive librettos ever
+furnished a composer. The story represents an
+episode during the period of Queen Mary&rsquo;s innocent
+life, overshadowed in the close by the dismal
+prophecy of the terrible fate so rapidly approaching
+her. The characters are Queen Mary (soprano),
+Mary Beatoun (Beton), her maid of honor (contralto);
+Rizzio, the ill-fated minstrel (tenor); and
+John Knox (bass). The scene is laid in a court of
+the palace of Holyrood, and introduces a coterie of
+the court ladies and gentlemen engaged in one
+of those joyous revels of which Mary was so fond.
+In the midst of the pleasantry, however, the Queen
+moves pensively about, overcome with sadness, as
+if her thoughts were far away. Her favorite maid
+tries in vain to rouse her from her melancholy with
+<span class="pb" id="pg_211">[211]</span>
+a Scotch ballad. The minstrel Rizzio is then urged
+to try his skill. He takes his lute and sings an
+Italian canzonet which has the desired effect. The
+sensuous music of the South diverts her. She expresses
+her delight, and seizing his lute sings her
+new joy in a French romance. It is interrupted by
+a Puritan psalm of warning heard outside. The
+revellers seek to drown it; but it grows in power, and
+only ceases when the leader, John Knox, enters
+with stern and forbidding countenance. The Queen
+is angry at first, but bids him welcome provided his
+mission is a kindly one. He answers with a warning.
+As he has the gift of prophecy, she orders him
+to read her future. After the bridal, the murder of
+the bridegroom; after the murder, battle; after
+the battle, prison; after the prison, the scaffold,
+is the tragic fate he foresees. The enraged courtiers
+call for his arrest and punishment, but the light-hearted
+Queen bids him go free:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Let him go, and hear our laughter!</p>
+<p class="t0">Mirth to-day, whate&rsquo;er come after.&rdquo;</p>
+</div>
+</div>
+<p>The cantata opens with a chorus for female voices
+in three divisions, with a contralto solo, in the Scotch
+style:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;The mavis carols in the shaw,</p>
+<p class="t0">The leaves are green on every tree,</p>
+<p class="t0">And June, whose car the sunbeams draw,</p>
+<p class="t0">Is dropping gold on bank and lea;</p>
+<p class="t0">The hind is merry in the mead,</p>
+<p class="t">The child that gathers gowan flower,</p>
+<p class="t0">The Thane upon his prancing steed,</p>
+<p class="t">The high-born lady in her bower,&mdash;</p>
+<p class="t3">Gay, gay, all are gay,</p>
+<p class="t3">On this happy summer day.&rdquo;</p>
+</div>
+</div>
+<div class="pb" id="pg_212">[212]</div>
+<p>After a short recitative passage in which Mary
+Beatoun appeals to the revellers to lure the Queen
+from her loneliness, and their reply (&ldquo;O Lady, never
+sit alone&rdquo;), the maid sings a very characteristic and
+engaging Scotch ballad:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;There once was a maiden in Melrose town</p>
+<p class="t">(Oh! the bright Tweed is bonny to see!)</p>
+<p class="t0">Who looked on the best in the country down,</p>
+<p class="t">Because she had lovers, one, two, three.</p>
+<p class="t0">The first was a lord with his chest of gold,</p>
+<p class="t">The second a ruddy shepherd so tall,</p>
+<p class="t0">The third was a spearsman bluff and bold,&mdash;</p>
+<p class="t">But Pride, it goeth before a fall.</p>
+</div>
+<div class="verse">
+<p class="t0">&ldquo;One hour she smil&egrave;d, the next she wept</p>
+<p class="t">(Oh! the bright Tweed is bonny to see!)</p>
+<p class="t0">And with frowns and blushes a chain she kept</p>
+<p class="t">Round the necks of her hapless lovers three.</p>
+<p class="t0">For the lord in her lap poured wide his gold,</p>
+<p class="t">And the shepherd ran at her beck and call,</p>
+<p class="t0">And the spearsman swore she was curst and cold,</p>
+<p class="t">But Pride, it goeth before a fall.</p>
+</div>
+<div class="verse">
+<p class="t0">&ldquo;At last it fell out on a bleak March day</p>
+<p class="t">(Oh! the bright Tweed is bonny to see!)</p>
+<p class="t0">There sate at her window the maiden gay</p>
+<p class="t">And looked o&rsquo;er the frost for her lovers three.</p>
+<p class="t0">But the lord had to France sailed forth with his gold,</p>
+<p class="t">And the shepherd had married her playmate small,</p>
+<p class="t0">And the spearsman in battle lay stark and cold,&mdash;</p>
+<p class="t">So Pride, it goeth before a fall.&rdquo;</p>
+</div>
+</div>
+<p>As might have been expected, this mournful
+ditty fails to rouse the Queen from her melancholy,
+whereupon Rizzio takes his lute and sings the canzonet
+&ldquo;Calla stagion novella,&rdquo; a very slow and
+graceful movement, closing with a sensuous allegro,
+<span class="pb" id="pg_213">[213]</span>
+written in the genuine Italian style, though rather
+Verdi-ish for the times of Rizzio. The canzonet
+has the desired effect, and is followed by a delightful
+French romance, sung by the Queen, in which a
+tender minor theme is set off against a fascinating
+waltz melody, closing with a brilliant finale:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;In my pleasant land of France</p>
+<p class="t">There is gladness everywhere;</p>
+<p class="t0">In the very streams a dance,</p>
+<p class="t">Full of life, yet debonair,</p>
+<p class="t0">Ah, me! ah, me!</p>
+<p class="t">To have left it was a sin,</p>
+<p class="t0">Even for this kind countrie.</p>
+<p class="t">But we will not mourn to-day,</p>
+<p class="t">Bid the harp and rebec play,</p>
+<p class="t2">Merrilie, merrilie,</p>
+<p class="t0">Sing and smile, and jocund be;</p>
+<p class="t0">If my father&rsquo;s land is dear,</p>
+<p class="t0">Mirth and valor still are here;</p>
+<p class="t0">Maidens faithful, champions gay,</p>
+<p class="t0">France has melted far away</p>
+<p class="t2">Beyond the sea.&rdquo;</p>
+</div>
+</div>
+<p>At the close of the pretty romance, the revel
+begins with a stately minuet and vocal trio (&ldquo;Fal,
+lal, la&rdquo;) for the Queen, Mary Beatoun, and Rizzio.
+It is interrupted by the unison psalm-tune of the
+Puritans, a stern, severe old melody set to a &ldquo;moving
+bass&rdquo; accompaniment:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;O thou who sittest on the throne</p>
+<p class="t">And wilt exalt thine horn on high,</p>
+<p class="t0">While captive men in prison groan,</p>
+<p class="t">And women poor of hunger die,</p>
+<p class="t0">Beware! albeit a Haman proud,</p>
+<p class="t">Served by thy slaves on bended knee,</p>
+<p class="t0">The heaven can speak in thunder loud</p>
+<p class="t">And rend to dust both them and thee.&rdquo;</p>
+</div>
+</div>
+<div class="pb" id="pg_214">[214]</div>
+<p>There is a temporary pause in the revels, but at
+the Queen&rsquo;s command they are resumed with a quick-step
+introduced by the pipes and full of the genuine
+Scotch spirit and bustle, the &ldquo;Fal lal&rdquo; trio and
+chorus still accompanying it. It is interrupted afresh
+by a repetition of the psalm (&ldquo;A Hand of Fire
+was on the Wall&rdquo;), after which John Knox enters.
+With his entrance the gay music closes and the
+work assumes a gloomy tragic cast as the dialogue
+proceeds and the terrible incidents of the prophecy
+are unfolded. It is a relief when they join in a
+hopeful duet (&ldquo;E&rsquo;en if Earth should wholly fail
+me&rdquo;) which is very quiet and melodious. It leads
+to the Queen&rsquo;s farewell, a quaintly-written bit, with
+an old-fashioned cadenza, followed by the final
+chorus, which takes up a theme in the same joyous
+spirit as the opening one:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Hence with evil omen,</p>
+<p class="t">Doleful bird of night,</p>
+<p class="t0">Who in tears of women</p>
+<p class="t">Takest chief delight!</p>
+<p class="t0">Think not to alarm her,</p>
+<p class="t">As with mystic power;</p>
+<p class="t0">Nought shall ever harm her,</p>
+<p class="t">Scotland&rsquo;s lily flower.&rdquo;</p>
+</div>
+</div>
+<div class="imgtail"><img src="images/p214.png" alt="" width="68" height="49" /></div>
+</div>
+<div id="c067" title="Liszt">
+<div class="pb" id="pg_215">[215]</div>
+<div class="img"><img src="images/p215.png" alt="" width="368" height="93" /></div>
+<h3>LISZT.</h3>
+<p>Franz Liszt, the most eminent pianist of
+his time, who also obtained world-wide
+celebrity as a composer and orchestral
+conductor, was born at Raiding, Hungary,
+Oct. 22, 1811. His father was an accomplished
+amateur, and played the piano and violoncello
+with more than ordinary skill. He was so impressed
+with the promise of his son that he not only gave
+him lessons in music, but also devoted himself to his
+artistic progress with the utmost assiduity. In his
+ninth year Liszt played for the first time in public
+at Oedenburg. His performances aroused such enthusiasm
+that several Hungarian noblemen encouraged him
+to continue his studies, and guaranteed
+him sufficient to defray the expenses of six years&rsquo;
+tuition. He went to Vienna at once and studied
+the piano with Czerny, besides taking lessons in
+composition of Salieri and Randhartinger. It was
+while in that city that his first composition, a variation
+on a waltz of Diabelli, appeared. In 1823 he
+went to Paris, hoping to secure permission to enter
+the Conservatory; but Cherubini refused it on
+<span class="pb" id="pg_216">[216]</span>
+account of his foreign origin, though Cherubini himself
+was a foreigner. Nothing daunted, young Liszt
+continued his studies with Reicha and Paer, and
+two years afterwards brought out a two-act opera
+entitled &ldquo;Don Sancho,&rdquo; which met with a very
+cordial reception. The slight he received from
+Cherubini aroused popular sympathy for him. His
+wonderful playing attracted universal attention and
+gained him admission into the most brilliant Parisian
+salons. He was a favorite with every one, especially
+with the ladies. For two or three years he made
+artistic tours through France, Switzerland, and England,
+accompanied by his father, and everywhere
+met with the most brilliant success. In 1827 the
+father died, leaving him alone in the world; but
+good fortune was on his side. During his stay in
+Paris he had made the friendship of Victor Hugo,
+George Sand, Lamartine, and other great lights in
+literature and music, and their influence prepared
+the way for his permanent success. From 1839 to
+1847 he travelled from one city to another, arousing
+the most extraordinary enthusiasm; his progress
+was one continued ovation. In 1849 he went to
+Weimar and accepted the post of conductor at the
+Court Theatre. He made that city the musical centre
+of Europe. It was there that his greatest compositions
+were written, that the school of the music
+of the future was founded, and that Wagner&rsquo;s operas
+first gained an unprejudiced hearing; and it is
+from Weimar that his distinguished pupils, like Von
+B&uuml;low, Tausig, Bendel, Bronsart, Klindworth, Winterberger,
+<span class="pb" id="pg_217">[217]</span>
+Reubke, and many others date their success.
+In 1859 he resigned his position and after
+that time resided at Rome, Pesth, and Weimar,
+working for the best interest of his beloved art, and
+encouraging young musicians to reach the highest
+standards. Few men of this century have had such
+a powerful influence upon music, or have done so
+much to elevate and purify it. His most important
+works were the &ldquo;Divina Commedia&rdquo; and &ldquo;Faust&rdquo;
+symphonies, the twelve symphonic poems, the six
+Hungarian rhapsodies, the &ldquo;Graner Mass,&rdquo; the
+&ldquo;Hungarian Coronation Mass,&rdquo; and the oratorios
+&ldquo;Christus&rdquo; and &ldquo;The Legend of the Holy Elizabeth.&rdquo;
+Besides these he wrote a large number of
+orchestral pieces, songs, and cantatas, and a rich and
+varied collection of piano-forte solos, transcriptions,
+and arrangements. He died July 31, 1886.</p>
+</div>
+<div id="c068" title="Prometheus">
+<h4>Prometheus.</h4>
+<p>Liszt&rsquo;s cantata &ldquo;Prometheus,&rdquo; composed in 1850,
+is based upon the poem of the same name, written
+by Johann Gottfried von Herder, the court preacher
+of Weimar. The poem closely follows the well-known
+legend of Prometheus&rsquo; punishment for
+stealing fire from heaven, and his ultimate rescue
+by Hercules from the vulture which preyed upon
+his vitals. The poet pictures the victim in the
+midst of his sufferings, consoled by the knowledge
+<span class="pb" id="pg_218">[218]</span>
+that he has been a benefactor to the human race.
+The spirits of the ocean mock and menace him,
+but the harvesters and tillers of the soil praise him
+for the bounteous gifts he has given to the earth.
+Ceres and Bacchus, protectors of the soil and its
+products, also pay their tribute of sympathy to him
+and thank him for the blessing of fire. Hercules
+at last releases him from his torture by killing the
+vulture and breaking the chains which bind him to
+his rock. The sufferer is brought before Themis,
+who announces that the divine wrath has been
+appeased by his long punishment, and that the
+gods forgive him.</p>
+<p>In building up his cantata Liszt has introduced
+several prologues from the poem without music,
+which serve as narrators explaining the situations,
+linking and leading up to the musical numbers,
+which are mainly choral. Thus the opening prologue
+pictures the sufferings of Prometheus, the
+crime for which he is forced to endure such a
+terrible penalty, and the patience, hope, and heroism
+of the victim. The closing lines,&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Now through the hush of night burst well-known voices</p>
+<p class="t0">Upon his ear. From out the slumbering ocean,</p>
+<p class="t0">Fanning his cheek with breath of the sea waves,</p>
+<p class="t0">The daughters of Oceanus approach,&rdquo;&mdash;</p>
+</div>
+</div>
+<p>introduce the opening chorus of sea-nymphs
+(&ldquo;Prometheus, Woe to thee&rdquo;), for female voices,
+arranged in double parts, and set to a restless,
+agitated accompaniment, expressive of fear and
+despair. The second prologue, reciting the wrath
+<span class="pb" id="pg_219">[219]</span>
+of Oceanus &ldquo;on his swift-winged ocean steed,&rdquo; that
+mortals should have dared to vex his peaceful
+waters, and the reply of Prometheus that &ldquo;on the
+broad earth each place is free to all,&rdquo; introduces
+the choruses of Tritons and Oceanides. The first
+is a mixed chorus full of brightness and spirit
+(&ldquo;Freedom! afar from Land upon the open
+Sea&rdquo;). Their exultant song is followed by a
+fascinating melody (&ldquo;Hail! O Prometheus, hail!&rdquo;)
+for female chorus, with short but expressive solos
+for soprano and alto (&ldquo;When to our Waters the
+golden Time shall come&rdquo;), the number closing
+with double chorus in full rich harmony (&ldquo;Holy
+and grand and free is the Gift of Heaven&rdquo;).
+Thereupon follows the third prologue:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Scarcely has ceased the Ocean&rsquo;s song of joy,</p>
+<p class="t0">Which, breathing peace unto Prometheus&rsquo; soul,</p>
+<p class="t0">Wakens within his breast long-buried hope,</p>
+<p class="t0">When once again the sound of lamentation</p>
+<p class="t0">Bursts on his ear and fills the air with sighs.</p>
+<p class="t0">Seated within a lion-drawn chariot comes</p>
+<p class="t0">The founder of his race&mdash;G&aelig;a herself&mdash;</p>
+<p class="t0">With her a train of wood-nymphs, loudly weeping.&rdquo;</p>
+</div>
+</div>
+<p>It introduces a chorus of Dryads (&ldquo;Woe to thee,
+Prometheus&rdquo;) of the same general character as
+the opening chorus of sea-nymphs, and containing
+a very dramatic and declamatory alto solo
+(&ldquo;Deserted stand God&rsquo;s sacred Altars in the old
+Forest&rdquo;). A dialogue follows between G&aelig;a and
+Prometheus, in which the latter bravely defends
+his course. As the Dryads disappear, Prometheus
+soliloquizes:&mdash;</p>
+<div class="pb" id="pg_220">[220]</div>
+<div class="bq">
+<div class="verse">
+<p class="t6">&ldquo;&lsquo;This is, in truth, the noblest deed</p>
+<p class="t0">Mortal has ever dared. Beat high, my heart!</p>
+<p class="t0">On this foundation built I up my race,&mdash;</p>
+<p class="t0">On deathless friendship and fraternity.</p>
+<p class="t0">Courage, Alcides! Bravely fight thy fight.</p>
+<p class="t0">Conquer, and thou shalt free me.&rsquo; From his dreams,</p>
+<p class="t0">Roused is the Titan by a song of joy.</p>
+<p class="t0">Before him, crowned with the rich harvest, stands</p>
+<p class="t0">Ceres with her train of reapers.&rdquo;</p>
+</div>
+</div>
+<p>A mixed chorus of gleaners follows (&ldquo;With the
+Lark sweetly singing&rdquo;), which can hardly be excelled
+for grace and loveliness of melody. In the
+next prologue Ceres consoles Prometheus, and
+while she is speaking a shout of gladness rises and
+Bacchus appears. He smites the rock, and at his
+touch a bower of grape-vines and ivy boughs interlaces
+over the head of the Titan and shadows him.
+This serves to introduce the chorus of Vine-dressers
+(&ldquo;Hail to the Pleasure-giver&rdquo;), a lively strain
+for male voices with an effective solo quartet. As
+Prometheus resumes his soliloquy, Hermes approaches,
+leading Pandora, and seeks to allure him
+from his purpose by her enchantments, but in
+vain:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;The Titan conquers, and he feels the hour&mdash;</p>
+<p class="t0">The fated hour&mdash;draw near. Above his head</p>
+<p class="t0">The vulture hovers, fearing to approach;</p>
+<p class="t0">While the earth trembles, and the rocks are shaken.</p>
+<p class="t0">Voices are heard from out the gloomy depths.&rdquo;</p>
+</div>
+</div>
+<p>The voices are those of the spirits in the lower
+regions singing a very melodramatic chorus (&ldquo;Woe!
+woe! the sacred Sleep of the Dead has been disturbed&rdquo;).
+<span class="pb" id="pg_221">[221]</span>
+An <i>allegro moderato</i> for orchestra follows,
+preluding the approach of Hercules, who
+bends his giant bow and kills the vulture, strikes
+the fetters off and bids him &ldquo;Go hence unto thy
+Mother&rsquo;s Throne.&rdquo; The scene introduces the
+seventh number (&ldquo;All human Foresight wanders
+in deepest Night&rdquo;), an expressive and stately male
+chorus with solo quartet. The last prologue describes
+the scene at the throne of Themis, the
+pardon of Prometheus, and her assurance that
+&ldquo;Henceforth Olympus smiles upon the Earth.&rdquo;
+Pallas presents him with a veiled figure as the
+reward of his heroism, &ldquo;who will bring to thy
+race the richest blessing,&mdash;Truth.&rdquo; The goddess
+unveils her and declares her name &ldquo;Agathea. She
+brings to man the purest, holiest gift,&mdash;Charity.&rdquo;
+The closing chorus of the Muses follows:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Of all bright thoughts that bloom on earth,</p>
+<p class="t0">That raise poor mortals high as heaven,</p>
+<p class="t0">The holiest, the blessedest is Charity.</p>
+<p class="t0">Hail, Prometheus! Hail to mankind!&rdquo;</p>
+</div>
+</div>
+</div>
+<div id="c069" title="The Bells of Strasburg">
+<h4>The Bells of Strasburg.</h4>
+<p>&ldquo;Die Glocken des Strassburger M&uuml;nsters&rdquo;
+(&ldquo;The Bells of Strasburg Cathedral&rdquo;) was written
+in 1874, and is dedicated to the poet Longfellow,
+from whose &ldquo;Golden Legend&rdquo; the composer took
+his theme for musical treatment. The cantata,
+however, does not deal with the beautiful legend
+<span class="pb" id="pg_222">[222]</span>
+itself as related by the old minnesinger, Hartmann
+von Aue, which Longfellow has told so powerfully
+in his &ldquo;Christus,&rdquo; but simply with the prologue,
+describing the futile attempt of Lucifer and the
+Powers of the Air to tear down the cross of the
+Strasburg Cathedral during the night storm. It
+was a subject peculiarly attractive to Liszt, as it
+offered him free scope for his fancies and unlimited
+opportunity for the display of his unique and sometimes
+eccentric orchestration. The work is written
+for barytone solo and mixed chorus, and is
+divided into two parts,&mdash;a short prelude which is
+entitled &ldquo;Excelsior&rdquo; (<i>andante maestoso</i>), and in
+which this word is several times repeated by the
+chorus with gradually increasing power from piano
+to fortissimo; and &ldquo;The Bells,&rdquo; which comprises
+the principal part of the work.</p>
+<p>The second part opens with a massive introduction
+(<i>allegro agitato assai</i>), in which the bells,
+horns, and trumpets play an important part, leading
+up to the furious invocation of Lucifer:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t3">&ldquo;Hasten! Hasten!</p>
+<p class="t3">O ye spirits!</p>
+<p class="t0">From its station drag the ponderous</p>
+<p class="t0">Cross of iron that to mock us</p>
+<p class="t0">Is uplifted high in air!&rdquo;</p>
+</div>
+</div>
+<p>Without a break comes the response of the spirits,
+first and second sopranos, altos, and tenors (&ldquo;Oh!
+we cannot, for around it&rdquo;), followed by the Latin
+chant of the bells sung by tenors and basses, with
+a soft tremolo accompaniment:&mdash;</p>
+<div class="pb" id="pg_223">[223]</div>
+<div class="bq">
+<div class="verse">
+<p class="t3">&ldquo;Laudo Deum verum!</p>
+<p class="t3">Plebem voco!</p>
+<p class="t3">Congrego clerum!&rdquo;</p>
+</div>
+</div>
+<p>Again with increasing power Lucifer shouts his
+command:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t3">&ldquo;Lower! Lower!</p>
+<p class="t3">Hover downward!</p>
+<p class="t0">Seize the loud, vociferous bells, and</p>
+<p class="t0">Clashing, clanging to the pavement,</p>
+<p class="t0">Hurl them from their windy tower!&rdquo;</p>
+</div>
+</div>
+<p>As before, the chorus responds in a sweet harmonious
+strain (&ldquo;All thy Thunders here are harmless&rdquo;),
+again followed by the slow and sonorous chant of
+the bells:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t3">&ldquo;Defunctos ploro!</p>
+<p class="t3">Pestem fugo!</p>
+<p class="t3">Festa decoro!&rdquo;</p>
+</div>
+</div>
+<p>Lucifer reiterates his command with constantly
+increasing energy:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t3">&ldquo;Shake the casements</p>
+<p class="t3">Break the painted</p>
+<p class="t0">Panes that flame with gold and crimson;</p>
+<p class="t0">Scatter them like leaves of autumn,</p>
+<p class="t0">Swept away before the blast.&rdquo;</p>
+</div>
+</div>
+<p>In its response this time the chorus is full of energy
+and impetuosity as it shouts with great power, &ldquo;O,
+we cannot! the Archangel Michael flames from
+every window.&rdquo; The chant of the bells is now
+taken by the basses alone:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t3">&ldquo;Funera plango!</p>
+<p class="t3">Fulgura frango!</p>
+<p class="t3">Sabbato pango!&rdquo;</p>
+</div>
+</div>
+<div class="pb" id="pg_224">[224]</div>
+<p>Lucifer makes his last appeal with all the strength
+that voice and orchestra can reach:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t3">&ldquo;Aim your lightnings</p>
+<p class="t3">At the oaken</p>
+<p class="t0">Massive, iron-studded portals!</p>
+<p class="t0">Sack the house of God, and scatter</p>
+<p class="t0">Wide the ashes of the dead.&rdquo;</p>
+</div>
+</div>
+<p>In the choral response (&ldquo;The Apostles and the
+Martyrs wrapped in Mantles&rdquo;) the sopranos and
+altos are in unison, making with the first and second
+tenors a splendid effect. For the last time
+the first and second basses sing the chant of the
+bells:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t3">&ldquo;Excito lentos!</p>
+<p class="t3">Dissipo ventos!</p>
+<p class="t3">Paco cruentos!&rdquo;</p>
+</div>
+</div>
+<p>With no abatement of vigor the baffled Lucifer
+sounds his signal for retreat, and the voices reply,
+sopranos and altos in unison:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t3">&ldquo;Onward! onward!</p>
+<p class="t3">With the night-wind,</p>
+<p class="t0">Over field and farm and forest,</p>
+<p class="t0">Lonely homestead, darksome hamlet,</p>
+<p class="t0">Blighting all we breathe upon.&rdquo;</p>
+</div>
+</div>
+<p>As the voices die away, choir, organ, and orchestra
+join with majestic effect in the intonation of the
+Gregorian chant:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t3">&ldquo;Nocte surgentes</p>
+<p class="t3">Vigilemus omnes!</p>
+<p class="t3">Laudemus Deum verum.&rdquo;</p>
+</div>
+</div>
+<div class="pb" id="pg_225">[225]</div>
+<p>The cantata shows Liszt&rsquo;s talent rather than his
+genius. It is a wonderful mosaic-work of fancies,
+rather than an original, studied composition with
+definite purpose. Its motives, while not inspired,
+are finely conceived, and are presented not only
+gracefully, but in keeping with the spirituality of
+the subject.</p>
+<div class="imgtail"><img src="images/p225.png" alt="" width="127" height="105" /></div>
+</div>
+<div id="c070" title="MacFarren">
+<div class="pb" id="pg_226">[226]</div>
+<div class="img"><img src="images/p226.png" alt="" width="280" height="119" /></div>
+<h3>MACFARREN.</h3>
+<p>George Alexander Macfarren,
+one of the most prominent of modern
+English composers, was born in London,
+March 2, 1813. He began the study of
+music under the tuition of Charles Lucas in 1827.
+Two years later he entered the Royal Academy of
+Music, and in 1834 became one of its professors.
+The latter year dates the beginning of his career as
+a composer, his first work having been a symphony
+in F minor. During the next thirty years his important
+works were as follows: overture, &ldquo;Chevy
+Chace&rdquo; (1836); &ldquo;Devil&rsquo;s Opera,&rdquo; produced at the
+Lyceum (1838); &ldquo;Emblematical Tribute on the
+Queen&rsquo;s Marriage&rdquo; and an arrangement of Purcell&rsquo;s
+&ldquo;Dido and &AElig;neas&rdquo; (1840); editions of
+&ldquo;Belshazzar,&rdquo; &ldquo;Judas Maccab&aelig;us,&rdquo; and &ldquo;Jephthah,&rdquo;
+for the Handel Society (1843); the opera
+&ldquo;Don Quixote&rdquo; (1846); the opera &ldquo;Charles II.&rdquo;
+(1849); serenata, &ldquo;The Sleeper Awakened,&rdquo; and
+the cantata &ldquo;Lenora&rdquo; (1851); the cantata &ldquo;May
+Day,&rdquo; for the Bradford Festival (1856); the cantata
+&ldquo;Christmas&rdquo; (1859); the opera &ldquo;Robin
+<span class="pb" id="pg_227">[227]</span>
+Hood&rdquo; (1860); the masque &ldquo;Freya&rsquo;s Gift&rdquo; and
+opera &ldquo;Jessy Lea&rdquo; (1863); and the operas &ldquo;She
+Stoops to Conquer,&rdquo; &ldquo;The Soldier&rsquo;s Legacy,&rdquo; and
+&ldquo;Helvellyn&rdquo; (1864). About the last year his sight,
+which had been impaired for many years, failed.
+His blindness, however, did not diminish his activity.
+He still served as professor in the Royal
+Academy, and dictated compositions,&mdash;indeed
+some of his best works were composed during this
+time of affliction. In 1873 appeared his oratorio
+&ldquo;St. John the Baptist,&rdquo; which met with an enthusiastic
+reception at the Bristol Festival of that year.
+In 1875 he was elected professor of music at Cambridge,
+to fill the vacancy occasioned by the death
+of Sterndale Bennett, and in the same year was also
+appointed principal of the Royal Academy of Music.
+In 1876 his oratorio &ldquo;The Resurrection&rdquo; was performed
+at the Birmingham Festival, and in 1877
+the oratorio &ldquo;Joseph&rdquo; at Leeds, besides the cantata
+&ldquo;The Lady of the Lake&rdquo; at Glasgow. Grove
+catalogues his other compositions as follows: a
+cathedral service, anthems, chants, psalm-tunes, and
+introits for the Holy Days and Seasons of the English
+Church (1866); &ldquo;Songs in a Cornfield&rdquo; (1868);
+&ldquo;Shakspeare Songs for Four Voices&rdquo; (1860-64);
+songs from Lane&rsquo;s &ldquo;Arabian Nights,&rdquo; and Kingsley&rsquo;s
+and Tennyson&rsquo;s poems: overtures to &ldquo;The
+Merchant of Venice,&rdquo; &ldquo;Romeo and Juliet,&rdquo; &ldquo;Hamlet,&rdquo;
+and &ldquo;Don Carlos;&rdquo; symphonies, string quartets,
+and a quintet; a concerto for violin and orchestra;
+and sonatas for piano-forte alone, and in combination
+<span class="pb" id="pg_228">[228]</span>
+with other instruments. As lecturer, writer,
+and critic, Sir George Macfarren also holds a high
+place, among his important works being &ldquo;Rudiments
+of Harmony&rdquo; (1860); six Lectures on
+Harmony (1867); analyses of oratorios for the
+Sacred Harmonic Society (1853-57), and of orchestral
+works for the Philharmonic Society (1869-71);
+and a &ldquo;Musical History,&rdquo; being a reprint of
+an article on this subject contributed by him to the
+Encyclop&aelig;dia Britannica.</p>
+</div>
+<div id="c071" title="Christmas">
+<h4>Christmas.</h4>
+<p>&ldquo;Christmas,&rdquo; the poem by John Oxenford, was
+written in 1859, and was first performed at one of
+the concerts of the Musical Society of London, on
+the 9th of May 1860. The poem itself contains
+no story. It is merely a tribute to the season; but
+at the same time it is not destitute of incident, so
+that it possesses considerable dramatic interest.</p>
+<p>After a short instrumental introduction the cantata
+opens with a double chorus in antiphonal style,
+in which both the bright and the dark sides of
+winter are celebrated. The second choir takes up
+the theme:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;The trees lift up their branches bare</p>
+<p class="t">Against the sky:</p>
+<p class="t0">Through the keen and nipping air</p>
+<p class="t">For spring&rsquo;s return they seem to cry,</p>
+<p class="t0">As the winds with solemn tone</p>
+<p class="t0">About them sadly moan;&rdquo;</p>
+</div>
+</div>
+<div class="pb" id="pg_229">[229]</div>
+<p>and the first choir replies:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Old Winter&rsquo;s hand is always free,</p>
+<p class="t">He scatters diamonds round;</p>
+<p class="t0">They dart their light from every tree,</p>
+<p class="t">They glisten on the ground.</p>
+<p class="t0">Then who shall call the branches bare,</p>
+<p class="t0">When gems like those are sparkling there?&rdquo;</p>
+</div>
+</div>
+<p>The two then join and bring their friendly contest
+to a close:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">2nd Choir.&mdash;&ldquo;Come in, and closely shut the door</p>
+<p class="t7">Against the wintry weather;</p>
+<p class="t6">Of frost and snow we&rsquo;ll think no more,</p>
+<p class="t7">While round the fire we sit together.&rdquo;</p>
+</div>
+<div class="verse">
+<p class="t0">1st Choir.&mdash;&ldquo;Rush out from every cottage door,</p>
+<p class="t7">&rsquo;Tis brave and bracing weather;</p>
+<p class="t6">A madder throng ne&rsquo;er met before,</p>
+<p class="t7">Than those which now have come together.&rdquo;</p>
+</div>
+</div>
+<p>This double number, which is very effective, is followed
+by a soprano recitative and romance (&ldquo;Welcome,
+blest Season&rdquo;), tender and yet joyous in
+character, which celebrates the delight of friendly
+reunions at Christmas tide, and the pleasure with
+which those long absent seek &ldquo;the old familiar
+door.&rdquo; In the next number, an old English carol
+(&ldquo;A Blessing on this noble House and all who in it
+dwell&rdquo;), Christmas is fairly introduced. It is sung
+first in unison by full chorus, then changes to harmony,
+in which one choir retains the melody, and
+closes with a new subject for orchestral treatment,
+the united choirs singing the carol. Christmas
+would not be complete without its story; and this
+<span class="pb" id="pg_230">[230]</span>
+we have in the next number for contralto solo and
+chorus, entitled &ldquo;A Christmas Tale.&rdquo; It is preceded
+by recitative, written in the old English style,
+and each verse closes with a refrain, first sung as
+a solo, and then repeated in full harmony by the
+chorus:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;A bleak and kindless morning had broke on Althenay,</p>
+<p class="t0">Where shunning Danish foemen the good King Alfred lay;</p>
+<p class="t0">&lsquo;In search of food our hunters departed long ago,</p>
+<p class="t0">I fear that they have perished, embedded in the snow.&rsquo;</p>
+<p class="t0">While thus he sadly muses, an aged man he sees,</p>
+<p class="t0">With white hair on his forehead like frost upon the trees.</p>
+<p class="t0">An image of the winter the haggard pilgrim stands,</p>
+<p class="t0">And breathing forth his sorrows, lifts up his withered hands:</p>
+<p class="t4">&lsquo;The Heavenly King, who reigns on high,</p>
+<p class="t4">Bless him who hears the poor man&rsquo;s cry.&rsquo;</p>
+</div>
+<div class="verse">
+<p class="t0">&ldquo;&lsquo;Our hearts are moved with pity, thy sufferings we deplore,&rsquo;</p>
+<p class="t0">Said Alfred&rsquo;s queen, the gentle, &lsquo;but scanty is our store;</p>
+<p class="t0">One loaf alone is left us.&rsquo; &lsquo;Then give it,&rsquo; said the King,</p>
+<p class="t0">&lsquo;For He who feeds the ravens, yes, He will fresh abundance bring.&rsquo;</p>
+<p class="t0">The wind was roaring loudly, the snow was falling fast,</p>
+<p class="t0">As from the lofty turret the last, last loaf he cast.</p>
+<p class="t0">An image of the winter, the haggard pilgrim stands,</p>
+<p class="t0">And Alfred&rsquo;s welcome pittance he catches with his hands.</p>
+<p class="t4">&lsquo;The Heavenly King, who reigns on high,</p>
+<p class="t4">Bless him who hears the poor man&rsquo;s cry.&rsquo;</p>
+</div>
+<div class="verse">
+<p class="t0">&ldquo;The snow is thickly falling, the winter wind is loud,</p>
+<p class="t0">But yonder in the distance appears a joyous crowd.</p>
+<p class="t0">The hunters bring their booty, the peasants bring their corn,</p>
+<p class="t0">And cheering songs of triumph along the blast are borne.</p>
+<p class="t0">Before another morning down-stricken is the foe,</p>
+<p class="t0">And blood of Danish warriors is red upon the snow.</p>
+<p class="t0">Amid the conquering Saxons the aged pilgrim stands,</p>
+<p class="t0">And like a holy prophet exclaims with lifted hands,</p>
+<p class="t4">&lsquo;The Heavenly King, who reigns on high,</p>
+<p class="t4">Bless him who hears the poor man&rsquo;s cry.&rsquo;&rdquo;</p>
+</div>
+</div>
+<div class="pb" id="pg_231">[231]</div>
+<p>A graceful little duet for female voices (&ldquo;Little
+Children, all rejoice&rdquo;), picturing the delights of
+childhood and its exemption from care, follows the
+Saxon story and leads up to the finale, which is
+choral throughout, and gives all the pleasant details
+of Christmas cheer,&mdash;the feast in the vaulted hall,
+the baron of beef, the boar with the lemon in his
+jaw, the pudding, &ldquo;gem of all the feast,&rdquo; the generous
+wassail, and the mistletoe bough with its warning
+to maids. In delightfully picturesque old English
+music the joyous scene comes to an end:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t">&ldquo;Varied sports the evening close,</p>
+<p class="t">Dancers form in busy rows:</p>
+<p class="t">Hoodwink&rsquo;d lovers roam about,</p>
+<p class="t">Hope to find the right one out,</p>
+<p class="t0">And when they fail how merry is the shout!</p>
+<p class="t">Round yon flickering flame of blue</p>
+<p class="t">Urchins sit, an anxious crew;</p>
+<p class="t">Dainties rich the bold invite,</p>
+<p class="t0">While from the fire the timid shrink with fright.</p>
+<p class="t">Welcome all, welcome all.</p>
+<p class="t">&rsquo;Tis merry now in the vaulted hall,</p>
+<p class="t">The mistletoe is overhead,</p>
+<p class="t">The holly flaunts its berries red,</p>
+<p class="t">The wassail-bowl goes gayly round;</p>
+<p class="t">Our mirth awakes the echoes sound,</p>
+<p class="t">All eyes are bright, all hearts are gay;</p>
+<p class="t">Thus ends our Christmas day.&rdquo;</p>
+</div>
+</div>
+<div class="imgtail"><img src="images/p231.png" alt="" width="136" height="47" /></div>
+</div>
+<div id="c072" title="Mackenzie">
+<div class="pb" id="pg_232">[232]</div>
+<div class="img"><img src="images/p232.png" alt="" width="282" height="109" /></div>
+<h3>MACKENZIE.</h3>
+<p>Alexander C. Mackenzie, one of
+the very few successful Scotch composers,
+was born at Edinburgh, in 1847. His
+father was a musician, and recognizing
+his son&rsquo;s talent, sent him to Germany at the age
+of ten. He began his studies with Ulrich Eduard
+Stein at Schwartzburg-Sondershausen, and four years
+later entered the ducal orchestra as violinist. He
+remained there until 1862, when he went to England
+to study the violin with M. Sainton. In the
+same year he was elected king&rsquo;s scholar of the
+Royal Academy of Music. Three years later he returned
+to Edinburgh and established himself as a
+piano-teacher. The main work of his life, however,
+has been composition, and to this he has devoted
+himself with assiduity and remarkable success.
+Grove catalogues among his works: &ldquo;Cervantes,&rdquo;
+an overture for orchestra; a scherzo, for ditto;
+overture to a comedy; a string quintet, and many
+other pieces in MS.; piano-forte quartet in B., op.
+11; Trois Morceaux pour Piano, op. 15; two songs,
+op. 12; besides songs, part-songs, anthems, and
+<span class="pb" id="pg_233">[233]</span>
+pieces for the piano. This catalogue can now be
+increased by four of the most important works he
+has produced: a Scotch Rhapsody, introduced into
+this country by the Theodore Thomas orchestra;
+the oratorio &ldquo;Rose of Sharon&rdquo; (1884); an opera,
+&ldquo;The Troubadour&rdquo; (1885), and the cantata, &ldquo;The
+Story of Sayid&rdquo; (1886), which forms the subject of
+the subjoined sketch.</p>
+</div>
+<div id="c073" title="The Story of Sayid">
+<h4>The Story of Sayid.</h4>
+<p>&ldquo;The Story of Sayid,&rdquo; a dramatic cantata in two
+parts, the libretto by Joseph Bennett, was first produced
+at the Leeds Triennial Festival, Oct. 13, 1886.
+Its story is founded upon that of a poem in Edwin
+Arnold&rsquo;s &ldquo;Pearls of the Faith,&rdquo; and embodies a
+myth which is current among nearly all Oriental
+nations. The characters are Ilmas, daughter of
+S&acirc;wa (soprano); Sayid, an Arab chief (tenor);
+S&acirc;wa, a Hindoo prince (barytone); a watchman
+(tenor or barytone); and a horseman (barytone).
+The opening scene pictures the desolation of the
+land of S&acirc;wa, caused by the invasion of an Arab
+band, led by their chieftain, Sayid. In the midst of
+the popular lamentations a messenger announces
+the defeat of the Arabs and the capture of their
+leader, who is brought to the city and sentenced
+to death on the spot. As Sayid prepares to meet
+his fate, he is recognized by S&acirc;wa as his rescuer at a
+time when he was hunting in the hills and perishing
+<span class="pb" id="pg_234">[234]</span>
+with thirst. He offers him any boon he may ask
+except that of life. Sayid entreats that he may
+be allowed to visit his aged father, promising to return
+afterwards and suffer his fate. When S&acirc;wa
+asks who will be hostage for him, his own daughter,
+Ilmas, offers herself. Moved to pity for the Arab,
+she persists in her offer, and her father at last reluctantly
+consents. The second scene opens in
+Ilmas&rsquo;s palace, and we discover that pity has grown
+into passion for Sayid during his absence. She is
+interrupted in her meditations by S&acirc;wa, who enters
+with his counsellors, and announces that lightnings
+have flashed from the altars of Siva, and that the
+gods have demanded that the hostage must suffer in
+the absence of Sayid. Ilmas bids her attendants
+array her in bridal robes, and in the next scene
+appears in an open space near the city gate, surrounded
+by the court retinue and soldiers, and accompanied
+by her maidens, strewing flowers in her
+path. Ilmas is led to the centre of the space and
+kneels down, the executioner standing over her and
+awaiting the signal to be given by the watchman
+when the sun sets. Before that time comes the
+latter excitedly announces the rapid approach of an
+Arab horseman. While the crowd stand eagerly
+waiting his arrival, Sayid gallops through the gateway
+and presents himself to the Prince. He then turns
+to Ilmas, who warmly receives him, and affirms that
+whatever fate may overtake him she shall always
+cherish his memory. S&acirc;wa relents, bids the Arab
+live and be his friend, and we infer the happiness
+<span class="pb" id="pg_235">[235]</span>
+of the lovers from the invocation of &ldquo;Love the
+Conqueror,&rdquo; which brings the Damon and Pythias
+story, to a close.</p>
+<p>A very brief orchestral prelude introduces the
+opening chorus with solos:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Alas! our land is desolate,</p>
+<p class="t">The children cry for bread;</p>
+<p class="t0">Around, fierce fire and sword devour,</p>
+<p class="t">Our women wail their dead.</p>
+</div>
+<div class="verse">
+<p class="t0">&ldquo;We pray for vengeance on the foe,</p>
+<p class="t">To death consign them all;</p>
+<p class="t0">Siva, arise and fight for us,</p>
+<p class="t">Or see thine altars fall.&rdquo;</p>
+</div>
+</div>
+<p>As the expressive chorus comes to a close, an allegro
+movement leads to a dialogue between the people
+and the watchman, and subsequently with the horseman,
+who announces the approach of the victorious
+army, followed by a second chorus of the people
+invoking Siva (&ldquo;Vishnu, Vishnu, thou hast heard
+our Cry!&rdquo;). The scene is very dramatic throughout,
+and is accompanied by vigorous and suggestive
+music. The next number is a triumphal march,
+remarkable for its local color, and gradually increasing
+in power and effect as the army approaches the
+city. It is followed by an excited dialogue between
+S&acirc;wa and Sayid, with choral responses, and leads up
+to a beautiful melody for Sayid:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Where sets the sun adown the crimson west</p>
+<p class="t">My native valley lies;</p>
+<p class="t0">There by a gentle stream that murmurs rest</p>
+<p class="t">My father&rsquo;s tents arise.</p>
+</div>
+<div class="pb" id="pg_236">[236]</div>
+<div class="verse">
+<p class="t0">&ldquo;Fearing no harm, the happy peasant tills,</p>
+<p class="t">The woolly flocks increase;</p>
+<p class="t0">The shepherd&rsquo;s pipe is heard upon the hills,</p>
+<p class="t">And all around is peace.&rdquo;</p>
+</div>
+</div>
+<p>Another dramatic scene follows, in which S&acirc;wa
+consents to Sayid&rsquo;s return to his father, and accepts
+Ilmas as his bondswoman, which leads to a very
+spirited and elaborate melody for the latter (&ldquo;First
+of his Prophet&rsquo;s Warriors he&rdquo;). The first part closes
+with the departure of Sayid and a repetition of the
+choral invocation of Siva.</p>
+<p>The second part opens in an apartment of S&acirc;wa&rsquo;s
+palace, and discloses Ilmas sitting with her maidens,
+as a thunderstorm dies away in the distance. The
+latter join in a graceful chorus, which is one of the
+most beautiful numbers in the cantata:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Sweet the balmy days of spring,</p>
+<p class="t0">And blushing roses that they bring;</p>
+<p class="t3">But sweeter far is love.&rdquo;</p>
+</div>
+</div>
+<p>Ilmas answers them in a broad and exultant
+strain (&ldquo;Ay, sweet indeed is Love&rdquo;). As the song
+ends, S&acirc;wa and attendants enter, and the scene
+closes with a very dramatic chorus and solos, accompanying
+the preparations for death. The second
+scene opens with a solemn march for orchestra, preparing
+the way for the climax, and leading up to a
+chorus and solo for Ilmas (&ldquo;What have these Sounds
+to do with bridal Robes?&rdquo;). As she kneels, awaiting
+her fate, an orchestral interlude, set to the rhythm
+of the gallop, indicates the rapid approach of Sayid.
+A short and agitated dialogue follows between the
+<span class="pb" id="pg_237">[237]</span>
+watchman and the people. Sayid declares his presence,
+and a graceful duet with Ilmas ensues (&ldquo;Noble
+Maiden, low before thee Sayid bows&rdquo;), leading to a
+powerful choral finale (&ldquo;Never before was known
+a Deed like this&rdquo;), closing with a stirring outburst
+for all the voices:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;O Love, thy car triumphal</p>
+<p class="t0">Rolls round the subject world</p>
+<p class="t0">More glorious than the chariot</p>
+<p class="t6">Of the sun.</p>
+</div>
+<div class="verse">
+<p class="t0">&ldquo;We hail thee, Love victorious!</p>
+<p class="t0">Ride on with strength divine,</p>
+<p class="t0">And quench all mortal passion</p>
+<p class="t6">In thine own.&rdquo;</p>
+</div>
+</div>
+</div>
+<div id="c074" title="Jubilee Ode">
+<h4>Jubilee Ode.<sup><a id="fr_29" href="#fn_29">[29]</a></sup></h4>
+<p>This work, upon which Dr. Mackenzie has been
+engaged for some time past, is now complete, and
+on its way to several distant parts of the Empire,
+where arrangements are making to perform it in
+celebration of the Jubilee. Primarily, as our readers
+know, the Ode was intended for the Crystal Palace
+only, but it will be given also in Canada, Australia,
+<span class="pb" id="pg_238">[238]</span>
+Trinidad, Cape Colony, etc.; thus standing out
+from all its fellows as in some sort an Imperial
+work.</p>
+<p>Without anticipating the criticism which will follow
+upon performance, we may here give some idea
+of the scope and character of the Ode. Mr. Joseph
+Bennett, the writer of the words, has kept strictly in
+view the exigencies of a musical setting. He has
+obviously prepared, not a short poem for readers,
+but one for musical hearers. Hence a variety of
+rhythm and structure which otherwise would certainly
+not have been ventured upon. From the
+same cause arises also the manner in which the subject
+is laid out, with a view to contrast of musical
+effect. We may indicate the nature of this arrangement.
+In the first vocal number, a chorus, the
+news of the Jubilee is proclaimed, and its diffusion
+throughout the Empire called for. The second
+number, a tenor solo, conveys to the Queen the
+affectionate greetings of her home-lands, declaring
+that, to keep the feast with unanimity, all weapons
+of party warfare are laid aside. In the third number
+the Colonies and Dependencies pay their homage,
+the idea worked out being that of a procession
+passing before the throne. First comes the Dominion,
+followed by Australia, the smaller colonies
+and islands, and, lastly, by India. Each of these
+divisions has a section of the chorus to itself. The
+fifth number, a soprano solo, dwells upon the personal
+virtues of the Sovereign; while the sixth, and
+last, opening with a choral prayer for the Empire,
+<span class="pb" id="pg_239">[239]</span>
+continues with lines leading to the National Anthem,
+for which a new second verse has been written. How
+far the writer has been guided by consideration for
+musical opportunities need not, after this outline
+sketch, be indicated. The spirit in which Mr.
+Bennett has approached his theme best appears,
+perhaps, in the opening verses:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t4">&ldquo;For fifty years our Queen!</p>
+<p class="t12">Victoria! hail!</p>
+<p class="t4">Take up the cry, glad voices,</p>
+<p class="t5">And pass the strain</p>
+<p class="t5">O&rsquo;er hill and plain,</p>
+<p class="t0">Peaceful hamlet, roaring city, flowing river,</p>
+<p class="t4">Till all the land rejoices.</p>
+<p class="t0">Wild clanging bells and thund&rsquo;rous cannon</p>
+<p class="t0">With your loudest shock the air, and make it quiver</p>
+<p class="t0">From Dee to Tamar, Thames to Shannon.</p>
+</div>
+<div class="verse">
+<p class="t4">&ldquo;For fifty years our Queen!</p>
+<p class="t12">Victoria! hail!</p>
+<p class="t4">Take up the cry, old ocean,</p>
+<p class="t5">And hoarsely shout</p>
+<p class="t5">The words about.</p>
+<p class="t0">British ships and world-wide British lands will cheer them,</p>
+<p class="t4">Rouse an Empire&rsquo;s full devotion.</p>
+<p class="t0">O blowing wind, come hither, bearing</p>
+<p class="t0">Answering voices, loud acclaiming. Hark! we hear them.</p>
+<p class="t0">They our loyal pride are sharing.&rdquo;</p>
+</div>
+</div>
+<p>In setting the words to music, Dr. Mackenzie has
+necessarily to consider the place of performance
+and the number of performers. This, however, was
+an amiable and fortunate obligation, since the result
+has been to give us a work built upon broad lines,
+and marked by plainness of structure to an extent
+<span class="pb" id="pg_240">[240]</span>
+unusual with the composer. We think that the
+music will be found to have a true festive ring, and
+a majestic solidity befitting the occasion. In the
+solos, with their more subdued expression, Dr. Mackenzie
+has kept contrast in view, without sacrifice
+of simplicity; but it is in the choruses that he best
+shows himself a master of bold and striking effects.
+Every bar goes straight to the point, while avoiding
+the commonplaces that naturally suggest themselves
+in the writing of festive music. The procession
+chorus is, in this respect, most noteworthy of all,
+and may be found no mean rival of that in the
+&ldquo;Rose of Sharon.&rdquo;</p>
+<div class="fnblock">
+<div class="fndef"><sup><a id="fn_29" href="#fr_29">[29]</a></sup> As the score of Mr. Mackenzie&rsquo;s Ode has not yet reached
+this country, the author has taken the liberty of transferring the
+above analysis of it to his work from the London &ldquo;Musical Times&rdquo;
+for May, 1887. Although its local character may preclude its
+performance here, it is not improbable that the composition of
+a composer so eminent will attract attention among American
+musicians.
+</div>
+</div>
+<div class="imgtail"><img src="images/p240.png" alt="" width="66" height="66" /></div>
+</div>
+<div id="c075" title="Massenet">
+<div class="pb" id="pg_241">[241]</div>
+<div class="img"><img src="images/p241.png" alt="" width="354" height="79" /></div>
+<h3>MASSENET.</h3>
+<p>Jules &Eacute;mile Fr&eacute;d&eacute;ric Massenet,
+a composer as yet but little known in this
+country, was born at Montaud, France,
+May 12, 1842. His musical education
+was obtained in the Paris Conservatory, in which
+between the years 1859 and 1863 he carried off
+two first prizes and one second. After leaving the
+Conservatory, he went to Italy for a time and pursued
+his studies in composition. On his return to
+Paris one of his operas, &ldquo;La Grand Tante,&rdquo; was
+produced at the Op&eacute;ra Comique (1867) through
+the influence of Ambroise Thomas, and this performance
+called attention to the works of the rising
+young musician. In 1872 he brought out &ldquo;Don
+C&aelig;sar de Bazan,&rdquo; an op&eacute;ra comique in three acts,
+and in the following year incidental music to the
+tragedy &ldquo;Les Erinnyes,&rdquo; after &AElig;schylus. Among
+his works written since that time are &ldquo;Le Roi de
+Lahore&rdquo; (1877); &ldquo;Herodiade&rdquo; (1882); &ldquo;Manon&rdquo;
+(1885); &ldquo;Le Cid&rdquo; (1885); the cantata &ldquo;Paix et
+Libert&eacute;&rdquo; (1867); &ldquo;Marie Magdaleine&rdquo; (1873);
+&ldquo;Eve,&rdquo; a mystery (1875); &ldquo;La Vierge,&rdquo; sacred
+legend; and &ldquo;Narcisse,&rdquo; antique idylle (1878).
+<span class="pb" id="pg_242">[242]</span>
+Among his orchestral works the best known are
+&ldquo;Suites d&rsquo;orchestre;&rdquo; &ldquo;Scenes Hongroises;&rdquo;
+&ldquo;Scenes Pittoresques;&rdquo; &ldquo;Scenes Dramatiques;&rdquo;
+overture &ldquo;Ph&egrave;dre;&rdquo; and &ldquo;Pompeia,&rdquo; fantasia-symphony.
+He has also written numerous songs
+and piano-forte pieces. His operas thus far have
+been his most successful works, though several of his
+large concert pieces have been very favorably received.
+He now occupies a position in the Paris
+Conservatory, and is regarded as one of the most
+promising members of the modern French school.</p>
+</div>
+<div id="c076" title="Mary Magdalen">
+<h4>Mary Magdalen.</h4>
+<p>&ldquo;Mary Magdalen&rdquo; was written in 1873, and was
+first performed at the Od&eacute;on, Paris, in that year,
+with Mmes. Viardot and Vidal and MM. Bosquin
+and Petit in the solo parts. It is styled by its composer
+a sacred drama, and is divided into three acts,
+the first entitled &ldquo;The Magdalen at the Fountain;&rdquo;
+the second, &ldquo;Jesus before the Magdalen;&rdquo; the third,
+&ldquo;Golgotha,&rdquo; &ldquo;The Magdalen at the Cross,&rdquo; and
+&ldquo;The Tomb of Jesus and the Resurrection;&rdquo; the
+first two scenes in the last act being included in one
+tableau, and the third in another. The characters
+represented are Mary Magdalen, Martha, Jesus, and
+Judas, the chorus parts being assigned to the Disciples,
+Pharisees, Scribes, publicans, soldiers, servants,
+holy women, and people.</p>
+<div class="pb" id="pg_243">[243]</div>
+<p>After a short introduction, pastoral in character,
+the work begins with a scene representing Mary at
+the fountain of Magdala near sunset, among women,
+publicans, Scribes, and Pharisees, strolling along the
+banks of the little stream that flows from it. The
+women sing a short chorus full of Oriental color anticipating
+the approach of the beautiful Nazarene.
+A group of young Magdalens pass along singing
+blithely of love and gay cavaliers (&ldquo;C&rsquo;est l&rsquo;heure
+o&ugrave; conduisant de longues Caravanes&rdquo;), and the
+song of the women blends with it. Next follows
+a chorus of the Scribes, discussing this Stranger,
+and pronouncing Him an impostor, and again the
+young Magdalens take up their strain. The second
+number is a pathetic aria by Mary (&ldquo;O mes S&oelig;urs&rdquo;),
+which is full of tender beauty. The women shrink
+back from her and join in a taunting chorus (&ldquo;La
+belle P&eacute;cheresse oublie&rdquo;). Next, Judas appears upon
+the scene, and servilely saluting Mary counsels her to
+abandon sadness and return to love, in an aria which
+is a good illustration of irony in music. It is followed
+by a powerful and mocking chorus of women,
+Pharisees, and Scribes (&ldquo;Vainement tu pleures&rdquo;),
+in which she is taunted with her shame, despite her
+sad appeals for pity. The next scene is an aria and
+trio. Jesus appears in their midst, and in a calm
+impressive aria (&ldquo;Vous qui fl&eacute;trissez les Erreurs des
+autres&rdquo;) rebukes them. Mary prostrates herself at
+His feet and implores pardon, and the scene closes
+with a trio for Jesus, Mary, and Judas, leading up
+to a strong concerted finale closing the act, in which
+<span class="pb" id="pg_244">[244]</span>
+Jesus bids the Magdalen rise and return to her
+home, whither He is about to repair.</p>
+<p>The second act opens in the Magdalen&rsquo;s house,
+which is richly decorated with flowers and redolent
+with perfume. It begins with a sensuous female
+chorus (&ldquo;Le Seuil est par&eacute; de Fleurs rares&rdquo;) followed
+by Martha&rsquo;s admonition to the servants that
+He who is more powerful than earthly kings cares
+not for vain shows. The chorus resumes its song,
+and at its close Judas appears and a long dialogue
+follows in which Martha rebukes his hypocrisy.
+As he departs, Mary and Martha in a very graceful
+duet discourse of the Saviour&rsquo;s coming, which is interrupted
+by His presence and invocation of blessing.
+After a duet between Jesus and Mary, in
+which He commends her to the Good Shepherd,
+the act closes with a powerful and very dramatic
+finale containing Jesus&rsquo; rebuke to Judas and His
+declaration of the coming betrayal, after which the
+Disciples join in a simple but very effective prayer
+(&ldquo;Notre P&egrave;re, lou&eacute; soit Nom radieux&rdquo;).</p>
+<p>The third act is divided into two tableaux. In
+the first we have the scene of the crucifixion, the
+agitated choruses of the groups about the Cross,
+the mocking strains of the Pharisees bidding Him
+descend if He is the Master, the sorrowing song of
+Mary (&ldquo;O Bien-aim&eacute; sous la sombre Couronne&rdquo;),
+and the final tragedy. The second is devoted to
+the resurrection and apparition, which are treated
+very dramatically, closing with an exultant Easter
+hymn (&ldquo;Christ est vivant, ressuscit&eacute;&rdquo;).</p>
+<div class="pb" id="pg_245">[245]</div>
+<p>In the first two acts the music is full of rich
+Oriental color and is gracefully melodious and well
+adapted to the situation; but in the last act the awful
+solemnity of the tragedy is somewhat lost in the
+theatrical manner of its treatment. Indeed it was
+hardly necessary that the composer should have
+disclaimed the title of oratorio which some have
+assigned to the work. His division of it into acts
+and tableaux was sufficient to indicate that he had
+the stage in mind when he was writing; or at least
+that his scheme was operatic in style.</p>
+<div class="imgtail"><img src="images/p245.png" alt="" width="103" height="77" /></div>
+</div>
+<div id="c077" title="Mendelssohn">
+<div class="pb" id="pg_246">[246]</div>
+<div class="img"><img src="images/p246.png" alt="" width="367" height="107" /></div>
+<h3>MENDELSSOHN.</h3>
+<p>Felix Mendelssohn Bartholdy,
+the son of a Berlin banker, was born
+at Hamburg, Feb. 3, 1809, and, unlike
+almost all other composers, was reared
+in the lap of luxury. He enjoyed every advantage
+which wealth could procure, with the result that he
+became highly educated in the other arts as well as
+in music. His teachers in music were Zelter and
+Ludwig Berger, and he made such progress that in
+his ninth year he appeared in public as a pianist
+in Berlin and afterwards in Paris. The first of his
+compositions to attract general notice were the
+overture to Shakspeare&rsquo;s &ldquo;Midsummer Night&rsquo;s
+Dream&rdquo; and the little opera &ldquo;The Marriage of
+Camacho,&rdquo; which were brought out in Berlin in
+1827. After several concert-tours, in which he met
+with great success, he resided for some time in
+D&uuml;sseldorf. In 1835 he went to Leipsic as director
+of the famous Gewandhaus concerts,&mdash;which are
+still given in that city. Two years later he married
+C&eacute;cile Jeanrenaud, the beautiful daughter of a minister
+of the Reformed Church in Frankfort, and
+<span class="pb" id="pg_247">[247]</span>
+shortly afterwards went to Berlin as general director
+of church music. In 1843 he returned to his former
+post in Leipsic, and also took a position in the
+newly established Conservatory, where he spent the
+remainder of his days in company with his family,
+to whom he was closely attached. He has left a
+large and rich collection of musical works, which
+are favorites the world over. His three great
+oratorios are the &ldquo;Hymn of Praise,&rdquo; catalogued as
+a symphony-cantata, &ldquo;St. Paul,&rdquo; and &ldquo;Elijah.&rdquo;
+Besides these oratorios, the exquisite music to the
+&ldquo;Midsummer Night&rsquo;s Dream,&rdquo; which is familiar the
+world over, and his stately dramatic music to &ldquo;Antigone,&rdquo;
+he has left five symphonies, of which the
+&ldquo;Scotch,&rdquo; the &ldquo;Italian,&rdquo; and the &ldquo;Reformation&rdquo;
+are best known; four beautiful overtures, &ldquo;Ruy
+Blas,&rdquo; &ldquo;Calm Sea and Prosperous Voyage,&rdquo; &ldquo;Hebrides,&rdquo;
+and &ldquo;Melusina;&rdquo; the very dramatic cantata,
+&ldquo;The Walpurgis Night;&rdquo; a long list of songs for
+one or more voices; the incidental music to Racine&rsquo;s
+&ldquo;Athalia;&rdquo; a very large collection of sacred
+music, such as psalms, hymns, anthems, and cantatas;
+several trios and other specimens of chamber
+music; and the lovely &ldquo;Songs without Words,&rdquo;
+which are to be found upon almost every piano,
+the beauty and freshness of which time has not
+impaired. Mendelssohn never wrote a grand opera,
+owing to his fastidiousness as to a libretto; though
+he finally obtained one from Geibel on the subject
+of the &ldquo;Loreley&rdquo; which suited him. He had
+begun to write it, and had finished the finale to the
+<span class="pb" id="pg_248">[248]</span>
+first act, when death interrupted his work, Nov. 4,
+1847. In addition to the subjoined compositions
+selected for description, the following may be mentioned
+as possessing the cantata characteristics:
+op. 31, the 115th Psalm, for solo, chorus, and orchestra;
+op. 46, the 95th Psalm, for chorus and
+orchestra; op. 51, the 114th Psalm, for double
+chorus and orchestra; op. 78, three Psalms for solo
+and chorus; op. 91, the 98th Psalm, for double
+chorus and orchestra; and op. 96, Hymn (&ldquo;Lass,
+O Herr mich&rdquo;) for alto solo, chorus, and orchestra.</p>
+</div>
+<div id="c078" title="The Walpurgis Night">
+<h4>The Walpurgis Night.</h4>
+<p>It was during his Italian travels in 1831 that
+Mendelssohn composed the music to Goethe&rsquo;s
+poem &ldquo;The First Walpurgis Night.&rdquo; His letters
+throw much and interesting light upon the composition
+and his ideas while writing it. In a letter
+written at Rome, Feb. 22, 1831, he says:&mdash;</p>
+<p class="bq">&ldquo;Listen and wonder! Since I left Vienna I have
+partly composed Goethe&rsquo;s &lsquo;First Walpurgis Night,&rsquo;
+but have not yet had courage to write it down. The
+composition has now assumed a form and become a
+grand cantata, with full orchestra, and may turn out well.
+At the opening there are songs of spring, etc., and
+plenty others of the same kind. Afterwards, when the
+watchmen with their &lsquo;Gabeln, und Zacken, und Eulen,&rsquo;
+make a great noise, the fairy frolics begin, and you
+know that I have a particular foible for them; the
+sacrificial Druids then appear with their trombones in
+<span class="pb" id="pg_249">[249]</span>
+C major, when the watchmen come in again in alarm;
+and here I mean to introduce a light, mysterious,
+tripping chorus, and lastly to conclude with a grand
+sacrificial hymn. Do you not think that this might
+develop into a new style of cantata? I have an instrumental
+introduction as a matter of course, and the
+effect of the whole is spirited.&rdquo;</p>
+<p>On the 27th of April ensuing he refers to it
+again:&mdash;</p>
+<p class="bq">&ldquo;I must however return to my witches, so you must
+forgive my not writing any more to-day. This whole
+letter seems to hover in uncertainty, or rather I do so
+in my &lsquo;Walpurgis Night,&rsquo; whether I am to introduce
+the big drum or not. &lsquo;Zacken, Gabeln, und wilde
+Klapperst&ouml;cke&rsquo; seem to force me to the big drum,
+but moderation dissuades me. I certainly am the
+only person who ever composed for the scene on the
+Brocken without employing a piccolo-flute, but I can&rsquo;t
+help regretting the big drum; and before I can receive
+Fanny&rsquo;s<sup><a id="fr_30" href="#fn_30">[30]</a></sup>
+advice, the &lsquo;Walpurgis Night&rsquo; will be finished and packed up.&rdquo;</p>
+<p>On his way back to Germany he writes from
+Milan, July 13, 1831, to the artist and operatic
+director, Eduard Devrient:&mdash;</p>
+<p class="bq">&ldquo;I have been writing a large composition that perhaps
+will one day make some effect,&mdash;&lsquo;The First
+Walpurgis Night&rsquo; of Goethe. I began it simply because
+it pleased and excited me; I did not think of
+any performance. But now that it is finished, I see
+that it is well suited for a large concert piece, and in
+<span class="pb" id="pg_250">[250]</span>
+my first subscription concert in Berlin you shall sing
+the bearded Druid,&mdash;the chorus sung by &mdash;&mdash;, kindly
+assisted by &mdash;&mdash;. I have written the part of the Druid
+into your throstle (by permission), and you will have to
+sing it out again.&rdquo;</p>
+<p>It was several years before the &ldquo;Walpurgis Night&rdquo;
+was publicly performed, and meanwhile it underwent
+several changes. On the 28th of November,
+1842, he writes to his mother:&mdash;</p>
+<p class="bq">&ldquo;I am really anxious to make the &lsquo;Walpurgis Night&rsquo;
+into a symphony-cantata, for which it was originally
+intended, but did not become so from want of courage
+on my part.&rdquo;</p>
+<p>On the 11th of December of the same year he
+writes her:&mdash;</p>
+<p class="bq">&ldquo;My &lsquo;Walpurgis Night&rsquo; is to appear once more in
+the second part, in a somewhat different garb indeed
+from the former one, which was somewhat too richly
+endowed with trombones, and rather poor in the vocal
+parts; but to effect this I have been obliged to re-write
+the whole score from A to Z, and to add two
+new arias, not to mention the rest of the clipping and
+cutting. If I don&rsquo;t like it now, I solemnly vow to
+give it up for the rest of my life.&rdquo;</p>
+<p>The cantata was first publicly performed in Leipsic,
+Feb. 2, 1843, at a concert, in which it occupied
+the second part of the programme. It had to stand
+a severe test of comparison, for the first part was
+very brilliant, including a Haydn symphony, a Mozart
+aria, Beethoven&rsquo;s &ldquo;Choral Fantasie,&rdquo; the piano
+<span class="pb" id="pg_251">[251]</span>
+part played by Madame Schumann, the overture
+from &ldquo;Euryanthe,&rdquo; and the chorus from Weber&rsquo;s
+&ldquo;Lyre and Sword;&rdquo; but it made a success, and was
+received with great enthusiasm.</p>
+<p>The subject of the cantata is a very simple one.
+The witches of the Northern mythology were supposed
+to hold their revels on the summit of the
+Brocken on the eve of the 1st of May (Walpurgis
+Night), and the details of their wild and infernal
+&ldquo;Sabbath&rdquo; are familiar to every reader of &ldquo;Faust.&rdquo;
+In his separate poem Goethe seeks to go back to
+the origin of the first Walpurgis Night. May-day
+eve was consecrated to Saint Walpurgis, who converted
+the Saxons from Druidism to Christianity, and
+on that night the evil spirits were said to be abroad.
+Goethe conceived the idea that the Druids on that
+night betook themselves to the mountains to celebrate
+their rites without interference from the Christians,
+accomplishing their purpose by disguising
+their sentinels as demons, who, when the Christians
+approached, ran through the woods with torches,
+clashed their arms, uttered hideous noises, and thus
+frightened them away, leaving the Druids free to
+finish their sacrifices.</p>
+<p>The cantata begins with an overture in two movements,
+an <i>allegro con fuoco</i> and an <i>allegro vivace</i>,
+which describes in vivid tone-colors the passing of
+the season from winter to spring. The first number
+is a tenor solo and chorus of Druids, which are full
+of spring feeling, rising to religious fervor in the
+close:&mdash;</p>
+<div class="pb" id="pg_252">[252]</div>
+<div class="bq">
+<div class="verse">
+<p class="t2">&ldquo;Now May again</p>
+<p class="t2">Breaks winter&rsquo;s chain,</p>
+<p class="t0">The buds and bloom are springing;</p>
+<p class="t2">No snow is seen,</p>
+<p class="t2">The vales are green,</p>
+<p class="t0">The woodland choirs are singing!</p>
+<p class="t2">Yon mountain height</p>
+<p class="t2">Is wintry white;</p>
+<p class="t0">Upon it we will gather,&mdash;</p>
+<p class="t2">Begin the ancient holy rite;</p>
+<p class="t0">Praise our Almighty Father.&rdquo;</p>
+</div>
+</div>
+<p>The next number is an alto solo, the warning of
+an aged woman of the people, which is very dramatic
+in its style:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Know ye not a deed so daring</p>
+<p class="t0">Dooms us all to die despairing?</p>
+<p class="t0">Know ye not it is forbidden</p>
+<p class="t0">By the edicts of our foemen?&rdquo;</p>
+</div>
+</div>
+<p>The warning is followed by a stately exhortation
+from the Druid priest (&ldquo;The man who flies our
+sacrifice&rdquo;), leading up to a short chorus of a very
+stirring character in which the Druids resolve to
+go on with their rites. It is followed by a pianissimo
+chorus of the guards whispering to each other
+to &ldquo;secure the passes round the glen.&rdquo; One of them
+suggests the demon scheme for frightening the
+enemy, which leads to the chorus:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Come with torches brightly flashing;</p>
+<p class="t0">Rush along with billets clashing;</p>
+<p class="t0">Through the night-gloom lead and follow,</p>
+<p class="t0">In and out each rocky hollow.</p>
+<p class="t2">Owls and ravens,</p>
+<p class="t0">Howl with us and scare the cravens.&rdquo;</p>
+</div>
+</div>
+<div class="pb" id="pg_253">[253]</div>
+<p>In this chorus the composer has given the freest
+rein to his fancy, and presents the weird scene in a
+grotesque chaos of musical effects, both vocal and
+instrumental, which may fairly be called infernal,
+and yet preserves form and rhythm throughout.
+It is followed by an exalted and impressive hymn
+for bass solo and chorus, which is a relief after the
+diablerie of the preceding number:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t2">&ldquo;Restrained by might</p>
+<p class="t2">We now by night</p>
+<p class="t0">In secret here adore Thee.</p>
+<p class="t2">Still it is day</p>
+<p class="t2">Whene&rsquo;er we pray,</p>
+<p class="t0">And humbly bow before Thee.</p>
+<p class="t2">Thou canst assuage</p>
+<p class="t2">Our foemen&rsquo;s rage</p>
+<p class="t0">And shield us from their terrors.</p>
+<p class="t2">The flame aspires!</p>
+<p class="t2">The smoke retires!</p>
+<p class="t0">Thus clear our faith from errors!</p>
+<p class="t2">Our customs quelled,</p>
+<p class="t2">Our rights withheld,</p>
+<p class="t0">Thy light shall shine forever.&rdquo;</p>
+</div>
+</div>
+<p>Following this impressive hymn comes the terrified
+warning of the Christian guard (tenor) and the
+response of his equally terrified comrades:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Help, my comrades! see a legion</p>
+<p class="t0">Yonder comes from Satan&rsquo;s region!</p>
+<p class="t0">See yon group of witches gliding</p>
+<p class="t">To and fro in flames advancing;</p>
+<p class="t0">Some on wolves and dragons riding,</p>
+<p class="t">See, ah, see them hither prancing!</p>
+<p class="t0">What a clattering troop of evil!</p>
+<p class="t0">Let us, let us quickly fly them!</p>
+<div class="pb" id="pg_254">[254]</div>
+<p class="t2">Imp and devil</p>
+<p class="t2">Lead the revel;</p>
+<p class="t2">See them caper,</p>
+<p class="t0">Wrapt in clouds of lurid vapor.&rdquo;</p>
+</div>
+</div>
+<p>As the Christians disappear, scared by the demon
+<i>ruse</i>, the Druids once more, led by their priest,
+resume their rites, closing with another choral
+hymn of praise similar in style to the first.</p>
+<div class="fnblock">
+<div class="fndef"><sup><a id="fn_30" href="#fr_30">[30]</a></sup> His sister.
+</div>
+</div>
+</div>
+<div id="c079" title="Antigone">
+<h4>Antigone.</h4>
+<p>Mendelssohn wrote incidental music to four great
+dramas,&mdash;the &ldquo;Antigone&rdquo; of Sophocles (1841);
+the &ldquo;&OElig;dipus at Colonos&rdquo; of Sophocles (1843);
+the &ldquo;Athalia&rdquo; of Racine (1843); and the &ldquo;Midsummer
+Night&rsquo;s Dream&rdquo; of Shakspeare (1843), the
+overture to which was written by him in 1826. The
+latter is mainly instrumental. Of the other three,
+the music to &ldquo;Antigone&rdquo; and &ldquo;&OElig;dipus&rdquo; is most
+frequently performed, and for that reason has been
+selected for description.</p>
+<p>In June, 1841, the King of Saxony invited Mendelssohn
+to become his Capellmeister. Frederick
+William IV. of Prussia had made him a similar
+offer about the same time. He accepted the latter
+and removed to Berlin, and the first duty imposed
+upon him by the King was the composition of music
+to the &ldquo;Antigone&rdquo; of Sophocles. With the
+assistance of the poet Tieck, who helped arrange
+the text, the work was accomplished in the short
+space of eleven days, and was given on the Potsdam
+<span class="pb" id="pg_255">[255]</span>
+Court stage October 28, to a private audience. It
+was first performed in public at Leipsic, March 5,
+1842. It is written for male chorus and orchestra,
+and includes seven numbers; namely, 1. Introduction
+and maestoso (&ldquo;Strahl des Helios sch&ouml;nstes
+Licht&rdquo;); 2. Andante con moto (&ldquo;Vieles Gewaltige
+lebt&rdquo;); 3. Moderato (&ldquo;Ihr Seligen deren&rdquo;); 4.
+Adagio (&ldquo;O Eros, Allsieger im Kampf&rdquo;); 5. Recitative
+and chorus (&ldquo;Noch toset des Sturmes Gewalt&rdquo;);
+6. Allegro maestoso (&ldquo;Vielnamiger! Wonn&rsquo;
+und Stolz&rdquo;); 7. Andante alla marcia (&ldquo;Hier
+Kommt er ja selbst&rdquo;).</p>
+<p>The following extracts will give a comprehensive
+view of this powerful and felicitous music. Lampadius,
+writing of the first public performance,
+says:&mdash;</p>
+<p class="bq">&ldquo;On the 5th of March the &lsquo;Antigone&rsquo; of Sophocles,
+translated by Donner and set to music by Mendelssohn,
+was brought out at the Leipsic theatre before a full
+audience. The composer directed, and was received
+with great applause. The music indeed was not antique,
+if to be so it must be played on the
+<span title="syrinx" class="g">&sigma;&#8059;&rho;&iota;&gamma;&xi;</span>, the
+<span title="salpinx" class="g">&sigma;&#8049;&lambda;&pi;&iota;&gamma;&xi;</span>, and the
+<span title="phorminx" class="g">&phi;&#8057;&rho;&mu;&iota;&gamma;&xi;</span>, or if the composer must confine
+himself to that Greek type of melody and harmony
+of which all we know is that it was extremely simple,
+and, according to our ideas, meagre; but it was antique
+completely, in its being filled with the fire of the
+tragedy and making its spirit intelligible to us moderns,
+strengthening the meaning of the words, and
+giving a running musical commentary on them....
+With us at Leipsic, as indeed everywhere, the Eros
+Chorus, with its solemn awe in the presence of the
+<span class="pb" id="pg_256">[256]</span>
+divine omnipotence of love, and the Bacchus Chorus,
+which, swinging the thyrsus, celebrates the praise of
+the Theban maiden&rsquo;s son in joyous strains, as well as
+the melodramatic passages, where Antigone enters,
+wailing, the chamber where her dead lover lay, and
+whither Creon has borne in his son&rsquo;s corpse, had an
+imposing effect. The impression of the whole piece,
+taken by itself, was very powerful. With amazement
+our modern world realized the sublimity of the ancient
+tragic muse, and recognized the &lsquo;great, gigantic fate
+which exalts man while grinding him to powder.&rsquo;&rdquo;</p>
+<p>Devrient, the director of the opera at Carlsruhe,
+in his &ldquo;Recollections of Mendelssohn,&rdquo; has left a
+delightful sketch of the composition of the work.
+He says:&mdash;</p>
+<p class="bq">&ldquo;Felix did not enter upon his task without the fullest
+consideration. The first suggestion was to set the
+chorus in unison throughout, and to recitative interspersed
+with solos; and as nearly as possible to intone
+or recite the words, with accompaniment of such instruments
+only as may be supposed in character with
+the time of Sophocles,&mdash;flutes, tubas, and harps, in the
+absence of lyres. I opposed to this plan that the voice
+parts would be intolerably monotonous, without the
+compensatory clearness of the text being attained....</p>
+<p class="bq">&ldquo;Nevertheless Felix made the attempt to carry out
+this view, but after a few days he confessed to me that
+it was impracticable; that I was right in maintaining
+the impossibility of making the words clear in choral
+singing, except in a few places that are obviously suited
+for recitative;<sup><a id="fr_31" href="#fn_31">[31]</a></sup>
+that the chanting of a chorus would
+<span class="pb" id="pg_257">[257]</span>
+be vexatiously monotonous, tedious, and unmusical;
+and that accompaniments for so few instruments would
+give so little scope for variety of expression that it
+would make the whole appear as a mere puerile imitation
+of the ancient music, about which, after all, we
+knew nothing. He concluded therefore that the
+choruses must be sung, as the parts must be recited,
+not to assimilate themselves with the usages of Attic
+tragedy (which might easily lead us into absurdity)
+but as we would now express ourselves in speech and
+song.... With this I fully concurred; and Felix set,
+so vigorously to work, that in a few weeks he played
+me sketches, and by the end of September nearly the
+whole chain of choruses was completed. Besides my
+delight at the beauty of these choruses, they confirmed
+me in the certainty that Felix&rsquo;s genius was eminently
+dramatic. They not only gave the key to every scene,
+the expression to each separate verse, from the narrow
+complacency of the Theban citizens to their heartful
+and exalted sympathy, but also a dramatic accent
+soaring far beyond the words of the poet. I allude
+particularly to the dithyrambus that occurs between
+Creon&rsquo;s attempt to rescue Antigone and the relation
+of its terrible failure. This song of praise really consists
+entirely of glorifying appeals to Bacchus, and its
+dramatic application lies only in the verse:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&lsquo;She was its pride,</p>
+<p class="t0">Who, clasping the Thunderer, died;</p>
+<p class="t0">And now, seeking its lost repose,</p>
+<p class="t0">We pray thee to come and heal its woes.</p>
+<p class="t0">Oh, hither bend;</p>
+<p class="t0">From thy Parnassian heights descend.&rsquo;</p>
+</div>
+</div>
+<p class="bq">&ldquo;To raise this chorus to be the terrible turning-point
+of the action; to bring here to its culmination the
+<span class="pb" id="pg_258">[258]</span>
+tension excited by the awful impending doom; to give
+this continually gathering power to the invocation,
+&lsquo;Hear us, Bacchus!&rsquo; till it becomes a cry of agony;
+to give this exhaustive musical expression to the
+situation, marks the composer to have a specially
+dramatic gift. And this is betokened no less in the
+melodramatic portions. The idea of adding rhythmical
+accompaniments to spoken words may have
+been suggested by a few well-set passages in the
+music to &lsquo;Faust&rsquo; by Prince Radziwill. It is to be
+regretted that the public is scarcely able to appreciate
+how exquisitely Mendelssohn has done this, since the
+representatives of Antigone and of Creon are seldom
+sufficiently musical to enter completely into the composer&rsquo;s
+intention; besides that in two passages of the
+accompanied dialogue of Antigone the words are not
+correctly set under the music.&rdquo;</p>
+<p>Of the private performance before the King and
+Court, Oct. 28, 1841, the same writer says:&mdash;</p>
+<p class="bq">&ldquo;We had two more rehearsals on the following day,
+the evening one in the presence of the King, and the
+performance itself took place on the 28th, before the
+Court and all the invited celebrities of art and science.
+It produced a very great sensation. The deep impression
+that the revival of an ancient tragedy could
+produce in our theatrical life promised to become an
+influence; it has purified our musical atmosphere, and
+it is certain that to Mendelssohn must be ascribed
+great and important merit in the cause.</p>
+<p class="bq">&ldquo;Although the learned, of whom each expected the
+ancient tragedy to be put upon the stage according to
+his peculiar conception of it (which would of course be
+totally different in every case) might find the music too
+<span class="pb" id="pg_259">[259]</span>
+modern, too operatic, in fact, not sufficiently philological,
+it is undeniable that Mendelssohn&rsquo;s music has
+made the tragedy of Sophocles accessible to the sympathies
+of the general public, without in any wise
+violating the spirit and aroma of the poem, but rather
+lending it new life and intelligibility.&rdquo;</p>
+<div class="fnblock">
+<div class="fndef"><sup><a id="fn_31" href="#fr_31">[31]</a></sup> The passages, &ldquo;But see, the son of Men&oelig;tius comes,&rdquo; etc.,
+and &ldquo;See, H&aelig;mon appears,&rdquo; etc., are examples.
+</div>
+</div>
+</div>
+<div id="c080" title="&OElig;dipus at Colonos">
+<h4>&OElig;dipus at Colonos.</h4>
+<p>The story of &ldquo;&OElig;dipus Tyrannus&rdquo; is told in this
+work in connection with Professor Paine&rsquo;s composition.
+The &ldquo;&OElig;dipus at Colonos,&rdquo; to which Mendelssohn
+set music, is the continuation of Sophocles&rsquo;
+tragedy, describing the banishment of the blind
+hero, the loving care of his daughters, his arrival
+at Attica, and his death in the gardens of the
+Eumenides at Colonos, absolved by the fate which
+had so cruelly pursued him.</p>
+<p>The music to &ldquo;&OElig;dipus&rdquo; was written at the
+command of the King of Prussia in 1843, and was
+first produced at Potsdam, Nov. 1, 1845. It contains
+a short introduction and nine choral numbers.
+The first and second choruses describe the entrance
+of &OElig;dipus and Antigone into the grove of the
+Eumenides, their discovery by the people, the story
+of his sorrows which he relates to them, his meeting
+with his daughter Ismene, and the arrival of
+Theseus the King. The third number is the gem
+of the work, and is often given on the concert-stage.
+The free translation of the text for this beautiful
+double chorus is as follows:&mdash;</p>
+<div class="pb" id="pg_260">[260]</div>
+<p class="bq">&ldquo;<i>Strophe</i>.&mdash;Thou hast come, O stranger, to the
+seats of this land, renowned for the steed; to seats the
+fairest on earth, the chalky Colonos; where the vocal
+nightingale, chief abounding, trills her plaintive note
+in the green dells, tenanting the dark-hued ivy and
+the leafy grove of the god, untrodden, teeming with
+fruits, impervious to the sun, and unshaken by the
+winds of every storm; where Bacchus, the reveller,
+ever roams attending his divine nurses.</p>
+<p class="bq">&ldquo;<i>Antistrophe</i>.&mdash;And ever day by day the narcissus,
+with its beauteous clusters, bursts into bloom by
+heaven&rsquo;s dew, the ancient coronet of the mighty goddesses,
+and the saffron with golden ray; nor do the
+sleepless founts of Cephisus that wander through
+the fields fail, but ever each day it rushes o&rsquo;er the
+plains with its limpid wave, fertilizing the bosom of
+the earth; nor have the choirs of the muses loathed
+this clime; nor Venus, too, of the golden reign.</p>
+<p class="bq">&ldquo;<i>Strophe</i>.&mdash;And there is a tree, such as I hear not
+to have ever sprung in the land of Asia, nor in the
+mighty Doric island of Pelops, a tree unplanted by
+hand, of spontaneous growth, terror of the hostile
+spear, which flourishes chiefly in this region, the leaf
+of the pale gray olive that nourishes our young. This
+shall neither any one in youth nor in old age, marking
+for destruction, and having laid it waste with his hand,
+bring to nought; for the eye that never closes of
+Morian Jove regards it, and the blue-eyed Minerva.</p>
+<p class="bq">&ldquo;<i>Antistrophe</i>.&mdash;And I have other praise for this
+mother-city to tell, the noblest gift of the mighty
+divinity, the highest vaunt, that she is the great of
+chivalry, renowned for the steed and famous on the
+main; for thou, O sovereign Neptune, son of Saturn,
+hast raised her to this glory, having first, in these
+fields, founded the bit to tame the horse; and the
+<span class="pb" id="pg_261">[261]</span>
+well-rowed boat, dashed forth by the hand, bounds marvellously
+through the brine, tracking on the hundred-footed
+daughters of Nereus.&rdquo;</p>
+<p>The first strophe is begun by one choir in unison
+after a short but graceful introduction which is repeated
+at the end of the strophe in another form, and
+then the second choir begins the antistrophe, set to
+the same beautiful melody. At its close the music
+changes in character and grows vigorous and excited
+as the first choir sings the second strophe, with
+which shortly the second choir joins in splendid
+eight-part harmony. The latter takes up the strain
+again in the second antistrophe, singing the praise
+of &ldquo;the mother-city,&rdquo; and the number closes with
+the united invocation to Neptune,&mdash;an effect which
+has hardly been excelled in choral music. The
+fourth chorus, which is very dramatic in its effect,
+tells of the assault of Creon upon &OElig;dipus, and the
+fifth, his protection by Theseus, who comes to the
+rescue. In this number the double choirs unite
+with magnificent effect in the appeal to the gods
+(&ldquo;Dread Power, that fillest Heaven&rsquo;s high Throne&rdquo;)
+to defend Theseus in the conflict. The sixth number
+(&ldquo;When the Health and Strength are gone&rdquo;)
+is a pathetic description of the blind hero&rsquo;s pitiful
+condition, and prepares the way for the powerful
+choruses in which his impending fate is foreshadowed
+by the thunderbolts of Jove which rend the
+heavens. The eighth and ninth choruses are full
+of the mournful spirit of the tragedy itself, and tell
+in notes as eloquent as Sophocles&rsquo; lines of the mysterious
+<span class="pb" id="pg_262">[262]</span>
+disappearance of the Theban hero, ingulfed
+in the opening earth, and the sorrowful lamentations
+of the daughters for the father whom they had
+served and loved so devotedly.</p>
+</div>
+<div id="c081" title="As the Hart Pants">
+<h4>As the Hart Pants.</h4>
+<p>The music to the Forty-second Psalm, familiarly
+known by the caption which forms the title of this
+sketch, was first performed at the tenth subscription
+Gewandhaus concert in Leipsic in 1838, Clara
+Novello taking the soprano part. Though not constructed
+upon the large scale of the &ldquo;Hymn of
+Praise,&rdquo; or even of the &ldquo;Walpurgis Night,&rdquo; it is a
+work which is thoroughly artistic, and just as complete
+and symmetrical in its way. It contains seven
+numbers. After a slow and well-sustained introduction,
+the work begins with a chorus (&ldquo;As the
+Hart pants after the Water Brooks, so panteth my
+soul for Thee, O God&rdquo;) which is a veritable prayer
+in its tenderness and expression of passionate longing.
+After the chorus a delicate and refined soprano
+solo (&ldquo;For my Soul thirsteth for God&rdquo;)
+continues the sentiment, first given out in an oboe
+solo, and then uttered by the voice in a beautifully
+melodious adagio. The third number is a soprano
+recitative (&ldquo;My Tears have been my Meat&rdquo;) leading
+to a chorus in march time by the sopranos and
+altos (&ldquo;For I had gone with the Multitude; I went
+with them to the House of God&rdquo;). Then follows
+<span class="pb" id="pg_263">[263]</span>
+a full chorus beginning with male voices in unison
+(&ldquo;Why, my Soul, art thou cast down?&rdquo;), answered
+by the female voices (&ldquo;Trust thou in God&rdquo;).
+Again the soprano voice is heard in pathetic recitative
+(&ldquo;O my God! my Soul is cast down within
+me; all Thy Waves and thy Billows are gone over
+me&rdquo;). A beautiful quartet of male voices with string
+accompaniment replies: &ldquo;The Lord will command
+His Loving-kindness in the Day-time; and in
+the Night His Song shall be with me, and my
+Prayer unto the God of my Life.&rdquo; The response
+is full of hope and consolation; but through it all
+runs the mournful strain of the soprano (forming a
+quintet at the end), coming to a close only when the
+full chorus joins in a repetition of the fourth number
+(&ldquo;Trust thou in God&rdquo;), this time elaborated
+with still greater effect, and closing with a stately
+ascription of praise to the God of Israel.</p>
+</div>
+<div id="c082" title="The Gutenberg Fest-Cantata">
+<h4>The Gutenberg Fest-Cantata.</h4>
+<p>The occasion for which the short festival cantata
+known as the &ldquo;Gutenberg&rdquo; was written, was the
+fourth centennial celebration of the art of printing,
+which was observed at Leipsic in 1840 by the unveiling
+of Gutenberg&rsquo;s statue in the public square,
+and other ceremonies. The direction of the musical
+part of the festivity was intrusted to Mendelssohn.
+The text for the hymn to be sung at
+the unveiling, which occurred on the morning of
+<span class="pb" id="pg_264">[264]</span>
+June 24, immediately after the public service in
+Church, was furnished by Adolphus Pr&ouml;lsz, a teacher
+in the Gymnasium at Freiberg. Lampadius, in his
+Life of Mendelssohn, says of the performance:&mdash;</p>
+<p class="bq">&ldquo;Mendelssohn arranged it with trombone accompaniment.
+When the opening words, &lsquo;Fatherland!
+within thy Confines broke the dawning Light,&rsquo;&mdash;so
+the opening ran, if my memory is correct,&mdash;were
+heard in the Music Hall at the first rehearsal, the
+heartiest applause arose among the performers as
+well as the invited guests. Nothing so simple, powerful,
+joyous, and unconstrained had been heard for a
+long time.... Many will remember how, on the very
+day of the public performance, the slight form of Mendelssohn
+was seen moving nervously around to find
+just the right place for the trombonists, and how
+nearly he came to a fall from the platform. During
+that performance the singers were divided into two
+choirs, which sat at some distance from each other;
+one of them was conducted by David, and the other
+by Mendelssohn.&rdquo;</p>
+<p>The cantata opens with a stately chorale (&ldquo;With
+solemn Hymn of Praise&rdquo;) set to the old tune &ldquo;Honor
+to God alone,&rdquo; followed by the song in memory of
+Gutenberg (&ldquo;Fatherland! within thy Confines&rdquo;),
+which has been separately arranged and printed as
+a solo. The third number is a quick, spirited
+movement for tenors (&ldquo;And God said, &lsquo;Let
+there be Light&rsquo;&rdquo;) followed by another effective
+chorale (&ldquo;Now, thank God all&rdquo;), which brings the
+work to a close. On the afternoon of the same
+<span class="pb" id="pg_265">[265]</span>
+day Mendelssohn&rsquo;s much more important work, &ldquo;The
+Hymn of Praise,&rdquo; was given. A sketch of this has
+already appeared in the &ldquo;Standard Oratorios.&rdquo;</p>
+</div>
+<div id="c083" title="Lauda Sion">
+<h4>Lauda Sion.</h4>
+<p>The &ldquo;Lauda Sion,&rdquo; or sequence sung at High
+Mass on the Feast of Corpus Christi, was chosen by
+Mendelssohn as the subject of one of his most
+beautiful cantatas, for four solo voices, chorus, and
+orchestra. The majestic rhythm of Saint Thomas
+Aquinas&rsquo;s verses loses none of its stateliness in this
+musical setting. The work was composed for the
+celebration of this Festival by the Church of St.
+Martin at Li&egrave;ge, and was first performed there June
+11, 1846. Chorley, the English critic who accompanied
+Mendelssohn on that occasion, has left us in
+his &ldquo;Modern German Music&rdquo; an interesting sketch
+of its first production. He says:&mdash;</p>
+<p class="bq">&ldquo;The early summer of 1846 was a great year for the
+Rhine Land and its adjacent district; since there the
+Lower Rhenish Festival at Aix-la-Chapelle was conducted
+by Mendelssohn, and starred by Mlle. Jenny
+Lind; and within a fortnight afterwards was celebrated
+at Li&egrave;ge the &lsquo;F&ecirc;te Dieu,&rsquo; for which his &lsquo;Lauda Sion&rsquo;
+was written....</p>
+<p class="bq">&ldquo;It was a pity that those who had commissioned
+such a composer to write such a work had so entirely
+miscalculated their means of presenting it even respectably.
+The picturesque old Church of St. Martin
+is one of those buildings which swallow up all sound,
+<span class="pb" id="pg_266">[266]</span>
+owing to the curve of the vaults and the bulk of the
+piers; the orchestra was little more powerful, when
+heard from below, than the distant scraping of a
+Christmas serenade far down the street; the chorus
+was toneless, and out of tune; and only one solo
+singer, the soprano, was even tolerable. On arriving
+at Li&egrave;ge with the purpose of conducting his work,
+Mendelssohn gave up the matter in despair. &lsquo;No!
+it is not good, it cannot go well, it will make a bad
+noise,&rsquo; was his greeting to us....</p>
+<p class="bq">&ldquo;We drove with him that afternoon up to St. Martin&rsquo;s
+Church, to hear, as he merrily styled it, &lsquo;the execution
+of his music.&rsquo; The sight of the steep, narrow,
+winding street, decked out with fir-trees and banners
+and the escutcheons of the different towns of Belgium,
+pleased him, for he was as keen a lover of a show as
+a child, and had a true artist&rsquo;s quick sense of the
+picturesque....</p>
+<p class="bq">&ldquo;Not envy&rsquo;s self could have helped being in pain
+for its composer, so slack and tuneless and ineffective
+was the execution of this clear and beautiful work,
+by a scrannel orchestra, and singers who could hardly
+be heard, and who evidenced their nationality by resolutely
+holding back every movement. But in the last
+verse, <i>alla breve</i>&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&lsquo;Ecce panis angelorum&rsquo;&mdash;</p>
+</div>
+</div>
+<p class="bq">there came a surprise of a different quality. It was
+scenically accompanied by an unforeseen exposition
+of the Host, in a gorgeous gilt tabernacle, that slowly
+turned above the altar, so as to reveal the consecrated
+elements to the congregation. Incense was swung
+from censers, and the evening sun, breaking in with a
+sudden brightness, gave a fairy-like effect to the curling
+fumes as they rose; while a very musical bell, that
+<span class="pb" id="pg_267">[267]</span>
+timed the movement twice in a bar, added its charm
+to the rite. I felt a quick grasp on my wrist, as
+Mendelssohn whispered to me, eagerly, &lsquo;Listen! how
+pretty that is! it makes amends for all their bad playing
+and singing,&mdash;and I shall hear the rest better some
+other time.&rsquo; That other time I believe never came
+for the composer of the &lsquo;Lauda Sion,&rsquo;&mdash;since this was
+only the year before his death.&rdquo;</p>
+<p>The work is composed in seven numbers. After
+a short introduction the voices give out the theme,
+&ldquo;Lauda Sion,&rdquo; followed by a chorus, &ldquo;Laudis
+Thema,&rdquo; full of devotional spirit. The soprano
+then enunciates in the &ldquo;Sit Laus plena&rdquo; phrases
+repeated by the chorus, followed by a beautifully
+accompanied quartet, &ldquo;In hac Mensa.&rdquo; The fifth
+number is a solemn chorale in unison, leading to
+a soprano solo in the arioso style, &ldquo;Caro cibus,&rdquo;
+which is exquisitely beautiful. The work concludes
+with a very dramatic solo and chorus, &ldquo;Sumit unus,&rdquo;
+set to the words &ldquo;Bone pastor,&rdquo; and the closing
+verses of the hymn itself. Short as the cantata is,
+it is one of the most felicitous of all Mendelssohn&rsquo;s
+settings of the ritual.</p>
+<div class="imgtail"><img src="images/p267.png" alt="" width="114" height="60" /></div>
+</div>
+<div id="c084" title="Mozart">
+<div class="pb" id="pg_268">[268]</div>
+<div class="img"><img src="images/p268.png" alt="" width="344" height="106" /></div>
+<h3>MOZART.</h3>
+<p>Johann Chrysostomus Wolfgang
+Amadeus Mozart, one of
+the most remarkable of musical geniuses,
+and the only one of his contemporaries
+whose operas still hold the stage with unimpaired
+freshness, was born at Salsburg, Jan. 27, 1756. He
+was the son of Leopold Mozart, the Salzburgian
+Vice-Capellmeister, who gave him and his sister
+Nannerl their earliest instruction in music, and with
+such good results that the children travelled and
+gave concerts with great success. Before he was
+seven years of age he had composed several pieces
+for piano and violin, his earliest having been written
+at the age of five. At twelve he became court
+capellmeister in Salzburg. After his musical travels
+he went to Vienna, and there began his period
+of classic activity, which commenced with &ldquo;Idomeneus,&rdquo;
+reached its culmination in &ldquo;Don Giovanni,&rdquo;
+and closed with the &ldquo;Requiem,&rdquo;&mdash;the
+&ldquo;swan-song&rdquo; of his wonderful career. In his brief
+life Mozart composed more than fifty great works,
+besides hundreds of minor ones in every possible
+<span class="pb" id="pg_269">[269]</span>
+form of musical writing. His greatest compositions
+may be classed in the following order: &ldquo;Idomeneus&rdquo;
+(1780); &ldquo;Entf&uuml;hrung aus dem Serail&rdquo; (1781);
+&ldquo;Figaro&rsquo;s Hochzeit&rdquo; (&ldquo;The Marriage of Figaro&rdquo;),
+(1785); &ldquo;Don Giovanni&rdquo; (1787); &ldquo;Cosi fan
+Tutti,&rdquo; &ldquo;Zauberfl&ouml;te&rdquo; (&ldquo;The Magic Flute&rdquo;), and
+&ldquo;Titus&rdquo; (1790); and the &ldquo;Requiem&rdquo; (1791, the
+year of his death). The catalogue of Mozart&rsquo;s
+works is an immense one, for his period of productivity
+was unusually long. From the age of five
+to his death there was not a year that was not
+crowded with his music. Besides his numerous
+operas, of which only the more famous are given
+above, he wrote a large number of symphonies (of
+which the &ldquo;Jupiter&rdquo; is now the best known), sonatas,
+concertos, for all kinds of instruments, even
+to musical-glasses, trios, quartets, quintets, and sextets
+for all possible combinations of instruments,
+marches, fugues, masses, hymns, arias of extraordinary
+brilliancy, liturgies, cantatas, songs and ballads,
+and indeed every form of music that is now
+known. His style was studied by Beethoven, and
+so closely imitated that the music of his first period,
+if published without autograph, would readily be
+attributed to Mozart. His style was so spontaneous
+and characteristic that it has been well said there is
+but one Mozart. The distinguishing trait of his
+music is its rich melodic beauty and its almost
+ravishing sweetness. His melody pours along in a
+bright unbroken stream that sometimes even overflows
+its banks, so abundant is it. It is peculiarly
+<span class="pb" id="pg_270">[270]</span>
+the music of youth and spring-time, exquisite in
+form, graceful in technique, and delightful in expression.
+It was the source where all his immediate
+successors went for their inspiration, though
+it lacked the maturity, majesty, and emotional
+depths which were reached by such a Titan as
+Beethoven. Old as it is, and antiquated in form,
+especially as compared with the work of the new
+schools, its perennial freshness, grace, and beauty
+have made it immortal.</p>
+</div>
+<div id="c085" title="King Thamos">
+<h4>King Thamos.</h4>
+<p>The historical drama, &ldquo;Thamos, King of Egypt,&rdquo;
+was written by Freiherr von Gebler. Otto Jahn, in
+his Life of Mozart, gives the following sketch of its
+story:&mdash;</p>
+<p class="bq">
+&ldquo;Menes, King of Egypt, has been deposed by a
+usurper, Rameses, and, as it is thought, assassinated;
+but he is living, under the name of Sethos, as high priest
+of the Temple of the Sun, the secret being known only
+to the priest Hammon and the general Phanes. After
+the death of Rameses, his son Thamos is heir to the
+throne. The day arrives when Thamos attains majority,
+is to be invested with the diadem, and to select
+a bride. The friends of Menes seek in vain to persuade
+him to dispute the throne. He will not oppose
+the noble youth, whom he loves and esteems. But
+Pheron, a prince and confidant of Thamos, has, in
+conjunction with Mirza, the chief of the Virgins of the
+Sun, organized a conspiracy against Thamos, and won
+<span class="pb" id="pg_271">[271]</span>
+over a portion of the army. Tharsis, daughter of
+Menes, who is believed by all, even her father, to be
+dead, has been brought up by Mirza under the name
+of Sais. It is arranged that she shall be proclaimed
+rightful heir to the throne, and, as she will then have
+the right to choose her consort, Mirza will secure her
+beforehand for Pheron. When she discovers that
+Sais loves Thamos, and he her, she induces Sais to
+believe that Thamos prefers her playmate Myris, and
+Sais is generous enough to sacrifice her love and her
+hopes of the throne to her friend. Equally nobly
+Thamos rejects all suspicions against Pheron, and
+awards him supreme command. As the time for action
+draws near, Pheron discloses to Sethos, whom
+he takes for a devoted follower of Menes, and consequently
+for an enemy to Thamos, the secret of Sais&rsquo;
+existence and his own plans. Sethos prepares secretly
+to save Thamos. Sais also, after being pledged
+to silence by an oath, is initiated into the secret by
+Mirza and Pheron, and directed to choose Pheron.
+She declines to give a decided answer, and Pheron
+announces to Mirza his determination to seize the
+throne by force in case of extremity. Sais, who believes
+herself not loved by Thamos, and will not therefore
+choose him as consort, but will not deprive him
+of the throne, takes the solemn and irrevocable oath
+as Virgin of the Sun. Thamos enters, and they discover,
+to their sorrow, their mutual love. Sethos,
+entering, enlightens Thamos as to the treachery of
+Pheron, without disclosing the parentage of Sais.
+Pheron, disturbed by the report that Menes is still
+living, comes to take council of Sethos, and adheres
+to his treacherous design. In solemn assembly
+Thamos is about to be declared king, when Mirza
+reveals the fact that Sais is the lost Tharsis, and
+<span class="pb" id="pg_272">[272]</span>
+heiress to the throne. Thamos is the first to offer her
+his homage. When she is constrained to choose
+between Thamos and Pheron she declares herself
+bound by her oath, and announces Thamos as the
+possessor of the throne. Then Pheron calls his followers
+to arms, but Sethos steps forward and discloses
+himself as Menes; whereupon all fall at his feet in
+joyful emotion. Pheron is disarmed and led off;
+Mirza stabs herself; Menes, as father and ruler,
+releases Sais from her oath, unites her with Thamos,
+and places the pair on the throne. A message arrives
+that Pheron has been struck with lightning by Divine
+judgment, and the piece ends.&rdquo;</p>
+<p>To this drama Mozart composed the incidental
+music in 1779 and 1780 at Salzburg, where it was
+produced under B&ouml;hm and Shickaneder&rsquo;s direction.
+The play did not keep the stage long. Mozart
+refers to this circumstance in a letter to his father,
+written Feb. 15, 1783:&mdash;</p>
+<p class="bq">&ldquo;I regret much not being able to make use of the
+music for &lsquo;Thamos,&rsquo; for not having pleased here, it
+is included among the tabooed pieces, no longer to be
+performed. For the sake of the music alone it might
+possibly be given again, but it is not likely. It is
+really a pity.&rdquo;</p>
+<p>The music consists of five entr&rsquo;actes and three
+choruses constructed in a large and majestic style
+and specially adapted to ceremonial performance.
+The first is a responsive chorus of maidens and
+priests (&ldquo;Before thy Light, Sun-god, thy Foe the
+Darkness takes Wing&rdquo;) sung in the temple of the
+<span class="pb" id="pg_273">[273]</span>
+sun at Heliopolis. The second (&ldquo;Godhead, throned
+in Power eternal&rdquo;) is also sung in the temple before
+Thamos&rsquo; coronation, at the beginning of the
+fifth act, and contains short snatches of solos for a
+priest and maiden, leading to a close in full harmony
+for the voices, and an instrumental finale of
+soft music during which the priest offers sacrifice
+upon the altar. The third opens with a majestic
+bass solo for the high priest (&ldquo;Ye Children of
+Dust, come, with Trembling, adore ye&rdquo;) and closes
+with a stately strain for all the voices (&ldquo;We Children
+of Dust in our Reverence tremble&rdquo;).</p>
+<p>Although the play was shelved, the music was not
+lost. Mozart subsequently set the choruses to Latin
+and German words, and they were adapted as hymns
+and motets for church use. They are now familiar
+to musicians as &ldquo;Splendente te Deus,&rdquo; &ldquo;Deus tibi
+Laus et Honor,&rdquo; and &ldquo;Ne Pulvis et Cinis.&rdquo; Nohl
+says of them:&mdash;</p>
+<p class="bq">
+&ldquo;A certain solemnity pervades them such as few
+of his sacred works possess, and an elevation of feeling
+only surpassed in the &lsquo;Flauto Magico.&rsquo; But the composer
+has relied on theatrical effect; and thus, in spite
+of his graver intentions, we find more worldly pomp
+than religious depth in these choruses, which Mozart
+worked out with all love and care, even in their most
+minute details, and which manifest the thoughtful
+mood that absorbed his soul.&rdquo;</p>
+</div>
+<div id="c086" title="Davidde Penitente">
+<div class="pb" id="pg_274">[274]</div>
+<h4>Davidde Penitente.</h4>
+<p>The cantata &ldquo;Davidde Penitente&rdquo; was the outcome
+of a work of love. Before his marriage with
+Constance Weber, Mozart vowed that when he
+brought her to Salzburg as his wife he would write
+a mass for the occasion and have it performed there.
+In a letter written to his father, Jan. 4, 1783, he
+says: &ldquo;As a proof of the fulfilment of this vow,
+the score of a &lsquo;half-mass&rsquo; is now lying by, in hopes
+of some day being finished.&rdquo; Holmes, in his
+admirable Life of Mozart, says:&mdash;</p>
+<p class="bq">
+&ldquo;To exercise his pen in the grand contrapuntal
+style of church music was at all times agreeable to
+him; and he was now free from the local restrictions
+under which he had written his numerous masses at
+Salzburg, where neither the style, the length of the
+pieces, nor their instrumentation was left to his own
+discretion; hence, making due allowance for the effect
+of some few years in developing the composer&rsquo;s
+genius, the great superiority of &lsquo;Davidde Penitente,&rsquo;
+by which title this mass was in the sequel better known
+over all the earlier masses, as well for breadth of style
+as in true ecclesiastical solemnity.&rdquo;</p>
+<p>The &ldquo;half-mass&rdquo; which Mozart brought to Salzburg
+in fulfilment of his vow comprised only the
+Kyrie, Gloria, Sanctus, and Benedictus. The remaining
+numbers were supplied from another mass,
+and in this form the work was produced at St.
+Peter&rsquo;s Church, Aug. 25, 1783, his wife taking the
+<span class="pb" id="pg_275">[275]</span>
+solo part. The original work is described as exceedingly
+majestic and beautiful, particularly the
+&ldquo;Gratias&rdquo; for five, and the &ldquo;Qui Tollis&rdquo; for eight-voiced
+chorus. Jahn says of them that the same
+wonderful and mysterious impression of the supernatural
+conveyed by the most beautiful numbers in
+his Requiem characterizes these choruses.</p>
+<p>The &ldquo;half-mass&rdquo; was destined to undergo still
+more radical changes. In the spring of 1785 the
+committee of the society for the relief of the widows
+and orphans of musicians at Vienna wished to celebrate
+their annual festival with some new work, and
+commissioned Mozart to write a cantata. As the
+time was very short, he took the Kyrie and Gloria
+of the mass, set Italian words to them, and added
+four new numbers, in which form it was produced
+under the title of &ldquo;Davidde Penitente&rdquo; at the
+Burg-theatre, March 13, the solo singers being
+Fraulein Cavalieri,<sup><a id="fr_32" href="#fn_32">[32]</a></sup>
+Fraulein Distler, and Herr
+Adamberger.<sup><a id="fr_33" href="#fn_33">[33]</a></sup>
+The cantata comprises ten numbers.
+The first number is a chorus (&ldquo;Alzai le flebile voci&rdquo;)
+taken from the &ldquo;Kyrie&rdquo; of the mass; the second,
+an allegro chorus (&ldquo;Cantiam le lodi&rdquo;), from the
+&ldquo;Gloria;&rdquo; the third, a soprano solo (&ldquo;Lungi le
+<span class="pb" id="pg_276">[276]</span>
+cure&rdquo;), from the &ldquo;Laudamus;&rdquo; the fourth, an
+adagio chorus (&ldquo;Sii pur sempre&rdquo;) from the
+&ldquo;Gratias;&rdquo; the fifth, a very melodious soprano duet
+(&ldquo;Sorgi o Signore&rdquo;), from the &ldquo;Domine Deus;&rdquo;
+the sixth, a beautiful tenor aria (&ldquo;A te fra tanti
+affanni&rdquo;), written for Adamberger; the seventh,
+a double chorus (&ldquo;Se vuoi, puniscimi&rdquo;); the
+eighth, a bravura aria for soprano (&ldquo;Fra le oscure
+Ombre&rdquo;), written for Mademoiselle Cavalieri; the
+ninth, a terzetto (&ldquo;Tutti le mie speranze&rdquo;); and the
+tenth, a final chorus and fugue which, by general
+consent of the critics of the time, was called the
+&ldquo;queen of vocal fugues.&rdquo; Notwithstanding the
+introduction of specially-written arias, and the brilliant
+music assigned to the soprano, the cantata
+is regarded as one of the purest examples of
+Mozart&rsquo;s church style.</p>
+<div class="fnblock">
+<div class="fndef"><sup><a id="fn_32" href="#fr_32">[32]</a></sup> Catharina Cavalieri, born in 1761, died June 30, 1801. She
+was a singer in Italian and German opera in Vienna from 1775 to
+1783; but as she never left that city her reputation was purely
+local. Mozart wrote for her the part of Constanza in his opera
+&ldquo;Die Entf&uuml;hring.&rdquo;
+</div>
+<div class="fndef"><sup><a id="fn_33" href="#fr_33">[33]</a></sup> Valentin Adamberger was born at Munich, July 6, 1743, and
+was famed for his splendid tenor voice. Mozart composed for
+him the part of Belmont in the &ldquo;Entf&uuml;hring,&rdquo; and highly esteemed
+him as a friend and adviser. He died Aug. 24, 1804.
+</div>
+</div>
+</div>
+<div id="c087" title="The Masonic Cantatas">
+<h4>The Masonic Cantatas.</h4>
+<p>Mozart became a member of the Masonic fraternity
+shortly after his arrival in Vienna in 1784,
+and devoted himself to its objects with all the
+ardor of his nature. In the following year his
+father visited him and was also persuaded to join,
+though not without considerable entreaty on the
+son&rsquo;s part. He was a devoted member of the
+Church and entertained a deep reverence for its
+forms. The Church then, as now, was hostile to all
+secret orders, and was particularly inimical to the
+<span class="pb" id="pg_277">[277]</span>
+Masons because they had attacked certain alleged
+abuses in the cloisters. His prejudices were overcome,
+however, and he soon became as ardent a
+devotee of Masonry as his son. It formed one
+of the principal subjects of their correspondence;
+but unfortunately all these letters were destroyed
+by the cautious father a short time before his death,
+which occurred May 28, 1787. In only one letter
+do we find reference to the subject, and that in a
+guarded manner. On the 3d of April of that year
+Mozart heard of his father&rsquo;s illness, and the next
+day he writes to him:&mdash;</p>
+<p class="bq">
+&ldquo;I have this moment heard tidings which distress
+me exceedingly, and the more so that your last letter
+led me to suppose you were so well; but I now
+hear that you are really ill. I need not say how
+anxiously I shall long for a better report of you to
+comfort me, and I do hope to receive it, though I am
+always prone to anticipate the worst. As death (when
+closely considered) is the true goal of our life, I have
+made myself so thoroughly acquainted with this good
+and faithful friend of man, that not only has its image
+no longer anything alarming to me, but rather something
+most peaceful and consolatory; and I thank my
+Heavenly Father that He has vouchsafed to grant
+me the happiness, <i>and has given me the opportunity
+(you understand me), to learn that it is the key to our
+true felicity</i>.&rdquo;</p>
+<p>Mozart&rsquo;s membership in the order began at an
+opportune time for him. Though at the height of
+his fame he was at the very lowest depth of his
+<span class="pb" id="pg_278">[278]</span>
+finances; and both in 1787 and 1789, though he
+was Imperial Chamber Musician and his opera
+&ldquo;Don Giovanni&rdquo; was having a successful run, he
+was obliged to apply repeatedly to his friend and
+brother Mason, the merchant Puchberg of Vienna,
+for loans, and also to Herr Hofd&auml;mmel, who was
+about to become a Mason upon Mozart&rsquo;s solicitation.
+During the short remainder of his life he
+was devotedly attached to the order, and he was
+buried in the dress of the brotherhood; but, strange
+to say, not one of the members accompanied their
+illustrious associate to the grave.</p>
+<p>Four of Mozart&rsquo;s works were directly inspired by
+Masonry. In 1785 he wrote a simple but beautiful
+lodge song for voice, with piano accompaniment
+(&ldquo;Die ihr einern neuen Grade&rdquo;). This was
+followed by the wonderfully beautiful &ldquo;Freemason&rsquo;s
+Funeral Music&rdquo; for orchestra, written upon the
+occasion of the death of two brothers in the fraternity,
+of which Jahn says:&mdash;</p>
+<p class="bq">
+&ldquo;Mozart has written nothing more beautiful, from
+its technical treatment and finished effect of sound,
+its earnest feeling and psychological truth, than this
+short adagio. It is the utterance of a resolute, manly
+character, which, in the face of death, pays the rightful
+tribute to sorrow without being either crushed or
+stunned by it.&rdquo;</p>
+<p>In the same year he composed a small cantata,
+&ldquo;Die Maurerfreude,&rdquo; for tenor and chorus, in honor
+of Herr Born, the master of the lodge to which he
+<span class="pb" id="pg_279">[279]</span>
+belonged in Vienna, which is full of true feeling
+combined with graceful melody.</p>
+<p>The second cantata, catalogued in K&ouml;chel &ldquo;Eine
+Kleine Freimaurer Cantate, &lsquo;Laut verk&uuml;nde unsre
+Freude,&rsquo;&rdquo; better known by its title &ldquo;Lob der
+Freundschaft&rdquo; (&ldquo;Praise of Friendship&rdquo;) is notable
+as the last work written by Mozart. Its date
+is Nov. 15, 1791, only three weeks before his
+death. At this time he was engaged in finishing
+up his &ldquo;Requiem,&rdquo; which had such a depressing
+effect upon him that he was ordered by his physician
+to lay it aside. The rest he thus secured had
+such a good effect that by the middle of November
+he was able to attend a Masonic meeting and produce
+the little cantata which he had just written
+for them. On reaching home after the performance
+he said to his wife, &ldquo;O St&auml;nerl, how
+madly they have gone on about my cantata! If
+I did not know that I had written better things, I
+should have thought this my best composition.&rdquo;
+It is constructed upon a larger scale than the cantata
+of 1785, and is very pleasing and popular, but
+lacks the spirit and earnestness of the former. It
+has six numbers: 1. Chorus, &ldquo;Laut verk&uuml;nde unsre
+Freude;&rdquo; 2. Recitative, &ldquo;Zum ersten Male;&rdquo; 3.
+Tenor aria, &ldquo;Dieser Gottheit Allmacht;&rdquo; 4. Recitative,
+&ldquo;Wohlan, ihr Br&uuml;der;&rdquo; 5. Duet, &ldquo;Lange
+sallen diese Mauern&rdquo;; 6. Chorus, &ldquo;Lasst uns mit
+geschlungen H&auml;nden.&rdquo; It was Mozart&rsquo;s swan-song.
+Two days after its performance he was
+stricken down with his last illness.</p>
+</div>
+<div id="c088" title="Paine">
+<div class="pb" id="pg_280">[280]</div>
+<div class="img"><img src="images/p280.png" alt="" width="328" height="117" /></div>
+<h3>PAINE.</h3>
+<p>John K. Paine, one of the very few
+really eminent American composers,
+was born at Portland, Me., Jan. 9, 1839.
+He studied the piano, organ, and composition
+with Kotzschmar in that city, and made his
+first public appearance as an organist, June 25,
+1857. During the following year he went to Germany,
+and studied the organ, composition, and
+instrumentation with Haupt and other masters in
+Berlin. He returned to this country in 1861, and
+gave several concerts, in which he played many of
+the organ works of the best writers for the first time
+in the United States. Shortly after his return he
+was appointed instructor of music in Harvard University,
+and in 1876 was honored with the elevation
+to a professorship and given a regular chair. He is
+best known as a composer, and several of his works
+have been paid the rare compliment of performance
+in Germany, among them his Mass in D and all his
+symphonies. The former was given at the Berlin
+Singakademie in 1867, under his own direction.
+Among his principal compositions are the oratorio
+&ldquo;St. Peter,&rdquo; the music to &ldquo;&OElig;dipus,&rdquo; the cantatas,
+<span class="pb" id="pg_281">[281]</span>
+&ldquo;Nativity,&rdquo; &ldquo;The Realm of Fancy,&rdquo; and &ldquo;Ph&oelig;bus,
+Arise;&rdquo; the Mass in D; the Centennial Hymn, set
+to Whittier&rsquo;s poem, and sung at the opening of the
+Philadelphia Centennial Exhibition; the overture
+to &ldquo;As You Like It;&rdquo; &ldquo;The Tempest,&rdquo; in the
+style of a symphonic poem; the symphony in C
+minor, and &ldquo;Spring&rdquo; symphony; besides numerous
+sonatas, fantasias, preludes, songs, and arrangements
+for organ and piano. His larger orchestral works
+have been made familiar to American audiences by
+Mr. Theodore Thomas&rsquo;s band, and have invariably
+met with success. His style of composition is large,
+broad, and dignified, based upon the best classic
+models, and evinces a high degree of musical
+scholarship.</p>
+</div>
+<div id="c089" title="&OElig;dipus Tyrannus">
+<h4>&OElig;dipus Tyrannus.</h4>
+<p>The first public performance of the &ldquo;&OElig;dipus
+Tyrannus&rdquo; of Sophocles in this country was given
+at the Sanders Theatre (Harvard College), Cambridge,
+Mass., May 17, 1881, for which occasion
+Mr. Paine composed the music incidental to the
+world-famous tragedy. The performance was a
+memorable one in many ways. The tragedy was
+given in the original language. It was the first
+event of the kind in America. The audience was
+a representative one in culture, education, and social
+brilliancy. The programme was also unique, being
+printed in Greek, and translated into English was
+as follows:&mdash;</p>
+<div class="pb" id="pg_282">[282]</div>
+<div class="bq">
+<p class="center">TO ALL THE SPECTATORS GREETING.</p>
+<p class="center"><span class="small">[The college seal.]</span></p>
+<p class="center"><i>Six verses from the Eumenides of &AElig;schylus:</i></p>
+<div class="verse">
+<p class="t0">&ldquo;Hail people of the city</p>
+<p class="t0">That sit near to Zeus,</p>
+<p class="t0">Friends of the friendly goddess,</p>
+<p class="t0">Wise in your generation,</p>
+<p class="t0">Ye whom under the wings of Pallas</p>
+<p class="t0">The father guards.&rdquo;</p>
+</div>
+<p class="center">THE &OElig;DIPUS TYRANNUS OF SOPHOCLES
+<br /><span class="small">WILL BE REPRESENTED IN THE THEATRE OF HARVARD UNIVERSITY</span>
+<br />on the 17th of May (<span title="Tharg&ecirc;li&ocirc;n" class="g">&Theta;&alpha;&rho;&gamma;&eta;&lambda;&iota;&#8061;&nu;</span>), 1881,
+and again on the 19th, 20th, and 21st.</p>
+<p class="center"><span class="small">DRAMATIS PERSON&AElig;.</span></p>
+<dl class="actors">
+<dt>&OElig;dipus, King of Thebes <span class="jrsc">George Riddle.</span></dt>
+<dt>Priest of Zeus  <span class="jrsc">William Hobbs Manning.</span></dt>
+<dt>Creon, Jocasta&rsquo;s brother <span class="jrsc">Henry Norman.</span></dt>
+<dt>Teiresias, the blind seer <span class="jrsc">Curtis Guild.</span></dt>
+<dt>Jocasta, Queen of Thebes <span class="jrsc">Leonard Eckstein Opdycke.</span></dt>
+<dt>Messenger, from Corinth <span class="jrsc">Arthur Wellington Roberts.</span></dt>
+<dt>Servant of Laius <span class="jrsc">Gardiner Martin Lane.</span></dt>
+<dt>Messenger from the Palace <span class="jrscf">Owen Wister.</span></dt>
+</dl>
+<p class="center"><span class="small">ATTENDANTS.</span></p>
+<dl class="actors">
+<dt>Attendants on &OElig;dipus <span class="jrsc">J. R. Coolidge, E. J. Wendell.</span></dt>
+<dt>Attendants on Jocasta <span class="jrsc">J. J. Greenough, W. L. Putnam.</span></dt>
+<dt>Attendants on Creon <span class="jrsc">G. P. Keith, J. Lee.</span></dt>
+<dt>Boy guide of Teiresias <span class="jrsc">C. H. Goodwin.</span></dt>
+<dt>Antigone <span class="jrsc">E. Manning.</span></dt>
+<dt>Ismene <span class="jrsc">J. K. Whittemore.</span></dt>
+<dt>Suppliants.&mdash; <span class="jrf"><span class="sc">G. P. Keith, G. D. Markham</span> (priests), <span class="sc">W. H. Herrick, J.
+Lee, E. Lovering, H. Putnam, L. A. Shaw, C. M. Walsh</span>
+(chosen youths), <span class="sc">C. H. Goodwin, E. Manning, R. Manning,
+W. Merrill, E. R. Thayer, J. K. Whittemore</span> (boys).</span></dt>
+</dl>
+<p class="center"><span class="small">CHORUS OF THEBAN OLD MEN.</span></p>
+<dl class="actors">
+<dt>Coryph&aelig;us <span class="jrsc">Louis Butler McCagg.</span></dt>
+<dt>Assistant to the chorus in the third stasmon, with solo
+<span class="jrscf">George Laurie Osgood.</span></dt>
+</dl>
+<p class="center"><span class="small">MEMBERS OF THE CHORUS.</span></p>
+<dl class="choristers">
+<dt>N. M. Brigham,</dt>
+<dt>Frederick R. Burton,</dt>
+<dt>Henry G. Chapin,</dt>
+<dt>Sumner Coolidge,</dt>
+<dt>Edward P. Mason,</dt>
+<dt>Marshall H. Cushing,</dt>
+<dt>Wendell P. Davis,</dt>
+<dt>Morris Earle,</dt>
+<dt>Percival J. Eaton,</dt>
+<dt>Gustavus Tuckerman,</dt>
+<dt>Charles S. Hamlin,</dt>
+<dt>Jared S. How,</dt>
+<dt>Howard Lilienthal,</dt>
+<dt>Charles F. Mason.</dt>
+</dl>
+<dl class="actors">
+<dt>Leader of the chorus and composer of the music <span class="jr"><span class="sc">John Knowles Paine.</span></span></dt>
+<dt>Prompter <span class="jr"><span class="sc">George L. Kittredge.</span></span></dt>
+</dl>
+<p class="tbq">The scene is laid in front of the palace in Boetian Thebes. The
+chorus is composed of Theban old men. &OElig;dipus speaks first.
+The managers request all the spectators to remain sitting until the
+postlude is ended. Immediately after the last chorus has been
+sung there will be a pause for those who wish to go out. After
+this the doors will be closed.</p>
+</div>
+<p class="bq">After the play, horse-cars
+(<span title="hamaxai hipposid&ecirc;rodromikai" class="g">&#7941;&mu;&alpha;&xi;&alpha;&iota; &#7985;&pi;&pi;&omicron;&sigma;&iota;&delta;&eta;&rho;&omicron;&delta;&rho;&omicron;&mu;&iota;&kappa;&alpha;&#8054;</span>) will be
+ready for those who want to go to the city.</p>
+<p class="bq">Wilsons, printers. (<span title="Oyils&ocirc;nes typois egapsan" class="g">&Omicron;&#8016;&iota;&lambda;&sigma;&#8182;&nu;&epsilon;&sigma; &tau;&#8059;&pi;&omicron;&iota;&sigmaf; &#7956;&gamma;&alpha;&psi;&alpha;&nu;</span>.)</p>
+<div class="pb" id="pg_283">[283]</div>
+<p class="tb">The story of the Theban hero, his ignorance of his
+own parentage, his dismay at the revelation of the
+oracle that he would kill his father and marry his
+mother, his quarrel with the former, resulting in the
+very tragedy he was seeking to avoid, his solution of
+the riddle of the sphinx, the reward of the Queen&rsquo;s
+hand which Creon had promised, leading to the
+unfortunate marriage with his mother, Jocasta, thus
+completing the revelation of the oracle, does not
+need description in detail. The marriage was followed
+<span class="pb" id="pg_284">[284]</span>
+by a pestilence that wasted Thebes, and at
+this point the plot of the drama begins. It concerns
+itself with the efforts of &OElig;dipus to unravel
+the mystery of the death of his father, Laius, which
+lead to the discovery that he himself was the murderer,
+and that he had been guilty of incest with
+his own mother. Jocasta hangs herself, and &OElig;dipus,
+rushing frantically into the palace, beholds her, and
+overwhelmed with horror at the sight and the fulfilment
+of the oracle, seizes her brooch-pin and blinds
+himself. In the &OElig;dipus at Colonos the sequel is
+told. The hero dies in the gardens of the Eumenides,
+happy in the love of his daughters and the
+pardon which fate grants him.</p>
+<p>The music to the tragedy is thoroughly classical
+in spirit, and has all the nobility, breadth, dignity,
+and grace characteristic of the Greek idea. The
+principal lyric movements of the chorus, the choral
+odes, of which there are six, comprise the scheme
+of the composer. The melodramatic practice of
+the orchestra accompanying spoken dialogue only
+appears to a limited extent in the third ode; and
+the chorus, as narrator, is accompanied by music
+only in the seven last lines of the play, which form
+the postlude. The orchestral introduction, which
+is treated in a very skilful and scholarly manner,
+epitomizes the spirit of the work. The odes are
+divided as usual into strophes and antistrophes,
+assigned alternately to a male chorus of fifteen and
+full chorus. The first (&ldquo;Oracle sweet-tongued of
+Zeus&rdquo;), which has the genuine antique dignity and
+<span class="pb" id="pg_285">[285]</span>
+elevation, is a description of the sufferings of the
+people from the pestilence which has wasted Thebes
+since the unnatural marriage of &OElig;dipus and Jocasta,
+and a fervent prayer to the gods for aid. The second
+(&ldquo;Thou Delphic Rock, who can he be?&rdquo;)
+concludes the scene where the blind prophet Teiresias
+arrives upon the summons of Creon and accuses
+&OElig;dipus of the crime, accompanying the
+accusation with dark hints of further guilt. In this
+ode, which is specially noticeable for its rich and
+graceful treatment, the chorus expresses its disbelief
+of the charges. In the third scene, Creon enters to
+protest against the accusations of &OElig;dipus, but a
+quarrel ensues between them, which results in the
+menace of death to the former. Jocasta appears,
+and upon her intercession Creon is allowed to
+depart. In the ode, the chorus joins in this appeal
+to &OElig;dipus,&mdash;a strong, vigorous number, the effect
+of which is heightened by the intervening spoken
+parts of Creon, &OElig;dipus, and Jocasta, with musical
+accompaniment. The fourth ode (&ldquo;O may my
+Life be spent in Virtue&rdquo;) is a vigorous denunciation
+of the impiety of Jocasta in speaking scornfully
+of the oracles. The fifth ode (&ldquo;If I the Prophet&rsquo;s
+Gift possess&rdquo;) is full of idyllic grace and sweetness,
+realizing in a remarkable degree the old Grecian
+idea of sensuous beauty. It is a speculation upon
+the divine origin of &OElig;dipus, after the messenger
+relates the story of the King&rsquo;s exposure in his childhood
+upon Mount Cith&aelig;ron, and contains a charming
+tenor solo. The last ode (&ldquo;O Race of mortal
+<span class="pb" id="pg_286">[286]</span>
+Men&rdquo;) bewails the vicissitudes of fortune, and is
+full of the tragic significance of impending fate.
+The work comes to a close with the postlude:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Ye who dwell in Thebes our city, fix on &OElig;dipus your eyes,</p>
+<p class="t0">Who resolved the dark enigma, noblest liver and most wise.</p>
+<p class="t0">Glorious like a sun he mounted, envied of the popular throng,</p>
+<p class="t0">Now he sinks in seas of anguish, quenched the stormy waves among.</p>
+<p class="t0">Therefore I await the final hour, to ancient wisdom known,</p>
+<p class="t0">Ere I call one mortal happy. Never shall that thought be shown,</p>
+<p class="t0">Till he end his earthly being, scathless of a sigh or groan.&rdquo;</p>
+</div>
+</div>
+<p>Six public performances of the &ldquo;&OElig;dipus&rdquo; were
+given in 1881, and every season since that time
+selections from the music have been performed in
+New York, Boston, and other cities. As the most
+important and scholarly work an American composer
+has yet produced, it cannot be heard too
+often.</p>
+</div>
+<div id="c090" title="The Nativity">
+<h4>The Nativity.</h4>
+<p>The text of &ldquo;The Nativity,&rdquo; for chorus, solo
+voices, and orchestra, is taken from the hymn in
+Milton&rsquo;s ode &ldquo;On the Morning of Christ&rsquo;s Nativity,&rdquo;
+and is composed in three parts. The first part includes
+the first, third, fourth, fifth, sixth, and seventh;
+the second, a combination of the eighth and ninth;
+and the third, the thirteenth, fourteenth, and fifteenth
+verses. After a short instrumental introduction,
+which works up to an effective climax, the cantata
+begins with a chorus (&ldquo;It was the Winter wild&rdquo;),
+introduced by the soprano, developing to full harmony
+<span class="pb" id="pg_287">[287]</span>
+at the words, &ldquo;Nature in Awe to Him,&rdquo; and
+closing pianissimo. After a short soprano solo
+(&ldquo;But, He her Fears to cease&rdquo;) the chorus resumes
+(&ldquo;With Turtle Wing the amorous Clouds dividing&rdquo;).
+A succession of choral passages follows, admirably
+suggestive of the sentiment of the poem,&mdash;a
+vigorous, stirring allegro, &ldquo;No War or Battle&rsquo;s
+Sound was heard the World around;&rdquo; &ldquo;And Kings
+sat still with awful Eye,&rdquo; broadly and forcibly written;
+and a tender, graceful number, &ldquo;But peaceful was
+the Night.&rdquo; They are followed by another soprano
+solo (&ldquo;And though the shady Gloom&rdquo;), full of
+brightness and animation, which leads directly to a
+majestic chorus (&ldquo;He saw a greater Sun appear&rdquo;),
+which closes the first part.</p>
+<p>The second part, a quartet and chorus, is pastoral
+in character, and reflects the idyllic quiet and beauty
+of the text. The quartet, &ldquo;The Shepherds on the
+Lawn,&rdquo; is introduced by short tenor, bass, and alto
+solos, and also contains a very melodious and graceful
+solo for soprano (&ldquo;When such Music sweet
+their Hearts and Ears did greet&rdquo;), after which the
+full quartet leads up to a vigorous chorus (&ldquo;The
+Air such Pleasure loath to lose&rdquo;), closing the part.</p>
+<p>The third part is choral, and forms an effective
+climax to the work. It opens with the powerful
+chorus, &ldquo;Ring out, ye crystal Spheres,&rdquo; emphasized
+by the organ bass with stately effect, and
+moves on majestically to the close,&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;And Heaven as at some festival</p>
+<p class="t0">Will open wide the gates of her high palace hall.&rdquo;</p>
+</div>
+</div>
+</div>
+<div id="c091" title="The Realm of Fancy">
+<div class="pb" id="pg_288">[288]</div>
+<h4>The Realm of Fancy.</h4>
+<p>&ldquo;The Realm of Fancy&rdquo; is a short cantata, the
+music set to Keats&rsquo;s familiar poem:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Ever let the fancy roam,</p>
+<p class="t0">Pleasure never is at home:</p>
+<p class="t0">At a touch sweet pleasure melteth,</p>
+<p class="t0">Like to bubbles when rain pelteth.&rdquo;</p>
+</div>
+</div>
+<p>With the exception of a dozen lines, the dainty poem
+is used entire, and is set to music with a keen appreciation
+of its graceful beauty. A short allegretto
+fancifully trips along to the opening chorus (&ldquo;Ever
+let the Fancy roam&rdquo;), which is admirable for its
+shifting play of musical color. A soprano solo
+(&ldquo;She will bring in spite of Frost&rdquo;), followed by
+a very expressive barytone solo (&ldquo;Thou shalt
+at a Glance behold the Daisy and the Marigold&rdquo;),
+leads up to a charming little chorus (&ldquo;Shaded
+Hyacinth, always Sapphire Queen&rdquo;). A short
+instrumental passage, in the time of the opening
+allegretto, introduces the final chorus (&ldquo;O Sweet
+Fancy, let her loose&rdquo;), charmingly worked up,
+and closing in canon form. The cantata is very
+short; but rarely have poem and music been
+more happily wedded than in this delightful tribute
+to fancy.</p>
+</div>
+<div id="c092" title="Ph&oelig;bus, Arise">
+<div class="pb" id="pg_289">[289]</div>
+<h4>Ph&oelig;bus, Arise.</h4>
+<p>Mr. Paine&rsquo;s ripe scholarship is shown to admirable
+advantage in his selection of the poem &ldquo;Ph&oelig;bus,
+Arise&rdquo; from among the lyrics of the old Scottish
+poet, William Drummond, of Hawthornden, and the
+characteristic old-style setting he has given to it.
+Like &ldquo;The Realm of Fancy,&rdquo; it is very short; but
+like that cantata, also, it illustrates the versatility of
+his talent and the happy manner in which he preserves
+the characteristics of the poem in his music.
+Drummond, who has been called &ldquo;the Scottish
+Petrarch,&rdquo; and whose poems were so celebrated that
+even Ben Jonson could find it in his way to visit him,
+was noted for the grace and lightness of his verse,
+and the pensive cast with which it was tinged. It has
+little of the modern poetic style, and the composer
+has clothed his poem in a musical garb to correspond.</p>
+<p>The cantata is written for tenor solo, male chorus,
+and orchestra, and opens with a brilliant chorus
+(&ldquo;Ph&oelig;bus, arise, and paint the sable Skies with
+azure, white, and red&rdquo;), closing with a crescendo in
+the old style. An expressive and somewhat pensive
+tenor solo follows:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;This is that happy morn</p>
+<p class="t0">And day, long-wish&egrave;d day,</p>
+<p class="t0">Of all my life so dark</p>
+<p class="t0">(If cruel stars have not my ruin sworn</p>
+<p class="t0">And fates my hope betray),</p>
+<p class="t0">Which purely white deserves</p>
+<p class="t0">An everlasting diamond should it mark.</p>
+<p class="t0">This is the morn should bring unto the grove</p>
+<p class="t0">My love, to hear, and recompense my love.&rdquo;</p>
+</div>
+</div>
+<div class="pb" id="pg_290">[290]</div>
+<p>A short choral passage with tenor solo (&ldquo;Fair King,
+who all preserves&rdquo;) leads to a full rich chorus (&ldquo;Now,
+Flora, deck thyself in fairest Guise&rdquo;). In the next
+number the chorus returns to the opening theme
+(&ldquo;Ph&oelig;bus, Arise&rdquo;), and develops it with constantly
+increasing power to the close.</p>
+<div class="imgtail"><img src="images/p290.png" alt="" width="191" height="100" /></div>
+</div>
+<div id="c093" title="Parker, H. W.">
+<div class="pb" id="pg_291">[291]</div>
+<div class="img"><img src="images/p291.png" alt="" width="344" height="123" /></div>
+<h3>PARKER.</h3>
+<p>Horatio W. Parker, a young American
+composer of more than ordinary
+promise, was born at Auburndale, Mass.,
+Sept. 15, 1863. After his fifteenth year
+he began the study of music, taking his earlier
+lessons of the three Boston teachers, Stephen A.
+Emery, John Orth, and G. W. Chadwick. In 1882
+he went to Munich and studied the organ and composition
+with Josef Rheinberger, for three years.
+In the spring of 1885 he wrote the cantata &ldquo;King
+Trojan,&rdquo; and it was produced for the first time in
+that city with success during the summer of the
+same year. Since then it has been given in this
+country by Mr. Jules Jordan, of Providence, R. I.,
+Feb. 8, 1887. His string quartet in F major was
+played at a concert of the Buffalo Philharmonic
+Society in January, 1886; and a short scherzo was
+performed by the Van der St&uuml;cken orchestra in New
+York City in the same year. Besides these compositions,
+he has written three overtures, quite a number
+of songs and pieces for the piano-forte, and
+a symphony in C, and ballade for chorus and
+<span class="pb" id="pg_292">[292]</span>
+orchestra, both of which were played in Munich last
+year. In 1886 he accepted the professorship of
+music at the Cathedral School of St. Paul, Garden
+City, L. I., and in February, 1887, went to New
+York, where he now resides, to take charge of a boy
+choir in St. Andrew&rsquo;s Church, Harlem.</p>
+</div>
+<div id="c094" title="King Trojan">
+<h4>King Trojan.</h4>
+<p>&ldquo;King Trojan,&rdquo; composed for chorus, solos, and
+orchestra, was written in March, 1885, and first performed
+in July of the same year, at Munich. Its
+story is the poem of the same name, by Franz Alfred
+Muth, the English version being a free and excellent
+translation by the composer&rsquo;s mother, Mrs. Isabella
+G. Parker, of Auburndale, Mass.</p>
+<p>After a short and graceful introduction, the cantata
+opens with a solo describing the quiet beauty
+of a summer night, daintily accompanied by wind
+instruments and harp. A second voice replies (&ldquo;O
+Summer Night&rdquo;), and then the two join in a very
+vigorous duet (&ldquo;O fill thou Even with Light of
+Heaven&rdquo;). A short solo for third voice leads up to
+a chorus which gives us a picture of King Trojan&rsquo;s
+castle gleaming in the moonlight. It is followed by
+a very effective solo for the King (&ldquo;The Horse is
+neighing, O Page of mine&rdquo;), in which he bids his
+Page saddle his steed for a night ride to visit his
+distant love. The chorus intervenes with a reflective
+number (&ldquo;What thinks she now?&rdquo;), which is very
+<span class="pb" id="pg_293">[293]</span>
+dramatic in style, describing the mutual longing of
+the lovers to be together.</p>
+<p>The second scene opens with a short solo by the
+Page (&ldquo;Up, up, O King, the Horses wait&rdquo;), followed
+by the chorus as narrator, describing the ride
+of the King and his companion through the greenwood,
+with which is interwoven Trojan&rsquo;s solo (&ldquo;How
+sweet and cool is yet the Night&rdquo;). In the next
+number, a vivacious allegro, the story of the ride is
+continued by the chorus, with a characteristic accompaniment,
+and again Trojan sings a charming
+tribute to the summer night, which is followed by
+responsive solos of the King and the Page, in the
+allegro and penseroso style,&mdash;the one singing of the
+raptures of night, the other of the gladness of day
+and sunlight. A passionate bit of recitative (&ldquo;Now
+swift, ye Horses&rdquo;) by Trojan reveals the secret of
+the King&rsquo;s haste. He is King of the night, and the
+morning ray will be fatal to him. A short choral
+number (&ldquo;And forward fly they&rdquo;) brings the first
+part to a close with the arrival of the riders at the
+Queen&rsquo;s castle.</p>
+<p>The second part opens with a beautiful solo, quartet,
+and chorus (&ldquo;Good-Night, the Lindens whisper&rdquo;),
+which describes the meeting of the lovers,
+while</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Beneath the lofty castle gate</p>
+<p class="t0">Slumbers the page who so long must wait.</p>
+<p class="t0">Then crows the cock, the hour is late.&rdquo;</p>
+</div>
+</div>
+<p>At this note of warning the Page appeals to his
+master to fly, for the sunlight will bring him pain
+<span class="pb" id="pg_294">[294]</span>
+and harm. The dallying King replies, &ldquo;Hark! how
+the Nightingale yet sings.&rdquo; A small chorus intervenes
+with the warning, &ldquo;Love is so fleeting, Night
+is so fair.&rdquo; The Queen appeals to him, &ldquo;What
+seest thou, O King?&rdquo; To which Trojan replies with
+agitation, &ldquo;The ruddy Morning, it is my Death.&rdquo;
+Again comes the Page&rsquo;s warning. The King springs
+up in alarm and hastens to his steed. In a choral
+presto movement the ride back is described.
+The King conceals himself in a dark thicket, hoping
+to escape, but the night has vanished and
+the day has begun. Its beams penetrate his refuge,
+and with a last despairing cry (&ldquo;Accursed Light,
+I feel thee now&rdquo;) he expires. A short choral
+passage, with harp accompaniment, brings this very
+dramatic and fanciful composition to a close:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;And from his horse the king now falls,</p>
+<p class="t">He was but king of the night;</p>
+<p class="t0">The sunlight sparkles, the sunlight shines,</p>
+<p class="t">But death comes with morning light.&rdquo;</p>
+</div>
+</div>
+<div class="imgtail"><img src="images/p294.png" alt="" width="94" height="60" /></div>
+</div>
+<div id="c095" title="Parker, J. C. D.">
+<div class="pb" id="pg_295">[295]</div>
+<div class="img"><img src="images/p295.png" alt="" width="362" height="87" /></div>
+<h3>PARKER.</h3>
+<p>James C. D. Parker, an American
+composer, was born at Boston, Mass.,
+June 2, 1828. He received his primary
+education in the schools of that city,
+was graduated from Harvard University in 1848, and
+immediately thereafter began the study of law. His
+love for music, however, was irresistible, and he
+soon dropped law-books and entered upon a
+thorough course of musical instruction, at first in
+Boston, and afterwards at the Conservatory in Leipsic,
+where he finished the regular course. He
+returned to Boston in 1854, and at once devoted
+himself to musical work in which he took a prominent
+part, and made an excellent reputation as
+pianist, organist, and teacher, as well as composer,
+though he has not as yet attempted any very large
+or ambitious works. In 1862 he organized an
+amateur vocal association under the name of the
+Parker Club, which has performed several works
+by Gade, Mendelssohn, Berlioz, Schumann, and
+others, with success. His most important composition
+is the &ldquo;Redemption Hymn,&rdquo; which he
+<span class="pb" id="pg_296">[296]</span>
+wrote for the Boston Handel and Haydn Society
+during the period he was its organist. He has also
+held the position of organist and choir-director of
+Trinity Church in that city, and of Professor of the
+College of Music connected with the Boston University.
+During his unostentatious career he has
+earned an enviable reputation as an earnest, honest
+musician deeply devoted to his art.</p>
+</div>
+<div id="c096" title="The Redemption Hymn">
+<h4>The Redemption Hymn.</h4>
+<p>&ldquo;The Redemption Hymn,&rdquo; for alto solo and
+chorus, was written for the Fourth Triennial Festival
+of the Handel and Haydn Society, and was first
+given on that occasion, May 17, 1877, Anna Louise
+Cary-Raymond taking the solo. The words are
+taken from Isaiah li. 9-11.</p>
+<div class="bq">
+<div class="verse">
+<p class="t0"><span class="sc">Chorus:</span>&mdash;&ldquo;Awake, put on strength, O arm of the Lord!</p>
+<p class="t0">&ldquo;Awake as in the ancient days, in the generations of old.</p>
+<p class="t0">&ldquo;Art thou not it that hath cut Rahab and wounded the dragon?
+Awake, put on strength, O arm of the Lord!</p>
+<p class="t0"><span class="sc">Solo and Chorus:</span>&mdash;&ldquo;Art thou not it that hath dried the sea,
+the waters of the great deep, that hath made the depths of the
+sea a way for the ransomed to pass over? Therefore the redeemed
+of the Lord shall return and come with singing unto Zion, and
+everlasting joy shall be upon their head; they shall obtain
+gladness and joy, and sorrow and mourning shall flee away.&rdquo;</p>
+</div>
+</div>
+<p>The work opens with a brief but spirited orchestral
+introduction, which leads to an exultant chorus
+(&ldquo;Awake, O Arm of the Lord&rdquo;), changing to a
+<span class="pb" id="pg_297">[297]</span>
+well-written fugue in the middle part (&ldquo;Art thou
+not it?&rdquo;), and returning to the first theme in the
+close. The next number is an effective alto solo
+(&ldquo;Art thou not it which hath dried the Sea?&rdquo;)
+alternating with chorus. It is followed by a slow
+movement for alto solo and chorus (&ldquo;Therefore
+the Redeemed of the Lord shall return&rdquo;), which
+closes very gracefully and tenderly on the words,
+&ldquo;Sorrow and Mourning shall flee away.&rdquo; This little
+work has become a favorite with singing societies,
+by the scholarly and effective manner in which it is
+written.</p>
+<div class="imgtail"><img src="images/p297.png" alt="" width="95" height="104" /></div>
+</div>
+<div id="c097" title="Randegger">
+<div class="pb" id="pg_298">[298]</div>
+<div class="img"><img src="images/p298.png" alt="" width="315" height="96" /></div>
+<h3>RANDEGGER.</h3>
+<p>Alberto Randegger was born at
+Trieste, April 13, 1832, and began the
+study of music at an early age with Lafont
+and Ricci. In his twentieth year he had
+written numerous minor pieces of church music,
+several masses and two ballets which were produced
+with success in his native city. From 1852 to 1854
+he was engaged as a conductor in the theatres of
+Fiume, Zera, Brescia, and Venice. In the latter
+year he brought out a grand opera in Brescia,
+called &ldquo;Bianca Capello,&rdquo; shortly after which he
+went to London, where he has since resided and
+made a world-wide reputation as a teacher. In
+1857 he conducted Italian opera at St. James&rsquo;s
+Theatre; in 1864 brought out a comic opera, &ldquo;The
+Rival Beauties,&rdquo; at the Theatre Royal, Leeds; in
+1868 was appointed Professor of Singing at the
+Royal Academy of Music, in which he has since
+become a director; in 1879-80 was conductor for
+the Carl Rosa English Opera Company at Her
+Majesty&rsquo;s Theatre, London; and has since been
+appointed conductor of the Norwich Festival in the
+<span class="pb" id="pg_299">[299]</span>
+place of Benedict. His principal works, besides
+those already mentioned, are: &ldquo;Medea,&rdquo; a scena,
+sung by Madame Rudersdorff at the Gewandhaus,
+Leipsic (1869); the One hundred and fiftieth
+Psalm, for soprano solo, chorus, orchestra, and organ
+(1872); cantata, &ldquo;Fridolin&rdquo; (1873); soprano
+scena, &ldquo;Saffo&rdquo; (1875); funeral anthem for the
+death of the Prince Consort; and a large number
+of songs which are great favorites on the concert-stage.</p>
+</div>
+<div id="c098" title="Fridolin">
+<h4>Fridolin.</h4>
+<p>&ldquo;Fridolin, or the Message to the Forge&rdquo; was
+written for the Birmingham Triennial Musical Festival
+of 1873. The words, by Mme. Erminia Rudersdorff,
+are founded on Schiller&rsquo;s ballad, &ldquo;Der
+Gang nach dem Eisenhammer.&rdquo; The <i>dramatis person&aelig;</i>
+are Waldemar, Count of Saverne; Eglantine,
+Countess of Saverne; Fridolin, page to the Countess;
+and Hubert, squire to the Count. The story
+closely follows that of Schiller. The preface to the
+piano score gives its details as follows:&mdash;</p>
+<p class="bq">
+&ldquo;Fridolin and Hubert are in the service of the
+Count of Saverne. Hubert, aspiring to win the affections
+of his beautiful mistress, conceives a violent
+hatred of Fridolin, whom he regards as an obstacle
+in his path. Taking advantage of Fridolin&rsquo;s loyal
+devotion to the Countess, Hubert excites the jealousy
+of the Count, and prompts a stern revenge. The Count
+forthwith writes to some mechanic serfs, ordering that
+<span class="pb" id="pg_300">[300]</span>
+whoever comes asking a certain question shall be at
+once thrown into their furnace. Fridolin, innocent of
+wrong and unconscious of danger, receives the &lsquo;message
+to the forge;&rsquo; but, ere setting out, he waits upon
+his mistress for such commands as she might have to
+give. The Countess desires him to enter the chapel
+he would pass on his way and offer up a prayer for
+her. Fridolin obeys, and thus saves his own life;
+but vengeance overtakes the traitor Hubert, who, going
+to the forge to learn whether the plot has succeeded,
+himself asks the fatal question, &lsquo;Is obeyed your lord&rsquo;s
+command?&rsquo; and himself becomes the victim. Fridolin
+subsequently appears, and is about to perish likewise,
+when the Count and Countess, between whom explanations
+have taken place, arrive on the scene, to preserve
+the innocent and to learn the fate of the guilty.&rdquo;</p>
+<p>The cantata opens with a short but stirring
+prelude, introducing the declamatory prologue-chorus:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;A pious youth was Fridolin,</p>
+<p class="t">Who served the Lord with zeal,</p>
+<p class="t0">And did his duty faithfully,</p>
+<p class="t">Come thereby woe or weal.</p>
+<p class="t0">For this when subtle foe conspired</p>
+<p class="t">And sought o&rsquo;er him to boast,</p>
+<p class="t0">About his path in direst need</p>
+<p class="t">Kept guard the angel host.&rdquo;</p>
+</div>
+</div>
+<p>The cantata proper opens with a recitative by Fridolin
+(&ldquo;Arising from the Lap of star-clad Night&rdquo;),
+leading up to the quiet, dreamy air, &ldquo;None but
+holy, lofty Thoughts.&rdquo; It is followed by a bass
+scena for Hubert (&ldquo;Proceed thou, hateful Minion,
+on thy Path&rdquo;) which opens in an agitated manner,
+<span class="pb" id="pg_301">[301]</span>
+but grows more reposeful and tender in
+style as the subject changes in the passage, &ldquo;For
+one kind Glance from out those Eyes divine.&rdquo;
+Again the scena changes and becomes vigorous
+in the recitative, &ldquo;Dispelled by jealous Rage is
+Hope&rsquo;s fond Dream,&rdquo; set to an imposing accompaniment,
+and leading to a brilliant fiery allegro
+(&ldquo;A thousand hideous Deaths I&rsquo;d make him die&rdquo;).
+The next number is a very graphic and spirited
+hunting-chorus (&ldquo;Hark! the Morn awakes the
+Horn&rdquo;), introduced and accompanied by the horns,
+and full of breezy, out-door feeling. A long dialogue
+follows between Hubert and the Count, somewhat
+gloomy in character, in which the former
+arouses his master&rsquo;s jealous suspicions. The gloom
+still further deepens as Hubert suggests the manner
+of Fridolin&rsquo;s death (&ldquo;Mid yon gloomy Mountains&rdquo;).
+Then follows the message to the forge by
+the Count in monotone phrases (&ldquo;Mark, ye Serfs,
+your Lord&rsquo;s Commands&rdquo;) and the scene closes
+with a very dramatic duet (&ldquo;Death and Destruction
+fall upon his Head&rdquo;). In striking contrast with
+these stormy numbers comes the charming, graceful
+chorus of the handmaidens (&ldquo;Calmly flow the
+equal Hours&rdquo;), followed by a very expressive song
+for the Countess (&ldquo;No Bliss can be so great&rdquo;). A
+short scene in recitative leads up to a tender duet
+(&ldquo;Above yon Sun, the Stars above&rdquo;) for Fridolin
+and the Countess, closing with a powerful quartet
+for the four principal parts (&ldquo;Now know I, Hubert,
+thou speakest true&rdquo;).</p>
+<div class="pb" id="pg_302">[302]</div>
+<p>The ninth scene is admirably constructed. It
+opens with an animated and picturesque dance and
+chorus of villagers (&ldquo;Song is resounding, Dancers
+are bounding&rdquo;), which swings along in graceful
+rhythm until it is interrupted by a solemn phrase
+for organ, introduced by horns, which prepares the
+way for a chorale (&ldquo;Guardian Angels sweet and
+fair&rdquo;), closing with Fridolin&rsquo;s prayer at the shrine,
+interwoven with a beautiful sacred chorus (&ldquo;Sancta
+Maria, enthroned above&rdquo;). In a recitative and ballad
+(&ldquo;The wildest Conflicts rage within my fevered
+Soul&rdquo;) the Count mourns over what he supposes
+to be the infidelity of his wife, followed by a long
+and very dramatic scene with the Countess (&ldquo;My
+Waldemar, how erred thine Eglantine?&rdquo;). The
+last scene is laid at the forge, and after a short
+but vigorous prelude opens with a chorus of the
+smiths (&ldquo;Gift of Demons, raging Fire&rdquo;), in which
+the composer has produced the effect of clanging
+anvils, roaring fire, and hissing sparks with wonderful
+realism. The chorus closes with passages describing
+the providential rescue of Fridolin and the fate
+of Hubert, and an <i>andante religioso</i> (&ldquo;Let your
+Voices Anthems raise&rdquo;). The epilogue is mainly
+choral, and ends this very dramatic work in broad
+flowing harmonies.</p>
+<div class="imgtail"><img src="images/p302.png" alt="" width="91" height="27" /></div>
+</div>
+<div id="c099" title="Rheinberger">
+<div class="pb" id="pg_303">[303]</div>
+<div class="img"><img src="images/p303.png" alt="" width="316" height="103" /></div>
+<h3>RHEINBERGER.</h3>
+<p>Joseph Gabriel Rheinberger
+was born at Vaduz, in Lichtenstein,
+March 17, 1839, and displayed his musical
+talent at a very early age. He studied
+the piano in his fifth year, and in his seventh
+was organist in the church of his native place. At
+the age of twelve he entered the Munich Conservatory,
+where he remained as a scholar until
+he was nineteen, when he was appointed one of its
+teachers; at the same time he became organist at
+the Hofkirche of St. Michael, and afterwards director
+of the Munich Oratorio Society. In 1867
+he was appointed professor and inspector of the
+Royal Music School, and since 1877 has been the
+royal Hofkapellmeister, directing the performances
+of the Kapellchor, an organization similar to that of
+the Berlin Domchor. He is a very prolific composer,
+nearly two hundred works having proceeded
+from his pen. Among them are the &ldquo;Wallenstein&rdquo;
+and &ldquo;Florentine&rdquo; symphonies; a Stabat Mater; two
+operas, &ldquo;The Seven Ravens&rdquo; and &ldquo;Th&uuml;rmer&rsquo;s
+T&ouml;chterlein;&rdquo; incidental music to a drama of Calderon&rsquo;s;
+<span class="pb" id="pg_304">[304]</span>
+a symphony-sonata for piano; a requiem
+for the dead in the Franco-German war; theme and
+variations for string quartet; a piano concerto; five
+organ sonatas; the choral works, &ldquo;Toggenburg,&rdquo;
+&ldquo;Kl&auml;rchen auf Eberstein,&rdquo; &ldquo;Wittekind,&rdquo; and
+&ldquo;Christophorus;&rdquo; and a large number of songs and
+church pieces, besides much chamber music.</p>
+</div>
+<div id="c100" title="Christophorus">
+<h4>Christophorus.</h4>
+<p>&ldquo;Christophorus,&rdquo; a legend, as Rheinberger calls
+it, was written in 1879, and is composed for barytone,
+soprano, and alto solos, chorus, and orchestra. Its
+subject is taken from the familiar story of the giant
+who bore the infant Christ across the flood. The
+chorus acts the part of narrator, and in its opening
+number relates the legend of Christophorus&rsquo; wanderings
+and his arrival before the castle whose
+master he would serve. He offers his services, but
+when they are accepted as an offering from the
+gods he haughtily declares that he only serves &ldquo;for
+fame and chivalry.&rdquo; A voice thereupon in an impressive
+solo (&ldquo;Trust not this loud-voiced Stranger&rdquo;)
+warns him away as an envoy of Satan, and the chorus
+repeats the warning. The giant departs with the
+intention of drawing his sword in Satan&rsquo;s cause,&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;For he alone must be lord of all,</p>
+<p class="t0">Whose name doth so valiant a monarch appall.&rdquo;</p>
+</div>
+</div>
+<p>In a very picturesque number the chorus describes
+his wanderings among the mountain crags and
+<span class="pb" id="pg_305">[305]</span>
+rocks where Satan weaves his spells about him; and
+then suddenly changing to a tender, delicate strain
+(&ldquo;Over us Stars shine&rdquo;) anticipates the Voice,
+which in a sensuous aria (&ldquo;Who is the sovereign
+Lord of the Heart?&rdquo;) sings the power of love. In
+graceful chorus the spirits taunt him, whereupon he
+once more resolves to fly and to abandon the cause
+of Satan, but is thwarted by them. A weird chorus
+closes the first part (&ldquo;Satan a-hunting is gone&rdquo;),
+ending with an impressive strain:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Stormily falleth the night:</p>
+<p class="t0">Frightened maidens fleeing,</p>
+<p class="t0">Demon hordes all around.</p>
+<p class="t0">&lsquo;A cross, see, upraised!</p>
+<p class="t0">Fly, master! too far we have come.</p>
+<p class="t0">Hallowed is the ground.&rsquo;&rdquo;</p>
+</div>
+</div>
+<p>The second part opens with a reflective soliloquy
+by the giant, followed by a plaintive chorus (&ldquo;All
+now is lone and silent&rdquo;) describing the suffering of
+our Saviour on the cross and the sadness of a hermit
+gazing upon the scene. The giant approaches
+the latter, and a dialogue ensues between them, in
+which the identity of the victim on the cross is revealed.
+Having found the King of the universe,
+Christophorus determines to devote himself to His
+cause, and inquires how he may serve Him. He is
+informed he must go to the swiftly-rolling river and
+carry the pilgrims across. A chanting chorus (&ldquo;As
+flows the River seawards, so onward glide the
+Years&rdquo;) describes the work of the faithful toiler.
+Then comes a voice calling him, and he beholds an
+<span class="pb" id="pg_306">[306]</span>
+Infant waiting for him. He takes Him upon his
+shoulders and bears Him into the flood, but as he
+advances, bends and struggles beneath his load &ldquo;as
+though the whole world he bore.&rdquo; He inquires
+the meaning, and the Voice replies:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Thou bear&rsquo;st the world and bearest its Creator:</p>
+<p class="t0">This Child is Jesus, God&rsquo;s own Son.</p>
+<p class="t0">Soldier of Christ!</p>
+<p class="t0">Thine arms were charity and mercy,</p>
+<p class="t0">The arms of love.</p>
+<p class="t0">Now mayst rejoice:</p>
+<p class="t0">The prize of thy faith is won.&rdquo;</p>
+</div>
+</div>
+<p>A joyful, exultant chorus, (&ldquo;Blessed of Rivers, the
+Child embrace&rdquo;) closes this very graceful little
+&ldquo;legend.&rdquo;</p>
+</div>
+<div id="c101" title="Toggenburg">
+<h4>Toggenburg.</h4>
+<p>&ldquo;Toggenburg,&rdquo; a cycle of ballads, was written in
+1880. The music is for solos and mixed chorus,
+the ballads being linked together by motives, thus
+forming a connected whole. The story is a very
+simple one. The bright opening chorus (&ldquo;At Toggenburg
+all is in festive Array&rdquo;) describes the
+pageantry which has been prepared to welcome
+the return of Henry, Knight of Toggenburg, with
+his fair young Suabian bride, the Lady Etha. The
+chorus is followed by a duet and alto or barytone
+solo, which indicate the departure of the Knight
+for the wars, and the Lady Etha&rsquo;s loss of the
+wedding ring. The next number, a solo quartet and
+chorus (&ldquo;Ah! Huntsman, who gave thee the Diamond
+<span class="pb" id="pg_307">[307]</span>
+Ring?&rdquo;), is very dramatic in its delineation of
+the return of the victorious Knight, who, observing
+the ring on the finger of the huntsman, slays him,
+and then in a fit of jealousy hurls the Lady Etha
+from the tower where she was waving his welcome.
+The next number is a female chorus (&ldquo;On mossy
+Bed her gentle Form reposes&rdquo;), very slow in its
+movement and plaintive in character. It is followed
+by a weird and solemn chorus (&ldquo;Through the Night
+rings the Horn&rsquo;s Blast with Power&rdquo;), picturing the
+mad ride of the Knight through the darkness, accompanied
+by the dismal notes of ravens and mysterious
+sounds like &ldquo;greetings from the dead,&rdquo;
+which only cease when he discovers the corpse
+of his lady with the cross on its breast. A short
+closing chorus, funereal in style, ends the mournful
+story:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Toggenburg all is in mourning array,</p>
+<p class="t">The banners wave, the gate stands wide,</p>
+<p class="t0">Count Henry returns to his home this day,</p>
+<p class="t">In death he anew has won his bride.</p>
+<p class="t0">Once more for their coming the hall is prepared,</p>
+<p class="t">Where flickering tapers are ranged around,</p>
+<p class="t0">And far through the night in the valley are heard</p>
+<p class="t">The chants of the monks with their mournful sound.&rdquo;</p>
+</div>
+</div>
+<p>Though the work has somewhat both of the Schumann
+and Mendelssohn sentiment in it, it is nevertheless
+original and characteristic in treatment.
+The melodies are pleasing throughout, and cover
+a wide range of expression, reaching from the
+tenderness of love to the madness of jealousy, and
+thence on to the elegiac finale.</p>
+</div>
+<div id="c102" title="Romberg">
+<div class="pb" id="pg_308">[308]</div>
+<div class="img"><img src="images/p308.png" alt="" width="301" height="128" /></div>
+<h3>ROMBERG.</h3>
+<p>Andreas Romberg was born April 27,
+1767, at Vechte, near M&uuml;nster. At a
+very early age he was celebrated as a
+violinist. In his seventeenth year he
+made a <i>furor</i> by his playing at the Concerts Spirituels,
+Paris. In 1790, with his cousin Bernhard,
+who was even more celebrated as a violoncellist
+(indeed the Rombergs, like the Bachs, were all
+musicians), he played in the Elector&rsquo;s band, and
+also went with him to Rome, where the cousins
+gave concerts together under the patronage of one
+of the cardinals. During the next four years Andreas
+travelled in Austria and France, and during
+his stay at Vienna made the acquaintance of Haydn,
+who was very much interested in his musical work.
+In 1800 he brought out an opera in Paris which
+made a failure. He then left for Hamburg, where
+he married and remained many years. In 1820
+he was appointed court capellmeister at Gotha,
+and died there in the following year. Among his
+compositions are six symphonies; five operas,
+&ldquo;Das graue Ungeheuer,&rdquo; &ldquo;Die Macht der Musik,&rdquo;
+<span class="pb" id="pg_309">[309]</span>
+&ldquo;Der Rabe,&rdquo; &ldquo;Die Grossmuth des Scipio,&rdquo; and
+&ldquo;Die Ruinen zu Paluzzi;&rdquo; and several cantatas,
+quartets, quintets, and church compositions. Of all
+his works, however, his &ldquo;Lay of the Bell&rdquo; is the
+best known. A few years ago it was the stock
+piece of nearly every choral society in Germany,
+England, and the United States; and though now
+relegated to the repertory of old-fashioned music,
+it is still very popular.</p>
+</div>
+<div id="c103" title="Lay of the Bell">
+<h4>Lay of the Bell.</h4>
+<p>The &ldquo;Lay of the Bell&rdquo; was composed in 1808,
+the music being set to Schiller&rsquo;s famous poem of
+the same name, whose stately measures are well
+adapted to musical treatment. It opens with a
+bass solo by the Master, urging on the workmen:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;In the earth right firmly planted,</p>
+<p class="t">Stands well baked the mould of clay:</p>
+<p class="t0">Up, my comrades, be ye helpful;</p>
+<p class="t">Let the bell be born to-day.&rdquo;</p>
+</div>
+</div>
+<p>The full chorus responds in a rather didactic strain
+(&ldquo;The Labor we prepare in Earnest&rdquo;), and as it
+closes the Master gives his directions for lighting
+the fire in the furnace and mixing the metals. In
+this manner the work progresses, the Master issuing
+his orders until the bell is ready for the casting,
+the solo singers or chorus replying with sentiments
+naturally suggested by the process and the future
+work of the bell. The first of these responses is
+<span class="pb" id="pg_310">[310]</span>
+the chorus, &ldquo;What in the Earth profoundly hidden,&rdquo;
+a smoothly flowing number followed by a
+soprano solo (&ldquo;For with a Burst of joyous Clangor&rdquo;),
+a pleasantly-rippling melody picturing the joys of
+childhood, and a spirited tenor solo (&ldquo;The Youth,
+Girl-playmates proudly leaving&rdquo;) indicating the
+dawn of the tender passion which broadens out
+into love, as the two voices join in the charming
+duet, &ldquo;O tender Longing, Hope delightsome.&rdquo;
+The bass still further emphasizes their delight in
+the recitative, &ldquo;When stern and gentle Troth have
+plighted,&rdquo; leading up to a long but interesting tenor
+solo (&ldquo;Though Passion gives way&rdquo;) which describes
+the homely joys of domestic life. The male
+chorus thereupon takes up the story in a joyful
+strain (&ldquo;And the good Man with cheerful Eye&rdquo;),
+and tells us of the prosperity of the happy pair and
+the good man&rsquo;s boast,&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Firm as the solid earth,</p>
+<p class="t0">Safe from misfortune&rsquo;s hand,</p>
+<p class="t0">Long shall my dwelling stand;&rdquo;</p>
+</div>
+</div>
+<p>to which comes the ominous response of the female
+chorus:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Yet none may with Fate supernal</p>
+<p class="t0">Ever form a league eternal;</p>
+<p class="t0">And misfortune swiftly strides.&rdquo;</p>
+</div>
+</div>
+<p>The Master now gives the signal to release the
+metal into the mould, whereupon follows a stirring
+and picturesque chorus (&ldquo;Right helpful is the
+Might of Fire&rdquo;) describing the terrors of fire, the
+<span class="pb" id="pg_311">[311]</span>
+wild alarm, the fright and confusion of the people,
+the clanging bells and crackling flames, and the
+final destruction of the homestead, closing the first
+part.</p>
+<p>The second part opens with the anxious orders
+of the Master to cease from work and await the result
+of the casting. The chorus takes up a slow and
+stately measure (&ldquo;To Mother Earth our Work committing&rdquo;)
+which closes in a mournful finale describing
+the passing funeral train, followed by a pathetic
+soprano solo which tells the sad story of the death
+of the good man&rsquo;s wife, while &ldquo;To the orphaned
+Home a Stranger comes unloving Rule to bear.&rdquo;
+The scene now changes from a desolate to a happy
+home as the Master bids the workmen seek their
+pleasure while the bell is cooling. A soprano solo
+takes up a cheery strain (&ldquo;Wends the weary
+Wanderer&rdquo;), picturing the harvest home, the dance
+of the youthful reapers, and the joys of evening
+by the fireside, followed by a tribute to patriotism,
+sung by tenor and bass, the pleasant scene closing
+with an exultant full chorus (&ldquo;Thousand active
+Hands combining&rdquo;). The Master then gives the
+order to break the mould, and in contemplation of
+the ruin which might have been caused had the
+metal burst it, the chorus breaks out in strong,
+startling phrases picturing the horrors of civil strife
+(&ldquo;The Master&rsquo;s Hand the Mould may shatter&rdquo;).
+The work, however, is complete and successful, and
+in the true spirit of German Gem&uuml;thlichkeit the
+Master summons his workmen:&mdash;</p>
+<div class="pb" id="pg_312">[312]</div>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Let us, comrades, round her pressing,</p>
+<p class="t0">Upon our bell invoke a blessing.</p>
+<p class="t0">&lsquo;Concordia,&rsquo; let her name be called:</p>
+<p class="t0">In concord and in love of one another,</p>
+<p class="t0">Where&rsquo;er she sound, may brother meet with brother.&rdquo;</p>
+</div>
+</div>
+<p>The cantata closes with a last invocation on the
+part of the Master, followed by a jubilant chorus
+(&ldquo;She is moving, She is moving&rdquo;).</p>
+<div class="imgtail"><img src="images/p312.png" alt="" width="118" height="84" /></div>
+</div>
+<div id="c104" title="Schubert">
+<div class="pb" id="pg_313">[313]</div>
+<div class="img"><img src="images/p313.png" alt="" width="320" height="140" /></div>
+<h3>SCHUBERT.</h3>
+<p>Franz Peter Schubert was born in
+Vienna, Jan. 31, 1797, and received his
+first musical lessons from his father and
+his elder brother Ignaz. In his eleventh
+year he sang in the Lichtenthal choir and shortly
+afterwards entered the Imperial Convict School,
+where for the next three or four years he made
+rapid progress in composition. In 1813 he returned
+home, and to avoid the conscription entered his
+father&rsquo;s school as a teacher, where he remained for
+three years, doing drudgery but improving his leisure
+hours by studying with Salieri and devoting himself
+assiduously to composition. His life had few events
+in it to record. It was devoted entirely to teaching
+and composition. He wrote in almost every known
+form of music, but it was in the Lied that he has
+left the richest legacy to the world, and in that field
+he reigns with undisputed title. Unquestionably
+many of these songs were inspirations, like the
+&ldquo;Erl King,&rdquo; for instance, which came to him in
+the midst of a carousal. The most famous of
+them are to be found in the cycluses &ldquo;M&uuml;llerlieder,&rdquo;
+<span class="pb" id="pg_314">[314]</span>
+&ldquo;Die Ges&auml;nge Ossians,&rdquo; &ldquo;Die Geistlichen Lieder,&rdquo;
+&ldquo;Die Winterreise,&rdquo; and &ldquo;Der Schwanengesang.&rdquo;
+They are wonderful for their completeness, their expression
+of passion, their beauty and grace of form,
+the delicacy of their fancy, and their high artistic
+finish. Among the other great works he has left
+are the lovely &ldquo;Song of the Spirits over the Water,&rdquo;
+for male voices; &ldquo;Die Allmacht;&rdquo; &ldquo;Prometheus;&rdquo;
+&ldquo;Miriam&rsquo;s War Song;&rdquo; the eight-part chorus &ldquo;An
+den Heiligen Geist;&rdquo; the &ldquo;Momens Musicale;&rdquo;
+impromptus and Hungarian fantasies for piano; the
+sonatas in C minor and B flat minor; nine symphonies,
+two of them unfinished; the trios in B flat
+and E flat; the quartets in D minor and G major;
+the quintet in C; two operas, &ldquo;Alfonso and Estrella&rdquo;
+and &ldquo;Fierrabras;&rdquo; the mass in G, which he
+wrote when but eighteen years of age, and the mass
+in E flat, which was his last church composition.
+His catalogued works number over a thousand.
+He died Nov. 19, 1828, and his last wish was to be
+buried by the side of Beethoven, who on his death-bed
+had recognized &ldquo;the divine spark&rdquo; in Schubert&rsquo;s
+music. Three graves only separate the great
+masters of the Symphony and the Lied in the
+cemetery of W&auml;hring.</p>
+</div>
+<div id="c105" title="Miriam&rsquo;s War Song">
+<h4>Miriam&rsquo;s War Song.</h4>
+<p>The majestic cantata, &ldquo;Miriam&rsquo;s War Song,&rdquo; was
+written in March, 1828, the last year of Schubert&rsquo;s
+<span class="pb" id="pg_315">[315]</span>
+life,&mdash;a year which was rich, however, in the productions
+of his genius. The beautiful symphony in C,
+the mass in E flat, the string quartet in C, the three
+piano sonatas dedicated to Schumann, the eight-voiced
+&ldquo;Hymn to the Holy Ghost,&rdquo; the 92d
+Psalm, a &ldquo;Tantum Ergo,&rdquo; and several songs, among
+them &ldquo;Am Strom,&rdquo; &ldquo;Der Hirt auf den Felsen,&rdquo; and
+a part of the &ldquo;Schwanengesang,&rdquo; all belong to this
+year. The authorities differ as to the time of the
+first performance of &ldquo;Miriam&rsquo;s War Song.&rdquo; Nottebohm
+in his catalogue says that it was first sung
+at a concert, Jan. 30, 1829, given for the purpose of
+raising funds to erect a monument in memory of the
+composer, who died on the 19th of the previous
+November. Others assert that Schubert was induced
+to give a concert, March 26, 1828, the programme
+being composed entirely of his own music, and that
+it was first heard on that occasion.</p>
+<p>The work is for soprano solo and chorus, the
+words by the poet Grillparzer, and the accompaniment,
+for the piano, as Schubert left it. He had
+intended arranging it for orchestra, but did not live
+to complete it. The work, however, was done a year
+or two afterwards by his friend Franz Lachner, at
+that time officiating as Capellmeister at the K&auml;rnthnerthor
+Theatre in Vienna.</p>
+<p>The theme of the cantata is Miriam&rsquo;s hymn of
+praise for the escape of the Israelites, and the exultant
+song of victory by the people, rejoicing not
+alone at their own delivery but at the destruction
+of the enemy. It opens with a spirited and broad
+<span class="pb" id="pg_316">[316]</span>
+harmony, &ldquo;Strike the Cymbals,&rdquo; changing to a calm
+and graceful song, describing the Lord as a shepherd
+leading his people forth from Egypt. The
+next number, depicting the awe of the Israelites
+as they passed through the divided waters, the approach
+of Pharaoh&rsquo;s hosts, and their destruction, is
+worked up with great power. As the sea returns
+to its calm again, the opening chorus is repeated,
+closing with a powerful fugue. The cantata is
+short, but it is a work of imperishable beauty.</p>
+<div class="imgtail"><img src="images/p316.png" alt="" width="90" height="124" /></div>
+</div>
+<div id="c106" title="Schumann">
+<div class="pb" id="pg_317">[317]</div>
+<div class="img"><img src="images/p317.png" alt="" width="366" height="83" /></div>
+<h3>SCHUMANN.</h3>
+<p>Robert Schumann was born at Zwickau,
+in Saxony, June 8, 1810. In his earliest
+youth he was recognized as a child of
+genius. His first teacher in music was
+Baccalaureus Kuntzch, who gave him piano instruction.
+He studied the piano with Wieck, whose
+daughter Clara he subsequently married, now world-famous
+as a pianist. In 1830, in which year his
+artistic career really opened, he began the theoretical
+study of music, first with Director Kupsch in Leipsic
+and later with Heinrich Dorn, and at the same time
+entered upon the work of composition. Schumann
+was not only a musician but an able critic and
+graceful writer; and in 1834, with Schunke, Knorr,
+and Wieck, he founded the &ldquo;Neue Zeitschrift f&uuml;r
+Musik,&rdquo; which had an important influence upon
+musical progress in Germany, and in which the
+great promise of such musicians as Chopin and
+Brahms was first recognized. He married Clara
+Wieck in 1840, after much opposition from her
+father; and in this year appeared some of his best
+songs, including the three famous cycluses, &ldquo;Liederkreis,&rdquo;
+<span class="pb" id="pg_318">[318]</span>
+&ldquo;Woman&rsquo;s Life and Love,&rdquo; and &ldquo;Poet&rsquo;s
+Love,&rdquo; which now have a world-wide fame. In the
+following year larger works came from his pen,
+among them his B minor symphony, overture,
+scherzo, and finale in E major, and the symphony
+in D minor. During this period in his career he
+made many artistic journeys with his wife, which
+largely increased the reputation of both. In 1843
+he completed his great &ldquo;romantic oratorio,&rdquo; &ldquo;Paradise
+and the Peri,&rdquo; set to Moore&rsquo;s text, and many
+favorite songs and piano compositions, among
+them the &ldquo;Phantasiest&uuml;cke&rdquo; and &ldquo;Kinderscenen,&rdquo;
+and his elegant piano quintet in E flat. In 1844,
+in company with his wife, he visited St. Petersburg
+and Moscow, and their reception was a royal one.
+The same year he abandoned his &ldquo;Zeitschrift,&rdquo; in
+which &ldquo;Florestan,&rdquo; &ldquo;Master Raro,&rdquo; &ldquo;Eusebius,&rdquo;
+and the other pseudonyms had become familiar all
+over Germany, and took the post of director in
+D&uuml;sseldorf, in the place of Ferdinand Hiller. During
+the last few years of his life he was the victim
+of profound melancholy, owing to an affection of
+the brain, and he even attempted suicide by throwing
+himself into the Rhine. He was then removed
+to an asylum at Endenich, where he died July 20,
+1856. The two men who exercised most influence
+upon Schumann were Jean Paul and Franz Schubert.
+He was deeply pervaded with the romance of the
+one and the emotional feeling of the other. His
+work is characterized by genial humor, a rich and
+warm imagination, wonderfully beautiful instrumentation,
+<span class="pb" id="pg_319">[319]</span>
+especially in his accompaniments, the loftiest
+form of expression, and a rigid adherence to the
+canons of art.</p>
+</div>
+<div id="c107" title="Advent Hymn">
+<h4>Advent Hymn.</h4>
+<p>In a letter to Strakerjan, Schumann writes:&mdash;</p>
+<p class="bq">&ldquo;To apply his powers to sacred music is the artist&rsquo;s
+highest aim. But in youth we are all very firmly rooted
+to earth, with its joys and sorrows; in old age the
+twigs tend upwards. And so I hope that that day may
+not be too far distant from me.&rdquo;</p>
+<p>The first of his works indicated in the above
+words to his friend was the &ldquo;Advent Hymn,&rdquo;
+written in 1848, based upon R&uuml;ckert&rsquo;s poem. It
+was followed later by a requiem and a mass, these
+comprising his only sacred music.</p>
+<p>The &ldquo;Advent Hymn&rdquo; describes the entry of
+Christ into Jerusalem, reflectively considers his
+peaceful career as compared with that of earthly
+kings, and appeals to His servants to bear tidings
+of Him throughout the world, closing with a prayer
+that He will bring His peace to all its people. It
+is a hymn full of simple devotion and somewhat
+narrow in its limitations; but Schumann has treated
+it with all the dignity and breadth of the oratorio
+style. It opens with a melodious soprano solo (&ldquo;In
+lowly Guise thy King appeareth&rdquo;), with choral responses
+by sopranos and altos, leading to an effective
+<span class="pb" id="pg_320">[320]</span>
+five-part chorus (&ldquo;O King indeed, though no
+Man hail Thee&rdquo;), begun by first and second tenors
+and basses, and closing in full harmony with the
+added female voices. The soprano voice again announces
+a subject (&ldquo;Thy Servants faithful, Tidings
+bearing&rdquo;), which is taken up by full chorus, in somewhat
+involved form, though closing in plain harmony.
+The third number (&ldquo;When Thou the stormy Sea
+art crossing&rdquo;) is given out by the soprano and repeated
+by the female chorus with a charming pianissimo
+effect. A few bars for male chorus (&ldquo;Lord
+of Grace and Truth unfailing&rdquo;) lead into full chorus.
+The fifth number (&ldquo;Need is there for Thyself returning&rdquo;),
+also choral, is very elaborately treated with
+interchanging harmonies and bold rhythms, leading
+up to the final choruses, which are very intricate
+in construction, but at the close resolve into a
+double chorus of great power and genuine religious
+exaltation.</p>
+<p>There are other works of Schumann&rsquo;s which are
+more or less in the cantata form, such as &ldquo;The
+King&rsquo;s Son,&rdquo; op. 116, set to a ballad of Uhland&rsquo;s;
+&ldquo;The New Year&rsquo;s Song,&rdquo; op. 144, poem by R&uuml;ckert;
+&ldquo;The Luck of Edenhall,&rdquo; op. 143, poem by Uhland;
+&ldquo;Of the Page and the King&rsquo;s Daughter,&rdquo; op. 140,
+poem by Geibel; the &ldquo;Spanish Love Song,&rdquo; op.
+138; the &ldquo;Minnespiel,&rdquo; op. 101; and the &ldquo;Ritornelle,&rdquo;
+op. 65.</p>
+</div>
+<div id="c108" title="The Pilgrimage of the Rose">
+<div class="pb" id="pg_321">[321]</div>
+<h4>The Pilgrimage of the Rose.</h4>
+<p>&ldquo;The Pilgrimage of the Rose,&rdquo; for solo and
+chorus, with piano accompaniment, twenty-four
+numbers, was written in the spring of 1851, and was
+first performed May 6, 1852, at a D&uuml;sseldorf subscription
+concert. The story is taken from a somewhat
+vapid fairy-tale by Moritz Horn, and has little
+point or meaning. It turns upon the commonplace
+adventures of a young girl whose origin is disclosed
+by a rose which was never to fall from her hand.</p>
+<p>The principal numbers are the opening song, a
+joyous hymn to spring, in canon form, for two sopranos;
+the dancing choruses of the elves, for two
+sopranos and alto; the male chorus, &ldquo;In the thick
+Wood,&rdquo; which is very effective in harmony; the exultant
+bridal songs, &ldquo;Why sound the Horns so gayly?&rdquo;
+and &ldquo;Now at the Miller&rsquo;s;&rdquo; the duet, &ldquo;In the smiling
+Valley, &lsquo;mid the Trees so green;&rdquo; the Grave Song;
+the quartet, &ldquo;Oh, Joy! foretaste of Heaven&rsquo;s Rest;&rdquo;
+and the duet, &ldquo;I know a blushing Rosebud.&rdquo;</p>
+<p>The work as a whole has never attained the popularity
+of his &ldquo;Paradise and the Peri,&rdquo; though detached
+numbers from it are frequently given with
+great success. The inadequacy of the poem has
+much to do with this; and it must also be remembered
+that it was written at a time when Schumann&rsquo;s
+powers had begun to weaken under the strain of the
+mental disorder which finally proved fatal. Reissmann,
+in his analysis of the work, says:&mdash;</p>
+<div class="pb" id="pg_322">[322]</div>
+<p class="bq">&ldquo;The man who had hitherto refused to allow even
+the simplest composition to flow from any but a distinct
+idea, who constantly strove to enter into relations
+with some distinct movement of the heart or the imagination,
+here grasped at a poem utterly destitute of any
+rational fundamental idea, and so arbitrary in execution,
+so tasteless in parts, that the musical inspiration
+it offered could never have moved any other composer
+to set it to music.&rdquo;</p>
+</div>
+<div id="c109" title="The Minstrel&rsquo;s Curse">
+<h4>The Minstrel&rsquo;s Curse.</h4>
+<p>&ldquo;The Minstrel&rsquo;s Curse,&rdquo; for solo voice, chorus
+and orchestra, was written in 1852, and first performed
+in the same year. Its text is based upon
+Uhland&rsquo;s beautiful ballad of the same name, which
+was adapted for the composer by Richard Pohl.
+The libretto shows numerous variations from the
+original text. Some of the verses are literally followed,
+others are changed, and many new songs and
+motives are introduced. Several of Uhland&rsquo;s other
+ballads are assigned to the minstrel, the youth, and
+the queen, among them &ldquo;Die Drei Lieder,&rdquo; &ldquo;Entsagung,&rdquo;
+and &ldquo;Hohe Liebe,&rdquo; as well as extracts from
+&ldquo;Rudello,&rdquo; &ldquo;Lied des Deutschen S&auml;ngers,&rdquo; &ldquo;Gesang
+und Krieg,&rdquo; and &ldquo;Das Thal.&rdquo; Instead of the beautiful
+verse in the original poem:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;They sing of spring and love, of happy golden youth,</p>
+<p class="t0">Of freedom, manly worth, of sanctity and truth.</p>
+<p class="t0">They sing of all emotions sweet the human breast that move,</p>
+<p class="t0">They sing of all things high the human heart doth love.</p>
+<p class="t0">The courtly crowd around forget to sneer and nod,</p>
+<p class="t0">The king&rsquo;s bold warriors bow before their God.</p>
+<p class="t0">The queen, to pleasure and to melancholy willing prey,</p>
+<p class="t0">Down to the singers casts the rose which on her bosom lay,&rdquo;&mdash;</p>
+</div>
+</div>
+<div class="pb" id="pg_323">[323]</div>
+<p>which leads up to the tragedy, it is the singing of
+the &ldquo;Hohe Liebe&rdquo; which is made the motive by
+Pohl, who from this point on follows the story as
+told by Uhland.</p>
+<p>The work contains fourteen numbers. The first
+two verses, describing the castle and its haughty
+monarch, are sung by the narrator, and are followed
+by an alto solo, very bright and joyous in style,
+which tells of the arrival of the two minstrels. The
+fourth number is a Proven&ccedil;al song, full of grace and
+poetical feeling, sung by the youth, followed by full
+chorus. The King angrily interposes in the next
+number, &ldquo;Enough of Spring and Pleasure,&rdquo; whereupon
+the harper sings a beautiful ballad interpolated
+by the librettist. The queen follows with a quiet,
+soothing strain, appealing for further songs, and in
+reply the youth and harper once more sing of
+spring. The youth&rsquo;s powerful song of love, which
+changes to a trio in the close, the queen and harper
+joining, indicates the coming tragedy, and from this
+number on the chorus follows the story as told by
+Uhland, with great power and spirit. The general
+style of the work is declamatory, but in many of its
+episodes the ballad form is used with great skill and
+effect.</p>
+<div class="imgtail"><img src="images/p323.png" alt="" width="53" height="21" /></div>
+</div>
+<div id="c110" title="Singer">
+<div class="pb" id="pg_324">[324]</div>
+<div class="img"><img src="images/p324.png" alt="" width="365" height="82" /></div>
+<h3>SINGER.</h3>
+<p>Otto Singer was born in Saxony, July
+26, 1833, and attended the Leipsic Conservatory
+from 1851 to 1855, studying with
+Richter, Moscheles, and Hauptmann. In
+1859 he went to Dresden and for two years thereafter
+studied with Liszt, of whom he was not only a
+favorite scholar but always a most zealous advocate.
+In 1867 he came to this country to take a position
+in the Conservatory at New York, then under the
+direction of Theodore Thomas and William Mason.
+In 1873, upon Mr. Thomas&rsquo;s suggestion, he went to
+Cincinnati and became the assistant musical director
+of the festival chorus of that city, a position which
+he filled with eminent ability for several years. At
+the festival of 1878 he conducted the first performance
+of Liszt&rsquo;s &ldquo;Graner Mass&rdquo; in this country, and
+also his own &ldquo;Festival Ode&rdquo; set to a poem by F.
+A. Schmitt, and written to commemorate the dedication
+of the new Music Hall. In the same year
+the Cincinnati College of Music was organized, and
+he was engaged as one of the principal instructors,
+a position which he still holds, and in which he has
+<span class="pb" id="pg_325">[325]</span>
+displayed signal ability. Mr. Singer has written many
+compositions for piano and orchestra, and besides
+his &ldquo;Festival Ode,&rdquo; the cantata &ldquo;Landing of the
+Pilgrims&rdquo; (1876).</p>
+</div>
+<div id="c111" title="The Landing of the Pilgrims">
+<h4>The Landing of the Pilgrims.</h4>
+<p>&ldquo;The Landing of the Pilgrims,&rdquo; written in 1876,
+was Mr. Singer&rsquo;s Centennial offering to the patriotic
+music of that year. The text of the cantata is the
+familiar poem written by Mrs. Felicia Hemans, which
+was first set to music by her own sister, Miss Browne,
+though in somewhat different style from this work of
+the modern school.</p>
+<p>The cantata opens with an instrumental prelude
+which gives out the principal motive as we afterwards
+find it set to the words, &ldquo;With their Hymns of
+lofty Cheer;&rdquo; and truly lofty cheer it is, that antique,
+strong melody. Breathed softly at first, as from afar,
+it is repeated after a rapid crescendo with the whole
+weight of the orchestra, to melt away again on an
+organ point in more subdued tone-color. In the
+second movement (andante) it appears in quadruple
+time, augmented in its cadence by a chromatic harmony
+which serves well to enrich the working-up of
+this fine piece of orchestral writing. A short interlude
+containing the germ of a second theme, which
+afterwards appears at the words, &ldquo;This was their
+Welcome Home,&rdquo; now prepares the entrance of the
+voices. To the words, &ldquo;The breaking Waves dashed
+high,&rdquo; the basses and tenors give out the first motive,
+<span class="pb" id="pg_326">[326]</span>
+and after declaiming the stormy opening lines of the
+poem break forth in unison with &ldquo;When a Band of
+Exiles moored their Bark on the wild New England
+Shore.&rdquo; The time again changing, the composer
+very happily contrasts the phrases, &ldquo;Not as a Conqueror
+comes&rdquo; and &ldquo;They the true-hearted came.&rdquo;
+Soon, however, the ever-pliable principal theme falls
+into a martial stride, and a very effective setting of
+the words, &ldquo;Not with the Roll of stirring Drums,&rdquo;
+concludes the opening male chorus. Here follows
+the Centennial Hymn as given out in the beginning,
+sung first by an alto voice, and repeated by the full
+chorus of mixed voices. After the close, the orchestra,
+dreaming along in the spell, as it were, seems
+to spiritualize the sturdy Pilgrim Fathers into meek
+Pilgrims of the Cross,&mdash;a piece of exquisite tenderness,
+Liszt-Wagnerish, and yet beautiful. After some
+alto recitatives and short choral phrases, the leading
+theme once more enters with heavy martial step
+to the words, &ldquo;There was Manhood&rsquo;s Brow,&rdquo; etc.
+The musical setting of the question, &ldquo;What sought
+they?&rdquo; etc., is cast in simpler form, and the response,
+&ldquo;They sought a Faith&rsquo;s pure Shrine,&rdquo; is given in six
+measures, <i>a capella</i>, for five voices. This brings us
+to the last movement, <i>andante maestoso</i>. The leading
+motive, now contracted into one measure, is
+tossed about in the double basses as on the waves of
+a heavy surf until it reaches the climax on the words
+&ldquo;Freedom to worship God.&rdquo; The cantata forms a
+valuable addition to our musical literature, and was
+first sung by the Cincinnati Harmonic Society, of
+which Mr. Singer was leader at the time.</p>
+</div>
+<div id="c112" title="Smart">
+<div class="pb" id="pg_327">[327]</div>
+<div class="img"><img src="images/p327.png" alt="" width="362" height="97" /></div>
+<h3>SMART.</h3>
+<p>Henry Smart, one of the most prominent
+of the modern English composers,
+was born in London, Oct. 26, 1813.
+Though almost entirely self-taught, he
+soon made his mark as a musician of more than
+ordinary ability. For many years he was principally
+known as an organist and organ-writer. He
+wrote numerous compositions for that instrument,
+which are still largely in use, and from 1836 to 1864
+was famous in London for his contributions to the
+church service. In 1855 his opera, &ldquo;Bertha, or the
+Gnome of Hartzburg,&rdquo; was produced with success
+in that city. Among his festival works were the
+cantatas, &ldquo;The Bride of Dunkerron,&rdquo; for Birmingham
+(1864); &ldquo;King Ren&eacute;&rsquo;s Daughter&rdquo; and &ldquo;The
+Fishermaidens,&rdquo; for female voices (1871); the sacred
+cantata &ldquo;Jacob,&rdquo; for Glasgow (1873); and two
+anthems for solos, chorus, and organ, for the London
+Choral Choirs&rsquo; Association Festivals of 1876 and
+1878. As a writer of part-songs he has also achieved
+a wide reputation. Grove states that he also was
+&ldquo;a very accomplished mechanic, and had he taken
+<span class="pb" id="pg_328">[328]</span>
+up engineering instead of music, would no doubt
+have been successful. As a designer of organs he
+was often employed.&rdquo; Shortly after 1864 he lost
+his sight and thereafter composed entirely by dictation.
+His services for music secured him a government
+pension in June, 1879, but he did not live to
+enjoy it, dying July 6 of the same year.</p>
+</div>
+<div id="c113" title="The Bride of Dunkerron">
+<h4>The Bride of Dunkerron.</h4>
+<p>&ldquo;The Bride of Dunkerron,&rdquo; words by Frederick
+Enoch, was written for the Birmingham Festival of
+1864, and is based upon a tradition, the scene
+located at the Castle of Dunkerron, on the coast
+of Kerry, which has also been made the subject of
+a ballad by Crofton Croker. The story is a very
+simple one. The Lord of Dunkerron becomes
+enamoured of a sea-maiden, and as she is unable
+to leave her element he follows her to her abode.
+She seeks the Sea-King to obtain his consent to their
+union, but returns to her lover with the sad message
+that she is doomed to death for loving a mortal.
+He in turn is driven from the Sea-King&rsquo;s realm, and
+is cast back by the tempest to the shores of the
+upper world; and the work closes with the laments
+of the sea-spirits for the maiden, and of the serfs for
+their master.</p>
+<p>After an expressive orchestral introduction the
+cantata opens with a chorus of the serfs (tenors and
+basses) (&ldquo;Ere the Wine-cup is dry&rdquo;), followed by
+<span class="pb" id="pg_329">[329]</span>
+a very romantic chorus of sea-maidens, the two at
+times interwoven and responsive,&mdash;the one describing
+Lord Dunkerron&rsquo;s nightly vigils on the seashore,
+and the other the melody of the maidens
+which tempts him. A charming orchestral intermezzo,
+full of the feeling of the sea, ensues, and is
+followed by recitative and aria (&ldquo;The full Moon
+is beaming&rdquo;) for Dunkerron, which is very simple
+in style but effective as a song, even apart from its
+setting. It leads up to another chorus of the sea-maidens
+(&ldquo;Let us sing, the moonlit Shores along&rdquo;)
+and a long love dialogue between Dunkerron and
+the Maiden. The next number is a very spirited
+and picturesque chorus (&ldquo;Down through the
+Deep&rdquo;) describing the passage of the lovers to the
+Maiden&rsquo;s home, which is followed by a sturdy,
+sonorous recitative and aria for bass voice (&ldquo;Oh,
+the Earth is fair in Plain and Glade&rdquo;) sung by the
+Sea-King. Two very attractive choruses follow, the
+first (&ldquo;O Storm King, hear us&rdquo;) with a solo for
+the Sea-King, and the second (&ldquo;Hail to thee, Child
+of the Earth&rdquo;) by the sea-maidens. Another
+graceful melody, &ldquo;Our Home shall be on this bright
+Isle,&rdquo; is assigned to the Maiden, leading to a duet
+with Dunkerron, in which she announces her departure
+to obtain the Sea-King&rsquo;s consent to their
+union. A chorus of the storm-spirits (&ldquo;Roar, Wind
+of the Tempest, roar&rdquo;) indicates her doom and
+leads up to the finale. A powerful trio for the
+Maiden, Dunkerron, and Sea-King, followed by
+the angry commands of the latter (&ldquo;Hurl him
+<span class="pb" id="pg_330">[330]</span>
+back!&rdquo;), tells of the death of the lovers, and the
+work closes as it opened, with the intermingled
+choruses of serfs and sea-maidens, this time, however,
+full of lamentation over the sad tragedy.</p>
+</div>
+<div id="c114" title="King Ren&eacute;&rsquo;s Daughter">
+<h4>King Ren&eacute;&rsquo;s Daughter.</h4>
+<p>&ldquo;King Ren&eacute;&rsquo;s Daughter,&rdquo; a cantata for female
+voices only, the poem by Frederick Enoch, was
+written in 1871. The story is freely adapted from
+Henrik Hertz&rsquo;s lyric drama. Iolanthe, the daughter
+of King Ren&eacute;, Count of Provence, was betrothed
+in her infancy to the son of the Count of Vaudemont.
+When but a year old she was stricken with
+blindness. She has been reared in ignorance of her
+affliction by a strict concealment from her of all
+knowledge of the blessings of sight. A wandering
+magician agrees to cure her by the use of an amulet,
+provided she is first informed of the existence of the
+missing sense; but her father refuses permission.
+Her betrothed has never seen her, but wandering
+one day through the valley of Vaucluse, singing his
+troubadour lays, he beholds her, and is captivated
+by her beauty. His song reveals to her the faculty
+of which she has been kept in ignorance, and the
+magician, his condition thus having been fulfilled,
+restores her to sight.</p>
+<p>The work is divided into thirteen numbers, the
+solo parts being Iolanthe (soprano), Martha (mezzo-soprano),
+and Beatrice (contralto). In the third
+<span class="pb" id="pg_331">[331]</span>
+number another soprano voice is required in a trio
+and chorus of vintagers; and in the sixth number,
+a soprano and contralto in the quartet, which acts
+the part of narrator, and tells of the troubadour&rsquo;s
+rose song to Iolanthe. It is unnecessary to specify
+the numbers in detail, as they are of the same general
+character,&mdash;smooth, flowing, and graceful in
+melody throughout. The most striking of them
+are No. 3, trio and chorus (&ldquo;See how gay the
+Valley shines&rdquo;); No. 5, arietta for Martha (&ldquo;Listening
+to the Nightingales&rdquo;); No. 6, quartet (&ldquo;Who
+hath seen the Troubadour?&rdquo;); No. 8, Iolanthe&rsquo;s
+song (&ldquo;I love the Rose&rdquo;); No. 11, duet and
+chorus (&ldquo;Sweet the Angelus is ringing&rdquo;); and the
+finale, with the jubilant chorus:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;Ren&eacute; the king will ride forth from the gate</p>
+<p class="t0">With his horsemen and banners in state;</p>
+<p class="t0">And the trumpets shall fanfaron ring</p>
+<p class="t0">To Ren&eacute;, to Ren&eacute;, the king.</p>
+<p class="t0">Then with rebec and lute and with drum</p>
+<p class="t0">The bride in her beauty will come;</p>
+<p class="t0">And the light of her eyes, they will say, has surpassed</p>
+<p class="t0">The diamonds that shine at her waist,&mdash;</p>
+<p class="t0">The diamonds that shine in her long golden hair,&mdash;</p>
+<p class="t0">King Ren&eacute;&rsquo;s daughter the fair.&rdquo;</p>
+</div>
+</div>
+<div class="imgtail"><img src="images/p331.png" alt="" width="128" height="42" /></div>
+</div>
+<div id="c115" title="Sullivan">
+<div class="pb" id="pg_332">[332]</div>
+<div class="img"><img src="images/p332.png" alt="" width="356" height="91" /></div>
+<h3>SULLIVAN.</h3>
+<p>Arthur Seymour Sullivan was
+born in London, May 13, 1842. His
+father, a band-master and clarinet-player
+of distinction, intrusted his musical education
+at first to the Rev. Thomas Hilmore, master
+of the children of the Chapel Royal. He entered
+the chapel in 1854 and remained there three years,
+and also studied in the Royal Academy of Music
+under Goss and Sterndale Bennett, during this
+period, leaving the latter institution in 1858, in
+which year he went to Leipsic. He remained in
+the Conservatory there until 1861, when he returned
+to London and introduced himself to its
+musical public, with his music to Shakspeare&rsquo;s
+&ldquo;Tempest,&rdquo; which made a great success. The
+enthusiasm with which this was received, and the
+favors he gained at the hands of Chorley, at that
+time musical critic of the &ldquo;Athen&aelig;um,&rdquo; gave him
+a secure footing. The cantata &ldquo;Kenilworth,&rdquo; written
+for the Birmingham Festival, the music to the
+ballet &ldquo;L&rsquo;&Icirc;le enchant&eacute;e,&rdquo; and an opera, &ldquo;The Sapphire
+Necklace,&rdquo; were produced in 1864. In 1866
+<span class="pb" id="pg_333">[333]</span>
+appeared his first symphony and an overture, &ldquo;In
+Memoriam,&rdquo; a tribute to his father, who died that
+year. The next year his overture &ldquo;Marmion&rdquo; was
+first performed. In 1869 he wrote his first oratorio,
+&ldquo;The Prodigal son,&rdquo; in 1873 &ldquo;The Light of the
+World,&rdquo; and in 1880 &ldquo;The Martyr of Antioch;&rdquo;
+the first for the Worcester, the second for the Birmingham,
+and the third for the Leeds festival.
+The beautiful &ldquo;Overture di Ballo,&rdquo; so frequently
+played in this country by the Thomas orchestra,
+was written for Birmingham in 1870, and the next
+year appeared his brilliant little cantata, &ldquo;On shore
+and Sea.&rdquo; On the 11th of May, 1867, was first
+heard in public his comic operetta, &ldquo;Cox and Box.&rdquo;
+It was the first in that series of extraordinary successes,
+really dating from &ldquo;The Sorcerer,&rdquo; which
+are almost without parallel in the operatic world,
+and which have made his name, and that of his
+collaborator, Gilbert, household words. He has
+done much for sacred as well as secular music. In
+addition to his oratorios he has written numerous
+anthems, forty-seven hymn tunes, two Te Deums,
+several carols, part-songs, and choruses, and in 1872
+edited the collection of &ldquo;Church Hymns with
+Tunes&rdquo; for the Christian Knowledge Society. His
+latest works are the opera &ldquo;Ruddygore&rdquo; and the
+cantata &ldquo;The Golden Legend,&rdquo; both written in
+1886. He received the honorary degree of Doctor
+of Music from Cambridge in 1876, and from Oxford
+in 1879, and in 1883 was knighted by the Queen.</p>
+</div>
+<div id="c116" title="On Shore and Sea">
+<div class="pb" id="pg_334">[334]</div>
+<h4>On Shore and Sea.</h4>
+<p>The cantata &ldquo;On Shore and Sea&rdquo; was written
+for the London International Exhibition of 1871.
+The solo parts are allotted to La Sposina, a Riviera
+woman, and Il Marinajo, a Genoese sailor. The
+action passes in the sixteenth century, at a port
+of the Riviera and on board of a Genoese and
+Moorish galley at sea. The cantata opens with a
+joyous sailors&rsquo; chorus and the lament of the mothers
+and wives as the seamen weigh anchor and set sail.
+The scene then changes to the sea. On board one
+of the galleys, in the midnight watch, the Marinajo
+invokes the protection of Our Lady, Star of the
+Sea, for the loved one left behind. The scene
+next changes to the return of the fleet, triumphant
+in its encounters with the Moorish vessels. The
+women throng to the shore, headed by La Sposina,
+to welcome the sailors back, but the galley on board
+which her lover served is missing. It has been
+captured by the Moors, and in a pathetic song she
+gives expression to her sorrow. In the next scene
+we find him toiling at the oar at the bidding of his
+Moorish masters. While they are revelling he plans
+a rising among his fellow-captives which is successful.
+They seize the galley and steer back to the
+Riviera, entering port amid choruses of rejoicing.
+The cantata is full of charming melodies, the instrumentation
+is Oriental in color, and the choruses,
+particularly the closing ones, are very stirring.</p>
+</div>
+<div id="c117" title="The Golden Legend">
+<div class="pb" id="pg_335">[335]</div>
+<h4>The Golden Legend.</h4>
+<p>&ldquo;The Golden Legend&rdquo; was first produced at the
+Leeds Musical Festival, Oct. 16, 1886. The story
+of the legend has already been told in the description
+of Mr. Buck&rsquo;s cantata by the same name, which
+took the Cincinnati Festival prize in 1880. The
+adaptation of Mr. Longfellow&rsquo;s poem for the Sullivan
+cantata was made by Joseph Bennett, who while
+omitting its mystical parts, except the prologue, has
+confined himself to the story of Prince Henry and
+Elsie. All the principal scenes, though sometimes
+rearranged to suit the musical demands of the
+composer, have been retained, so that the unity of
+the legend is preserved.</p>
+<p>The prologue, representing the effort of Lucifer
+and the spirits of the air to tear down the cathedral
+cross, is used without change. The part of Lucifer
+is assigned to the barytone voice, the spirits of the
+air to the sopranos and altos, and the bells to the
+tenors and basses, the whole closing with the Gregorian
+Chant. The orchestral accompaniment is very
+realistic, particularly in the storm music and in the
+final number, where the organ adds its voice to
+the imposing harmony. The first scene opens with
+the soliloquy of Prince Henry in his chamber (&ldquo;I
+cannot sleep&rdquo;), followed by a dramatic duet with
+Lucifer, describing the temptation, and closes with
+a second solo by the Prince, accompanied by
+a warning chorus of angels. The second scene
+<span class="pb" id="pg_336">[336]</span>
+opens before the cottage of Ursula at evening,
+with a short alto recitative (&ldquo;Slowly, slowly up
+the Wall&rdquo;) with pastoral accompaniment, followed
+by a very effective choral hymn (&ldquo;O Gladsome
+Light&rdquo;) sung by the villagers ere they depart for
+their homes, the Prince&rsquo;s voice joining in the
+Amen. The remainder of the scene includes a
+dialogue between Elsie and her mother, in which
+the maid expresses her determination to die for the
+Prince, and a beautiful prayer (&ldquo;My Redeemer
+and my Lord&rdquo;) in which she pleads for strength
+to carry out her resolution, closing with her noble
+offer to the Prince, which he accepts, the angels
+responding Amen to the blessing he asks for her.</p>
+<p>The third scene opens with Elsie, the Prince, and
+their attendants on the road to Salerno where the
+cure is to be effected by her sacrifice. They fall in
+with a band of pilgrims, among whom is Lucifer in
+the disguise of a monk. The two bands part company,
+and as night comes on the Prince&rsquo;s attendants
+encamp near the sea. The continuity of the narrative
+is varied by a simple, graceful duet for the
+Prince and Elsie (&ldquo;Sweet is the Air with budding
+Haws&rdquo;); the Gregorian music of the pilgrims in
+the distance (&ldquo;Cujus clavis lingua Petri&rdquo;); the
+mocking characteristic song of Lucifer (&ldquo;Here am
+I too in the pious Band&rdquo;), interwoven with the
+chant; the song of greeting to the sea by the Prince
+(&ldquo;It is the Sea&rdquo;); and a very effective solo for Elsie
+(&ldquo;The Night is calm and cloudless&rdquo;), which is repeated
+by full chorus with soprano obligato dwelling
+<span class="pb" id="pg_337">[337]</span>
+upon the words &ldquo;Christe Eleison.&rdquo; The fourth
+scene opens in the Medical School at Salerno, and
+discloses Lucifer disguised as the physician Friar
+Angelo, who receives Elsie and takes her into an
+inner apartment, notwithstanding the protests of the
+Prince, who suddenly resolves to save her, and finally
+effects her rescue. The music to this scene is very
+dramatic, and it also contains a short but striking
+unaccompanied chorus (&ldquo;O Pure in Heart&rdquo;).</p>
+<p>The fifth scene is short. It passes at the door of
+Ursula&rsquo;s cottage, where a forester brings the mother
+the news of Elsie&rsquo;s safety and of the Prince&rsquo;s
+miraculous cure. The dialogue is followed by a
+prayer of thanksgiving (&ldquo;Virgin, who lovest the
+Poor and Lowly&rdquo;). The last scene opens on the
+terrace of the castle of Vautsberg. It is the evening
+of the wedding day, and amid the sound of bells
+heard in the distance the Prince relates to Elsie the
+story of Charlemagne and Fastrada, at the close
+of which the happy pair join in an exultant duet.
+The cantata ends with a choral epilogue, worked
+up to a fine fugal climax in which Elsie&rsquo;s &ldquo;deed
+divine&rdquo; is compared to the mountain brook flowing
+down from &ldquo;the cool hills&rdquo; to bless &ldquo;the broad and
+arid plain.&rdquo;</p>
+<div class="imgtail"><img src="images/p337.png" alt="" width="133" height="47" /></div>
+</div>
+<div id="c118" title="Wagner">
+<div class="pb" id="pg_338">[338]</div>
+<div class="img"><img src="images/p338.png" alt="" width="336" height="73" /></div>
+<h3>WAGNER.</h3>
+<p>Richard Wagner, who has been sometimes
+ironically called the musician of the
+future, and whose music has been relegated
+to posterity by a considerable number
+of his contemporaries, was born at Leipsic,
+May 22, 1813. After his preliminary studies in
+Dresden and Leipsic, he took his first lessons in
+music from Cantor Weinlig. In 1836 he was appointed
+musical director in the theatre at Magdeburg,
+and later occupied the same position at
+K&ouml;nigsberg. Thence he went to Riga, where he
+began his opera &ldquo;Rienzi.&rdquo; He then went to Paris
+by sea, was nearly shipwrecked on his way thither,
+and landed without money or friends. After two
+years of hard struggling he returned to Germany.
+His shipwreck and forlorn condition suggested the
+theme of &ldquo;The Flying Dutchman,&rdquo; and while on
+his way to Dresden he passed near the castle of
+Wartburg, in the valley of Thuringia, whose legends
+inspired his well-known opera of &ldquo;Tannh&auml;user.&rdquo;
+He next removed to Zurich, and about this
+time appeared &ldquo;Lohengrin,&rdquo; his most popular
+<span class="pb" id="pg_339">[339]</span>
+opera. &ldquo;Tristan and Isolde&rdquo; was produced in
+1856, and his comic opera, &ldquo;Die Meistersinger
+von N&uuml;rnberg,&rdquo; three years later. In 1864 he received
+the patronage of King Louis of Bavaria,
+which enabled him to complete and perform his
+great work, &ldquo;Der Ring der Nibelungen.&rdquo; He laid
+the foundation of the new theatre at Baireuth in
+1872, and in 1875 the work was produced, and
+created a profound sensation all over the musical
+world. &ldquo;Parsifal,&rdquo; his last opera, was first performed
+in 1882. His works have aroused great opposition,
+especially among conservative musicians, for the reason
+that he has set at defiance the conventional
+operatic forms, and in carrying out his theory of
+making the musical and dramatic elements of equal
+importance, and employing the former as the language
+of the latter in natural ways, has made musical
+declamation take the place of set melody, and
+swept away the customary arias, duets, quartets, and
+concerted numbers of the Italian school, to suit the
+dramatic exigencies of the situations. Besides his
+musical compositions, he enjoys almost equal fame
+as a litt&eacute;rateur, having written not only his own
+librettos, but four important works,&mdash;&ldquo;Art and the
+Revolution,&rdquo; &ldquo;The Art Work of the Future,&rdquo; &ldquo;Opera
+and Drama,&rdquo; and &ldquo;Judaism in Music.&rdquo; His music
+has made steady progress through the efforts of such
+advocates as Liszt, Von B&uuml;low, and Richter in
+Germany, Pasdeloup in France, Hueffer in England,
+and Theodore Thomas in the United States. In
+1870 he married Frau Cosima von B&uuml;low, the
+<span class="pb" id="pg_340">[340]</span>
+daughter of Liszt,&mdash;an event which produced
+almost as much comment in social circles as his
+operas have in musical. He died during a visit to
+Venice, Feb. 13, 1883.</p>
+</div>
+<div id="c119" title="Love Feast of the Apostles">
+<h4>Love Feast of the Apostles.</h4>
+<p>&ldquo;Das Liebesmahl der Apostel&rdquo; (&ldquo;The Love
+Feast of the Apostles&rdquo;), a Biblical scene for male
+voices and orchestra, dedicated to Frau Charlotte
+Emilie Weinlig, the widow of the composer&rsquo;s old
+teacher, was written in 1843, the year after &ldquo;Rienzi,&rdquo;
+and was first performed in the Frauen-Kirche in
+Dresden at the Men&rsquo;s Singing Festival, July 6 of
+that year.</p>
+<p>The work opens with a full chorus of Disciples
+(&ldquo;Gegr&uuml;sst seid, Br&uuml;der, in des Herren Namen&rdquo;),
+who have gathered together for mutual help and
+strength to endure the persecutions with which they
+are afflicted. The movement flows on quietly,
+though marked by strong contrasts, for several
+measures, after which the chorus is divided, a second
+and third chorus taking up the two subjects, &ldquo;Uns
+droht der M&auml;cht&rsquo;gen Hass,&rdquo; and &ldquo;O fasst Vertrau&rsquo;n,&rdquo;
+gradually accelerating and working up to a climax,
+and closing pianissimo (&ldquo;Der M&auml;cht&rsquo;gen Sp&auml;h&rsquo;n
+verfolgt uns &uuml;berall&rdquo;).</p>
+<p>In the next number the Apostles enter (twelve
+bass voices) with a sonorous welcome (&ldquo;Seid uns
+gegr&uuml;sst, ihr lieben Br&uuml;der&rdquo;), reinforced by the
+<span class="pb" id="pg_341">[341]</span>
+Disciples, pianissimo (&ldquo;Wir sind versammelt im
+Namen Jesu Christi&rdquo;), the united voices at last in
+powerful strains (&ldquo;Allm&auml;cht&rsquo;ger Vater, der du hast
+gemacht Himmel und Erd&rsquo; und Alles was darin&rdquo;)
+imploring divine help and the sending of the Holy
+Ghost to comfort them. At its close voices on high
+are heard (&ldquo;Seid getrost, ich bin euch nah, und
+mein Geist ist mit euch&rdquo;). The Disciples reply
+with increasing vigor (&ldquo;Welch Brausen erf&uuml;llt die
+Luft&rdquo;). The Apostles encourage them to steadfast
+reliance upon the Spirit (&ldquo;Klein m&uuml;thige! H&ouml;rt
+an was jetzt der Geist zu K&uuml;nden uns gebeut&rdquo;),
+and the work comes to a close with a massive
+chorale (&ldquo;Denn ihm ist alle Herrlichkeit von Ewigkeit
+zu Ewigkeit&rdquo;), worked up with overpowering
+dramatic force, particularly in the instrumentation.
+Though but a small composition compared with
+the masterpieces for the stage which followed it, it
+is peculiarly interesting in its suggestions of the
+composer&rsquo;s great dramatic power which was to find
+its fruition in the later works from his pen.</p>
+<div class="imgtail"><img src="images/p341.png" alt="" width="78" height="59" /></div>
+</div>
+<div id="c120" title="Weber">
+<div class="pb" id="pg_342">[342]</div>
+<div class="img"><img src="images/p342.png" alt="" width="303" height="111" /></div>
+<h3>WEBER.</h3>
+<p>Carl Maria von Weber was born
+Dec. 18, 1786, at Eutin, and may almost
+be said to have been born on the stage,
+as his father was at the head of a theatrical
+company, and the young Carl was carried in the
+train of the wandering troupe all over Germany.
+His first lessons were given to him by Henschkel,
+conductor of the orchestra of Duke Friedrich of
+Meiningen. At the age of fourteen he wrote his
+first opera, &ldquo;Das Waldm&auml;dchen,&rdquo; which was performed
+several times during the year 1800. In
+1801 appeared his two-act comic opera, &ldquo;Peter
+Schmoll and his Neighbors,&rdquo; and during these two
+years he also frequently played in concerts with
+great success. He then studied with the Abb&eacute;
+Vogler, and in his eighteenth year was engaged for
+the conductorship of the Breslau opera. About this
+time appeared his first important opera, &ldquo;Rubezahl.&rdquo;
+At the conclusion of his studies with Vogler
+he was made director of the opera at Prague. In
+1816 he went to Berlin, where he was received with
+the highest marks of popular esteem, and thence to
+<span class="pb" id="pg_343">[343]</span>
+Dresden as hofcapellmeister. This was the most
+brilliant period in his career. It was during this
+time that he married Caroline Brandt, the actress
+and singer, who had had a marked influence upon
+his musical progress, and to whom he dedicated his
+exquisite &ldquo;Invitation to the Dance.&rdquo; The first
+great work of his life, &ldquo;Der Freisch&uuml;tz,&rdquo;
+was written at this period. Three
+other important operas followed,&mdash;&ldquo;Preciosa,&rdquo;
+&ldquo;Euryanthe,&rdquo; the first performance
+of which took place in Vienna in 1823,
+and &ldquo;Oberon,&rdquo; which he finished in London and
+brought out there. Weber&rsquo;s last days were spent
+in the latter city, and it was while making preparations
+to return to Germany, which he longed to see
+again, that he was stricken down with his final illness.
+On the 4th of June, 1826, he was visited by
+Sir George Smart, Moscheles, and other musicians
+who were eager to show him attention. He declined
+to have any one watch by his bedside, thanked them
+for their kindness, bade them good-by, and then
+turned to his friend F&uuml;rstenau, and said, &ldquo;Now let
+me sleep.&rdquo; These were his last words. The next
+morning he was found dead in his bed. He has
+left a rich legacy of works besides his operas,&mdash;a
+large collection of songs, many cantatas (of which
+the &ldquo;Jubilee&rdquo; and &ldquo;Kampf und Sieg&rdquo; are the
+finest), some masses, of which that in E flat is the
+most beautiful, and several concertos, besides many
+brilliant rondos, polaccas, and marches for the
+piano.</p>
+</div>
+<div id="c121" title="Jubilee Cantata">
+<div class="pb" id="pg_344">[344]</div>
+<h4>Jubilee Cantata.</h4>
+<p>The &ldquo;Jubilee Cantata&rdquo; was written in 1818 to
+celebrate the fiftieth anniversary of the reign of
+King Friedrich August of Saxony. The King having
+expressed a desire that there should be a court
+concert on the day of the anniversary, September 20,
+Count Vitzthum commissioned Weber to write a
+grand jubilee cantata. The poet Friedrich Kind
+supplied the words. While engaged in its composition
+Weber was informed by friends that other
+arrangements were being made for the concert, and
+on the 12th of September the information was confirmed
+by a letter from the Count which informed
+him that notwithstanding his personal protests, the
+Jubilee Cantata was not to be given. The son in
+his biography of his father intimates that the change
+was the result of intrigues on the part of his Italian
+rivals, Morlacchi, Zingarelli, and Nicolini. The
+same authority says that the cantata was finally
+produced in the Neustadt church for the benefit
+of the destitute peasantry in the Hartz mountains,
+Weber himself conducting the performance, and
+that only the overture to the work, now famous the
+world over as the &ldquo;Jubel,&rdquo; was played at the court
+concert. The best authorities, however, now believe
+that the Jubel overture is an entirely independent
+work, having no connection with the cantata. The
+text of the cantata, which commemorates many
+special events in the life of the King, being found
+unsuitable for general performance, a second text
+<span class="pb" id="pg_345">[345]</span>
+was subsequently written by Amadeus Wendt, under
+the title of &ldquo;Ernte-Cantata&rdquo; (&ldquo;Harvest Cantata&rdquo;)
+which is the one now in common use, although
+still another version was made under the name of
+&ldquo;The Festival of Peace,&rdquo; by Hampdon Napier,
+which was used at a performance in London under
+the direction of the composer himself only a few
+days before his death.</p>
+<p>The cantata is written for the four solo voices,
+chorus, and orchestra. It opens after a short allegro
+movement with a full jubilant chorus (&ldquo;Your thankful
+Songs upraise&rdquo;), the solo quartet joining in the
+middle part with chorus. The second number is a
+very expressive recitative and aria for tenor (&ldquo;Happy
+Nation, still receiving&rdquo;). The third is characterized
+by quiet beauty, and is very devotional in spirit. It
+begins with a soprano recitative and aria (&ldquo;Yet not
+alone of Labor comes our Plenty&rdquo;), leading up to
+a second recitative and aria (&ldquo;The gracious Father
+hears us when we call&rdquo;), which are very vivacious
+in style, closing with a tenor recitative (&ldquo;The Air
+is mild and clear and grateful to the Reapers&rdquo;).
+These prepare the way for a short but very powerful
+chorus (&ldquo;Woe! see the Storm-Clouds&rdquo;). In the
+next number (&ldquo;How fearful are the Terrors Nature
+brings&rdquo;) the bass voice moralizes on the powers
+of Nature, followed by a plaintive strain for two
+sopranos, which leads up to a majestic prayer for
+chorus (&ldquo;Lord Almighty, full of Mercy&rdquo;). A bass
+recitative (&ldquo;Lo, once our Prayer&rdquo;) introduces a
+beautiful quartet and chorus of thanksgiving
+<span class="pb" id="pg_346">[346]</span>
+(&ldquo;Wreathe into Garlands the Gold of the Harvest&rdquo;).
+They are followed by a tenor recitative
+and soprano solo (&ldquo;Soon noble Fruit by Toil was
+won&rdquo;), and the work comes to a close with a
+stately chorus of praise (&ldquo;Father, reigning in Thy
+Glory&rdquo;).</p>
+</div>
+<div id="c122" title="Kampf Und Sieg">
+<h4>Kampf und Sieg.</h4>
+<p>In June, 1815, Weber arrived in Munich and
+during his stay made the acquaintance of Fraulein
+Wohlbr&uuml;ck, the singer, which led to an introduction
+to her father, who was both an actor and a poet. On
+the very day that he met Wohlbr&uuml;ck, the news came
+to Munich of the victory of the Allies at Waterloo,
+the whole city was decorated and illuminated, and a
+great crowd, Weber with them, went to St. Michael&rsquo;s
+Church to listen to a Te Deum. While there the
+idea of a grand cantata in commemoration of the
+victory came into his mind. On his return home
+he met Wohlbr&uuml;ck and communicated his purpose
+to him. The enthusiastic poet agreed to furnish
+the words. About the first of August the text was
+placed in Weber&rsquo;s hands, and he at once set it to
+music. It was first produced on the 22d of December
+at Prague, and made a profound impression
+by its stirring military character and vivid battle-descriptions.</p>
+<p>The cantata is written for the four solo voices,
+chorus of sopranos, altos, two tenors, and basses
+and orchestra. A stirring orchestral introduction
+leads up to a people&rsquo;s chorus which describes the
+<span class="pb" id="pg_347">[347]</span>
+disappearance of dissensions heralding the approach
+of victory. No. 3 is a bass solo entitled
+&ldquo;Faith,&rdquo; with a delightful violoncello accompaniment.
+In No. 4, Love (soprano) and Hope (tenor)
+join with Faith in a song full of feeling. No. 5 is a
+soldiers&rsquo; chorus of an enthusiastic and martial character,
+while in the distance is heard the Austrian
+Grenadier&rsquo;s march mingling with it. In the next
+number the approach of the enemy is heard as the
+chorus closes with the majestic phrase, &ldquo;Mit Gott
+sei unser Werk gethan.&rdquo; The lively march of the
+enemy comes nearer and nearer, interwoven with
+the next chorus, which is set to K&ouml;rner&rsquo;s prayer
+&ldquo;Wie auch die H&ouml;lle braust.&rdquo; Then follows the
+opening of the battle, with the roar of cannon, the
+shouts of the soldiers, and the cries of the wounded,
+through which is heard the French national air
+defiantly sounding. Another soldiers&rsquo; chorus follows.
+It pictures the advance of the Prussian
+J&auml;gers (&ldquo;Ha! welch ein Klang&rdquo;), followed by the
+simple strains of &ldquo;God save the King!&rdquo; In No. 9
+the fight is renewed, the music reaching a pitch
+of almost ferocious energy, until the joyous cry is
+heard, &ldquo;Hurrah! Er flieht,&rdquo; and the triumphant
+march of victory emphasizes the exultant p&aelig;an,
+&ldquo;Heil dir im Siegerkranz.&rdquo; The rest of the cantata
+is purely lyrical in style. Once more the voices of
+&ldquo;Faith&rdquo; and &ldquo;Love&rdquo; are heard, leading up to the
+final majestic chorus, &ldquo;Herr Gott, Dich loben wir,&rdquo;
+accompanying a solo voice chanting the theme
+&ldquo;Gieb und erhalte den Frieden der Welt.&rdquo;</p>
+</div>
+<div id="c123" title="Whiting">
+<div class="pb" id="pg_348">[348]</div>
+<div class="img"><img src="images/p348.png" alt="" width="367" height="80" /></div>
+<h3>WHITING.</h3>
+<p>George Elbridge Whiting was
+born at Holliston, Mass., Sept. 14, 1842.
+He began the study of the piano at a
+very early age, but soon abandoned it for
+the organ. His progress was so rapid that at the
+age of thirteen he made his public appearance as a
+player. In 1857 he went to Hartford, Conn., where
+he had accepted a position in one of the churches,
+and while there organized the Beethoven Society.
+In 1862 he removed to Boston, but shortly afterwards
+went to England, where he studied the organ
+for a year with Best. On his return he was engaged
+as organist of St. Joseph&rsquo;s Church, Albany, N. Y.,
+but his ambition soon took him to Europe again.
+This time he went to Berlin and finished his studies
+with Radecke and Haupt. He then returned to
+Albany and remained there three years, leaving that
+city to accept a position at the church of the Immaculate
+Conception, Boston. In 1874 he was
+appointed organist at the Music Hall, and was also
+for some time at the head of the organ department
+of the New England Conservatory of Music. In
+<span class="pb" id="pg_349">[349]</span>
+1878 he was organist for the third Cincinnati May
+Festival, and in 1879 accepted a position in the
+College of Music in that city, at the same time
+taking charge of the organ in the Music Hall, with
+what success those who attended the May Festivals
+in that city will remember. He remained in Cincinnati
+three years and then returned to his old
+position in Boston. Mr. Whiting ranks in the first
+class of American organists, and has also been a prolific
+composer. Among his vocal works are a mass
+in C minor (1872); mass in F minor (1874);
+prologue to Longfellow&rsquo;s &ldquo;Golden Legend&rdquo; (1873);
+cantatas, &ldquo;Dream Pictures&rdquo; (1877), &ldquo;The Tale of
+the Viking&rdquo; (1880); a concert overture (&ldquo;The
+Princess&rdquo;); a great variety of organ music, including
+&ldquo;The Organist,&rdquo; containing twelve pieces for
+that instrument, and &ldquo;the First Six Months on the
+Organ,&rdquo; with twenty-five studies; several concertos,
+fantasies, and piano compositions, and a large number
+of songs.</p>
+</div>
+<div id="c124" title="The Tale of the Viking">
+<h4>The Tale of the Viking.</h4>
+<p>&ldquo;The Tale of the Viking&rdquo; was written in competition
+for the prize offered by the Cincinnati
+Musical Festival Association in 1879, and though
+unsuccessful, is still regarded as one of the most
+admirable and scholarly works yet produced in this
+country. The text of the cantata is Longfellow&rsquo;s
+&ldquo;Skeleton in Armor,&rdquo; that weird and stirring story
+<span class="pb" id="pg_350">[350]</span>
+of the Viking, which the poet so ingeniously connected
+with the old mill at Newport.</p>
+<p>The work comprises ten numbers, and is written
+for three solo voices (soprano, tenor, and barytone),
+chorus, and orchestra. A long but very expressive
+overture, full of the dramatic sentiment of the
+poem, prepares the way for the opening number,
+a short male chorus:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;&lsquo;Speak! speak! thou fearful guest</p>
+<p class="t0">Who, with thy hollow breast</p>
+<p class="t0">Still in rude armor drest,</p>
+<p class="t2">Comest to daunt me!</p>
+<p class="t0">Wrapt not in Eastern balms,</p>
+<p class="t0">But with thy fleshless palms</p>
+<p class="t0">Stretched, as if asking alms,</p>
+<p class="t2">Why dost thou haunt me?&rsquo;&rdquo;</p>
+</div>
+</div>
+<p>Next comes a powerful chorus for mixed voices
+(&ldquo;Then from those cavernous Eyes&rdquo;), which leads
+up to the opening of the Viking&rsquo;s story (&ldquo;I was a
+Viking old&rdquo;), a barytone solo, which is made very
+dramatic by the skilful division of the song between
+recitative and the melody. In the fourth number
+the male chorus continues the narrative (&ldquo;But
+when I older grew&rdquo;), describing in a vivacious and
+spirited manner the wild life of the marauders on
+the sea and their winter wassails as they told the
+Berserker legends over their cups of ale. In the
+fifth the soprano voice tells of the wooing of &ldquo;The
+blue-eyed Maid&rdquo; in an aria (&ldquo;Once, as I told in
+Glee&rdquo;) remarkable for its varying shades of expression.
+At its close a brilliant march movement, very
+<span class="pb" id="pg_351">[351]</span>
+sonorous in style and highly colored, introduces a
+vigorous chorus (&ldquo;Bright in her Father&rsquo;s Hall&rdquo;),
+which describes the refusal of old Hildebrand to
+give his daughter&rsquo;s hand to the Viking. A dramatic
+solo for barytone (&ldquo;She was a Prince&rsquo;s Child&rdquo;)
+pictures the flight of the dove with the sea-mew,
+which is followed by a chorus of extraordinary
+power as well as picturesqueness (&ldquo;Scarce had I
+put to Sea&rdquo;), vividly describing the pursuit, the encounter,
+and the Viking&rsquo;s escape with his bride. A
+graceful but pathetic romance for tenor (&ldquo;There
+lived we many Years&rdquo;), which relates her death, and
+burial beneath the tower, leads to the closing number,
+a soprano solo with a full stately chorus, admirably
+worked up, picturing the death of the Viking,
+who falls upon his spear, and ending in an exultant
+and powerful burst of harmony, set to the words:&mdash;</p>
+<div class="bq">
+<div class="verse">
+<p class="t0">&ldquo;&lsquo;Thus, seamed with many scars,</p>
+<p class="t0">Bursting these prison bars,</p>
+<p class="t0">Up to its native stars</p>
+<p class="t2">My soul ascended;</p>
+<p class="t0">There from the flowing bowl</p>
+<p class="t0">Deep drinks the warrior&rsquo;s soul,</p>
+<p class="t0"><i>Skoal</i>! to the Northland! <i>skoal</i>!&rsquo;</p>
+<p class="t2">Thus the tale ended.&rdquo;</p>
+</div>
+</div>
+<div class="imgtail"><img src="images/p351.png" alt="" width="65" height="48" /></div>
+</div>
+</div>
+<div id="c125" title="Appendix">
+<div class="pb" id="pg_353">[353]</div>
+<div class="imgtail"><img src="images/p353.png" alt="" width="356" height="89" /></div>
+<h2>APPENDIX.</h2>
+<p>The following alphabetical list has been prepared
+to present the reader with the titles
+of the more important cantatas by well-known
+composers and the dates of their
+composition. To make an exhaustive catalogue of
+works of this class would be impossible, as a great
+number have been lost entirely, and hundreds of others
+are now only known by name; but the writer believes
+that those subjoined will provide musical students, as
+well as the general reader, with as complete a reference
+list as can be desired.</p>
+<dl class="biblio">
+<dt>Adam, Adolphe.</dt>
+<dd>Le Premiers Pas (1847);</dd>
+<dd>La F&ecirc;te des Arts (1852);</dd>
+<dd>Chant de Victoire (1855);</dd>
+<dd>Birth of the Prince Imperial (1856).</dd>
+<dt>Anderton, Thomas.</dt>
+<dd>The Song of Deborah and Barak (1871);</dd>
+<dd>The Wreck of the Hesperus (1882);</dd>
+<dd>The Norman Baron (1884);</dd>
+<dd>Yuletide (1885).</dd>
+<dt>Arnold, Samuel.</dt>
+<dd>Sennacherib (1774).</dd>
+<dt>Aspa, Edward.</dt>
+<dd>The Gypsies (1870);</dd>
+<dd>Endymion (1875).</dd>
+<dt class="pb" id="pg_354">[354]</dt>
+<dt>Astorga, Emanuele.</dt>
+<dd>Quando penso (1706);</dd>
+<dd>Torne Aprile (1706);</dd>
+<dd>In questo core (1707);</dd>
+<dd>Dafni (1709).</dd>
+<dt>Bach, John Sebastian.</dt>
+<dd>Two hundred and twenty-six
+sacred cantatas, of which the following are most
+commonly sung: Ich hatte viel Bek&uuml;mmerniss;
+Festo Ascensionis Christi; Ein&rsquo; Feste Burg (Reformation
+festival of 1717); Aus tiefer Noth schrei ich;
+Christ unser Herr zum Jordan kam; Ehre sei Gott
+in der H&ouml;he (Christmas cantata); Gottes Zeit ist
+die allerbeste Zeit (mourning cantata); Lobe den
+Herrn (New Year&rsquo;s Day); O Ewigkeit, du Donnerwort;
+Gott ist mein K&ouml;nig; Wie sch&ouml;n leucht
+uns der Morgenstern.</dd>
+<dd>Twenty-eight birthday, funeral,
+and secular cantatas: among them, Komische
+cantate, Kaffee cantate, Bauern oder Hochzeit&rsquo;s cantate.</dd>
+<dt>Balfe, Michael.</dt>
+<dd>Mazeppa (1862);</dd>
+<dd>The Page (?).</dd>
+<dt>Barnby, Joseph.</dt>
+<dd>Rebekah (1870).</dd>
+<dt>Barnett, John Francis.</dt>
+<dd>The Ancient Mariner (1867);</dd>
+<dd>Paradise and the Peri (1870);</dd>
+<dd>Lay of the Last Minstrel (1874);</dd>
+<dd>The Good Shepherd (1876);</dd>
+<dd>The Building of the Ship (1880).</dd>
+<dt>Beethoven, Ludwig von.</dt>
+<dd>Der Glorreiche Augenblick (1814);</dd>
+<dd>Meeresstille und gl&uuml;cklich Fahrt (1815).</dd>
+<dt>Bendall, Wilfred.</dt>
+<dd>Parizadeh (1870);</dd>
+<dd>The Lady of Shalott (1871).</dd>
+<dt>Benedict, Julius.</dt>
+<dd>Undine (1860);</dd>
+<dd>Richard C&oelig;ur de Leon (1863);</dd>
+<dd>Legend of St. Cecilia (1866);</dd>
+<dd>Legend of St. Elizabeth (1867);</dd>
+<dd>St. Peter (1870);</dd>
+<dd>Graziella (1882).</dd>
+<dt>Bennett, William Sterndale.</dt>
+<dd>May Queen (1858);</dd>
+<dd>International Exhibition Ode (1862);</dd>
+<dd>Cambridge Installation Ode (1862).</dd>
+<dt class="pb" id="pg_355">[355]</dt>
+<dt>Berlioz, Hector.</dt>
+<dd>Sardanaple (1830);</dd>
+<dd>Romeo and Juliet (dramatic symphony with solos and chorus) (1839);</dd>
+<dd>Damnation of Faust (dramatic scenes) (1846);</dd>
+<dd>L&rsquo;Imperiale (1855);</dd>
+<dd>Le Cinq Mai (1857).</dd>
+<dt>Bishop, Henry.</dt>
+<dd>The Seventh Day (1840).</dd>
+<dt>Boito, Arrigo.</dt>
+<dd>Ode to Art (1880).</dd>
+<dt>Brahms, Johannes.</dt>
+<dd>Rinaldo (1868);</dd>
+<dd>Rhapsodie (1870);</dd>
+<dd>Schicksalslied (1871);</dd>
+<dd>Triumphlied (1873);</dd>
+<dd>Gesang der Parzen (1877);</dd>
+<dd>Boadicea (1878).</dd>
+<dt>Bridge, John Frederick.</dt>
+<dd>Rock of Ages (1880);</dd>
+<dd>Boadicea (1880).</dd>
+<dt>Bristow, George Frederick.</dt>
+<dd>Daniel (1876).</dd>
+<dt>Bronsart, Hans von.</dt>
+<dd>Christmarkt (1876).</dd>
+<dt>Bruch, Max.</dt>
+<dd>Die Birken und die Erlen (1853);</dd>
+<dd>Jubilate-Amen (1856);</dd>
+<dd>Rinaldo (1858);</dd>
+<dd>Rorate C&oelig;li (1861);</dd>
+<dd>Frithjof&rsquo;s Saga (1862);</dd>
+<dd>Salamis (1862);</dd>
+<dd>Die Flucht der heilige Familie (1863);</dd>
+<dd>Gesang der heiligen drei K&ouml;nige (1864);</dd>
+<dd>R&ouml;mischer Triumphgesang (1864);</dd>
+<dd>R&ouml;mische Leichenfeier (1864);</dd>
+<dd>Sch&ouml;n Ellen (1869);</dd>
+<dd>Odysseus (1872);</dd>
+<dd>Arminius (1873);</dd>
+<dd>Normannenzug (1874);</dd>
+<dd>Song of the Bell (1876);</dd>
+<dd>Achilleus (1885).</dd>
+<dt>Br&uuml;ll, Ignaz.</dt>
+<dd>Die Gestern&auml;hren (1875).</dd>
+<dt>Buck, Dudley.</dt>
+<dd>Forty-sixth Psalm (1872);</dd>
+<dd>Don Munio (1874);</dd>
+<dd>Centennial Cantata (1876);</dd>
+<dd>The Nun of Nidaros (1878);</dd>
+<dd>Golden Legend (1880);</dd>
+<dd>Voyage of Columbus (1885);</dd>
+<dd>Light of Asia (1886).</dd>
+<dt>Caldicott, Alfred James.</dt>
+<dd>La Primavera (1880);</dd>
+<dd>The Widow of Nain (1881);</dd>
+<dd>Rhine Legend (1883);</dd>
+<dd>Queen of the May (1885).</dd>
+<dt>Carissimi, Giacomo.</dt>
+<dd>Jephthah (1660).</dd>
+<dt>Cherubini, Marie Luigi.</dt>
+<dd>La Pubblica Felicit&agrave; (1774);</dd>
+<dd>Arnphion (1786); and seventeen others.</dd>
+<dt>Cimerosa, Domenico.</dt>
+<dd>La Nascita del Delfino (1786); and one hundred others.</dd>
+<dt class="pb" id="pg_356">[356]</dt>
+<dt>Clay, Frederick.</dt>
+<dd>The Knights of the Cross (1866);</dd>
+<dd>Lalla Rookh (1877).</dd>
+<dt>Corder, Frederick.</dt>
+<dd>The Cyclops (1880);</dd>
+<dd>The Bridal of Triermain (1886).</dd>
+<dt>Costa, Michael.</dt>
+<dd>The Dream (1815);</dd>
+<dd>La Passione (1827).</dd>
+<dt>Cowen, Frederick Hymen.</dt>
+<dd>The Rose Maiden (1870);</dd>
+<dd>The Corsair (1876);</dd>
+<dd>St. Ursula (1881);</dd>
+<dd>The Sleeping Beauty (1885).</dd>
+<dt>Cummings, William Hayman.</dt>
+<dd>The Fairy Ring (1873).</dd>
+<dt>Damrosch, Leopold.</dt>
+<dd>Ruth and Naomi (1870);</dd>
+<dd>Sulamith (1877).</dd>
+<dt>David, F&eacute;licien C&eacute;sar.</dt>
+<dd>The Desert (1844).</dd>
+<dt>Dvo&#345;&aacute;k, Anton.</dt>
+<dd>Patriotic Hymn (1880);</dd>
+<dd>The Spectre&rsquo;s Bride (1885).</dd>
+<dt>Erdmannsdorfer, Max.</dt>
+<dd>Prinzessin Ilse (1870);</dd>
+<dd>Die Schneewittchen (1871).</dd>
+<dt>Foote, Arthur.</dt>
+<dd>The Legend of Hiawatha (1879).</dd>
+<dt>Foster, Myles Birkett.</dt>
+<dd>The Bonnie Fishwives (1880).</dd>
+<dt>Fry, William Henry.</dt>
+<dd>The Fall of Warsaw (1858).</dd>
+<dt>Gabriel, Virginia.</dt>
+<dd>Dreamland (1870);</dd>
+<dd>Evangeline (1873).</dd>
+<dt>Gade, Niels Wilhelm.</dt>
+<dd>Comala (1843);</dd>
+<dd>Spring Fantasie (1850); The Holy Night (1851);</dd>
+<dd>Erl King&rsquo;s Daughter (1852);</dd>
+<dd>Fr&uuml;hlingsbotschaft (1853);</dd>
+<dd>Kalamus (1853);</dd>
+<dd>Psyche (1856);</dd>
+<dd>Zion (1860);</dd>
+<dd>The Crusaders (1866).</dd>
+<dt>Gadsby, Henry Robert.</dt>
+<dd>Alice Brand (1870);</dd>
+<dd>Lord of the Isles (1880);</dd>
+<dd>Columbus (1881).</dd>
+<dt>Garcia, Manuel.</dt>
+<dd>Endimione (1822).</dd>
+<dt>Gaul, Alfred Robert.</dt>
+<dd>Ruth (1881);</dd>
+<dd>The Holy City (1882).</dd>
+<dt class="pb" id="pg_357">[357]</dt>
+<dt>Gernsheim, Friedrich.</dt>
+<dd>Odin&rsquo;s Meeresritt (1860).</dd>
+<dt>Gilchrist, William Wallace.</dt>
+<dd>Forty-seventh Psalm (1882);</dd>
+<dd>The Rose (1886).</dd>
+<dt>Gleason, Frederick Grant.</dt>
+<dd>God our Deliverer (1878);</dd>
+<dd>The Culprit Fay (1879);</dd>
+<dd>Praise of Harmony (1886).</dd>
+<dt>Glover, Ferdinand.</dt>
+<dd>The Fire Worshippers (1857).</dd>
+<dt>Glover, William.</dt>
+<dd>The Corsair (1849).</dd>
+<dt>Glover, William Howard.</dt>
+<dd>Tam O&rsquo;Shanter (1855).</dd>
+<dt>Gluck, Christoph Willibald.</dt>
+<dd>Alexander&rsquo;s Feast (1753);</dd>
+<dd>De Profundis (1760);</dd>
+<dd>The Last Judgment (finished by Salieri) (1761).</dd>
+<dt>Goetz, Hermann.</dt>
+<dd>By the Waters of Babylon (1874);</dd>
+<dd>Noenia (1875).</dd>
+<dt>Goldmark, Karl.</dt>
+<dd>Fr&uuml;hling&rsquo;s Hymne (1876).</dd>
+<dt>Gounod, Charles Fran&ccedil;ois.</dt>
+<dd>Marie Stuart et Rizzio (1837);</dd>
+<dd>Daughters of Jerusalem (1838);</dd>
+<dd>Fernand (1839);</dd>
+<dd>&Agrave; la Fronti&egrave;re (1870);</dd>
+<dd>Gallia (1871).</dd>
+<dt>Grieg, Edward.</dt>
+<dd>Land Kennung (1865).</dd>
+<dt>Hal&eacute;vy, Jacques Fromental.</dt>
+<dd>Les Plages du Nil (1850);</dd>
+<dd>Italie (1850).</dd>
+<dt>Hamerik, Asger.</dt>
+<dd>Friedenshymne (1868).</dd>
+<dt>Handel, George Frederick.</dt>
+<dd>Passion (1704);</dd>
+<dd>twelve called &ldquo;Hanover&rdquo; (1711);</dd>
+<dd>seventy-nine written in Italy (1706-1712);</dd>
+<dd>Acis and Galatea (1720);</dd>
+<dd>Sei del cielo (1736);</dd>
+<dd>Alexander&rsquo;s Feast (1736);</dd>
+<dd>Ode on St. Cecilia&rsquo;s Day (1739);</dd>
+<dd>L&rsquo;Allegro, il Penseroso, ed il Moderato (1740).</dd>
+<dt>Hatton, John Liphot.</dt>
+<dd>Robin Hood (1856).</dd>
+<dt>Hauptmann, Moritz.</dt>
+<dd>Herr, Herr! wende dich zum Gebet (1840);</dd>
+<dd>Die lustigen Musikanten (1842).</dd>
+<dt>Haydn, Joseph.</dt>
+<dd>Birthday of Prince Nicholas (1763);</dd>
+<dd>Applausus Musicus (1768);</dd>
+<dd>Die Erwahlung eines Kapellmeisters (1769);</dd>
+<dd>Ah! come il core mi palpito (1783);</dd>
+<dt class="pb" id="pg_358">[358]</dt>
+<dd>Invocation of Neptune (1783);</dd>
+<dd>An die Freude (1786);</dd>
+<dd>Das Erndtefest (1786);</dd>
+<dd>Deutschland&rsquo;s Klage auf den Tod Friedrichs der Grossen (1787);</dd>
+<dd>Des Dichter&rsquo;s Geburtsfest (1787);</dd>
+<dd>Hier liegt Constantia (1787);</dd>
+<dd>Ariadne a Naxos (1792);</dd>
+<dd>Ombra del caro bene (1798);</dd>
+<dd>Der Versohnung&rsquo;s Tod (1809).</dd>
+<dt>Heap, C. Swinnerton.</dt>
+<dd>The Maid of Astolat (1885).</dd>
+<dt>Hesse, Adolph Friedrich.</dt>
+<dd>Sei uns gnadig, Gott der gnaden (1831);</dd>
+<dd>Von Leiden ist me in Herz bedr&auml;ngt (1832).</dd>
+<dt>Hiller, Ferdinand.</dt>
+<dd>Die lustige Musikanten (1838);</dd>
+<dd>O, weint um Sie (1839);</dd>
+<dd>Morning of Palm Sunday (1839);</dd>
+<dd>Whitsuntide (1840);</dd>
+<dd>Israel&rsquo;s Siegesgesang (1841);</dd>
+<dd>Song of the Spirits over the Water (1842);</dd>
+<dd>Prometheus (1843);</dd>
+<dd>Rebecca (1843);</dd>
+<dd>The Night of the Nativity (1843);</dd>
+<dd>Heloise (1844);</dd>
+<dd>Loreley (1845);</dd>
+<dd>Die Nacht (1846);</dd>
+<dd>Ostermorgen (1850);</dd>
+<dd>Richard L&ouml;wenherz (1855);</dd>
+<dd>An das Vaterland (1861);</dd>
+<dd>Song of Victory (1871);</dd>
+<dd>Song of Heloise (1871);</dd>
+<dd>Nala und Damajanti (1871);</dd>
+<dd>Pentecost (1872);</dd>
+<dd>Prince Papagei (1872).</dd>
+<dt>Himmel, Friedrich Heinrich.</dt>
+<dd>La Danza (1792);</dd>
+<dd>Hessan&rsquo;s S&ouml;hne und Prussien&rsquo;s T&ouml;chter (1797);</dd>
+<dd>Das Vertrauen auf Gott (1797);</dd>
+<dd>Funeral Cantata (1799).</dd>
+<dt>Hofmann, Heinrich K.</dt>
+<dd>J. Deutschland&rsquo;s Erhebung (1874);</dd>
+<dd>Aschenbr&ouml;del (1875);</dd>
+<dd>Song of the Norns (1875);</dd>
+<dd>Melusina (1876);</dd>
+<dd>Cinderella (1879).</dd>
+<dt>Hummel, Johann Nepomuk.</dt>
+<dd>Diana ed Endimione (1818).</dd>
+<dt>Isouard, Nicolo.</dt>
+<dd>Hebe (1813).</dd>
+<dt>Jackson, William.</dt>
+<dd>Lycidas (1767);</dd>
+<dd>The Praise of Music (1770);</dd>
+<dd>The Year (1785).</dd>
+<dt class="pb" id="pg_359">[359]</dt>
+<dt>Jensen, Adolf.</dt>
+<dd>Jephtha&rsquo;s Daughter (1864);</dd>
+<dd>Donald Caird ist wieder da (1875);</dd>
+<dd>The Feast of Adonis (1881).</dd>
+<dt>Krug, Arnold.</dt>
+<dd>Nomadenzug (1877);</dd>
+<dd>Sigurd (1882).</dd>
+<dt>K&uuml;cken, Friedrich.</dt>
+<dd>Friedenshymne (1870).</dd>
+<dt>Kuhlau, Friedrich.</dt>
+<dd>Die Feier des Wohlwollens (1818).</dd>
+<dt>Lachner, Franz.</dt>
+<dd>Die vier Menschenalter (1843);</dd>
+<dd>Der Sturm (1845);</dd>
+<dd>Sixty-third Psalm (1849);</dd>
+<dd>Des Krieger&rsquo;s Gebet (1851);</dd>
+<dd>Siegesgesang (1852);</dd>
+<dd>Mozart Fest Cantate (1852);</dd>
+<dd>Sturmesmythe (1853);</dd>
+<dd>Bundeslied (1854);</dd>
+<dd>One Hundred and Fiftieth Psalm (1854).</dd>
+<dt>Lahee, Henry.</dt>
+<dd>Building of the Ship (1869);</dd>
+<dd>The Blessing of the Children (1870).</dd>
+<dt>Lassen, Edward.</dt>
+<dd>Les Flamands sous van Arteveldt (1854);</dd>
+<dd>The Artists (1861);</dd>
+<dd>Fest Cantate (1874).</dd>
+<dt>Lef&eacute;bvre, W&eacute;ly Louis.</dt>
+<dd>Apr&egrave;s le Victoire (1863).</dd>
+<dt>Leslie, Henry David.</dt>
+<dd>Judith (1858);</dd>
+<dd>Holyrood (1860);</dd>
+<dd>The Daughter of the Isles (1861).</dd>
+<dt>Lindpaintner, Peter Joseph von.</dt>
+<dd>Widow of Nain (1846).</dd>
+<dt>Liszt, Franz.</dt>
+<dd>Prometheus (1850);</dd>
+<dd>Ave Maria (1851);</dd>
+<dd>Pater Noster (1852);</dd>
+<dd>Schiller Cantata (1859);</dd>
+<dd>Die Seligkeiten (arranged from &ldquo;Christus&rdquo;) (1863);</dd>
+<dd>Eighteenth Psalm (1867);</dd>
+<dd>Beethoven Festival Cantata (1870);</dd>
+<dd>Requiem (1870);</dd>
+<dd>One Hundred and Sixteenth Psalm (1873);</dd>
+<dd>The Bells of Strasburg (1874);</dd>
+<dd>An den heiligen Franziskus (1874);</dd>
+<dd>St. Cecilia (1875);</dd>
+<dd>Thirteenth Psalm (1877).</dd>
+<dt>Lloyd, Charles Harford.</dt>
+<dd>Hero and Leander (1884);</dd>
+<dd>The Song of Balder (1885);</dd>
+<dd>Andromeda (1886).</dd>
+<dt class="pb" id="pg_360">[360]</dt>
+<dt>Macfarren, George Alexander.</dt>
+<dd>Lenora (1852);</dd>
+<dd>May Day (1857);</dd>
+<dd>The Soldier&rsquo;s Legacy (1857);</dd>
+<dd>Christmas (1860);</dd>
+<dd>Songs in a Cornfield (1868);</dd>
+<dd>The Lady of the Lake (1877);</dd>
+<dd>Outward Bound (1877).</dd>
+<dt>Mackenzie, Alexander Campbell.</dt>
+<dd>The Bride (1880);</dd>
+<dd>Jason (1882);</dd>
+<dd>Story of Sayid (1886).</dd>
+<dt>Massenet, Jules &Eacute;mile Fr&eacute;d&eacute;ric.</dt>
+<dd>David Rizzio (1863);</dd>
+<dd>Paix et Libert&eacute; (1867);</dd>
+<dd>Mary Magdalen (1873);</dd>
+<dd>Eve (1875);</dd>
+<dd>Narcisse (1877).</dd>
+<dt>Mendelssohn, Bartholdy Felix.</dt>
+<dd>Christe, du Lamm Gottes (1827);</dd>
+<dd>Ach Gott von Himmel (1827);</dd>
+<dd>Humboldt Fest Cantate (1828);</dd>
+<dd>Walpurgis Night (1831);</dd>
+<dd>As the Hart pants (1838);</dd>
+<dd>Friedrich August Fest Cantate (1842);</dd>
+<dd>Lauda Sion (1846);</dd>
+<dd>To the Sons of Art (1846).</dd>
+<dt>Mercadante, Saverio.</dt>
+<dd>L&rsquo;Unione delle belli Arte (1818);</dd>
+<dd>The Seven Words (1821).</dd>
+<dt>Meyerbeer, Giacomo.</dt>
+<dd>Seven sacred Cantatas from Klopstock (1810);</dd>
+<dd>God and Nature (1810);</dd>
+<dd>March of the Bavarian Archers (1816);</dd>
+<dd>The Genius of Music at the Grave of Beethoven (1830);</dd>
+<dd>Gutenberg Cantata (1836);</dd>
+<dd>Le Festa nella Corte di Ferrara (1843);</dd>
+<dd>Maria und ihr Genius (1851).</dd>
+<dt>Mozart, Wolfgang Amadeus.</dt>
+<dd>Grabmusik (1767);</dd>
+<dd>Davidde penitente (1783);</dd>
+<dd>Die Seele (1783);</dd>
+<dd>Die Maurer freude (1785);</dd>
+<dd>La Betulia liberata (1786);</dd>
+<dd>Eine Kleine Freimaurer Cantate (1791).</dd>
+<dt>Neukomm, Sigismond.</dt>
+<dd>Napoleon&rsquo;s Midnight Review (1828);</dd>
+<dd>Easter Morning (1829).</dd>
+<dt>Oxenford, Edward.</dt>
+<dd>Crown of Roses (1886).</dd>
+<dt>Pacini, Giovanni.</dt>
+<dd>Dante Centenary (1865).</dd>
+<dt>Paer, Ferdinand.</dt>
+<dd>Bacco ed Ariadna (1804);</dd>
+<dd>La Conversazione Armonica (1804);</dd>
+<dd>Il Trionfo della chiesa Cattolica (1805);</dd>
+<dt class="pb" id="pg_361">[361]</dt>
+<dd>Europa in Creta (1806);</dd>
+<dd>Il S. Sepolcro (1815).</dd>
+<dt>Paine, John Knowles.</dt>
+<dd>&OElig;dipus (1881);</dd>
+<dd>Ph&oelig;bus Arise (1882);</dd>
+<dd>The Nativity (1883);</dd>
+<dd>Realm of Fancy (1884).</dd>
+<dt>Paine, Robert P.</dt>
+<dd>From Death unto Life (1883);</dd>
+<dd>Great is the Lord (1884);</dd>
+<dd>The Lay of the Last Minstrel (1884);</dd>
+<dd>A Day with our Lord (1885).</dd>
+<dt>Paisiello, Giovanni.</dt>
+<dd>Peleus (1763);</dd>
+<dd>Achille in Sciro (1783);</dd>
+<dd>Giunone Lucina (1784).</dd>
+<dt>Parker, James C. D.</dt>
+<dd>Redemption Hymn (1877);</dd>
+<dd>The Blind King (1886).</dd>
+<dt>Parker, H.</dt>
+<dd>W. King Trojan (1885).</dd>
+<dt>Pattison, Thomas Mee.</dt>
+<dd>The Ancient Mariner (1885);</dd>
+<dd>The Lay of the Last Minstrel (1885).</dd>
+<dt>Pepusch, John Christopher.</dt>
+<dd>Alexis (1712).</dd>
+<dt>Pergolesi, Giovanni.</dt>
+<dd>Siciliana (1730);</dd>
+<dd>Euridice (1730).</dd>
+<dt>Ponchielli, Amilcare.</dt>
+<dd>Donizetti ed Mayr Cantata (1875).</dd>
+<dt>Prout, Ebenezer.</dt>
+<dd>Hereward (1878);</dd>
+<dd>Freedom (1880);</dd>
+<dd>Alfred (1881);</dd>
+<dd>Queen Aim&eacute;e (1885).</dd>
+<dt>Raff, Joseph Joachim.</dt>
+<dd>Wachet auf (1865);</dd>
+<dd>Deutschland&rsquo;s Auferstehung (1865);</dd>
+<dd>Einer Entschlaffener (1876);</dd>
+<dd>One Hundred and Thirtieth Psalm, &ldquo;De Profundis&rdquo; (1878);</dd>
+<dd>Die Tageszeiten (1878).</dd>
+<dt>Randegger, Albert.</dt>
+<dd>Medea (1869);</dd>
+<dd>The One Hundred and Fiftieth Psalm (1872);</dd>
+<dd>Fridolin (1873);</dd>
+<dd>Saffo (1875).</dd>
+<dt>Reichardt, Johann Friedrich.</dt>
+<dd>Trauer Cantate auf den Tod Friedrich (1786);</dd>
+<dd>La Danza (1790).</dd>
+<dt>Reinecke, Karl.</dt>
+<dd>Ein geistliche Abendlied (1851);</dd>
+<dd>Schlachtlied (1852);</dd>
+<dd>Schneewittchen (1852);</dd>
+<dd>Salvum fac regem (1859);</dd>
+<dt class="pb" id="pg_362">[362]</dt>
+<dd>Weinachts (1861);</dd>
+<dd>Belshazzar (1863);</dd>
+<dd>Te Deum Laudamus (1870);</dd>
+<dd>Flucht der heilige Familie (1873);</dd>
+<dd>D&ouml;rnroschen (1875);</dd>
+<dd>Aschenbr&ouml;del (1877);</dd>
+<dd>Hakon Jarl (1877);</dd>
+<dd>Die wilden Schw&auml;ne (1881).</dd>
+<dt>Reissiger, Karl Gottlieb.</dt>
+<dd>Der Herr macht Alles wohl (1830).</dd>
+<dt>Reissmann, August.</dt>
+<dd>Drusus&rsquo; Death (1870);</dd>
+<dd>Lorelei (1871).</dd>
+<dt>Rheinberger, Joseph.</dt>
+<dd>Wasserfee (1867);</dd>
+<dd>Die Nacht (1868);</dd>
+<dd>Die t&ouml;dte Braut (1873);</dd>
+<dd>Johannisnacht (1875);</dd>
+<dd>Kl&auml;rchen auf Eberstein (1876);</dd>
+<dd>Christophorus (1880);</dd>
+<dd>Toggenburg (1880).</dd>
+<dt>Ries, Ferdinand.</dt>
+<dd>Der Morgen (1835).</dd>
+<dt>Rockstro, William Smyth.</dt>
+<dd>The little Daughter of Jairus (1871);</dd>
+<dd>The Good Shepherd (1885).</dd>
+<dt>Rode, Theodore.</dt>
+<dd>Passion&rsquo;s Cantata (1864).</dd>
+<dt>Romberg, Andreas.</dt>
+<dd>The Transient and the Eternal (1801);</dd>
+<dd>Lay of the Bell (1808).</dd>
+<dt>Rossini, Gioachino.</dt>
+<dd>Didone abandonnata (1811);</dd>
+<dd>Eglo e Irene (1814);</dd>
+<dd>Teti e Peleo (1816);</dd>
+<dd>I pastori (1820);</dd>
+<dd>Cara patria (1820);</dd>
+<dd>La Riconoscenza (1821);</dd>
+<dd>Il pianto delle Muse (1823);</dd>
+<dd>La sacra Alleanza (1823);</dd>
+<dd>Il vero ommagio (1823);</dd>
+<dd>Joan of Arc (1859).</dd>
+<dt>Rubinstein, Anton.</dt>
+<dd>E dunque vero (1865);</dd>
+<dd>Die Nixe (1866);</dd>
+<dd>The Morning (1868);</dd>
+<dd>Mignon (1869);</dd>
+<dd>Hecuba (1872);</dd>
+<dd>Hagar in the Wilderness (1872).</dd>
+<dt>Ryan, Desmond L.</dt>
+<dd>The Maid of Astolat (1886).</dd>
+<dt>Saint-Saens, Charles Camille.</dt>
+<dd>Les Noces de Prom&eacute;th&eacute;e (1867);</dd>
+<dd>Le Deluge (1876);</dd>
+<dd>Eighteenth Psalm (1877);</dd>
+<dd>Chanson d&rsquo; Anc&ecirc;tre (1878);</dd>
+<dd>La Lyre et la Harpe (1879);</dd>
+<dd>Hymn to Victor Hugo (1885).</dd>
+<dt class="pb" id="pg_363">[363]</dt>
+<dt>Salaman, Charles Kensington.</dt>
+<dd>Shakspeare Jubilee (1850).</dd>
+<dt>Salieri, Antonio.</dt>
+<dd>Le Dernier Jugement (1788);</dd>
+<dd>La Riconoscenza (1796).</dd>
+<dt>Scarlatti, Alessandro.</dt>
+<dd>Povera pelegrina (1697).</dd>
+<dt>Scharwenka, Ludwig Philipp.</dt>
+<dd>Herbstfeier (1882);</dd>
+<dd>Sakuntala (1883).</dd>
+<dt>Schira, Francesca.</dt>
+<dd>The Lord of Burleigh (1873).</dd>
+<dt>Schmitt, Aloys.</dt>
+<dd>Die W&ouml;rter des Glaubens (1816);</dd>
+<dd>Die Huldigung der Tonkunst (1818);</dd>
+<dd>Die Hoffnung (1820).</dd>
+<dt>Schubert, Franz.</dt>
+<dd>Salieri&rsquo;s Jubilee (1815);</dd>
+<dd>Prometheus (1816);</dd>
+<dd>Cantata (Spendau) (1816);</dd>
+<dd>Glaube, Hoffnung und Liebe (1816);</dd>
+<dd>Der Fr&uuml;hlingsmorgen (1818);</dd>
+<dd>Vogl Cantata (1818);</dd>
+<dd>Die Allmacht (1820);</dd>
+<dd>Constitution&rsquo;s Lied (1822);</dd>
+<dd>&Agrave; la belle Irene (1827);</dd>
+<dd>Miriam&rsquo;s Song (1828).</dd>
+<dt>Schumann, Robert.</dt>
+<dd>Mignon&rsquo;s Requiem (1849);</dd>
+<dd>Advent Hymn (1849);</dd>
+<dd>Pilgrimage of the Rose (1851);</dd>
+<dd>The King&rsquo;s Son (1851);</dd>
+<dd>The Singer&rsquo;s Curse (1852);</dd>
+<dd>The Page and the King&rsquo;s Daughter (1852);</dd>
+<dd>The Luck of Edenhall (1853).</dd>
+<dt>Singer, Otto.</dt>
+<dd>Landing of the Pilgrims (1876);</dd>
+<dd>Festival Ode (1877).</dd>
+<dt>Smart, Henry.</dt>
+<dd>Bride of Dunkerron (1864);</dd>
+<dd>King Ren&eacute;&rsquo;s Daughter (1871);</dd>
+<dd>The Fishermaidens (1871);</dd>
+<dd>Jacob (1873).</dd>
+<dt>Spohr, Louis.</dt>
+<dd>The Liberation of Germany (1814);</dd>
+<dd>Lord, Thou art great (1815);</dd>
+<dd>How lovely are Thy Dwellings (1815);</dd>
+<dd>Jehovah, Lord of Hosts (1820);</dd>
+<dd>The Lord&rsquo;s Prayer (1829);</dd>
+<dd>Hymn to the holy Cecilia (1856).</dd>
+<dt>Spontini, Gaspard.</dt>
+<dd>Borussia (1826);</dd>
+<dd>Gott segne der K&ouml;nig (1828).</dd>
+<dt>Stainer, John.</dt>
+<dd>The Daughter of Jairus (1878);</dd>
+<dd>St. Mary Magdalene (1883).</dd>
+<dt class="pb" id="pg_364">[364]</dt>
+<dt>Stanford, Charles Villiers.</dt>
+<dd>The Revenge (1880);</dd>
+<dd>God is our Hope (1881).</dd>
+<dt>Sullivan, Arthur.</dt>
+<dd>Kenilworth (1864);</dd>
+<dd>On Shore and Sea (1871);</dd>
+<dd>The Martyr of Antioch (1875);</dd>
+<dd>The Golden Legend (1886).</dd>
+<dt>Svendsen, Johann.</dt>
+<dd>Marriage Cantata (1873).</dd>
+<dt>Thomas, Ambroise.</dt>
+<dd>Lesueur Cantata (1852);</dd>
+<dd>The Tyrol (1867);</dd>
+<dd>Carnival of Rome (1868);</dd>
+<dd>The Atlantic (1868);</dd>
+<dd>Sabbath Night (1869);</dd>
+<dd>Boieldieu Cantata (1875).</dd>
+<dt>Thomas, Arthur Goring.</dt>
+<dd>The Sun Worshippers (1881).</dd>
+<dt>Tschaikowsky, Peter I.</dt>
+<dd>Coronation Cantata (1882).</dd>
+<dt>Volkmann, Friedrich R.</dt>
+<dd>To-night (1867);</dd>
+<dd>Sappho (1868).</dd>
+<dt>Wagner, Richard.</dt>
+<dd>New Year&rsquo;s (1834);</dd>
+<dd>Das Liebesmahl der Apostel (1843);</dd>
+<dd>Gelegensheit Cantate (1843).</dd>
+<dt>Weber, Carl Maria von.</dt>
+<dd>Der Ester Ton (1808);</dd>
+<dd>Kampf und Sieg (1815);</dd>
+<dd>Natur und Liebe (1818);</dd>
+<dd>Jubilee Cantata (1818).</dd>
+<dt>Whiting, George Elbridge.</dt>
+<dd>Dream Pictures (1877);</dd>
+<dd>Lenora (1879);</dd>
+<dd>Tale of the Viking (1880);</dd>
+<dd>Henry of Navarre (1885).</dd>
+<dt>Winter, Peter.</dt>
+<dd>Pigmalione;</dd>
+<dd>Piramo e Thisbe;</dd>
+<dd>Die verlassene Dido;</dd>
+<dd>Vortigerne;</dd>
+<dd>Hector;</dd>
+<dd>Inez de Castro;</dd>
+<dd>Henri IV.;</dd>
+<dd>Baiersche Lustbarkeit;</dd>
+<dd>Der Franz Lustgarten;</dd>
+<dd>Die Hochzeit des Figaro;</dd>
+<dd>Andromaque;</dd>
+<dd>Prague et Philomela;</dd>
+<dd>Timoteo;</dd>
+<dd>Die Erl&ouml;sung des Menschen;</dd>
+<dd>Die Auferstehung Germania&rsquo;s Friedens; (all written between 1789 and 1793).</dd>
+<dt>Zingarelli, Nicolo.</dt>
+<dd>Telemaco (1785);</dd>
+<dd>Eco (1802);</dd>
+<dd>Cantata Sacra (1829).</dd>
+</dl>
+</div>
+<div id="c126" title="Index">
+<div class="pb" id="pg_365">[365]</div>
+<div class="img"><img src="images/p365.png" alt="" width="356" height="91" /></div>
+<h2>INDEX.</h2>
+<dl>
+<dt class="lbr">Acis and Galatea, <a href="#pg_27">27</a>, <a href="#pg_166">166</a>.</dt>
+<dt>Addison, <a href="#pg_58">58</a>, <a href="#pg_59">59</a>.</dt>
+<dt>Advent Hymn, <a href="#pg_27">27</a>, <a href="#pg_319">319</a>.</dt>
+<dt>Alexander&rsquo;s Feast, <a href="#pg_27">27</a>, <a href="#pg_173">173</a>.</dt>
+<dt>American Cantatas, <a href="#pg_28">28</a>.</dt>
+<dt>Antigone, <a href="#pg_254">254</a>.</dt>
+<dt>Appendix, <a href="#pg_353">353</a>.</dt>
+<dt>Ariadne, <a href="#pg_198">198</a>.</dt>
+<dt>Arnold, Edwin, <a href="#pg_117">117</a>, <a href="#pg_233">233</a>.</dt>
+<dt>As the Hart Pants, <a href="#pg_262">262</a>.</dt>
+<dt>Auber, <a href="#pg_66">66</a>.</dt>
+<dt class="lbr">Bach, <a href="#pg_22">22</a>-25, <a href="#pg_63">63</a>, <a href="#pg_308">308</a>;</dt>
+<dd>life of, <a href="#pg_29">29</a>.</dd>
+<dt>Balfe, <a href="#pg_56">56</a>;</dt>
+<dd>life of, <a href="#pg_44">44</a>.</dd>
+<dt>Bassani, <a href="#pg_18">18</a>.</dt>
+<dt>Beethoven, <a href="#pg_20">20</a>, <a href="#pg_134">134</a>, <a href="#pg_135">135</a>, <a href="#pg_146">146</a>, <a href="#pg_250">250</a>, <a href="#pg_269">269</a>, <a href="#pg_314">314</a>;</dt>
+<dd>life of, <a href="#pg_48">48</a>.</dd>
+<dt>Bells of Strasburg, <a href="#pg_221">221</a>.</dt>
+<dt>Benedict, <a href="#pg_66">66</a>, <a href="#pg_128">128</a>, <a href="#pg_299">299</a>;</dt>
+<dd>life of, <a href="#pg_56">56</a>.</dd>
+<dt>Bennett, <a href="#pg_27">27</a>, <a href="#pg_227">227</a>, <a href="#pg_332">332</a>;</dt>
+<dd>life of, <a href="#pg_62">62</a>.</dd>
+<dt>Berlioz, <a href="#pg_27">27</a>, <a href="#pg_295">295</a>;</dt>
+<dd>life of, <a href="#pg_68">68</a>.</dd>
+<dt>Bononcini, <a href="#pg_19">19</a>, <a href="#pg_164">164</a>.</dt>
+<dt>Brahms, <a href="#pg_27">27</a>, <a href="#pg_135">135</a>, <a href="#pg_317">317</a>;</dt>
+<dd>life of, <a href="#pg_82">82</a>.</dd>
+<dt>Bridal of Triermain, <a href="#pg_124">124</a>.</dt>
+<dt>Bride of Dunkerron, <a href="#pg_328">328</a>.</dt>
+<dt>Bruch, <a href="#pg_27">27</a>;</dt>
+<dd>life of, <a href="#pg_86">86</a>.</dd>
+<dt>Buck, <a href="#pg_27">27</a>, <a href="#pg_28">28</a>, <a href="#pg_153">153</a>, <a href="#pg_156">156</a>, <a href="#pg_335">335</a>;</dt>
+<dd>life of, <a href="#pg_101">101</a>.</dd>
+<dt>Burney, <a href="#pg_14">14</a>, <a href="#pg_16">16</a>, <a href="#pg_18">18</a>.</dt>
+<dt>Byron, <a href="#pg_45">45</a>, <a href="#pg_70">70</a>.</dt>
+<dt class="lbr">Caldara, <a href="#pg_19">19</a>.</dt>
+<dt>Cantata, origin of, <a href="#pg_13">13</a>;</dt>
+<dd>earlier form, <a href="#pg_14">14</a>;</dd>
+<dd>in France, <a href="#pg_20">20</a>;</dd>
+<dd>in Germany, <a href="#pg_21">21</a>;</dd>
+<dd>Church cantatas, <a href="#pg_26">26</a>-28;</dd>
+<dd>modern cantatas, <a href="#pg_26">26</a>-28.</dd>
+<dt>Carissimi, <a href="#pg_13">13</a>, <a href="#pg_14">14</a>, <a href="#pg_16">16</a>.</dt>
+<dt>Carlyle, <a href="#pg_38">38</a>, <a href="#pg_39">39</a>, <a href="#pg_40">40</a>.</dt>
+<dt>Centennial Meditation of Columbia, <a href="#pg_28">28</a>, <a href="#pg_106">106</a>.</dt>
+<dt>Cesti, <a href="#pg_16">16</a>.</dt>
+<dt>Chandos Anthems, <a href="#pg_26">26</a>, <a href="#pg_164">164</a>, <a href="#pg_167">167</a>.</dt>
+<dt>Chopin, <a href="#pg_317">317</a>.</dt>
+<dt>Chorley, <a href="#pg_58">58</a>, <a href="#pg_64">64</a>, <a href="#pg_210">210</a>, <a href="#pg_265">265</a>, <a href="#pg_332">332</a>.</dt>
+<dt>Choron, <a href="#pg_15">15</a>, <a href="#pg_201">201</a>.</dt>
+<dt>Christmas, <a href="#pg_228">228</a>.</dt>
+<dt>Christophorus, <a href="#pg_304">304</a>.</dt>
+<dt>Comala, <a href="#pg_27">27</a>, <a href="#pg_144">144</a>.</dt>
+<dt>Corder, life of, <a href="#pg_123">123</a>.</dt>
+<dt>Cowen, <a href="#pg_27">27</a>;</dt>
+<dd>life of, <a href="#pg_128">128</a>.</dd>
+<dt>Crusaders, <a href="#pg_149">149</a>.</dt>
+<dt>Culprit Fay, <a href="#pg_28">28</a>, <a href="#pg_157">157</a>.</dt>
+<dt class="lbr">Damnation of Faust, <a href="#pg_27">27</a>, <a href="#pg_74">74</a>.</dt>
+<dt>Dante, <a href="#pg_198">198</a>.</dt>
+<dt>D&rsquo;Astorga, <a href="#pg_19">19</a>.</dt>
+<dt>Davidde Penitente, <a href="#pg_274">274</a>.</dt>
+<dt>Donizetti, <a href="#pg_59">59</a>.</dt>
+<dt>Don Munio, <a href="#pg_27">27</a>, <a href="#pg_28">28</a>, <a href="#pg_103">103</a>.</dt>
+<dt>Dryden, <a href="#pg_19">19</a>, <a href="#pg_58">58</a>, <a href="#pg_59">59</a>, <a href="#pg_170">170</a>, <a href="#pg_173">173</a>, <a href="#pg_175">175</a>, <a href="#pg_177">177</a>, <a href="#pg_178">178</a>.</dt>
+<dt class="pb" id="pg_366">[366]</dt>
+<dt>Drummond, <a href="#pg_289">289</a>.</dt>
+<dt>Dvo&#345;&aacute;k, life of, <a href="#pg_134">134</a>.</dt>
+<dt class="lbr">Ein&rsquo; Feste Burg, <a href="#pg_38">38</a>.</dt>
+<dt>Erl King&rsquo;s Daughter, <a href="#pg_147">147</a>.</dt>
+<dt>Exhibition Ode, <a href="#pg_66">66</a>.</dt>
+<dt class="lbr">Fair Ellen, <a href="#pg_93">93</a>.</dt>
+<dt>Festa Ascensionis Christi, <a href="#pg_37">37</a>.</dt>
+<dt>Foote, <a href="#pg_28">28</a>,</dt>
+<dd>life of, <a href="#pg_140">140</a>.</dd>
+<dt>Forty-sixth Psalm, <a href="#pg_28">28</a>, <a href="#pg_154">154</a>.</dt>
+<dt>Fridolin, <a href="#pg_27">27</a>, <a href="#pg_299">299</a>.</dt>
+<dt>Frithjof&rsquo;s Saga, <a href="#pg_27">27</a>, <a href="#pg_87">87</a>.</dt>
+<dt class="lbr">Gade, <a href="#pg_27">27</a>, <a href="#pg_295">295</a>;</dt>
+<dd>life of, <a href="#pg_143">143</a>.</dd>
+<dt>Gasparini, <a href="#pg_17">17</a>, <a href="#pg_18">18</a>.</dt>
+<dt>George Sand, <a href="#pg_216">216</a>.</dt>
+<dt>Gilchrist, <a href="#pg_28">28</a>;</dt>
+<dd>life of, <a href="#pg_153">153</a>.</dd>
+<dt>Gleason, <a href="#pg_28">28</a>;</dt>
+<dd>life of, <a href="#pg_156">156</a>.</dd>
+<dt>Glorious Moment, The, <a href="#pg_53">53</a>.</dt>
+<dt>Gluck, <a href="#pg_192">192</a>.</dt>
+<dt>Goethe, <a href="#pg_54">54</a>, <a href="#pg_80">80</a>, <a href="#pg_86">86</a>, <a href="#pg_148">148</a>, <a href="#pg_248">248</a>, <a href="#pg_249">249</a>, <a href="#pg_251">251</a>.</dt>
+<dt>Golden Legend (Buck), <a href="#pg_28">28</a>, <a href="#pg_109">109</a>.</dt>
+<dt>Golden Legend (Sullivan), <a href="#pg_27">27</a>, <a href="#pg_335">335</a>.</dt>
+<dt>Gottes Zeit, <a href="#pg_33">33</a>.</dt>
+<dt>Gounod, <a href="#pg_78">78</a>, <a href="#pg_79">79</a>.</dt>
+<dt>Gutenberg Fest, <a href="#pg_263">263</a>.</dt>
+<dt class="lbr">Hamerik, <a href="#pg_28">28</a>, <a href="#pg_107">107</a>, <a href="#pg_109">109</a>.</dt>
+<dt>Handel, <a href="#pg_19">19</a>, <a href="#pg_20">20</a>, <a href="#pg_25">25</a>, <a href="#pg_27">27</a>, <a href="#pg_32">32</a>, <a href="#pg_58">58</a>, <a href="#pg_59">59</a>, <a href="#pg_85">85</a>;</dt>
+<dd>life of, <a href="#pg_163">163</a>.</dd>
+<dt>Handel&rsquo;s Passion Cantata, <a href="#pg_25">25</a>.</dt>
+<dt>Hanover Cantatas, <a href="#pg_25">25</a>.</dt>
+<dt>Hatton, life of, <a href="#pg_186">186</a>.</dt>
+<dt>Hawkins, <a href="#pg_13">13</a>, <a href="#pg_16">16</a>.</dt>
+<dt>Haydn, <a href="#pg_26">26</a>, <a href="#pg_48">48</a>, <a href="#pg_54">54</a>, <a href="#pg_250">250</a>;</dt>
+<dd>life of, <a href="#pg_191">191</a>.</dd>
+<dt>Heil der in Siegerkranz, <a href="#pg_84">84</a>.</dt>
+<dt>Heine, <a href="#pg_39">39</a>.</dt>
+<dt>Hiawatha, <a href="#pg_28">28</a>, <a href="#pg_141">141</a>.</dt>
+<dt>Hiller, <a href="#pg_27">27</a>, <a href="#pg_86">86</a>, <a href="#pg_123">123</a>, <a href="#pg_318">318</a>;</dt>
+<dd>life of, <a href="#pg_201">201</a>.</dd>
+<dt>Hofmann, <a href="#pg_27">27</a>;</dt>
+<dd>life of, <a href="#pg_205">205</a>.</dd>
+<dt>Holyrood, <a href="#pg_210">210</a>.</dt>
+<dt class="lbr">Ich hatte viel Bekummerniss, <a href="#pg_31">31</a>.</dt>
+<dt>Irving, <a href="#pg_103">103</a>, <a href="#pg_114">114</a>.</dt>
+<dt>Italian Cantata writers, <a href="#pg_16">16</a>-20.</dt>
+<dt class="lbr">Jubilee Cantata, <a href="#pg_344">344</a>.</dt>
+<dt>Jubilee Ode, <a href="#pg_237">237</a>.</dt>
+<dt class="lbr">Kampf und Sieg, <a href="#pg_27">27</a>, <a href="#pg_346">346</a>.</dt>
+<dt>Keats, <a href="#pg_288">288</a>.</dt>
+<dt>King Ren&eacute;&rsquo;s Daughter, <a href="#pg_330">330</a>.</dt>
+<dt>King Thamos, <a href="#pg_270">270</a>.</dt>
+<dt>King Trojan, <a href="#pg_28">28</a>, <a href="#pg_292">292</a>.</dt>
+<dt class="lbr">L&rsquo;Allegro, <a href="#pg_178">178</a>.</dt>
+<dt>Lamartine, <a href="#pg_216">216</a>.</dt>
+<dt>Landing of the Pilgrims, <a href="#pg_28">28</a>, <a href="#pg_325">325</a>.</dt>
+<dt>Lauda Sion, <a href="#pg_265">265</a>.</dt>
+<dt>Lay of the Bell, <a href="#pg_27">27</a>, <a href="#pg_309">309</a>.</dt>
+<dt>Legrenzi, <a href="#pg_17">17</a>.</dt>
+<dt>Leslie, life of, <a href="#pg_209">209</a>.</dt>
+<dt>Light of Asia, <a href="#pg_27">27</a>, <a href="#pg_28">28</a>, <a href="#pg_117">117</a>.</dt>
+<dt>Liszt, <a href="#pg_27">27</a>, <a href="#pg_82">82</a>, <a href="#pg_83">83</a>, <a href="#pg_324">324</a>, <a href="#pg_339">339</a>, <a href="#pg_340">340</a>;</dt>
+<dd>life of, <a href="#pg_215">215</a>.</dd>
+<dt>Lotti, <a href="#pg_17">17</a>, <a href="#pg_19">19</a>.</dt>
+<dt>Longfellow, <a href="#pg_110">110</a>, <a href="#pg_141">141</a>, <a href="#pg_221">221</a>, <a href="#pg_222">222</a>, <a href="#pg_335">335</a>, <a href="#pg_349">349</a>.</dt>
+<dt>Love Feast of the Apostles, <a href="#pg_340">340</a>.</dt>
+<dt>Luther, <a href="#pg_38">38</a>, <a href="#pg_39">39</a>, <a href="#pg_40">40</a>, <a href="#pg_42">42</a>.</dt>
+<dt class="lbr">Macfarren, <a href="#pg_50">50</a>, <a href="#pg_52">52</a>;</dt>
+<dd>life of, <a href="#pg_226">226</a>.</dd>
+<dt>Mackenzie, life of, <a href="#pg_232">232</a>.</dt>
+<dt>Marcello, <a href="#pg_19">19</a>.</dt>
+<dt>Mary Magdalen, <a href="#pg_242">242</a>.</dt>
+<dt>Masonic Cantatas, <a href="#pg_276">276</a>.</dt>
+<dt>Massenet, life of, <a href="#pg_241">241</a>.</dt>
+<dt>May Queen, <a href="#pg_27">27</a>, <a href="#pg_64">64</a>.</dt>
+<dt>Mazeppa, <a href="#pg_45">45</a>.</dt>
+<dt>Melusina, <a href="#pg_27">27</a>, <a href="#pg_206">206</a>.</dt>
+<dt>Mendelssohn, <a href="#pg_20">20</a>, <a href="#pg_27">27</a>, <a href="#pg_36">36</a>, <a href="#pg_40">40</a>, <a href="#pg_52">52</a>, <a href="#pg_62">62</a>, <a href="#pg_87">87</a>, <a href="#pg_134">134</a>, <a href="#pg_143">143</a>, <a href="#pg_161">161</a>, <a href="#pg_203">203</a>, <a href="#pg_206">206</a>, <a href="#pg_295">295</a>, <a href="#pg_307">307</a>;</dt>
+<dd>life of, <a href="#pg_246">246</a>.</dd>
+<dt>Meyerbeer, <a href="#pg_41">41</a>, <a href="#pg_66">66</a>.</dt>
+<dt>Milton, <a href="#pg_178">178</a>, <a href="#pg_179">179</a>, <a href="#pg_286">286</a>.</dt>
+<dt>Minstrel&rsquo;s Curse, <a href="#pg_322">322</a>.</dt>
+<dt>Miriam&rsquo;s War Song, <a href="#pg_314">314</a>.</dt>
+<dt>Mozart, <a href="#pg_20">20</a>, <a href="#pg_48">48</a>, <a href="#pg_62">62</a>, <a href="#pg_134">134</a>, <a href="#pg_176">176</a>, <a href="#pg_250">250</a>;</dt>
+<dd>life of, <a href="#pg_268">268</a>.</dd>
+<dt class="lbr">Nativity, The, <a href="#pg_28">28</a>, <a href="#pg_286">286</a>.</dt>
+<dt>Nicolai, <a href="#pg_41">41</a>.</dt>
+<dt class="pb" id="pg_367">[367]</dt>
+<dt class="lbr">Odysseus, <a href="#pg_27">27</a>, <a href="#pg_95">95</a>.</dt>
+<dt>&OElig;dipus at Colonos, <a href="#pg_259">259</a>.</dt>
+<dt>&OElig;dipus Tyrannus, <a href="#pg_28">28</a>, <a href="#pg_259">259</a>, <a href="#pg_281">281</a>.</dt>
+<dt>On Shore and Sea, <a href="#pg_334">334</a>.</dt>
+<dt class="lbr">Paganini, <a href="#pg_70">70</a>.</dt>
+<dt>Paine, <a href="#pg_28">28</a>, <a href="#pg_140">140</a>;</dt>
+<dd>life of, <a href="#pg_280">280</a>.</dd>
+<dt>Paisiello, <a href="#pg_20">20</a>.</dt>
+<dt>Parker, H. W., <a href="#pg_28">28</a>;</dt>
+<dd>life of, <a href="#pg_291">291</a>.</dd>
+<dt>Parker, J. C. D., <a href="#pg_28">28</a>;</dt>
+<dd>life of, <a href="#pg_295">295</a>.</dd>
+<dt>Pergolesi, <a href="#pg_20">20</a>.</dt>
+<dt>Ph&oelig;bus, Arise, <a href="#pg_28">28</a>, <a href="#pg_289">289</a>.</dt>
+<dt>Pilgrimage of the Rose, <a href="#pg_321">321</a>.</dt>
+<dt>Pope, <a href="#pg_170">170</a>.</dt>
+<dt>Porpora, <a href="#pg_19">19</a>, <a href="#pg_164">164</a>, <a href="#pg_192">192</a>.</dt>
+<dt>Praise Song to Harmony, <a href="#pg_28">28</a>, <a href="#pg_161">161</a>.</dt>
+<dt>Prometheus, <a href="#pg_27">27</a>, <a href="#pg_217">217</a>.</dt>
+<dt class="lbr">Raff, <a href="#pg_136">136</a>.</dt>
+<dt>R&aacute;k&oacute;czy March, <a href="#pg_77">77</a>.</dt>
+<dt>Randegger, <a href="#pg_27">27</a>;</dt>
+<dd>life of, <a href="#pg_298">298</a>.</dd>
+<dt>Realm of Fancy, <a href="#pg_28">28</a>, <a href="#pg_288">288</a>.</dt>
+<dt>Redemption Hymn, <a href="#pg_28">28</a>, <a href="#pg_296">296</a>.</dt>
+<dt>Rheinberger, <a href="#pg_27">27</a>, <a href="#pg_291">291</a>;</dt>
+<dd>life of, <a href="#pg_303">303</a>.</dd>
+<dt>Robin Hood, <a href="#pg_187">187</a>.</dt>
+<dt>Romberg, <a href="#pg_27">27</a>, <a href="#pg_308">308</a>.</dt>
+<dt>Romeo and Juliet, <a href="#pg_70">70</a>.</dt>
+<dt>Rosa Salvator, <a href="#pg_17">17</a>.</dt>
+<dt>Rossi, <a href="#pg_17">17</a>.</dt>
+<dt>Rossini, <a href="#pg_44">44</a>.</dt>
+<dt>Rousseau, <a href="#pg_20">20</a>.</dt>
+<dt>Ruins of Athens, <a href="#pg_49">49</a>.</dt>
+<dt class="lbr">Saint-Saens, <a href="#pg_153">153</a>.</dt>
+<dt>Salamis, <a href="#pg_92">92</a>.</dt>
+<dt>Salieri, <a href="#pg_215">215</a>, <a href="#pg_313">313</a>.</dt>
+<dt>Sarti, <a href="#pg_20">20</a>.</dt>
+<dt>Scarlatti, <a href="#pg_18">18</a>, <a href="#pg_19">19</a>.</dt>
+<dt>Schiller, <a href="#pg_299">299</a>, <a href="#pg_309">309</a>.</dt>
+<dt>Schubert, <a href="#pg_27">27</a>, <a href="#pg_49">49</a>, <a href="#pg_148">148</a>, <a href="#pg_318">318</a>,</dt>
+<dd>life of, <a href="#pg_313">313</a>.</dd>
+<dt>Schumann, <a href="#pg_27">27</a>, <a href="#pg_62">62</a>, <a href="#pg_82">82</a>, <a href="#pg_251">251</a>, <a href="#pg_295">295</a>, <a href="#pg_307">307</a>, <a href="#pg_315">315</a>;</dt>
+<dd>life of, <a href="#pg_317">317</a>.</dd>
+<dt>Scott, Walter, <a href="#pg_124">124</a>.</dt>
+<dt>Seven Words, The, <a href="#pg_194">194</a>.</dt>
+<dt>Shakspeare, <a href="#pg_71">71</a>, <a href="#pg_75">75</a>, <a href="#pg_87">87</a>, <a href="#pg_227">227</a>, <a href="#pg_246">246</a>, <a href="#pg_254">254</a>, <a href="#pg_332">332</a>.</dt>
+<dt>Singer, <a href="#pg_28">28</a>, <a href="#pg_109">109</a>;</dt>
+<dd>life of, <a href="#pg_324">324</a>.</dd>
+<dt>Sleeping Beauty, <a href="#pg_27">27</a>, <a href="#pg_129">129</a>.</dt>
+<dt>Smart, life of, <a href="#pg_327">327</a>.</dt>
+<dt>Song of Miriam, <a href="#pg_27">27</a>.</dt>
+<dt>Song of Victory, <a href="#pg_27">27</a>, <a href="#pg_203">203</a>.</dt>
+<dt>Spectre&rsquo;s Bride, <a href="#pg_136">136</a>.</dt>
+<dt>Spring Fantasie, <a href="#pg_146">146</a>.</dt>
+<dt>St. Cecilia, <a href="#pg_57">57</a>.</dt>
+<dt>Story of Sayid, <a href="#pg_233">233</a>.</dt>
+<dt>Strozzi, <a href="#pg_13">13</a>.</dt>
+<dt>Sullivan, <a href="#pg_27">27</a>;</dt>
+<dd>life of, <a href="#pg_332">332</a>.</dd>
+<dt class="lbr">Tale of the Viking, <a href="#pg_28">28</a>, <a href="#pg_349">349</a>.</dt>
+<dt>Tennyson, <a href="#pg_67">67</a>.</dt>
+<dt>Thomas, Ambroise, <a href="#pg_241">241</a>.</dt>
+<dt>Thomas, Theodore, <a href="#pg_102">102</a>, <a href="#pg_109">109</a>, <a href="#pg_153">153</a>, <a href="#pg_233">233</a>, <a href="#pg_281">281</a>, <a href="#pg_324">324</a>, <a href="#pg_333">333</a>, <a href="#pg_339">339</a>.</dt>
+<dt>Toggenburg, <a href="#pg_27">27</a>, <a href="#pg_306">306</a>.</dt>
+<dt>Triumphlied, <a href="#pg_27">27</a>, <a href="#pg_83">83</a>.</dt>
+<dt class="lbr">Uhland, <a href="#pg_320">320</a>, <a href="#pg_322">322</a>, <a href="#pg_323">323</a>.</dt>
+<dt class="lbr">Verdi, <a href="#pg_66">66</a>, <a href="#pg_213">213</a>.</dt>
+<dt>Victor Hugo, <a href="#pg_216">216</a>.</dt>
+<dt>Voyage of Columbus, <a href="#pg_28">28</a>, <a href="#pg_114">114</a>.</dt>
+<dt class="lbr">Wagner, <a href="#pg_41">41</a>, <a href="#pg_106">106</a>, <a href="#pg_127">127</a>, <a href="#pg_145">145</a>, <a href="#pg_149">149</a>, <a href="#pg_216">216</a>;</dt>
+<dd>life of, <a href="#pg_338">338</a>.</dd>
+<dt>Walpurgis Night, <a href="#pg_27">27</a>, <a href="#pg_248">248</a>, <a href="#pg_262">262</a>.</dt>
+<dt>Weber, <a href="#pg_27">27</a>, <a href="#pg_56">56</a>, <a href="#pg_251">251</a>;</dt>
+<dd>life of, <a href="#pg_342">342</a>.</dd>
+<dt>Whiting, <a href="#pg_28">28</a>, <a href="#pg_153">153</a>;</dt>
+<dd>life of, <a href="#pg_348">348</a>.</dd>
+</dl>
+<div class="imgtail"><img src="images/p367.png" alt="" width="52" height="50" /></div>
+</div>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's The Standard Cantatas, by George P. Upton
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE STANDARD CANTATAS ***
+
+***** This file should be named 32248-h.htm or 32248-h.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/3/2/2/4/32248/
+
+Produced by Stephen Hutcheson, Charley Howard and the
+Online Distributed Proofreading Team at https://www.pgdp.net
+(This file was produced from images generously made
+available by The Internet Archive)
+
+
+Updated editions will replace the previous one--the old editions
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+The Project Gutenberg EBook of The Standard Cantatas, by George P. Upton
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Standard Cantatas
+       Their Stories, Their Music, and Their Composers
+
+Author: George P. Upton
+
+Release Date: May 4, 2010 [EBook #32248]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE STANDARD CANTATAS ***
+
+
+
+
+Produced by Stephen Hutcheson, Charley Howard and the
+Online Distributed Proofreading Team at https://www.pgdp.net
+(This file was produced from images generously made
+available by The Internet Archive)
+
+
+
+
+
+
+
+
+
+
+                                   THE
+                            Standard Cantatas
+             THEIR STORIES, THEIR MUSIC, AND THEIR COMPOSERS
+
+
+                              _A Handbook_
+
+                           By GEORGE P. UPTON
+                                AUTHOR OF
+ "THE STANDARD OPERAS," "THE STANDARD ORATORIOS," "WOMAN IN MUSIC," ETC.
+
+                                 CHICAGO
+                        A. C. McCLURG AND COMPANY
+                                  1888
+
+                                Copyright
+                        By A. C. McClurg and Co.
+                                A.D. 1887
+
+
+
+
+                                PREFACE.
+
+
+The "Standard Cantatas" is the third of the series in which the "Standard
+Operas" and "Standard Oratorios" have been its predecessors. Of
+necessity, therefore, the same method has been followed in the
+arrangement and presentation of the author's scheme. As in the works
+above mentioned, short sketches of the music and stories of the cantatas
+are presented, together with biographies of their composers, some of
+which are reproduced from the other volumes with slight changes, the
+repetitions being necessary for the sake of uniformity. The sketches are
+prefaced by a comprehensive study of the cantata in its various forms,
+from its early simple recitative or aria style down to its present
+elaborate construction, which sometimes verges closely upon that of the
+opera or oratorio.
+
+The word "cantata" is so flexible and covers such a wide area in music,
+that it has been a work of some difficulty to decide upon the
+compositions that properly come within the scheme of this volume. During
+the past two centuries it has been variously applied to songs, like those
+of the early Italian school; to ballads, like those of the early English
+composers; to concert arias, like those of Mozart, Beethoven, and
+Mendelssohn; to short operettas, dramatic scenas, cycles of ballads, and
+even to oratorios, whose subjects are more or less dramatic. It is
+believed, however, that the most important of the modern cantatas are
+included in the volume, and with them will be found several works, such
+as the "Damnation of Faust" and the "Romeo and Juliet" vocal symphony and
+others, which, though not in the strict cantata form, are nevertheless
+compositions belonging to the concert-stage for voices and orchestra,
+performed without scenery, costumes, or stage accessories.
+
+The author has paid particular attention to cantatas by American
+composers, and has selected for description and analysis those which in
+his estimation rank the highest in musical merit. It would be manifestly
+impossible to include in a volume of the present size all the
+compositions by Americans which have been called cantatas, for their
+number is well-nigh "legion." Those have been selected which are
+creditable to American musical scholarship and are making a name for
+American music. It is possible some have been omitted which fulfil these
+conditions; if so, it is only because they have not come within the
+author's observation. The Appendix has been a work of great care, labor,
+and research, and wherever it was practicable the date of each cantata
+was verified.
+
+Like its two predecessors, the "Standard Cantatas" has been prepared for
+the general public, which has not the time or opportunity to investigate
+such matters, rather than for musicians, who are presumed to be familiar
+with them. On this account the text is made as untechnical as possible,
+and description takes the place of criticism. The work is intended to
+answer the purpose of a handbook and guide which shall acquaint the
+reader with the principal facts and accomplishments in this very
+interesting form of composition. The favor so generously accorded to the
+"Standard Operas" and "Standard Oratorios" leads the author to hope that
+this volume will also be welcome to music-lovers, and will find a place
+by the side of its companions in their libraries.
+
+                                                                G. P. U.
+
+Chicago, September, 1887.
+
+
+
+
+                                CONTENTS.
+
+
+
+
+                                                                   PAGE
+  PREFACE                                                             3
+  THE CANTATA                                                        13
+  BACH                                                               29
+    Ich Hatte viel Bekuemmerniss                                      31
+    Gottes Zeit                                                      33
+    Festa Ascensionis Christi                                        37
+    Ein' Feste Burg                                                  38
+  BALFE                                                              44
+    Mazeppa                                                          45
+  BEETHOVEN                                                          48
+    The Ruins of Athens                                              49
+    The Glorious Moment                                              53
+  BENEDICT                                                           56
+    St. Cecilia                                                      57
+  BENNETT                                                            62
+    The May Queen                                                    64
+    The Exhibition Ode                                               66
+  BERLIOZ                                                            68
+    Romeo and Juliet                                                 70
+    The Damnation of Faust                                           74
+  BRAHMS                                                             82
+    Triumphlied                                                      83
+  BRUCH                                                              86
+    Frithjof                                                         87
+    Salamis                                                          92
+    Fair Ellen                                                       93
+    Odysseus                                                         95
+  BUCK                                                              101
+    Don Munio                                                       103
+    Centennial Meditation of Columbia                               106
+    The Golden Legend                                               109
+    The Voyage of Columbus                                          114
+    The Light of Asia                                               117
+  CORDER                                                            123
+    The Bridal of Triermain                                         124
+  COWEN                                                             128
+    The Sleeping Beauty                                             129
+  DVORAK                                                            134
+    The Spectre's Bride                                             136
+  FOOTE                                                             140
+    Hiawatha                                                        141
+  GADE                                                              143
+    Comala                                                          144
+    Spring Fantasie                                                 146
+    The Erl King's Daughter                                         147
+    The Crusaders                                                   149
+  GILCHRIST                                                         153
+    The Forty-sixth Psalm                                           154
+  GLEASON                                                           156
+    The Culprit Fay                                                 157
+    The Praise Song To Harmony                                      161
+  HANDEL                                                            163
+    Acis and Galatea                                                166
+    Alexander's Feast                                               173
+    L'Allegro                                                       178
+  HATTON                                                            186
+    Robin Hood                                                      187
+  HAYDN                                                             191
+    The Seven Words                                                 194
+    Ariadne                                                         198
+  HILLER                                                            201
+    Song of Victory                                                 203
+  HOFMANN                                                           205
+    Melusina                                                        206
+  LESLIE                                                            209
+    Holyrood                                                        210
+  LISZT                                                             215
+    Prometheus                                                      217
+    The Bells of Strasburg                                          221
+  MACFARREN                                                         226
+    Christmas                                                       228
+  MACKENZIE                                                         232
+    The Story of Sayid                                              233
+    Jubilee Ode                                                     237
+  MASSENET                                                          241
+    Mary Magdalen                                                   242
+  MENDELSSOHN                                                       246
+    The Walpurgis Night                                             248
+    Antigone                                                        254
+    Oedipus at Colonos                                              259
+    As the Hart Pants                                               262
+    The Gutenberg Fest-Cantata                                      263
+    Lauda Sion                                                      265
+  MOZART                                                            268
+    King Thamos                                                     270
+    Davidde Penitente                                               274
+    The Masonic Cantatas                                            276
+  PAINE                                                             280
+    Oedipus Tyrannus                                                281
+    The Nativity                                                    286
+    The Realm of Fancy                                              288
+    Phoebus, Arise                                                  289
+  PARKER, H. W.                                                     291
+    King Trojan                                                     292
+  PARKER, J. C. D.                                                  295
+    The Redemption Hymn                                             296
+  RANDEGGER                                                         298
+    Fridolin                                                        299
+  RHEINBERGER                                                       303
+    Christophorus                                                   304
+    Toggenburg                                                      306
+  ROMBERG                                                           308
+    Lay of the Bell                                                 309
+  SCHUBERT                                                          313
+    Miriam's War Song                                               314
+  SCHUMANN                                                          317
+    Advent Hymn                                                     319
+    The Pilgrimage of the Rose                                      321
+    The Minstrel's Curse                                            322
+  SINGER                                                            324
+    The Landing of the Pilgrims                                     325
+  SMART                                                             327
+    The Bride of Dunkerron                                          328
+    King Rene's Daughter                                            330
+  SULLIVAN                                                          332
+    On Shore and Sea                                                334
+    The Golden Legend                                               335
+  WAGNER                                                            338
+    Love Feast of the Apostles                                      340
+  WEBER                                                             342
+    Jubilee Cantata                                                 344
+    Kampf Und Sieg                                                  346
+  WHITING                                                           348
+    The Tale of the Viking                                          349
+  APPENDIX                                                          353
+  INDEX                                                             365
+
+
+
+
+                         THE STANDARD CANTATAS.
+
+
+
+
+                              THE CANTATA.
+
+
+The origin of the cantata is a matter of controversy, but it is clear
+that it had its birth in Italy. Adami, an old writer, attributes its
+invention to Giovanni Domenico Poliaschi Romano, a papal chapel-singer,
+who, it is claimed, wrote several cantatas as early as 1618. The same
+writer also asserts that the Cavalier da Spoleto, a singer in the same
+service, published cantatas in 1620. Hawkins asserts in one chapter of
+his "History of Music" that the invention is due to Carissimi,
+chapel-master of the Church of St. Apollinare in Rome, who unquestionably
+did an important service for dramatic music by perfecting recitative and
+introducing stringed accompaniments; but in a subsequent chapter the
+historian states that Barbara Strozzi, a Venetian lady contemporary with
+Carissimi, was the inventor, and assigns the year 1653 as the date when
+she published certain vocal compositions with the title "Cantate, Ariette
+e Duetti," prefixed by an advertisement setting forth that having
+invented this form of music, she had published them as an experiment.
+Burney takes notice of the claim made for Romano and Da Spoleto, but does
+not think it valid, and says: "The first time that I have found the term
+'cantata' used for a short narrative lyric poem was in the _Musiche varie
+a voce sola del Signor Benedetto Ferrari da Reggio_, printed at Venice,
+1638." This, as will be observed, disposes of the Venetian lady's claim,
+as it is antedated twenty years, and Burney states his facts from
+personal investigation. He mentions several cantatas written about this
+period, among them a burlesque one describing the leap of Marcus Curtius
+into the gulf. He concedes to Carissimi, however, the transfer of the
+cantata from the chamber to the church, and on this point nearly all the
+early writers are agreed.
+
+The cantata in its earliest form was a recitative, which speedily
+developed into a mixture of recitative and melody for a single voice, and
+was suggested by the lyric opera. Burney says:--
+
+  "The chief events were related in recitative. In like manner they
+  received several progressive changes during the last century previous
+  to their perfection. First, they consisted, like opera scenes, of
+  little more than recitative, with frequent formal closes, at which the
+  singer, either accompanied by himself or another performer on a single
+  instrument, was left at liberty to show his taste and talents."
+
+The form then changed to a single air in triple time, independent of the
+recitative, and repeated to the different verses as in a ballad, the
+melody being written every time, as the _Da Capo_ was not then in use.[1]
+Choron defines the cantata as follows:--
+
+  "It is a little poem, which, considered in a literary sense, has no
+  very determinate character, though it is usually the recital of a
+  simple and interesting fact interspersed with reflections or the
+  expression of some particular sentiment. It may be in all styles and
+  all characters, sacred, profane, heroic, comic, and even ludicrous,
+  representing the action or feeling of either a single or several
+  persons. It even sometimes assumes the character of the oratorio."
+
+As applied to recitative, the new form was variously called "recitativo,"
+"musica parlante," or "stilo rappresentativo," one of the first works in
+which style was "The Complaint of Dido," by the Cavalier Sigismondo
+d'India, printed in Venice in 1623. The mixture of recitative and air was
+eventually called "ariose cantate;" and with this title several melodies
+were printed by Sebastian Enno at Venice, 1655.[2]
+
+The seventeenth century witnessed the rapid perfecting of the cantata in
+its early forms by the Italian composers. The best examples are said to
+have been those of Carissimi, of whom mention has already been made.
+Several of them are preserved in the British Museum and at Oxford; among
+them, one written on the death of Mary Queen of Scots. Burney says:--
+
+  "Of twenty-two of his cantatas preserved in the Christ Church
+  collection, Oxon., there is not one which does not offer something that
+  is still new, curious, and pleasing; but most particularly in the
+  recitatives, many of which seem the most expressive, affecting, and
+  perfect that I have seen. In the airs there are frequently sweet and
+  graceful passages, which more than a hundred years have not impaired."
+
+Of the thirteenth in this collection the same authority says:--
+
+  "This single air, without recitative, seems the archetype of almost all
+  the _arie di cantabile_, the adagios, and pathetic songs, as well as
+  instrumental, slow movements, that have since been made."
+
+Fra Marc Antonio Cesti, in his later life a monk in the monastery of
+Arezzo, and chapel-master of the Emperor Ferdinand III., was a pupil of
+Carissimi, and devoted much attention to the cantata, the recitative of
+which he greatly improved. One of his most celebrated compositions of
+this kind was entitled, "O cara Liberta," and selections from it are
+given both by Burney and Hawkins. He must have been one of the jolly
+monks of old, for all his cantatas are secular in character, and he was
+frequently censured for devoting so much time to theatrical instead of
+church music. Luigi Rossi was contemporary with Cesti, and has left
+several cantatas which are conspicuous for length and pedantry rather
+than for elegance or melodious charm. Giovanni Legrenzi of Bergamo, the
+master of Lotti and Gasparini, published twenty-four cantatas in Venice
+between 1674 and 1679, which were great favorites in his time. The
+celebrated painter Salvator Rosa not only wrote the words for many
+cantatas by his musical friends, but it is known that he composed both
+words and music to eight. The texts of these works have preserved for
+posterity pictures more graphic than any he could paint of his
+misanthropical character; for when he is not railing against his mistress
+he is launching satires against Nature and mankind in general. In one of
+these he complains that the earth is barren and the sun is dark. If he
+goes out to see a friend, it always rains. If he goes on shipboard, it
+always storms. If he buys provisions at the market, the bones outweigh
+the flesh. If he goes to court--
+
+  "The attendants at my dress make sport;
+  Point at my garb, threadbare and shabby,
+  And shun me, like a leper scabby."
+
+His only wealth is hope, which points to nothing better than "workhouse
+or a rope." In the heat of summer he has to trudge in winter clothes. He
+cannot even run away from misfortune. In a word, nothing pleases the poor
+painter, as is evident from the gloomy moral which "adorns the tale":--
+
+  "Then learn from me, ye students all,
+  Whose wants are great and hopes are small,
+  That better 'tis at once to die
+  Than linger thus in penury;
+  For 'mongst the ills with which we're curst,
+  To live a beggar is the worst."
+
+In 1703 Giambatista Bassani, of Bologna, published twelve cantatas
+devoted to the tender passion, and all of them set to a violin
+accompaniment,--a practice first introduced by Scarlatti, of Naples, who
+was one of the most prolific writers of his day. The cantata was
+Scarlatti's favorite form of composition, and hundreds of them came from
+his busy pen, which were noted for their beauty and originality. The
+accompaniments were written for the violoncello as well as for the
+violin; those for the first-named instrument were so difficult and yet so
+excellent that those who could perform them were often thought to have
+supernatural assistance.[3] Contemporary with Scarlatti was Francesco
+Gasparini, a Roman composer and harpsichord player of such eminence that
+Scarlatti sent his son Domenico, who afterwards became famous by his
+musical achievements, to study with him. Gasparini wrote twelve
+cantatas,--not so scholarly but quite as popular as those by Scarlatti.
+As a return for the compliment which Scarlatti had paid him,
+Gasparini sent him a cantata, which was the signal for a lively
+cantata-correspondence between them, each trying to outdo the other.
+Following Gasparini came Bononcini, whose contentions with Handel in
+England are familiar to all musical readers. He was the most prolific
+cantata-writer of all the Italians next to Scarlatti, and dedicated a
+volume of them, in 1721, to the King of England. He also published in
+Germany a large number which show great knowledge of instrumentation,
+according to the musical historians of his time. Antonio Lotti, his
+contemporary, wrote several which are particularly noticeable for their
+harmony. His pupil Benedetto Marcello, the illustrious psalm-composer,
+excelled his master in this form of music. Two of his cantatas, "Il
+Timoteo" (after Dryden's ode) and "Cassandra," were very celebrated. He
+was of noble family, and is famous even to this day by his masses,
+serenades, and sonnets, and by his beautiful poetical and musical
+paraphrase of the Psalms, which was translated into English, German, and
+Russian. The Baron d'Astorga, whose "Stabat Mater" is famous, wrote many
+cantatas, but they do not reach the high standard of that work. Antonio
+Caldara, for many years composer to the Emperor at Vienna, published a
+volume of them at Venice in 1699. Porpora, who was a rival of Handel in
+England as an opera composer, published and dedicated twelve to the
+Prince of Wales in 1735 as a mark of gratitude for the support which he
+had given him in his disputes with the testy German.[4] After Pergolesi,
+who made himself famous by his "Stabat Mater," and published several
+cantatas at Rome, and Handel, who wrote many, which were eclipsed by his
+operas and oratorios, and are now hardly known, this style of the cantata
+languished, and gradually passed into the form of the concert aria, of
+which fine examples are to be found in the music of Mozart, Beethoven,
+and Mendelssohn. After the death of Pergolesi, Sarti and Paisiello made
+an attempt to revive it, and in so doing prepared the way for the cantata
+in its beautiful modern form. In the latter's "Guinone Lucina," written
+for the churching of Caroline of Austria, Queen of Naples, and in his
+"Dafne ed Alceo" and "Retour de Persee" the melody is intermixed with
+choruses for the first time.
+
+Thus far the Italian cantatas have alone been considered; but it must not
+be supposed that this form of composition was confined to Italy. In
+France it was also a favorite style in the early part of the eighteenth
+century. Montclair, Campra, Mouret, Batistin, Clerambault, and Rousseau
+excelled in it. M. Ginguene, in the "Encyclopaedia Methodique," says of
+these composers and their works:--
+
+  "They have left collections in which may be discovered among all the
+  faults of the age, when Italian music was unknown in France, much art
+  and knowledge of harmony, happy traits of melody, well-worked basses,
+  and above all recitatives in which the accent of declamation and the
+  character of the language are strictly observed."
+
+In Germany, however, the cantata at this time was approximating to its
+present form. Koch, a celebrated musical scholar of the early part of the
+present century, says:--
+
+  "The cantata is a lyrical poem set to music in different, alternating
+  compositions, and sung with the accompaniment of instrumental music.
+  The various melodies of which the whole is composed are the aria, with
+  its subordinate species, the recitative or accompaniment, and the
+  arioso, frequently also intermixed with choruses."
+
+Heydenreich, another writer of the same period, says:--
+
+  "The cantata is always lyrical. Its distinctive character lies in the
+  aptitude of the passions and feelings which it contains to be rendered
+  by music. The cantata ought to be a harmonious whole of ideas
+  poetically expressed, concurring to paint a main passion or feeling,
+  susceptible of various kinds and degrees of musical expression. It
+  sometimes may have the character of the hymn or ode, sometimes that of
+  the elegy, or of a mixture of these, in which, however, one particular
+  emotion must predominate."
+
+The church cantata, according to Du Cange, dates back to 1314; but
+subsequent writers have shown that the term prior to the seventeenth
+century was used indiscriminately and without reference to any
+well-defined style of vocal music, and that as applied to church
+compositions it meant the anthem such as we now have, although not as
+elaborate. The noblest examples of the sacred cantata are those by
+Sebastian Bach, three hundred and eighty in all, over a hundred of which
+have been published under the auspices of the Bach-Gesellschaft. They are
+written in from four to seven movements for four voices and full
+orchestra, usually opening with chorus and closing with a chorale, the
+intermediate movements being in the form of recitatives, arias, and
+duets. The text of these cantatas is either a literal transcription of
+the Gospel or of portions of it. In the latter case the Gospel of the
+Sunday for which the cantata was written is introduced entire in the body
+of the work as the nucleus around which the great composer grouped the
+remaining parts. For instance, the cantata for Sexagesima Sunday turns
+upon the parable of the sower, and this being the Gospel for the day is
+made its central point. In like manner the cantata for the fourteenth
+Sunday after Trinity has for its subject the story of the ten lepers,
+which is introduced in recitative form in the middle of the work. The
+astonishing industry of Bach is shown by the fact that for nearly five
+years he produced a new cantata for each Sunday, in addition to his
+numerous fugues, chorales, motets, magnificats, masses, sanctuses,
+glorias, and other church music. The artistic sincerity and true genius
+of the old master also reveal themselves in the skill with which he
+finished these works for the congregation of St. Thomas,--few of whom, it
+is to be feared, had any conception of their real merit,--and in the
+untiring regularity with which he produced them, unrewarded by the
+world's applause, and little dreaming that long years after he had passed
+away they would be brought to light again, be published to the world, and
+command its admiration and astonishment on account of their beauty and
+scholarship.[5] Before passing to the consideration of the cantata in its
+present form, the following abridged description of those written by
+Bach, taken from Bitter's Life of the composer, will be of interest:--
+
+  "The directors who preceded Bach at Leipsic used to choose the cantatas
+  or motets to be sung in the churches quite arbitrarily, without any
+  regard to their connection with the rest of the service. But Bach felt
+  that unless these elaborate pieces of music were really made a means of
+  edification, they were mere intellectual pastimes suitable for a
+  concert, but an interruption to divine worship; and he thought that
+  they could best edify the congregation if their subjects were the
+  themes to which attention was specially directed in the service and
+  sermon of the day. He therefore made it a rule to ascertain from the
+  clergymen of the four churches the texts of the sermons for the
+  following Sunday, and to choose cantatas on the same or corresponding
+  texts. As most of the clergy were in the habit of preaching on the
+  Gospel of the day, the service thus became a harmonious whole, and the
+  attention of the congregation was not divided between a variety of
+  subjects. The clergyman of highest standing at Leipsic, Superintendent
+  Deyling, a preacher of great eloquence and theological learning,
+  co-operated heartily with Bach in this scheme. A series of cantatas for
+  every Sunday and festival for five years--about three hundred and
+  eighty in all--was composed by Bach, chiefly during the first years of
+  his stay at Leipsic. Unfortunately many of these are lost; but one
+  hundred and eighty-six for particular days, and thirty-two without any
+  days specified, still remain. Their music is so completely in character
+  with the subject of the words as to form a perfect exposition of the
+  text. In some the orchestral introductions and accompaniments are made
+  illustrative of the scene of the text; as for instance in one on
+  Christ's appearing to His disciples in the evening after His
+  resurrection, the introduction is of a soft, calming character,
+  representing the peacefulness of evening and of the whole scene.
+  Another, on the text 'Like as the rain and snow fall from heaven,' is
+  introduced by a symphony in which the sound of gently-falling rain is
+  imitated. In others the instrumental parts and some of the voices
+  express the feelings excited by meditation on the words. Sometimes, in
+  the midst of a chorus in which the words of the text are repeated, and,
+  as it were, commented on, a single voice, with the accompaniment of a
+  few instruments, breaks off into some well-known hymn in a similar
+  strain of thought or feeling."
+
+Handel in his younger days wrote many cantatas for the church, though
+they are now but little known. The entire list numbers one hundred and
+fifty. On his return from England to his post of chapel-master at Hanover
+in 1711 he composed twelve, known as the Hanover cantatas, for the
+Princess Caroline, the words written by the Abbe Hortentio Mauro, to
+which no objection was offered by Handel's master and patron,
+notwithstanding he was a Lutheran prince. Several written in England are
+still preserved in the royal collections. On Holy Week of the year 1704,
+the same week in which Reinhardt Kaiser brought out his famous Passion
+oratorio, "The Bleeding and Dying Jesus," Handel's Passion cantata was
+first produced. Kaiser's work had been denounced as secular by the
+pastors, because it did not contain the words of Holy Scripture. Handel's
+was founded on the nineteenth chapter of St. John, and thus escaped the
+pulpit denunciation. This cantata is sometimes called the First Passion
+Oratorio, the second having been written at Hamburg in 1716.[6] In 1707
+Handel was in Florence, where he wrote several cantatas, and thence went
+to Rome, where he produced some church music in the same form, notably
+the "Dixit Dominus," for five voices and orchestra; "Nisi Dominus," also
+for five voices; and "Laudate pueri," for solos and full orchestral
+accompaniment. The famous anthems written for the private chapel of James
+Brydges, Duke of Chandos, familiarly known as the Chandos Anthems, are in
+reality cantatas, as each one is preceded by an overture and in its
+structural form comprises solos, choruses, and instrumentation for full
+band and choir. It is also noteworthy that it was during Handel's
+residence at the Duke's palace at Cannons that he wrote his first English
+oratorio, the legitimate successor of the Chandos Anthems, and the
+precursor of the great works destined to immortalize his name.
+
+The cantatas left by Haydn are mainly secular in character; but it may
+well be imagined that during the days of his early married life, when his
+fanatical and termagant spouse was forcing him to write so much music for
+the priests and monks whom she entertained so sumptuously below-stairs
+while he was laboring above, more than one cantata must have come from
+his pen, which would have been preserved had he not reluctantly parted
+company with them to pacify his wife.
+
+The term "cantata," as it is now used, is very elastic, and covers a
+range of compositions which are too large to be considered as dramatic
+arias or ballads,--though ballads are sometimes written for various
+voices and orchestra,--and too small to be called operas or oratorios. It
+can best be defined, perhaps, as a lyric narrative, sacred, didactic, or
+dramatic in character, set to music for the concert stage only, being
+without _dramatis personae_ in the theatrical acceptation of those words.
+Its general form is that of the oratorio, being for solo voices, usually
+the quartet, full chorus, and orchestra, though its shortness as compared
+with the oratorio adapts it to performance by a small chorus, and
+sometimes with only piano accompaniment. Among the most perfect forms of
+the modern cantatas are such works as Mendelssohn's "Walpurgis Night,"
+Sterndale Bennett's "May Queen," Max Bruch's "Odysseus" and "Frithjof's
+Saga," Cowen's "Sleeping Beauty," Gade's "Comala," Hiller's "Song of
+Victory," Romberg's somewhat antiquated "Song of the Bell," Sullivan's
+"Golden Legend," Randegger's "Fridolin," and Dudley Buck's "Don Munio"
+and "Light of Asia." But besides such as these there are numerous other
+works, not usually classed as cantatas, which clearly belong to the same
+musical family; such as Berlioz's "Damnation of Faust," Brahms's
+"Triumphlied," Mendelssohn's settings of various Psalms, Handel's "Acis
+and Galatea" and "Alexander's Feast," Hofmann's "Melusina," Liszt's
+"Prometheus," Rheinberger's "Toggenberg," Schubert's "Song of Miriam,"
+Schumann's ballads and "Advent Hymn," and Weber's "Kampf und Sieg." These
+and others of the same kin are drawn upon as illustrations and for
+analysis in the pages which follow.
+
+Considering the possibilities of the cantata, its adaptability to every
+form of narrative, and the musical inducements it holds out, particularly
+in these days, when a new opera or oratorio must be of extraordinary
+merit to suit the public, it is somewhat remarkable that no more of them
+are written. Mr. Charles Barnard has made this point very aptly and
+forcibly in a short article printed in the "Century" for January, 1886,
+in which he urges the cantata form of composition upon our writers, and
+makes many excellent suggestions.[7] It is certainly an inviting field,
+especially to American composers, among whom but three or four have as
+yet produced works of this kind possessing real merit.
+
+
+[1] Its first use is to be found in the opera of "Enea," performed at
+    Genoa in 1676. Before 1680 it was universally adopted.
+
+[2] It is noteworthy that in this volume occur for the first time the
+    musical terms "adagio," "piu adagio," "affetuoso," "presto," and
+    "allegro." In the "Cantate da Camera a voce sola," published at
+    Bologna (1677) by Gio. Bat. Mazzaferrata, the terms "vivace,"
+    "largo," and "ardito" are also found for the first time.
+
+[3] Geminiani used to relate that Franceschelli, a celebrated performer
+    on the violoncello at the beginning of this century, accompanied one
+    of these cantatas at Rome so admirably, while Scarlatti was at the
+    harpsichord, that the company, being good Catholics, and living in a
+    country where miraculous powers have not yet ceased, were firmly
+    persuaded it was not Franceschelli who had played the violoncello,
+    but an angel that had descended and assumed his shape.--_Burney's
+    History_, vol. iv. p. 169 (1789).
+
+[4] Doctor Arbuthnot, in a humorous pamphlet called out by the operatic
+    war, entitled "Harmony in an Uproar," calls Handel the Nightingale,
+    and Porpora the Cuckoo.
+
+[5] It is curious to remember that the sacred cantatas were not composed
+    for universal fame or for a musical public, but for the use of
+    congregations who probably looked on them as a necessary part of the
+    service, and thought little about the merits of their composition. In
+    those days art-criticism was in its infancy, and they were scarcely
+    noticed beyond the walls of Leipsic till after the composer's
+    death.--_Bitter's Life of Bach_.
+
+[6] Handel's Second German Passion, as it is now generally called,
+    differs entirely from the earlier Passion according to St. John, and
+    bears no analogy at all to the Passion Music of Sebastian Bach. The
+    choruses are expressive or vigorous in accordance with the nature of
+    the words; but none exhibit any very striking form of contrapuntal
+    development; nor do they ever rise to the grandeur of the Utrecht Te
+    Deum or Jubilate.--_Rockstro's Life of Handel_.
+
+[7] The following list of cantatas by Americans hardly sustains Mr.
+    Barnard in his assertion that there are but a few of them: Baker, B.
+    F., "Burning Ship;" "Storm King."--Bechel, J. C., "Pilgrim's
+    Progress;" "The Nativity;" "Ruth."--Bradbury, W. B.,
+    "Esther."--Brandeis, F., "The Ring."--Bristow, G. F., "The Pioneers;"
+    "No More."--Buck, Dudley, "Don Munio;" "Centennial;" "Easter
+    Cantatas;" "The Golden Legend;" "Light of Asia;" "Voyage of
+    Columbus."--Butterfield, J. A., "Belshazzar;" "Ruth."--Chadwick, G.
+    W., "The Viking's Last Voyage."--Damrosch, Leopold, "Ruth and Naomi;"
+    "Sulamith."--Foote, A., "Hiawatha."--Gilchrist, W. W., "Forty-sixth
+    Psalm;" "The Rose."--Gleason, F. G., "God our Deliverer;" "Culprit
+    Fay;" "Praise of Harmony."--Hamerik, A., "Christmas
+    Cantata."--Leavitt, W. J. D., "The Lord of the Sea;" "Cambyses; or,
+    the Pearl of Persia."--Marsh, S. B., "The Saviour;" "King of the
+    Forest."--Paine, J. K., "Oedipus Tyrannus;" "The Nativity;" "Phoebus,
+    Arise;" "Realm of Fancy."--Parker, J. G., "Redemption Hymn."--Parker,
+    H. W., "King Trojan."--Pratt, S. G., "Inca's Downfall."--Root, G. F.,
+    "Flower Queen;" "Daniel;" "Pilgrim Fathers;" "Belshazzar's Feast;"
+    "Haymakers;" "Song Tournament;" "David."--Singer, Otto, "Landing of
+    the Pilgrim Fathers;" "Festival Ode."--Trajetta, Philip, "The
+    Christian's Joy;" "Prophecy;" "The Nativity;" "Day of
+    Rest."--Whiting, G. E., "Dream Pictures;" "Tale of the Viking;"
+    "Lenora;" and many others.
+
+
+
+
+                                    BACH.
+
+
+Johann Sebastian Bach, the most eminent of the world's organ-players and
+contrapuntists, was born at Eisenach, March 21, 1685, and was the most
+illustrious member of a long line of musicians, the Bach family having
+been famous almost from time immemorial for its skill in music. He first
+studied the piano with his brother, Johann Christoph, and the organ with
+Reinecke in Hamburg, and Buxtehude in Luebeck. In 1703 he was court
+musician in Weimar, and afterwards was engaged as organist in Arnstadt
+and Muehlhausen. In 1708 he was court organist, and in 1714 concert-master
+in Weimar. In 1718 he was chapel-master to the Prince von Koethen, and in
+1723 was appointed music-director and cantor at the St. Thomas School in
+Leipsic,--a position which he held during the remainder of his life. He
+has left for the admiration of posterity an almost endless list of vocal
+and instrumental works, including cantatas, chorales, motets,
+magnificats, masses, fugues, sonatas, and fantasies, the "Christmas
+Oratorio," and several settings of the Passion, of which the most famous
+are the "St. John" and "St. Matthew," the latter of which Mendelssohn
+re-introduced to the world in 1829, after it had slumbered an entire
+century. His most famous instrumental work is the "Well-tempered
+Clavichord,"--a collection of forty-eight fugues and preludes, which was
+written for his second wife, Anna Magdalena Bach, to whom he also
+dedicated a large number of piano pieces and songs. His first wife was
+his cousin, Maria Barbara Bach, the youngest daughter of Johann Michael
+Bach, a composer of no common ability. By these two wives he had
+twenty-one children, of whom the most celebrated were Carl Phillipp
+Emanuel, born in 1714, known as the "Berlin Bach;" Johann Christoph
+Friedrich, born in 1732, the "Buecheburger Bach;" and Johann Christian,
+born in 1735, who became famous as the "London Bach." Large as the family
+was, it is now extinct. Bach was industrious, simple, honest, and
+God-fearing, like all his family. He was an incessant and laborious
+writer from necessity, as his compensation was hardly sufficient to
+maintain his large family, and nearly all his music was prepared for the
+service of the church by contract. The prominent characteristics of his
+work are profound knowledge, the clearest statements of form, strength of
+logical sequences, imposing breadth, and deep religious sentiment. The
+latter quality was the outcome of his intense religious nature. Upon
+everyone of his principal compositions he inscribed "S. D. G.," "to the
+glory of God alone." He died July 28, 1750, and was buried at Leipsic;
+but no cross or stone marks the spot where he lies. His last composition
+was the beautiful chorale, "Wenn wir in hoechsten Noethen sein," freely
+translated, "When my last hour is close at hand," as it was written in
+his last illness. The only record of his death is contained in the
+official register: "A man, aged sixty-seven, M. Johann Sebastian Bach,
+musical director and singing-master at the St. Thomas School, was carried
+to his grave in the hearse, July 30, 1750."
+
+
+                      Ich hatte viel Bekuemmerniss.
+
+The cantata with the above title, best known in English as "My Heart was
+full of Heaviness," was the first sacred piece in this form which Bach
+wrote. Its date is 1714, in which year he was living at Weimar, and its
+composition grew out of a difficulty which he had with the elders of the
+Liebfrauenkirche at Halle, touching his application for the position of
+organist. It occasioned him great sorrow, and it was while in this sad
+plight that he wrote the cantata. It was composed for the third Sunday
+after Trinity, June 17, and consists of eleven numbers,--an instrumental
+prelude, four choruses, three arias, a duet, and two recitatives.
+
+The prelude, which is brief and quiet in character, introduces the
+opening chorus ("Deep within my Heart was Sorrowing and great
+Affliction"), which in turn leads to the first aria ("Sighing, Mourning,
+Sorrow, Tears waste away my troubled Heart"), a tender and beautiful
+number for soprano, with oboe and string accompaniment. It is followed by
+the tenor recitative and aria, "Why hast Thou, O my God, in my sore Need
+so turned Thy Face from me?" in which the feeling of sorrow is
+intensified in utterance. The chorus, "Why, my Soul, art thou vexed?" a
+very pathetic number, closes the mournful but beautiful first part of the
+cantata.
+
+The second part is more tranquil and hopeful. It opens with a duet for
+soprano and bass, the two parts representing the soul and Christ, and
+sustaining a most expressive dialogue, leading up to a richly harmonized
+chorus ("O my Soul, be content and be thou peaceful") in which a chorale
+is introduced with consummate skill. A graceful tenor aria with a
+delightful and smoothly flowing accompaniment ("Rejoice, O my Soul,
+change Weeping to Smiling") follows and leads to the final number, which
+is based on the same subject as that of the "Hallelujah" in Handel's
+"Messiah." All the voices give out the words, "The Lamb that for us is
+slain, to Him will we render Power and Glory," with majestic effect;
+after which the solo bass utters the theme, "Power and Glory and Praise
+be unto Him forevermore," introducing the "Hallelujah," which closes the
+work in a burst of tremendous power, by voices and instruments.
+
+
+                              Gottes Zeit.
+
+During the first half of the period in which Bach resided at Weimar,
+occupying the position of court and chamber musician to Duke Wilhelm
+Ernst, he wrote three cantatas in the old church form which are notable
+as being the last he composed before adopting the newer style, and as the
+most perfect of that kind extant. The first of these, "Nach dir, Herr,
+verlanget mich," is based upon the first two verses of the Twenty-fifth
+Psalm. The second, "Aus der Tiefe rufe ich," includes the whole of the
+One hundred and thirtieth Psalm and two verses of the hymn "Herr Jesu
+Christ, du hoechstes Gut." The third and most famous of the trio, "Gottes
+Zeit ist die allerbeste Zeit" ("God's time is the best of all"), is
+generally known as the "Actus Tragicus," and sometimes as the "Mourning
+Cantata." Of its origin Spitta says:--
+
+  "Judging by its contents it was designed for the mourning for some man,
+  probably of advanced age, to whom the song of Simeon could be suitably
+  applied. No such death took place in the ducal house at this time, for
+  Prince Johann Ernst died when a youth, and also when Bach's style of
+  composition had reached a different stage. Possibly the cantata has
+  reference to Magister Philipp Grossgebauer, the rector of the Weimar
+  school before its reorganization, who died in 1711; at least, I can
+  find no other suitable occasion. The contrast between the spirit of the
+  Old and New Testaments,--between the wrath of an avenging God and the
+  atoning love of Christ,--which had already appeared in the One hundred
+  and thirtieth Psalm, is the germ and root of this cantata to such a
+  degree that it is evident that Bach had fully realized by this time how
+  fertile a subject for treatment it was. It contains no chorus of such
+  depth and force as those of the One hundred and thirtieth Psalm. Its
+  character is much more entirely individual and personal, and so it has
+  a depth and intensity of expression which reach the extreme limits of
+  possibility of representation by music. The arrangement of the poetic
+  material is most excellent; it does not wholly consist of Scripture
+  texts and verses of hymns; and in several fit and expressive thoughts,
+  which are freely interspersed, we can almost recognize Bach's own hand.
+  If such be the case, the whole arrangement of the poetry may with
+  reason be ascribed to him."
+
+The introduction to the work is a quiet, tender movement in sonata form,
+written for two flutes, two viol-da-gambas and figured bass, which gives
+out some of the themes in the middle of the cantata. The opening chorus
+("God's own Time is the best, ever best of all. In Him we live, move, and
+have our Being, as long as He wills. And in Him we die at His good Time")
+is very descriptive in character, opening with a slow and solemn
+movement, then passing to a quick fugue, and closing with phrases of
+mournful beauty to suit the last sentence of the text. A tenor solo
+follows, set to the words, "O Lord, incline us to consider that our Days
+are numbered; make us apply our Hearts unto Wisdom," and accompanied by
+the flutes, leading into a mournful aria for the bass, which forms the
+second part of the tenor solo ("Set in order thine House, for thou shalt
+die and not live"). The choir resumes with a new theme ("It is the old
+Decree, Man, thou art mortal"), in which the lower voices carry a double
+fugue, the soprano sings alone ("Yea, come, Lord Jesus"), and the
+instruments have the melody of the old hymn:--
+
+  "I have cast all my care on God,
+  E'en let Him do what seems Him good;
+  Whether I die, or whether live,
+      No more I'll strive.
+  But all my will to Him will give."
+
+Of this effective movement and its successor Spitta says:--
+
+  "The design is clear. The curse of death has been changed into blessing
+  by the coming of Christ, and that which mankind dreaded before, they
+  now stretch out entreating hands to; the bliss of the new condition of
+  things shines out in supernatural glory against the dark background of
+  a dispensation that has been done away. This is the idea of the
+  concerted vocal parts; and the fact that thousands upon thousands have
+  agreed in the joy of this faith is shown by the chorale tune now
+  introduced; for to the understanding listener its worldless sounds
+  convey the whole import of the hymn which speaks so sweetly of comfort
+  in the hour of death, sounds which must recall to every pious heart all
+  the feelings they had stirred when, among the chances and changes of
+  life, this hymn had been heard,--feelings of sympathy with another's
+  grief or of balm to the heart's own anxiety."
+
+The alto voice follows with the words spoken on the cross ("Into Thy
+Hands my Spirit I commend"), to which the bass replies in an arioso
+("Thou shalt be with Me to-day in Paradise"). The next number is a
+chorale ("In Joy and Peace I pass away whenever God willeth") sung by the
+alto, the bass continuing its solo at the same time through a portion of
+the chorale. The final chorus is the so-called fifth Gloria:--
+
+  "All glory, praise, and majesty
+  To Father, Son, and Spirit be,
+  The holy, blessed Trinity;
+        Whose power to us
+        Gives victory
+  Through Jesus Christ.    Amen."
+
+The "Actus Tragicus" was one of the youthful compositions of Bach, but it
+has always attracted the notice of the best musical critics. It was a
+great favorite with Mendelssohn. Spitta says:--
+
+  "It is a work of art well rounded off and firm in its formation, and
+  warmed by the deepest intensity of feeling even in the smallest
+  details."
+
+Hauptmann writes to Jahn:--
+
+  "Yesterday, at the Euterpe concert, Bach's 'Gottes Zeit' was given.
+  What a marvellous intensity pervades it, without a bar of
+  conventionality! Of the cantatas known to me, I know none in which such
+  design and regard are had to the musical import and its expression."
+
+
+                       Festa Ascensionis Christi.
+
+The cantata beginning with the words, "Wer da glaubet und getauft wird"
+("Whoso believeth and is baptized"), commonly known as the Ascension
+cantata, was written for four voices, with accompaniment of two oboes,
+two violins, viola, and "continuo,"--the latter word implying a bass
+part, the harmonies indicated by figures from which the organist built up
+his own accompaniment. The original score has been lost; but it has been
+reconstructed from the parts, which are preserved in the Royal Library at
+Berlin.
+
+The cantata is in five numbers. A short prelude of a quiet and cheerful
+character introduces the stately opening chorus ("Who believeth and
+obeyeth will be blest forever"). Another brief prelude prepares the way
+for the brilliant tenor aria ("Of Love, Faith is the Pledge and Token"),
+which leads up to the chorale, "Lord God, my Father, holy One," based
+upon the old chorale, "Wie schoen leucht uns der Morgenstern" ("How
+brightly shines the Morning Star"), which has always been a favorite in
+the church service, and which more than one composer has chosen for the
+embellishment of his themes. The chorale is not employed in its original
+form, but is elaborated with all the contrapuntal skill for which Bach
+was so famous. The next number is a short recitative for the bass voice
+("Ye Mortals, hear, all ye who would behold the Face of God"), and leads
+to a stately bass aria ("Through Faith the Soul has Eagle's Pinions").
+The cantata closes, after the customary manner of Bach, with a strong,
+earnest chorale ("Oh, give me Faith, my Father!"), in plain, solid
+harmony, for the use of the congregation, thus forming an effective
+devotional climax to the work.
+
+
+                            Ein' Feste Burg.
+
+  "A safe stronghold our God is still,
+    A trusty shield and weapon;
+  He'll help us clear from all the ill
+    That hath us now o'ertaken.
+  The ancient Prince of Hell
+  Hath risen with purpose fell;
+  Strong mail of craft and power
+  He weareth in this hour.
+    On Earth is not his fellow.
+
+  *       *       *       *       *
+
+  "And were this world all devils o'er,
+    And watching to devour us,
+  We lay it not to heart so sore,
+    Not they can overpower us.
+  And let the Prince of Ill
+  Look grim as e'er he will,
+  He harms us not a whit;
+  For why? His doom is writ,
+    A word shall quickly slay him."
+
+There is now but little question that Martin Luther not only wrote the
+words but the music of the grand old hymn, the first and third stanzas of
+which, taken from Carlyle's free and rugged translation, are given above.
+Sleidan, a contemporary historian, indeed says that "Luther made a tune
+for it singularly suited to the words and adapted to stir the heart." The
+date of its composition is a matter of controversy; but it is clear that
+it must have been either in 1529 or 1530, and most writers agree that it
+was just before the Diet at Augsburg, where it was sung. Niederer, in a
+work published at Nuremberg, 1759, fixes the date as 1530, and finds it
+in Preussen's psalm-book, printed in 1537. Winterfeld observes it for the
+first time in the "Gesangbuch" of the composer Walther, a friend of
+Luther. Its usual title is, "Der XLVI. Psalm: Deus noster Refugium et
+virtus, pp. D., Martin Luther." It matters little, however, the exact
+year in which the sturdy old Reformer wrote the hymn which has stirred
+the human heart more than any other. It is indissolubly connected with
+his name, and every line of it is a reflex of his indomitable and
+God-fearing nature. Heine and Carlyle have paid it noble tributes. The
+German poet says:--
+
+  "The hymn which he composed on his way to Worms,[8] and which he and
+  his companions chanted as they entered that city, is a regular
+  war-song. The old cathedral trembled when it heard these novel sounds.
+  The very rooks flew from their nests in the towers. That hymn, the
+  Marseillaise of the Reformation, has preserved to this day its potent
+  spell over German hearts."
+
+Carlyle still more forcibly says:--
+
+  "With words he had now learned to make music; it was by deeds of love
+  or heroic valor that he spoke freely. Nevertheless, though in imperfect
+  articulation, the same voice, if we listen well, is to be heard also in
+  his writings, in his poems. The one entitled 'Ein' feste Burg,'
+  universally regarded as the best, jars upon our ears; yet there is
+  something in it like the sound of Alpine avalanches, or the first
+  murmur of earthquakes, in the very vastness of which dissonance a
+  higher unison is revealed to us. Luther wrote this song in times of
+  blackest threatenings, which, however, could in no sense become a time
+  of despair. In these tones, rugged and broken as they are, do we hear
+  the accents of that summoned man, who answered his friends' warning not
+  to enter Worms, in this wise: 'Were there as many devils in Worms as
+  these tile roofs, I would on.'"
+
+It was the battle-song of the Reformation, stirring men to valiant deeds;
+and it did equal service in sustaining and consoling the Reformers in
+their darkest hours. "Come, Philip, let us sing the Forty-sixth Psalm,"
+was Luther's customary greeting to Melanchthon, when the gentler spirit
+quailed before approaching danger, or success seemed doubtful. In music
+it has frequently served an important purpose. Not only Bach, but other
+composers of his time arranged it. Mendelssohn uses it with powerful
+effect in his Reformation symphony. Nicolai employs it in his Fest
+overture. Meyerbeer more than once puts it in the mouth of Marcel the
+Huguenot, when dangers gather about his master, though the Huguenots were
+not Lutherans but Calvinists; and Wagner introduces it with overwhelming
+power in his triumphal Kaiser March.
+
+Bitter, in his Life of Bach, says:--
+
+  "The bicentenary Reformation Festival was celebrated in October and
+  November, 1717, and at Weimar especially it was, as an old chronicle
+  tells us, a great jubilee. Bach composed his cantata, 'Ein' feste
+  Burg,' for the occasion. In this piece it is clear that he had passed
+  through his first phase of development and reached a higher stage of
+  perfection."
+
+Winterfeld is inclined to the same belief; but Spitta, in his exhaustive
+biography of Bach, argues that it must have been written either for the
+Reformation Festival of 1730, or for the two hundredth anniversary of
+Protestantism in Saxony, May 17, 1739. The former date would bring its
+composition a year after the completion of his great Passions music, and
+four years before his still more famous "Christmas Oratorio,"--a period
+when he was at the height of his productive power; which favors the
+argument of Spitta, that in 1717 a chorus like the opening one in the
+cantata was beyond his capacity.[9] In the year 1730 Bach wrote three
+Jubilee cantatas, rearranged from earlier works, and Spitta claims that
+it was only about this period that he resorted to this practice. Further,
+he adds that "the Chorale Chorus [the opening number], in its grand
+proportions and vigorous flow, is the natural and highest outcome of
+Bach's progressive development, and he never wrote anything more
+stupendous."
+
+The cantata has eight numbers, three choruses and five solos. The solo
+numbers are rearranged from an earlier cantata, "Alles was von Gott
+geboren" ("All that is of God's creation"), written for the third Sunday
+in Lent, March 15, 1716. The opening number is a colossal fugue based
+upon a variation on the old melody and set to the first verse of the
+Luther hymn. It is followed by a duet for soprano and bass, including the
+second verse of the hymn and an interpolated verse by Franck,[10] who
+prepared the text. The third and fourth numbers are a bass recitative and
+soprano aria, the words also by Franck, leading up to the second great
+chorale chorus set to the words of the third stanza of the hymn,
+
+  "And were the world all devils o'er,"
+
+of which Spitta says:--
+
+  "The whole chorus sings the _Cantus firmus_ in unison, while the
+  orchestra plays a whirl of grotesque and wildly leaping figures,
+  through which the chorus makes its way undistracted and never misled,
+  an illustration of the third verse, as grandiose and characteristic as
+  it is possible to conceive."
+
+The sixth number is a recitative for tenor followed by a duet for alto
+and tenor ("How blessed then are they who still on God are calling"). The
+work closes with a repetition of the chorale, set to the last verse of
+the hymn, sung without accompaniment. The cantata is colossal in its
+proportions, and is characterized throughout by the stirring spirit and
+bold vigorous feeling of the Reformation days whose memories it
+celebrated.
+
+
+[8] This assumption, repeated by others, grows out of the similarity of
+    sentiment in the third stanza to that of Luther's famous reply when
+    he was urged not to attend the Diet of Worms.
+
+[9] There is yet a fourth rearrangement, which we may assign to 1730. The
+    assertion is no doubt well founded that in this year the celebration
+    of the Reformation Festival was considered of special importance, and
+    kept accordingly; and it is evident that the cantata "Ein' feste
+    Burg" must have been intended for some such extraordinary
+    solemnity.--_Spitta_, vol. ii. p. 470.
+
+    The Reformation Festival had no doubt a very distinct poetical
+    sentiment of its own; and when any special occasion took the
+    precedence, as in 1730 and 1739, the years of Jubilee, it would be
+    misleading to seek for any close connection between the sermon and
+    the cantata. Thus the cantata, "Ein' feste Burg," may very well have
+    been connected with the sermon in 1730; still, it is possible that it
+    was not written till 1739.--_Ibid._, vol. iii. p. 283.
+
+[10] Salomo Franck, a poet of more than ordinary ability, was born at
+    Weimar, March 6, 1759. He published several volumes of sacred lyrics.
+
+
+
+
+                                    BALFE.
+
+
+Michael William Balfe was born at Dublin, Ireland, May 15, 1808. Of all
+the English opera-composers, his career was the most versatile, as his
+success, for a time at least, was the most remarkable. At seven years of
+age he scored a polacca of his own for a band. In his eighth year he
+appeared as a violinist, and in his tenth was composing ballads. At
+sixteen he was playing in the Drury Lane orchestra, and about this time
+began taking lessons in composition. In 1825, aided by the generosity of
+a patron, he went to Italy, where for three years he studied singing and
+counterpoint. In his twentieth year he met Rossini, who offered him an
+engagement as first barytone at the Italian opera in Paris. He made his
+debut with success in 1828, and at the close of his engagement returned
+to Italy, where he appeared again on the stage. About this time
+(1829-1830) he began writing Italian operas, and before he left the
+country had produced three which met with considerable success. In 1835
+he returned to England; and it was in this year that his first English
+opera, "The Siege of Rochelle," was brought out. It was played
+continuously at Drury Lane for over three months. In 1835 appeared his
+"Maid of Artois;" in 1837, "Catharine Grey" and "Joan of Arc;" and in
+1838, "Falstaff." During these years he was still singing in concerts and
+opera, and in 1840 undertook the management of the Lyceum. His finest
+works were produced after this date,--"The Bohemian Girl," in 1843; "The
+Enchantress," in 1844; "The Rose of Castile," "La Zingara," and
+"Satanella," in 1858; and "The Puritan's Daughter" in 1861. His last
+opera was "The Knight of the Leopard," known in Italian as "Il
+Talismano," which has also been performed in English as "The Talisman."
+He married Mademoiselle Rosen, a German singer, whom he met in Italy in
+1835. His daughter Victoire, who subsequently married Sir John Crampton,
+and afterwards the Duc de Frias, also appeared as a singer in 1856. Balfe
+died Oct. 20, 1870, upon his own estate in Hertfordshire.
+
+
+                                Mazeppa.
+
+The cantata of "Mazeppa," the words written by Jessica Rankin, was one of
+the last productions of Balfe, having been produced in 1862, a year after
+"The Puritan's Daughter," and several years after he had passed his
+musical prime. The text is based upon the familiar story as told by Byron
+in his poem of the wild ride of the page of King Casimir, "The Ukraine's
+hetman, calm and bold," and of the
+
+              "noble steed,
+  A Tartar of the Ukraine breed,
+  Who looked as though the speed of thought
+  Was in his limbs."
+
+The main incidents in the story--the guilty love of the page Mazeppa for
+the Count Palatine's Theresa, his surprise and seizure by the spies, her
+mysterious fate, the wild flight of the steed with his wretched load
+through forest and over desert, and the final rescue by the Cossack
+maid--are preserved, but liberties of every description are taken in the
+recital of the narrative. It is but a feeble transcript of Byron's
+glowing verse, and in its diluted form is but a vulgar story of ordinary
+love, jealousy, and revenge.
+
+The cantata comprises twelve numbers. The first is a prelude in triplets
+intended to picture the gallop of the steed, a common enough device since
+the days when Virgil did it much better without the aid of musical
+notation, in his well-known line,--
+
+  "Quadrupedante putrem sonitu quatit ungula campum."
+
+It leads to a stirring chorus which is followed by still another, based
+upon a very pleasant melody. The third number is a solo for barytone, in
+which the Count gives expression to his jealousy, which brings us to the
+heroine, who makes her appearance in a florid number. The next is a duet
+for Theresa and Mazeppa, followed by a solo for the tenor (Mazeppa) which
+is very effective. The chorus then re-enter and indicate the madness of
+the Count in words, the following sample of which will show their
+unsingableness:--
+
+  "Revenge fires his turbulent soul;
+  No power his boundless rage can control."
+
+The eighth number is another duet for the Countess and Mazeppa in the
+conventional Italian style. It is followed by a graceful aria for tenor,
+which leads up to the best number in the work, a trio in canon form. A
+final aria by the Count leads to the last chorus, in which the repetition
+of the triplet gallop forebodes the ride into the desert and the
+punishment of the page. As might be inferred from the description, the
+cantata is like Hamlet with _Hamlet_ left out. There is very little of
+Mazeppa and his Tartar steed in the work, but very much of the jealousy
+and revenge which lead up to the penalty.
+
+
+
+
+                               BEETHOVEN.
+
+
+Ludwig von Beethoven was born Dec. 16, 1770, at Bonn, Germany. His father
+was a court-singer in the Chapel of the Elector of Cologne. The great
+composer studied in Vienna with Haydn, with whom he did not always agree,
+however, and afterwards with Albrechtsberger. His first symphony appeared
+in 1801,--his earlier symphonies, in what is called his first period,
+being written in the Mozart style. His only opera, "Fidelio," for which
+he wrote four overtures, was first brought out in Vienna, in 1805; his
+oratorio, "Christ on the Mount of Olives," in 1812; and his colossal
+Ninth Symphony, with its choral setting of Schiller's "Ode to Joy," in
+1824. In addition to his symphonies, his opera, oratorios, and masses,
+and the immortal series of piano sonatas, which were almost revelations
+in music, he developed chamber music to an extent far beyond that reached
+by his predecessors, Mozart and Haydn. His symphonies exhibit surprising
+power, a marvellous comprehension of the deeper feelings in life, and the
+influences of nature, both human and physical. He wrote with the deepest
+earnestness, alike in the passion and the repose of his music, and he
+invested it also with a genial humor as well as with the highest
+expression of pathos. His works are epic in style. He was the great
+tone-poet of music. His subjects were always lofty and dignified, and to
+their treatment he brought not only a profound knowledge of musical
+technicality, but intense sympathy with the innermost feelings of human
+nature, for he was a humanitarian in the broadest sense. By the common
+consent of the musical world he stands at the head of all composers since
+his time, and has always been their guide and inspiration. He died March
+26, 1827, in the midst of a raging thunder-storm,--one of his latest
+utterances being a recognition of the "divine spark" in Schubert's music.
+
+
+                          The Ruins of Athens.
+
+The most important compositions by Beethoven in 1811 were the music to
+two dramatic works written by the poet Kotzebue to celebrate the opening
+of the new theatre at Pesth, Hungary. One of these was a prologue in one
+act with overture and choruses, entitled "Koenig Stephan,[11] Ungarn's
+erster Wohlthaeter" ("King Stephen, Hungary's first Benefactor"); the
+other, an allegorical sketch, called "The Ruins of Athens," the subject
+of which is thus concisely stated by Macfarren:--
+
+  "Minerva has been since the golden age of Grecian art, the glorious
+  epoch of Grecian liberty, for some or other important offence against
+  the Olympian tribunal, the particulars of which I am unable to furnish,
+  fettered with chains of heaven-wrought adamant by the omnipotent
+  thunderer within a rock impenetrable alike to the aspirations of man
+  and to the intelligence of the goddess, a rock through which neither
+  his spirit of inquiry could approach, nor her wisdom diffuse itself
+  upon the world. The period of vengeance is past; Jove relents, and the
+  captive deity is enfranchised. The first steps of her freedom naturally
+  lead Minerva to the scene of her ancient greatness. She finds Athens,
+  her Athens, her especially beloved and most carefully cherished city,
+  in ruins, the descendants of her fostered people enslaved to a
+  barbarous and fanatic race; the trophies of her former splendor, the
+  wrecks of that art which is the example and the regret of all time,
+  appropriated to the most degrading purposes of vulgar householdry; and
+  the frenzied worshippers of a faith that knows not the divine presence
+  in its most marvellous manifestation, the intellect of man. Here is no
+  longer the home of wisdom and the arts; so the liberated goddess
+  proceeds to Pesth, where she establishes anew her temple in the new
+  theatre, and presides over a triumphal procession in honor of the
+  Emperor, its patron, under whose auspices the golden age is to prevail
+  again."
+
+After the opening performances the music to "King Stephen" was laid aside
+until 1841, when it was given in Vienna; but the after-piece, "The Ruins
+of Athens," was presented again during Beethoven's lifetime upon the
+occasion of the opening of a theatre in that city. The new text, which
+was prepared for it by Carl Meisl, was entitled "Die Weihe des Hauses"
+("The Dedication of the House"), and Beethoven wrote for it the overture
+which is now so famous, solos for soprano and violin, and a final chorus
+with dances.
+
+The music to the "Ruins of Athens" comprises eight numbers. The overture
+is very light and unpretentious, and by many critics, among them
+Ferdinand Ries, Beethoven's pupil, has been deemed unworthy of the
+composer. Thayer says:--
+
+  "When the overture was first played at Leipsic, people could hardly
+  trust their ears, could hardly believe it to be the work of the author
+  of the symphonies, of the overtures to 'Coriolan,' 'Egmont,' and
+  'Leonore' (Fidelio)."
+
+The opening number is a chorus ("Daughter of mighty Jove, awake!"), which
+is followed by a beautiful duet ("Faultless, yet hated"), voicing the
+lament of two Greek slaves for the destruction of their temples and the
+degradation of their land. The duet is very pathetic in character, and
+the melody, carried by the two voices, leaves an impression of sadness
+which cannot be resisted. The third number is the well-known chorus of
+Dervishes sung in unison by tenors and basses, thus forming a kind of
+choral chant. The melody is a weird one, and full of local color, but its
+powerful effect is gained by the manner of treatment. It begins
+pianissimo and is gradually worked to the extreme pitch of true Dervish
+delirium, culminating in the exclamation, "Great Prophet, hail!" and then
+gradually subsiding until it dies away, apparently from the exhaustion of
+such fervor. It is followed by the familiar Turkish march, founded on the
+theme of the Variations in D, op. 76, very simple in construction,
+Oriental in its character throughout, and peculiarly picturesque in
+effect. After an instrumental movement behind the scenes, a triumphal
+march and chorus ("Twine ye a Garland") is introduced. The seventh number
+is a recitative and aria by the high priest with chorus, which lead to a
+beautifully melodious chorus ("Susceptible Hearts"). An adagio aria for
+bass ("Deign, great Apollo") and a vigorous chorus ("Hail, our King")
+bring the work to a close. The piece was first brought out in England by
+Mendelssohn in 1844 at one of the Philharmonic Society's concerts; and
+ten or twelve years later an English version of it was performed at the
+Prince's Theatre, when the Royal Exchange and statue of Wellington were
+substituted for the Pesth Theatre, and Shakspeare took the place of the
+Emperor of Austria, concerning the good taste of which Macfarren pithily
+says:--
+
+  "Modifications admirably adapted to the commercial character and the
+  blind vainglory that so eminently mark the British nation."
+
+
+[11] Born in the year 977 at Gran, and known in Austrian and Hungarian
+    history as Saint Stephen.
+
+
+                          The Glorious Moment.
+
+In September, 1814, the same year in which the Allies entered Paris, the
+Vienna Congress met to adjust the relations of the various European
+States. It was an occasion of great moment in the ancient city,--this
+gathering of sovereigns and distinguished statesmen,--and the magistracy
+prepared themselves to celebrate it with befitting pomp and ceremony.
+Beethoven was requested to set a poem, written by Dr. Aloys Weissenbach,
+of Salzburg, in cantata form, which was to be sung as a greeting to the
+royal visitors. It was "Der glorreiche Augenblick," sometimes written
+"Der heilige Augenblick" ("The Glorious Moment"). The time for its
+composition was very brief, and was made still shorter by the quarrels
+the composer had with the poet in trying to reduce the barbarous text to
+a more inspiring and musical form. He began the composition in September,
+and it was first performed on the 29th of the following November,
+together with the "Battle of Vittoria," and the A major (Seventh)
+symphony, written in the previous year. The concert took place in the
+presence of the sovereigns and an immense audience which received his
+works with every demonstration of enthusiasm, particularly "The Glorious
+Moment,"--a moment which all hailed as the precursor of a happier epoch
+for Europe, soon to be freed from Napoleonic oppression. The occasion was
+one of great benefit to the composer at a time when he was sorely in need
+of assistance. The distinguished foreign visitors thronged the salon of
+the Archduke Rudolph to pay him homage. Handsome gifts were lavished upon
+him so that he was enabled to make a permanent investment of 20,000 marks
+in shares of the bank of Austria. Brilliant entertainments were given by
+the Russian ambassador, Prince Rasoumowsky,[12] in his palace, at one of
+which Beethoven was presented to the sovereigns. The Empress of Russia
+also gave him a reception and made him magnificent presents. Schindler
+says:
+
+  "Not without feeling did the great master afterwards recall those days
+  in the Imperial Palace and that of the Russian Prince; and once with a
+  certain pride remarked that he had allowed the crowned heads to pay
+  court to him, and that he had carried himself thereby proudly."
+
+The stern old republican, however, who could rebuke Goethe for taking off
+his hat in the presence of royalty, spoke such sentiments jocosely. He
+expresses his real feelings in a letter written to the attorney, Herr J.
+Kauka, of Prague:--
+
+  "I write nothing about our monarchs and monarchies, for the newspapers
+  give you every information on these subjects. The intellectual realm is
+  the most precious in my eyes, and far above all temporal and spiritual
+  monarchies."
+
+The cantata itself, while not one of the most meritorious of the
+composer's works, for reasons which are sufficiently apparent, still is
+very effective in its choruses. The detailed parts do not need special
+description; they are six in number, as follows: No. 1, chorus ("Europa
+steht"); No. 2, recitative and chorus ("O, seht sie nah und naeher
+treten"); No. 3, grand scena, soprano, with violin obligato and chorus
+("O Himmel, welch' Entzuecken"); No. 4, soprano solo and chorus ("Das Auge
+schaut"); No. 5, recitative and quartet for two sopranos, tenor, and bass
+("Der den Bund im Sturme festgehalten"); No. 6, chorus and fugue ("Es
+treten hervor die Scharen der Frauen"), closing with a stirring "Heil und
+Gluck" to Vindobona, the ancient name of the city. In 1836, nine years
+after the composer's death, the cantata appeared with a new poetical
+setting by Friedrich Rochlitz, under the title of "Preis der Tonkunst"
+("Praise of Music"), in which form it was better adapted for general
+performance.
+
+Among other compositions of Beethoven which assimilate to the cantata
+form, are Op. 112, "Meeresstille und glueckliche Fahrt," for four voices,
+with orchestra accompaniment; Op. 121, "Opferlied," for soprano solo,
+with chorus and orchestra accompaniment; and Op. 122, "Bundeslied," for
+two solo voices, three-part chorus, and accompaniment of two clarinets,
+two bassoons, and two horns.
+
+
+[12] Prince Rasoumowsky, who was the Russian ambassador at the Austrian
+    Court for twenty years, was himself a thorough musician, and ranked
+    as one of the best players in Vienna, of the Haydn and Beethoven
+    quartets. His instrument was the second violin.
+
+
+
+
+                                    BENEDICT.
+
+
+Sir Julius Benedict, whose name is so intimately connected with music in
+England, was born at Stuttgart, Nov. 27, 1804. After a short period of
+study with Hummel at Weimar he became a pupil of Weber. He progressed so
+rapidly that at the age of nineteen he conducted operatic performances in
+Vienna, and a few years afterwards was leader at the San Carlo in Naples,
+where he produced his first opera, "Giacinta ed Ernesto." In 1835 he went
+to Paris and thence to London, where he remained until his death. In 1836
+he led the orchestra at the Lyceum Theatre, and was also conductor at
+Drury Lane during the memorable seasons in which the best of Balfe's
+operas were brought out. It was during this period also that he produced
+two of his own operas,--"The Brides of Venice" and "The Crusaders," which
+are ranked among his best works of this class. In 1850 he accompanied
+Jenny Lind on her memorable tour through this country. On his return to
+England he was engaged as conductor at Her Majesty's Theatre, and
+afterwards at Drury Lane. In 1860 he produced the cantata of "Undine;" in
+1862 the opera "Lily of Killarney;" in 1863 the cantata "Richard Coeur de
+Leon;" in 1864 the operetta "Bride of Song;" in 1866 the cantata "St.
+Cecilia;" and in 1870 the oratorio "St. Peter." In 1871 he received the
+honor of knighthood, and in 1873 brought out a symphony which met with
+great success. In 1874, the occasion of his seventieth birthday, he was
+made Knight Commander of the orders of Francis and Joseph and of
+Frederic, Austrian and Wurtembergian decorations. Nearly every sovereign
+in Europe had thus honored him. He was also conductor of the London
+Monday Popular Concerts for many years, and directed many chamber
+concerts. He died full of honors in June, 1885.
+
+
+                              St. Cecilia.
+
+The legend of St. Cecilia for two centuries has inspired the poet and
+composer, and the custom of celebrating her festival has obtained in
+nearly all European countries during the same period. The earliest
+observance was at Evreux, France, in 1571. The first celebration in
+England of which any record remains was that of 1683; though it is clear
+from the accounts of musical writers in the seventeenth century that the
+custom had been practised many years prior to that date. From 1683 to
+1750 St. Cecilia festivals were given annually in London, and for these
+occasions an ode was written and set to music.[13] In the latter year the
+distinctive name of the festival fell into disuse, though large musical
+festivals were frequently held after that year on the saint's day. In
+France regular entertainments were given on St. Cecilia's Day from 1573
+to 1601, when the record terminates. In Italy the anniversary of the
+saint has not been celebrated except as a church festival. In Germany the
+custom prevailed as early as the sixteenth century; and in the next
+century Cecilia festivals were quite common in Spain. Prior to Benedict's
+work the most modern composition having the legend for its basis was a
+cantata by Van Bree, of Amsterdam, written in 1845.
+
+These preliminaries will enable the reader the better to understand the
+introduction which Mr. Chorley has written to the text of the cantata by
+Benedict, composed for the Norwich Festival of 1866. Mr. Chorley says:--
+
+  "It has long been a favorite fancy of mine to treat the legend of St.
+  Cecilia for music with a view to the possible revival of such
+  celebrations as were held in gone-by years, when English sympathy for
+  the art was more limited in every respect than at the present time. It
+  is true that the names of Dryden and Addison among the poets, and of
+  Handel among the musicians, who have made 'divine Cecilia's' praise
+  immortal, might be thought to deter anyone from dealing with the
+  subject. But theirs were merely votive odes indirectly bearing on the
+  power of the art of which Cecilia is patron saint. This cantata of mine
+  sets forth her story, which, so far as I am aware, has not been done
+  before in any of the works produced for the Cecilian festivals in
+  England. All who are familiar with the accepted legend, as told in the
+  'Legenda Aurea' of Jacobus Januensis, Archbishop of Genoa, will
+  perceive that I have treated it with a certain liberty. Some of the
+  minor incidents--such as the conversion and martyrdom of Tiburtius, the
+  brother of Valerianus--have been omitted with a view of avoiding the
+  introduction of secondary persons, and of concentrating the main
+  interest in the martyr heroine. Further, the catastrophe which (to cite
+  Dryden's known line in defiance of its original import)
+
+  "Raised a mortal to the skies,"
+
+  has been simplified. The legend narrates that after the agony of slow
+  fire, which failed to kill the Christian bride, the sword ended her
+  days. A literal adherence to this tradition might have weakened the
+  closing scene by presenting two situations of the same character.
+  Others must judge how far I have been indiscreet, or the reverse, in
+  its omission."
+
+The story of the cantata is strikingly similar to that which forms the
+theme of Donizetti's opera "Il Poliuto," though the manner of the
+conversions differs. In the former it is Valerianus, the lover of
+Cecilia, who is turned from heathenism by the angelic vision. In the
+latter it is Paulina, the wife of the Roman convert Polyutus, who
+witnesses the divine illumination and hears the celestial harps, which
+induce her to abjure the worship of the gods and join her husband in
+martyrdom. It is in fact the old, old story of the persecutions of a new
+faith by the old. Cecilia, though married to Valerianus, hears the divine
+call summoning the bride away from her lover until he shall have been
+converted. She appeals to Heaven in his behalf. A vision of angels
+appears to him and their songs win his soul. The infuriated prefect, who
+has but just performed the rites of their marriage, orders their
+death,--Valerianus to be beheaded, and Cecilia to die by the slow
+martyrdom of fire. The tragedy of the former is left to the imagination.
+Cecilia dies surrounded by the angels and hears their voices:--
+
+  "Before mine eyes, already dim,
+    Doth heaven unclose the gate;
+  I hear the choiring seraphim
+    Around the throne that wait.
+  To join the song of that bright choir
+    Thy mercy sets me free;
+  And so I triumph o'er the fire,
+    And rise, O Lord, to Thee."
+
+The work contains thirteen numbers, and the solos are divided as follows:
+Cecilia, soprano; Valerianus, tenor; the Prefect of Rome, bass; a
+Christian woman, contralto. The remaining numbers are assigned to
+choruses of Roman citizens, Christians, and angels. A tender and
+sorrowful prelude, foreshadowing the tragedy, introduces a bright and
+joyous wedding chorus ("Let the Lutes play their loudest"), which in its
+middle part is divided between male and female choir, returning to
+four-part harmony in the close. The next number is an ecstatic love-song
+for Valerianus ("The Love too deep for Words to speak"), which leads up
+to a scena and duet for Valerianus and Cecilia ("O my Lord, if I must
+grieve you"), which is very dramatic in its texture. The conversion
+music, including an obligato soprano solo with chorus of angels ("Praise
+the Lord"), recitative and air for tenor with choral responses ("Cease
+not, I pray you"), and an animated chorus of angels ("From our Home"),
+follows, and closes the first part.
+
+The second part opens with the curse of the prefect, a very passionate
+aria for bass ("What mean these Zealots vile?"), following which in
+marked contrast is a lovely aria for contralto ("Father, whose Blessing
+we entreat"). The next number, a quartet with full choral accompaniment
+("God is our Hope and Strength"), is one of the most effective in the
+work, and is followed by the trial scene, a duet between Valerianus and
+the prefect, the latter accompanied by chorus. A short funeral march
+intervenes. Valerianus and Cecilia bid each other farewell; the former is
+borne away, and Cecilia sings her dying song ("Those whom the Highest One
+befriends") amid the triumphant hallelujahs of the angels.
+
+
+[13] The Ode for St. Cecilia's Day in 1683 was written by Christopher
+    Fishburn and set to music by Purcell. The most famous odes of the
+    next hundred years were as follows: "A song for St. Cecilia's Day,
+    1687," by John Dryden, originally composed by Draghi, afterwards by
+    Handel; ode by Thomas d'Urfrey, music by Dr. Blow, 1691; "Alexander's
+    Feast," by Dryden, original music by Jeremiah Clark afterwards
+    composed by Handel, 1697; ode by Joseph Addison, composed by Purcell,
+    1699; "Hymn to Harmony," by Congreve, composed by John Eccles, 1701;
+    ode by Pope in 1708, set to music in 1757 by William Walond; an ode
+    by Christopher Smart, composed by William Russell, 1800.
+
+
+
+
+                                    BENNETT.
+
+
+William Sterndale Bennett, one of the most gifted and individual of
+English composers, was born at Sheffield, April 13, 1816. His musical
+genius displayed itself early, and in his tenth year he was placed in the
+Royal Academy of Music, of which in his later years he became principal.
+He received his early instruction in composition from Lucas and Dr.
+Crotch, and studied the piano with Cipriani Potter, who had been a pupil
+of Mozart. The first composition which gained him distinction was the
+Concerto in D minor, written in 1832, which was followed by the Capriccio
+in D minor. During the next three years he produced the overture to
+"Parisina," the F minor Concerto, and the "Naiades" overture, the success
+of which was so great that a prominent musical house in London offered to
+send him to Leipsic for a year. He went there, and soon won his way to
+the friendship of Schumann and Mendelssohn. With the latter he was on
+very intimate terms, which has led to the erroneous statement that he was
+his pupil. In 1840 he made a second visit to Leipsic, where he composed
+his Caprice in E, and the "Wood Nymphs" overture. In 1842 he returned to
+England, and for several years was busily engaged with chamber concerts.
+In 1849 he founded the Bach Society, arranged the "Matthew Passion" music
+of that composer, as well as his "Christmas Oratorio," and brought out
+the former work in 1854. The previous year he was offered the
+distinguished honor of the conductorship of the Gewandhaus concerts at
+Leipsic, but did not accept. In 1856 he was appointed conductor of the
+Philharmonic Society, and filled the position for ten years, resigning it
+to take the head of the Royal Academy of Music. In the same year he was
+elected musical professor at Cambridge, where he received the degree of
+Doctor of Music and other honors. In 1858 his beautiful cantata "The May
+Queen" was produced at the Leeds Festival, and in 1862 the "Paradise and
+the Peri" overture, written for the Philharmonic Society. In 1867 his
+oratorio, or, as he modestly terms it, "sacred cantata," "The Woman of
+Samaria," was produced with great success at the Birmingham Festival. In
+1870 he was honored with a degree by the University of Oxford, and a year
+later received the empty distinction of knighthood. His last public
+appearance was at a festival in Brighton in 1874, where he conducted his
+"Woman of Samaria." He died Feb. 1, 1875, and was buried in Westminster
+Abbey with distinguished honors.
+
+
+                             The May Queen.
+
+"The May Queen," a pastoral cantata, the libretto by Henry F. Chorley,
+was first performed at the Leeds Festival of 1858. The solo parts are
+written for the May Queen (soprano); the Queen (contralto); the Lover
+(tenor); and the Captain of the Foresters, as Robin Hood (bass). The
+opening scene pictures the dressing of the tree for the spring festivity
+on the banks of the Thames, and the preparations for the reception of the
+May Queen. A despondent lover enters and sings his melancholy plight as
+he reflects upon the fickleness of the May Queen, interrupted at
+intervals by the merry shouts of the chorus:--
+
+  "With a laugh as we go round
+  To the merry, merry sound
+  Of the tabor and the pipe,
+    We will frolic on the green;
+  For since the world began,
+  And our royal river ran,
+  Was never such a May Day,
+    And never such a Queen."
+
+The lover continues his doleful lamenting, which is at last interrupted
+by the entrance of the May Queen herself, who chides him for his
+complaints and argues her right to coquet on such a day. As their
+interview closes, a band of foresters enter with their greenwood king,
+Robin Hood, at their head, who after a rollicking hunting-song makes open
+love to the May Queen. The enraged lover resents his impertinence, and at
+last strikes him a blow, which by the laws exposes him to the loss of his
+hand. Before he can make his escape there is a flourish of trumpets, and
+the Queen enters and demands the reason for the brawl. The revellers
+inform her that the lover has struck the forester. She orders his arrest,
+whereupon the May Queen intercedes with her for her lover's release and
+declares her affection for him. Her appeal for mercy is granted. The
+forester is banished from the royal presence for lowering himself to the
+level of a peasant girl, the May Queen is ordered to wed her lover on the
+coming morn, and all ends happily with the joyous chorus:--
+
+  "And the cloud hath passed away,
+  That was heavy on the May;
+  And the river floweth fair,
+    And the meadow bloometh green.
+  They embrace, no more to part,
+  While we sing from every heart,
+    A blessing on the bridal!
+    A blessing on the Queen!"
+
+The music of the cantata is divided into ten numbers, which are
+characterized by exquisite refinement and artistic taste. The solos,
+particularly No. 2, for tenor ("O Meadow, clad in early Green"), No. 4,
+the obligato soprano ("With the Carol in the Tree"), and No. 6, the
+forester's lusty greenwood song ("'Tis jolly to hunt in the bright
+Moonlight"), are very melodious, and well adapted to the individual
+characters. The concerted music is written in the most scholarly manner,
+the choruses are full of life and spirit, and the instrumentation is
+always effective. There are few more beautiful cantatas than "The May
+Queen," though the composer was hampered by a dull and not very inspiring
+libretto. Poor words, however, could not affect his delightful grace and
+fancy, which manifest themselves in every number of this little pastoral.
+It is surprising that so excellent a work, and one which is so well
+adapted to chorus singing and solo display, without making very severe
+demands upon the singers, is not more frequently given in this country.
+
+
+                           The Exhibition Ode.
+
+The music for the opening of the International Exhibition at London,
+which occurred in May, 1862, was of unusual excellence. Auber sent a
+composition which, though called a march, was in reality a brilliant
+overture. Meyerbeer contributed an overture in march form, in which three
+marches were blended in one, the whole culminating in "Rule Britannia."
+Verdi wrote a cantata, which was rejected by the Commissioners because by
+the side of the national anthem he had introduced the revolutionary
+Marseillaise and the Italian war-song called "Garibaldienne." Its
+rejection not only caused great indignation in the musical world, but at
+once made it famous; and it was afterwards publicly performed,
+Mademoiselle Titiens taking the soprano solos, Sir Julius Benedict
+conducting.
+
+The prominent feature of the musical programme, however, was the Ode
+which the poet laureate and Bennett conjointly furnished. Never before
+were Mr. Tennyson's verses more completely united with music. The work is
+divided into three parts, all choral, linked by recitatives. The first
+number is a hymn to the Deity ("Uplift a thousand Voices full and
+sweet"), written as a four-part chorale, which is very jubilant in style.
+The next movement,--
+
+  "O silent father of our kings to be,
+  Mourned in this golden hour of jubilee,
+  For this, for all, we weep our thanks to thee,"
+
+eloquently referring to the Prince Consort, is set in the minor key, and
+is one of the most pathetic musical passages ever written. Then follows a
+descriptive catalogue of the industries represented,--"harvest tool and
+husbandry," "loom and wheel and engin'ry," and so on, through which the
+music labors some, as might have been expected; but in the close it once
+more resumes its melodious flow, leading up to the final chorus, in which
+the theme of the opening chorale is borrowed and developed with peculiar
+originality and artistic skill into a movement of great richness in
+effects and beauty in expression. It is unfortunate for the popularity of
+such an excellent work that it was composed for a special occasion.
+
+
+
+
+                                BERLIOZ.
+
+
+Hector Berlioz, one of the most renowned of modern French composers, and
+an acute critic and skilful conductor as well, was born, Dec. 11, 1803,
+at La Cote St. Andre, in France. His father was a physician, and intended
+him for the same profession. He reluctantly went to Paris and began the
+study of medicine; but music became his engrossing passion, and medicine
+was abandoned. He entered the Conservatory as a pupil of Lesueur, and
+soon showed himself superior to all his masters except Cherubini, which
+aroused a strong opposition to him and his compositions. It was only
+after repeated trials that he took the first prize, which entitled him to
+go to Italy for three years. On his return to Paris he encountered
+renewed antipathy. His music was not well received, and he was obliged to
+support himself by conducting at concerts and writing articles for the
+press. As a final resort he organized a concert-tour through Germany and
+Russia, the details of which are contained in his extremely interesting
+Autobiography. At these concerts his own music was the staple of the
+programmes, and it met with great success, though not always played by
+the best of orchestras, and not always well by the best, as his own
+testimony shows; for his compositions are very exacting, and call for
+every resource known to the modern orchestra. The Germans were quick in
+appreciating his music; but it was not until after his death that his
+ability was conceded in France. In 1839 he was appointed librarian of the
+Conservatory, and in 1856 was made a member of the French Academy. These
+were the only honors he received, though he long sought to obtain a
+professorship in the Conservatory. A romantic but sad incident in his
+life was his violent passion for Miss Smithson, an Irish actress, whom he
+saw upon the Paris stage in the _role_ of Ophelia, at a time when Victor
+Hugo had revived an admiration for Shakspeare among the French. He
+married her, but did not live with her long, owing to her bad temper and
+ungovernable jealousy; though after the separation he honorably
+contributed to her support out of the pittance he was earning. Among his
+great works are the opera, "Benvenuto Cellini;" the symphony with chorus,
+"Romeo and Juliet;" "Beatrice and Benedict;" "Les Troyens," the text from
+Virgil's "AEneid;" the symphony, "Harold in Italy;" the symphony, "Funebre
+et Triomphe;" the "Damnation of Faust;" a double-chorused "Te Deum;" the
+"Symphony Fantastique;" the "Requiem;" and the sacred trilogy, "L'Enfance
+du Christ." Berlioz stands among all other composers as the foremost
+representative of "programme music," and has left explicit and very
+detailed explanations of the meaning of his works, so that the hearer may
+listen intelligently by seeing the external objects his music is intended
+to picture. In the knowledge of individual instruments and the grouping
+of them for effect, in warmth of imagination and brilliancy of color, and
+in his daring combinations and fantastic moods, which are sometimes
+carried to the very verge of eccentricity, he is a colossus among modern
+musicians. He died in Paris, March 8, 1869.
+
+
+                            Romeo and Juliet.
+
+"Dramatic symphony, with choruses, solos, chant, and prologue in choral
+recitative" is the title which Berlioz gives to his "Romeo and Juliet."
+It was written in 1839, and its composition commemorates an interesting
+episode in his career. In the previous year he had written his symphony
+"Harold in Italy," the subject inspired by Byron's "Childe Harold."
+Paganini, the wonder of the musical world at that time, was present at
+its performance, and was so pleased with the work that he sent Berlioz an
+enthusiastic tribute of applause as well as of substantial
+remembrance.[14] The composer at that time was in straitened
+circumstances, and in his gratitude for this timely relief he resolved to
+write a work which should be worthy of dedication to the great violinist.
+His Autobiography bears ample testimony to the enthusiasm with which he
+worked. He says:--
+
+  "At last, after much indecision, I hit upon the idea of a symphony,
+  with choruses, vocal solos, and choral recitatives, on the sublime and
+  ever novel theme of Shakspeare's 'Romeo and Juliet.' I wrote in prose
+  all the text intended for the vocal pieces which came between the
+  instrumental selections. Emile Deschamps, with his usual delightful
+  good-nature and marvellous facility, set it to verse for me, and I
+  began....
+
+  "During all that time how ardently did I live! How vigorously I struck
+  out on that grand sea of poetry caressed by the playful breeze of
+  fancy, beneath the hot rays of that sun of love which Shakspeare
+  kindled, always confident of my power to reach the marvellous island
+  where stands the temple of true art! Whether I succeeded or not it is
+  not for me to decide."
+
+The work opens with a fiery introduction representing the combats and
+tumults of the two rival houses of Capulet and Montague, and the
+intervention of the Prince. It is followed by a choral recitative for
+four altos, tenors, and basses ("Long smouldering Hatreds"), with which
+is interwoven a contralto solo ("Romeo too is there"), the number closing
+with a passionate chorus ("The Revels now are o'er"). A beautiful effect
+is made at this point by assigning to the alto voice two couplets ("Joys
+of first Love") which are serious in style but very rich in melody. A
+brief bit of choral recitative and a few measures for tenor--Mercutio's
+raillery--lead up to a dainty scherzetto for tenor solo and small chorus
+("Mab! bright Elf of Dreamland"), and a short choral passage brings this
+scene to a close.
+
+The second scene, which is for orchestra only, an impressive declamatory
+phrase developing into a tender melody, representing the sadness of
+Romeo, set in tones against the brilliant dance music in the distance
+accompanying the revel of the Capulets, is one of the most striking
+effects Berlioz has accomplished, and illustrates his astonishing command
+of instrumentation. The third scene represents Capulet's garden in the
+stillness of night, the young Capulets passing through it, bidding each
+other adieu and repeating snatches of the dance music. As their strains
+die away in the distance the balcony scene between Romeo and Juliet is
+given by the orchestra alone in a genuine love-poem full of passion and
+sensuousness. No words could rival the impassioned beauty of this
+melodious number. The fourth scene is also given to the orchestra, and is
+a setting of Mercutio's description of Queen Mab. It is a scherzo
+intensely swift in its movement and almost ethereal in its dainty,
+graceful rhythm. The instrumentation is full of subtle effects,
+particularly in the romantic passages for the horns.
+
+In the fifth scene we pass from the tripping music of the fairies to the
+notes of woe. It describes the funeral procession of Juliet, beginning
+with a solemn march in fugue style, at first instrumental, with
+occasional entrances of the voices in monotone, and then vocal ("O mourn,
+O mourn, strew choicest Flowers"), the monotone being assigned to the
+instruments. It preludes a powerful orchestral scene representing Romeo's
+invocation, Juliet's awakening, and the despair and death of the
+lovers.[15] The finale is mainly for double chorus, representing the
+quarrel between the Montagues and Capulets in the cemetery, which is
+written with great dramatic power and conceived on the large scale of an
+operatic _ensemble_ both in the voice parts and instrumentation, and the
+final reconciliation through the intercession of Friar Laurence, whose
+declamatory solos are very striking, particularly the air, "Poor Children
+mine, let me mourn you." The work is one of almost colossal difficulty,
+and requires great artists, singers and players, to give expression to
+its daring realism. Among all of Berlioz's programme-music, this
+tone-picture of the principal episodes in Shakspeare's tragedy stands out
+clear and sharp by virtue of its astonishing dramatic power.
+
+
+[14] My dear Friend,--Beethoven is dead, and Berlioz alone can revive
+    him. I have heard your divine composition, so worthy of your genius,
+    and beg you to accept, in token of my homage, twenty thousand francs,
+    which will be handed to you by the Baron de Rothschild on
+    presentation of the enclosed.--Your most affectionate friend,
+      Nicolo Paganini.
+      Paris, Dec. 18, 1838.
+
+[15] Composer's Note. The public has no imagination; therefore pieces
+    which are addressed solely to the imagination have no public. The
+    following instrumental scene is in this case, and I think it should
+    be omitted whenever this symphony is given before an audience not
+    having a feeling for poetry, and not familiar with the fifth act of
+    Shakspeare's tragedy. This implies its omission ninety-nine times out
+    of a hundred. It presents, moreover, immense difficulties of
+    execution. Consequently, after Juliet's funeral procession a moment
+    of silence should be observed, then the finale should be taken up.
+
+
+                         The Damnation of Faust.
+
+The "Damnation of Faust," dramatic legend, as Berlioz calls it, was
+written in 1846. It is divided in four parts, the first containing three,
+the second four, the third six, and the fourth five scenes, the last
+concluding with an epilogue and the apotheosis of Marguerite. It was
+first produced in Paris in November, 1846, and had its first hearing in
+this country Feb. 12, 1880, when the late Dr. Leopold Damrosch brought it
+out with the assistance of the New York Symphony, Oratorio, and Arion
+Societies.
+
+Berlioz has left in his Autobiography an extremely interesting account of
+the manner in which he composed it. Though he had had the plan of the
+work in his mind for many years, it was not until 1846 that he began the
+legend. During this year he was travelling on a concert-tour through
+Austria, Hungary, Bohemia, and Silesia, and the different numbers were
+written at intervals of leisure. He says:--
+
+  "I wrote when I could and where I could; in the coach, on the railroad,
+  in steamboats, and even in towns, notwithstanding the various cares
+  entailed by my concerts."
+
+He began with Faust's invocation to Nature, which was finished "in my old
+German post-chaise." The introduction was written in an inn at Passau,
+and at Vienna he finished up the Elbe scene, Mephistopheles' song, and
+the exquisite Sylph's ballet. As to the introduction of the Rakoczy
+march, his words deserve quoting in this connection, as they throw some
+light on the general character of the work. He says:--
+
+  "I have already mentioned my writing a march at Vienna, in one night,
+  on the Hungarian air of Rakoczy. The extraordinary effect it produced
+  at Pesth made me resolve to introduce it in Faust, by taking the
+  liberty of placing my hero in Hungary at the opening of the act, and
+  making him present at the march of a Hungarian army across the plain. A
+  German critic considered it most extraordinary in me to have made Faust
+  travel in such a place. I do not see why, and I should not have
+  hesitated in the least to bring him in in any other direction if it
+  would have benefited the piece. I had not bound myself to follow
+  Goethe's plot, and the most eccentric travels may be attributed to such
+  a personage as Faust without transgressing the bounds of possibility.
+  Other German critics took up the same thesis, and attacked me with even
+  greater violence about my modifications of Goethe's text and plot; just
+  as though there were no other Faust but Goethe's, and as if it were
+  possible to set the whole of such a poem to music without altering its
+  arrangement. I was stupid enough to answer them in the preface to the
+  'Damnation of Faust.' I have often wondered why I was never reproached
+  about the book of 'Romeo and Juliet,' which is not very like the
+  immortal tragedy. No doubt because Shakspeare was not a German.
+  Patriotism! Fetichism! Idiotcy!"
+
+One night when he had lost his way in Pesth he wrote the choral refrain
+of the "Ronde des Paysans" by the gaslight in a shop; and at Prague he
+arose in the middle of the night to write down the Angels' Chorus in
+Marguerite's apotheosis. At Breslau he wrote the Students' Latin Song,
+"Jam nox stellata velamina pandit;" and on his return to France he
+composed the grand trio in the work while visiting a friend near Rouen.
+He concludes:
+
+  "The rest was written in Paris, but always improvised, either at my own
+  house, or at the cafe, or in the Tuileries gardens, and even on a stone
+  in the Boulevard du Temple. I did not search for ideas, I let them
+  come; and they presented themselves in a most unforeseen manner. When
+  at last the whole outline was sketched, I set to work to re-do the
+  whole, touch up the different parts, unite and blend them together with
+  all the patience and determination of which I am capable, and to finish
+  off the instrumentation, which had only been indicated here and there.
+  I look upon this as one of my best works, and hitherto the public seems
+  to be of the same opinion."
+
+This opinion, however, was of slow growth, for of the first performance
+of the work he says:--
+
+  "It was the end of November, 1846; snow was falling; the weather was
+  dreadful. I had no fashionable cantatrice to sing the part of
+  Marguerite. As for Roger, who did Faust, and Herman Leon, who took the
+  part of Mephistopheles, they might be heard any day in this same
+  theatre; moreover, they were no longer the fashion. The result was that
+  Faust was twice performed to a half-empty room. The concert-going
+  Parisian public, supposed to be fond of music, stayed quietly at home,
+  caring as little about my new work as if I had been an obscure student
+  at the Conservatoire; and these two performances at the Opera Comique
+  were no better attended than if they had been the most wretched operas
+  on the list."
+
+The opening scene introduces Faust alone in the fields at sunrise on the
+Hungarian plains. He gives expression to his delight in a tender, placid
+strain ("The Winter has departed, Spring is here"). It is followed by an
+instrumental prelude of a pastoral character, in which are heard
+fragments of the roundelay of the peasants and of the fanfare in the
+Hungarian march, leading up to the "Dance of Peasants," a brisk,
+vivacious chorus ("The Shepherd donned his best Array"), beginning with
+the altos, who are finally joined by the sopranos, tenors, and basses in
+constantly accelerating time. The scene then changes to another part of
+the plain and discloses the advance of an army to the brilliant and
+stirring music of the Rakoczy march.[16]
+
+The second part (Scene IV.) opens in north Germany and discloses Faust
+alone in his chamber, as in Gounod's opera; he sings a soliloquy, setting
+forth his discontent with worldly happiness, and is about to drown his
+sorrow with poison, when he is interrupted by the Easter Hymn ("Christ is
+risen from the Dead"), a stately and jubilant six-part chorus, in the
+close of which he joins. As it comes to an end he continues his song
+("Heavenly Tones, why seek me in the Dust?"), but is again interrupted by
+the sudden apparition of Mephistopheles, who mockingly sings, "Oh, pious
+Frame of Mind," and entraps him in the compact. They disappear, and we
+next find them in Auerbach's cellar in Leipsic, where the carousing
+students are singing a rollicking drinking-song ("O what Delight when
+Storm is crashing"). The drunken Brander is called upon for a song, and
+responds with a characteristic one ("There was a Rat in the Cellar
+Nest"), to which the irreverent students improvise a fugue on the word
+"Amen," using a motive of the song. Mephistopheles compliments them on
+the fugue, and being challenged to give them an air trolls out the lusty
+_lied_, "There was a King once reigning, who had a big black Flea," in
+the accompaniment of which Berlioz makes some very realistic effects.
+Amid the bravas of the drunken students they disappear again, and are
+next found in the flowery meadows of the Elbe, where Mephistopheles sings
+a most enchanting melody ("In this fair Bower"). Faust is lulled to
+slumber, and in his vision hears the chorus of the gnomes and sylphs
+("Sleep, happy Faust"), a number of extraordinary beauty and fascinating
+charm. Its effect is still further heightened by the sylphs' ballet in
+waltz time. As they gradually disappear, Faust wakes and relates to
+Mephistopheles his vision of the "angel in human form." The latter
+promises to conduct him to her chamber, and they join a party of soldiers
+and students who will pass "before thy beauty's dwelling." The finale of
+the scene is composed of a stirring soldiers' chorus ("Stoutly-walled
+Cities we fain would win") and a characteristic students' song in Latin
+("Jam nox stellata"), at first sung separately and then combined with
+great skill.
+
+The third part begins with a brief instrumental prelude, in which the
+drums and trumpets sound the tattoo, introducing a scene in Marguerite's
+chamber, where Faust sings a passionate love-song ("Thou sweet Twilight,
+be welcome"), corresponding with the well-known "Salve dimora" in
+Gounod's garden scene. At its close Mephistopheles warns him of the
+approach of Marguerite and conceals him behind a curtain. She enters, and
+in brief recitative tells her dream, in which she has seen the image of
+Faust, and discloses her love for him. Then while disrobing she sings the
+ballad "There was a King in Thule." As its pathetic strains come to a
+close, the music suddenly changes and Mephistopheles in a characteristic
+strain summons the will-o'-the-wisps to bewilder the maiden. It is
+followed by their lovely and graceful minuet, in which Berlioz again
+displays his wonderful command of orchestral realism. It is followed by
+Mephistopheles' serenade ("Why dost thou wait at the Door of thy
+Lover?"), with a choral accompaniment by the will-o'-the-wisps,
+interspersed with demoniac laughter. The last number is a trio ("Angel
+adored") for Marguerite, Faust, and Mephistopheles, wonderfully
+expressive in its utterances of passion, and closing with a chorus of
+mockery which indicates the coming tragedy.
+
+The fourth part opens with a very touching romance ("My Heart with Grief
+is heavy"), the familiar "Meine Ruh' ist hin" of Goethe, sung by
+Marguerite, and the scene closes with the songs of the soldiers and
+students heard in the distance. In the next scene Faust sings a sombre
+and powerful invocation to Nature ("O boundless Nature, Spirit sublime").
+Mephistopheles is seen scaling the rocks and in agitated recitative tells
+his companion the story of Marguerite's crime and imprisonment. He bids
+him sign a scroll which will save him from the consequences of the deed,
+and Faust thus delivers himself over to the Evil One. Then begins the
+wild "Ride to Hell," past the peasants praying at the cross, who flee in
+terror as they behold the riders, followed by horrible beasts, monstrous
+birds, and grinning, dancing skeletons, until at last they disappear in
+an abyss and are greeted by the chorus of the spirits of hell in a
+tempest of sound, which is literally a musical pandemonium ("Has! Irimiru
+Karabras," etc.) in its discordant vocal strains and in the mighty
+dissonances and supernatural effects in the accompaniment. A brief
+epilogue, "On Earth," follows, in which Faust's doom is told, succeeded
+by a correspondingly brief one, "In Heaven," in which the seraphim plead
+for Marguerite. The legend closes with "Marguerite's Glorification," a
+jubilant double chorus announcing her pardon and acceptance among the
+blest.
+
+
+[16] This march, though the best known of all Hungarian airs, is liable
+    to be confounded with others bearing the same name. It forms one of
+    the group of national patriotic melodies called into existence by the
+    heroism of the Transylvanian prince Franz Rakotzy, who at the
+    beginning of the last century fought with rare valor, though little
+    success, against the dominating power of Austria. Who composed it
+    remains as unknown as the authorship of its less familiar companions;
+    but though the origin of the tune, like that of so many others which
+    nations cherish, is veiled in mystery, the march has enjoyed an
+    enviable prominence. It was proscribed by the Austrian Government in
+    the bad days when Hungary was treated as a conquered appanage of the
+    Hapsburgs; its performance was a criminal act, and the possession of
+    printed or written copies, if suspected, brought down domiciliary
+    visits from the police.--_Albert Hall Programmes_, 1874.
+
+
+
+
+                                    BRAHMS.
+
+
+Johannes Brahms, one of the most eminent of living German composers, was
+born at Hamburg, May 7, 1833. His father was a double-bass player in the
+orchestra in that city, and devoted his son at a very early age to his
+own profession. His first piano teacher was Cossell; but to Edward
+Marxsen, the royal music director, he owes his real success as a
+composer. Brahms remained in Hamburg until 1853, when he went upon a
+concert-tour with Remenyi, the eccentric and somewhat sensational
+Hungarian, who has been a familiar figure upon the American
+concert-stage. He remained with him however but a very short time, for in
+October of that year they parted company. Brahms had attracted the notice
+of Liszt and Joachim, and it may have been through their advice that the
+musical partnership was dissolved. In any event, soon after leaving
+Remenyi he went to Duesseldorf and visited Schumann, who announced him to
+the musical world in a very enthusiastic manner. The next year (1854)
+appeared his first works,--three sonatas, a trio and scherzo for piano,
+and three books of songs. After a visit to Liszt at Weimar he settled
+down as chorus-conductor and music-teacher at the court of Lippe-Detmold,
+where he remained a few years. After leaving Detmold he successively
+resided in Hamburg, Zuerich, and Baden-Baden, though most of his time has
+been spent in Vienna, where he has directed the Singakademie and the
+concerts of the Gesellschaft der Musikfreunde. Among his most famous
+compositions are a funeral hymn for chorus and wind-band; the "German
+Requiem;" "Triumphlied," for double chorus and orchestra;
+"Schicksalslied," for chorus and orchestra; six symphonies; variations on
+a theme of Haydn, for orchestra; the "Tragic" and "Academic" overtures;
+besides several trios, quartets, quintets, sextets, concertos, and
+sonatas.
+
+
+                              Triumphlied.
+
+"Triumphlied" ("Song of Triumph") was written by Brahms in commemoration
+of the victories of German arms and the re-establishment of the Empire,
+and is dedicated to "the German Emperor Wilhelm I." It was first
+performed at the fifty-first festival of the Lower Rhine at Cologne in
+1873. The text is a paraphrase of certain verses in the nineteenth
+chapter of Revelation, and reads as follows:--
+
+  "Hallelujah, praise the Lord! Honor and power and glory to God!
+
+  "For in righteousness and truth the Lord giveth judgment.
+
+  "Glory be to God, all ye His servants, and ye that fear Him, all both
+  humble and mighty.
+
+  "Hallelujah, for the omnipotent God hath exalted His kingdom.
+
+  "O, be joyful, let all be glad, to Him alone give honor.
+
+  "Behold, the heavens opened wide, and yonder a snow-white horse, and on
+  him sat one called Steadfast and Faithful, who warreth and judgeth all
+  with righteousness.
+
+  "And he treads the wine-press of wrath of the Lord God Almighty.
+
+  "Lo! a great name hath he written upon his vesture and upon his girdle.
+
+  "A King of kings and Lord of lords! Hallelujah! Amen!"
+
+The scriptural selections are divided into three movements, written for
+double chorus (with the exception of two short barytone solos),
+orchestra, and organ, and are introduced by a brief instrumental prelude
+of a solemn but animated and exultant character, in the closing measures
+of which both choirs break in with jubilant shouts of "Hallelujah! praise
+the Lord!" The theme of the movement is the stirring old German song
+"Heil dir im Siegerkranz,"[17] which is worked up with consummate skill.
+The first part closes with a climax of power and contrapuntal effect
+hardly to be found elsewhere outside the choruses of Handel.
+
+The second movement ("Glory be to God!") is of the same general character
+as the first. After the opening ascription, a short fugue intervenes,
+leading to a fresh melody alternately sung by both choruses.
+
+The third movement, after a very brief but spirited orchestral flourish,
+opens with an exultant barytone solo ("And behold then the Heavens opened
+wide"). The choruses respond with animation ("And yonder a snow-white
+Horse"). Again the barytone intervenes ("And lo! a great Name hath He
+written"), and then the choruses take up the majestic theme, "King of
+Kings and Lord of Lords," each answering the other with triumphant shouts
+that gather force and fire as they proceed, and closing with a mighty
+hallelujah in which voices, orchestra, and organ join with fullest power
+to produce one of the grandest harmonies ever written. The work is one of
+extreme difficulty, as the two choirs are treated independently and their
+harmonies are complicated, though blended in general effect. Neither
+choir receives assistance from the other. In fact, each rank of voices is
+required to perform music of the most exacting kind, so that a perfect
+performance of this great jubilee hymn requires singers of trained skill
+and more than ordinary intelligence. When thus given, few choruses of
+modern times reveal such artistic richness and symmetrical proportions.
+
+
+[17] A German national song, written by Heinrich Harries, a Holstein
+    clergyman, for the birthday of Christian VII. of Denmark. It was
+    originally in eight stanzas, but was reduced to five and otherwise
+    slightly modified for Prussian use by B. G. Schumacher, and in this
+    form appeared as a "Berliner Volkslied" in the _Spenersche Zeitung_
+    of Dec. 17, 1793.--_Grove's Dictionary_.
+
+
+
+
+                                    BRUCH.
+
+
+Max Bruch, one of the most successful choral composers of the present
+time, was born at Cologne, Jan. 6, 1838. His father was a government
+official, and his mother a singer of more than ordinary ability. He
+received his early instructions, under her watchful supervision, from
+Professor Breidenstein, at Bonn. In 1852 he continued his studies with
+Hiller, Reinecke, and Breuning, at Cologne; and at this time began to
+produce compositions which gave unusual promise. In 1865 he was musical
+director at Coblenz, and subsequently at Berlin, where he conducted the
+Singakademie. In 1867 he was appointed chapel-master to the Prince of
+Schwarzburg-Sondershausen,--a post which he held until 1870. Since that
+time he has also been honored with a call to the directorship of the
+Liverpool Philharmonic Society. For some years past he has lived at Bonn
+and Berlin, and devoted himself exclusively to composition. His first
+public appearance as a composer was in connection with the performance of
+his operetta, "Scherz, List und Rache," set to Goethe's words; following
+which he produced several chamber compositions, among them a trio (op.
+5), two string quartets (op. 9, 10), Capriccio (op. 2) for four hands,
+Fantasie (op. 11) for two pianos, the G minor and D minor violin
+concertos, besides two symphonies. He has also written an oratorio,
+"Arminius," and two operas, "Loreley," to the text which the poet Geibel
+wrote for Mendelssohn, and "Hermione," an adaptation of Shakspeare's
+"Winter's Tale." His greatest successes, however, have been made with his
+works in the cantata form, as he is a recognized master in writing for
+large masses of voices and instruments, though many of his solo melodies
+possess great beauty. In this class of his compositions the most
+conspicuous are "Scenes from the Frithjof-Saga," familiarly known as
+"Frithjof," "Flight of the Holy Family," "Roman Triumph Song," "Roman
+Obsequies," "Salamis," "Fair Ellen," "Odysseus," and "Rorate Coeli."
+
+
+                                Frithjof.
+
+The story of the old Norse hero Frithjof is told with exceeding spirit
+and beauty in the "Frithjof's Saga" of Esaias Tegner, Bishop of Wexioe,
+Sweden, which has been translated into almost every European language,
+and to which music has been adapted by Crusell, Hedda Wrangel, Boman,
+Sandberg, Zanders, Caroline Ridderstolpe, Panny, Silcher, and other
+Scandinavian and German composers. It was Bishop Tegner's Saga from which
+Bruch derived the incidents of his musical setting of this stirring Norse
+theme.[18]
+
+To make the text of the libretto intelligible, the incidents leading up
+to it must be briefly told. Frithjof was the son of Thorstein, a friend
+of King Bele of Baldershage, and was in love with Ingeborg, the king's
+daughter and his foster sister. Bele died, and left his kingdom to his
+two sons. When Thorstein passed away, he bequeathed to his son his ship
+"Ellida" and his gold ring. Soon thereafter Frithjof sailed across the
+fiord to demand the hand of Ingeborg. Her brothers Helge and Halfdan
+scorned his suit, whereupon Frithjof swore they should never have help
+from him. King Ring, a neighboring monarch, hearing of the trouble
+between them, improved the opportunity to menace their kingdom. The
+brothers appealed to Frithjof for aid, but he turned a deaf ear; and when
+they took the field against Bele, he returned to Baldershage and made
+love to Ingeborg, with whom he exchanged rings. Helge and Halfdan were
+defeated by Ring, and as part of the indemnity he demanded Ingeborg's
+hand. Finding upon their return that Frithjof had been there without
+their permission, they required him as a penalty to go to the Orkneys and
+collect the tribute which the islanders had neglected to pay since the
+death of Bele. Frithjof sailed away in "Ellida." Meanwhile the brothers
+resorted to witchcraft to raise a storm that should destroy his vessel,
+burned his barrow, and married the lamenting Ingeborg to Ring.
+
+It is at this point that the text of the cantata begins. The first scene
+pictures the return of Frithjof and his joy at the prospect of seeing
+Ingeborg, whose hand the false brothers had promised him if he were
+successful. Learning what had occurred in his absence, Frithjof goes to
+the temple where the kings are sacrificing, hurls the tribute in Helge's
+face, fires the edifice, and hurries to the sea, pursued by his enemies.
+The hero sails away again in "Ellida," and becomes a sea-rover. The text
+closes with this incident. In the Saga, after gaining great fame,
+Frithjof returns and goes disguised as a salt-burner to Ring's palace.
+The king recognized him, and moved by his sad story became his friend and
+appointed him guardian of his heir. Ring died soon after, and Frithjof
+married Ingeborg. Helge and Halfdan made war against him, Helge was
+killed, and Halfdan became his vassal.
+
+The cantata opens with an animated instrumental introduction, "Frithjof's
+Return," leading to the barytone recitative and aria ("How bravely o'er
+the Flood so bright"),--a very expressive song, interspersed with the
+tender, graceful chorus of his companions ("O, 'tis Delight when the Land
+far appeareth"). The second scene is preluded with a wedding march, whose
+blithe measures are in marked contrast with the bridal chorus ("Sadly the
+Skald walks before the Train"), and Ingeborg's song ("My Heart with
+Sorrow overflowing"), which describes her grief over her unhappy destiny.
+The third scene ("Frithjof's Revenge"), for barytone, chorus, and
+orchestra, is one of great power in its dramatic and descriptive
+character, as well as in its masterly instrumentation. It begins with a
+chorus of priests ("Midnight Sun on the Mountain burns"), gradually
+accelerating until it is interrupted by Frithjof's cry ("Go to Helas'
+dark Abode"). Three bars of chorus intervene ("Woe! O wicked Deed"), when
+Frithjof, after a short recitative, sings a spirited aria ("Where my
+Father rests"). At its close, as he rescues Ingeborg's ring and fires the
+temple, the chorus resumes ("Woe! he tugs with all his Might at the
+Ring"). The choral finale of this scene, with its effective
+instrumentation, is a masterpiece of dramatic music, worthy to rank with
+the highest work of its kind in opera. After the storm, the calm. In that
+calm occurs a melodical episode of an extraordinary character. The melody
+itself is so unlike anything which precedes or follows it that it must
+have been interpolated. In grateful contrast with the revenge of
+Frithjof, the burning of the temple, and the curses of the infuriated
+priests, comes the fourth scene, "Frithjof's Departure from the
+Northland,"--a solo quartet for male voices ("Sun in the Sky now mounteth
+high"), of exquisite harmony, leading up to and accompanying a barytone
+solo which has rarely been surpassed in the tender beauty of its melody
+or the majestic sonority of its style:[19]--
+
+  "World's grandest region, thou mighty North!
+  From thy dominions I am driven forth;
+  Within thy border I lov'd to dwell;
+  Midsummer sun, farewell, farewell.
+  Thou mighty North, farewell.
+  My love is foiled, my roof-tree rent,
+  Mine honor soiled, I in exile sent!
+  Cheerless is my soul within me,
+  Hopeless I must bear my lot.
+  Ye rugged mountains, where heroes dwell,
+  And Thor commandeth clouds and winds;
+  Ye azure lakes, that I love so well,
+  Ye woods and brakes, farewell."
+
+The fifth scene is Ingeborg's lament for her lost lover ("Storms wildly
+roar"),--a soprano solo, which, if not as dramatic as the music assigned
+to Frithjof, is nevertheless full of beautiful sentiment. The work closes
+with a delightful chorus, with short phrases for Frithjof ("Now he
+crosseth the Floods of the salt desert Waste"), supposed to be sung on
+board the hero's good ship "Ellida" as they sail off for conquest and the
+enjoyment of the booty he has promised his companions.
+
+
+[18] An admirable translation of the Saga was made by George Stephens,
+    published in London and Stockholm in 1839. It includes besides the
+    Saga, a life of Tegner, by Bishop Franzen of Hernoesand, Sweden; the
+    Frithjof literature; description of Ingeborg's Arm Ring, by
+    Hildebrand, the Royal Antiquarian of Sweden; Crusell's songs; and
+    numerous notes and illustrations.
+
+[19] In the original Saga the "Farewell" has six verses, the first,
+    second, and sixth of which are thus literally translated:--
+
+      "Heimskringla's forehead,
+      Thou lofty North!
+      Away I'm hurried
+      From this thine earth.
+      My race from thee goes,
+      I boasting tell;
+      Now, nurse of heroes,
+      Farewell! Farewell!
+
+      "Farewell, high-gleaming
+      Walhalla's throne,
+      Night's eye, bright-beaming,
+      Midsummer's sun!
+      Sky! where, as in hero's
+      Soul, pure depths dwell,
+      And thronging star-rows,
+      Farewell! Farewell!
+
+      *       *       *       *       *
+
+      "My love insulted,
+      My palace brent,
+      My honor tarnished,
+      In exile sent,
+      From land in sadness
+      To the sea we appeal,
+      But life's young gladness,
+      Farewell! Farewell!"
+
+
+                                Salamis.
+
+"Salamis, Triumphal Hymn of the Greeks" was written in 1862. It is a
+composition mostly for male chorus, and is admirably adapted for festival
+purposes. The poem, which celebrates the defeat of Xerxes, is by H.
+Lingg, and runs as follows:--
+
+  "Adorn the ships with Persian trophies!
+  Let the purple sails be swelled!
+  Joy floats about the masts!
+  Evoe, the mighty foe, is vanquished!
+  We broke, O sea, we broke the bond,
+  Which the Persian Prince threw around thy neck.
+  Thou rollest now unfettered, no longer embittered
+  By the hateful trampling of the horses,
+  Which thy waving surface,
+  Thy bridge-fettered wrath, bore reluctantly.
+  Fate overtook Xerxes
+  And achieved a Hellenic victory on the waves.
+  To the tyrant, to the arbitrary master,
+  Did not succumb the people that dwell by the sea,
+  For the old ruler of the sea filled his beloved race
+  With boundless courage for the sea-fight.
+  All around, the waves with delight
+  Hear many an Ionic song;
+  They roar and join the paean
+  After the splendid struggle
+  There arise dithyrambic days of liberty!"
+
+The instrumental introduction to the work is written in massive style,
+its grand chorus being elegantly interwoven with runs by the wood
+instruments, preparing the way for the festive adorning of the ships,--a
+very beautiful allegro movement. This is followed by a slower movement
+which pictures the breaking of the bond, the rolling of the sea, and the
+trampling of the horses with all that vividness for which the composer is
+famous. It is succeeded by a passage which is very stately, particularly
+in the basses ("Fate overtook Xerxes"), leading up to the grand climax
+("All around, the Waves with Delight"), when the orchestra and voices are
+in splendid accord. After a short repetition of the opening allegro the
+hymn closes. It would be hard to find a more admirable musical setting of
+a poem than this, whether in the strength and beauty of its vocal parts,
+or in the color, vigor, and general effectiveness of the instrumentation.
+
+
+                               Fair Ellen.
+
+The heroic defence of Lucknow by its British garrison in 1857, during the
+Sepoy rebellion, is one of the most memorable events in the English
+administration of India. The world is familiar with the story of the
+disaffection of the native troops, the failure of Sir Henry Lawrence, who
+was in command, to overcome the mutiny, the stubborn defence which the
+brave little garrison made against the repeated assaults of the native
+troops, their temporary assistance from Outram and Havelock, who cut
+their way into the city, and the final relief which was brought to them
+by Sir Colin Campbell. Of all the stirring incidents of the siege,
+however, not one has made such a strong impression as the fanciful story
+of the Scotch girl who heard the slogan of the MacGregors far away and
+knew the Highlanders were coming to their rescue.
+
+It is this incident which Bruch has used as the theme of his cantata
+"Schoen Ellen" ("Fair Ellen"). The story is identical with the one so
+often told in prose and poetry, but the _dramatis personae_ differ.
+Instead of General Lawrence we have Lord Edward, and instead of familiar
+Jessie Brown we have "Fair Ellen." The text of the libretto is weak and
+spiritless as compared with that of the poetical versions. The salient
+point of the story is thus versified in the former:--
+
+  "The Campbells are coming, I told you true;
+    I hear the bugle blowing:
+  The pibroch is borne adown the wind,
+    The tones on the breezes quiver;
+  'Neath the tread of battalions that hurry along
+    Afar the plains do shiver."
+
+Compare the above with the corresponding verses from Robert Lowell's fine
+poem:--
+
+  "The Highlanders! O dinna ye hear
+    The slogan far awa?
+  The MacGregors? Ah! I ken it weel;
+    It's the grandest of them a'.
+
+  *       *       *       *       *
+
+  "Then Jessie said, 'The slogan's dune,
+    But can ye no hear them noo?
+  The Campbells are comin'! It's nae a dream;
+    Our succors hae broken through."
+
+Weak as the text may be, the strong healthy music of the cantata makes
+ample compensation. It is quite brief, there being but two solo parts,
+"Fair Ellen" (soprano) and Lord Edward (barytone), and five short chorus
+numbers. The former are vigorous and somewhat declamatory in style, but
+the choruses are very melodious and stirring. The instrumentation is
+unusually effective, and a fine point is made in the climax by the
+interweaving of the familiar air, "The Campbells are Coming," with the
+orchestral score. It lends spirit and color to the finale, and closes up
+the work with a fine burst of powerful effect. Short as it is, "Fair
+Ellen" will always be a favorite with popular audiences.
+
+
+                                Odysseus.
+
+The cantata of "Odysseus," like that of "Frithjof," is made up of
+detached scenes, in this case selected from the Odyssey and arranged by
+William Paul Graff. The work was first produced in 1872, and has met with
+great success in Germany, England, and the United States. It is divided
+into two parts, the first containing four, and the second, six scenes.
+The characters are as numerous as those of a grand opera, and include
+Odysseus, barytone; Penelope, alto; Alcinoos, King of the Pheaces, bass;
+Arete, his consort, alto; Nausicaa, their daughter, soprano; the
+Helmsman, bass; Pallas Athene, soprano; Leucothea, soprano; Spirit of
+Tiresias, bass; Spirit of Anticlia, Odysseus' mother, alto; and Hermes,
+tenor. In performance, however, the parts of Arete and the Spirit of
+Anticlia, as well as of Nausicaa and Pallas Athene, are usually doubled.
+The choruses, which are a very important feature of the work, are
+assigned to Odysseus' companions, Spirits of the Departed, Sirens,
+Tritons, Nymphs of the sea, Pheaces, Rhapsodes, boatmen and people of
+Ithaca.
+
+In the first scene Odysseus is discovered on Calypso's enchanted island
+longing for home. Hermes, the messenger of the gods, appears to him and
+announces that the Immortals, touched by his sorrow, will rescue him and
+restore him to Penelope. In the next scene the wanderer has reached the
+abysses of Erebus, "where, loud thundering, the flood of Cocytus pours
+its black wave into Acheron's tide." Here he invokes the world of shades.
+The spirits of children, brides, youths, and old men successively appear
+to him and narrate their mournful stories. Then Tiresias the bard warns
+him of the Sirens, and Anticlia his mother bids him hasten to Penelope.
+In the third scene he passes the isles of the Sirens, and escapes their
+wiles through the firmness of his companions. The fourth scene describes
+the storm at sea, the wreck of the vessel, and Odysseus' rescue by
+Leucothea, who gives him the veil the Immortals have woven, and bids the
+Oceanides and Tritons guide him safely to land; and the first part closes
+with our hero peacefully sleeping on the flowery shore of the island of
+Pheacia.
+
+The second part opens with the lament of Penelope and her prayer to the
+gods to restore her husband to her. The sixth scene changes to the island
+again, and discloses Odysseus awakened from his slumbers by the sports
+and dances of Nausicaa and her joyful maidens. He appeals to her for help
+and refreshment, and is bidden to partake of their hospitality. In the
+next scene a sumptuous banquet is spread for him, at which he reveals his
+identity and asks that he be allowed to return to his home. The fair
+Nausicaa, though suddenly enamoured of the handsome stranger, conceals
+her passion and expedites his departure. The eighth scene gives us a
+sketch of Penelope weaving the garment, the _ruse_ by which she kept her
+suitors aloof.
+
+  "This garment by day I weave in my sorrow,
+  And ravel the web in the still hour of night;
+  Thus wearying long, yet my tears greet the morrow,
+  Hope vanishes as the long years take flight."
+
+The ninth scene opens with the arrival of Odysseus at Ithaca. The
+sleeping wanderer is borne ashore by his comrades, and upon awaking from
+his slumbers fails to recognize his own country until Pallas Athene
+appears to him. The goddess convinces him that he is at home once more,
+and then discloses the plot of the suitors, who are revelling in his
+palace, to compel Penelope to select one of them that day in order that
+they may gain possession of his property, as well as their conspiracy for
+his destruction, from which she promises to protect him. The final scene
+describes the glad acclamations of the people as they recognize Odysseus,
+and the joy of Penelope as she welcomes him home once more.
+
+The orchestral introduction is very free and flowing in character, and
+its themes are taken from the duet of Odysseus and Penelope, which occurs
+later on. The opening chorus of Calypso's nymphs ("Here, O Hermes, in
+midst of the Island") is very graceful in its movement and is set to a
+most delightful accompaniment. It is followed by Odysseus' lament ("Flow,
+ye Tears, since Days are hateful"), at first tender in its character,
+then changing to passionate utterances as the remembrance of Penelope
+comes to him, and closing with a hopeful strain after the promise of help
+from Zeus. In the second or Hades scene the music changes from its bright
+color to a gloomier minor tone. It opens with a male chorus ("The Bounds
+we have reached of the deep flowing Ocean"), pianissimo, gradually
+increasing in intensity and accompanied by remarkable effects in
+tone-color as the orchestra describes "the thundering of the flood
+Cocytus" and "the surging aloft of the shadows of the departed." It is
+followed by semi-choruses of the shades, and closes with a very spirited
+and dramatic male chorus ("Dread on Dread! Lo, surging aloft, the
+numberless Hosts of Departed"). The third scene opens with a fresh and
+characteristic male chorus ("Our Sails to the Breezes"), followed by the
+graceful and alluring chorus of the sirens ("Come, great Odysseus, Hero
+of Might"). The last scene is almost entirely choral and very dramatic in
+its effect, especially the opening number for the Oceanides and Tritons
+("Hark! the Storm gathers from afar"), with its vigorous instrumental
+description of the tempest, and the closing number for full chorus
+("Yonder beckons the wood-crested Harbor"), which in its tenderness and
+joyousness forms a striking contrast to the earlier part of the scene.
+
+The second part is introduced with a dignified and sombre recitative
+("Thou far-darting Sun"), followed by an aria of the same character ("Oh!
+Atritone") in which Penelope bewails the absence of Odysseus. In the next
+scene the music changes to a bright and tripping strain, the chorus of
+Nausicaa's maidens ("On the flowery Mead, girt by the dimpling Tide"),
+which closely resembles that of Calypso's nymphs in the first scene.
+After Odysseus' fervent appeal ("Hark to me! Queen, or heaven-dwelling
+Goddess") the banquet scene occurs. It begins with an animated chorus of
+the Pheacians ("Be welcome, Stranger, to Pheacia's Land"), followed by an
+exquisite unison chorus of the Rhapsodes ("Ten Years now are past since
+Troy in the Dust was laid"), set to an accompaniment of harps. A simple
+and tender melody ("Let me then depart in Peace"), sung by Odysseus, in
+which the chorus singers gradually join, closes the scene. The eighth
+scene contains the most expressive solo number of the work, Penelope's
+aria ("This Garment by Day I weave in my Sorrow"), with a characteristic
+descriptive accompaniment. The gems of the ninth scene are Odysseus'
+passionate aria ("O my Fatherland! blest Remembrance!") and his furious
+revenge song ("Miscreant! woe to Thee"). The last scene opens with a
+joyous chorus of the people ("Say, have ye heard the Tidings of Joy?"),
+followed by a fervent duet between Odysseus and Penelope ("Omnipotent
+Zeus! we call on thy Name"). The final chorus begins in chorale style
+("In Flames ascending"), and after repeating the melody of Odysseus' song
+in the seventh scene ("Nowhere abides such Delight"), closes with a fine
+fugued passage ("Slayer of Darkness").
+
+
+
+
+                                  BUCK.
+
+
+Dudley Buck, one of the most eminent of American organists and composers,
+was born March 10, 1839, at Hartford, Conn., where his father was engaged
+in the mercantile business. He studied both the piano and organ, the
+latter with such success that at the age of sixteen he was appointed
+organist at St. John's Church in his native city. In 1858 he went to
+Europe and entered the Leipsic Conservatory, where he studied the piano
+with Plaidy and Moscheles, and composition with Hauptmann and Richter.
+After remaining there a year and a half he went to Dresden and began the
+study of Bach's music with Johann Schneider. A year and a half later he
+went to Paris, and there acquainted himself with French music and
+musicians. He returned to this country in 1862, and accepted the position
+of organist at the Park Church, Hartford, but after the death of his
+parents removed to Chicago, where he obtained the position of organist at
+St. James's Episcopal Church, and also devoted much of his time to
+teaching and composition. In that city his home became a musical centre.
+His library, fine organ, and music-room were great attractions, and he
+had laid the foundation of a brilliant musical career, when the great
+fire of 1871 swept away his entire property, including many manuscript
+compositions. Like many other musicians at that time he left the city,
+seeing no prospect of advantage to him where it would require a long time
+to recover purely material losses. He went with his family to Boston,
+where his fame was already established, and obtained the position of
+organist at St. Paul's Church, as well as the charge of the large organ
+in the Music Hall. After remaining a short time in that city he removed
+to New York, where he has since resided. His life has been a very busy
+one, and he has had an important influence, both personally and in
+connection with Theodore Thomas, upon the progress of music in this
+country. It is not extravagant to say that there are few Protestant
+churches whose music has not been dignified and improved by his
+contributions, particularly of anthems and Te Deums, as well as of
+compositions for the organ, of which he is a consummate master. Singing
+societies are also indebted to him for many elegant four-part songs.
+Among his larger works are the cantata "Don Munio" (1874); the
+"Centennial," written for the Centennial at Philadelphia; "The Nun of
+Nidaros" (1878); "The Golden Legend," which was the prize cantata at the
+Cincinnati Festival of 1880; an Easter cantata; the Forty-sixth Psalm,
+written for the Boston Handel and Haydn Society; two volumes of sacred
+songs and motets; "Marmion," a symphonic overture, and other works for
+orchestra; the cantatas "Voyage of Columbus" (1885) and the "Light of
+Asia" (1886). The last two cantatas were issued in Europe, the one in
+Germany and the other in England, and thus came to this country bearing a
+foreign imprint,--a novelty for an American composer.
+
+
+                                Don Munio
+
+"Don Munio," a dramatic cantata for solos, chorus, and orchestra, was
+written in 1874. The story of it is taken from Washington Irving's
+Spanish papers, and the scene is laid in the period of the wars with the
+Moors. While hunting one morning, Don Munio de Hinojosa captures a
+cavalcade which is escorting the Moorish Prince, Abadil, and his
+betrothed, Constanza, on the way to their wedding. The Prince, all escape
+being cut off, seeks to purchase the good-will of Don Munio with his gold
+and jewels, and implores him not to separate him from his affianced. The
+Don, touched by their unfortunate condition, invites them to spend a
+fortnight at his castle, promising that the nuptials shall be celebrated
+there, and then they shall be released. The lovers accept, and Don Munio
+is faithful to his promise. Shortly after their departure he is ordered
+by the king to join in the expedition to Palestine. In one of the
+encounters of this crusade he is killed by Abadil, who does not recognize
+his former benefactor with his visor closed. His death is greatly mourned
+in Spain, but they are consoled when Roderigo, a messenger from
+Palestine, arrives and tells them that one evening while strolling near
+the Holy Sepulchre he saw seventy Christian knights riding in ghostly
+procession, with the late Don Munio at their head. This is regarded as an
+assurance that all is well with him. _Requiescat in pace._
+
+These are the incidents which Mr. Buck has chosen for musical treatment,
+and he has done the work excellently well. After the orchestral
+introduction follows a spirited hunting-song for male chorus. The next
+scene opens in the chamber of Donna Maria, wife of Don Munio, who laments
+his absence in a minor strain, to which succeeds a rondo movement. The
+third is religious in character, marked "Evening. Close of vesper service
+in the chapel of the castle. Escobedo, the chaplain, with the women, and
+such retainers as have not followed Don Munio on his expedition." It
+begins with a prelude closing with full orchestra and organ, and leading
+to barytone solo and chorus, and a short exhortation to prayer by
+Escobedo. The next number is an Ave Maria for full chorus, which is very
+beautifully harmonized. In the next scene we encounter Don Munio in the
+forest, and are treated to the conventional hunting-song. The next number
+hints at the approach of the Moors, which is soon disclosed by a pretty
+three-part chorus of "the females of the Moorish cavalcade as they
+journey." The eighth scene contains some powerful chorus work, divided
+between the furious Spaniards and the frightened women, and set to a very
+vigorous accompaniment. After the tumult ends, Abadil very melodiously
+appeals to Don Munio, followed by a brief arioso in which the latter
+makes his terms, and a spirited chorus of gratitude to the Don, which
+close the first part.
+
+After a short prelude, the second part opens with a tenor aria for Abadil
+("O, thou my Star") which is very refined in sentiment. It is followed by
+the chorale "Jesu, dulcis Memoria," sung by the chapel choir. A duet
+ensues between the two lovers on the castle terrace, which is very
+Italian in its flavor, and one of the most effective numbers in the
+cantata. The next two numbers furnish the wedding music,--a happy bridal
+chorus, and a charming bolero for orchestra. These lead to an
+unaccompanied quartet between Don Munio, Donna Maria, Abadil, and
+Constanza ("It is the Lot of Friends to part"). In the next scene occurs
+a vigorous duet between Don Munio and his wife, in which he informs her
+of his speedy departure for Palestine, followed by a stirring battle-hymn
+for male chorus. The next scene, "The chapel of the castle, choir
+chanting the dirge for the dead," is in strong contrast with the
+preceding. Mr. Buck has rarely written anything better in his sacred
+music than this beautiful requiem. In the next two numbers the messenger
+describes the manner of Don Munio's death, and the ghostly vision at the
+sepulchre, and at the end of his message the requiem changes to a
+jubilant chorus of gratitude ("In thankful Hymns ascending"). "Don Munio"
+is one of the most powerful and spontaneous of American compositions, and
+needs but little more amplification to deserve the name of opera.
+
+
+                 The Centennial Meditation of Columbia.
+
+The National Centennial celebration at Philadelphia was inaugurated May
+10, 1876, with a special musical programme, in which the cantata with the
+above formidable title occupied a prominent place. The ode was written by
+Sydney Lanier, of Georgia, a poet who prior to that time had made
+considerable reputation by two poems printed in "Lippincott's Magazine."
+The national idea was satisfied by assigning the music to Dudley Buck, at
+that time living in Connecticut. It must be acknowledged that the work
+did not make a deep impression, although it contains some excellent
+musical writing, and for two sufficient reasons. First, it is not a work
+of musical genius or inspiration, as it was ordered by a commission for a
+popular show. It was not singular in this respect. The "Centennial
+March," written by Richard Wagner, for the same occasion, is page after
+page of sound and fury, executed for a most exorbitant remuneration. To
+ascertain its real want of inspiration one has but to place it by the
+side of the "Kaiser March," with its massive chords, its grand thematic
+treatment, and its stately movement, the outcome of patriotic fervor and
+national triumph. Second, the stilted and unmusical lines furnished by
+Mr. Lanier must have hampered the composer in every verse. This is all
+the more remarkable because Mr. Lanier himself was a practical musician.
+He had been for some time a violinist in the Peabody orchestra at
+Baltimore, under that accomplished leader, Asgar Hamerik. It is
+remarkable, therefore, that he should not have recognized the
+difficulties he was placing in the way both of the composer and the
+performers.
+
+The ode has sixty-one lines, divided into eight stanzas of unequal
+lengths. It sketches the past and present of the nation, the powers which
+opposed its progress and hindered the development of its freedom, and the
+elements which at last produced success, closing with cheering auguries
+for the future, and a welcome to the world. All this might have been set
+to smooth and fluent verse, which would readily have adapted itself to
+music; but what composer could have treated successfully such verses as
+these?--
+
+  "Mayflower, Mayflower, slowly hither flying,
+  Trembling westward o'er yon balking sea,
+  Hearts within, 'Farewell, dear England,' sighing,
+  Winds without, 'But dear in vain,' replying,
+  Gray-lipp'd waves about thee shouted, crying,
+          'No! it shall not be!'
+
+  "Jamestown, out of thee--
+  Plymouth, thee--thee, Albany--
+  Winter cries, 'Ye freeze; away!'
+  Fever cries, 'Ye burn; away!'
+  Hunger cries, 'Ye starve; away!'
+  Vengeance cries, 'Your graves shall stay!'
+
+          "Hark!
+  Huguenots whispering 'Yea' in the dark,
+  Puritans answering 'Yea' in the dark!
+  'Yea,' like an arrow shot true to his mark,
+  Darts through the tyrannous heart of Denial.
+  Patience and Labor and solemn-souled Trial,
+          Foiled, still beginning,
+          Soiled, but not sinning,
+  Toil through the stertorous death of the Night,
+  Toil, when wild brother-wars new-dark the light,
+  Toil, and forgive, and kiss o'er, and re-plight."
+
+Even in the last verse, where the composer must make his climax, and the
+singers must be most effective, they are confronted with this unsingable
+line:--
+
+  "And wave the world's best lover's welcome to the world."
+
+The only musical verse is the reply of the angel to Columbia in the midst
+of her ragged and cacophonous meditation, which the composer selected as
+a solo for bass voice:[20]--
+
+  "Long as thine Art shall love true love,
+  Long as thy Science truth shall know,
+  Long as thine Eagle harms no Dove,
+  Long as thy Law by law shall grow,
+  Long as thy God is God above,
+  Thy brother every man below,
+  So long, dear Land of all my love,
+  Thy name shall shine, thy fame shall grow."
+
+The prelude for orchestra determines the motive of the whole cantata, and
+is very spirited; for here, at least, the composer was not hampered by
+words. The opening verse,--
+
+  "From this hundred-terraced height,"
+
+is set very effectively in chorale form; but the next two verses, already
+quoted, are arranged for semi-chorus and full chorus, and close in a
+vocal stretto quite as hysterical as the words. Then follows the
+whispering of the Huguenots and Puritans, commencing _sotto voce_, and
+gradually increasing to a _forte_ at the close. A few bars for the horn
+lead to the bass solo, "Long as thine Art," with horn obligato,--a very
+impressive and dignified aria, and one which would speedily become a
+favorite in the concert-room if adapted to the words. The final number
+("Music from this Height of Time") begins in full choral harmony and
+closes with a vigorous and well-written fugue.
+
+
+[20] Sung upon that occasion by Mr. Myron D. Whitney.
+
+
+                           The Golden Legend.
+
+"The Golden Legend" was written in competition for the prize of one
+thousand dollars, which the Cincinnati May Festival Association offered
+in 1879 for the best work of a native composer. The judges were Theodore
+Thomas, Otto Singer, Asgar Hamerik, Carl Zerrahn, and the late Dr.
+Leopold Damrosch. Their award was made to "The Golden Legend," and it was
+first performed at the Festival of 1880, with Miss Annie B. Norton as
+Elsie, Mr. Frederick Harvey as Prince Henry, Mr. J. F. Rudolphsen as
+Lucifer, and Mr. M. D. Whitney as Friar Paul.
+
+The text of the cantata is composed of a prologue, epilogue, and twelve
+scenes taken from Longfellow's Episode in "Christus" by the same name.
+The mediaeval story is a very simple one. Prince Henry of Hoheneck,
+stricken down with an incurable ailment, after vainly seeking a remedy,
+is visited by Lucifer disguised as a physician, who tempts him to adopt a
+remedy prescribed by a doctor of Salerno; namely, the blood of a maiden
+who will voluntarily offer herself as a sacrifice. Elsie devotes her life
+to the Prince, and they journey together to Salerno, where her death must
+take place. Arrived at the spot, the Prince, touched by her magnanimity,
+entreats her to forego her purpose; but she insists upon it, bids him
+farewell in the school, and enters an inner apartment with Lucifer
+disguised as a friar. Before the tragedy can be consummated, the Prince
+bursts open the door, with the aid of his followers, and rescues her. The
+pair return to the castle on the Rhine, where of course the rapidly
+convalescing Prince marries Elsie, and the story closes with an epilogue
+reciting the discomfiture of Lucifer and the triumph of good over evil.
+
+Out of this material the composer has constructed his work, eliminating
+from and adding to the original matter to suit his musical scheme, but at
+the same time preserving the general spirit of the story. After a very
+spirited and energetic prelude, the prologue begins with the fruitless
+attempt of Lucifer to pull down the cross on the spire of Strasburg
+cathedral, the protests of the spirits of the air (first and second
+sopranos), the defiance of the bells (male chorus) as each attempt fails,
+and the final disappearance of the spirits amid the chanting of the
+majestic Latin hymn, "Nocte surgentes," by full chorus in the church,
+accompanied by the organ. The second scene opens in Prince Henry's
+chamber in the tower of the Vautsberg castle, and reminds one of the
+opening scene of "Faust," as set by Gounod. After an expressive
+declamation of his melancholy and his longing for rest and health ("I
+cannot sleep, my fervid Brain calls up the vanished Past again"), Lucifer
+appears in a flash of light, dressed as a travelling physician, and a
+dialogue ensues, the purport of which has already been told, which closes
+with an ingenious and beautifully-written number for the two voices,
+accompanied by a four-part chorus of mixed voices and a small semi-chorus
+of sopranos and altos ("Golden Visions wave and hover"). The fourth scene
+is an unaccompanied quartet, "The Evening Song," sung by Elsie, Bertha,
+Max, and Gottlieb in their peasant home in the Odenwald, as they light
+the lamps ("O gladsome Light of the Father"). It is a simple, tranquil
+hymn, but full of that sacred sentiment which this composer expresses so
+admirably in music. The fifth scene, Elsie's prayer in her chamber ("My
+Redeemer and my Lord"), in its calm beauty and religious feeling makes a
+fitting pendant to the quartet. In the next number, the orchestra is
+utilized to carry on the action, and in march tempo describes the
+pilgrimage to Salerno with stately intervals, in which is heard the
+sacred song, "Urbs coelestis, urbs beata," supposed to be sung by the
+pilgrims "moving slowly on their long journey with uncovered feet." The
+seventh scene is laid in the refectory of the convent of Hirschau, in the
+Black Forest, where Lucifer enters the gaudiolum of monks, disguised as a
+friar, and sings the rollicking Latin drinking-song, "Ave color vini
+clari," which Mr. Edmund C. Stedman versified for this work as follows:--
+
+  "Hail! thou vintage clear and ruddy!
+  Sweet of taste and fine of body,
+  Through thine aid we soon shall study
+      How to make us glorious!
+
+  "Oh! thy color erubescent!
+  Oh! thy fragrance evanescent!
+  Oh! within the mouth how pleasant!
+      Thou the tongue's praetorius!
+
+  "Blest the stomach where thou wendest!
+  Blest the throat which thou distendest!
+  Blest the mouth which thou befriendest,
+      And the lips victorious!
+
+                            Chorus of Monks.
+
+      "Pour the wine, then, pour it!
+      Let the wave bear all before it!
+      There's none to score it,
+      So pour it in plenty, pour it!"
+
+The next number is for orchestra only, and once more the instruments are
+used for a continuance of the action by a description of the carousal of
+the monks in a characteristic allegro bacchanale, the abbot testifying
+his indignation through the medium of the trombone and the use of the
+Gregorian melody. The sentiment of the latter is expressed by the
+following verse:--
+
+  "What mean this revel and carouse?
+  Is this a tavern and drinking-house?
+  Are you Christian monks or heathen devils,
+  To pollute this convent with your revels?"
+
+The ninth scene changes to Genoa. Elsie, on a terrace overlooking the
+sea, sings a charming aria ("The Night is calm and cloudless"), with a
+choral refrain of "Kyrie Eleison." The tenth is a graceful barcarolle for
+orchestra, but it is somewhat in the nature of an interpolation, and is
+only connected with the movement of the story by a thin thread, as will
+be seen from the verse which gives its motive:--
+
+  "The fisherman who lies afloat,
+  With shadowy sail in yonder boat,
+  Is singing softly to the night.
+    A single step and all is o'er;
+  And thou, dear Elsie, wilt be free
+  From martyrdom and agony."
+
+The eleventh scene is a spirited and beautifully-written male chorus of
+sailors ("The Wind upon our Quarter lies"). The twelfth reaches the
+climax in the scene at the college of Salerno between Lucifer, Elsie, and
+the Prince, with accompaniment of attendants, and is very dramatic
+throughout. It is followed by a tender love-duet for Elsie and the Prince
+on the terrace of the castle of Vautsberg, which leads to the epilogue,
+"O Beauty of Holiness," for full chorus and orchestra, in which the
+composer is at his very best both in the construction of the vocal parts
+and the elaborately worked-up accompaniments.
+
+
+                         The Voyage of Columbus.
+
+"The Voyage of Columbus" was written in 1885, and first published in
+Germany. The text of the libretto was prepared by the composer himself,
+extracts from Washington Irving's "Columbus" forming the theme of each of
+the six scenes, all of which are supposed to transpire at evening, and
+are therefore styled by the composer "night-scenes." Their arrangement,
+which is very skilfully accomplished, is as follows:--
+
+Scene I. In the chapel of St. George at Palos, Aug. 2, 1492. "The
+squadron being ready to put to sea, Columbus, with his officers and crew,
+confessed themselves to the friar, Juan Perez. They entered upon the
+enterprise full of awe, committing themselves to the especial guidance
+and protection of Heaven."
+
+Scene II. On the deck of the Santa Maria. "Eighteen years elapsed after
+Columbus conceived his enterprise before he was enabled to carry it into
+effect. The greater part of that time was passed in almost hopeless
+solicitation, poverty, and ridicule."
+
+Scene III. The Vesper Hymn. "In the evening, according to the invariable
+custom on board the admiral's ship, the mariners sang the Vesper Hymn to
+the Virgin."
+
+Scene IV. Discontent and Mutiny. "In this way they fed each other's
+discontent, gathering into little knots, and fomenting a spirit of
+mutinous opposition ... finally breaking forth into turbulent clamor."
+
+Scene V. In distant Andalusia. "He compares the pure and balmy mornings
+to those of April in Andalusia, and observes that they wanted but the
+song of the nightingale to complete the illusion."
+
+Scene VI. Land and Thanksgiving. "As the evening darkened, Columbus took
+his station on the top of the castle or cabin, on the high poop of his
+vessel, ranging his eye along the horizon, and maintaining an intense and
+unremitting watch."
+
+The cantata opens with a brief orchestral prelude of a sombre character
+begun by the trombone sounding the Gregorian intonation, and leading to
+the barytone solo of the priest ("Ye men of Spain, the Time is nigh"),
+appealing to the crew to commit themselves to Heaven, to which the full
+male chorus responds with ever-increasing power, reaching the climax in
+the "Ora pro nobis." Twice the priest repeats his adjuration, followed by
+the choral response, the last time with joy and animation as the flag of
+Castile is raised and they bid farewell to the shores of Spain. A short
+allegro brings the scene to a close.
+
+The second scene is a bass aria for Columbus ("Eighteen long Years of
+Labor, Doubt, and Scorn"), of a vigorous and spirited character, changing
+to a solemn adagio in the prayer, "Lord of all Power and Might," and
+closing with a few spirited phrases in the opening tempo. It is followed
+by the Vesper Hymn, "Ave Maris Stella," a number in which the composer's
+eminent ability in sacred music is clearly shown. Its tranquil harmony
+dies away in the softest of pianissimos, and is followed by an agitated
+prelude introducing the furious chorus of the mutinous crew "Come,
+Comrades, come," which gathers intensity as it progresses, voices and
+instruments uniting in broken but powerful phrases, sometimes in full
+chorus and again in solo parts, until the climax is reached, when
+Columbus intervenes in brief solos of great dignity, to which the chorus
+responds, the scene closing with the renewal of allegiance,--a stirring
+bass solo with choral accompaniment.
+
+The fifth scene is a tenor recitative and love-song of a most graceful
+character, and one which will become a favorite when it is well known:--
+
+  "In Andalusia the nightingale
+  Sings,--sings through the live-long night;
+  Sings to its mate in pure delight:
+      But, ah me! ah, my love!
+  Vanished and lost to my sight
+      In distant Andalusia."
+
+The final scene is very elaborate in its construction, and brings the
+work to a sonorous and stately close. It opens with a very dramatic
+recitative by Columbus ("The Night is dark, but many a Sign seen through
+this Day proclaims the Goal at Hand"), at the close of which there is a
+short orchestral prelude, which serves to introduce a trio ("Here at your
+Bidding") for Columbus and two officers (first tenor and first bass). At
+the cry of a seaman, "Land ho!" the chorus responds with animation.
+Columbus bids his crew join him "in prayer and grateful praise." The
+answer comes in a splendidly-written "Hallelujah," which is fairly
+majestic in its progression, reaching its close in full broad harmony,
+with the accompanying strains of trumpets.
+
+
+                           The Light of Asia.
+
+Mr. Buck's latest cantata, "The Light of Asia," well-nigh reaches the
+dimensions of an opera or oratorio. It was written in 1886 and first
+published in England. Its name reveals its source, and the composer has
+made compensation for the privilege of using Mr. Edwin Arnold's beautiful
+poem, by a graceful dedication of the work to him. The libretto was
+prepared by the composer himself, who has shown great skill in making his
+selections in such manner as not to disturb the continuity of the story.
+The purely philosophical portions are omitted, and only those are
+retained which have a human interest. In this manner he has avoided the
+obstacle which the lack of human sympathy in the poem, beautiful as it
+is, would otherwise have placed in his way. The text, as will be
+remembered, has no definite metre, much of it being in blank verse, and
+does not readily lend itself to musical expression; but it will be
+conceded that the composer has also overcome this difficulty in a very
+remarkable manner. The cantata is divided into four parts,--Prologue, the
+Renunciation and Temptation, the Return, and Epilogue and Finale.
+
+The first part has nine numbers. A brief prelude leads to the opening
+chorus:--
+
+  "Below the highest sphere four regents sit,
+  Who rule the world; and under them are zones
+  Nearer, but high, where saintliest spirits dead,
+  Wait thrice ten thousand years, then live again."
+
+It begins with a fugue, opened by the basses, simple in its construction
+but stately in theme and very dignified throughout. It is followed by a
+bass solo of descriptive character ("The King gave Order that his Town
+should keep high Festival"), closing with a few choral measures, _sotto
+voce_, relating that the King had ordered a festival in honor of the
+advent of Buddha, and how a venerable saint, Asita, recognized the
+divinity of the child and "the sacred primal signs," and foretold his
+mission. The third number is the description of the young Siddartha, set
+in graceful recitative and semi-chorus for female voices, with a charming
+accompaniment. The fourth is a spring song ("O come and see the Pleasance
+of the Spring"), begun by tenors and basses and then developing into full
+chorus with animated descriptive effects for the orchestra, picturing
+"the thickets rustling with small life," the rippling waters among the
+palms, the blue doves' cooings, the jungles laughing with the
+nesting-songs, and the far-off village drums beating for marriage feasts.
+A recitative for bass ("Bethink ye, O my Ministers"), in which the King
+counsels with his advisers as to the training of the child, leads to a
+four-part song for tenors and basses ("Love will cure these thin
+Distempers"), in which they urge him to summon a court of pleasure in
+which the young prince may award prizes to the fair. Then
+
+                          "If one or two
+  Change the fixed sadness of his tender cheek,
+  So may we choose for love with love's own eye."
+
+The King orders the festival, and in the next number--a march and
+animated three-part chorus for female voices--Kapilavastu's maidens flock
+to the gate, "each with her dark hair newly smoothed and bound." Then
+comes the recognition, briefly told in soprano recitative. Yasodhara
+passes, and "at sudden sight of her he changed." A beautiful love-duet
+for soprano and tenor ("And their Eyes mixed, and from the Look sprang
+Love") closes the scene. The next number is a bass solo narrating the
+triumph of Siddartha over all other suitors, leading to a jubilant and
+graceful wedding chorus ("Enter, thrice-happy! enter, thrice-desired!"),
+the words of which are taken from the "Indian Song of Songs."
+
+The second part opens with a soprano solo describing his pleasure with
+Yasodhara, in the midst of which comes the warning of the Devas:--
+
+  "We are the voices of the wandering wind,
+  That moan for rest and rest can never find.
+  Lo! as the wind is, so is mortal life,--
+  A moan, a sigh, a sob, a storm, a strife."
+
+This number is a semi-chorus, set for female voices, interspersed with
+brief phrases for tenor, and after a bass solo, relating the King's dream
+and the hermit's interpretation, which induces him to doubly guard
+Siddartha's pleasure-house, leads up to a beautiful chorus, divided
+between two sopranos, alto, two tenors, and two basses:--
+
+  "Softly the Indian night sunk o'er the plain,
+  Fragrant with blooms and jewelled thick with stars,
+  And cool with mountain airs sighing adown
+  From snow-flats on Himala high outspread.
+  The moon above the eastern peaks
+  Silvered the roof-tops of the pleasure-house,
+  And all the sleeping land."
+
+The next scene opens with a soprano solo ("Within the Bower of inmost
+Splendor"), in which Yasodhara relates her dream of the voice crying "The
+Time is nigh," to Siddartha, and closes with a tender duet for soprano
+and tenor. The next number is a brief chorus ("Then in her Tears she
+slept"), followed by the tenor solo, "I will depart," in which Siddartha
+proclaims his resolve "to seek deliverance and the unknown light," and
+leading to a richly-colored and majestic chorus:
+
+  "There came a wind which lulled each sense aswoon
+  Of captains and of soldiers:
+  The gates of triple brass rolled back all silently
+  On their grim hinges;
+  Then, lightly treading, where those sleepers lay,
+  Into the night Siddartha passed,
+  While o'er the land a tremor spread,
+  As if earth's soul beneath stirred with an unknown hope,
+  And rich celestial music thrilled the air
+  From hosts on hosts of shining ones."
+
+A tenor solo describes the six long years of wandering, followed by a
+characteristic chorus of voices of earth and air bidding him pass to the
+tree under whose leaves it was foretold that truth should come to him for
+the saving of the world. A short bass recitative leads to a vigorous
+descriptive chorus relating the temptations of Siddartha, in which the
+orchestra is used with masterly effect. A brief soprano solo, the
+apparition of Yasodhara among the wanton shapes floating about the tree,
+imploring him to return, and the tenor response, bidding the shadow
+depart, intervene; and then the chorus resumes with increased vigor,
+reaching a furious climax as the legions of hell tempt him, but dying
+away in the close to phrases of tender beauty:--
+
+  "Radiant, rejoicing, strong, Buddha arose,
+  And far and near there spread an unknown peace.
+  As that divinest daybreak lightened earth,
+  The world was glad."
+
+The third part (the Return) opens with a soprano solo of a slow and
+mournful character, relating the sorrow of Yasodhara and the visit of her
+damsels, who announce the arrival of merchants with tidings of Siddartha.
+They are summoned, and tell their story in a short chorus, which is
+followed by a brief soprano solo ("Uprose Yasodhara with Joy"), an
+exultant chorus ("While the Town rang with Music"), and another brief
+phrase for soprano, leading to a fine choral outburst ("'Tis he!
+Siddartha, who was lost"). The next number, a bass solo describing the
+King's wrath when he learns that Siddartha has returned as a yellow-robed
+hermit instead of with "shining spears and tramp of horse and foot," is
+very sonorous as well as dramatic, and is followed by a tenor and bass
+dialogue developing into a trio of great beauty ("Thus passed the Three
+into the Way of Peace"). The final number is a masterpiece of choral work
+both in the elaborateness of its construction and the majesty of its
+effect, and brings the cantata to a close with the mystic words:--
+
+  "The Dew is on the Lotus! Rise, great Sun!
+  And lift my leaf and mix it with the wave.
+  The Sunrise comes! the Sunrise comes!
+  The Dewdrop slips into the shining sea.
+        Hail, High Deliverer, Hail!"
+
+
+
+
+                                 CORDER.
+
+
+Frederick Corder, the English composer and conductor, was born at
+Hackney, London, Jan. 26, 1852. He was a student at the Royal Academy of
+Music in 1874, and in the following year gained the Mendelssohn
+scholarship. From 1875 to 1878 he studied at Cologne with Hiller, and in
+1879 returned to London, where he engaged for a time in literary
+pursuits. His abilities as a writer are very clearly shown in the
+librettos to his works. In 1880 he was appointed conductor of the
+orchestra at the Brighton Aquarium, and since that time he has devoted
+himself to teaching and composition. His principal works are "In the
+Black Forest," an orchestral suite, and "Evening on the Seashore," idyl
+for orchestra (1876); the opera "Morte d'Arthur" (1877); the one-act
+opera "Philomel" (1879); cantata, "The Cyclops" (1880); "Ossian," a
+concert overture for orchestra, produced by the London Philharmonic
+Society (1882); the cantata "Bridal of Triermain" (1886); and the opera
+"Nordisa," founded upon a Norwegian subject and brought out with great
+success in January, 1887 by the Carl Rosa opera troupe. Mr. Corder is one
+of the most ambitious and promising of all the younger English composers,
+and his music shows in a special degree the influence of Wagner. That he
+has also literary talent of a high order is evinced by his contributions
+to periodical literature and the librettos of his last two works,--"The
+Bridal of Triermain" and "Nordisa."
+
+
+                        The Bridal of Triermain.
+
+"The Bridal of Triermain" was written for the Wolverhampton (England)
+Festival of 1886, and was one of the most notable successes in the
+festival performances of that year. The subject is taken from Walter
+Scott's poem of the same name. The adaptation has been made in a very
+free manner, but the main incidents of the poem have been carefully
+preserved. Sir Roland's vision of the "Maid of Middle Earth;" the bard
+Lyulph's recital of the Arthurian legend, which tells of Gyneth's
+enchantment in the valley of St. John by Merlin, where she must sleep
+
+  "Until a knight shall wake thee
+  For feats of arms as far renowned
+  As warrior of the Table Round;"
+
+the magic wrought by Merlin in the valley to delude Roland and thwart his
+effort to rescue Gyneth; his daring entrance into the palace grounds; the
+discovery of the Princess in the enchanted hall, and her final rescue are
+the themes which the composer has treated. In arranging his libretto he
+has, as has been said, made a free adaptation of the poem, sometimes
+using verses entire, at other times changing the text and rearranging it
+to suit the composer's musical demands, even at the expense of the
+original beauty and symmetry of the work.
+
+The cantata has no overture, but opens with a choral introduction ("Where
+is the Maiden of Mortal Strain?"). An orchestral interlude in the form of
+a tender graceful nocturne follows, leading up to the tenor solo, "The
+Dawn of an autumn Day did creep," in which the Baron relates the
+apparition he has seen in his dream. A short bass recitative by Lyulph
+the bard introduces the Legend, which is told in an effective number for
+soprano solo, bass solo, and chorus ("In Days e'en Minstrels now
+forget"). The next number, a very dramatic dialogue for soprano and
+tenor, gives us the conversation between Arthur and Gyneth, and leads to
+an energetic full chorus with very descriptive accompaniment, picturing
+the bloody tourney and its sudden interruption by the appearance of
+Merlin the enchanter. The first part closes with a charming number
+("'Madmen,' he cried, 'your Strife forbear'") arranged for bass solo,
+quartet, and chorus, in which is described the spell which Merlin casts
+upon Gyneth.
+
+The second part, after a short allegro movement for orchestra, opens with
+a contralto solo ("Of wasted Fields and plundered Flocks") which prepares
+the way for a concerted number for solos and chorus ("And now the Moon
+her Orb has hid"), describing the magical arts which Merlin employed to
+thwart the Baron. This number alone is sufficient to stamp Mr. Corder as
+a composer of extraordinary ability. A succession of bass, tenor, and
+contralto recitatives ("Wroth waxed the Warrior") leads to another
+powerful chorus ("Rash Adventurer, bear thee back"), the song of the
+"four maids whom Afric bore," in which the composer has caught the weird,
+strange color of the scene and given it vivid expression. A tenor
+recitative ("While yet the distant Echoes roll") leads up to a graceful,
+sensuous soprano solo and female chorus ("Gentle Knight, awhile delay").
+Its counterpart is found in the tenor recitative and spirited, dignified
+male chorus ("Son of Honor, Theme of Story"). The _denouement_ now
+begins. A contralto solo, declamatory in style ("In lofty Hall, with
+Trophies graced"), and a short soprano solo of a joyous character ("Thus
+while she sang") lead to the final number ("Gently, lo! the Warrior
+kneels"), beginning with full chorus, which after short solos for tenor
+and soprano takes a spirited martial form ("And on the Champion's Brow
+was found") and closes with a quartet and chorus worked up to an imposing
+climax.
+
+The work is largely in narrative form; but this, instead of being a
+hindrance, seems to have been an advantage to the composer, who has not
+failed to invest his music with dramatic force that is remarkable. Mr.
+Corder is credited with being an ardent disciple of Wagner, and his
+cantata certainly shows the influences of that school. It is throughout a
+vigorous, effective work, and gives promise that its composer will yet be
+heard from outside the English musical world.
+
+
+
+
+                                 COWEN.
+
+
+Frederic H. Cowen, the favorite English song-writer, was born at
+Kingston, Jamaica, Jan. 29, 1852, and went to England at a very early
+age. His first teachers were Benedict and Sir J. Goss, with whom he
+studied until 1865. During the next three years he continued his musical
+education at the conservatories of Leipsic and Berlin, returning to
+England in 1868. His earlier works were an operetta called "Garibaldi," a
+fantasie-sonata and piano concerto, a few pieces of chamber music, and a
+symphony in C minor. These served to introduce him to public notice, and
+since that time nearly all of his works have met with remarkable success,
+among them "The Rose Maiden" (1870); music to Schiller's "Joan of Arc"
+(1871); festival overture (1872); "The Corsair," composed for the
+Birmingham Festival of 1876; a symphony in F major and the Norwegian
+symphony, which have been favorably received in this country. His most
+important opera is "Pauline," which was produced in London with great
+success by the Carl Rosa company, Nov. 22, 1876. As a song-writer, Mr.
+Cowen is also well known; many of his lyrics, especially those written
+for Antoinette Sterling and Mrs. E. Aline Osgood, the American singers,
+having obtained a wide-spread popularity.
+
+
+                          The Sleeping Beauty.
+
+"The Sleeping Beauty," written for the Birmingham Festival of 1885, the
+poem by Francis Hueffer, has for its theme the well-known fairy tale
+which has been so often illustrated in music and upon canvas. It is a
+great favorite in England, and has also met with a successful reception
+in Paris, where it was brought out not long since by the Concordia
+Society of that city, under the title of "La Belle au Bois Dormant," the
+translation having been made by Miss Augusta Holmes, herself a musician
+of considerable repute.
+
+After a brief orchestral introduction, a three-part chorus (altos,
+tenors, and basses) tells the story of the ancient King to whom an
+heiress was born when all hope of offspring had been abandoned, the gay
+carousal which he ordered, and the sudden appearance of the twelve fays,
+guardians of his house, with their spinning-wheels and golden flax, who
+sing as they weave:--
+
+  "Draw the thread and weave the woof
+  For the little child's behoof:
+  Future, dark to human eyes,
+  Openly before us lies;
+  As we will and as we give,
+  Haply shall the maiden live;
+  Draw the thread and weave the woof
+  For the little child's behoof."
+
+In beauty of melody and gracefulness of orchestration this chorus of the
+fays is specially noticeable. Its charming movement, however, is
+interrupted by a fresh passage for male chorus, of an agitated character,
+describing the entrance of the Wicked Fay, who bends over the cradle of
+the child and sings a characteristic contralto aria:--
+
+  "From the gold of the flaxen reel
+  Threads of bliss have been spun to thee;
+  By the whirl of the spinning wheel
+  Cruel grief shall be done to thee.
+  Thy fate I descry:
+  Ere the buds of thy youth are blown,
+  Ere a score of thy years have flown,
+  Thou shalt prick thy hand, thou shalt die."
+
+Following this aria, the male chorus has a few measures, invoking a curse
+upon the Fay, which leads to a full chorus of an animated character,
+foretelling that there shall dawn a day when a young voice, more powerful
+than witchcraft, will save her; at the close of which the guardian fays
+are again heard drawing the thread and weaving the woof in low, murmuring
+tones, with a spinning accompaniment. It is followed by a trio (soprano,
+tenor, and bass), with chorus accompaniment, announcing the departure of
+the fays, and leading to a very melodious tenor solo, with two graceful
+orchestral interludes, which moralizes on what has occurred and closes
+the prologue.
+
+The first scene opens in a hall in the King's palace, and is full of
+animation. A brilliant orchestral prelude leads to the full chorus in
+waltz time ("At Dawn of Day on the first of May"), which moves along with
+a fascinating swing, and closes in a very vigorous climax. At this point
+the King makes his appearance and expresses his joy that the time has
+passed when the prophecy of the Wicked Fay could take effect, for this is
+the Princess's twentieth birthday. A dialogue follows between the King
+and his daughter, closing with a beautiful chorus ("Pure as thy Heart"),
+after which the dance-music resumes. Unobserved the Princess leaves the
+banqueting-hall, glides along a gallery, and ascends the staircase to a
+turret chamber. Before she enters she sings an aria, of a tranquil,
+dreamy nature ("Whither away, my Heart?"), and interwoven with it are
+heard the gradually lessening strains of the dance-music, which ceases
+altogether as her song comes to an almost inaudible close.
+
+The second scene opens in the turret chamber, where the Wicked Fay,
+disguised as an old crone, is spinning. After a short dialogue, in which
+the Fay explains to the Princess the use of the wheel, she bids her
+listen, and sings a weird ballad ("As I sit at my Spinning-wheel, strange
+Dreams come to me"), closing with the refrain of the old prophecy, "Ere
+the Buds of her Youth are blown." The Princess dreamily repeats the
+burden of the song, and then, fearing the presence of some ill-omen,
+opens the door to escape. She hears the dance-music again, but the Fay
+gently draws her back and induces her to touch the flax. As she does so,
+the Fay covertly pricks her finger with the spindle. She swoons away, the
+dance-music suddenly stops, and there is a long silence, broken at last
+by the Fay's triumphant declaration: "Thus have I wrought my Vengeance."
+The next number is the Incantation Music ("Spring from the Earth, red
+Roses"), a very dramatic declamation, sung by the Fay and interwoven with
+snatches of chorus and the refrain of the prophecy. A choral interlude
+("Sleep in Bower and Hall") follows, describing in a vivid manner, both
+with voices and instruments, the magic sleep that fell upon the castle
+and all its inmates, and the absence of all apparent life save the
+spiders weaving their webs on the walls as the years go by:--
+
+  "The spells of witchcraft which enthrall
+  Each sleeper in that desolate hall,
+  Who can break them?
+  Say, who can lift the deathly blight
+  That covers king and lord and knight,
+  To give them back to life and light,
+  And awake them?"
+
+The answer comes in an animated prelude, through which is heard the
+strain of a horn signal, constantly growing louder, and heralding the
+Prince, who enters the silent palace, sword in hand, among the sleeping
+courtiers, knights, and ladies. After a vigorous declamation ("Light,
+Light at last") he passes on his way to the turret chamber, where he
+beholds the sleeping Princess. The love-song which follows ("Kneeling
+before Thee, worshipping wholly") is one of the most effective portions
+of the work. His kiss awakes her, and as she springs up, the dance-music
+at once resumes from the bar where it had stopped in the scene with the
+Wicked Fay. An impassioned duet follows, and the work closes with the
+animated waltz-chorus which opened the first scene.
+
+
+
+
+                                 DVORAK.
+
+
+Anton Dvorak, the Bohemian composer who has risen so suddenly into
+prominence, was born at Muelhausen, near Prague, Sept. 8, 1841. His father
+combined the business of tavern-keeper and butcher, and young Dvorak
+assisted him in waiting upon customers, as well as in the slaughtering
+business. As the laws of Bohemia stipulate that music shall be a part of
+common-school education, Dvorak learned the rudiments in the village
+school, and also received violin instruction. At the age of thirteen he
+went to work for an uncle, who resided in the village where the
+schoolmaster was a proficient musician. The latter, recognizing his
+ability, gave him lessons on the organ, and allowed him to copy music.
+Piano lessons followed, and he had soon grounded himself quite thoroughly
+in counterpoint. At the age of sixteen he was admitted to the
+organ-school of Prague, of which Joseph Pitsch was the principal. Pitsch
+died soon after, and was succeeded by Kreyci, who made Dvorak acquainted
+with the music of Mozart, Beethoven, and Mendelssohn. The first
+orchestral work he heard was Beethoven's "Ninth Symphony," during its
+rehearsal under Spohr's direction. In 1860, being then in his nineteenth
+year, he obtained an engagement, with the meagre salary of one hundred
+and twenty-five dollars a year, as violinist in a band that played at
+cafes and dances. Two years later he secured a position in the Bohemian
+Opera House at Prague, then under the direction of Mayer, where he
+remained until 1871, in which year he left the theatre and devoted
+himself to teaching, with the prospect of earning two hundred and fifty
+dollars a year. These were hard days for the young musician; but while he
+was there struggling for a bare subsistence, he continued writing
+compositions, though he had no prospect of selling them or of having them
+played. About this time he wrote his "Patriotic Hymn" and the opera
+"Koenig und Koehler." The latter was rejected after an orchestral trial;
+but he continued his work, undaunted by failure. Shortly after this he
+received the appointment of organist at the Adelbert Church, Prague, and
+fortune began to smile upon him. His Symphony in F was laid before the
+Minister of Instruction in Vienna, and upon the recommendation of Herbeck
+secured him a grant of two hundred dollars. When Brahms replaced Herbeck
+on the committee which reported upon artists' stipends, he fully
+recognized Dvorak's ability, and not only encouraged him, but also
+brought him before the world by securing him a publisher and commending
+him to Joachim, who still further advanced his interests by securing
+performances of his works in Germany and England. Since that time he has
+risen rapidly, and is now recognized as one of the most promising of
+living composers. Among his works which have been produced during the
+past few years are the "Stabat Mater," the cantata "The Spectre's Bride,"
+three operas in the Czechist dialect, three orchestral symphonies,
+several Slavonic rhapsodies, overtures, violin and piano concertos, an
+exceedingly beautiful sextet, and numerous songs.
+
+
+                          The Spectre's Bride.
+
+The legend of the Spectre's Bride is current in various forms among all
+the Slavonic nations. The Russians, Servians, Slovaks, Lithuanians, and
+Poles all have poems in which the ghostly ride of the spectre and the
+maiden forms the theme. The German version, told by Buerger in his famous
+ballad "Lenore," is best known; and Raff has given it a musical setting
+in his Lenore Symphony. In general, the story is the same. The Spectre
+comes for his Bride and she rides away with him through the night, amid
+all manner of supernatural horrors, only to find at the end that she has
+ridden to the grave with a skeleton. The Bohemian poem used by Dvorak is
+that of Karel Jaromir Erben, a poet who obtained a national fame by
+making collections of the songs and legends of his country during his
+service as Secretary of the Royal Bohemian Museum and Keeper of the
+Archives at Prague. In his version, unlike the German, the Spectre and
+his Bride make their grewsome journey on foot. The _denouement_ in the
+churchyard differs also, as the maiden is saved by an appeal to the
+Virgin. In the opening scene she is represented gazing at a picture of
+the Virgin, mourning the death of her parents and the absence of her
+lover, who has failed to keep his promise to return. His parting words
+were:--
+
+  "Sow flax, my love, I counsel thee,
+  And every day remember me.
+  Spin in the first year, spin with care,
+  Bleach in the next the fabric fair;
+  Then garments make, when the years are three,
+  And every day remember me.
+  Twine I that year a wreath for thee;
+  We two that year shall wedded be."
+
+She has faithfully followed the counsel. The three years have expired,
+but still no tidings have come. As she appeals to the Virgin to bring him
+back, the picture moves, the flame of the lamp upleaps, there is an
+ominous knock at the door, and the voice of the apparition is heard
+urging her to cease praying and follow him to his home. She implores him
+to wait until the night is past, but the importunate Spectre bids her go
+with him, and she consents. On they speed over rough bowlders, through
+thorny brakes and swamps, attended by the baying of wolves, the
+screeching of owls, the croaking of frogs, and the fitful glow of
+corpse-candles. One by one he compels her to throw away her prayer-book,
+chaplet, and cross, and resisting all her appeals to stop and rest, at
+last they reach the churchyard wall. He calms her fears with the
+assurance that the church is his castle and the yard his garden, and bids
+her leap the wall with him. She promises to follow him, but after he has
+cleared it, sudden fear seizes her; she flies to a tiny house near by and
+enters. A ghastly scene takes place; spectres are dancing before the
+door, and the moonlight reveals to her a corpse lying upon a plank. As
+she gazes, horror-stricken, a knock is heard, and a voice bids the dead
+arise and thrust the living one out. Thrice the summons is repeated, and
+then as the corpse opens its eyes and glares upon her, she prays once
+more to the Virgin. At this instant the crowing of a cock is heard. The
+dead man falls back, the ghastly, spectral crew disappear, and night
+gives way to a peaceful morning.
+
+  "All who to Mass at morning went
+  Stood still in great astonishment;
+  One tomb there was to ruin gone,
+  And in the dead-house a maiden wan;
+  On looking round, amazed were they,
+  On every grave a garment lay.
+
+  "Well was it, maiden, that thy mind
+  Turned unto God, defence to find,
+  For He thy foes did harmless bind;
+  Had'st thou thyself, too, nothing done,
+  Ill with thy soul it then had gone;
+  Thy body, as the garments were,
+  Mangled had been, and scattered there."
+
+Such is the horrible story which forms the theme of Dvorak's cantata. It
+was written for the Birmingham Festival of 1884, and the text was
+translated by the Rev. Dr. Troutbeck, from a German translation of the
+original poem made by K. J. Mueller. It contains eighteen numbers, each of
+considerable length, of which eleven are descriptive, the barytone, with
+chorus response, acting the part of the narrator, and accompanied by
+instrumentation which vividly paints the horrors of the nocturnal tramp,
+even to the realistic extent of imitating the various sounds described.
+It is unnecessary to specify each of these numbers in detail, as they are
+all closely allied in color and general effect. The music which
+accompanies them is picturesque and weird, increasing in its power and
+actual supernaturalism until it reaches its climax in the dead-house
+where the maiden takes refuge; and in these numbers the orchestra bears
+the burden of the work. The remaining numbers are almost magical in their
+beauty and fascination, particularly the first song of the maiden,
+lamenting her lover, and closing with the prayer to the Virgin, which is
+thoroughly devotional music, and the second prayer, which saves her from
+her peril. There are four duets, soprano and tenor, between the Bride and
+Spectre, and one with chorus, in which are recounted the episodes of the
+chaplet, prayer-book, and cross, besides the hurried dialogue between
+them as he urges her on. These, too, abound in quaint rhythms and strange
+harmonies set against a highly-colored instrumental background. The story
+is not a pleasant one for musical treatment,--at least for voices,--and
+the prevailing tone of the composition is sombre; but of the wonderful
+power of the music and its strange fascination there can be no doubt.
+
+
+
+
+                                 FOOTE.
+
+
+Arthur Foote, a rising young composer of Boston, whose works have already
+made more than a local reputation, was born at Salem, Mass., March 5,
+1853. While at Harvard College he studied composition with Prof. J. K.
+Paine, and after graduation determined to devote himself to the musical
+profession. He studied the piano-forte and organ with Mr. B. J. Lang of
+Boston, and soon made his mark as a musician of more than ordinary
+promise. Among his published works which have attracted favorable
+attention are various songs and piano compositions; pieces for violin and
+piano, violoncello and piano; a string quartet; trio for piano, violin,
+and violoncello; and "Hiawatha," a ballad for male voices and orchestra.
+A suite for strings, in manuscript, has obtained the honor of performance
+at the London symphony concerts (January, 1887), and an overture, "In the
+Mountains," also in manuscript, was played by the Boston Symphony
+Orchestra in February, 1887. He is now living in Boston, where he is
+engaged in teaching the piano and organ.
+
+
+                                Hiawatha.
+
+"The Farewell of Hiawatha," for barytone solo, male voices, and
+orchestra, modestly styled by its composer a ballad, is a cantata in its
+lighter form. Its subject is taken from Longfellow's familiar poem, and
+includes the beautiful close of the legend beginning with the stanza:--
+
+  "From his place rose Hiawatha,
+  Bade farewell to old Nokomis,
+  Spake in whispers, spake in this wise,
+  Did not wake the guests, that slumbered."
+
+The composer has made use of the remainder of the poem without change,
+except in repetitions demanded by musical necessity and in the omission
+of the seven lines immediately preceding the final words of farewell,
+which does not mar the context. A short orchestral introduction, _andante
+con moto_, followed by a chorus of tenors and basses in a few bars,
+recitative in form and sung pianissimo, lead to a barytone solo for
+Hiawatha ("I am going, O Nokomis") of a quiet and tender character. A
+graceful phrase for the violoncello introduces another choral morceau
+relating Hiawatha's farewell to the warriors ("I am going, O my People")
+a melodious combination of sweetness and strength, though it only rises
+to a display of energy in the single phrase, "The Master of Life has sent
+them," after which it closes quietly, and tenderly, in keeping with the
+sentiment of the text. The remainder of the work is choral. The westward
+sail of Hiawatha into the "fiery sunset," "the purple vapors," and "the
+dusk of evening" is set to a very picturesque accompaniment, which dies
+away in soft strains as he disappears in the distance. An allegro
+movement with a crescendo of great energy introduces the farewell of "the
+forests dark and lonely," moving "through all their depths of darkness,"
+of the waves "rippling on the pebbles," and of "the heron, the
+Shuh-shuh-gah, from her haunts among the fen-lands." The last division of
+the chorus is an allegro, beginning pianissimo and closing with an
+exultant outburst:--
+
+  "Thus departed Hiawatha,
+  Hiawatha the Beloved,
+  In the glory of the sunset,
+  In the purple mists of evening,
+  To the regions of the home-wind,
+  Of the Northwest wind Keewaydin,
+  To the Islands of the Blessed,
+  To the kingdom of Ponemah,
+  To the land of the Hereafter!"
+
+The work, which was written for the Apollo Club of Boston, is not a long
+one, nor is it at all ambitious in style. The composer has evidently
+tried to reflect the quiet and tender sentiment of the farewell in his
+music, and has admirably succeeded. Poetic beauty is its most striking
+feature, both in the instrumental parts, which are well sustained, and in
+the vocal, which are earnest, expressive, and at times very pathetic, of
+this pretty tone-picture.
+
+
+
+
+                                  GADE.
+
+
+Niels W. Gade was born at Copenhagen, Oct. 22, 1817. His father was a
+musical-instrument maker and intrusted his early education to the Danish
+masters Wershall, Berggren, and Weyse. He made such good progress that he
+soon entered the royal orchestra of that city as a violinist and began to
+be known as a composer. His first important work, the overture
+"Nachklaenge von Ossian," obtained a prize from the Copenhagen Musical
+Union and also secured for him the favor of the King, who provided him
+with the means for making a foreign journey. Prior to starting he sent a
+copy of a symphony to Mendelssohn, which met with the latter's
+enthusiastic approval. He arrived at Leipsic in 1843, and after producing
+his first symphony with success, travelled through Italy, returning to
+Leipsic in 1844, where during the winter of that year he conducted the
+Gewandhaus concerts in the place of Mendelssohn, who was absent in
+Berlin. In the season of 1845-46 he assisted Mendelssohn in the same
+concerts, and after the latter's death became the principal director, a
+post which he held until 1848, when he returned to Copenhagen and took a
+position as organist, and also conducted the concerts of the Musical
+Union. In 1861 he was appointed Hofcapellmeister, and was honored with
+the title of Professor of Music. Since that time he has devoted himself
+to composition, and has produced many excellent works, especially for
+festivals in England and elsewhere. Among them are the cantatas "Comala,"
+"Spring Fantasie," "The Erl King's Daughter," "The Holy Night," "Spring's
+Message," "The Crusaders," and "Zion;" the overtures "In the Highlands,"
+"Hamlet," and "Michael Angelo;" seven symphonies, and a large number of
+songs and piano pieces, as well as chamber-music compositions.
+
+
+                                 Comala.
+
+"Comala," one of the earliest of Gade's larger vocal works, was first
+produced at Leipsic in March, 1843. Its subject is taken from Ossian, and
+relates the tragedy of "Comala," daughter of Sarno, King of Innistore,
+who had conceived a violent passion for Fingal, King of Morven. Her love
+is returned by the warrior, and disguised as a youth the princess follows
+him on his expedition against Caracul, King of Lochlin. On the day of the
+battle Fingal places her on a height, near the shore of the Carun, whence
+she can overlook the fight, and promises her if victorious that he will
+return at evening. Comala, though filled with strange forebodings,
+hopefully waits her royal lover's coming. As the tedious hours pass on a
+fearful storm arises, and amid the howling of the blast the spirits of
+the fathers sweep by her on their way to the battlefield to conduct to
+their home the souls of the fallen,--the same majestic idea which Wagner
+uses with such consummate power in his weird ride of the Valkyries.
+Comala imagines that the battle has been lost, and overcome with grief
+falls to the ground and dies. The victorious Fingal returns as evening
+approaches, accompanied by the songs of his triumphant warriors, only to
+hear the tidings of Comala's death from her weeping maidens. Sorrowing he
+orders the bards to chant her praises, and joining with her attendants to
+waft her departing soul "to the fathers' dwelling" with farewell hymns.
+
+The cantata is almost equally divided between male and female choruses,
+and these are the charm of the work. Many of the songs of Comala and her
+maids are in graceful ballad form, fresh in their melody, and marked by
+that peculiar refinement which characterizes all of Gade's music. The
+parting duet between Fingal and Comala is very beautiful, but the
+principal interest centres in the choruses. Those of the bards and
+warriors are very stately in their style and abound in dramatic power,
+particularly the one accompanying the triumphal return of Fingal. The
+chorus of spirits is very impressive, and in some passages almost
+supernatural. The female choruses, on the other hand, are graceful,
+tender, and pathetic; the final full chorus, in which the bards and
+maidens commend the soul of Comala to "the fathers' dwelling," has rarely
+been surpassed in beauty or pathos. The music of the cantata is in
+keeping with the stately grandeur and richly-hued tones of the Ossianic
+poem. The poetry and music of the North are happily wedded.
+
+
+                            Spring Fantasie.
+
+Though the "Spring Fantasie" is in undoubted cantata form, Gade
+designates it as a "Concertstueck;" that is, a musical composition in
+which the instrumental parts are essential to its complete unity. Its
+origin is unquestionably to be found in the idea of Beethoven's "Choral
+Fantasie," which was subsequently developed in the choral symphony on a
+still larger and grander scale. The instrumental elements of the "Spring
+Fantasie" are unquestionably the most prominent. They do not play the
+subordinate part of accompaniment, but really enunciate the ideas of the
+poem, which are still further illustrated by the voices, acting as the
+interpreters of the meaning of the instrumentation.
+
+The "Fantasie" was written in 1850, its subject being a poem by Edmund
+Lobedanz, which of itself might appropriately be called a fantasy. The
+work consists of four movements, for four solo voices, orchestra, and
+piano-forte. The prominence which Gade has given to the instrumental
+parts is shown by his characterizing the movements,--I. _Allegro moderato
+e sostenuto_; II. _Allegro molto e con fuoco_; III. _Allegro vivace_. The
+poem in the original is one of more than ordinary excellence. The
+translation in most common use is one made by Mrs. Vander Weyde for a
+performance of the work in London in 1878 at the Royal Normal College and
+Academy of Music for the Blind, under the direction of Herr von Buelow.
+
+The first movement is in the nature of an invocation to spring, in which
+the longing for May and its flowers is very tenderly expressed. The
+second movement depicts with great vigor the return of the wintry storms,
+the raging of the torrents, the gradual rolling away of the clouds, the
+approach of more genial breezes, and the rising of the star, typifying
+"the joy of a fair maiden's love." The closing movement is full of
+rejoicing that the spring has come. Voices and instruments share alike in
+the jubilation:--
+
+  "For the spring-time has come, the May is here,
+  On hill and in vale all is full of delight.
+  How sweet is the spring-time, how lovely and bright,--
+  Its kingdom is over us all."
+
+
+                        The Erl King's Daughter.
+
+"The Erl King's Daughter" was written in 1852. Its story differs from
+that told in Goethe's famous poem, and set to music equally famous by
+Schubert in his familiar song. In Goethe's poem the father rides through
+the night clasping his boy and followed by the Erl King and his
+daughters, who entice the child unseen by the parent. In vain he assures
+him that the Erl King's voice is but the "sad wind sighing through the
+withered leaves," that his train is but the mist, and that his daughters
+are the aged gray willows deceiving his sight. The boy at first is
+charmed with the apparition, but cries in mortal terror as the Erl King
+seizes him, while the father gallops at last into the courtyard, only to
+find his child dead in his arms.
+
+In the poem used by Gade it is the Erl King's daughter who tempts a
+knight to his death. The prologue relates that Sir Oluf at eve stayed his
+steed and rested beneath the alders by the brook, where he was visited by
+two of the daughters, one of whom caressed him while the other invited
+him to join their revels. At sound of the cock-crow, however, they
+disappeared. It was the eve of Sir Oluf's wedding day. He arrives home in
+a distraught condition, and in spite of his mother's appeals decides to
+return to the alder grove in quest of the beauties who had bewitched him.
+He finds the alder-maids dancing in the moonlight, singing and beckoning
+him to join them. One of the fairest tempts him with a silken gown for
+the bride and silver armor for himself. When he refuses to dance with
+her, she seizes him by the arm and predicts his death on the morrow
+morning. "Ride home to your bride in robe of red," she cries as he
+hastens away. In the morning the mother anxiously waits his coming, and
+at last beholds him riding desperately through "the waving corn." He has
+lost his shield and helmet, and blood drips from his stirrups. As he
+draws rein at the door of the castle he drops dead from his saddle. A
+brief epilogue points the moral of the story in quaint fashion. It is to
+the effect that knights who will on horseback ride should not like Oluf
+stay in elfin groves with elfin maidens till morning. It is unnecessary
+to specify the numbers in detail; as with the exception of the
+melodramatic finale, where the music becomes quite vigorous, it is all of
+the same graceful, flowing, melodic character, and needs no key to
+explain it to the hearer.
+
+
+                             The Crusaders.
+
+"The Crusaders" is one of the most powerful as well as beautiful of
+modern cantatas. It was written for performance in Copenhagen in 1866,
+and ten years later was produced at the Birmingham Festival, under the
+composer's direction. It is divided into three parts, and its story may
+be told in a word. Its theme is the same as that which Wagner has treated
+in "Lohengrin" and in "Taennhauser,"--the conflict of the human soul with
+the powers of darkness, sensual beauty and sorcery, and its final
+triumph. It is the story of the temptation of Rinaldo d'Este, the bravest
+of the Crusaders, by Armida and her sirens, who at last calls upon the
+Queen of Spirits to aid them in their hopeless task, the thwarting of the
+powers of evil, and the final triumph before Jerusalem.
+
+The first part opens with a chorus of pilgrims and women in the band of
+the Crusaders, expressive of the weariness and sufferings they have
+endured in their long wanderings, the end of which still appears so far
+away. As the beautiful music dies away, the inspiring summons of Peter
+the Hermit is heard, leading up to the Crusaders' song,--a vigorous,
+war-like melody, full of manly hope and religious fervor. An evening
+prayer of pious longing and exalted devotion closes this part.
+
+The second part is entitled "Armida," and introduces the evil genius of
+the scene. A strange, mysterious orchestral prelude indicates the baneful
+magic of the sorcerer's wiles. In a remarkably expressive aria, Armida
+deplores her weakness in trying to overcome the power of the cross. As
+she sees Rinaldo, who has left his tent to wander for a time in the night
+air, she calls to the spirits to obey her incantation:--
+
+              "Cause a palace grand to rise,
+              Let a sea before it glimmer.
+              In the walls of richest gold
+              Let the purest diamonds shimmer;
+              Round the fountains' pearly rim,
+              Where bright the sunbeams are glancing,
+              Plashing low and murmuring sweet,
+              Set the merry wavelets dancing.
+  In yon hedge of roses where fairies rock in softest dreaming,
+  Fays and elfins bid appear, and sirens float in waters dreaming.
+              All around let music ring,
+              Fill the air with sweetest singing;
+              Lure them on with magic power,
+              To our midst all captive bringing.
+              Sing remembrance from their hearts,
+              Till they bow, my will fulfilling;
+              Make them every thought forego,
+              Every wish, save mine own, stilling."
+
+After another invocation of the spirits, the sirens appear, singing a
+sensuous melody ("I dip my white Breast in the soft-flowing Tide"). Then
+begins the temptation of the wandering Knight. He starts in surprise as
+he hears the voices rising from the waves, and again they chant their
+alluring song. They are followed by Armida, who appeals to him in a
+seductive strain ("O Rinaldo, come to never-ending Bliss"). The Knight
+joins with her in a duet of melodious beauty. He is about to yield to the
+temptation, when he hears in the distance the tones of the Crusaders'
+song. He wavers in his resolution, Armida and the sirens appeal to him
+again, and again he turns as if he would follow them. The Crusaders' song
+grows louder, and rouses the Knight from the spell which has been cast
+about him, and the scene closes with a beautifully concerted number, in
+which Rinaldo, Armida, the chorus of Crusaders and of sirens contend for
+the mastery. The fascination of the Crusaders' song is the strongest. The
+cross triumphs over the sorceress, and in despair she sings,--
+
+  "Sink, scenes illusive, deep in dark abyss of doom!
+  The light of day is turned to blackest night of gloom."
+
+The third part, entitled "Jerusalem," is religious in character, and
+mostly choral. In rapid succession follow the morning hymn with beautiful
+horn accompaniment, the march of the Pilgrims full of the highest
+exaltation, the hermit's revelation of the Holy City to them, their
+joyous greeting to it, Rinaldo's resolution to expiate his offence by his
+valor, the hermit's last call to strife, their jubilant reply, and the
+final victory:--
+
+  "As our God wills it. Up, arouse thee!
+  Up! yon flag with hope endows thee.
+  Jerusalem! the goal is there.
+  We cry aloud, 'Hosanna!'"
+
+
+
+
+                               GILCHRIST.
+
+
+William W. Gilchrist, the American composer, was born at Jersey City, N.
+J., in 1846. He began his studies with H. A. Clarke, professor of music
+in the University of Pennsylvania. In 1872 he accepted the position of
+organist at the New Jerusalem Church in Cincinnati, Ohio, and was also
+appointed teacher in the Conservatory of Miss Bauer. A year later he
+returned to Philadelphia, where he has since resided. During this time he
+has done a great work for music in that city, having been conductor of
+several societies. He has been the recipient of honors on many occasions,
+having obtained several prizes from the Philadelphia Art Society and
+others for his compositions. In 1880 he contended for the prize offered
+by the Cincinnati Musical Festival Association, but stood third on the
+list, Dudley Buck being first and George E. Whiting second. In 1882 he
+made another trial for the Association's prize, and was successful; the
+committee, consisting of Carl Reinecke of Leipsic, M. Saint-Saens of
+Paris, and Theodore Thomas of New York, making him the award.
+
+
+                         The Forty-sixth Psalm.
+
+The composition referred to in the sketch of Mr. Gilchrist's life which
+secured for him the Cincinnati prize in 1882 was "The Forty-sixth Psalm."
+The composer's own analysis of the work, furnished at the time, is
+appended:--
+
+  "The composition is a setting of the Forty-sixth Psalm for soprano
+  solo, chorus, orchestra, and organ, and has four principal divisions
+  exclusive of an introduction, each following the other without pause,
+  and connected by a gradual decrescendo in the orchestra. The opening of
+  the Psalm seemed to me to indicate a strong outburst of praise or of
+  thanksgiving for a deliverance from trials, which the introduction is
+  intended to convey. But instead of beginning with a strong outburst, I
+  lead up to it from a very subdued beginning, working gradually to a
+  climax at the entrance of the chorus on the words, 'God is our refuge
+  and our strength.' The opening movement of the chorus becomes a little
+  subdued very shortly as it takes up the words, 'A very present help in
+  trouble,' which is followed again by an _allegro con fuoco_ movement on
+  the words, 'Therefore we will not fear though the earth be removed,
+  though the mountains be carried into the midst of the sea.' This
+  movement leads into still another, a furioso movement on the words,
+  'Though the waters thereof roar, though the mountains shake with the
+  swelling thereof.' This is followed by an elaborate coda, in which all
+  the themes of the preceding movement are worked together, and which
+  brings the chorus to a close.
+
+  The second division, in E major, is marked by an _andante
+  contemplativo_ on the words, 'There is a river the streams whereof
+  shall make glad the city of God.' This movement is intended to be one
+  of tranquillity, varied with occasional passionate outbursts on the
+  words, 'God is in the midst of her; she shall not be moved.' A peculiar
+  rhythmical effect is sought by the alternation of 4/4 and 3/4 time,
+  three bars of the first being answered by two bars of the second. This
+  movement ends very tranquilly on the words, 'God shall help her, and
+  that right early,' and is immediately followed by an _allegro molto_,
+  in B minor, on the words, 'The heathen raged, the kingdoms were moved;
+  he uttered his voice, the earth melted.' In the middle of this chorus
+  the soprano solo enters for the first time on the words, 'He maketh
+  wars to cease unto the end of the earth; He breaketh the bow and
+  cutteth the spear in sunder.' The chorus works up to a strong climax on
+  the words, 'He burneth the chariot with fire,' which is suddenly
+  interrupted by a decrescendo on the words, 'Be still, and know that I
+  am God.'
+
+  This leads to the third division, which is a return of the second
+  division in E major, and which is played through almost entirely by the
+  orchestra, the chorus merely meditating on the words last quoted. This
+  leads to the final chorus, which is a fugue, in E major, with _alla
+  breve_ time, on the words, 'And the Lord of Hosts is with us; the God
+  of Jacob is our refuge,' towards the close of which a _Gloria Patri_ is
+  introduced, being woven in with fragments of the fugue to a strong
+  climax. The whole composition finishes with an impetuous accelerando.
+  My central idea was to make a choral and orchestral work, the solo,
+  while requiring a good singer, being only secondary. The Psalm seemed
+  to me particularly adapted for musical composition, as being capable of
+  a varied, even dramatic effect."
+
+
+
+
+                                GLEASON.
+
+
+Frederick Grant Gleason was born at Middletown, Conn., Dec. 17, 1848. He
+inherited the love of music from his parents,--his father having been a
+flutist and his mother an alto singer and pianist. In his sixteenth year
+he showed a decided talent for composition; and two of his works, an
+oratorio, "The Captivity," and a Christmas oratorio, though crudely
+written, gave such promise that he was placed under the tuition of Dudley
+Buck, with whom he studied the piano and composition. He made such rapid
+progress that his parents were induced to send him to Germany, where he
+at once entered the Leipsic Conservatory. Moscheles taught him the piano,
+and Richter harmony, and he also took private lessons from Plaidy and
+Lobe. In 1870 he went to Berlin, where he continued his piano studies
+with Raif, a pupil of Tausig, and his tuition in harmony with Weitzmann.
+After a visit home he went to England and resumed lessons on the piano
+with Berringer, another pupil of Tausig, and also studied English music.
+He subsequently made a second visit to Berlin, and improved his time by
+studying theory with Weitzmann, the piano with Loeschorn, and the organ
+with Haupt. During this visit he also issued a valuable work entitled
+"Gleason's Motet Collection." After the completion of his studies he
+returned home and accepted the position of organist at one of the
+Hartford churches. In 1876 he removed to Chicago and engaged as teacher
+in the Hershey School of Musical Art. At present he is still occupied in
+teaching and also fills the position of musical critic for the "Tribune"
+of that city. During these years his pen has been very busy, as the list
+of his compositions shows. Among his principal works are two operas,
+still in manuscript,--"Otho Visconti" and "Montezuma;" the cantatas "God
+our Deliverer," "The Culprit Fay," and "Praise of Harmony;" and several
+trios, sonatas, and other works for the chamber, as well as many songs.
+The selections from his operas which have been played by the Thomas
+orchestra show that they are compositions of unusual excellence and
+scholarship.
+
+
+                            The Culprit Fay.
+
+"The Culprit Fay," a musical setting of Joseph Rodman Drake's well-known
+fairy poem, was written in 1879. It is divided into three parts,--the
+first containing five, the second five, and the third eight numbers; the
+solos being divided among soprano, alto, tenor, and barytone, the last
+named taking the part of the Fairy King. The exquisitely graceful fairy
+story told in the poem is too well known to need description. It is
+admirably adapted to music by its rhythmic fluency as well as by the
+delicacy of its poetical sentiment; and while it does not call for
+earnestness or strength in any of its movements, there is ample
+opportunity for melodious and attractive pictures in tone of the dainty
+descriptions of the poet. The composer has improved these opportunities
+with much skill, and, notwithstanding the intrinsic lightness of the
+score, has secured musical unity and poetical coherence by the artistic
+use of the _leit-motif_. Nine of these motives are employed,
+characterizing the summer night, the elfin mystery, the life of the
+fairies, the fay's love for the mortal maid, the penalty for this
+violation of fairy law, night on the river, the spells of the water imps,
+the penalties imposed upon the culprit, and the Sylphide Queen's passion
+for the Fay. The skilfulness with which these motives are adapted to
+characters and situations, and interwoven with the general movement in
+their proper recurrence, shows that the composer has not studied Wagner,
+the master of the _leit-motif_, in vain.
+
+After a short introduction for the horns and strings, the cantata opens
+with a full chorus of graceful, flowing character ("'Tis the Middle Watch
+of a Summer's Night") describing the moonlight scene about "Old Cro'
+Nest." It is followed by the mystery motive announcing a weird alto solo,
+"'Tis the Hour of Fairy Ban and Spell." It is the summons of the sentry
+elf, ringing the hour of twelve, indicated in the score by the triangle,
+and calling the fairies to confront the culprit. A stirring and blithe
+instrumental introduction, followed by a short chorus ("They come from
+Beds of Lichen green"), describes the gathering of the fays, retarded at
+the close, and growing sombre as it is announced that "an ouphe has
+broken his vestal vow." A tenor solo ("He has loved an earthly Maid")
+tells the sad story of the guilty one who "has lain upon her lip of dew"
+and "nestled on her snowy breast." They gather about to hear his doom,
+and do not have to wait long; for the tenor song leads without break to a
+barytone solo, in recitative form, by the Fairy King ("Fairy, Fairy, list
+and mark"), pronouncing the penalties he must pay for his
+transgression,--the catching of a drop from the sturgeon's silver bow to
+wash away the stain on his wings, and the relighting of his flamewood
+lamp by the last faint spark in the train of a shooting star.
+
+A graceful chorus ("Soft and pale is the moony Beam") opens the second
+part, picturing the scene upon the strand bordering the elfin land; and
+the leaps of the sturgeon, followed by a tenor solo and recitative
+describing the sorrow of the lonely sprite and his desperate effort to
+push his mussel-shell boat down to the verge of the haunted land. The
+alto, which does all the mystery work, goes on with the description of
+the vain attempt of the river imps to wreck his frail craft, and his
+discovery and pursuit of the sturgeon; then there is a pause. The full
+chorus, in a quick movement, pictures the pretty scene of the sturgeon's
+leap, the arch of silver sheen, and the puny goblin waiting to catch the
+drop. The tenor recitative announces his success, and a full jubilant
+chorus of the sprites ("Joy to thee, Fay! thy Task is done") bids him
+hasten back to the elfin shore.
+
+The third part opens with a full chorus, very animated in its progression
+("Up to the Cope, careering swift"), describing the ride of the Fay past
+the sphered moon and up to the bank of the Milky Way, where he checks his
+courser to wait for the shooting star. In the next number, a short
+recitative, the alto has a more grateful task; this time it is the
+graceful sylphs of heaven who appear, weaving their dance about the Fay,
+and leading him on to the palace of the Sylphide Queen. It is followed by
+two charming soprano solos,--the one descriptive of her beauty as she
+listens to the story of the Fay, and the other ("O Sweet Spirit of
+Earth") of her sudden passion and the tempting inducements by which she
+seeks to make him forget the joys of fairy-land. Once more the tenor, who
+plays the part of narrator, enters, and in solo and recitative assures us
+how like a brave homunculus the Fay resisted her blandishments. A very
+vigorous and descriptive chorus, as fast as can be sung, pictures the Fay
+careering along on the wings of the blast up to the northern plain, where
+at length a star "bursts in flash and flame." The tenor announces his
+second success, and the final chorus ("Ouphe and Goblin! Imp and Sprite")
+sings his welcome back in an animated manner, beginning with a moderate
+movement which constantly accelerates and works up to a fine climax;
+after which--
+
+  "The hill-tops glow in morning's spring,
+  The skylark shakes his dappled wing,
+  The day glimpse glimmers on the lawn,
+  The cock has crowed and the fays are gone."
+
+
+                       The Praise Song to Harmony.
+
+"The Praise Song to Harmony," written in 1886, is a musical setting of a
+poem of the same name by David Ebeling, a German poet who lived in the
+latter part of the eighteenth century. The composition is in a strict
+sense a symphonic cantata, somewhat in the manner of Mendelssohn's "Hymn
+of Praise," being prefaced with a symphonic allegro in the classical form
+which is written in a very scholarly manner and displays great skill in
+thematic treatment.
+
+The cantata proper opens with a short introduction, consisting of massive
+chord foundations for the full orchestra, connected by a figure for the
+strings, ushering in a chorus for male voices ("Hail thee, O Harmony,
+offspring of Heaven"). The words contain a description of the creation of
+worlds and of music, as the song of stars unites with the angel chorus in
+praise of the Almighty. At the close of this number begins a choral theme
+for trumpets, horns, and trombones, followed by strings and woodwinds,
+and introducing a soprano recitative ("With Grace, thy Gaze, O Harmony")
+descriptive of the blessing brought into the world by music, followed by
+a picture of the misery of the race without its consolation. At the close
+the brasses give out a solemn march-like theme. A short chorus ("Joy to
+us! Again descending, thou Heavenly One") describes the might of song. A
+brief orchestral interlude follows, preparing the entrance of a barytone
+solo with chorus ("Blessed Comforter in Grief"). The work closes with a
+partial repetition of the opening chorus, with a more elaborate and
+brilliant figural accompaniment, in the course of which the march-like
+subject is heard again in the brasses. At the end the strings maintain a
+tremolo while the rest of the orchestra presents a passage with varied
+harmonies. The opening theme of the cantata, though not a repetition,
+bears a strong analogy to the introduction of the symphony movement.
+
+
+
+
+                                 HANDEL.
+
+
+George Frederick Handel was born at Halle, in Lower Saxony, Feb. 23,
+1685, and like many another composer revealed his musical promise at a
+very early age, only to encounter parental opposition. His father
+intended him to be a lawyer; but Nature had her way, and in spite of
+domestic antagonism triumphed. The Duke of Saxe-Weissenfels recognized
+his ability and overcame the father's determination. Handel began his
+studies with Zachau, organist of the Halle cathedral. After the death of
+his father, in 1697, he went to Hamburg, and for a time played in the
+orchestra of the German opera. It was during his residence in that city
+that he wrote his first opera, "Almira" (1705). In the following year he
+went to Italy, where he remained several months under the patronage of
+the Grand Duke of Florence. During the next two years he visited Venice,
+Rome, and Naples, and wrote several operas and minor oratorios. In 1709
+he returned to Germany, and the Elector of Hanover, subsequently George
+I. of England, offered him the position of capellmeister, which he
+accepted upon the condition that he might visit England, having received
+many invitations from that country. The next year he arrived in London
+and brought out his opera of "Rinaldo," which proved a great success. At
+the end of six months he was obliged to return to his position in
+Hanover; but the English success made him impatient of the dulness of the
+court. In 1712 he was in London again, little dreaming that the Elector
+would soon follow him as king. Incensed with him for leaving Hanover, the
+King at first refused to receive him; but some music which Handel
+composed for an aquatic fete in his honor brought about the royal
+reconciliation. In 1718 he accepted the position of chapel-master to the
+Duke of Chandos, for whom he wrote the famous Chandos Te Deum and
+Anthems, the serenata "Acis and Galatea," and "Esther," his first English
+oratorio. In 1720 he was engaged as director of Italian opera by the
+society of noblemen known as the Royal Academy of Music, and from that
+time until 1740 his career was entirely of an operatic character. Opera
+after opera came from his pen. Some were successful, others failed. At
+first composer, then director, he finally became _impresario_, only to
+find himself confronted with bitter rivalry, especially at the hands of
+Bononcini and Porpora. Cabals were instituted against him. Unable to
+contend with them alone, he formed a partnership with Heidegger,
+proprietor of the King's Theatre, in 1729. It was broken in 1734, and he
+took the management of Covent Garden. The Italian conspiracies against
+him broke out afresh. He failed in his undertaking and became a bankrupt.
+Slanders of all sorts were circulated, and his works were no longer well
+received. In the midst of his adversity sickness overtook him, ending
+with a partial stroke of paralysis. When sufficiently recovered he went
+to the Continent, where he remained for a few months. On his return to
+London he brought out some new works, but they were not favorably
+received. A few friends who had remained faithful to him persuaded him to
+give a benefit concert, which was a great success. It inspired him with
+fresh courage; but he did not again return to the operatic world.
+Thenceforward he devoted himself to oratorio, in which he made his name
+famous for all time. He himself said: "Sacred music is best suited to a
+man descending in the vale of years." "Saul" and the colossal "Israel in
+Egypt," written in 1740, head the list of his wonderful oratorios. In
+1741 he was invited to visit Ireland. He went there in November, and many
+of his works were produced during the winter and received with great
+enthusiasm. In April, 1742, his immortal "Messiah" was brought out at
+Dublin. It was followed by "Samson," "Joseph," "Semele," "Belshazzar,"
+and "Hercules," which were also successful; but even in the midst of his
+oratorio work his rivals did not cease their conspiracies against him,
+and in 1744 he was once more a bankrupt. For over a year his pen was
+idle. In 1746 the "Occasional Oratorio" and "Judas Maccabaeus" appeared,
+and these were speedily followed by "Joshua," "Solomon," "Susanna,"
+"Theodora," and "Jephthah." It was during the composition of the
+last-named work that he was attacked with the illness which finally
+proved fatal. He died April 14, 1759, and was buried in Westminster
+Abbey. During the last few days of his life he was heard to express the
+wish that "he might breathe his last on Good Friday, in hopes of meeting
+his good God, his sweet Lord and Saviour, on the day of His
+resurrection." The wish was granted him; for it was on Good Friday that
+he passed away, leaving behind him a name and fame that will be cherished
+so long as music retains its power over the human heart.
+
+
+                            Acis and Galatea.
+
+The first idea of Handel's famous pastoral, "Acis and Galatea," is to be
+found in a serenata, "Aci, Galatea, e Polifemo," which he produced at
+Naples in July, 1708. The plan of the work resembles that of the later
+pastoral, though its musical setting is entirely different.[21] Little
+was known of it however until nearly a quarter of a century afterwards,
+when the composer revived portions of it in one of his London concerts,
+as will shortly be seen.
+
+In 1718 Handel entered the service of James, Duke of Chandos, as
+chapel-master, succeeding Dr. Pepusch. His patron had accumulated an
+immense fortune and spent it in a princely manner. He had built a marble
+palace, at an enormous expense, at Cannons in Middlesex, where he lived
+in almost regal state. It was the chapel attached to this mansion over
+which Handel was called to preside, and there were ready for his use a
+large choir, a band of instrumental performers, and a fine organ. The
+anthems and services of his predecessor were laid aside, and that year
+Handel's busy pen supplied two new settings of the Te Deum and the twelve
+Chandos Anthems, which are really cantatas in form. His first English
+opera, "Esther," was also composed at Cannons, and was followed by the
+beautiful pastoral which forms the subject of this sketch. "Esther" was
+first performed Aug. 20, 1720, and it is generally agreed that "Acis and
+Galatea" followed it in the same year, though Schoelcher in his biography
+assigns 1721 as the date. Nine characters are contained in the original
+manuscript,--Galatea, Clori, and Eurilla, sopranos; Acis, Filli, Dorinda,
+and Damon, altos; Silvio, tenor; and Polifemo, bass.
+
+After this private performance the pastoral was not again heard from
+until 1731-32, when it was given under peculiar circumstances. On the
+13th of March, 1731, it was performed for the benefit of one Rochetti,
+who took the role of Acis; but with this representation Handel had
+nothing to do. The act of piracy was repeated in the following year, when
+Mr. Arne, father of Dr. Arne the composer, and the lessee of the Little
+Theatre in the Haymarket, announced its performance as follows:--
+
+  "At the new theatre in the Haymarket, on Thursday next, 11th May, will
+  be performed in English a pastoral opera called 'Acis and Galatea,'
+  with all the choruses, scenes, machines, and other decorations, etc.
+  (as before), being the first time it was ever performed in a theatrical
+  way. The part of Acis by Mr. Mourtier, being the first time of his
+  appearance in character on any stage; Galatea, Miss Arne.[22] Pit and
+  boxes, 5_s._"
+
+Handel had taken no notice of the 1731 performance; but this
+representation, given at a theatre directly opposite the one of which he
+was manager, roused his resentment, though piracy of this kind was very
+common in those days. He determined to outdo the manager "over the way."
+On the 5th of June he announced in the "Daily Journal":--
+
+  "In the King's Theatre in the Haymarket, the present Saturday, being
+  the 10th of June, will be performed a serenata called 'Acis and
+  Galatea,' formerly composed by Mr. Handel, and now revised by him, with
+  several additions, and to be performed by a great number of the best
+  voices and instruments. There will be no action on the stage,[23] but
+  the scene will represent in a picturesque manner a rural prospect, with
+  rocks, groves, fountains, and grottos, among which will be disposed a
+  chorus of nymphs and shepherds; the habits, and every other decoration,
+  suited to the subject. Also on the 13th, 17th, 20th. The libretto
+  printed for J. Watts, in three acts."
+
+The rival establishment had produced the work as it was originally given
+at Cannons; but as intimated in his advertisement, Handel made additions,
+interpolating a number of airs and choruses from the serenata which he
+had composed at Naples, thus requiring the work to be sung both in
+Italian and English,--a polyglot practice from which our own times are
+not exempt. The part of Acis was sung by Senesino, a male soprano;
+Galatea by Signora Strada; and Polyphemus by Montagnana. The other
+parts--Clori and Eurilla sopranos, Filli and Dorinda contraltos, and
+Silvio tenor--were also represented. It was performed eight times in
+1732, and was brought out in the same form at Oxford in 1733; but in 1739
+Handel restored it to its original shape as it had been given at Cannons.
+It is now generally performed in two parts with the three characters
+Galatea, Acis, and Polyphemus, and choruses of nymphs and shepherds.
+
+The pretty pastoral will always possess more than ordinary interest, as
+four celebrated poets are represented in the construction of the poem.
+Gay wrote the most of it. It also contains a strophe by Hughes, a verse
+by Pope,[24] and an extract from Dryden's translation of the Galatea myth
+in the Metamorphoses of Ovid.[25] The story is based on the seventh fable
+in the thirteenth book of the Metamorphoses,--the sad story which
+Galatea, daughter of Nereus, tells to Scylla. The nymph was passionately
+in love with the shepherd Acis, son of Faunus and of the nymph Symoethis,
+and pursued him incessantly. She too was pursued by Polyphemus, the
+one-eyed Cyclops of AEtna, contemner of the gods. One day, reclining upon
+the breast of Acis, concealed behind a rock, she hears the giant pouring
+out to the woods and mountains his story of love and despair: "I, who
+despise Jove and the heavens and the piercing lightnings, dread thee,
+daughter of Nereus; than the lightnings is thy wrath more dreadful to me.
+But I should be more patient under these slights if thou didst avoid all
+men. For why, rejecting the Cyclop, dost thou love Acis? And why prefer
+Acis to my embraces?" As he utters these last complaints, he espies the
+lovers. Then, raging and roaring so that the mountains shook and the sea
+trembled, he hurled a huge rock at Acis and crushed him. The shepherd's
+blood gushing forth from beneath the rock was changed into a river; and
+Galatea, who had fled to the sea, was consoled.
+
+The overture to the work, consisting of one movement, is thoroughly
+pastoral in its style and marked by all that grace and delicacy which
+characterize the composer's treatment of movements of this kind. It
+introduces a chorus ("O the Pleasures of the Plains!") in which the easy,
+careless life of the shepherds and their swains is pictured. Galatea
+enters seeking her lover, and after the recitative, "Ye verdant Plains
+and woody Mountains," relieves her heart with an outburst of melodious
+beauty:--
+
+  "Hush, ye pretty warbling choir!
+        Your thrilling strains
+        Awake my pains
+        And kindle fierce desire.
+  Cease your song and take your flight;
+  Bring back my Acis to my sight."
+
+Acis answers her, after a short recitative, with another aria equally
+graceful ("Love in her Eyes sits playing and sheds delicious Death"). The
+melodious and sensuous dialogue is continued by Galatea, who once more
+sings:--
+
+  "As when the dove
+  Laments her love
+  All on the naked spray;
+  When he returns
+  No more she mourns,
+  But loves the live-long day.
+  Billing, cooing,
+  Panting, wooing,
+  Melting murmurs fill the grove,
+  Melting murmurs, lasting love."--
+
+Then in a duet, sparkling with the happiness of the lovers ("Happy We"),
+closing with chorus to the same words, this pretty picture of ancient
+pastoral life among the nymphs and shepherds comes to an end.
+
+In the second part there is another tone both to scene and music. The
+opening chorus of alarm ("Wretched Lovers") portends the coming of the
+love-sick Cyclops; the mountains bow, the forests shake, the waves run
+frightened to the shore as he approaches roaring and calling for "a
+hundred reeds of decent growth," that on "such pipe" his capacious mouth
+may play the praises of Galatea. The recitative, "I melt, I rage, I
+burn," is very characteristic, and leads to the giant's love-song, an
+unctuous, catching melody almost too full of humor and grace for the
+fierce brute of AEtna:--
+
+  "O ruddier than the cherry!
+  O sweeter than the berry!
+      O nymph more bright
+      Than moonshine night,
+  Like kidlings, blithe and merry.
+
+  "Ripe as the melting cluster,
+  No lily has such lustre.
+      Yet hard to tame
+      As raging flame,
+  And fierce as storms that bluster."
+
+In marked contrast with this declaration follows the plaintive tender
+song of Acis ("Love sounds the Alarm"). Galatea appeals to him to trust
+the gods, and then the three join in a trio ("The Flocks shall leave the
+Mountain"). Enraged at his discomfiture, the giant puts forth his power.
+He is no longer the lover piping to Galatea and dissembling his real
+nature, but a destructive raging force; and the fragment of mountain
+which he tears away buries poor Acis as effectually as AEtna sometimes
+does the plains beneath. The catastrophe accomplished, the work closes
+with the sad lament of Galatea for her lover ("Must I my Acis still
+bemoan?") and the choral consolations of the shepherds and their
+swains:--
+
+  "Galatea, dry thy tears,
+  Acis now a god appears;
+  See how he rears him from his bed!
+  See the wreath that binds his head!
+  Hail! thou gentle murmuring stream;
+  Shepherds' pleasure, Muses' theme;
+  Through the plains still joy to rove,
+  Murmuring still thy gentle love."
+
+
+[21] The superior attractions of the English serenata will probably
+    prevent the earlier work from ever becoming a popular favorite; more
+    especially since the role of Polifemo needs a bass singer with a
+    voice of the extraordinary compass of two octaves and a
+    half.--_Rockstro's Life of Handel_.
+
+[22] Miss Arne, afterwards Mrs. Cibber, enjoyed, under the latter name, a
+    great reputation as a singer. Her husband was Theophilus Cibber, the
+    brother of Colley Cibber, a poet laureate in the reign of George
+    II.--_Schoelcher's Life of Handel_.
+
+[23] This undoubtedly is the manner in which this charming little piece
+    ought to be performed. It is a dramatic poem, but not an acting play,
+    and the incidents are such as cannot be represented on the stage. A
+    few years ago another attempt was made to perform it as an opera, but
+    without success. Polyphemus is entirely an ideal character, and any
+    attempt to personate him must be ridiculous; and the concluding
+    scene, in which the giant throws a huge rock at the head of his
+    rival, produced shouts of merriment. "Acis and Galatea" is performed
+    in an orchestra in the manner in which oratorios are performed; but
+    its effect would certainly be heightened by the picturesque scenery
+    and decorations employed by Handel himself.--_Hogarth's Musical
+    Drama_.
+
+[24]
+      "Not showers to larks so pleasing,
+        Not sunshine to the bee,
+      Not sleep to toil so easing,
+        As these dear smiles to me."
+
+[25]
+      "Help! Galatea! Help, ye parent gods!
+      And take me dying to your deep abodes."
+
+
+                           Alexander's Feast.
+
+Handel composed the music for Dryden's immortal ode in 1736. In the
+original score the close of the first part is dated January 5, and the
+end of the work January 17, showing rapid composition. Three years before
+this time he had had a violent quarrel with Senesino, his principal
+singer at the opera-house in the Haymarket, which led to his abandonment
+of the theatre and its occupancy by his rival, Porpora. After an
+unsuccessful attempt to compete with the latter, which nearly bankrupted
+him in health and purse, he decided to quit opera altogether. He sought
+relief for his physical ailments at Aix-la-Chapelle, and upon his return
+to London in October, 1735, publicly announced that "Mr. Handel will
+perform Oratorios and have Concerts of Musick this Winter at Covent
+Garden Theatre." One of the first works for these concerts was
+"Alexander's Feast," completed, as stated above, Jan. 17, 1736. The poem
+was prepared by Newburgh Hamilton, who says in his preface:--
+
+  "I determined not to take any unwarrantable liberty with the poem,
+  which has long done honor to the nation, and which no man can add to or
+  abridge in anything material without injuring it. I therefore confined
+  myself to a plain division of it into airs, recitatives or choruses,
+  looking upon the words in general so sacred as scarcely to violate one
+  in the order of its first place. How I have succeeded the world is to
+  judge, and whether I have preserved that beautiful description of the
+  passions, so exquisitely drawn, at the same time I strove to reduce
+  them to the present taste in sounds. I confess my principal view was,
+  not to lose this favorable opportunity of its being set to music by
+  that great master who has with pleasure undertaken the task, and who
+  only is capable of doing it justice; whose compositions have long shown
+  that they can conquer even the most obstinate partiality, and inspire
+  life into the most senseless words. If this entertainment can in the
+  least degree give satisfaction to the real judges of poetry or music, I
+  shall think myself happy in having promoted it; being persuaded that it
+  is next to an improbability to offer the world anything in those arts
+  more perfect than the united labors and utmost efforts of a Dryden and
+  a Handel."
+
+In addition to the preface Hamilton appended a poem "To Mr. Handel on his
+setting to Musick Mr. Dryden's Feast of Alexander," in which he
+enthusiastically sings:--
+
+  "Two glowing sparks of that celestial flame
+  Which warms by mystick art this earthly frame,
+  United in one blaze of genial heat,
+  Produced this piece in sense and sounds complete.
+  The Sister Arts, as breathing from one soul,
+  With equal spirit animate the whole.
+  Had Dryden lived the welcome day to bless,
+  Which clothed his numbers in so fit a dress,
+  When his majestick poetry was crowned
+  With all your bright magnificence of sound,
+  How would his wonder and his transport rise,
+  Whilst famed Timotheus yields to you the prize!"
+
+The work was first performed at Covent Garden Theatre, February 19, about
+a month after it was written; the principal singers being Signora Strada,
+Miss Young,[26] John Beard, and Mr. Erard. It met with remarkable
+success. The London "Daily Post," on the morning after its production,
+said:--
+
+  "Never was upon the like Occasion so numerous and splendid an Audience
+  at any Theatre in London, there being at least 1,300 Persons present;
+  and it is judged that the Receipt of the House could not amount to less
+  than L450."
+
+It was repeated four times, and then withdrawn to make room for "Acis and
+Galatea" and the oratorio of "Esther." In March, 1737, it was revived,
+with two additional choruses made by Hamilton for the work; and upon the
+same occasion an Italian cantata in praise of Saint Cecilia was sung.
+
+It is unnecessary to inform the reader of the nature of a poem familiar
+the world over. The overture is written for strings and two oboes.
+Throughout the work the orchestration is thin, bassoons and horns being
+the only instruments added to those named above; but in 1790 Mozart
+amplified the accompaniments,--an improvement which he also made for the
+score of "Acis and Galatea." The great solos of the composition are the
+furious aria, "'Revenge, Revenge!' Timotheus cries," and the descriptive
+recitative, "Give the Vengeance due to the valiant Crew," in which Handel
+employs his imitative powers with consummate effect. Clouet, in his
+"Chants Classiques," says of the passage "And the king seized a flambeau
+with zeal to destroy:--
+
+  "He paints Alexander issuing forth in the midst of an orgie, arming
+  himself with a torch, and followed by his generals, running to set fire
+  to Persepolis. While the accompaniment sparkles with the confused and
+  unequal glare of the torches, the song expresses truthfully the
+  precipitation and the tumult of the crowd, the rolling of the flames,
+  and the living splendor of a conflagration."
+
+The choruses of the work are equally strong, and some of them are among
+the best Handel ever wrote, particularly, "He sang Darius great and
+good," "Break his Bands of Sleep asunder," "Let old Timotheus yield the
+Prize," and "The many rend the Skies with loud Applause." They are as
+genuine inspirations as the best choruses of the "Messiah" or of "Israel
+in Egypt."
+
+In 1739 Handel also set to music Dryden's shorter "Ode for St. Cecilia's
+Day," beginning,
+
+  "From Harmony, from heavenly Harmony
+    This universal frame began,"
+
+the music for which had been originally composed in 1687 by Giovanni
+Baptista Draghi, an Italian, who was music-master to Queen Anne and Queen
+Mary, and at that time was organist to Catharine of Braganza, widow of
+Charles II. Handel's setting was first performed on the anniversary of
+the saint's festival, Nov. 22, 1739. The programme announced:
+
+  "Lincoln's Inn Fields. At the Theatre Royal in Lincoln's Inn Fields,
+  Thursday next, November 22 (being St. Cecilia's Day), will be performed
+  an Ode of Mr. Dryden's, with two new Concertos for several instruments,
+  which will be preceded by Alexander's Feast and a Concerto on the
+  organ."
+
+Though one of the shortest of his vocal works, it contains some
+magnificent choruses.
+
+
+[26] Cecilia, a pupil of Geminiani, and afterwards wife of Dr. Arne.
+
+
+                               L'Allegro.
+
+"L'Allegro, il Penseroso ed il Moderato," the first two movements of
+which contain a musical setting of Milton's well-known poem, was written
+in the seventeen days from Jan. 19 to Feb. 6, 1740, and was first
+performed on the 27th of the latter month at the Royal Theatre, Lincoln's
+Inn Fields, London. Upon this occasion the first and second parts were
+preceded, according to the handbook, by "a new concerto for several
+instruments," and the third by "a new concerto on the organ," which was
+played by the composer himself. It was performed again Jan. 31, 1741,
+with the addition of ten new numbers to the music, which in the original
+manuscript appear at the end, marked by Handel, "l'Additione." At a still
+later period Handel omitted the third part ("Moderato") entirely, and
+substituted for it Dryden's "Ode on St. Cecilia's Day," which he composed
+in 1739.
+
+The text of the first two parts is by Milton, Allegro, as is well known,
+chanting the praises of pleasure, Penseroso those of melancholy; Allegro
+represented by tenor and Penseroso by soprano, and each supported by a
+chorus which joins in the discussion of the two moods. There is a radical
+difference between the poem as Milton wrote it and as it appears set to
+Handel's music. Milton presented two distinct poems, though allied by
+antithesis, and Penseroso does not speak until Allegro has finished. In
+the poem as adapted for music they alternate in sixteen strophes and
+antistrophes. The adaptation of these two parts was made by Charles
+Jennens, who was a frequent collaborator with Handel.[27] He also
+suggested the addition of a third part, the Moderato, and wrote the
+words, in which he counsels both Allegro and Penseroso to take the middle
+course of moderation as the safest. The wisdom of the poet in suggesting
+the _via media_ is more to be commended than his boldness in
+supplementing Milton's stately verse with commonplaces, however wise they
+may have been. Chrysander, the German biographer of Handel presents a
+philosophical view of the case. He says:
+
+  "In the two pictures a deeply thoughtful mind has fixed for itself two
+  far-reaching goals. With these the poem has reached its perfect end,
+  and in the sense of its inventor there is nothing further to be added.
+  The only possible, the only natural outlet was that into a _life of
+  action_, according to the direction which the spirit now should take;
+  already it was the first step into this new domain which called forth
+  the divided feeling. The two moods do not run together into any third
+  mood as their point of union, but into active real life, as different
+  characters, forever separate. Therefore 'Moderation' could not bring
+  about the reconciliation; only life could do it; not contemplation, but
+  deeds. Gladness and Melancholy are symptoms of a vigorous soul;
+  moderation would be mediocrity. And herein lies the unpoetic nature of
+  the addition by Jennens; read according to Milton, the concluding moral
+  of a rich English land-owner whose inherited abundance points to
+  nothing but a golden mean, and whose only real problem is to keep the
+  balance in the lazy course of an inactive life, makes a disheartening
+  impression."
+
+The work as a whole is one of Handel's finest inspirations. The Allegro
+is bright and spirited throughout; the Penseroso grave and tender; and
+the Moderato quiet and respectable, as might be expected of a person who
+never experiences the enthusiasms of joy or the comforts of melancholy.
+The most of the composition is assigned to solo voices which carry on the
+discussion, though in the Moderato it is mainly the chorus which urges
+the sedate compromise between the two.
+
+The work opens without overture, its place having originally been
+supplied by an orchestral concerto. In vigorous and very dramatic
+recitative Allegro bids "loathed Melancholy" hence, followed by
+Penseroso, who in a few bars of recitative far less vigorously consigns
+"vain, deluding joys" to "some idle brain;" Allegro replies with the
+first aria ("Come, come, thou Goddess fair"), a beautifully free and
+flowing melody, responded to by Penseroso, who in an aria of stately
+rhythm appeals to his goddess, "Divinest Melancholy." Now Allegro summons
+his retinue of mirth:--
+
+  "Haste thee, nymph, and bring with thee
+  Jest and youthful jollity,
+  Quips and cranks and wanton wiles,
+  Nods and becks and wreathed smiles,
+  Such as hang on Hebe's cheek,
+  And love to live in dimple sleek,
+  Sport, that wrinkled care derides,
+  And Laughter, holding both his sides;"
+
+and the chorus takes up the jovial refrain in the same temper. The aria
+itself is well known as the laughing song. Indeed, both aria and chorus
+are full of unrestrained mirth, and go laughingly along in genuine
+musical giggles.[28] The effect is still further enhanced by the next
+aria for Allegro ("Come and trip it as you go"), a graceful minuet, which
+is also taken by the chorus. After a recitative by Penseroso ("Come,
+pensive Nun"), and the aria, "Come, but keep thy wonted State" the first
+Penseroso chorus occurs ("Join with thee calm Peace and Quiet"), a short
+but beautiful passage of tranquil harmony. Once more in recitative
+Allegro bids "loathed Melancholy" hence, and then in the aria, "Mirth,
+admit me of thy Crew," leading into a chorus, sings of the lark,
+"startling dull Night" and bidding good-morrow at his window,--a
+brilliant number accompanied with an imitation of the lark's song.
+Penseroso replies with an equally brilliant song ("Sweet Bird, that
+shuns't the Noise of Folly"), in which the nightingale plays the part of
+accompaniment. Another aria by Allegro ("Mirth, admit me of thy Crew")
+gives an opportunity for a blithe and jocund hunting-song for the bass,
+followed by one of the most beautiful numbers in the work ("Oft on a Plat
+of rising Ground") sung by Penseroso, in which the ringing of the far-off
+curfew, "swinging slow, with sullen roar," is introduced with telling
+effect. This is followed by a quiet meditative aria ("Far from all
+Resorts of Mirth"), when once again Allegro takes up the strain in the
+two arias, "Let me wander not unseen," and "Straight mine Eye hath caught
+new Pleasures." The first part closes with the Allegro aria and chorus
+("Or let the merry Bells ring round"), full of the very spirit of joy and
+youth; and ending with an exquisite harmonic effect as the gay crowd
+creep to bed, "by whispering winds soon lulled to sleep."
+
+The second part begins with a stately recitative and aria by Penseroso
+("Sometimes let gorgeous Tragedy"), followed by one of the most
+characteristic arias in the work ("But O, sad Virgin, that thy Power
+might raise!") in which the passage,
+
+  "Or bid the soul of Orpheus sing
+  Such notes as warbled to the string
+  Drew iron tears down Pluto's cheek,"
+
+is accompanied by long persistent trills that admirably suit the words.
+The next number ("Populous Cities please me then") is a very descriptive
+solo for Allegro, with chorus which begins in canon form for the voices
+and then turns to a lively movement as it pictures the knights
+celebrating their triumphs and the "store of ladies" awarding prizes to
+their gallants. Again Allegro in a graceful aria sings, "There let Hymen
+oft appear." It is followed by a charming canzonet ("Hide me from Day's
+garish Eye") for Penseroso, which leads to an aria for Allegro ("I'll to
+the well-trod Stage anon"), opening in genuinely theatrical style, and
+then changing to a delightfully melodious warble at the words,--
+
+  "Or sweetest Shakspeare, Fancy's child,
+  Warble his native wood-notes wild."
+
+This is followed by three characteristic arias, "And ever, against eating
+Cares," "Orpheus himself may heave his Head," and "These Delights, if
+thou canst give,"--the last with chorus. Penseroso has a short chorus in
+plain but stately harmony ("There let the pealing Organ blow"), with
+pauses for the organ _ad libitum_, followed by the aria, "May at last my
+weary Age," and the majestic devotional fugued chorus, "These Pleasures,
+Melancholy, give!" which close the second part.
+
+The third part, "Il Moderato," is rarely given, and the work may well
+close with the fugue that so beautifully and harmoniously ends the second
+part. It opens with an aria in which Moderato tenders the sage advice:--
+
+  "Come, with native lustre shine,
+  Moderation, grace divine,
+  Whom the wise God of nature gave,
+  Mad mortals from themselves to save.
+  Keep as of old the middle way,
+  Nor deeply sad nor idly gay;
+  But still the same in look and gait,
+  Easy, cheerful, and sedate,
+  Keep as of old the middle way."
+
+With such didactic commonplaces as the above, Moderato commends
+temperance, health, contentment, frugality, equanimity, and chaste love,
+and bids them,--
+
+  "Come, with gentle hand restrain
+  Those who fondly court their bane;
+  One extreme with caution shunning,
+  To another blindly running.
+  Kindly teach how blest are they
+  Who nature's equal rules obey,
+  Who safely steer two rocks between,
+  And prudent keep the golden mean."
+
+Thus Mr. Jennens's mild philosophy goes on, one of his verses, "As steals
+the Morn upon the Night," set to a brilliant tenor and soprano duet,
+followed by the closing chorus, "Thy Pleasures, Moderation, give," in
+full, broad, rich harmony. There needs no other proof of Handel's genius,
+than that he could link such Tupperisms to his grand measures.
+
+
+[27] Jennens was an amateur poet of the period, descended from a
+    manufacturing family of Birmingham, from whom he inherited a large
+    fortune. He lived on terms of close intimacy with Handel, and was
+    mentioned in his will. He died Nov. 20, 1773.
+
+[28] I was lucky enough to meet with the approbation of Mr. Bates in the
+    recitative of "Deeper and deeper still;" my next song was the
+    laughing one. Mr. Harrison, my predecessor at those concerts, was a
+    charming singer: his singing "Oft on a plat of rising ground," his
+    "Lord, remember David," and "O come let us worship and fall down,"
+    breathed pure religion. No divine from the pulpit, though gifted with
+    the greatest eloquence, could have inspired his auditors with a more
+    perfect sense of duty to their Maker than Harrison did by his
+    melodious tones and chaste style; indeed, it was faultless: but in
+    the animated songs of Handel he was very deficient. I heard him sing
+    the laughing song without moving a muscle, and determined, though it
+    was a great risk, to sing it my own way, and the effect produced
+    justified the experiment; instead of singing it with the serious
+    tameness of Harrison, I laughed all through it, as I conceived it
+    ought to be sung, and as must have been the intention of the
+    composer. The infection ran; and their Majesties, and the whole
+    audience, as well as the orchestra, were in a roar of laughter, and a
+    signal was given from the royal box to repeat it, and I sang it again
+    with increased effect.--_Michael Kelly's Reminiscences_, 1789.
+
+
+
+
+                                    HATTON.
+
+
+John Liphot Hatton, a composer well known in America, not only by his
+songs and other works, but also by his visits here, was born in Liverpool
+in 1809. Though his early musical education was very scanty, he soon
+became known as a composer after his removal to London in 1832, and his
+works met with a very cordial reception. In 1842 he became conductor at
+Drury Lane Theatre, and while acting in that capacity brought out one of
+his operettas, called "The Queen of the Thames." In 1844 he went to
+Vienna and produced his opera "Pascal Bruno." Shortly afterwards he
+issued several songs under the _nom de plume_ of "Czapek," which secured
+for themselves widespread popularity. In 1848 he came to this country,
+and some years later made a concert-tour here. Upon his return to England
+he assumed direction of the music at the Princess' Theatre, and while
+engaged there wrote incidental music for "Macbeth," "Sardanapalus,"
+"Faust and Marguerite," "King Henry VIII.," "Pizarro," "King Richard
+II.," "King Lear," "The Merchant of Venice," and "Much Ado About
+Nothing." In 1856 he wrote "Robin Hood," a cantata; in 1864 the opera
+"Rose, or Love's Ransom," for Covent Garden; and in 1877 "Hezekiah," a
+sacred drama, which was performed at the Crystal Palace. He has also
+written a large number of part songs, which are great favorites with
+quartet clubs, and nearly two hundred songs which are very popular; among
+them, "Good-by, Sweetheart, good-by," which has been a stock piece with
+concert tenors for years, and which the late Signor Brignoli used to sing
+with excellent effect. His music is specially characterized by grace and
+melodiousness. Hatton died in 1886.
+
+
+                               Robin Hood.
+
+The pastoral cantata of "Robin Hood" was written for the Bradford
+(England) Triennial Festival of 1856, Sims Reeves creating the part of
+the hero. Its name suggests the well-known story of the greenwood outlaw
+which has been charmingly versified by George Linley in the libretto. The
+personages are Maid Marian, Robin Hood, Little John, and "The Bishop."
+Maid Marian, it will be remembered, was the mistress who followed Robin
+into the Sherwood Forest and shared his wild life; and Little John was
+his stalwart lieutenant, whose name was transposed after he joined the
+band, thus heightening the incongruity between his name and his great
+size. The incident contained in Linley's poem appears to have been
+suggested by Robin Hood's penchant for capturing bishops and other
+ecclesiastics, notwithstanding his religious professions, which were
+exemplified by the retention of Friar Tuck as chaplain in the bold
+archer's household; or it may be based upon the historical story of the
+expedition which Edward II. and some of his retainers, disguised as
+monks, made into the forest for the purpose of exterminating the outlaws
+and thus stopping their slaughter of the royal deer. As the old story
+goes, they were led into an ambuscade by a forester who had agreed to
+conduct them to the haunts of Robin, and were captured. When Robin
+recognized the King in the disguise of the abbot, he craved forgiveness
+for himself and his band, which was granted upon condition that he should
+accompany his sovereign to Court and take a place in the royal household.
+The old collection of ballads, "The Lytell Geste of Robyn Hood," tells
+the same story and continues it, relating how after "dwelling in the
+Kynge's courte" a year, he tired of it and obtained permission to make a
+visit to the woods again, but forfeited his word and never returned,
+dying at last in Kirklees priory, through the treachery of the abbess,
+and how in his last moments he blew a loud blast on his horn, summoning
+Little John from the forest, to whom, after he had forced his way into
+his chamber, the dying Robin said:
+
+  "Give me my bent bow in my hand,
+    And an arrow I'll let free,
+  And where that arrow is taken up,
+    There let my grave digged be."
+
+The cantata opens with a chorus of the outlaws, who vigorously assert
+their independence of tribute, laws, and monarchs, followed by a
+bombastic bass aria by the Bishop, who threatens them for destroying the
+King's deer. His grandiloquence is speedily interrupted by the outlaws,
+with Robin at their head, who surround him without further ado and make
+him the butt of their sport. Robin Hood sings a charmingly melodious
+ballad, "Under the Greenwood Tree," in which the Bishop is invited to
+become one of their number and share their sylvan enjoyments. A trio and
+chorus follow, in the course of which the Bishop parts with his personal
+possessions in favor of the gentlemen around him in Lincoln green with
+"bent bows." A chorus ("Strike the Harp") also informs us that the
+ecclesiastic is forced to dance for the genial band much against his will
+as well as his dignity. Robin's sentimentalizing about the pleasures
+under the greenwood tree is still further emphasized by a madrigal for
+female voices, supposed to be sung by the forest maidens, though their
+identity is not very clear, as Marian was the only maid that accompanied
+the band. After the plundering scene, the cantata grows more passionate
+in character, describing a pretty and tender love-scene between Robin and
+Marian, which is somewhat incongruous, whether Marian be considered as
+the outlaw's mistress, or, as some of the old chroniclers have it, his
+wife Matilda, who changed her name when she followed him into the forest.
+From the musical standpoint, however, it affords an opportunity for
+another graceful ballad of sentiment, in which Marian describes her heart
+as "a frail bark upon the waters of love;" a duet in which the lovers
+passionately declare their love for each other as well as their delight
+with the forest; and a final chorus of the band, jubilantly proclaiming
+their hatred of kings and courtiers, and their loyalty to Robin Hood and
+Maid Marian. It may be worthy of note in this connection that Bishop, the
+English composer, wrote a legendary opera called "Maid Marian, or the
+Huntress of Arlingford," in which the heroine is Matilda.
+
+
+
+
+                                 HAYDN.
+
+
+Joseph Haydn, the creator of the symphony and the string quartet, was
+born at Rohrau, a little Austrian village on the river Leitha, March 31,
+1732. His father was a wheelwright and his mother a cook, in service with
+Count Harrach. Both the parents were fond of music, and both sang, the
+father accompanying himself upon the harp, which he played by ear. The
+child displayed a voice so beautiful that in his sixth year he was
+allowed to study music, and was also given a place in the village
+church-choir. Reutter, the capellmeister of St. Stephen's, Vienna, having
+heard him, was so impressed with the beauty of his voice that he offered
+him a position as chorister. Haydn eagerly accepted it, as it gave him an
+opportunity for study. While in the service of St. Stephen's he had
+lessons on the violin and piano, as well as in composition. When his
+voice broke, and his singing was of no further value, he was thrown upon
+the tender mercies of the world. Fortune favored him, however. He
+obtained a few pupils, and gave himself to composition. He made the
+acquaintance of Metastasio, Porpora, and Gluck. His trios began to
+attract attention, and he soon found himself rising into prominence. In
+1759, through the influence of a wealthy friend and amateur, he was
+appointed to the post of musical director and composer in the service of
+Count Morzin, and about this time wrote his first symphony. When the
+Count dismissed his band, Prince Paul Anton Esterhazy received him as his
+second capellmeister, under Werner. When the latter died, in 1766, Haydn
+took his place as sole director. His patron meanwhile had died, and was
+succeeded by his son Nicolaus, between whom and Haydn there was the
+utmost good feeling. Up to this time Haydn had written thirty symphonies,
+a large number of trios, quartets, and several vocal pieces. His
+connection with the Prince lasted until 1790, and was only terminated by
+the latter's death. During this period of twenty-eight years his musical
+activity was unceasing; and as he had an orchestra of his own, and his
+patron was ardently devoted to music, the incentive to composition was
+never lacking. Anton succeeded Nicolaus, and was generous enough to
+increase Haydn's pension; but he dismissed the entire chapel, and the
+composer took up his abode in Vienna. He was hardly established before he
+received a flattering proposition from Salomon, the manager, to go to
+England. He had already had many pressing invitations from others, but
+could not accept them, owing to his engagement to Esterhazy. Now that he
+was free, he decided to make the journey. On New Year's Day, 1791, he
+arrived in London. Success greeted him at once. He became universally
+popular. Musicians and musical societies paid him devoted attention. He
+gave a series of symphony concerts which aroused the greatest enthusiasm.
+He was treated with distinguished courtesy by the royal family. Oxford
+gave him the honorary degree of Doctor of Music. The nobility entertained
+him sumptuously. After a year of continuous fetes he returned to Germany,
+where he remained two years, during a portion of which time Beethoven was
+his pupil. In 1794 he made his second journey to England, where his
+former successes were repeated, and fresh honors were showered upon him.
+In 1804 he was notified by Prince Esterhazy that he was about to
+reorganize his chapel, and wished him for its conductor again. Haydn
+accordingly returned to his old position, where he remained during the
+rest of his life. He was already an old man, but it was during this
+period that his most remarkable works were produced, among them the
+Austrian National Hymn ("Gott erhalte Franz den Kaiser"), the "Seven
+Words," the "Creation," the "Seasons," and many of his best trios and
+quartets. He died May 31, 1809, a few days after the occupation of Vienna
+by the French, and among the mourners at his funeral were many French
+officers. Funeral services were held in all the principal European
+cities. Honored and respected all over Europe, he was most deeply loved
+by his own countrymen, who still affectionately speak of him as "Papa"
+Haydn.
+
+
+                            The Seven Words.
+
+"The Seven Words of Jesus on the Cross," sometimes called "The Passion,"
+was written by Haydn in 1785, for the cathedral of Cadiz, upon a
+commission from the chapter for appropriate music for Good Friday. It was
+at first composed as an instrumental work, consisting of seven adagio
+movements, and in this form was produced in London by the composer
+himself as a "Passione instrumentale." He afterwards introduced solos and
+choruses, and divided it into two parts, separating them by a largo
+movement for wind instruments. It was then given at Eisenstadt in 1797,
+and four years later was published in the new form, with the following
+preface by the composer himself:--
+
+  About fifteen years ago I was applied to by a clergyman in Cadiz, and
+  requested to write instrumental music to the seven words of Jesus on
+  the cross. It was then customary every year, during Lent, to perform an
+  Oratorio in the Cathedral at Cadiz, the effect of which the following
+  arrangements contributed to heighten. The walls, windows, and columns
+  of the church were hung with black cloth, and only one large lamp,
+  hanging in the centre, lighted the solemn and religious gloom. At noon
+  all the doors were closed, and the music began. After a prelude, suited
+  to the occasion, the bishop ascended the pulpit, pronounced one of the
+  seven words, which was succeeded by reflections upon it. As soon as
+  these were ended he descended from the pulpit and knelt before the
+  altar. The pause was filled by music. The bishop ascended and descended
+  again a second, a third time, and so on; and each time the orchestra
+  filled up the intervals in the discourse.
+
+  My composition must be judged on a consideration of these
+  circumstances. The task of writing seven adagios, each of which was to
+  last about ten minutes, to preserve a connection between them, without
+  wearying the hearers, was none of the lightest, and I soon found that I
+  could not confine myself within the limits of the time prescribed.
+
+  The music was originally without text, and was printed in that form. It
+  was only at a later period that I was induced to add the text. The
+  Oratorio entitled "The Seven Words of our Redeemer on the Cross," as a
+  complete and, as regards the vocal parts, an entirely new work, was
+  first published by Messrs. Breitkopf and Haertel, of Leipsic. The
+  partiality with which this work has been received by scientific
+  musicians leads me to hope that it will not be without effect on the
+  public at large.
+
+                                                           Joseph Haydn.
+
+  Vienna, March 1, 1880.
+
+
+As the various movements are all of the same general tone and character,
+though varied with all that skill and mastery of instrumental effect for
+which Haydn was so conspicuous, it is needless to describe each
+separately. By many of the musicians of his day it was considered one of
+his most sublime productions; and Bombet declares that Haydn on more than
+one occasion, when he was asked to which of his works he gave the
+preference, replied, "The Seven Words."
+
+It opens with an adagio for full orchestra, of a very sorrowful but
+impressive character. Then follow each of the Seven Words, given out in
+simple chorale form, followed by its chorus, namely:--
+
+                                   I.
+                                PATIENCE.
+
+"Father, forgive them; for they know not what they do."
+
+_Chorus_: "Lamb of God! Surely Thou hast borne our sorrows."
+
+                                   II.
+                         THE PENITENT FORGIVEN.
+
+"Verily I say unto thee, this day shalt thou be with me in Paradise."
+
+_Chorus_: "Lord, have mercy on me after Thy great goodness."
+
+                                  III.
+                              THE MOURNERS.
+
+"Woman, behold thy Son. Son, behold Thy mother."
+
+_Chorus_: "Daughters of Jerusalem, weep not for Me."
+
+                                   IV.
+                               DESOLATION.
+
+"Eli, Eli, lama sabacthani?"
+
+_Chorus_: "O my God, look upon Me."
+
+                                   V.
+                             THE BITTER CUP.
+
+"I thirst."
+
+_Chorus_: "He treadeth the winepress of the fierceness and wrath."
+
+                                   VI.
+                           COMPLETE OBEDIENCE.
+
+"It is finished."
+
+_Chorus_: "He came down from Heaven."
+
+                                  VII.
+                           THE GREAT OBLATION.
+
+"Father, into Thy hands I commend my spirit."
+
+_Chorus_: "Into Thy hands, O Lord."
+
+Following immediately after the last number the whole spirit of the music
+changes with the chorus, "The Veil of the Temple was rent in twain," a
+presto movement, sung fortissimo, describing the darkness, the quaking of
+the earth, the rending of the rocks, the opening of the graves, and the
+arising of the bodies of the saints who slept, with all that vividness in
+imitation and sublimity of effect which characterize so many of the
+composer's passages in "The Creation" and "The Seasons." Haydn was by
+nature a deeply religious man, and that he felt the inspiration of the
+solemn subject is shown by the manner in which he conceived it, and by
+the exalted devotion of the music which accompanies the last words of the
+Man of Sorrows. The lines which Bombet quotes from Dante in this
+connection are hardly exaggerated:--
+
+  "He with such piety his thought reveals,
+  And with such heavenly sweetness clothes each tone,
+  That hell itself the melting influence feels."
+
+
+                                Ariadne.
+
+The cantata "Ariana a Naxos" was written in 1792, and is for a single
+voice with orchestra. As an illustration of the original cantata form, it
+is one of the most striking and perfect. Its story is an episode familiar
+in mythology. When Minos, King of Crete, had vanquished the Athenians, he
+imposed upon AEgeus, their king, the severe penalty that seven youths
+should be annually sent to Crete to be devoured by the Minotaur. In the
+fourth year the king's son, Theseus, was among the number. He was more
+fortunate than his predecessors, for he slew the Minotaur and was rescued
+from the labyrinth by following the thread of Ariadne, daughter of Minos,
+who had conceived a violent passion for the handsome warrior, conqueror
+of Centaurs and Amazons. Upon his return to Athens she accompanied him as
+far as the island Naxos, where the ungrateful wretch perfidiously left
+her. It is this scene of desertion which Haydn chose for his cantata.
+
+Ariadne is supposed to have just awakened from sleep and reclines upon a
+mossy bank. The first number is a recitative and largo in which she
+hopefully calls upon Theseus to return. The melody is noble and spirited
+in style, and yet tender and fervent in its expression of love for the
+absent one. In the next number, a recitative and andante ("No one
+listens! My sad Words Echo but repeats"), hopefulness turns to anxiety.
+The contrast between the blissful longing of the one and the growing
+solicitude expressed in the other number is very striking. The next
+melody, an _allegro vivace_,--
+
+  "What see I? O heavens! Unhappy me!
+  Those are the sails of the Argosy! Greeks are those yonder!
+  Theseus! 'Tis he stands at the prow,"--
+
+is remarkable for its passionate intensity and dramatic strength. The
+clouds of despair close over her, and she calls down the vengeance of the
+gods upon the deserter. In the next two numbers, an adagio ("To whom can
+I turn me?"), and an andante ("Ah! how for Death I am longing"), the
+melodies closely follow the sentiment of the text, accompanied by very
+expressive instrumentation. An _allegro presto_, infused with the very
+spirit of hopeless gloom and despair, ends the cantata:--
+
+  "Woe's me! deceived, betrayed!
+  Earth holds no consolation."
+
+In the mythological version, however, consolation came; for Bacchus,
+"ever young," and full of pity for lorn maids, married her, and gave her
+a crown of seven stars, which after her death was placed among the
+constellations. The music presents many difficulties for a singer, as it
+requires the noblest style of declamation, peculiar refinement of
+sentiment, and rare musical intelligence, as well as facility in
+execution to give expression to its recitative and strongly contrasting
+melodies, which have no unity of key, but follow the varying sentiments,
+with their changes of tone-color, as closely as Theseus followed his
+thread.
+
+
+
+
+                                 HILLER.
+
+
+Ferdinand Hiller, one of the most eminent of modern German composers,
+and a writer of more than ordinary ability, was born at
+Frankfort-on-the-Main, Oct. 24, 1811. His musical talent displayed itself
+so early that in his tenth year he appeared in concerts. In 1825 he began
+his studies with Hummel, and two years afterwards accompanied him on a
+concert-tour to Vienna, where he published his first work, a piano-forte
+quartet. He next went to Paris, where he remained until 1835, occupying
+for a time the position of professor in Choron's "Institution de
+Musique," but principally devoting himself to piano-playing, composition,
+and concerts. In 1836 he returned to Frankfort, and for more than a year
+conducted the concerts of the Coecilienverein. He then went to Milan,
+where he met Rossini, and with his assistance brought out his opera
+"Romilda" at La Scala, but without much success. About the same time he
+began his oratorio "The Destruction of Jerusalem," one of his most
+important works. In 1841 he made a second journey to Italy and gave
+particular attention to church music. On his return he first resided at
+Frankfort, but was soon in Leipsic, where he conducted the Gewandhaus
+concerts (1843-44), and after that time in Dresden, where he produced two
+more operas, "Traum in der Christ-nacht" and "Conradin." In 1847 he was
+appointed municipal capellmeister at Duesseldorf, and three years later
+took a similar position at Cologne, where he organized the Conservatory.
+In that city he exercised a widespread influence, not alone by his
+teaching, but also by his direction of the famous Lower Rhine festivals.
+He also made many musical tours which increased his fame. In 1852-53 he
+conducted opera in Paris; in 1870, gave a series of successful concerts
+in St. Petersburg; and in 1871-72 visited England, where he produced his
+works both in public concerts and festivals. His compositions are very
+numerous, including among the most prominent, five operas, four
+overtures, a festival march for the opening of the Albert Hall, the
+Spring Symphony, the oratorios "Destruction of Jerusalem" and "Saul," and
+the cantatas "Heloise," "Night," "Loreley," "O weint um Sie," "Ver
+sacrum," "Nala and Damajanti," "Song of Victory," "Song of the Spirits
+over the Water," "Prometheus," and "Rebecca." He has also enriched
+musical literature with many important works, among them, "Aus dem
+Tonleben unserer Zeit" (1867), "Personalisches und Musikalisches" (1876),
+"Recollections of Mendelssohn" (1874), and "Letters to an Unknown"
+(1877). He died in May, 1885.
+
+
+                            Song of Victory.
+
+The "Song of Victory," a cantata for soprano solo, chorus, and orchestra,
+was first produced at the Cologne Festival of 1871, and was written to
+celebrate the victorious conclusion of the Franco-German war of 1870. It
+consists of eight numbers, all of which are sacred in character, though
+their purpose is to express gratitude and joy over the triumph of the
+German arms.
+
+The opening number is a vigorous, jubilant chorus ("The Lord great
+Wonders for us hath wrought"). It begins with a slow movement in massive
+chords, gathering animation as it proceeds, and closing pianissimo on the
+words, "There is none that searcheth or understandeth." The second number
+is a soprano solo and chorus ("Praise, O Jerusalem, praise the Lord")
+declamatory in style. The third ("The Heathen are fallen in the Pit") is
+assigned to chorus, and is the most dramatic in the work, describing as
+it does the terrors of war. In the fourth ("See, it is written in the
+Book of the Righteous"), a short soprano solo, the melody is a tender
+lament for the dead. The fifth ("He in Tears that soweth") is a soprano
+solo with chorus of first and second sopranos and altos. In this number
+lamentation gives way to hope and gladness, leading up to the last three
+numbers,--the six-part chorus ("Mighty is our God"), full of effective
+sustained harmony, and the soprano solos and choruses of praise and
+hallelujah which resume the triumphant style of the opening chorus with
+increased power and enthusiasm.
+
+
+
+
+                                HOFMANN.
+
+
+Heinrich Karl Johann Hofmann was born Jan. 13, 1842, at Berlin. In his
+younger days he was a scholar at the Kullak Conservatory, and studied
+composition with Grell, Dehn, and Wueerst. Prior to 1873 he devoted
+himself to private instruction, but since that time he has been engaged
+exclusively in composition. Among his works which first attracted public
+attention by their intrinsic excellence as well as by the knowledge of
+orchestration which they displayed, were an "Hungarian Suite" and the
+"Frithjof Symphony." Among his piano compositions are the following
+four-handed pieces, which have been remarkably popular: "Italienische
+Liebesnovelle," "Liebesfruehling," "Trompeter von Saeckingen,"
+"Steppenbilder," and "Aus meinem Tagebuch." His choral works are
+"Nonnengesang," "Die Schoene Melusine," "Aschenbroedel," and "Cinderella."
+Among his operas are "Cartouche" (1869), "Armin" (1878), and "Annchen von
+Tharau" (1878). He has also written several works for mixed chorus and
+maennerchor, piano pieces, songs, duets, a violoncello concerto, piano
+trios and quartets, and a string sextet.
+
+
+                                Melusina.
+
+The beautiful story of Melusina has always had an attraction for artists
+and musicians. Moritz von Schwind, the painter, has illustrated it in a
+cycle of frescos; Julius Zellner has told it for us in a series of
+orchestral tone-pictures; and Mendelssohn has chosen it as the subject of
+one of his most charming overtures. The version which Hofmann uses in his
+cantata entitled "The Fable of the Fair Melusina" (written in 1875) runs
+as follows: Melusina, the nymph of a beautiful fountain in the Bressilian
+forest, and Count Raymond have fallen in love with each other. They
+declare their passion in the presence of her nymphs, and plight their
+troth. Melusina engages to be his dutiful wife the first six days of the
+week, but makes Raymond promise never to inquire or seek to discover what
+she does on the seventh, which, she assures him, shall "never see her
+stray from the path of duty." On that day she must assume her original
+form, half fish and half woman, and bathe with her nymphs. Raymond
+promises, calls his hunters, introduces his bride to them, and the
+wedding cortege moves joyfully on to the castle. In the second part
+Raymond's mother, Clotilda, and her brother, Sintram, intrigue against
+Melusina. They denounce her as a witch, and the accusation seems to be
+justified by a drought which has fallen upon the land since the marriage.
+The suffering people loudly clamor for the surrender of the "foul witch."
+After long resistance Raymond is induced to break into the bathing-house
+which he had erected over the fountain. Melusina and her nymphs,
+surprised by him, call upon the king of the water-spirits to avenge his
+treason. The king appears and consigns him to death. Seized with pity,
+Melusina intercedes for him, and the king agrees to spare his life upon
+condition that they shall separate. Raymond once more embraces her,
+neither of them knowing that it will be fatal to him, dies in her arms,
+and the sorrowing Melusina returns to the flood.
+
+The prologue describes Melusina's fountain, and contains a leading motive
+which characterizes Raymond. The chorus part is very romantic in its
+style, and is set to a graceful, poetical accompaniment. The opening
+number introduces Melusina and her nymphs in a chorus extolling their
+watery abode ("For the Flood is life-giving"). In the second number she
+describes the passion she feels when thinking of Raymond. The song is
+interrupted by horn signals indicating the approach of her lover and his
+hunters, who join in a fresh, vigorous hunting-song and then disperse. In
+the fourth number Raymond gives expression to his love for Melusina,
+followed by a fervid duet between them, in which the lovers interchange
+vows of constancy. The sixth number, describing their engagement in
+presence of the nymphs, and concluding with a stirring chorus of nymphs
+and hunters, closes the first part.
+
+The second part begins with a theme from the love-duet, followed by a
+significant theme in the minor, ominous of approaching danger. In the
+eighth number the people clamor in furious chorus for the witch. In the
+ninth, a trio and chorus, Clotilda warns her son of the misery he has
+brought upon his house and people, and urges him to discover what his
+wife does on the seventh day. The next number introduces Melusina and her
+nymphs in the bath, the former singing a plaintive song ("Love is
+freighted with Sorrow and Care"). A noise is heard at the gate, and the
+nymphs join in a chorus in canon form ("Hark! hark! Who has come to
+watch"). As Raymond appears, the scene grows very dramatic. The king of
+the water-spirits is summoned; but before he rises from the water
+Melusina, in very melodious recitative, laments her lover's treason. The
+scene culminates in the sentence, "Let Death be his lot." He is spared by
+her intercession, but she is commanded to return to the flood. Raymond
+appeals for forgiveness, and a part of the love-duet is repeated. The
+final embrace is fatal to him, and he dies in her arms. The chorus
+repeats the melody of the opening number ("For the Flood is
+life-giving"), and she bids her dead lover a last farewell, and
+disappears with the nymphs and water-spirits, singing, "Forget with the
+Dwellers on Earth all earthly Woe." The epilogue is substantially the
+same as the prologue.
+
+
+
+
+                                 LESLIE.
+
+
+Henry David Leslie was born in London, June 18, 1822, and in his
+sixteenth year began his musical studies with Charles Lucas, a famous
+violoncellist and for a long time principal of the Royal Academy of
+Music. Like his master, Leslie played the violoncello several years in
+the concerts of the Sacred Harmonic Society, subsequently becoming its
+conductor,--a position which he held until 1861. In 1855 he organized the
+famous Leslie choir of one hundred voices, which took the first prize at
+the international competition of 1878 in Paris. In 1863 he was chosen
+conductor of the Herefordshire Philharmonic Society, and in the following
+year became principal of the National College of Music. In 1874 he was
+appointed conductor of the Guild of Amateur Musicians in London. He has
+been a prolific and very popular composer, among his works being the
+following: Te Deum and Jubilate in D (1846); symphony in F (1847);
+anthem, "Let God arise" (1849); overture, "The Templar" (1852); oratorio,
+"Immanuel" (1853); operetta, "Romance, or Bold Dick Turpin" (1857);
+oratorio, "Judith," written for the Birmingham Festival (1858); cantata,
+"Holyrood" (1860); cantata, "The Daughter of the Isles" (1861); and the
+opera "Ida" (1864). In addition to these he has written a large number of
+songs, anthems, part songs, madrigals, and piano pieces, besides music
+for his choir.
+
+
+                                Holyrood.
+
+"Holyrood" was written in 1861, and was first produced in February of
+that year at St. James's Hall, London. Leslie's collaborator was the
+accomplished scholar Chorley, who has certainly prepared one of the most
+refined and attractive librettos ever furnished a composer. The story
+represents an episode during the period of Queen Mary's innocent life,
+overshadowed in the close by the dismal prophecy of the terrible fate so
+rapidly approaching her. The characters are Queen Mary (soprano), Mary
+Beatoun (Beton), her maid of honor (contralto); Rizzio, the ill-fated
+minstrel (tenor); and John Knox (bass). The scene is laid in a court of
+the palace of Holyrood, and introduces a coterie of the court ladies and
+gentlemen engaged in one of those joyous revels of which Mary was so
+fond. In the midst of the pleasantry, however, the Queen moves pensively
+about, overcome with sadness, as if her thoughts were far away. Her
+favorite maid tries in vain to rouse her from her melancholy with a
+Scotch ballad. The minstrel Rizzio is then urged to try his skill. He
+takes his lute and sings an Italian canzonet which has the desired
+effect. The sensuous music of the South diverts her. She expresses her
+delight, and seizing his lute sings her new joy in a French romance. It
+is interrupted by a Puritan psalm of warning heard outside. The revellers
+seek to drown it; but it grows in power, and only ceases when the leader,
+John Knox, enters with stern and forbidding countenance. The Queen is
+angry at first, but bids him welcome provided his mission is a kindly
+one. He answers with a warning. As he has the gift of prophecy, she
+orders him to read her future. After the bridal, the murder of the
+bridegroom; after the murder, battle; after the battle, prison; after the
+prison, the scaffold, is the tragic fate he foresees. The enraged
+courtiers call for his arrest and punishment, but the light-hearted Queen
+bids him go free:--
+
+  "Let him go, and hear our laughter!
+  Mirth to-day, whate'er come after."
+
+The cantata opens with a chorus for female voices in three divisions,
+with a contralto solo, in the Scotch style:--
+
+  "The mavis carols in the shaw,
+  The leaves are green on every tree,
+  And June, whose car the sunbeams draw,
+  Is dropping gold on bank and lea;
+  The hind is merry in the mead,
+    The child that gathers gowan flower,
+  The Thane upon his prancing steed,
+    The high-born lady in her bower,--
+        Gay, gay, all are gay,
+        On this happy summer day."
+
+After a short recitative passage in which Mary Beatoun appeals to the
+revellers to lure the Queen from her loneliness, and their reply ("O
+Lady, never sit alone"), the maid sings a very characteristic and
+engaging Scotch ballad:--
+
+  "There once was a maiden in Melrose town
+    (Oh! the bright Tweed is bonny to see!)
+  Who looked on the best in the country down,
+    Because she had lovers, one, two, three.
+  The first was a lord with his chest of gold,
+    The second a ruddy shepherd so tall,
+  The third was a spearsman bluff and bold,--
+    But Pride, it goeth before a fall.
+
+  "One hour she smiled, the next she wept
+    (Oh! the bright Tweed is bonny to see!)
+  And with frowns and blushes a chain she kept
+    Round the necks of her hapless lovers three.
+  For the lord in her lap poured wide his gold,
+    And the shepherd ran at her beck and call,
+  And the spearsman swore she was curst and cold,
+    But Pride, it goeth before a fall.
+
+  "At last it fell out on a bleak March day
+    (Oh! the bright Tweed is bonny to see!)
+  There sate at her window the maiden gay
+    And looked o'er the frost for her lovers three.
+  But the lord had to France sailed forth with his gold,
+    And the shepherd had married her playmate small,
+  And the spearsman in battle lay stark and cold,--
+    So Pride, it goeth before a fall."
+
+As might have been expected, this mournful ditty fails to rouse the Queen
+from her melancholy, whereupon Rizzio takes his lute and sings the
+canzonet "Calla stagion novella," a very slow and graceful movement,
+closing with a sensuous allegro, written in the genuine Italian style,
+though rather Verdi-ish for the times of Rizzio. The canzonet has the
+desired effect, and is followed by a delightful French romance, sung by
+the Queen, in which a tender minor theme is set off against a fascinating
+waltz melody, closing with a brilliant finale:--
+
+  "In my pleasant land of France
+    There is gladness everywhere;
+  In the very streams a dance,
+    Full of life, yet debonair,
+  Ah, me! ah, me!
+    To have left it was a sin,
+  Even for this kind countrie.
+    But we will not mourn to-day,
+    Bid the harp and rebec play,
+      Merrilie, merrilie,
+  Sing and smile, and jocund be;
+  If my father's land is dear,
+  Mirth and valor still are here;
+  Maidens faithful, champions gay,
+  France has melted far away
+      Beyond the sea."
+
+At the close of the pretty romance, the revel begins with a stately
+minuet and vocal trio ("Fal, lal, la") for the Queen, Mary Beatoun, and
+Rizzio. It is interrupted by the unison psalm-tune of the Puritans, a
+stern, severe old melody set to a "moving bass" accompaniment:--
+
+  "O thou who sittest on the throne
+    And wilt exalt thine horn on high,
+  While captive men in prison groan,
+    And women poor of hunger die,
+  Beware! albeit a Haman proud,
+    Served by thy slaves on bended knee,
+  The heaven can speak in thunder loud
+    And rend to dust both them and thee."
+
+There is a temporary pause in the revels, but at the Queen's command they
+are resumed with a quick-step introduced by the pipes and full of the
+genuine Scotch spirit and bustle, the "Fal lal" trio and chorus still
+accompanying it. It is interrupted afresh by a repetition of the psalm
+("A Hand of Fire was on the Wall"), after which John Knox enters. With
+his entrance the gay music closes and the work assumes a gloomy tragic
+cast as the dialogue proceeds and the terrible incidents of the prophecy
+are unfolded. It is a relief when they join in a hopeful duet ("E'en if
+Earth should wholly fail me") which is very quiet and melodious. It leads
+to the Queen's farewell, a quaintly-written bit, with an old-fashioned
+cadenza, followed by the final chorus, which takes up a theme in the same
+joyous spirit as the opening one:--
+
+  "Hence with evil omen,
+    Doleful bird of night,
+  Who in tears of women
+    Takest chief delight!
+  Think not to alarm her,
+    As with mystic power;
+  Nought shall ever harm her,
+    Scotland's lily flower."
+
+
+
+
+                                 LISZT.
+
+
+Franz Liszt, the most eminent pianist of his time, who also obtained
+world-wide celebrity as a composer and orchestral conductor, was born at
+Raiding, Hungary, Oct. 22, 1811. His father was an accomplished amateur,
+and played the piano and violoncello with more than ordinary skill. He
+was so impressed with the promise of his son that he not only gave him
+lessons in music, but also devoted himself to his artistic progress with
+the utmost assiduity. In his ninth year Liszt played for the first time
+in public at Oedenburg. His performances aroused such enthusiasm that
+several Hungarian noblemen encouraged him to continue his studies, and
+guaranteed him sufficient to defray the expenses of six years' tuition.
+He went to Vienna at once and studied the piano with Czerny, besides
+taking lessons in composition of Salieri and Randhartinger. It was while
+in that city that his first composition, a variation on a waltz of
+Diabelli, appeared. In 1823 he went to Paris, hoping to secure permission
+to enter the Conservatory; but Cherubini refused it on account of his
+foreign origin, though Cherubini himself was a foreigner. Nothing
+daunted, young Liszt continued his studies with Reicha and Paer, and two
+years afterwards brought out a two-act opera entitled "Don Sancho," which
+met with a very cordial reception. The slight he received from Cherubini
+aroused popular sympathy for him. His wonderful playing attracted
+universal attention and gained him admission into the most brilliant
+Parisian salons. He was a favorite with every one, especially with the
+ladies. For two or three years he made artistic tours through France,
+Switzerland, and England, accompanied by his father, and everywhere met
+with the most brilliant success. In 1827 the father died, leaving him
+alone in the world; but good fortune was on his side. During his stay in
+Paris he had made the friendship of Victor Hugo, George Sand, Lamartine,
+and other great lights in literature and music, and their influence
+prepared the way for his permanent success. From 1839 to 1847 he
+travelled from one city to another, arousing the most extraordinary
+enthusiasm; his progress was one continued ovation. In 1849 he went to
+Weimar and accepted the post of conductor at the Court Theatre. He made
+that city the musical centre of Europe. It was there that his greatest
+compositions were written, that the school of the music of the future was
+founded, and that Wagner's operas first gained an unprejudiced hearing;
+and it is from Weimar that his distinguished pupils, like Von Buelow,
+Tausig, Bendel, Bronsart, Klindworth, Winterberger, Reubke, and many
+others date their success. In 1859 he resigned his position and after
+that time resided at Rome, Pesth, and Weimar, working for the best
+interest of his beloved art, and encouraging young musicians to reach the
+highest standards. Few men of this century have had such a powerful
+influence upon music, or have done so much to elevate and purify it. His
+most important works were the "Divina Commedia" and "Faust" symphonies,
+the twelve symphonic poems, the six Hungarian rhapsodies, the "Graner
+Mass," the "Hungarian Coronation Mass," and the oratorios "Christus" and
+"The Legend of the Holy Elizabeth." Besides these he wrote a large number
+of orchestral pieces, songs, and cantatas, and a rich and varied
+collection of piano-forte solos, transcriptions, and arrangements. He
+died July 31, 1886.
+
+
+                               Prometheus.
+
+Liszt's cantata "Prometheus," composed in 1850, is based upon the poem of
+the same name, written by Johann Gottfried von Herder, the court preacher
+of Weimar. The poem closely follows the well-known legend of Prometheus'
+punishment for stealing fire from heaven, and his ultimate rescue by
+Hercules from the vulture which preyed upon his vitals. The poet pictures
+the victim in the midst of his sufferings, consoled by the knowledge that
+he has been a benefactor to the human race. The spirits of the ocean mock
+and menace him, but the harvesters and tillers of the soil praise him for
+the bounteous gifts he has given to the earth. Ceres and Bacchus,
+protectors of the soil and its products, also pay their tribute of
+sympathy to him and thank him for the blessing of fire. Hercules at last
+releases him from his torture by killing the vulture and breaking the
+chains which bind him to his rock. The sufferer is brought before Themis,
+who announces that the divine wrath has been appeased by his long
+punishment, and that the gods forgive him.
+
+In building up his cantata Liszt has introduced several prologues from
+the poem without music, which serve as narrators explaining the
+situations, linking and leading up to the musical numbers, which are
+mainly choral. Thus the opening prologue pictures the sufferings of
+Prometheus, the crime for which he is forced to endure such a terrible
+penalty, and the patience, hope, and heroism of the victim. The closing
+lines,--
+
+  "Now through the hush of night burst well-known voices
+  Upon his ear. From out the slumbering ocean,
+  Fanning his cheek with breath of the sea waves,
+  The daughters of Oceanus approach,"--
+
+introduce the opening chorus of sea-nymphs ("Prometheus, Woe to thee"),
+for female voices, arranged in double parts, and set to a restless,
+agitated accompaniment, expressive of fear and despair. The second
+prologue, reciting the wrath of Oceanus "on his swift-winged ocean
+steed," that mortals should have dared to vex his peaceful waters, and
+the reply of Prometheus that "on the broad earth each place is free to
+all," introduces the choruses of Tritons and Oceanides. The first is a
+mixed chorus full of brightness and spirit ("Freedom! afar from Land upon
+the open Sea"). Their exultant song is followed by a fascinating melody
+("Hail! O Prometheus, hail!") for female chorus, with short but
+expressive solos for soprano and alto ("When to our Waters the golden
+Time shall come"), the number closing with double chorus in full rich
+harmony ("Holy and grand and free is the Gift of Heaven"). Thereupon
+follows the third prologue:--
+
+  "Scarcely has ceased the Ocean's song of joy,
+  Which, breathing peace unto Prometheus' soul,
+  Wakens within his breast long-buried hope,
+  When once again the sound of lamentation
+  Bursts on his ear and fills the air with sighs.
+  Seated within a lion-drawn chariot comes
+  The founder of his race--Gaea herself--
+  With her a train of wood-nymphs, loudly weeping."
+
+It introduces a chorus of Dryads ("Woe to thee, Prometheus") of the same
+general character as the opening chorus of sea-nymphs, and containing a
+very dramatic and declamatory alto solo ("Deserted stand God's sacred
+Altars in the old Forest"). A dialogue follows between Gaea and
+Prometheus, in which the latter bravely defends his course. As the Dryads
+disappear, Prometheus soliloquizes:--
+
+              "'This is, in truth, the noblest deed
+  Mortal has ever dared. Beat high, my heart!
+  On this foundation built I up my race,--
+  On deathless friendship and fraternity.
+  Courage, Alcides! Bravely fight thy fight.
+  Conquer, and thou shalt free me.' From his dreams,
+  Roused is the Titan by a song of joy.
+  Before him, crowned with the rich harvest, stands
+  Ceres with her train of reapers."
+
+A mixed chorus of gleaners follows ("With the Lark sweetly singing"),
+which can hardly be excelled for grace and loveliness of melody. In the
+next prologue Ceres consoles Prometheus, and while she is speaking a
+shout of gladness rises and Bacchus appears. He smites the rock, and at
+his touch a bower of grape-vines and ivy boughs interlaces over the head
+of the Titan and shadows him. This serves to introduce the chorus of
+Vine-dressers ("Hail to the Pleasure-giver"), a lively strain for male
+voices with an effective solo quartet. As Prometheus resumes his
+soliloquy, Hermes approaches, leading Pandora, and seeks to allure him
+from his purpose by her enchantments, but in vain:--
+
+  "The Titan conquers, and he feels the hour--
+  The fated hour--draw near. Above his head
+  The vulture hovers, fearing to approach;
+  While the earth trembles, and the rocks are shaken.
+  Voices are heard from out the gloomy depths."
+
+The voices are those of the spirits in the lower regions singing a very
+melodramatic chorus ("Woe! woe! the sacred Sleep of the Dead has been
+disturbed"). An _allegro moderato_ for orchestra follows, preluding the
+approach of Hercules, who bends his giant bow and kills the vulture,
+strikes the fetters off and bids him "Go hence unto thy Mother's Throne."
+The scene introduces the seventh number ("All human Foresight wanders in
+deepest Night"), an expressive and stately male chorus with solo quartet.
+The last prologue describes the scene at the throne of Themis, the pardon
+of Prometheus, and her assurance that "Henceforth Olympus smiles upon the
+Earth." Pallas presents him with a veiled figure as the reward of his
+heroism, "who will bring to thy race the richest blessing,--Truth." The
+goddess unveils her and declares her name "Agathea. She brings to man the
+purest, holiest gift,--Charity." The closing chorus of the Muses
+follows:--
+
+  "Of all bright thoughts that bloom on earth,
+  That raise poor mortals high as heaven,
+  The holiest, the blessedest is Charity.
+  Hail, Prometheus! Hail to mankind!"
+
+
+                         The Bells of Strasburg.
+
+"Die Glocken des Strassburger Muensters" ("The Bells of Strasburg
+Cathedral") was written in 1874, and is dedicated to the poet Longfellow,
+from whose "Golden Legend" the composer took his theme for musical
+treatment. The cantata, however, does not deal with the beautiful legend
+itself as related by the old minnesinger, Hartmann von Aue, which
+Longfellow has told so powerfully in his "Christus," but simply with the
+prologue, describing the futile attempt of Lucifer and the Powers of the
+Air to tear down the cross of the Strasburg Cathedral during the night
+storm. It was a subject peculiarly attractive to Liszt, as it offered him
+free scope for his fancies and unlimited opportunity for the display of
+his unique and sometimes eccentric orchestration. The work is written for
+barytone solo and mixed chorus, and is divided into two parts,--a short
+prelude which is entitled "Excelsior" (_andante maestoso_), and in which
+this word is several times repeated by the chorus with gradually
+increasing power from piano to fortissimo; and "The Bells," which
+comprises the principal part of the work.
+
+The second part opens with a massive introduction (_allegro agitato
+assai_), in which the bells, horns, and trumpets play an important part,
+leading up to the furious invocation of Lucifer:--
+
+        "Hasten! Hasten!
+        O ye spirits!
+  From its station drag the ponderous
+  Cross of iron that to mock us
+  Is uplifted high in air!"
+
+Without a break comes the response of the spirits, first and second
+sopranos, altos, and tenors ("Oh! we cannot, for around it"), followed by
+the Latin chant of the bells sung by tenors and basses, with a soft
+tremolo accompaniment:--
+
+        "Laudo Deum verum!
+        Plebem voco!
+        Congrego clerum!"
+
+Again with increasing power Lucifer shouts his command:--
+
+        "Lower! Lower!
+        Hover downward!
+  Seize the loud, vociferous bells, and
+  Clashing, clanging to the pavement,
+  Hurl them from their windy tower!"
+
+As before, the chorus responds in a sweet harmonious strain ("All thy
+Thunders here are harmless"), again followed by the slow and sonorous
+chant of the bells:--
+
+        "Defunctos ploro!
+        Pestem fugo!
+        Festa decoro!"
+
+Lucifer reiterates his command with constantly increasing energy:--
+
+        "Shake the casements
+        Break the painted
+  Panes that flame with gold and crimson;
+  Scatter them like leaves of autumn,
+  Swept away before the blast."
+
+In its response this time the chorus is full of energy and impetuosity as
+it shouts with great power, "O, we cannot! the Archangel Michael flames
+from every window." The chant of the bells is now taken by the basses
+alone:--
+
+        "Funera plango!
+        Fulgura frango!
+        Sabbato pango!"
+
+Lucifer makes his last appeal with all the strength that voice and
+orchestra can reach:--
+
+        "Aim your lightnings
+        At the oaken
+  Massive, iron-studded portals!
+  Sack the house of God, and scatter
+  Wide the ashes of the dead."
+
+In the choral response ("The Apostles and the Martyrs wrapped in
+Mantles") the sopranos and altos are in unison, making with the first and
+second tenors a splendid effect. For the last time the first and second
+basses sing the chant of the bells:--
+
+        "Excito lentos!
+        Dissipo ventos!
+        Paco cruentos!"
+
+With no abatement of vigor the baffled Lucifer sounds his signal for
+retreat, and the voices reply, sopranos and altos in unison:--
+
+        "Onward! onward!
+        With the night-wind,
+  Over field and farm and forest,
+  Lonely homestead, darksome hamlet,
+  Blighting all we breathe upon."
+
+As the voices die away, choir, organ, and orchestra join with majestic
+effect in the intonation of the Gregorian chant:--
+
+        "Nocte surgentes
+        Vigilemus omnes!
+        Laudemus Deum verum."
+
+The cantata shows Liszt's talent rather than his genius. It is a
+wonderful mosaic-work of fancies, rather than an original, studied
+composition with definite purpose. Its motives, while not inspired, are
+finely conceived, and are presented not only gracefully, but in keeping
+with the spirituality of the subject.
+
+
+
+
+                               MACFARREN.
+
+
+George Alexander Macfarren, one of the most prominent of modern English
+composers, was born in London, March 2, 1813. He began the study of music
+under the tuition of Charles Lucas in 1827. Two years later he entered
+the Royal Academy of Music, and in 1834 became one of its professors. The
+latter year dates the beginning of his career as a composer, his first
+work having been a symphony in F minor. During the next thirty years his
+important works were as follows: overture, "Chevy Chace" (1836); "Devil's
+Opera," produced at the Lyceum (1838); "Emblematical Tribute on the
+Queen's Marriage" and an arrangement of Purcell's "Dido and AEneas"
+(1840); editions of "Belshazzar," "Judas Maccabaeus," and "Jephthah," for
+the Handel Society (1843); the opera "Don Quixote" (1846); the opera
+"Charles II." (1849); serenata, "The Sleeper Awakened," and the cantata
+"Lenora" (1851); the cantata "May Day," for the Bradford Festival (1856);
+the cantata "Christmas" (1859); the opera "Robin Hood" (1860); the masque
+"Freya's Gift" and opera "Jessy Lea" (1863); and the operas "She Stoops
+to Conquer," "The Soldier's Legacy," and "Helvellyn" (1864). About the
+last year his sight, which had been impaired for many years, failed. His
+blindness, however, did not diminish his activity. He still served as
+professor in the Royal Academy, and dictated compositions,--indeed some
+of his best works were composed during this time of affliction. In 1873
+appeared his oratorio "St. John the Baptist," which met with an
+enthusiastic reception at the Bristol Festival of that year. In 1875 he
+was elected professor of music at Cambridge, to fill the vacancy
+occasioned by the death of Sterndale Bennett, and in the same year was
+also appointed principal of the Royal Academy of Music. In 1876 his
+oratorio "The Resurrection" was performed at the Birmingham Festival, and
+in 1877 the oratorio "Joseph" at Leeds, besides the cantata "The Lady of
+the Lake" at Glasgow. Grove catalogues his other compositions as follows:
+a cathedral service, anthems, chants, psalm-tunes, and introits for the
+Holy Days and Seasons of the English Church (1866); "Songs in a
+Cornfield" (1868); "Shakspeare Songs for Four Voices" (1860-64); songs
+from Lane's "Arabian Nights," and Kingsley's and Tennyson's poems:
+overtures to "The Merchant of Venice," "Romeo and Juliet," "Hamlet," and
+"Don Carlos;" symphonies, string quartets, and a quintet; a concerto for
+violin and orchestra; and sonatas for piano-forte alone, and in
+combination with other instruments. As lecturer, writer, and critic, Sir
+George Macfarren also holds a high place, among his important works being
+"Rudiments of Harmony" (1860); six Lectures on Harmony (1867); analyses
+of oratorios for the Sacred Harmonic Society (1853-57), and of orchestral
+works for the Philharmonic Society (1869-71); and a "Musical History,"
+being a reprint of an article on this subject contributed by him to the
+Encyclopaedia Britannica.
+
+
+                               Christmas.
+
+"Christmas," the poem by John Oxenford, was written in 1859, and was
+first performed at one of the concerts of the Musical Society of London,
+on the 9th of May 1860. The poem itself contains no story. It is merely a
+tribute to the season; but at the same time it is not destitute of
+incident, so that it possesses considerable dramatic interest.
+
+After a short instrumental introduction the cantata opens with a double
+chorus in antiphonal style, in which both the bright and the dark sides
+of winter are celebrated. The second choir takes up the theme:--
+
+  "The trees lift up their branches bare
+    Against the sky:
+  Through the keen and nipping air
+    For spring's return they seem to cry,
+  As the winds with solemn tone
+  About them sadly moan;"
+
+and the first choir replies:--
+
+  "Old Winter's hand is always free,
+    He scatters diamonds round;
+  They dart their light from every tree,
+    They glisten on the ground.
+  Then who shall call the branches bare,
+  When gems like those are sparkling there?"
+
+The two then join and bring their friendly contest to a close:--
+
+  2nd Choir.--"Come in, and closely shut the door
+                Against the wintry weather;
+              Of frost and snow we'll think no more,
+                While round the fire we sit together."
+
+  1st Choir.--"Rush out from every cottage door,
+                'Tis brave and bracing weather;
+              A madder throng ne'er met before,
+                Than those which now have come together."
+
+This double number, which is very effective, is followed by a soprano
+recitative and romance ("Welcome, blest Season"), tender and yet joyous
+in character, which celebrates the delight of friendly reunions at
+Christmas tide, and the pleasure with which those long absent seek "the
+old familiar door." In the next number, an old English carol ("A Blessing
+on this noble House and all who in it dwell"), Christmas is fairly
+introduced. It is sung first in unison by full chorus, then changes to
+harmony, in which one choir retains the melody, and closes with a new
+subject for orchestral treatment, the united choirs singing the carol.
+Christmas would not be complete without its story; and this we have in
+the next number for contralto solo and chorus, entitled "A Christmas
+Tale." It is preceded by recitative, written in the old English style,
+and each verse closes with a refrain, first sung as a solo, and then
+repeated in full harmony by the chorus:--
+
+  "A bleak and kindless morning had broke on Althenay,
+  Where shunning Danish foemen the good King Alfred lay;
+  'In search of food our hunters departed long ago,
+  I fear that they have perished, embedded in the snow.'
+  While thus he sadly muses, an aged man he sees,
+  With white hair on his forehead like frost upon the trees.
+  An image of the winter the haggard pilgrim stands,
+  And breathing forth his sorrows, lifts up his withered hands:
+          'The Heavenly King, who reigns on high,
+          Bless him who hears the poor man's cry.'
+
+  "'Our hearts are moved with pity, thy sufferings we deplore,'
+  Said Alfred's queen, the gentle, 'but scanty is our store;
+  One loaf alone is left us.' 'Then give it,' said the King,
+  'For He who feeds the ravens, yes, He will fresh abundance bring.'
+  The wind was roaring loudly, the snow was falling fast,
+  As from the lofty turret the last, last loaf he cast.
+  An image of the winter, the haggard pilgrim stands,
+  And Alfred's welcome pittance he catches with his hands.
+          'The Heavenly King, who reigns on high,
+          Bless him who hears the poor man's cry.'
+
+  "The snow is thickly falling, the winter wind is loud,
+  But yonder in the distance appears a joyous crowd.
+  The hunters bring their booty, the peasants bring their corn,
+  And cheering songs of triumph along the blast are borne.
+  Before another morning down-stricken is the foe,
+  And blood of Danish warriors is red upon the snow.
+  Amid the conquering Saxons the aged pilgrim stands,
+  And like a holy prophet exclaims with lifted hands,
+          'The Heavenly King, who reigns on high,
+          Bless him who hears the poor man's cry.'"
+
+A graceful little duet for female voices ("Little Children, all
+rejoice"), picturing the delights of childhood and its exemption from
+care, follows the Saxon story and leads up to the finale, which is choral
+throughout, and gives all the pleasant details of Christmas cheer,--the
+feast in the vaulted hall, the baron of beef, the boar with the lemon in
+his jaw, the pudding, "gem of all the feast," the generous wassail, and
+the mistletoe bough with its warning to maids. In delightfully
+picturesque old English music the joyous scene comes to an end:--
+
+    "Varied sports the evening close,
+    Dancers form in busy rows:
+    Hoodwink'd lovers roam about,
+    Hope to find the right one out,
+  And when they fail how merry is the shout!
+    Round yon flickering flame of blue
+    Urchins sit, an anxious crew;
+    Dainties rich the bold invite,
+  While from the fire the timid shrink with fright.
+    Welcome all, welcome all.
+    'Tis merry now in the vaulted hall,
+    The mistletoe is overhead,
+    The holly flaunts its berries red,
+    The wassail-bowl goes gayly round;
+    Our mirth awakes the echoes sound,
+    All eyes are bright, all hearts are gay;
+    Thus ends our Christmas day."
+
+
+
+
+                               MACKENZIE.
+
+
+Alexander C. Mackenzie, one of the very few successful Scotch composers,
+was born at Edinburgh, in 1847. His father was a musician, and
+recognizing his son's talent, sent him to Germany at the age of ten. He
+began his studies with Ulrich Eduard Stein at Schwartzburg-Sondershausen,
+and four years later entered the ducal orchestra as violinist. He
+remained there until 1862, when he went to England to study the violin
+with M. Sainton. In the same year he was elected king's scholar of the
+Royal Academy of Music. Three years later he returned to Edinburgh and
+established himself as a piano-teacher. The main work of his life,
+however, has been composition, and to this he has devoted himself with
+assiduity and remarkable success. Grove catalogues among his works:
+"Cervantes," an overture for orchestra; a scherzo, for ditto; overture to
+a comedy; a string quintet, and many other pieces in MS.; piano-forte
+quartet in B., op. 11; Trois Morceaux pour Piano, op. 15; two songs, op.
+12; besides songs, part-songs, anthems, and pieces for the piano. This
+catalogue can now be increased by four of the most important works he has
+produced: a Scotch Rhapsody, introduced into this country by the Theodore
+Thomas orchestra; the oratorio "Rose of Sharon" (1884); an opera, "The
+Troubadour" (1885), and the cantata, "The Story of Sayid" (1886), which
+forms the subject of the subjoined sketch.
+
+
+                           The Story of Sayid.
+
+"The Story of Sayid," a dramatic cantata in two parts, the libretto by
+Joseph Bennett, was first produced at the Leeds Triennial Festival, Oct.
+13, 1886. Its story is founded upon that of a poem in Edwin Arnold's
+"Pearls of the Faith," and embodies a myth which is current among nearly
+all Oriental nations. The characters are Ilmas, daughter of Sawa
+(soprano); Sayid, an Arab chief (tenor); Sawa, a Hindoo prince
+(barytone); a watchman (tenor or barytone); and a horseman (barytone).
+The opening scene pictures the desolation of the land of Sawa, caused by
+the invasion of an Arab band, led by their chieftain, Sayid. In the midst
+of the popular lamentations a messenger announces the defeat of the Arabs
+and the capture of their leader, who is brought to the city and sentenced
+to death on the spot. As Sayid prepares to meet his fate, he is
+recognized by Sawa as his rescuer at a time when he was hunting in the
+hills and perishing with thirst. He offers him any boon he may ask except
+that of life. Sayid entreats that he may be allowed to visit his aged
+father, promising to return afterwards and suffer his fate. When Sawa
+asks who will be hostage for him, his own daughter, Ilmas, offers
+herself. Moved to pity for the Arab, she persists in her offer, and her
+father at last reluctantly consents. The second scene opens in Ilmas's
+palace, and we discover that pity has grown into passion for Sayid during
+his absence. She is interrupted in her meditations by Sawa, who enters
+with his counsellors, and announces that lightnings have flashed from the
+altars of Siva, and that the gods have demanded that the hostage must
+suffer in the absence of Sayid. Ilmas bids her attendants array her in
+bridal robes, and in the next scene appears in an open space near the
+city gate, surrounded by the court retinue and soldiers, and accompanied
+by her maidens, strewing flowers in her path. Ilmas is led to the centre
+of the space and kneels down, the executioner standing over her and
+awaiting the signal to be given by the watchman when the sun sets. Before
+that time comes the latter excitedly announces the rapid approach of an
+Arab horseman. While the crowd stand eagerly waiting his arrival, Sayid
+gallops through the gateway and presents himself to the Prince. He then
+turns to Ilmas, who warmly receives him, and affirms that whatever fate
+may overtake him she shall always cherish his memory. Sawa relents, bids
+the Arab live and be his friend, and we infer the happiness of the lovers
+from the invocation of "Love the Conqueror," which brings the Damon and
+Pythias story, to a close.
+
+A very brief orchestral prelude introduces the opening chorus with
+solos:--
+
+  "Alas! our land is desolate,
+    The children cry for bread;
+  Around, fierce fire and sword devour,
+    Our women wail their dead.
+
+  "We pray for vengeance on the foe,
+    To death consign them all;
+  Siva, arise and fight for us,
+    Or see thine altars fall."
+
+As the expressive chorus comes to a close, an allegro movement leads to a
+dialogue between the people and the watchman, and subsequently with the
+horseman, who announces the approach of the victorious army, followed by
+a second chorus of the people invoking Siva ("Vishnu, Vishnu, thou hast
+heard our Cry!"). The scene is very dramatic throughout, and is
+accompanied by vigorous and suggestive music. The next number is a
+triumphal march, remarkable for its local color, and gradually increasing
+in power and effect as the army approaches the city. It is followed by an
+excited dialogue between Sawa and Sayid, with choral responses, and leads
+up to a beautiful melody for Sayid:--
+
+  "Where sets the sun adown the crimson west
+    My native valley lies;
+  There by a gentle stream that murmurs rest
+    My father's tents arise.
+
+  "Fearing no harm, the happy peasant tills,
+    The woolly flocks increase;
+  The shepherd's pipe is heard upon the hills,
+    And all around is peace."
+
+Another dramatic scene follows, in which Sawa consents to Sayid's return
+to his father, and accepts Ilmas as his bondswoman, which leads to a very
+spirited and elaborate melody for the latter ("First of his Prophet's
+Warriors he"). The first part closes with the departure of Sayid and a
+repetition of the choral invocation of Siva.
+
+The second part opens in an apartment of Sawa's palace, and discloses
+Ilmas sitting with her maidens, as a thunderstorm dies away in the
+distance. The latter join in a graceful chorus, which is one of the most
+beautiful numbers in the cantata:--
+
+  "Sweet the balmy days of spring,
+  And blushing roses that they bring;
+        But sweeter far is love."
+
+Ilmas answers them in a broad and exultant strain ("Ay, sweet indeed is
+Love"). As the song ends, Sawa and attendants enter, and the scene closes
+with a very dramatic chorus and solos, accompanying the preparations for
+death. The second scene opens with a solemn march for orchestra,
+preparing the way for the climax, and leading up to a chorus and solo for
+Ilmas ("What have these Sounds to do with bridal Robes?"). As she kneels,
+awaiting her fate, an orchestral interlude, set to the rhythm of the
+gallop, indicates the rapid approach of Sayid. A short and agitated
+dialogue follows between the watchman and the people. Sayid declares his
+presence, and a graceful duet with Ilmas ensues ("Noble Maiden, low
+before thee Sayid bows"), leading to a powerful choral finale ("Never
+before was known a Deed like this"), closing with a stirring outburst for
+all the voices:--
+
+  "O Love, thy car triumphal
+  Rolls round the subject world
+  More glorious than the chariot
+              Of the sun.
+
+  "We hail thee, Love victorious!
+  Ride on with strength divine,
+  And quench all mortal passion
+              In thine own."
+
+
+                            Jubilee Ode.[29]
+
+This work, upon which Dr. Mackenzie has been engaged for some time past,
+is now complete, and on its way to several distant parts of the Empire,
+where arrangements are making to perform it in celebration of the
+Jubilee. Primarily, as our readers know, the Ode was intended for the
+Crystal Palace only, but it will be given also in Canada, Australia,
+Trinidad, Cape Colony, etc.; thus standing out from all its fellows as in
+some sort an Imperial work.
+
+Without anticipating the criticism which will follow upon performance, we
+may here give some idea of the scope and character of the Ode. Mr. Joseph
+Bennett, the writer of the words, has kept strictly in view the
+exigencies of a musical setting. He has obviously prepared, not a short
+poem for readers, but one for musical hearers. Hence a variety of rhythm
+and structure which otherwise would certainly not have been ventured
+upon. From the same cause arises also the manner in which the subject is
+laid out, with a view to contrast of musical effect. We may indicate the
+nature of this arrangement. In the first vocal number, a chorus, the news
+of the Jubilee is proclaimed, and its diffusion throughout the Empire
+called for. The second number, a tenor solo, conveys to the Queen the
+affectionate greetings of her home-lands, declaring that, to keep the
+feast with unanimity, all weapons of party warfare are laid aside. In the
+third number the Colonies and Dependencies pay their homage, the idea
+worked out being that of a procession passing before the throne. First
+comes the Dominion, followed by Australia, the smaller colonies and
+islands, and, lastly, by India. Each of these divisions has a section of
+the chorus to itself. The fifth number, a soprano solo, dwells upon the
+personal virtues of the Sovereign; while the sixth, and last, opening
+with a choral prayer for the Empire, continues with lines leading to the
+National Anthem, for which a new second verse has been written. How far
+the writer has been guided by consideration for musical opportunities
+need not, after this outline sketch, be indicated. The spirit in which
+Mr. Bennett has approached his theme best appears, perhaps, in the
+opening verses:--
+
+          "For fifty years our Queen!
+                          Victoria! hail!
+          Take up the cry, glad voices,
+            And pass the strain
+            O'er hill and plain,
+  Peaceful hamlet, roaring city, flowing river,
+          Till all the land rejoices.
+  Wild clanging bells and thund'rous cannon
+  With your loudest shock the air, and make it quiver
+  From Dee to Tamar, Thames to Shannon.
+
+          "For fifty years our Queen!
+                          Victoria! hail!
+          Take up the cry, old ocean,
+            And hoarsely shout
+            The words about.
+  British ships and world-wide British lands will cheer them,
+          Rouse an Empire's full devotion.
+  O blowing wind, come hither, bearing
+  Answering voices, loud acclaiming. Hark! we hear them.
+  They our loyal pride are sharing."
+
+In setting the words to music, Dr. Mackenzie has necessarily to consider
+the place of performance and the number of performers. This, however, was
+an amiable and fortunate obligation, since the result has been to give us
+a work built upon broad lines, and marked by plainness of structure to an
+extent unusual with the composer. We think that the music will be found
+to have a true festive ring, and a majestic solidity befitting the
+occasion. In the solos, with their more subdued expression, Dr. Mackenzie
+has kept contrast in view, without sacrifice of simplicity; but it is in
+the choruses that he best shows himself a master of bold and striking
+effects. Every bar goes straight to the point, while avoiding the
+commonplaces that naturally suggest themselves in the writing of festive
+music. The procession chorus is, in this respect, most noteworthy of all,
+and may be found no mean rival of that in the "Rose of Sharon."
+
+
+[29] As the score of Mr. Mackenzie's Ode has not yet reached this
+    country, the author has taken the liberty of transferring the above
+    analysis of it to his work from the London "Musical Times" for May,
+    1887. Although its local character may preclude its performance here,
+    it is not improbable that the composition of a composer so eminent
+    will attract attention among American musicians.
+
+
+
+
+                                    MASSENET.
+
+
+Jules Emile Frederic Massenet, a composer as yet but little known in this
+country, was born at Montaud, France, May 12, 1842. His musical education
+was obtained in the Paris Conservatory, in which between the years 1859
+and 1863 he carried off two first prizes and one second. After leaving
+the Conservatory, he went to Italy for a time and pursued his studies in
+composition. On his return to Paris one of his operas, "La Grand Tante,"
+was produced at the Opera Comique (1867) through the influence of
+Ambroise Thomas, and this performance called attention to the works of
+the rising young musician. In 1872 he brought out "Don Caesar de Bazan,"
+an opera comique in three acts, and in the following year incidental
+music to the tragedy "Les Erinnyes," after AEschylus. Among his works
+written since that time are "Le Roi de Lahore" (1877); "Herodiade"
+(1882); "Manon" (1885); "Le Cid" (1885); the cantata "Paix et Liberte"
+(1867); "Marie Magdaleine" (1873); "Eve," a mystery (1875); "La Vierge,"
+sacred legend; and "Narcisse," antique idylle (1878). Among his
+orchestral works the best known are "Suites d'orchestre;" "Scenes
+Hongroises;" "Scenes Pittoresques;" "Scenes Dramatiques;" overture
+"Phedre;" and "Pompeia," fantasia-symphony. He has also written numerous
+songs and piano-forte pieces. His operas thus far have been his most
+successful works, though several of his large concert pieces have been
+very favorably received. He now occupies a position in the Paris
+Conservatory, and is regarded as one of the most promising members of the
+modern French school.
+
+
+                             Mary Magdalen.
+
+"Mary Magdalen" was written in 1873, and was first performed at the
+Odeon, Paris, in that year, with Mmes. Viardot and Vidal and MM. Bosquin
+and Petit in the solo parts. It is styled by its composer a sacred drama,
+and is divided into three acts, the first entitled "The Magdalen at the
+Fountain;" the second, "Jesus before the Magdalen;" the third,
+"Golgotha," "The Magdalen at the Cross," and "The Tomb of Jesus and the
+Resurrection;" the first two scenes in the last act being included in one
+tableau, and the third in another. The characters represented are Mary
+Magdalen, Martha, Jesus, and Judas, the chorus parts being assigned to
+the Disciples, Pharisees, Scribes, publicans, soldiers, servants, holy
+women, and people.
+
+After a short introduction, pastoral in character, the work begins with a
+scene representing Mary at the fountain of Magdala near sunset, among
+women, publicans, Scribes, and Pharisees, strolling along the banks of
+the little stream that flows from it. The women sing a short chorus full
+of Oriental color anticipating the approach of the beautiful Nazarene. A
+group of young Magdalens pass along singing blithely of love and gay
+cavaliers ("C'est l'heure ou conduisant de longues Caravanes"), and the
+song of the women blends with it. Next follows a chorus of the Scribes,
+discussing this Stranger, and pronouncing Him an impostor, and again the
+young Magdalens take up their strain. The second number is a pathetic
+aria by Mary ("O mes Soeurs"), which is full of tender beauty. The women
+shrink back from her and join in a taunting chorus ("La belle Pecheresse
+oublie"). Next, Judas appears upon the scene, and servilely saluting Mary
+counsels her to abandon sadness and return to love, in an aria which is a
+good illustration of irony in music. It is followed by a powerful and
+mocking chorus of women, Pharisees, and Scribes ("Vainement tu pleures"),
+in which she is taunted with her shame, despite her sad appeals for pity.
+The next scene is an aria and trio. Jesus appears in their midst, and in
+a calm impressive aria ("Vous qui fletrissez les Erreurs des autres")
+rebukes them. Mary prostrates herself at His feet and implores pardon,
+and the scene closes with a trio for Jesus, Mary, and Judas, leading up
+to a strong concerted finale closing the act, in which Jesus bids the
+Magdalen rise and return to her home, whither He is about to repair.
+
+The second act opens in the Magdalen's house, which is richly decorated
+with flowers and redolent with perfume. It begins with a sensuous female
+chorus ("Le Seuil est pare de Fleurs rares") followed by Martha's
+admonition to the servants that He who is more powerful than earthly
+kings cares not for vain shows. The chorus resumes its song, and at its
+close Judas appears and a long dialogue follows in which Martha rebukes
+his hypocrisy. As he departs, Mary and Martha in a very graceful duet
+discourse of the Saviour's coming, which is interrupted by His presence
+and invocation of blessing. After a duet between Jesus and Mary, in which
+He commends her to the Good Shepherd, the act closes with a powerful and
+very dramatic finale containing Jesus' rebuke to Judas and His
+declaration of the coming betrayal, after which the Disciples join in a
+simple but very effective prayer ("Notre Pere, loue soit Nom radieux").
+
+The third act is divided into two tableaux. In the first we have the
+scene of the crucifixion, the agitated choruses of the groups about the
+Cross, the mocking strains of the Pharisees bidding Him descend if He is
+the Master, the sorrowing song of Mary ("O Bien-aime sous la sombre
+Couronne"), and the final tragedy. The second is devoted to the
+resurrection and apparition, which are treated very dramatically, closing
+with an exultant Easter hymn ("Christ est vivant, ressuscite").
+
+In the first two acts the music is full of rich Oriental color and is
+gracefully melodious and well adapted to the situation; but in the last
+act the awful solemnity of the tragedy is somewhat lost in the theatrical
+manner of its treatment. Indeed it was hardly necessary that the composer
+should have disclaimed the title of oratorio which some have assigned to
+the work. His division of it into acts and tableaux was sufficient to
+indicate that he had the stage in mind when he was writing; or at least
+that his scheme was operatic in style.
+
+
+
+
+                              MENDELSSOHN.
+
+
+Felix Mendelssohn Bartholdy, the son of a Berlin banker, was born at
+Hamburg, Feb. 3, 1809, and, unlike almost all other composers, was reared
+in the lap of luxury. He enjoyed every advantage which wealth could
+procure, with the result that he became highly educated in the other arts
+as well as in music. His teachers in music were Zelter and Ludwig Berger,
+and he made such progress that in his ninth year he appeared in public as
+a pianist in Berlin and afterwards in Paris. The first of his
+compositions to attract general notice were the overture to Shakspeare's
+"Midsummer Night's Dream" and the little opera "The Marriage of Camacho,"
+which were brought out in Berlin in 1827. After several concert-tours, in
+which he met with great success, he resided for some time in Duesseldorf.
+In 1835 he went to Leipsic as director of the famous Gewandhaus
+concerts,--which are still given in that city. Two years later he married
+Cecile Jeanrenaud, the beautiful daughter of a minister of the Reformed
+Church in Frankfort, and shortly afterwards went to Berlin as general
+director of church music. In 1843 he returned to his former post in
+Leipsic, and also took a position in the newly established Conservatory,
+where he spent the remainder of his days in company with his family, to
+whom he was closely attached. He has left a large and rich collection of
+musical works, which are favorites the world over. His three great
+oratorios are the "Hymn of Praise," catalogued as a symphony-cantata,
+"St. Paul," and "Elijah." Besides these oratorios, the exquisite music to
+the "Midsummer Night's Dream," which is familiar the world over, and his
+stately dramatic music to "Antigone," he has left five symphonies, of
+which the "Scotch," the "Italian," and the "Reformation" are best known;
+four beautiful overtures, "Ruy Blas," "Calm Sea and Prosperous Voyage,"
+"Hebrides," and "Melusina;" the very dramatic cantata, "The Walpurgis
+Night;" a long list of songs for one or more voices; the incidental music
+to Racine's "Athalia;" a very large collection of sacred music, such as
+psalms, hymns, anthems, and cantatas; several trios and other specimens
+of chamber music; and the lovely "Songs without Words," which are to be
+found upon almost every piano, the beauty and freshness of which time has
+not impaired. Mendelssohn never wrote a grand opera, owing to his
+fastidiousness as to a libretto; though he finally obtained one from
+Geibel on the subject of the "Loreley" which suited him. He had begun to
+write it, and had finished the finale to the first act, when death
+interrupted his work, Nov. 4, 1847. In addition to the subjoined
+compositions selected for description, the following may be mentioned as
+possessing the cantata characteristics: op. 31, the 115th Psalm, for
+solo, chorus, and orchestra; op. 46, the 95th Psalm, for chorus and
+orchestra; op. 51, the 114th Psalm, for double chorus and orchestra; op.
+78, three Psalms for solo and chorus; op. 91, the 98th Psalm, for double
+chorus and orchestra; and op. 96, Hymn ("Lass, O Herr mich") for alto
+solo, chorus, and orchestra.
+
+
+                          The Walpurgis Night.
+
+It was during his Italian travels in 1831 that Mendelssohn composed the
+music to Goethe's poem "The First Walpurgis Night." His letters throw
+much and interesting light upon the composition and his ideas while
+writing it. In a letter written at Rome, Feb. 22, 1831, he says:--
+
+  "Listen and wonder! Since I left Vienna I have partly composed Goethe's
+  'First Walpurgis Night,' but have not yet had courage to write it down.
+  The composition has now assumed a form and become a grand cantata, with
+  full orchestra, and may turn out well. At the opening there are songs
+  of spring, etc., and plenty others of the same kind. Afterwards, when
+  the watchmen with their 'Gabeln, und Zacken, und Eulen,' make a great
+  noise, the fairy frolics begin, and you know that I have a particular
+  foible for them; the sacrificial Druids then appear with their
+  trombones in C major, when the watchmen come in again in alarm; and
+  here I mean to introduce a light, mysterious, tripping chorus, and
+  lastly to conclude with a grand sacrificial hymn. Do you not think that
+  this might develop into a new style of cantata? I have an instrumental
+  introduction as a matter of course, and the effect of the whole is
+  spirited."
+
+On the 27th of April ensuing he refers to it again:--
+
+  "I must however return to my witches, so you must forgive my not
+  writing any more to-day. This whole letter seems to hover in
+  uncertainty, or rather I do so in my 'Walpurgis Night,' whether I am to
+  introduce the big drum or not. 'Zacken, Gabeln, und wilde
+  Klapperstoecke' seem to force me to the big drum, but moderation
+  dissuades me. I certainly am the only person who ever composed for the
+  scene on the Brocken without employing a piccolo-flute, but I can't
+  help regretting the big drum; and before I can receive Fanny's[30]
+  advice, the 'Walpurgis Night' will be finished and packed up."
+
+On his way back to Germany he writes from Milan, July 13, 1831, to the
+artist and operatic director, Eduard Devrient:--
+
+  "I have been writing a large composition that perhaps will one day make
+  some effect,--'The First Walpurgis Night' of Goethe. I began it simply
+  because it pleased and excited me; I did not think of any performance.
+  But now that it is finished, I see that it is well suited for a large
+  concert piece, and in my first subscription concert in Berlin you shall
+  sing the bearded Druid,--the chorus sung by ----, kindly assisted by
+  ----. I have written the part of the Druid into your throstle (by
+  permission), and you will have to sing it out again."
+
+It was several years before the "Walpurgis Night" was publicly performed,
+and meanwhile it underwent several changes. On the 28th of November,
+1842, he writes to his mother:--
+
+  "I am really anxious to make the 'Walpurgis Night' into a
+  symphony-cantata, for which it was originally intended, but did not
+  become so from want of courage on my part."
+
+On the 11th of December of the same year he writes her:--
+
+  "My 'Walpurgis Night' is to appear once more in the second part, in a
+  somewhat different garb indeed from the former one, which was somewhat
+  too richly endowed with trombones, and rather poor in the vocal parts;
+  but to effect this I have been obliged to re-write the whole score from
+  A to Z, and to add two new arias, not to mention the rest of the
+  clipping and cutting. If I don't like it now, I solemnly vow to give it
+  up for the rest of my life."
+
+The cantata was first publicly performed in Leipsic, Feb. 2, 1843, at a
+concert, in which it occupied the second part of the programme. It had to
+stand a severe test of comparison, for the first part was very brilliant,
+including a Haydn symphony, a Mozart aria, Beethoven's "Choral Fantasie,"
+the piano part played by Madame Schumann, the overture from "Euryanthe,"
+and the chorus from Weber's "Lyre and Sword;" but it made a success, and
+was received with great enthusiasm.
+
+The subject of the cantata is a very simple one. The witches of the
+Northern mythology were supposed to hold their revels on the summit of
+the Brocken on the eve of the 1st of May (Walpurgis Night), and the
+details of their wild and infernal "Sabbath" are familiar to every reader
+of "Faust." In his separate poem Goethe seeks to go back to the origin of
+the first Walpurgis Night. May-day eve was consecrated to Saint
+Walpurgis, who converted the Saxons from Druidism to Christianity, and on
+that night the evil spirits were said to be abroad. Goethe conceived the
+idea that the Druids on that night betook themselves to the mountains to
+celebrate their rites without interference from the Christians,
+accomplishing their purpose by disguising their sentinels as demons, who,
+when the Christians approached, ran through the woods with torches,
+clashed their arms, uttered hideous noises, and thus frightened them
+away, leaving the Druids free to finish their sacrifices.
+
+The cantata begins with an overture in two movements, an _allegro con
+fuoco_ and an _allegro vivace_, which describes in vivid tone-colors the
+passing of the season from winter to spring. The first number is a tenor
+solo and chorus of Druids, which are full of spring feeling, rising to
+religious fervor in the close:--
+
+      "Now May again
+      Breaks winter's chain,
+  The buds and bloom are springing;
+      No snow is seen,
+      The vales are green,
+  The woodland choirs are singing!
+      Yon mountain height
+      Is wintry white;
+  Upon it we will gather,--
+      Begin the ancient holy rite;
+  Praise our Almighty Father."
+
+The next number is an alto solo, the warning of an aged woman of the
+people, which is very dramatic in its style:--
+
+  "Know ye not a deed so daring
+  Dooms us all to die despairing?
+  Know ye not it is forbidden
+  By the edicts of our foemen?"
+
+The warning is followed by a stately exhortation from the Druid priest
+("The man who flies our sacrifice"), leading up to a short chorus of a
+very stirring character in which the Druids resolve to go on with their
+rites. It is followed by a pianissimo chorus of the guards whispering to
+each other to "secure the passes round the glen." One of them suggests
+the demon scheme for frightening the enemy, which leads to the chorus:--
+
+  "Come with torches brightly flashing;
+  Rush along with billets clashing;
+  Through the night-gloom lead and follow,
+  In and out each rocky hollow.
+      Owls and ravens,
+  Howl with us and scare the cravens."
+
+In this chorus the composer has given the freest rein to his fancy, and
+presents the weird scene in a grotesque chaos of musical effects, both
+vocal and instrumental, which may fairly be called infernal, and yet
+preserves form and rhythm throughout. It is followed by an exalted and
+impressive hymn for bass solo and chorus, which is a relief after the
+diablerie of the preceding number:--
+
+      "Restrained by might
+      We now by night
+  In secret here adore Thee.
+      Still it is day
+      Whene'er we pray,
+  And humbly bow before Thee.
+      Thou canst assuage
+      Our foemen's rage
+  And shield us from their terrors.
+      The flame aspires!
+      The smoke retires!
+  Thus clear our faith from errors!
+      Our customs quelled,
+      Our rights withheld,
+  Thy light shall shine forever."
+
+Following this impressive hymn comes the terrified warning of the
+Christian guard (tenor) and the response of his equally terrified
+comrades:--
+
+  "Help, my comrades! see a legion
+  Yonder comes from Satan's region!
+  See yon group of witches gliding
+    To and fro in flames advancing;
+  Some on wolves and dragons riding,
+    See, ah, see them hither prancing!
+  What a clattering troop of evil!
+  Let us, let us quickly fly them!
+      Imp and devil
+      Lead the revel;
+      See them caper,
+  Wrapt in clouds of lurid vapor."
+
+As the Christians disappear, scared by the demon _ruse_, the Druids once
+more, led by their priest, resume their rites, closing with another
+choral hymn of praise similar in style to the first.
+
+
+[30] His sister.
+
+
+                                Antigone.
+
+Mendelssohn wrote incidental music to four great dramas,--the "Antigone"
+of Sophocles (1841); the "Oedipus at Colonos" of Sophocles (1843); the
+"Athalia" of Racine (1843); and the "Midsummer Night's Dream" of
+Shakspeare (1843), the overture to which was written by him in 1826. The
+latter is mainly instrumental. Of the other three, the music to
+"Antigone" and "Oedipus" is most frequently performed, and for that
+reason has been selected for description.
+
+In June, 1841, the King of Saxony invited Mendelssohn to become his
+Capellmeister. Frederick William IV. of Prussia had made him a similar
+offer about the same time. He accepted the latter and removed to Berlin,
+and the first duty imposed upon him by the King was the composition of
+music to the "Antigone" of Sophocles. With the assistance of the poet
+Tieck, who helped arrange the text, the work was accomplished in the
+short space of eleven days, and was given on the Potsdam Court stage
+October 28, to a private audience. It was first performed in public at
+Leipsic, March 5, 1842. It is written for male chorus and orchestra, and
+includes seven numbers; namely, 1. Introduction and maestoso ("Strahl des
+Helios schoenstes Licht"); 2. Andante con moto ("Vieles Gewaltige lebt");
+3. Moderato ("Ihr Seligen deren"); 4. Adagio ("O Eros, Allsieger im
+Kampf"); 5. Recitative and chorus ("Noch toset des Sturmes Gewalt"); 6.
+Allegro maestoso ("Vielnamiger! Wonn' und Stolz"); 7. Andante alla marcia
+("Hier Kommt er ja selbst").
+
+The following extracts will give a comprehensive view of this powerful
+and felicitous music. Lampadius, writing of the first public performance,
+says:--
+
+  "On the 5th of March the 'Antigone' of Sophocles, translated by Donner
+  and set to music by Mendelssohn, was brought out at the Leipsic theatre
+  before a full audience. The composer directed, and was received with
+  great applause. The music indeed was not antique, if to be so it must
+  be played on the {syrinx}, the {salpinx}, and the {phorminx}, or if the
+  composer must confine himself to that Greek type of melody and harmony
+  of which all we know is that it was extremely simple, and, according to
+  our ideas, meagre; but it was antique completely, in its being filled
+  with the fire of the tragedy and making its spirit intelligible to us
+  moderns, strengthening the meaning of the words, and giving a running
+  musical commentary on them.... With us at Leipsic, as indeed
+  everywhere, the Eros Chorus, with its solemn awe in the presence of the
+  divine omnipotence of love, and the Bacchus Chorus, which, swinging the
+  thyrsus, celebrates the praise of the Theban maiden's son in joyous
+  strains, as well as the melodramatic passages, where Antigone enters,
+  wailing, the chamber where her dead lover lay, and whither Creon has
+  borne in his son's corpse, had an imposing effect. The impression of
+  the whole piece, taken by itself, was very powerful. With amazement our
+  modern world realized the sublimity of the ancient tragic muse, and
+  recognized the 'great, gigantic fate which exalts man while grinding
+  him to powder.'"
+
+Devrient, the director of the opera at Carlsruhe, in his "Recollections
+of Mendelssohn," has left a delightful sketch of the composition of the
+work. He says:--
+
+  "Felix did not enter upon his task without the fullest consideration.
+  The first suggestion was to set the chorus in unison throughout, and to
+  recitative interspersed with solos; and as nearly as possible to intone
+  or recite the words, with accompaniment of such instruments only as may
+  be supposed in character with the time of Sophocles,--flutes, tubas,
+  and harps, in the absence of lyres. I opposed to this plan that the
+  voice parts would be intolerably monotonous, without the compensatory
+  clearness of the text being attained....
+
+  "Nevertheless Felix made the attempt to carry out this view, but after
+  a few days he confessed to me that it was impracticable; that I was
+  right in maintaining the impossibility of making the words clear in
+  choral singing, except in a few places that are obviously suited for
+  recitative;[31] that the chanting of a chorus would be vexatiously
+  monotonous, tedious, and unmusical; and that accompaniments for so few
+  instruments would give so little scope for variety of expression that
+  it would make the whole appear as a mere puerile imitation of the
+  ancient music, about which, after all, we knew nothing. He concluded
+  therefore that the choruses must be sung, as the parts must be recited,
+  not to assimilate themselves with the usages of Attic tragedy (which
+  might easily lead us into absurdity) but as we would now express
+  ourselves in speech and song.... With this I fully concurred; and Felix
+  set, so vigorously to work, that in a few weeks he played me sketches,
+  and by the end of September nearly the whole chain of choruses was
+  completed. Besides my delight at the beauty of these choruses, they
+  confirmed me in the certainty that Felix's genius was eminently
+  dramatic. They not only gave the key to every scene, the expression to
+  each separate verse, from the narrow complacency of the Theban citizens
+  to their heartful and exalted sympathy, but also a dramatic accent
+  soaring far beyond the words of the poet. I allude particularly to the
+  dithyrambus that occurs between Creon's attempt to rescue Antigone and
+  the relation of its terrible failure. This song of praise really
+  consists entirely of glorifying appeals to Bacchus, and its dramatic
+  application lies only in the verse:--
+
+  'She was its pride,
+  Who, clasping the Thunderer, died;
+  And now, seeking its lost repose,
+  We pray thee to come and heal its woes.
+  Oh, hither bend;
+  From thy Parnassian heights descend.'
+
+  "To raise this chorus to be the terrible turning-point of the action;
+  to bring here to its culmination the tension excited by the awful
+  impending doom; to give this continually gathering power to the
+  invocation, 'Hear us, Bacchus!' till it becomes a cry of agony; to give
+  this exhaustive musical expression to the situation, marks the composer
+  to have a specially dramatic gift. And this is betokened no less in the
+  melodramatic portions. The idea of adding rhythmical accompaniments to
+  spoken words may have been suggested by a few well-set passages in the
+  music to 'Faust' by Prince Radziwill. It is to be regretted that the
+  public is scarcely able to appreciate how exquisitely Mendelssohn has
+  done this, since the representatives of Antigone and of Creon are
+  seldom sufficiently musical to enter completely into the composer's
+  intention; besides that in two passages of the accompanied dialogue of
+  Antigone the words are not correctly set under the music."
+
+Of the private performance before the King and Court, Oct. 28, 1841, the
+same writer says:--
+
+  "We had two more rehearsals on the following day, the evening one in
+  the presence of the King, and the performance itself took place on the
+  28th, before the Court and all the invited celebrities of art and
+  science. It produced a very great sensation. The deep impression that
+  the revival of an ancient tragedy could produce in our theatrical life
+  promised to become an influence; it has purified our musical
+  atmosphere, and it is certain that to Mendelssohn must be ascribed
+  great and important merit in the cause.
+
+  "Although the learned, of whom each expected the ancient tragedy to be
+  put upon the stage according to his peculiar conception of it (which
+  would of course be totally different in every case) might find the
+  music too modern, too operatic, in fact, not sufficiently philological,
+  it is undeniable that Mendelssohn's music has made the tragedy of
+  Sophocles accessible to the sympathies of the general public, without
+  in any wise violating the spirit and aroma of the poem, but rather
+  lending it new life and intelligibility."
+
+
+[31] The passages, "But see, the son of Menoetius comes," etc., and "See,
+    Haemon appears," etc., are examples.
+
+
+                           Oedipus at Colonos.
+
+The story of "Oedipus Tyrannus" is told in this work in connection with
+Professor Paine's composition. The "Oedipus at Colonos," to which
+Mendelssohn set music, is the continuation of Sophocles' tragedy,
+describing the banishment of the blind hero, the loving care of his
+daughters, his arrival at Attica, and his death in the gardens of the
+Eumenides at Colonos, absolved by the fate which had so cruelly pursued
+him.
+
+The music to "Oedipus" was written at the command of the King of Prussia
+in 1843, and was first produced at Potsdam, Nov. 1, 1845. It contains a
+short introduction and nine choral numbers. The first and second choruses
+describe the entrance of Oedipus and Antigone into the grove of the
+Eumenides, their discovery by the people, the story of his sorrows which
+he relates to them, his meeting with his daughter Ismene, and the arrival
+of Theseus the King. The third number is the gem of the work, and is
+often given on the concert-stage. The free translation of the text for
+this beautiful double chorus is as follows:--
+
+  "_Strophe_.--Thou hast come, O stranger, to the seats of this land,
+  renowned for the steed; to seats the fairest on earth, the chalky
+  Colonos; where the vocal nightingale, chief abounding, trills her
+  plaintive note in the green dells, tenanting the dark-hued ivy and the
+  leafy grove of the god, untrodden, teeming with fruits, impervious to
+  the sun, and unshaken by the winds of every storm; where Bacchus, the
+  reveller, ever roams attending his divine nurses.
+
+  "_Antistrophe_.--And ever day by day the narcissus, with its beauteous
+  clusters, bursts into bloom by heaven's dew, the ancient coronet of the
+  mighty goddesses, and the saffron with golden ray; nor do the sleepless
+  founts of Cephisus that wander through the fields fail, but ever each
+  day it rushes o'er the plains with its limpid wave, fertilizing the
+  bosom of the earth; nor have the choirs of the muses loathed this
+  clime; nor Venus, too, of the golden reign.
+
+  "_Strophe_.--And there is a tree, such as I hear not to have ever
+  sprung in the land of Asia, nor in the mighty Doric island of Pelops, a
+  tree unplanted by hand, of spontaneous growth, terror of the hostile
+  spear, which flourishes chiefly in this region, the leaf of the pale
+  gray olive that nourishes our young. This shall neither any one in
+  youth nor in old age, marking for destruction, and having laid it waste
+  with his hand, bring to nought; for the eye that never closes of Morian
+  Jove regards it, and the blue-eyed Minerva.
+
+  "_Antistrophe_.--And I have other praise for this mother-city to tell,
+  the noblest gift of the mighty divinity, the highest vaunt, that she is
+  the great of chivalry, renowned for the steed and famous on the main;
+  for thou, O sovereign Neptune, son of Saturn, hast raised her to this
+  glory, having first, in these fields, founded the bit to tame the
+  horse; and the well-rowed boat, dashed forth by the hand, bounds
+  marvellously through the brine, tracking on the hundred-footed
+  daughters of Nereus."
+
+The first strophe is begun by one choir in unison after a short but
+graceful introduction which is repeated at the end of the strophe in
+another form, and then the second choir begins the antistrophe, set to
+the same beautiful melody. At its close the music changes in character
+and grows vigorous and excited as the first choir sings the second
+strophe, with which shortly the second choir joins in splendid eight-part
+harmony. The latter takes up the strain again in the second antistrophe,
+singing the praise of "the mother-city," and the number closes with the
+united invocation to Neptune,--an effect which has hardly been excelled
+in choral music. The fourth chorus, which is very dramatic in its effect,
+tells of the assault of Creon upon Oedipus, and the fifth, his protection
+by Theseus, who comes to the rescue. In this number the double choirs
+unite with magnificent effect in the appeal to the gods ("Dread Power,
+that fillest Heaven's high Throne") to defend Theseus in the conflict.
+The sixth number ("When the Health and Strength are gone") is a pathetic
+description of the blind hero's pitiful condition, and prepares the way
+for the powerful choruses in which his impending fate is foreshadowed by
+the thunderbolts of Jove which rend the heavens. The eighth and ninth
+choruses are full of the mournful spirit of the tragedy itself, and tell
+in notes as eloquent as Sophocles' lines of the mysterious disappearance
+of the Theban hero, ingulfed in the opening earth, and the sorrowful
+lamentations of the daughters for the father whom they had served and
+loved so devotedly.
+
+
+                           As the Hart Pants.
+
+The music to the Forty-second Psalm, familiarly known by the caption
+which forms the title of this sketch, was first performed at the tenth
+subscription Gewandhaus concert in Leipsic in 1838, Clara Novello taking
+the soprano part. Though not constructed upon the large scale of the
+"Hymn of Praise," or even of the "Walpurgis Night," it is a work which is
+thoroughly artistic, and just as complete and symmetrical in its way. It
+contains seven numbers. After a slow and well-sustained introduction, the
+work begins with a chorus ("As the Hart pants after the Water Brooks, so
+panteth my soul for Thee, O God") which is a veritable prayer in its
+tenderness and expression of passionate longing. After the chorus a
+delicate and refined soprano solo ("For my Soul thirsteth for God")
+continues the sentiment, first given out in an oboe solo, and then
+uttered by the voice in a beautifully melodious adagio. The third number
+is a soprano recitative ("My Tears have been my Meat") leading to a
+chorus in march time by the sopranos and altos ("For I had gone with the
+Multitude; I went with them to the House of God"). Then follows a full
+chorus beginning with male voices in unison ("Why, my Soul, art thou cast
+down?"), answered by the female voices ("Trust thou in God"). Again the
+soprano voice is heard in pathetic recitative ("O my God! my Soul is cast
+down within me; all Thy Waves and thy Billows are gone over me"). A
+beautiful quartet of male voices with string accompaniment replies: "The
+Lord will command His Loving-kindness in the Day-time; and in the Night
+His Song shall be with me, and my Prayer unto the God of my Life." The
+response is full of hope and consolation; but through it all runs the
+mournful strain of the soprano (forming a quintet at the end), coming to
+a close only when the full chorus joins in a repetition of the fourth
+number ("Trust thou in God"), this time elaborated with still greater
+effect, and closing with a stately ascription of praise to the God of
+Israel.
+
+
+                       The Gutenberg Fest-Cantata.
+
+The occasion for which the short festival cantata known as the
+"Gutenberg" was written, was the fourth centennial celebration of the art
+of printing, which was observed at Leipsic in 1840 by the unveiling of
+Gutenberg's statue in the public square, and other ceremonies. The
+direction of the musical part of the festivity was intrusted to
+Mendelssohn. The text for the hymn to be sung at the unveiling, which
+occurred on the morning of June 24, immediately after the public service
+in Church, was furnished by Adolphus Proelsz, a teacher in the Gymnasium
+at Freiberg. Lampadius, in his Life of Mendelssohn, says of the
+performance:--
+
+  "Mendelssohn arranged it with trombone accompaniment. When the opening
+  words, 'Fatherland! within thy Confines broke the dawning Light,'--so
+  the opening ran, if my memory is correct,--were heard in the Music Hall
+  at the first rehearsal, the heartiest applause arose among the
+  performers as well as the invited guests. Nothing so simple, powerful,
+  joyous, and unconstrained had been heard for a long time.... Many will
+  remember how, on the very day of the public performance, the slight
+  form of Mendelssohn was seen moving nervously around to find just the
+  right place for the trombonists, and how nearly he came to a fall from
+  the platform. During that performance the singers were divided into two
+  choirs, which sat at some distance from each other; one of them was
+  conducted by David, and the other by Mendelssohn."
+
+The cantata opens with a stately chorale ("With solemn Hymn of Praise")
+set to the old tune "Honor to God alone," followed by the song in memory
+of Gutenberg ("Fatherland! within thy Confines"), which has been
+separately arranged and printed as a solo. The third number is a quick,
+spirited movement for tenors ("And God said, 'Let there be Light'")
+followed by another effective chorale ("Now, thank God all"), which
+brings the work to a close. On the afternoon of the same day
+Mendelssohn's much more important work, "The Hymn of Praise," was given.
+A sketch of this has already appeared in the "Standard Oratorios."
+
+
+                               Lauda Sion.
+
+The "Lauda Sion," or sequence sung at High Mass on the Feast of Corpus
+Christi, was chosen by Mendelssohn as the subject of one of his most
+beautiful cantatas, for four solo voices, chorus, and orchestra. The
+majestic rhythm of Saint Thomas Aquinas's verses loses none of its
+stateliness in this musical setting. The work was composed for the
+celebration of this Festival by the Church of St. Martin at Liege, and
+was first performed there June 11, 1846. Chorley, the English critic who
+accompanied Mendelssohn on that occasion, has left us in his "Modern
+German Music" an interesting sketch of its first production. He says:--
+
+  "The early summer of 1846 was a great year for the Rhine Land and its
+  adjacent district; since there the Lower Rhenish Festival at
+  Aix-la-Chapelle was conducted by Mendelssohn, and starred by Mlle.
+  Jenny Lind; and within a fortnight afterwards was celebrated at Liege
+  the 'Fete Dieu,' for which his 'Lauda Sion' was written....
+
+  "It was a pity that those who had commissioned such a composer to write
+  such a work had so entirely miscalculated their means of presenting it
+  even respectably. The picturesque old Church of St. Martin is one of
+  those buildings which swallow up all sound, owing to the curve of the
+  vaults and the bulk of the piers; the orchestra was little more
+  powerful, when heard from below, than the distant scraping of a
+  Christmas serenade far down the street; the chorus was toneless, and
+  out of tune; and only one solo singer, the soprano, was even tolerable.
+  On arriving at Liege with the purpose of conducting his work,
+  Mendelssohn gave up the matter in despair. 'No! it is not good, it
+  cannot go well, it will make a bad noise,' was his greeting to us....
+
+  "We drove with him that afternoon up to St. Martin's Church, to hear,
+  as he merrily styled it, 'the execution of his music.' The sight of the
+  steep, narrow, winding street, decked out with fir-trees and banners
+  and the escutcheons of the different towns of Belgium, pleased him, for
+  he was as keen a lover of a show as a child, and had a true artist's
+  quick sense of the picturesque....
+
+  "Not envy's self could have helped being in pain for its composer, so
+  slack and tuneless and ineffective was the execution of this clear and
+  beautiful work, by a scrannel orchestra, and singers who could hardly
+  be heard, and who evidenced their nationality by resolutely holding
+  back every movement. But in the last verse, _alla breve_--
+
+  'Ecce panis angelorum'--
+
+  there came a surprise of a different quality. It was scenically
+  accompanied by an unforeseen exposition of the Host, in a gorgeous gilt
+  tabernacle, that slowly turned above the altar, so as to reveal the
+  consecrated elements to the congregation. Incense was swung from
+  censers, and the evening sun, breaking in with a sudden brightness,
+  gave a fairy-like effect to the curling fumes as they rose; while a
+  very musical bell, that timed the movement twice in a bar, added its
+  charm to the rite. I felt a quick grasp on my wrist, as Mendelssohn
+  whispered to me, eagerly, 'Listen! how pretty that is! it makes amends
+  for all their bad playing and singing,--and I shall hear the rest
+  better some other time.' That other time I believe never came for the
+  composer of the 'Lauda Sion,'--since this was only the year before his
+  death."
+
+The work is composed in seven numbers. After a short introduction the
+voices give out the theme, "Lauda Sion," followed by a chorus, "Laudis
+Thema," full of devotional spirit. The soprano then enunciates in the
+"Sit Laus plena" phrases repeated by the chorus, followed by a
+beautifully accompanied quartet, "In hac Mensa." The fifth number is a
+solemn chorale in unison, leading to a soprano solo in the arioso style,
+"Caro cibus," which is exquisitely beautiful. The work concludes with a
+very dramatic solo and chorus, "Sumit unus," set to the words "Bone
+pastor," and the closing verses of the hymn itself. Short as the cantata
+is, it is one of the most felicitous of all Mendelssohn's settings of the
+ritual.
+
+
+
+
+                                 MOZART.
+
+
+Johann Chrysostomus Wolfgang Amadeus Mozart, one of the most remarkable
+of musical geniuses, and the only one of his contemporaries whose operas
+still hold the stage with unimpaired freshness, was born at Salsburg,
+Jan. 27, 1756. He was the son of Leopold Mozart, the Salzburgian
+Vice-Capellmeister, who gave him and his sister Nannerl their earliest
+instruction in music, and with such good results that the children
+travelled and gave concerts with great success. Before he was seven years
+of age he had composed several pieces for piano and violin, his earliest
+having been written at the age of five. At twelve he became court
+capellmeister in Salzburg. After his musical travels he went to Vienna,
+and there began his period of classic activity, which commenced with
+"Idomeneus," reached its culmination in "Don Giovanni," and closed with
+the "Requiem,"--the "swan-song" of his wonderful career. In his brief
+life Mozart composed more than fifty great works, besides hundreds of
+minor ones in every possible form of musical writing. His greatest
+compositions may be classed in the following order: "Idomeneus" (1780);
+"Entfuehrung aus dem Serail" (1781); "Figaro's Hochzeit" ("The Marriage of
+Figaro"), (1785); "Don Giovanni" (1787); "Cosi fan Tutti," "Zauberfloete"
+("The Magic Flute"), and "Titus" (1790); and the "Requiem" (1791, the
+year of his death). The catalogue of Mozart's works is an immense one,
+for his period of productivity was unusually long. From the age of five
+to his death there was not a year that was not crowded with his music.
+Besides his numerous operas, of which only the more famous are given
+above, he wrote a large number of symphonies (of which the "Jupiter" is
+now the best known), sonatas, concertos, for all kinds of instruments,
+even to musical-glasses, trios, quartets, quintets, and sextets for all
+possible combinations of instruments, marches, fugues, masses, hymns,
+arias of extraordinary brilliancy, liturgies, cantatas, songs and
+ballads, and indeed every form of music that is now known. His style was
+studied by Beethoven, and so closely imitated that the music of his first
+period, if published without autograph, would readily be attributed to
+Mozart. His style was so spontaneous and characteristic that it has been
+well said there is but one Mozart. The distinguishing trait of his music
+is its rich melodic beauty and its almost ravishing sweetness. His melody
+pours along in a bright unbroken stream that sometimes even overflows its
+banks, so abundant is it. It is peculiarly the music of youth and
+spring-time, exquisite in form, graceful in technique, and delightful in
+expression. It was the source where all his immediate successors went for
+their inspiration, though it lacked the maturity, majesty, and emotional
+depths which were reached by such a Titan as Beethoven. Old as it is, and
+antiquated in form, especially as compared with the work of the new
+schools, its perennial freshness, grace, and beauty have made it
+immortal.
+
+
+                              King Thamos.
+
+The historical drama, "Thamos, King of Egypt," was written by Freiherr
+von Gebler. Otto Jahn, in his Life of Mozart, gives the following sketch
+of its story:--
+
+   "Menes, King of Egypt, has been deposed by a usurper, Rameses, and, as
+  it is thought, assassinated; but he is living, under the name of
+  Sethos, as high priest of the Temple of the Sun, the secret being known
+  only to the priest Hammon and the general Phanes. After the death of
+  Rameses, his son Thamos is heir to the throne. The day arrives when
+  Thamos attains majority, is to be invested with the diadem, and to
+  select a bride. The friends of Menes seek in vain to persuade him to
+  dispute the throne. He will not oppose the noble youth, whom he loves
+  and esteems. But Pheron, a prince and confidant of Thamos, has, in
+  conjunction with Mirza, the chief of the Virgins of the Sun, organized
+  a conspiracy against Thamos, and won over a portion of the army.
+  Tharsis, daughter of Menes, who is believed by all, even her father, to
+  be dead, has been brought up by Mirza under the name of Sais. It is
+  arranged that she shall be proclaimed rightful heir to the throne, and,
+  as she will then have the right to choose her consort, Mirza will
+  secure her beforehand for Pheron. When she discovers that Sais loves
+  Thamos, and he her, she induces Sais to believe that Thamos prefers her
+  playmate Myris, and Sais is generous enough to sacrifice her love and
+  her hopes of the throne to her friend. Equally nobly Thamos rejects all
+  suspicions against Pheron, and awards him supreme command. As the time
+  for action draws near, Pheron discloses to Sethos, whom he takes for a
+  devoted follower of Menes, and consequently for an enemy to Thamos, the
+  secret of Sais' existence and his own plans. Sethos prepares secretly
+  to save Thamos. Sais also, after being pledged to silence by an oath,
+  is initiated into the secret by Mirza and Pheron, and directed to
+  choose Pheron. She declines to give a decided answer, and Pheron
+  announces to Mirza his determination to seize the throne by force in
+  case of extremity. Sais, who believes herself not loved by Thamos, and
+  will not therefore choose him as consort, but will not deprive him of
+  the throne, takes the solemn and irrevocable oath as Virgin of the Sun.
+  Thamos enters, and they discover, to their sorrow, their mutual love.
+  Sethos, entering, enlightens Thamos as to the treachery of Pheron,
+  without disclosing the parentage of Sais. Pheron, disturbed by the
+  report that Menes is still living, comes to take council of Sethos, and
+  adheres to his treacherous design. In solemn assembly Thamos is about
+  to be declared king, when Mirza reveals the fact that Sais is the lost
+  Tharsis, and heiress to the throne. Thamos is the first to offer her
+  his homage. When she is constrained to choose between Thamos and Pheron
+  she declares herself bound by her oath, and announces Thamos as the
+  possessor of the throne. Then Pheron calls his followers to arms, but
+  Sethos steps forward and discloses himself as Menes; whereupon all fall
+  at his feet in joyful emotion. Pheron is disarmed and led off; Mirza
+  stabs herself; Menes, as father and ruler, releases Sais from her oath,
+  unites her with Thamos, and places the pair on the throne. A message
+  arrives that Pheron has been struck with lightning by Divine judgment,
+  and the piece ends."
+
+To this drama Mozart composed the incidental music in 1779 and 1780 at
+Salzburg, where it was produced under Boehm and Shickaneder's direction.
+The play did not keep the stage long. Mozart refers to this circumstance
+in a letter to his father, written Feb. 15, 1783:--
+
+  "I regret much not being able to make use of the music for 'Thamos,'
+  for not having pleased here, it is included among the tabooed pieces,
+  no longer to be performed. For the sake of the music alone it might
+  possibly be given again, but it is not likely. It is really a pity."
+
+The music consists of five entr'actes and three choruses constructed in a
+large and majestic style and specially adapted to ceremonial performance.
+The first is a responsive chorus of maidens and priests ("Before thy
+Light, Sun-god, thy Foe the Darkness takes Wing") sung in the temple of
+the sun at Heliopolis. The second ("Godhead, throned in Power eternal")
+is also sung in the temple before Thamos' coronation, at the beginning of
+the fifth act, and contains short snatches of solos for a priest and
+maiden, leading to a close in full harmony for the voices, and an
+instrumental finale of soft music during which the priest offers
+sacrifice upon the altar. The third opens with a majestic bass solo for
+the high priest ("Ye Children of Dust, come, with Trembling, adore ye")
+and closes with a stately strain for all the voices ("We Children of Dust
+in our Reverence tremble").
+
+Although the play was shelved, the music was not lost. Mozart
+subsequently set the choruses to Latin and German words, and they were
+adapted as hymns and motets for church use. They are now familiar to
+musicians as "Splendente te Deus," "Deus tibi Laus et Honor," and "Ne
+Pulvis et Cinis." Nohl says of them:--
+
+   "A certain solemnity pervades them such as few of his sacred works
+  possess, and an elevation of feeling only surpassed in the 'Flauto
+  Magico.' But the composer has relied on theatrical effect; and thus, in
+  spite of his graver intentions, we find more worldly pomp than
+  religious depth in these choruses, which Mozart worked out with all
+  love and care, even in their most minute details, and which manifest
+  the thoughtful mood that absorbed his soul."
+
+
+                           Davidde Penitente.
+
+The cantata "Davidde Penitente" was the outcome of a work of love. Before
+his marriage with Constance Weber, Mozart vowed that when he brought her
+to Salzburg as his wife he would write a mass for the occasion and have
+it performed there. In a letter written to his father, Jan. 4, 1783, he
+says: "As a proof of the fulfilment of this vow, the score of a
+'half-mass' is now lying by, in hopes of some day being finished."
+Holmes, in his admirable Life of Mozart, says:--
+
+   "To exercise his pen in the grand contrapuntal style of church music
+  was at all times agreeable to him; and he was now free from the local
+  restrictions under which he had written his numerous masses at
+  Salzburg, where neither the style, the length of the pieces, nor their
+  instrumentation was left to his own discretion; hence, making due
+  allowance for the effect of some few years in developing the composer's
+  genius, the great superiority of 'Davidde Penitente,' by which title
+  this mass was in the sequel better known over all the earlier masses,
+  as well for breadth of style as in true ecclesiastical solemnity."
+
+The "half-mass" which Mozart brought to Salzburg in fulfilment of his vow
+comprised only the Kyrie, Gloria, Sanctus, and Benedictus. The remaining
+numbers were supplied from another mass, and in this form the work was
+produced at St. Peter's Church, Aug. 25, 1783, his wife taking the solo
+part. The original work is described as exceedingly majestic and
+beautiful, particularly the "Gratias" for five, and the "Qui Tollis" for
+eight-voiced chorus. Jahn says of them that the same wonderful and
+mysterious impression of the supernatural conveyed by the most beautiful
+numbers in his Requiem characterizes these choruses.
+
+The "half-mass" was destined to undergo still more radical changes. In
+the spring of 1785 the committee of the society for the relief of the
+widows and orphans of musicians at Vienna wished to celebrate their
+annual festival with some new work, and commissioned Mozart to write a
+cantata. As the time was very short, he took the Kyrie and Gloria of the
+mass, set Italian words to them, and added four new numbers, in which
+form it was produced under the title of "Davidde Penitente" at the
+Burg-theatre, March 13, the solo singers being Fraulein Cavalieri,[32]
+Fraulein Distler, and Herr Adamberger.[33] The cantata comprises ten
+numbers. The first number is a chorus ("Alzai le flebile voci") taken
+from the "Kyrie" of the mass; the second, an allegro chorus ("Cantiam le
+lodi"), from the "Gloria;" the third, a soprano solo ("Lungi le cure"),
+from the "Laudamus;" the fourth, an adagio chorus ("Sii pur sempre") from
+the "Gratias;" the fifth, a very melodious soprano duet ("Sorgi o
+Signore"), from the "Domine Deus;" the sixth, a beautiful tenor aria ("A
+te fra tanti affanni"), written for Adamberger; the seventh, a double
+chorus ("Se vuoi, puniscimi"); the eighth, a bravura aria for soprano
+("Fra le oscure Ombre"), written for Mademoiselle Cavalieri; the ninth, a
+terzetto ("Tutti le mie speranze"); and the tenth, a final chorus and
+fugue which, by general consent of the critics of the time, was called
+the "queen of vocal fugues." Notwithstanding the introduction of
+specially-written arias, and the brilliant music assigned to the soprano,
+the cantata is regarded as one of the purest examples of Mozart's church
+style.
+
+
+[32] Catharina Cavalieri, born in 1761, died June 30, 1801. She was a
+    singer in Italian and German opera in Vienna from 1775 to 1783; but
+    as she never left that city her reputation was purely local. Mozart
+    wrote for her the part of Constanza in his opera "Die Entfuehring."
+
+[33] Valentin Adamberger was born at Munich, July 6, 1743, and was famed
+    for his splendid tenor voice. Mozart composed for him the part of
+    Belmont in the "Entfuehring," and highly esteemed him as a friend and
+    adviser. He died Aug. 24, 1804.
+
+
+                          The Masonic Cantatas.
+
+Mozart became a member of the Masonic fraternity shortly after his
+arrival in Vienna in 1784, and devoted himself to its objects with all
+the ardor of his nature. In the following year his father visited him and
+was also persuaded to join, though not without considerable entreaty on
+the son's part. He was a devoted member of the Church and entertained a
+deep reverence for its forms. The Church then, as now, was hostile to all
+secret orders, and was particularly inimical to the Masons because they
+had attacked certain alleged abuses in the cloisters. His prejudices were
+overcome, however, and he soon became as ardent a devotee of Masonry as
+his son. It formed one of the principal subjects of their correspondence;
+but unfortunately all these letters were destroyed by the cautious father
+a short time before his death, which occurred May 28, 1787. In only one
+letter do we find reference to the subject, and that in a guarded manner.
+On the 3d of April of that year Mozart heard of his father's illness, and
+the next day he writes to him:--
+
+   "I have this moment heard tidings which distress me exceedingly, and
+  the more so that your last letter led me to suppose you were so well;
+  but I now hear that you are really ill. I need not say how anxiously I
+  shall long for a better report of you to comfort me, and I do hope to
+  receive it, though I am always prone to anticipate the worst. As death
+  (when closely considered) is the true goal of our life, I have made
+  myself so thoroughly acquainted with this good and faithful friend of
+  man, that not only has its image no longer anything alarming to me, but
+  rather something most peaceful and consolatory; and I thank my Heavenly
+  Father that He has vouchsafed to grant me the happiness, _and has given
+  me the opportunity (you understand me), to learn that it is the key to
+  our true felicity_."
+
+Mozart's membership in the order began at an opportune time for him.
+Though at the height of his fame he was at the very lowest depth of his
+finances; and both in 1787 and 1789, though he was Imperial Chamber
+Musician and his opera "Don Giovanni" was having a successful run, he was
+obliged to apply repeatedly to his friend and brother Mason, the merchant
+Puchberg of Vienna, for loans, and also to Herr Hofdaemmel, who was about
+to become a Mason upon Mozart's solicitation. During the short remainder
+of his life he was devotedly attached to the order, and he was buried in
+the dress of the brotherhood; but, strange to say, not one of the members
+accompanied their illustrious associate to the grave.
+
+Four of Mozart's works were directly inspired by Masonry. In 1785 he
+wrote a simple but beautiful lodge song for voice, with piano
+accompaniment ("Die ihr einern neuen Grade"). This was followed by the
+wonderfully beautiful "Freemason's Funeral Music" for orchestra, written
+upon the occasion of the death of two brothers in the fraternity, of
+which Jahn says:--
+
+   "Mozart has written nothing more beautiful, from its technical
+  treatment and finished effect of sound, its earnest feeling and
+  psychological truth, than this short adagio. It is the utterance of a
+  resolute, manly character, which, in the face of death, pays the
+  rightful tribute to sorrow without being either crushed or stunned by
+  it."
+
+In the same year he composed a small cantata, "Die Maurerfreude," for
+tenor and chorus, in honor of Herr Born, the master of the lodge to which
+he belonged in Vienna, which is full of true feeling combined with
+graceful melody.
+
+The second cantata, catalogued in Koechel "Eine Kleine Freimaurer Cantate,
+'Laut verkuende unsre Freude,'" better known by its title "Lob der
+Freundschaft" ("Praise of Friendship") is notable as the last work
+written by Mozart. Its date is Nov. 15, 1791, only three weeks before his
+death. At this time he was engaged in finishing up his "Requiem," which
+had such a depressing effect upon him that he was ordered by his
+physician to lay it aside. The rest he thus secured had such a good
+effect that by the middle of November he was able to attend a Masonic
+meeting and produce the little cantata which he had just written for
+them. On reaching home after the performance he said to his wife, "O
+Staenerl, how madly they have gone on about my cantata! If I did not know
+that I had written better things, I should have thought this my best
+composition." It is constructed upon a larger scale than the cantata of
+1785, and is very pleasing and popular, but lacks the spirit and
+earnestness of the former. It has six numbers: 1. Chorus, "Laut verkuende
+unsre Freude;" 2. Recitative, "Zum ersten Male;" 3. Tenor aria, "Dieser
+Gottheit Allmacht;" 4. Recitative, "Wohlan, ihr Brueder;" 5. Duet, "Lange
+sallen diese Mauern"; 6. Chorus, "Lasst uns mit geschlungen Haenden." It
+was Mozart's swan-song. Two days after its performance he was stricken
+down with his last illness.
+
+
+
+
+                                 PAINE.
+
+
+John K. Paine, one of the very few really eminent American composers, was
+born at Portland, Me., Jan. 9, 1839. He studied the piano, organ, and
+composition with Kotzschmar in that city, and made his first public
+appearance as an organist, June 25, 1857. During the following year he
+went to Germany, and studied the organ, composition, and instrumentation
+with Haupt and other masters in Berlin. He returned to this country in
+1861, and gave several concerts, in which he played many of the organ
+works of the best writers for the first time in the United States.
+Shortly after his return he was appointed instructor of music in Harvard
+University, and in 1876 was honored with the elevation to a professorship
+and given a regular chair. He is best known as a composer, and several of
+his works have been paid the rare compliment of performance in Germany,
+among them his Mass in D and all his symphonies. The former was given at
+the Berlin Singakademie in 1867, under his own direction. Among his
+principal compositions are the oratorio "St. Peter," the music to
+"Oedipus," the cantatas, "Nativity," "The Realm of Fancy," and "Phoebus,
+Arise;" the Mass in D; the Centennial Hymn, set to Whittier's poem, and
+sung at the opening of the Philadelphia Centennial Exhibition; the
+overture to "As You Like It;" "The Tempest," in the style of a symphonic
+poem; the symphony in C minor, and "Spring" symphony; besides numerous
+sonatas, fantasias, preludes, songs, and arrangements for organ and
+piano. His larger orchestral works have been made familiar to American
+audiences by Mr. Theodore Thomas's band, and have invariably met with
+success. His style of composition is large, broad, and dignified, based
+upon the best classic models, and evinces a high degree of musical
+scholarship.
+
+
+                            Oedipus Tyrannus.
+
+The first public performance of the "Oedipus Tyrannus" of Sophocles in
+this country was given at the Sanders Theatre (Harvard College),
+Cambridge, Mass., May 17, 1881, for which occasion Mr. Paine composed the
+music incidental to the world-famous tragedy. The performance was a
+memorable one in many ways. The tragedy was given in the original
+language. It was the first event of the kind in America. The audience was
+a representative one in culture, education, and social brilliancy. The
+programme was also unique, being printed in Greek, and translated into
+English was as follows:--
+
+                     TO ALL THE SPECTATORS GREETING.
+
+                           [The college seal.]
+
+              _Six verses from the Eumenides of AEschylus:_
+
+  "Hail people of the city
+  That sit near to Zeus,
+  Friends of the friendly goddess,
+  Wise in your generation,
+  Ye whom under the wings of Pallas
+  The father guards."
+
+                    THE OEDIPUS TYRANNUS OF SOPHOCLES
+        WILL BE REPRESENTED IN THE THEATRE OF HARVARD UNIVERSITY
+                on the 17th of May ({Thargelion}), 1881,
+                 and again on the 19th, 20th, and 21st.
+
+                            DRAMATIS PERSONAE.
+
+  Oedipus, King of Thebes                                 George Riddle.
+  Priest of Zeus                                  William Hobbs Manning.
+  Creon, Jocasta's brother                                 Henry Norman.
+  Teiresias, the blind seer                                Curtis Guild.
+  Jocasta, Queen of Thebes                     Leonard Eckstein Opdycke.
+  Messenger, from Corinth                     Arthur Wellington Roberts.
+  Servant of Laius                                 Gardiner Martin Lane.
+  Messenger from the Palace                                 Owen Wister.
+
+                               ATTENDANTS.
+
+  Attendants on Oedipus                   J. R. Coolidge, E. J. Wendell.
+  Attendants on Jocasta                   J. J. Greenough, W. L. Putnam.
+  Attendants on Creon                               G. P. Keith, J. Lee.
+  Boy guide of Teiresias                                  C. H. Goodwin.
+  Antigone                                                   E. Manning.
+  Ismene                                               J. K. Whittemore.
+  Suppliants.--  G. P. Keith, G. D. Markham (priests), W. H. Herrick, J.
+                    Lee, E. Lovering, H. Putnam, L. A. Shaw, C. M. Walsh
+                 (chosen youths), C. H. Goodwin, E. Manning, R. Manning,
+                      W. Merrill, E. R. Thayer, J. K. Whittemore (boys).
+
+                        CHORUS OF THEBAN OLD MEN.
+
+  Coryphaeus                                         Louis Butler McCagg.
+  Assistant to the chorus in the third stasmon, with solo
+                                                   George Laurie Osgood.
+
+                         MEMBERS OF THE CHORUS.
+
+  N. M. Brigham,
+  Frederick R. Burton,
+  Henry G. Chapin,
+  Sumner Coolidge,
+  Edward P. Mason,
+  Marshall H. Cushing,
+  Wendell P. Davis,
+  Morris Earle,
+  Percival J. Eaton,
+  Gustavus Tuckerman,
+  Charles S. Hamlin,
+  Jared S. How,
+  Howard Lilienthal,
+  Charles F. Mason.
+
+  Leader of the chorus and composer of the music     John Knowles Paine.
+  Prompter                                          George L. Kittredge.
+
+
+  The scene is laid in front of the palace in Boetian Thebes. The chorus
+  is composed of Theban old men. Oedipus speaks first. The managers
+  request all the spectators to remain sitting until the postlude is
+  ended. Immediately after the last chorus has been sung there will be a
+  pause for those who wish to go out. After this the doors will be
+  closed.
+
+  After the play, horse-cars ({hamaxai hipposiderodromikai}) will be
+  ready for those who want to go to the city.
+
+  Wilsons, printers. ({Oyilsones typois egapsan}.)
+
+
+The story of the Theban hero, his ignorance of his own parentage, his
+dismay at the revelation of the oracle that he would kill his father and
+marry his mother, his quarrel with the former, resulting in the very
+tragedy he was seeking to avoid, his solution of the riddle of the
+sphinx, the reward of the Queen's hand which Creon had promised, leading
+to the unfortunate marriage with his mother, Jocasta, thus completing the
+revelation of the oracle, does not need description in detail. The
+marriage was followed by a pestilence that wasted Thebes, and at this
+point the plot of the drama begins. It concerns itself with the efforts
+of Oedipus to unravel the mystery of the death of his father, Laius,
+which lead to the discovery that he himself was the murderer, and that he
+had been guilty of incest with his own mother. Jocasta hangs herself, and
+Oedipus, rushing frantically into the palace, beholds her, and
+overwhelmed with horror at the sight and the fulfilment of the oracle,
+seizes her brooch-pin and blinds himself. In the Oedipus at Colonos the
+sequel is told. The hero dies in the gardens of the Eumenides, happy in
+the love of his daughters and the pardon which fate grants him.
+
+The music to the tragedy is thoroughly classical in spirit, and has all
+the nobility, breadth, dignity, and grace characteristic of the Greek
+idea. The principal lyric movements of the chorus, the choral odes, of
+which there are six, comprise the scheme of the composer. The
+melodramatic practice of the orchestra accompanying spoken dialogue only
+appears to a limited extent in the third ode; and the chorus, as
+narrator, is accompanied by music only in the seven last lines of the
+play, which form the postlude. The orchestral introduction, which is
+treated in a very skilful and scholarly manner, epitomizes the spirit of
+the work. The odes are divided as usual into strophes and antistrophes,
+assigned alternately to a male chorus of fifteen and full chorus. The
+first ("Oracle sweet-tongued of Zeus"), which has the genuine antique
+dignity and elevation, is a description of the sufferings of the people
+from the pestilence which has wasted Thebes since the unnatural marriage
+of Oedipus and Jocasta, and a fervent prayer to the gods for aid. The
+second ("Thou Delphic Rock, who can he be?") concludes the scene where
+the blind prophet Teiresias arrives upon the summons of Creon and accuses
+Oedipus of the crime, accompanying the accusation with dark hints of
+further guilt. In this ode, which is specially noticeable for its rich
+and graceful treatment, the chorus expresses its disbelief of the
+charges. In the third scene, Creon enters to protest against the
+accusations of Oedipus, but a quarrel ensues between them, which results
+in the menace of death to the former. Jocasta appears, and upon her
+intercession Creon is allowed to depart. In the ode, the chorus joins in
+this appeal to Oedipus,--a strong, vigorous number, the effect of which
+is heightened by the intervening spoken parts of Creon, Oedipus, and
+Jocasta, with musical accompaniment. The fourth ode ("O may my Life be
+spent in Virtue") is a vigorous denunciation of the impiety of Jocasta in
+speaking scornfully of the oracles. The fifth ode ("If I the Prophet's
+Gift possess") is full of idyllic grace and sweetness, realizing in a
+remarkable degree the old Grecian idea of sensuous beauty. It is a
+speculation upon the divine origin of Oedipus, after the messenger
+relates the story of the King's exposure in his childhood upon Mount
+Cithaeron, and contains a charming tenor solo. The last ode ("O Race of
+mortal Men") bewails the vicissitudes of fortune, and is full of the
+tragic significance of impending fate. The work comes to a close with the
+postlude:--
+
+  "Ye who dwell in Thebes our city, fix on Oedipus your eyes,
+  Who resolved the dark enigma, noblest liver and most wise.
+  Glorious like a sun he mounted, envied of the popular throng,
+  Now he sinks in seas of anguish, quenched the stormy waves among.
+  Therefore I await the final hour, to ancient wisdom known,
+  Ere I call one mortal happy. Never shall that thought be shown,
+  Till he end his earthly being, scathless of a sigh or groan."
+
+Six public performances of the "Oedipus" were given in 1881, and every
+season since that time selections from the music have been performed in
+New York, Boston, and other cities. As the most important and scholarly
+work an American composer has yet produced, it cannot be heard too often.
+
+
+                              The Nativity.
+
+The text of "The Nativity," for chorus, solo voices, and orchestra, is
+taken from the hymn in Milton's ode "On the Morning of Christ's
+Nativity," and is composed in three parts. The first part includes the
+first, third, fourth, fifth, sixth, and seventh; the second, a
+combination of the eighth and ninth; and the third, the thirteenth,
+fourteenth, and fifteenth verses. After a short instrumental
+introduction, which works up to an effective climax, the cantata begins
+with a chorus ("It was the Winter wild"), introduced by the soprano,
+developing to full harmony at the words, "Nature in Awe to Him," and
+closing pianissimo. After a short soprano solo ("But, He her Fears to
+cease") the chorus resumes ("With Turtle Wing the amorous Clouds
+dividing"). A succession of choral passages follows, admirably suggestive
+of the sentiment of the poem,--a vigorous, stirring allegro, "No War or
+Battle's Sound was heard the World around;" "And Kings sat still with
+awful Eye," broadly and forcibly written; and a tender, graceful number,
+"But peaceful was the Night." They are followed by another soprano solo
+("And though the shady Gloom"), full of brightness and animation, which
+leads directly to a majestic chorus ("He saw a greater Sun appear"),
+which closes the first part.
+
+The second part, a quartet and chorus, is pastoral in character, and
+reflects the idyllic quiet and beauty of the text. The quartet, "The
+Shepherds on the Lawn," is introduced by short tenor, bass, and alto
+solos, and also contains a very melodious and graceful solo for soprano
+("When such Music sweet their Hearts and Ears did greet"), after which
+the full quartet leads up to a vigorous chorus ("The Air such Pleasure
+loath to lose"), closing the part.
+
+The third part is choral, and forms an effective climax to the work. It
+opens with the powerful chorus, "Ring out, ye crystal Spheres,"
+emphasized by the organ bass with stately effect, and moves on
+majestically to the close,--
+
+  "And Heaven as at some festival
+  Will open wide the gates of her high palace hall."
+
+
+                           The Realm of Fancy.
+
+"The Realm of Fancy" is a short cantata, the music set to Keats's
+familiar poem:--
+
+  "Ever let the fancy roam,
+  Pleasure never is at home:
+  At a touch sweet pleasure melteth,
+  Like to bubbles when rain pelteth."
+
+With the exception of a dozen lines, the dainty poem is used entire, and
+is set to music with a keen appreciation of its graceful beauty. A short
+allegretto fancifully trips along to the opening chorus ("Ever let the
+Fancy roam"), which is admirable for its shifting play of musical color.
+A soprano solo ("She will bring in spite of Frost"), followed by a very
+expressive barytone solo ("Thou shalt at a Glance behold the Daisy and
+the Marigold"), leads up to a charming little chorus ("Shaded Hyacinth,
+always Sapphire Queen"). A short instrumental passage, in the time of the
+opening allegretto, introduces the final chorus ("O Sweet Fancy, let her
+loose"), charmingly worked up, and closing in canon form. The cantata is
+very short; but rarely have poem and music been more happily wedded than
+in this delightful tribute to fancy.
+
+
+                             Phoebus, Arise.
+
+Mr. Paine's ripe scholarship is shown to admirable advantage in his
+selection of the poem "Phoebus, Arise" from among the lyrics of the old
+Scottish poet, William Drummond, of Hawthornden, and the characteristic
+old-style setting he has given to it. Like "The Realm of Fancy," it is
+very short; but like that cantata, also, it illustrates the versatility
+of his talent and the happy manner in which he preserves the
+characteristics of the poem in his music. Drummond, who has been called
+"the Scottish Petrarch," and whose poems were so celebrated that even Ben
+Jonson could find it in his way to visit him, was noted for the grace and
+lightness of his verse, and the pensive cast with which it was tinged. It
+has little of the modern poetic style, and the composer has clothed his
+poem in a musical garb to correspond.
+
+The cantata is written for tenor solo, male chorus, and orchestra, and
+opens with a brilliant chorus ("Phoebus, arise, and paint the sable Skies
+with azure, white, and red"), closing with a crescendo in the old style.
+An expressive and somewhat pensive tenor solo follows:--
+
+  "This is that happy morn
+  And day, long-wished day,
+  Of all my life so dark
+  (If cruel stars have not my ruin sworn
+  And fates my hope betray),
+  Which purely white deserves
+  An everlasting diamond should it mark.
+  This is the morn should bring unto the grove
+  My love, to hear, and recompense my love."
+
+A short choral passage with tenor solo ("Fair King, who all preserves")
+leads to a full rich chorus ("Now, Flora, deck thyself in fairest
+Guise"). In the next number the chorus returns to the opening theme
+("Phoebus, Arise"), and develops it with constantly increasing power to
+the close.
+
+
+
+
+                                 PARKER.
+
+
+Horatio W. Parker, a young American composer of more than ordinary
+promise, was born at Auburndale, Mass., Sept. 15, 1863. After his
+fifteenth year he began the study of music, taking his earlier lessons of
+the three Boston teachers, Stephen A. Emery, John Orth, and G. W.
+Chadwick. In 1882 he went to Munich and studied the organ and composition
+with Josef Rheinberger, for three years. In the spring of 1885 he wrote
+the cantata "King Trojan," and it was produced for the first time in that
+city with success during the summer of the same year. Since then it has
+been given in this country by Mr. Jules Jordan, of Providence, R. I.,
+Feb. 8, 1887. His string quartet in F major was played at a concert of
+the Buffalo Philharmonic Society in January, 1886; and a short scherzo
+was performed by the Van der Stuecken orchestra in New York City in the
+same year. Besides these compositions, he has written three overtures,
+quite a number of songs and pieces for the piano-forte, and a symphony in
+C, and ballade for chorus and orchestra, both of which were played in
+Munich last year. In 1886 he accepted the professorship of music at the
+Cathedral School of St. Paul, Garden City, L. I., and in February, 1887,
+went to New York, where he now resides, to take charge of a boy choir in
+St. Andrew's Church, Harlem.
+
+
+                              King Trojan.
+
+"King Trojan," composed for chorus, solos, and orchestra, was written in
+March, 1885, and first performed in July of the same year, at Munich. Its
+story is the poem of the same name, by Franz Alfred Muth, the English
+version being a free and excellent translation by the composer's mother,
+Mrs. Isabella G. Parker, of Auburndale, Mass.
+
+After a short and graceful introduction, the cantata opens with a solo
+describing the quiet beauty of a summer night, daintily accompanied by
+wind instruments and harp. A second voice replies ("O Summer Night"), and
+then the two join in a very vigorous duet ("O fill thou Even with Light
+of Heaven"). A short solo for third voice leads up to a chorus which
+gives us a picture of King Trojan's castle gleaming in the moonlight. It
+is followed by a very effective solo for the King ("The Horse is
+neighing, O Page of mine"), in which he bids his Page saddle his steed
+for a night ride to visit his distant love. The chorus intervenes with a
+reflective number ("What thinks she now?"), which is very dramatic in
+style, describing the mutual longing of the lovers to be together.
+
+The second scene opens with a short solo by the Page ("Up, up, O King,
+the Horses wait"), followed by the chorus as narrator, describing the
+ride of the King and his companion through the greenwood, with which is
+interwoven Trojan's solo ("How sweet and cool is yet the Night"). In the
+next number, a vivacious allegro, the story of the ride is continued by
+the chorus, with a characteristic accompaniment, and again Trojan sings a
+charming tribute to the summer night, which is followed by responsive
+solos of the King and the Page, in the allegro and penseroso style,--the
+one singing of the raptures of night, the other of the gladness of day
+and sunlight. A passionate bit of recitative ("Now swift, ye Horses") by
+Trojan reveals the secret of the King's haste. He is King of the night,
+and the morning ray will be fatal to him. A short choral number ("And
+forward fly they") brings the first part to a close with the arrival of
+the riders at the Queen's castle.
+
+The second part opens with a beautiful solo, quartet, and chorus
+("Good-Night, the Lindens whisper"), which describes the meeting of the
+lovers, while
+
+  "Beneath the lofty castle gate
+  Slumbers the page who so long must wait.
+  Then crows the cock, the hour is late."
+
+At this note of warning the Page appeals to his master to fly, for the
+sunlight will bring him pain and harm. The dallying King replies, "Hark!
+how the Nightingale yet sings." A small chorus intervenes with the
+warning, "Love is so fleeting, Night is so fair." The Queen appeals to
+him, "What seest thou, O King?" To which Trojan replies with agitation,
+"The ruddy Morning, it is my Death." Again comes the Page's warning. The
+King springs up in alarm and hastens to his steed. In a choral presto
+movement the ride back is described. The King conceals himself in a dark
+thicket, hoping to escape, but the night has vanished and the day has
+begun. Its beams penetrate his refuge, and with a last despairing cry
+("Accursed Light, I feel thee now") he expires. A short choral passage,
+with harp accompaniment, brings this very dramatic and fanciful
+composition to a close:--
+
+  "And from his horse the king now falls,
+    He was but king of the night;
+  The sunlight sparkles, the sunlight shines,
+    But death comes with morning light."
+
+
+
+
+                                 PARKER.
+
+
+James C. D. Parker, an American composer, was born at Boston, Mass., June
+2, 1828. He received his primary education in the schools of that city,
+was graduated from Harvard University in 1848, and immediately thereafter
+began the study of law. His love for music, however, was irresistible,
+and he soon dropped law-books and entered upon a thorough course of
+musical instruction, at first in Boston, and afterwards at the
+Conservatory in Leipsic, where he finished the regular course. He
+returned to Boston in 1854, and at once devoted himself to musical work
+in which he took a prominent part, and made an excellent reputation as
+pianist, organist, and teacher, as well as composer, though he has not as
+yet attempted any very large or ambitious works. In 1862 he organized an
+amateur vocal association under the name of the Parker Club, which has
+performed several works by Gade, Mendelssohn, Berlioz, Schumann, and
+others, with success. His most important composition is the "Redemption
+Hymn," which he wrote for the Boston Handel and Haydn Society during the
+period he was its organist. He has also held the position of organist and
+choir-director of Trinity Church in that city, and of Professor of the
+College of Music connected with the Boston University. During his
+unostentatious career he has earned an enviable reputation as an earnest,
+honest musician deeply devoted to his art.
+
+
+                          The Redemption Hymn.
+
+"The Redemption Hymn," for alto solo and chorus, was written for the
+Fourth Triennial Festival of the Handel and Haydn Society, and was first
+given on that occasion, May 17, 1877, Anna Louise Cary-Raymond taking the
+solo. The words are taken from Isaiah li. 9-11.
+
+  Chorus:--"Awake, put on strength, O arm of the Lord!
+  "Awake as in the ancient days, in the generations of old.
+  "Art thou not it that hath cut Rahab and wounded the dragon? Awake, put
+      on strength, O arm of the Lord!
+  Solo and Chorus:--"Art thou not it that hath dried the sea, the waters
+      of the great deep, that hath made the depths of the sea a way for
+      the ransomed to pass over? Therefore the redeemed of the Lord shall
+      return and come with singing unto Zion, and everlasting joy shall
+      be upon their head; they shall obtain gladness and joy, and sorrow
+      and mourning shall flee away."
+
+The work opens with a brief but spirited orchestral introduction, which
+leads to an exultant chorus ("Awake, O Arm of the Lord"), changing to a
+well-written fugue in the middle part ("Art thou not it?"), and returning
+to the first theme in the close. The next number is an effective alto
+solo ("Art thou not it which hath dried the Sea?") alternating with
+chorus. It is followed by a slow movement for alto solo and chorus
+("Therefore the Redeemed of the Lord shall return"), which closes very
+gracefully and tenderly on the words, "Sorrow and Mourning shall flee
+away." This little work has become a favorite with singing societies, by
+the scholarly and effective manner in which it is written.
+
+
+
+
+                               RANDEGGER.
+
+
+Alberto Randegger was born at Trieste, April 13, 1832, and began the
+study of music at an early age with Lafont and Ricci. In his twentieth
+year he had written numerous minor pieces of church music, several masses
+and two ballets which were produced with success in his native city. From
+1852 to 1854 he was engaged as a conductor in the theatres of Fiume,
+Zera, Brescia, and Venice. In the latter year he brought out a grand
+opera in Brescia, called "Bianca Capello," shortly after which he went to
+London, where he has since resided and made a world-wide reputation as a
+teacher. In 1857 he conducted Italian opera at St. James's Theatre; in
+1864 brought out a comic opera, "The Rival Beauties," at the Theatre
+Royal, Leeds; in 1868 was appointed Professor of Singing at the Royal
+Academy of Music, in which he has since become a director; in 1879-80 was
+conductor for the Carl Rosa English Opera Company at Her Majesty's
+Theatre, London; and has since been appointed conductor of the Norwich
+Festival in the place of Benedict. His principal works, besides those
+already mentioned, are: "Medea," a scena, sung by Madame Rudersdorff at
+the Gewandhaus, Leipsic (1869); the One hundred and fiftieth Psalm, for
+soprano solo, chorus, orchestra, and organ (1872); cantata, "Fridolin"
+(1873); soprano scena, "Saffo" (1875); funeral anthem for the death of
+the Prince Consort; and a large number of songs which are great favorites
+on the concert-stage.
+
+
+                                Fridolin.
+
+"Fridolin, or the Message to the Forge" was written for the Birmingham
+Triennial Musical Festival of 1873. The words, by Mme. Erminia
+Rudersdorff, are founded on Schiller's ballad, "Der Gang nach dem
+Eisenhammer." The _dramatis personae_ are Waldemar, Count of Saverne;
+Eglantine, Countess of Saverne; Fridolin, page to the Countess; and
+Hubert, squire to the Count. The story closely follows that of Schiller.
+The preface to the piano score gives its details as follows:--
+
+   "Fridolin and Hubert are in the service of the Count of Saverne.
+  Hubert, aspiring to win the affections of his beautiful mistress,
+  conceives a violent hatred of Fridolin, whom he regards as an obstacle
+  in his path. Taking advantage of Fridolin's loyal devotion to the
+  Countess, Hubert excites the jealousy of the Count, and prompts a stern
+  revenge. The Count forthwith writes to some mechanic serfs, ordering
+  that whoever comes asking a certain question shall be at once thrown
+  into their furnace. Fridolin, innocent of wrong and unconscious of
+  danger, receives the 'message to the forge;' but, ere setting out, he
+  waits upon his mistress for such commands as she might have to give.
+  The Countess desires him to enter the chapel he would pass on his way
+  and offer up a prayer for her. Fridolin obeys, and thus saves his own
+  life; but vengeance overtakes the traitor Hubert, who, going to the
+  forge to learn whether the plot has succeeded, himself asks the fatal
+  question, 'Is obeyed your lord's command?' and himself becomes the
+  victim. Fridolin subsequently appears, and is about to perish likewise,
+  when the Count and Countess, between whom explanations have taken
+  place, arrive on the scene, to preserve the innocent and to learn the
+  fate of the guilty."
+
+The cantata opens with a short but stirring prelude, introducing the
+declamatory prologue-chorus:--
+
+  "A pious youth was Fridolin,
+    Who served the Lord with zeal,
+  And did his duty faithfully,
+    Come thereby woe or weal.
+  For this when subtle foe conspired
+    And sought o'er him to boast,
+  About his path in direst need
+    Kept guard the angel host."
+
+The cantata proper opens with a recitative by Fridolin ("Arising from the
+Lap of star-clad Night"), leading up to the quiet, dreamy air, "None but
+holy, lofty Thoughts." It is followed by a bass scena for Hubert
+("Proceed thou, hateful Minion, on thy Path") which opens in an agitated
+manner, but grows more reposeful and tender in style as the subject
+changes in the passage, "For one kind Glance from out those Eyes divine."
+Again the scena changes and becomes vigorous in the recitative,
+"Dispelled by jealous Rage is Hope's fond Dream," set to an imposing
+accompaniment, and leading to a brilliant fiery allegro ("A thousand
+hideous Deaths I'd make him die"). The next number is a very graphic and
+spirited hunting-chorus ("Hark! the Morn awakes the Horn"), introduced
+and accompanied by the horns, and full of breezy, out-door feeling. A
+long dialogue follows between Hubert and the Count, somewhat gloomy in
+character, in which the former arouses his master's jealous suspicions.
+The gloom still further deepens as Hubert suggests the manner of
+Fridolin's death ("Mid yon gloomy Mountains"). Then follows the message
+to the forge by the Count in monotone phrases ("Mark, ye Serfs, your
+Lord's Commands") and the scene closes with a very dramatic duet ("Death
+and Destruction fall upon his Head"). In striking contrast with these
+stormy numbers comes the charming, graceful chorus of the handmaidens
+("Calmly flow the equal Hours"), followed by a very expressive song for
+the Countess ("No Bliss can be so great"). A short scene in recitative
+leads up to a tender duet ("Above yon Sun, the Stars above") for Fridolin
+and the Countess, closing with a powerful quartet for the four principal
+parts ("Now know I, Hubert, thou speakest true").
+
+The ninth scene is admirably constructed. It opens with an animated and
+picturesque dance and chorus of villagers ("Song is resounding, Dancers
+are bounding"), which swings along in graceful rhythm until it is
+interrupted by a solemn phrase for organ, introduced by horns, which
+prepares the way for a chorale ("Guardian Angels sweet and fair"),
+closing with Fridolin's prayer at the shrine, interwoven with a beautiful
+sacred chorus ("Sancta Maria, enthroned above"). In a recitative and
+ballad ("The wildest Conflicts rage within my fevered Soul") the Count
+mourns over what he supposes to be the infidelity of his wife, followed
+by a long and very dramatic scene with the Countess ("My Waldemar, how
+erred thine Eglantine?"). The last scene is laid at the forge, and after
+a short but vigorous prelude opens with a chorus of the smiths ("Gift of
+Demons, raging Fire"), in which the composer has produced the effect of
+clanging anvils, roaring fire, and hissing sparks with wonderful realism.
+The chorus closes with passages describing the providential rescue of
+Fridolin and the fate of Hubert, and an _andante religioso_ ("Let your
+Voices Anthems raise"). The epilogue is mainly choral, and ends this very
+dramatic work in broad flowing harmonies.
+
+
+
+
+                              RHEINBERGER.
+
+
+Joseph Gabriel Rheinberger was born at Vaduz, in Lichtenstein, March 17,
+1839, and displayed his musical talent at a very early age. He studied
+the piano in his fifth year, and in his seventh was organist in the
+church of his native place. At the age of twelve he entered the Munich
+Conservatory, where he remained as a scholar until he was nineteen, when
+he was appointed one of its teachers; at the same time he became organist
+at the Hofkirche of St. Michael, and afterwards director of the Munich
+Oratorio Society. In 1867 he was appointed professor and inspector of the
+Royal Music School, and since 1877 has been the royal Hofkapellmeister,
+directing the performances of the Kapellchor, an organization similar to
+that of the Berlin Domchor. He is a very prolific composer, nearly two
+hundred works having proceeded from his pen. Among them are the
+"Wallenstein" and "Florentine" symphonies; a Stabat Mater; two operas,
+"The Seven Ravens" and "Thuermer's Toechterlein;" incidental music to a
+drama of Calderon's; a symphony-sonata for piano; a requiem for the dead
+in the Franco-German war; theme and variations for string quartet; a
+piano concerto; five organ sonatas; the choral works, "Toggenburg,"
+"Klaerchen auf Eberstein," "Wittekind," and "Christophorus;" and a large
+number of songs and church pieces, besides much chamber music.
+
+
+                             Christophorus.
+
+"Christophorus," a legend, as Rheinberger calls it, was written in 1879,
+and is composed for barytone, soprano, and alto solos, chorus, and
+orchestra. Its subject is taken from the familiar story of the giant who
+bore the infant Christ across the flood. The chorus acts the part of
+narrator, and in its opening number relates the legend of Christophorus'
+wanderings and his arrival before the castle whose master he would serve.
+He offers his services, but when they are accepted as an offering from
+the gods he haughtily declares that he only serves "for fame and
+chivalry." A voice thereupon in an impressive solo ("Trust not this
+loud-voiced Stranger") warns him away as an envoy of Satan, and the
+chorus repeats the warning. The giant departs with the intention of
+drawing his sword in Satan's cause,--
+
+  "For he alone must be lord of all,
+  Whose name doth so valiant a monarch appall."
+
+In a very picturesque number the chorus describes his wanderings among
+the mountain crags and rocks where Satan weaves his spells about him; and
+then suddenly changing to a tender, delicate strain ("Over us Stars
+shine") anticipates the Voice, which in a sensuous aria ("Who is the
+sovereign Lord of the Heart?") sings the power of love. In graceful
+chorus the spirits taunt him, whereupon he once more resolves to fly and
+to abandon the cause of Satan, but is thwarted by them. A weird chorus
+closes the first part ("Satan a-hunting is gone"), ending with an
+impressive strain:--
+
+  "Stormily falleth the night:
+  Frightened maidens fleeing,
+  Demon hordes all around.
+  'A cross, see, upraised!
+  Fly, master! too far we have come.
+  Hallowed is the ground.'"
+
+The second part opens with a reflective soliloquy by the giant, followed
+by a plaintive chorus ("All now is lone and silent") describing the
+suffering of our Saviour on the cross and the sadness of a hermit gazing
+upon the scene. The giant approaches the latter, and a dialogue ensues
+between them, in which the identity of the victim on the cross is
+revealed. Having found the King of the universe, Christophorus determines
+to devote himself to His cause, and inquires how he may serve Him. He is
+informed he must go to the swiftly-rolling river and carry the pilgrims
+across. A chanting chorus ("As flows the River seawards, so onward glide
+the Years") describes the work of the faithful toiler. Then comes a voice
+calling him, and he beholds an Infant waiting for him. He takes Him upon
+his shoulders and bears Him into the flood, but as he advances, bends and
+struggles beneath his load "as though the whole world he bore." He
+inquires the meaning, and the Voice replies:--
+
+  "Thou bear'st the world and bearest its Creator:
+  This Child is Jesus, God's own Son.
+  Soldier of Christ!
+  Thine arms were charity and mercy,
+  The arms of love.
+  Now mayst rejoice:
+  The prize of thy faith is won."
+
+A joyful, exultant chorus, ("Blessed of Rivers, the Child embrace")
+closes this very graceful little "legend."
+
+
+                               Toggenburg.
+
+"Toggenburg," a cycle of ballads, was written in 1880. The music is for
+solos and mixed chorus, the ballads being linked together by motives,
+thus forming a connected whole. The story is a very simple one. The
+bright opening chorus ("At Toggenburg all is in festive Array") describes
+the pageantry which has been prepared to welcome the return of Henry,
+Knight of Toggenburg, with his fair young Suabian bride, the Lady Etha.
+The chorus is followed by a duet and alto or barytone solo, which
+indicate the departure of the Knight for the wars, and the Lady Etha's
+loss of the wedding ring. The next number, a solo quartet and chorus
+("Ah! Huntsman, who gave thee the Diamond Ring?"), is very dramatic in
+its delineation of the return of the victorious Knight, who, observing
+the ring on the finger of the huntsman, slays him, and then in a fit of
+jealousy hurls the Lady Etha from the tower where she was waving his
+welcome. The next number is a female chorus ("On mossy Bed her gentle
+Form reposes"), very slow in its movement and plaintive in character. It
+is followed by a weird and solemn chorus ("Through the Night rings the
+Horn's Blast with Power"), picturing the mad ride of the Knight through
+the darkness, accompanied by the dismal notes of ravens and mysterious
+sounds like "greetings from the dead," which only cease when he discovers
+the corpse of his lady with the cross on its breast. A short closing
+chorus, funereal in style, ends the mournful story:--
+
+  "Toggenburg all is in mourning array,
+    The banners wave, the gate stands wide,
+  Count Henry returns to his home this day,
+    In death he anew has won his bride.
+  Once more for their coming the hall is prepared,
+    Where flickering tapers are ranged around,
+  And far through the night in the valley are heard
+    The chants of the monks with their mournful sound."
+
+Though the work has somewhat both of the Schumann and Mendelssohn
+sentiment in it, it is nevertheless original and characteristic in
+treatment. The melodies are pleasing throughout, and cover a wide range
+of expression, reaching from the tenderness of love to the madness of
+jealousy, and thence on to the elegiac finale.
+
+
+
+
+                                ROMBERG.
+
+
+Andreas Romberg was born April 27, 1767, at Vechte, near Muenster. At a
+very early age he was celebrated as a violinist. In his seventeenth year
+he made a _furor_ by his playing at the Concerts Spirituels, Paris. In
+1790, with his cousin Bernhard, who was even more celebrated as a
+violoncellist (indeed the Rombergs, like the Bachs, were all musicians),
+he played in the Elector's band, and also went with him to Rome, where
+the cousins gave concerts together under the patronage of one of the
+cardinals. During the next four years Andreas travelled in Austria and
+France, and during his stay at Vienna made the acquaintance of Haydn, who
+was very much interested in his musical work. In 1800 he brought out an
+opera in Paris which made a failure. He then left for Hamburg, where he
+married and remained many years. In 1820 he was appointed court
+capellmeister at Gotha, and died there in the following year. Among his
+compositions are six symphonies; five operas, "Das graue Ungeheuer," "Die
+Macht der Musik," "Der Rabe," "Die Grossmuth des Scipio," and "Die Ruinen
+zu Paluzzi;" and several cantatas, quartets, quintets, and church
+compositions. Of all his works, however, his "Lay of the Bell" is the
+best known. A few years ago it was the stock piece of nearly every choral
+society in Germany, England, and the United States; and though now
+relegated to the repertory of old-fashioned music, it is still very
+popular.
+
+
+                            Lay of the Bell.
+
+The "Lay of the Bell" was composed in 1808, the music being set to
+Schiller's famous poem of the same name, whose stately measures are well
+adapted to musical treatment. It opens with a bass solo by the Master,
+urging on the workmen:--
+
+  "In the earth right firmly planted,
+    Stands well baked the mould of clay:
+  Up, my comrades, be ye helpful;
+    Let the bell be born to-day."
+
+The full chorus responds in a rather didactic strain ("The Labor we
+prepare in Earnest"), and as it closes the Master gives his directions
+for lighting the fire in the furnace and mixing the metals. In this
+manner the work progresses, the Master issuing his orders until the bell
+is ready for the casting, the solo singers or chorus replying with
+sentiments naturally suggested by the process and the future work of the
+bell. The first of these responses is the chorus, "What in the Earth
+profoundly hidden," a smoothly flowing number followed by a soprano solo
+("For with a Burst of joyous Clangor"), a pleasantly-rippling melody
+picturing the joys of childhood, and a spirited tenor solo ("The Youth,
+Girl-playmates proudly leaving") indicating the dawn of the tender
+passion which broadens out into love, as the two voices join in the
+charming duet, "O tender Longing, Hope delightsome." The bass still
+further emphasizes their delight in the recitative, "When stern and
+gentle Troth have plighted," leading up to a long but interesting tenor
+solo ("Though Passion gives way") which describes the homely joys of
+domestic life. The male chorus thereupon takes up the story in a joyful
+strain ("And the good Man with cheerful Eye"), and tells us of the
+prosperity of the happy pair and the good man's boast,--
+
+  "Firm as the solid earth,
+  Safe from misfortune's hand,
+  Long shall my dwelling stand;"
+
+to which comes the ominous response of the female chorus:--
+
+  "Yet none may with Fate supernal
+  Ever form a league eternal;
+  And misfortune swiftly strides."
+
+The Master now gives the signal to release the metal into the mould,
+whereupon follows a stirring and picturesque chorus ("Right helpful is
+the Might of Fire") describing the terrors of fire, the wild alarm, the
+fright and confusion of the people, the clanging bells and crackling
+flames, and the final destruction of the homestead, closing the first
+part.
+
+The second part opens with the anxious orders of the Master to cease from
+work and await the result of the casting. The chorus takes up a slow and
+stately measure ("To Mother Earth our Work committing") which closes in a
+mournful finale describing the passing funeral train, followed by a
+pathetic soprano solo which tells the sad story of the death of the good
+man's wife, while "To the orphaned Home a Stranger comes unloving Rule to
+bear." The scene now changes from a desolate to a happy home as the
+Master bids the workmen seek their pleasure while the bell is cooling. A
+soprano solo takes up a cheery strain ("Wends the weary Wanderer"),
+picturing the harvest home, the dance of the youthful reapers, and the
+joys of evening by the fireside, followed by a tribute to patriotism,
+sung by tenor and bass, the pleasant scene closing with an exultant full
+chorus ("Thousand active Hands combining"). The Master then gives the
+order to break the mould, and in contemplation of the ruin which might
+have been caused had the metal burst it, the chorus breaks out in strong,
+startling phrases picturing the horrors of civil strife ("The Master's
+Hand the Mould may shatter"). The work, however, is complete and
+successful, and in the true spirit of German Gemuethlichkeit the Master
+summons his workmen:--
+
+  "Let us, comrades, round her pressing,
+  Upon our bell invoke a blessing.
+  'Concordia,' let her name be called:
+  In concord and in love of one another,
+  Where'er she sound, may brother meet with brother."
+
+The cantata closes with a last invocation on the part of the Master,
+followed by a jubilant chorus ("She is moving, She is moving").
+
+
+
+
+                                SCHUBERT.
+
+
+Franz Peter Schubert was born in Vienna, Jan. 31, 1797, and received his
+first musical lessons from his father and his elder brother Ignaz. In his
+eleventh year he sang in the Lichtenthal choir and shortly afterwards
+entered the Imperial Convict School, where for the next three or four
+years he made rapid progress in composition. In 1813 he returned home,
+and to avoid the conscription entered his father's school as a teacher,
+where he remained for three years, doing drudgery but improving his
+leisure hours by studying with Salieri and devoting himself assiduously
+to composition. His life had few events in it to record. It was devoted
+entirely to teaching and composition. He wrote in almost every known form
+of music, but it was in the Lied that he has left the richest legacy to
+the world, and in that field he reigns with undisputed title.
+Unquestionably many of these songs were inspirations, like the "Erl
+King," for instance, which came to him in the midst of a carousal. The
+most famous of them are to be found in the cycluses "Muellerlieder," "Die
+Gesaenge Ossians," "Die Geistlichen Lieder," "Die Winterreise," and "Der
+Schwanengesang." They are wonderful for their completeness, their
+expression of passion, their beauty and grace of form, the delicacy of
+their fancy, and their high artistic finish. Among the other great works
+he has left are the lovely "Song of the Spirits over the Water," for male
+voices; "Die Allmacht;" "Prometheus;" "Miriam's War Song;" the eight-part
+chorus "An den Heiligen Geist;" the "Momens Musicale;" impromptus and
+Hungarian fantasies for piano; the sonatas in C minor and B flat minor;
+nine symphonies, two of them unfinished; the trios in B flat and E flat;
+the quartets in D minor and G major; the quintet in C; two operas,
+"Alfonso and Estrella" and "Fierrabras;" the mass in G, which he wrote
+when but eighteen years of age, and the mass in E flat, which was his
+last church composition. His catalogued works number over a thousand. He
+died Nov. 19, 1828, and his last wish was to be buried by the side of
+Beethoven, who on his death-bed had recognized "the divine spark" in
+Schubert's music. Three graves only separate the great masters of the
+Symphony and the Lied in the cemetery of Waehring.
+
+
+                           Miriam's War Song.
+
+The majestic cantata, "Miriam's War Song," was written in March, 1828,
+the last year of Schubert's life,--a year which was rich, however, in the
+productions of his genius. The beautiful symphony in C, the mass in E
+flat, the string quartet in C, the three piano sonatas dedicated to
+Schumann, the eight-voiced "Hymn to the Holy Ghost," the 92d Psalm, a
+"Tantum Ergo," and several songs, among them "Am Strom," "Der Hirt auf
+den Felsen," and a part of the "Schwanengesang," all belong to this year.
+The authorities differ as to the time of the first performance of
+"Miriam's War Song." Nottebohm in his catalogue says that it was first
+sung at a concert, Jan. 30, 1829, given for the purpose of raising funds
+to erect a monument in memory of the composer, who died on the 19th of
+the previous November. Others assert that Schubert was induced to give a
+concert, March 26, 1828, the programme being composed entirely of his own
+music, and that it was first heard on that occasion.
+
+The work is for soprano solo and chorus, the words by the poet
+Grillparzer, and the accompaniment, for the piano, as Schubert left it.
+He had intended arranging it for orchestra, but did not live to complete
+it. The work, however, was done a year or two afterwards by his friend
+Franz Lachner, at that time officiating as Capellmeister at the
+Kaernthnerthor Theatre in Vienna.
+
+The theme of the cantata is Miriam's hymn of praise for the escape of the
+Israelites, and the exultant song of victory by the people, rejoicing not
+alone at their own delivery but at the destruction of the enemy. It opens
+with a spirited and broad harmony, "Strike the Cymbals," changing to a
+calm and graceful song, describing the Lord as a shepherd leading his
+people forth from Egypt. The next number, depicting the awe of the
+Israelites as they passed through the divided waters, the approach of
+Pharaoh's hosts, and their destruction, is worked up with great power. As
+the sea returns to its calm again, the opening chorus is repeated,
+closing with a powerful fugue. The cantata is short, but it is a work of
+imperishable beauty.
+
+
+
+
+                                SCHUMANN.
+
+
+Robert Schumann was born at Zwickau, in Saxony, June 8, 1810. In his
+earliest youth he was recognized as a child of genius. His first teacher
+in music was Baccalaureus Kuntzch, who gave him piano instruction. He
+studied the piano with Wieck, whose daughter Clara he subsequently
+married, now world-famous as a pianist. In 1830, in which year his
+artistic career really opened, he began the theoretical study of music,
+first with Director Kupsch in Leipsic and later with Heinrich Dorn, and
+at the same time entered upon the work of composition. Schumann was not
+only a musician but an able critic and graceful writer; and in 1834, with
+Schunke, Knorr, and Wieck, he founded the "Neue Zeitschrift fuer Musik,"
+which had an important influence upon musical progress in Germany, and in
+which the great promise of such musicians as Chopin and Brahms was first
+recognized. He married Clara Wieck in 1840, after much opposition from
+her father; and in this year appeared some of his best songs, including
+the three famous cycluses, "Liederkreis," "Woman's Life and Love," and
+"Poet's Love," which now have a world-wide fame. In the following year
+larger works came from his pen, among them his B minor symphony,
+overture, scherzo, and finale in E major, and the symphony in D minor.
+During this period in his career he made many artistic journeys with his
+wife, which largely increased the reputation of both. In 1843 he
+completed his great "romantic oratorio," "Paradise and the Peri," set to
+Moore's text, and many favorite songs and piano compositions, among them
+the "Phantasiestuecke" and "Kinderscenen," and his elegant piano quintet
+in E flat. In 1844, in company with his wife, he visited St. Petersburg
+and Moscow, and their reception was a royal one. The same year he
+abandoned his "Zeitschrift," in which "Florestan," "Master Raro,"
+"Eusebius," and the other pseudonyms had become familiar all over
+Germany, and took the post of director in Duesseldorf, in the place of
+Ferdinand Hiller. During the last few years of his life he was the victim
+of profound melancholy, owing to an affection of the brain, and he even
+attempted suicide by throwing himself into the Rhine. He was then removed
+to an asylum at Endenich, where he died July 20, 1856. The two men who
+exercised most influence upon Schumann were Jean Paul and Franz Schubert.
+He was deeply pervaded with the romance of the one and the emotional
+feeling of the other. His work is characterized by genial humor, a rich
+and warm imagination, wonderfully beautiful instrumentation, especially
+in his accompaniments, the loftiest form of expression, and a rigid
+adherence to the canons of art.
+
+
+                              Advent Hymn.
+
+In a letter to Strakerjan, Schumann writes:--
+
+  "To apply his powers to sacred music is the artist's highest aim. But
+  in youth we are all very firmly rooted to earth, with its joys and
+  sorrows; in old age the twigs tend upwards. And so I hope that that day
+  may not be too far distant from me."
+
+The first of his works indicated in the above words to his friend was the
+"Advent Hymn," written in 1848, based upon Rueckert's poem. It was
+followed later by a requiem and a mass, these comprising his only sacred
+music.
+
+The "Advent Hymn" describes the entry of Christ into Jerusalem,
+reflectively considers his peaceful career as compared with that of
+earthly kings, and appeals to His servants to bear tidings of Him
+throughout the world, closing with a prayer that He will bring His peace
+to all its people. It is a hymn full of simple devotion and somewhat
+narrow in its limitations; but Schumann has treated it with all the
+dignity and breadth of the oratorio style. It opens with a melodious
+soprano solo ("In lowly Guise thy King appeareth"), with choral responses
+by sopranos and altos, leading to an effective five-part chorus ("O King
+indeed, though no Man hail Thee"), begun by first and second tenors and
+basses, and closing in full harmony with the added female voices. The
+soprano voice again announces a subject ("Thy Servants faithful, Tidings
+bearing"), which is taken up by full chorus, in somewhat involved form,
+though closing in plain harmony. The third number ("When Thou the stormy
+Sea art crossing") is given out by the soprano and repeated by the female
+chorus with a charming pianissimo effect. A few bars for male chorus
+("Lord of Grace and Truth unfailing") lead into full chorus. The fifth
+number ("Need is there for Thyself returning"), also choral, is very
+elaborately treated with interchanging harmonies and bold rhythms,
+leading up to the final choruses, which are very intricate in
+construction, but at the close resolve into a double chorus of great
+power and genuine religious exaltation.
+
+There are other works of Schumann's which are more or less in the cantata
+form, such as "The King's Son," op. 116, set to a ballad of Uhland's;
+"The New Year's Song," op. 144, poem by Rueckert; "The Luck of Edenhall,"
+op. 143, poem by Uhland; "Of the Page and the King's Daughter," op. 140,
+poem by Geibel; the "Spanish Love Song," op. 138; the "Minnespiel," op.
+101; and the "Ritornelle," op. 65.
+
+
+                       The Pilgrimage of the Rose.
+
+"The Pilgrimage of the Rose," for solo and chorus, with piano
+accompaniment, twenty-four numbers, was written in the spring of 1851,
+and was first performed May 6, 1852, at a Duesseldorf subscription
+concert. The story is taken from a somewhat vapid fairy-tale by Moritz
+Horn, and has little point or meaning. It turns upon the commonplace
+adventures of a young girl whose origin is disclosed by a rose which was
+never to fall from her hand.
+
+The principal numbers are the opening song, a joyous hymn to spring, in
+canon form, for two sopranos; the dancing choruses of the elves, for two
+sopranos and alto; the male chorus, "In the thick Wood," which is very
+effective in harmony; the exultant bridal songs, "Why sound the Horns so
+gayly?" and "Now at the Miller's;" the duet, "In the smiling Valley, 'mid
+the Trees so green;" the Grave Song; the quartet, "Oh, Joy! foretaste of
+Heaven's Rest;" and the duet, "I know a blushing Rosebud."
+
+The work as a whole has never attained the popularity of his "Paradise
+and the Peri," though detached numbers from it are frequently given with
+great success. The inadequacy of the poem has much to do with this; and
+it must also be remembered that it was written at a time when Schumann's
+powers had begun to weaken under the strain of the mental disorder which
+finally proved fatal. Reissmann, in his analysis of the work, says:--
+
+  "The man who had hitherto refused to allow even the simplest
+  composition to flow from any but a distinct idea, who constantly strove
+  to enter into relations with some distinct movement of the heart or the
+  imagination, here grasped at a poem utterly destitute of any rational
+  fundamental idea, and so arbitrary in execution, so tasteless in parts,
+  that the musical inspiration it offered could never have moved any
+  other composer to set it to music."
+
+
+                          The Minstrel's Curse.
+
+"The Minstrel's Curse," for solo voice, chorus and orchestra, was written
+in 1852, and first performed in the same year. Its text is based upon
+Uhland's beautiful ballad of the same name, which was adapted for the
+composer by Richard Pohl. The libretto shows numerous variations from the
+original text. Some of the verses are literally followed, others are
+changed, and many new songs and motives are introduced. Several of
+Uhland's other ballads are assigned to the minstrel, the youth, and the
+queen, among them "Die Drei Lieder," "Entsagung," and "Hohe Liebe," as
+well as extracts from "Rudello," "Lied des Deutschen Saengers," "Gesang
+und Krieg," and "Das Thal." Instead of the beautiful verse in the
+original poem:--
+
+  "They sing of spring and love, of happy golden youth,
+  Of freedom, manly worth, of sanctity and truth.
+  They sing of all emotions sweet the human breast that move,
+  They sing of all things high the human heart doth love.
+  The courtly crowd around forget to sneer and nod,
+  The king's bold warriors bow before their God.
+  The queen, to pleasure and to melancholy willing prey,
+  Down to the singers casts the rose which on her bosom lay,"--
+
+which leads up to the tragedy, it is the singing of the "Hohe Liebe"
+which is made the motive by Pohl, who from this point on follows the
+story as told by Uhland.
+
+The work contains fourteen numbers. The first two verses, describing the
+castle and its haughty monarch, are sung by the narrator, and are
+followed by an alto solo, very bright and joyous in style, which tells of
+the arrival of the two minstrels. The fourth number is a Provencal song,
+full of grace and poetical feeling, sung by the youth, followed by full
+chorus. The King angrily interposes in the next number, "Enough of Spring
+and Pleasure," whereupon the harper sings a beautiful ballad interpolated
+by the librettist. The queen follows with a quiet, soothing strain,
+appealing for further songs, and in reply the youth and harper once more
+sing of spring. The youth's powerful song of love, which changes to a
+trio in the close, the queen and harper joining, indicates the coming
+tragedy, and from this number on the chorus follows the story as told by
+Uhland, with great power and spirit. The general style of the work is
+declamatory, but in many of its episodes the ballad form is used with
+great skill and effect.
+
+
+
+
+                                 SINGER.
+
+
+Otto Singer was born in Saxony, July 26, 1833, and attended the Leipsic
+Conservatory from 1851 to 1855, studying with Richter, Moscheles, and
+Hauptmann. In 1859 he went to Dresden and for two years thereafter
+studied with Liszt, of whom he was not only a favorite scholar but always
+a most zealous advocate. In 1867 he came to this country to take a
+position in the Conservatory at New York, then under the direction of
+Theodore Thomas and William Mason. In 1873, upon Mr. Thomas's suggestion,
+he went to Cincinnati and became the assistant musical director of the
+festival chorus of that city, a position which he filled with eminent
+ability for several years. At the festival of 1878 he conducted the first
+performance of Liszt's "Graner Mass" in this country, and also his own
+"Festival Ode" set to a poem by F. A. Schmitt, and written to commemorate
+the dedication of the new Music Hall. In the same year the Cincinnati
+College of Music was organized, and he was engaged as one of the
+principal instructors, a position which he still holds, and in which he
+has displayed signal ability. Mr. Singer has written many compositions
+for piano and orchestra, and besides his "Festival Ode," the cantata
+"Landing of the Pilgrims" (1876).
+
+
+                      The Landing of the Pilgrims.
+
+"The Landing of the Pilgrims," written in 1876, was Mr. Singer's
+Centennial offering to the patriotic music of that year. The text of the
+cantata is the familiar poem written by Mrs. Felicia Hemans, which was
+first set to music by her own sister, Miss Browne, though in somewhat
+different style from this work of the modern school.
+
+The cantata opens with an instrumental prelude which gives out the
+principal motive as we afterwards find it set to the words, "With their
+Hymns of lofty Cheer;" and truly lofty cheer it is, that antique, strong
+melody. Breathed softly at first, as from afar, it is repeated after a
+rapid crescendo with the whole weight of the orchestra, to melt away
+again on an organ point in more subdued tone-color. In the second
+movement (andante) it appears in quadruple time, augmented in its cadence
+by a chromatic harmony which serves well to enrich the working-up of this
+fine piece of orchestral writing. A short interlude containing the germ
+of a second theme, which afterwards appears at the words, "This was their
+Welcome Home," now prepares the entrance of the voices. To the words,
+"The breaking Waves dashed high," the basses and tenors give out the
+first motive, and after declaiming the stormy opening lines of the poem
+break forth in unison with "When a Band of Exiles moored their Bark on
+the wild New England Shore." The time again changing, the composer very
+happily contrasts the phrases, "Not as a Conqueror comes" and "They the
+true-hearted came." Soon, however, the ever-pliable principal theme falls
+into a martial stride, and a very effective setting of the words, "Not
+with the Roll of stirring Drums," concludes the opening male chorus. Here
+follows the Centennial Hymn as given out in the beginning, sung first by
+an alto voice, and repeated by the full chorus of mixed voices. After the
+close, the orchestra, dreaming along in the spell, as it were, seems to
+spiritualize the sturdy Pilgrim Fathers into meek Pilgrims of the
+Cross,--a piece of exquisite tenderness, Liszt-Wagnerish, and yet
+beautiful. After some alto recitatives and short choral phrases, the
+leading theme once more enters with heavy martial step to the words,
+"There was Manhood's Brow," etc. The musical setting of the question,
+"What sought they?" etc., is cast in simpler form, and the response,
+"They sought a Faith's pure Shrine," is given in six measures, _a
+capella_, for five voices. This brings us to the last movement, _andante
+maestoso_. The leading motive, now contracted into one measure, is tossed
+about in the double basses as on the waves of a heavy surf until it
+reaches the climax on the words "Freedom to worship God." The cantata
+forms a valuable addition to our musical literature, and was first sung
+by the Cincinnati Harmonic Society, of which Mr. Singer was leader at the
+time.
+
+
+
+
+                                 SMART.
+
+
+Henry Smart, one of the most prominent of the modern English composers,
+was born in London, Oct. 26, 1813. Though almost entirely self-taught, he
+soon made his mark as a musician of more than ordinary ability. For many
+years he was principally known as an organist and organ-writer. He wrote
+numerous compositions for that instrument, which are still largely in
+use, and from 1836 to 1864 was famous in London for his contributions to
+the church service. In 1855 his opera, "Bertha, or the Gnome of
+Hartzburg," was produced with success in that city. Among his festival
+works were the cantatas, "The Bride of Dunkerron," for Birmingham (1864);
+"King Rene's Daughter" and "The Fishermaidens," for female voices (1871);
+the sacred cantata "Jacob," for Glasgow (1873); and two anthems for
+solos, chorus, and organ, for the London Choral Choirs' Association
+Festivals of 1876 and 1878. As a writer of part-songs he has also
+achieved a wide reputation. Grove states that he also was "a very
+accomplished mechanic, and had he taken up engineering instead of music,
+would no doubt have been successful. As a designer of organs he was often
+employed." Shortly after 1864 he lost his sight and thereafter composed
+entirely by dictation. His services for music secured him a government
+pension in June, 1879, but he did not live to enjoy it, dying July 6 of
+the same year.
+
+
+                         The Bride of Dunkerron.
+
+"The Bride of Dunkerron," words by Frederick Enoch, was written for the
+Birmingham Festival of 1864, and is based upon a tradition, the scene
+located at the Castle of Dunkerron, on the coast of Kerry, which has also
+been made the subject of a ballad by Crofton Croker. The story is a very
+simple one. The Lord of Dunkerron becomes enamoured of a sea-maiden, and
+as she is unable to leave her element he follows her to her abode. She
+seeks the Sea-King to obtain his consent to their union, but returns to
+her lover with the sad message that she is doomed to death for loving a
+mortal. He in turn is driven from the Sea-King's realm, and is cast back
+by the tempest to the shores of the upper world; and the work closes with
+the laments of the sea-spirits for the maiden, and of the serfs for their
+master.
+
+After an expressive orchestral introduction the cantata opens with a
+chorus of the serfs (tenors and basses) ("Ere the Wine-cup is dry"),
+followed by a very romantic chorus of sea-maidens, the two at times
+interwoven and responsive,--the one describing Lord Dunkerron's nightly
+vigils on the seashore, and the other the melody of the maidens which
+tempts him. A charming orchestral intermezzo, full of the feeling of the
+sea, ensues, and is followed by recitative and aria ("The full Moon is
+beaming") for Dunkerron, which is very simple in style but effective as a
+song, even apart from its setting. It leads up to another chorus of the
+sea-maidens ("Let us sing, the moonlit Shores along") and a long love
+dialogue between Dunkerron and the Maiden. The next number is a very
+spirited and picturesque chorus ("Down through the Deep") describing the
+passage of the lovers to the Maiden's home, which is followed by a
+sturdy, sonorous recitative and aria for bass voice ("Oh, the Earth is
+fair in Plain and Glade") sung by the Sea-King. Two very attractive
+choruses follow, the first ("O Storm King, hear us") with a solo for the
+Sea-King, and the second ("Hail to thee, Child of the Earth") by the
+sea-maidens. Another graceful melody, "Our Home shall be on this bright
+Isle," is assigned to the Maiden, leading to a duet with Dunkerron, in
+which she announces her departure to obtain the Sea-King's consent to
+their union. A chorus of the storm-spirits ("Roar, Wind of the Tempest,
+roar") indicates her doom and leads up to the finale. A powerful trio for
+the Maiden, Dunkerron, and Sea-King, followed by the angry commands of
+the latter ("Hurl him back!"), tells of the death of the lovers, and the
+work closes as it opened, with the intermingled choruses of serfs and
+sea-maidens, this time, however, full of lamentation over the sad
+tragedy.
+
+
+                          King Rene's Daughter.
+
+"King Rene's Daughter," a cantata for female voices only, the poem by
+Frederick Enoch, was written in 1871. The story is freely adapted from
+Henrik Hertz's lyric drama. Iolanthe, the daughter of King Rene, Count of
+Provence, was betrothed in her infancy to the son of the Count of
+Vaudemont. When but a year old she was stricken with blindness. She has
+been reared in ignorance of her affliction by a strict concealment from
+her of all knowledge of the blessings of sight. A wandering magician
+agrees to cure her by the use of an amulet, provided she is first
+informed of the existence of the missing sense; but her father refuses
+permission. Her betrothed has never seen her, but wandering one day
+through the valley of Vaucluse, singing his troubadour lays, he beholds
+her, and is captivated by her beauty. His song reveals to her the faculty
+of which she has been kept in ignorance, and the magician, his condition
+thus having been fulfilled, restores her to sight.
+
+The work is divided into thirteen numbers, the solo parts being Iolanthe
+(soprano), Martha (mezzo-soprano), and Beatrice (contralto). In the third
+number another soprano voice is required in a trio and chorus of
+vintagers; and in the sixth number, a soprano and contralto in the
+quartet, which acts the part of narrator, and tells of the troubadour's
+rose song to Iolanthe. It is unnecessary to specify the numbers in
+detail, as they are of the same general character,--smooth, flowing, and
+graceful in melody throughout. The most striking of them are No. 3, trio
+and chorus ("See how gay the Valley shines"); No. 5, arietta for Martha
+("Listening to the Nightingales"); No. 6, quartet ("Who hath seen the
+Troubadour?"); No. 8, Iolanthe's song ("I love the Rose"); No. 11, duet
+and chorus ("Sweet the Angelus is ringing"); and the finale, with the
+jubilant chorus:--
+
+  "Rene the king will ride forth from the gate
+  With his horsemen and banners in state;
+  And the trumpets shall fanfaron ring
+  To Rene, to Rene, the king.
+  Then with rebec and lute and with drum
+  The bride in her beauty will come;
+  And the light of her eyes, they will say, has surpassed
+  The diamonds that shine at her waist,--
+  The diamonds that shine in her long golden hair,--
+  King Rene's daughter the fair."
+
+
+
+
+                                SULLIVAN.
+
+
+Arthur Seymour Sullivan was born in London, May 13, 1842. His father, a
+band-master and clarinet-player of distinction, intrusted his musical
+education at first to the Rev. Thomas Hilmore, master of the children of
+the Chapel Royal. He entered the chapel in 1854 and remained there three
+years, and also studied in the Royal Academy of Music under Goss and
+Sterndale Bennett, during this period, leaving the latter institution in
+1858, in which year he went to Leipsic. He remained in the Conservatory
+there until 1861, when he returned to London and introduced himself to
+its musical public, with his music to Shakspeare's "Tempest," which made
+a great success. The enthusiasm with which this was received, and the
+favors he gained at the hands of Chorley, at that time musical critic of
+the "Athenaeum," gave him a secure footing. The cantata "Kenilworth,"
+written for the Birmingham Festival, the music to the ballet "L'Ile
+enchantee," and an opera, "The Sapphire Necklace," were produced in 1864.
+In 1866 appeared his first symphony and an overture, "In Memoriam," a
+tribute to his father, who died that year. The next year his overture
+"Marmion" was first performed. In 1869 he wrote his first oratorio, "The
+Prodigal son," in 1873 "The Light of the World," and in 1880 "The Martyr
+of Antioch;" the first for the Worcester, the second for the Birmingham,
+and the third for the Leeds festival. The beautiful "Overture di Ballo,"
+so frequently played in this country by the Thomas orchestra, was written
+for Birmingham in 1870, and the next year appeared his brilliant little
+cantata, "On shore and Sea." On the 11th of May, 1867, was first heard in
+public his comic operetta, "Cox and Box." It was the first in that series
+of extraordinary successes, really dating from "The Sorcerer," which are
+almost without parallel in the operatic world, and which have made his
+name, and that of his collaborator, Gilbert, household words. He has done
+much for sacred as well as secular music. In addition to his oratorios he
+has written numerous anthems, forty-seven hymn tunes, two Te Deums,
+several carols, part-songs, and choruses, and in 1872 edited the
+collection of "Church Hymns with Tunes" for the Christian Knowledge
+Society. His latest works are the opera "Ruddygore" and the cantata "The
+Golden Legend," both written in 1886. He received the honorary degree of
+Doctor of Music from Cambridge in 1876, and from Oxford in 1879, and in
+1883 was knighted by the Queen.
+
+
+                            On Shore and Sea.
+
+The cantata "On Shore and Sea" was written for the London International
+Exhibition of 1871. The solo parts are allotted to La Sposina, a Riviera
+woman, and Il Marinajo, a Genoese sailor. The action passes in the
+sixteenth century, at a port of the Riviera and on board of a Genoese and
+Moorish galley at sea. The cantata opens with a joyous sailors' chorus
+and the lament of the mothers and wives as the seamen weigh anchor and
+set sail. The scene then changes to the sea. On board one of the galleys,
+in the midnight watch, the Marinajo invokes the protection of Our Lady,
+Star of the Sea, for the loved one left behind. The scene next changes to
+the return of the fleet, triumphant in its encounters with the Moorish
+vessels. The women throng to the shore, headed by La Sposina, to welcome
+the sailors back, but the galley on board which her lover served is
+missing. It has been captured by the Moors, and in a pathetic song she
+gives expression to her sorrow. In the next scene we find him toiling at
+the oar at the bidding of his Moorish masters. While they are revelling
+he plans a rising among his fellow-captives which is successful. They
+seize the galley and steer back to the Riviera, entering port amid
+choruses of rejoicing. The cantata is full of charming melodies, the
+instrumentation is Oriental in color, and the choruses, particularly the
+closing ones, are very stirring.
+
+
+                           The Golden Legend.
+
+"The Golden Legend" was first produced at the Leeds Musical Festival,
+Oct. 16, 1886. The story of the legend has already been told in the
+description of Mr. Buck's cantata by the same name, which took the
+Cincinnati Festival prize in 1880. The adaptation of Mr. Longfellow's
+poem for the Sullivan cantata was made by Joseph Bennett, who while
+omitting its mystical parts, except the prologue, has confined himself to
+the story of Prince Henry and Elsie. All the principal scenes, though
+sometimes rearranged to suit the musical demands of the composer, have
+been retained, so that the unity of the legend is preserved.
+
+The prologue, representing the effort of Lucifer and the spirits of the
+air to tear down the cathedral cross, is used without change. The part of
+Lucifer is assigned to the barytone voice, the spirits of the air to the
+sopranos and altos, and the bells to the tenors and basses, the whole
+closing with the Gregorian Chant. The orchestral accompaniment is very
+realistic, particularly in the storm music and in the final number, where
+the organ adds its voice to the imposing harmony. The first scene opens
+with the soliloquy of Prince Henry in his chamber ("I cannot sleep"),
+followed by a dramatic duet with Lucifer, describing the temptation, and
+closes with a second solo by the Prince, accompanied by a warning chorus
+of angels. The second scene opens before the cottage of Ursula at
+evening, with a short alto recitative ("Slowly, slowly up the Wall") with
+pastoral accompaniment, followed by a very effective choral hymn ("O
+Gladsome Light") sung by the villagers ere they depart for their homes,
+the Prince's voice joining in the Amen. The remainder of the scene
+includes a dialogue between Elsie and her mother, in which the maid
+expresses her determination to die for the Prince, and a beautiful prayer
+("My Redeemer and my Lord") in which she pleads for strength to carry out
+her resolution, closing with her noble offer to the Prince, which he
+accepts, the angels responding Amen to the blessing he asks for her.
+
+The third scene opens with Elsie, the Prince, and their attendants on the
+road to Salerno where the cure is to be effected by her sacrifice. They
+fall in with a band of pilgrims, among whom is Lucifer in the disguise of
+a monk. The two bands part company, and as night comes on the Prince's
+attendants encamp near the sea. The continuity of the narrative is varied
+by a simple, graceful duet for the Prince and Elsie ("Sweet is the Air
+with budding Haws"); the Gregorian music of the pilgrims in the distance
+("Cujus clavis lingua Petri"); the mocking characteristic song of Lucifer
+("Here am I too in the pious Band"), interwoven with the chant; the song
+of greeting to the sea by the Prince ("It is the Sea"); and a very
+effective solo for Elsie ("The Night is calm and cloudless"), which is
+repeated by full chorus with soprano obligato dwelling upon the words
+"Christe Eleison." The fourth scene opens in the Medical School at
+Salerno, and discloses Lucifer disguised as the physician Friar Angelo,
+who receives Elsie and takes her into an inner apartment, notwithstanding
+the protests of the Prince, who suddenly resolves to save her, and
+finally effects her rescue. The music to this scene is very dramatic, and
+it also contains a short but striking unaccompanied chorus ("O Pure in
+Heart").
+
+The fifth scene is short. It passes at the door of Ursula's cottage,
+where a forester brings the mother the news of Elsie's safety and of the
+Prince's miraculous cure. The dialogue is followed by a prayer of
+thanksgiving ("Virgin, who lovest the Poor and Lowly"). The last scene
+opens on the terrace of the castle of Vautsberg. It is the evening of the
+wedding day, and amid the sound of bells heard in the distance the Prince
+relates to Elsie the story of Charlemagne and Fastrada, at the close of
+which the happy pair join in an exultant duet. The cantata ends with a
+choral epilogue, worked up to a fine fugal climax in which Elsie's "deed
+divine" is compared to the mountain brook flowing down from "the cool
+hills" to bless "the broad and arid plain."
+
+
+
+
+                                 WAGNER.
+
+
+Richard Wagner, who has been sometimes ironically called the musician of
+the future, and whose music has been relegated to posterity by a
+considerable number of his contemporaries, was born at Leipsic, May 22,
+1813. After his preliminary studies in Dresden and Leipsic, he took his
+first lessons in music from Cantor Weinlig. In 1836 he was appointed
+musical director in the theatre at Magdeburg, and later occupied the same
+position at Koenigsberg. Thence he went to Riga, where he began his opera
+"Rienzi." He then went to Paris by sea, was nearly shipwrecked on his way
+thither, and landed without money or friends. After two years of hard
+struggling he returned to Germany. His shipwreck and forlorn condition
+suggested the theme of "The Flying Dutchman," and while on his way to
+Dresden he passed near the castle of Wartburg, in the valley of
+Thuringia, whose legends inspired his well-known opera of "Tannhaeuser."
+He next removed to Zurich, and about this time appeared "Lohengrin," his
+most popular opera. "Tristan and Isolde" was produced in 1856, and his
+comic opera, "Die Meistersinger von Nuernberg," three years later. In 1864
+he received the patronage of King Louis of Bavaria, which enabled him to
+complete and perform his great work, "Der Ring der Nibelungen." He laid
+the foundation of the new theatre at Baireuth in 1872, and in 1875 the
+work was produced, and created a profound sensation all over the musical
+world. "Parsifal," his last opera, was first performed in 1882. His works
+have aroused great opposition, especially among conservative musicians,
+for the reason that he has set at defiance the conventional operatic
+forms, and in carrying out his theory of making the musical and dramatic
+elements of equal importance, and employing the former as the language of
+the latter in natural ways, has made musical declamation take the place
+of set melody, and swept away the customary arias, duets, quartets, and
+concerted numbers of the Italian school, to suit the dramatic exigencies
+of the situations. Besides his musical compositions, he enjoys almost
+equal fame as a litterateur, having written not only his own librettos,
+but four important works,--"Art and the Revolution," "The Art Work of the
+Future," "Opera and Drama," and "Judaism in Music." His music has made
+steady progress through the efforts of such advocates as Liszt, Von
+Buelow, and Richter in Germany, Pasdeloup in France, Hueffer in England,
+and Theodore Thomas in the United States. In 1870 he married Frau Cosima
+von Buelow, the daughter of Liszt,--an event which produced almost as much
+comment in social circles as his operas have in musical. He died during a
+visit to Venice, Feb. 13, 1883.
+
+
+                       Love Feast of the Apostles.
+
+"Das Liebesmahl der Apostel" ("The Love Feast of the Apostles"), a
+Biblical scene for male voices and orchestra, dedicated to Frau Charlotte
+Emilie Weinlig, the widow of the composer's old teacher, was written in
+1843, the year after "Rienzi," and was first performed in the
+Frauen-Kirche in Dresden at the Men's Singing Festival, July 6 of that
+year.
+
+The work opens with a full chorus of Disciples ("Gegruesst seid, Brueder,
+in des Herren Namen"), who have gathered together for mutual help and
+strength to endure the persecutions with which they are afflicted. The
+movement flows on quietly, though marked by strong contrasts, for several
+measures, after which the chorus is divided, a second and third chorus
+taking up the two subjects, "Uns droht der Maecht'gen Hass," and "O fasst
+Vertrau'n," gradually accelerating and working up to a climax, and
+closing pianissimo ("Der Maecht'gen Spaeh'n verfolgt uns ueberall").
+
+In the next number the Apostles enter (twelve bass voices) with a
+sonorous welcome ("Seid uns gegruesst, ihr lieben Brueder"), reinforced by
+the Disciples, pianissimo ("Wir sind versammelt im Namen Jesu Christi"),
+the united voices at last in powerful strains ("Allmaecht'ger Vater, der
+du hast gemacht Himmel und Erd' und Alles was darin") imploring divine
+help and the sending of the Holy Ghost to comfort them. At its close
+voices on high are heard ("Seid getrost, ich bin euch nah, und mein Geist
+ist mit euch"). The Disciples reply with increasing vigor ("Welch Brausen
+erfuellt die Luft"). The Apostles encourage them to steadfast reliance
+upon the Spirit ("Klein muethige! Hoert an was jetzt der Geist zu Kuenden
+uns gebeut"), and the work comes to a close with a massive chorale ("Denn
+ihm ist alle Herrlichkeit von Ewigkeit zu Ewigkeit"), worked up with
+overpowering dramatic force, particularly in the instrumentation. Though
+but a small composition compared with the masterpieces for the stage
+which followed it, it is peculiarly interesting in its suggestions of the
+composer's great dramatic power which was to find its fruition in the
+later works from his pen.
+
+
+
+
+                                 WEBER.
+
+
+Carl Maria von Weber was born Dec. 18, 1786, at Eutin, and may almost be
+said to have been born on the stage, as his father was at the head of a
+theatrical company, and the young Carl was carried in the train of the
+wandering troupe all over Germany. His first lessons were given to him by
+Henschkel, conductor of the orchestra of Duke Friedrich of Meiningen. At
+the age of fourteen he wrote his first opera, "Das Waldmaedchen," which
+was performed several times during the year 1800. In 1801 appeared his
+two-act comic opera, "Peter Schmoll and his Neighbors," and during these
+two years he also frequently played in concerts with great success. He
+then studied with the Abbe Vogler, and in his eighteenth year was engaged
+for the conductorship of the Breslau opera. About this time appeared his
+first important opera, "Rubezahl." At the conclusion of his studies with
+Vogler he was made director of the opera at Prague. In 1816 he went to
+Berlin, where he was received with the highest marks of popular esteem,
+and thence to Dresden as hofcapellmeister. This was the most brilliant
+period in his career. It was during this time that he married Caroline
+Brandt, the actress and singer, who had had a marked influence upon his
+musical progress, and to whom he dedicated his exquisite "Invitation to
+the Dance." The first great work of his life, "Der Freischuetz,"
+was written at this period. Three other important operas
+followed,--"Preciosa," "Euryanthe," the first performance of which took
+place in Vienna in 1823, and "Oberon," which he finished in London and
+brought out there. Weber's last days were spent in the latter city, and
+it was while making preparations to return to Germany, which he longed to
+see again, that he was stricken down with his final illness. On the 4th
+of June, 1826, he was visited by Sir George Smart, Moscheles, and other
+musicians who were eager to show him attention. He declined to have any
+one watch by his bedside, thanked them for their kindness, bade them
+good-by, and then turned to his friend Fuerstenau, and said, "Now let me
+sleep." These were his last words. The next morning he was found dead in
+his bed. He has left a rich legacy of works besides his operas,--a large
+collection of songs, many cantatas (of which the "Jubilee" and "Kampf und
+Sieg" are the finest), some masses, of which that in E flat is the most
+beautiful, and several concertos, besides many brilliant rondos,
+polaccas, and marches for the piano.
+
+
+                            Jubilee Cantata.
+
+The "Jubilee Cantata" was written in 1818 to celebrate the fiftieth
+anniversary of the reign of King Friedrich August of Saxony. The King
+having expressed a desire that there should be a court concert on the day
+of the anniversary, September 20, Count Vitzthum commissioned Weber to
+write a grand jubilee cantata. The poet Friedrich Kind supplied the
+words. While engaged in its composition Weber was informed by friends
+that other arrangements were being made for the concert, and on the 12th
+of September the information was confirmed by a letter from the Count
+which informed him that notwithstanding his personal protests, the
+Jubilee Cantata was not to be given. The son in his biography of his
+father intimates that the change was the result of intrigues on the part
+of his Italian rivals, Morlacchi, Zingarelli, and Nicolini. The same
+authority says that the cantata was finally produced in the Neustadt
+church for the benefit of the destitute peasantry in the Hartz mountains,
+Weber himself conducting the performance, and that only the overture to
+the work, now famous the world over as the "Jubel," was played at the
+court concert. The best authorities, however, now believe that the Jubel
+overture is an entirely independent work, having no connection with the
+cantata. The text of the cantata, which commemorates many special events
+in the life of the King, being found unsuitable for general performance,
+a second text was subsequently written by Amadeus Wendt, under the title
+of "Ernte-Cantata" ("Harvest Cantata") which is the one now in common
+use, although still another version was made under the name of "The
+Festival of Peace," by Hampdon Napier, which was used at a performance in
+London under the direction of the composer himself only a few days before
+his death.
+
+The cantata is written for the four solo voices, chorus, and orchestra.
+It opens after a short allegro movement with a full jubilant chorus
+("Your thankful Songs upraise"), the solo quartet joining in the middle
+part with chorus. The second number is a very expressive recitative and
+aria for tenor ("Happy Nation, still receiving"). The third is
+characterized by quiet beauty, and is very devotional in spirit. It
+begins with a soprano recitative and aria ("Yet not alone of Labor comes
+our Plenty"), leading up to a second recitative and aria ("The gracious
+Father hears us when we call"), which are very vivacious in style,
+closing with a tenor recitative ("The Air is mild and clear and grateful
+to the Reapers"). These prepare the way for a short but very powerful
+chorus ("Woe! see the Storm-Clouds"). In the next number ("How fearful
+are the Terrors Nature brings") the bass voice moralizes on the powers of
+Nature, followed by a plaintive strain for two sopranos, which leads up
+to a majestic prayer for chorus ("Lord Almighty, full of Mercy"). A bass
+recitative ("Lo, once our Prayer") introduces a beautiful quartet and
+chorus of thanksgiving ("Wreathe into Garlands the Gold of the Harvest").
+They are followed by a tenor recitative and soprano solo ("Soon noble
+Fruit by Toil was won"), and the work comes to a close with a stately
+chorus of praise ("Father, reigning in Thy Glory").
+
+
+                             Kampf und Sieg.
+
+In June, 1815, Weber arrived in Munich and during his stay made the
+acquaintance of Fraulein Wohlbrueck, the singer, which led to an
+introduction to her father, who was both an actor and a poet. On the very
+day that he met Wohlbrueck, the news came to Munich of the victory of the
+Allies at Waterloo, the whole city was decorated and illuminated, and a
+great crowd, Weber with them, went to St. Michael's Church to listen to a
+Te Deum. While there the idea of a grand cantata in commemoration of the
+victory came into his mind. On his return home he met Wohlbrueck and
+communicated his purpose to him. The enthusiastic poet agreed to furnish
+the words. About the first of August the text was placed in Weber's
+hands, and he at once set it to music. It was first produced on the 22d
+of December at Prague, and made a profound impression by its stirring
+military character and vivid battle-descriptions.
+
+The cantata is written for the four solo voices, chorus of sopranos,
+altos, two tenors, and basses and orchestra. A stirring orchestral
+introduction leads up to a people's chorus which describes the
+disappearance of dissensions heralding the approach of victory. No. 3 is
+a bass solo entitled "Faith," with a delightful violoncello
+accompaniment. In No. 4, Love (soprano) and Hope (tenor) join with Faith
+in a song full of feeling. No. 5 is a soldiers' chorus of an enthusiastic
+and martial character, while in the distance is heard the Austrian
+Grenadier's march mingling with it. In the next number the approach of
+the enemy is heard as the chorus closes with the majestic phrase, "Mit
+Gott sei unser Werk gethan." The lively march of the enemy comes nearer
+and nearer, interwoven with the next chorus, which is set to Koerner's
+prayer "Wie auch die Hoelle braust." Then follows the opening of the
+battle, with the roar of cannon, the shouts of the soldiers, and the
+cries of the wounded, through which is heard the French national air
+defiantly sounding. Another soldiers' chorus follows. It pictures the
+advance of the Prussian Jaegers ("Ha! welch ein Klang"), followed by the
+simple strains of "God save the King!" In No. 9 the fight is renewed, the
+music reaching a pitch of almost ferocious energy, until the joyous cry
+is heard, "Hurrah! Er flieht," and the triumphant march of victory
+emphasizes the exultant paean, "Heil dir im Siegerkranz." The rest of the
+cantata is purely lyrical in style. Once more the voices of "Faith" and
+"Love" are heard, leading up to the final majestic chorus, "Herr Gott,
+Dich loben wir," accompanying a solo voice chanting the theme "Gieb und
+erhalte den Frieden der Welt."
+
+
+
+
+                                WHITING.
+
+
+George Elbridge Whiting was born at Holliston, Mass., Sept. 14, 1842. He
+began the study of the piano at a very early age, but soon abandoned it
+for the organ. His progress was so rapid that at the age of thirteen he
+made his public appearance as a player. In 1857 he went to Hartford,
+Conn., where he had accepted a position in one of the churches, and while
+there organized the Beethoven Society. In 1862 he removed to Boston, but
+shortly afterwards went to England, where he studied the organ for a year
+with Best. On his return he was engaged as organist of St. Joseph's
+Church, Albany, N. Y., but his ambition soon took him to Europe again.
+This time he went to Berlin and finished his studies with Radecke and
+Haupt. He then returned to Albany and remained there three years, leaving
+that city to accept a position at the church of the Immaculate
+Conception, Boston. In 1874 he was appointed organist at the Music Hall,
+and was also for some time at the head of the organ department of the New
+England Conservatory of Music. In 1878 he was organist for the third
+Cincinnati May Festival, and in 1879 accepted a position in the College
+of Music in that city, at the same time taking charge of the organ in the
+Music Hall, with what success those who attended the May Festivals in
+that city will remember. He remained in Cincinnati three years and then
+returned to his old position in Boston. Mr. Whiting ranks in the first
+class of American organists, and has also been a prolific composer. Among
+his vocal works are a mass in C minor (1872); mass in F minor (1874);
+prologue to Longfellow's "Golden Legend" (1873); cantatas, "Dream
+Pictures" (1877), "The Tale of the Viking" (1880); a concert overture
+("The Princess"); a great variety of organ music, including "The
+Organist," containing twelve pieces for that instrument, and "the First
+Six Months on the Organ," with twenty-five studies; several concertos,
+fantasies, and piano compositions, and a large number of songs.
+
+
+                         The Tale of the Viking.
+
+"The Tale of the Viking" was written in competition for the prize offered
+by the Cincinnati Musical Festival Association in 1879, and though
+unsuccessful, is still regarded as one of the most admirable and
+scholarly works yet produced in this country. The text of the cantata is
+Longfellow's "Skeleton in Armor," that weird and stirring story of the
+Viking, which the poet so ingeniously connected with the old mill at
+Newport.
+
+The work comprises ten numbers, and is written for three solo voices
+(soprano, tenor, and barytone), chorus, and orchestra. A long but very
+expressive overture, full of the dramatic sentiment of the poem, prepares
+the way for the opening number, a short male chorus:--
+
+  "'Speak! speak! thou fearful guest
+  Who, with thy hollow breast
+  Still in rude armor drest,
+      Comest to daunt me!
+  Wrapt not in Eastern balms,
+  But with thy fleshless palms
+  Stretched, as if asking alms,
+      Why dost thou haunt me?'"
+
+Next comes a powerful chorus for mixed voices ("Then from those cavernous
+Eyes"), which leads up to the opening of the Viking's story ("I was a
+Viking old"), a barytone solo, which is made very dramatic by the skilful
+division of the song between recitative and the melody. In the fourth
+number the male chorus continues the narrative ("But when I older grew"),
+describing in a vivacious and spirited manner the wild life of the
+marauders on the sea and their winter wassails as they told the Berserker
+legends over their cups of ale. In the fifth the soprano voice tells of
+the wooing of "The blue-eyed Maid" in an aria ("Once, as I told in Glee")
+remarkable for its varying shades of expression. At its close a brilliant
+march movement, very sonorous in style and highly colored, introduces a
+vigorous chorus ("Bright in her Father's Hall"), which describes the
+refusal of old Hildebrand to give his daughter's hand to the Viking. A
+dramatic solo for barytone ("She was a Prince's Child") pictures the
+flight of the dove with the sea-mew, which is followed by a chorus of
+extraordinary power as well as picturesqueness ("Scarce had I put to
+Sea"), vividly describing the pursuit, the encounter, and the Viking's
+escape with his bride. A graceful but pathetic romance for tenor ("There
+lived we many Years"), which relates her death, and burial beneath the
+tower, leads to the closing number, a soprano solo with a full stately
+chorus, admirably worked up, picturing the death of the Viking, who falls
+upon his spear, and ending in an exultant and powerful burst of harmony,
+set to the words:--
+
+  "'Thus, seamed with many scars,
+  Bursting these prison bars,
+  Up to its native stars
+      My soul ascended;
+  There from the flowing bowl
+  Deep drinks the warrior's soul,
+  _Skoal_! to the Northland! _skoal_!'
+      Thus the tale ended."
+
+
+
+
+                                APPENDIX.
+
+
+The following alphabetical list has been prepared to present the reader
+with the titles of the more important cantatas by well-known composers
+and the dates of their composition. To make an exhaustive catalogue of
+works of this class would be impossible, as a great number have been lost
+entirely, and hundreds of others are now only known by name; but the
+writer believes that those subjoined will provide musical students, as
+well as the general reader, with as complete a reference list as can be
+desired.
+
+  Adam, Adolphe.
+    Le Premiers Pas (1847);
+    La Fete des Arts (1852);
+    Chant de Victoire (1855);
+    Birth of the Prince Imperial (1856).
+  Anderton, Thomas.
+    The Song of Deborah and Barak (1871);
+    The Wreck of the Hesperus (1882);
+    The Norman Baron (1884);
+    Yuletide (1885).
+  Arnold, Samuel.
+    Sennacherib (1774).
+  Aspa, Edward.
+    The Gypsies (1870);
+    Endymion (1875).
+  Astorga, Emanuele.
+    Quando penso (1706);
+    Torne Aprile (1706);
+    In questo core (1707);
+    Dafni (1709).
+  Bach, John Sebastian.
+    Two hundred and twenty-six sacred cantatas, of which the following
+    are most commonly sung: Ich hatte viel Bekuemmerniss; Festo
+    Ascensionis Christi; Ein' Feste Burg (Reformation festival of 1717);
+    Aus tiefer Noth schrei ich; Christ unser Herr zum Jordan kam; Ehre
+    sei Gott in der Hoehe (Christmas cantata); Gottes Zeit ist die
+    allerbeste Zeit (mourning cantata); Lobe den Herrn (New Year's Day);
+    O Ewigkeit, du Donnerwort; Gott ist mein Koenig; Wie schoen leucht uns
+    der Morgenstern.
+    Twenty-eight birthday, funeral, and secular cantatas: among them,
+    Komische cantate, Kaffee cantate, Bauern oder Hochzeit's cantate.
+  Balfe, Michael.
+    Mazeppa (1862);
+    The Page (?).
+  Barnby, Joseph.
+    Rebekah (1870).
+  Barnett, John Francis.
+    The Ancient Mariner (1867);
+    Paradise and the Peri (1870);
+    Lay of the Last Minstrel (1874);
+    The Good Shepherd (1876);
+    The Building of the Ship (1880).
+  Beethoven, Ludwig von.
+    Der Glorreiche Augenblick (1814);
+    Meeresstille und gluecklich Fahrt (1815).
+  Bendall, Wilfred.
+    Parizadeh (1870);
+    The Lady of Shalott (1871).
+  Benedict, Julius.
+    Undine (1860);
+    Richard Coeur de Leon (1863);
+    Legend of St. Cecilia (1866);
+    Legend of St. Elizabeth (1867);
+    St. Peter (1870);
+    Graziella (1882).
+  Bennett, William Sterndale.
+    May Queen (1858);
+    International Exhibition Ode (1862);
+    Cambridge Installation Ode (1862).
+  Berlioz, Hector.
+    Sardanaple (1830);
+    Romeo and Juliet (dramatic symphony with solos and chorus) (1839);
+    Damnation of Faust (dramatic scenes) (1846);
+    L'Imperiale (1855);
+    Le Cinq Mai (1857).
+  Bishop, Henry.
+    The Seventh Day (1840).
+  Boito, Arrigo.
+    Ode to Art (1880).
+  Brahms, Johannes.
+    Rinaldo (1868);
+    Rhapsodie (1870);
+    Schicksalslied (1871);
+    Triumphlied (1873);
+    Gesang der Parzen (1877);
+    Boadicea (1878).
+  Bridge, John Frederick.
+    Rock of Ages (1880);
+    Boadicea (1880).
+  Bristow, George Frederick.
+    Daniel (1876).
+  Bronsart, Hans von.
+    Christmarkt (1876).
+  Bruch, Max.
+    Die Birken und die Erlen (1853);
+    Jubilate-Amen (1856);
+    Rinaldo (1858);
+    Rorate Coeli (1861);
+    Frithjof's Saga (1862);
+    Salamis (1862);
+    Die Flucht der heilige Familie (1863);
+    Gesang der heiligen drei Koenige (1864);
+    Roemischer Triumphgesang (1864);
+    Roemische Leichenfeier (1864);
+    Schoen Ellen (1869);
+    Odysseus (1872);
+    Arminius (1873);
+    Normannenzug (1874);
+    Song of the Bell (1876);
+    Achilleus (1885).
+  Bruell, Ignaz.
+    Die Gesternaehren (1875).
+  Buck, Dudley.
+    Forty-sixth Psalm (1872);
+    Don Munio (1874);
+    Centennial Cantata (1876);
+    The Nun of Nidaros (1878);
+    Golden Legend (1880);
+    Voyage of Columbus (1885);
+    Light of Asia (1886).
+  Caldicott, Alfred James.
+    La Primavera (1880);
+    The Widow of Nain (1881);
+    Rhine Legend (1883);
+    Queen of the May (1885).
+  Carissimi, Giacomo.
+    Jephthah (1660).
+  Cherubini, Marie Luigi.
+    La Pubblica Felicita (1774);
+    Arnphion (1786); and seventeen others.
+  Cimerosa, Domenico.
+    La Nascita del Delfino (1786); and one hundred others.
+  Clay, Frederick.
+    The Knights of the Cross (1866);
+    Lalla Rookh (1877).
+  Corder, Frederick.
+    The Cyclops (1880);
+    The Bridal of Triermain (1886).
+  Costa, Michael.
+    The Dream (1815);
+    La Passione (1827).
+  Cowen, Frederick Hymen.
+    The Rose Maiden (1870);
+    The Corsair (1876);
+    St. Ursula (1881);
+    The Sleeping Beauty (1885).
+  Cummings, William Hayman.
+    The Fairy Ring (1873).
+  Damrosch, Leopold.
+    Ruth and Naomi (1870);
+    Sulamith (1877).
+  David, Felicien Cesar.
+    The Desert (1844).
+  Dvorak, Anton.
+    Patriotic Hymn (1880);
+    The Spectre's Bride (1885).
+  Erdmannsdorfer, Max.
+    Prinzessin Ilse (1870);
+    Die Schneewittchen (1871).
+  Foote, Arthur.
+    The Legend of Hiawatha (1879).
+  Foster, Myles Birkett.
+    The Bonnie Fishwives (1880).
+  Fry, William Henry.
+    The Fall of Warsaw (1858).
+  Gabriel, Virginia.
+    Dreamland (1870);
+    Evangeline (1873).
+  Gade, Niels Wilhelm.
+    Comala (1843);
+    Spring Fantasie (1850); The Holy Night (1851);
+    Erl King's Daughter (1852);
+    Fruehlingsbotschaft (1853);
+    Kalamus (1853);
+    Psyche (1856);
+    Zion (1860);
+    The Crusaders (1866).
+  Gadsby, Henry Robert.
+    Alice Brand (1870);
+    Lord of the Isles (1880);
+    Columbus (1881).
+  Garcia, Manuel.
+    Endimione (1822).
+  Gaul, Alfred Robert.
+    Ruth (1881);
+    The Holy City (1882).
+  Gernsheim, Friedrich.
+    Odin's Meeresritt (1860).
+  Gilchrist, William Wallace.
+    Forty-seventh Psalm (1882);
+    The Rose (1886).
+  Gleason, Frederick Grant.
+    God our Deliverer (1878);
+    The Culprit Fay (1879);
+    Praise of Harmony (1886).
+  Glover, Ferdinand.
+    The Fire Worshippers (1857).
+  Glover, William.
+    The Corsair (1849).
+  Glover, William Howard.
+    Tam O'Shanter (1855).
+  Gluck, Christoph Willibald.
+    Alexander's Feast (1753);
+    De Profundis (1760);
+    The Last Judgment (finished by Salieri) (1761).
+  Goetz, Hermann.
+    By the Waters of Babylon (1874);
+    Noenia (1875).
+  Goldmark, Karl.
+    Fruehling's Hymne (1876).
+  Gounod, Charles Francois.
+    Marie Stuart et Rizzio (1837);
+    Daughters of Jerusalem (1838);
+    Fernand (1839);
+    A la Frontiere (1870);
+    Gallia (1871).
+  Grieg, Edward.
+    Land Kennung (1865).
+  Halevy, Jacques Fromental.
+    Les Plages du Nil (1850);
+    Italie (1850).
+  Hamerik, Asger.
+    Friedenshymne (1868).
+  Handel, George Frederick.
+    Passion (1704);
+    twelve called "Hanover" (1711);
+    seventy-nine written in Italy (1706-1712);
+    Acis and Galatea (1720);
+    Sei del cielo (1736);
+    Alexander's Feast (1736);
+    Ode on St. Cecilia's Day (1739);
+    L'Allegro, il Penseroso, ed il Moderato (1740).
+  Hatton, John Liphot.
+    Robin Hood (1856).
+  Hauptmann, Moritz.
+    Herr, Herr! wende dich zum Gebet (1840);
+    Die lustigen Musikanten (1842).
+  Haydn, Joseph.
+    Birthday of Prince Nicholas (1763);
+    Applausus Musicus (1768);
+    Die Erwahlung eines Kapellmeisters (1769);
+    Ah! come il core mi palpito (1783);
+    Invocation of Neptune (1783);
+    An die Freude (1786);
+    Das Erndtefest (1786);
+    Deutschland's Klage auf den Tod Friedrichs der Grossen (1787);
+    Des Dichter's Geburtsfest (1787);
+    Hier liegt Constantia (1787);
+    Ariadne a Naxos (1792);
+    Ombra del caro bene (1798);
+    Der Versohnung's Tod (1809).
+  Heap, C. Swinnerton.
+    The Maid of Astolat (1885).
+  Hesse, Adolph Friedrich.
+    Sei uns gnadig, Gott der gnaden (1831);
+    Von Leiden ist me in Herz bedraengt (1832).
+  Hiller, Ferdinand.
+    Die lustige Musikanten (1838);
+    O, weint um Sie (1839);
+    Morning of Palm Sunday (1839);
+    Whitsuntide (1840);
+    Israel's Siegesgesang (1841);
+    Song of the Spirits over the Water (1842);
+    Prometheus (1843);
+    Rebecca (1843);
+    The Night of the Nativity (1843);
+    Heloise (1844);
+    Loreley (1845);
+    Die Nacht (1846);
+    Ostermorgen (1850);
+    Richard Loewenherz (1855);
+    An das Vaterland (1861);
+    Song of Victory (1871);
+    Song of Heloise (1871);
+    Nala und Damajanti (1871);
+    Pentecost (1872);
+    Prince Papagei (1872).
+  Himmel, Friedrich Heinrich.
+    La Danza (1792);
+    Hessan's Soehne und Prussien's Toechter (1797);
+    Das Vertrauen auf Gott (1797);
+    Funeral Cantata (1799).
+  Hofmann, Heinrich K.
+    J. Deutschland's Erhebung (1874);
+    Aschenbroedel (1875);
+    Song of the Norns (1875);
+    Melusina (1876);
+    Cinderella (1879).
+  Hummel, Johann Nepomuk.
+    Diana ed Endimione (1818).
+  Isouard, Nicolo.
+    Hebe (1813).
+  Jackson, William.
+    Lycidas (1767);
+    The Praise of Music (1770);
+    The Year (1785).
+  Jensen, Adolf.
+    Jephtha's Daughter (1864);
+    Donald Caird ist wieder da (1875);
+    The Feast of Adonis (1881).
+  Krug, Arnold.
+    Nomadenzug (1877);
+    Sigurd (1882).
+  Kuecken, Friedrich.
+    Friedenshymne (1870).
+  Kuhlau, Friedrich.
+    Die Feier des Wohlwollens (1818).
+  Lachner, Franz.
+    Die vier Menschenalter (1843);
+    Der Sturm (1845);
+    Sixty-third Psalm (1849);
+    Des Krieger's Gebet (1851);
+    Siegesgesang (1852);
+    Mozart Fest Cantate (1852);
+    Sturmesmythe (1853);
+    Bundeslied (1854);
+    One Hundred and Fiftieth Psalm (1854).
+  Lahee, Henry.
+    Building of the Ship (1869);
+    The Blessing of the Children (1870).
+  Lassen, Edward.
+    Les Flamands sous van Arteveldt (1854);
+    The Artists (1861);
+    Fest Cantate (1874).
+  Lefebvre, Wely Louis.
+    Apres le Victoire (1863).
+  Leslie, Henry David.
+    Judith (1858);
+    Holyrood (1860);
+    The Daughter of the Isles (1861).
+  Lindpaintner, Peter Joseph von.
+    Widow of Nain (1846).
+  Liszt, Franz.
+    Prometheus (1850);
+    Ave Maria (1851);
+    Pater Noster (1852);
+    Schiller Cantata (1859);
+    Die Seligkeiten (arranged from "Christus") (1863);
+    Eighteenth Psalm (1867);
+    Beethoven Festival Cantata (1870);
+    Requiem (1870);
+    One Hundred and Sixteenth Psalm (1873);
+    The Bells of Strasburg (1874);
+    An den heiligen Franziskus (1874);
+    St. Cecilia (1875);
+    Thirteenth Psalm (1877).
+  Lloyd, Charles Harford.
+    Hero and Leander (1884);
+    The Song of Balder (1885);
+    Andromeda (1886).
+  Macfarren, George Alexander.
+    Lenora (1852);
+    May Day (1857);
+    The Soldier's Legacy (1857);
+    Christmas (1860);
+    Songs in a Cornfield (1868);
+    The Lady of the Lake (1877);
+    Outward Bound (1877).
+  Mackenzie, Alexander Campbell.
+    The Bride (1880);
+    Jason (1882);
+    Story of Sayid (1886).
+  Massenet, Jules Emile Frederic.
+    David Rizzio (1863);
+    Paix et Liberte (1867);
+    Mary Magdalen (1873);
+    Eve (1875);
+    Narcisse (1877).
+  Mendelssohn, Bartholdy Felix.
+    Christe, du Lamm Gottes (1827);
+    Ach Gott von Himmel (1827);
+    Humboldt Fest Cantate (1828);
+    Walpurgis Night (1831);
+    As the Hart pants (1838);
+    Friedrich August Fest Cantate (1842);
+    Lauda Sion (1846);
+    To the Sons of Art (1846).
+  Mercadante, Saverio.
+    L'Unione delle belli Arte (1818);
+    The Seven Words (1821).
+  Meyerbeer, Giacomo.
+    Seven sacred Cantatas from Klopstock (1810);
+    God and Nature (1810);
+    March of the Bavarian Archers (1816);
+    The Genius of Music at the Grave of Beethoven (1830);
+    Gutenberg Cantata (1836);
+    Le Festa nella Corte di Ferrara (1843);
+    Maria und ihr Genius (1851).
+  Mozart, Wolfgang Amadeus.
+    Grabmusik (1767);
+    Davidde penitente (1783);
+    Die Seele (1783);
+    Die Maurer freude (1785);
+    La Betulia liberata (1786);
+    Eine Kleine Freimaurer Cantate (1791).
+  Neukomm, Sigismond.
+    Napoleon's Midnight Review (1828);
+    Easter Morning (1829).
+  Oxenford, Edward.
+    Crown of Roses (1886).
+  Pacini, Giovanni.
+    Dante Centenary (1865).
+  Paer, Ferdinand.
+    Bacco ed Ariadna (1804);
+    La Conversazione Armonica (1804);
+    Il Trionfo della chiesa Cattolica (1805);
+    Europa in Creta (1806);
+    Il S. Sepolcro (1815).
+  Paine, John Knowles.
+    Oedipus (1881);
+    Phoebus Arise (1882);
+    The Nativity (1883);
+    Realm of Fancy (1884).
+  Paine, Robert P.
+    From Death unto Life (1883);
+    Great is the Lord (1884);
+    The Lay of the Last Minstrel (1884);
+    A Day with our Lord (1885).
+  Paisiello, Giovanni.
+    Peleus (1763);
+    Achille in Sciro (1783);
+    Giunone Lucina (1784).
+  Parker, James C. D.
+    Redemption Hymn (1877);
+    The Blind King (1886).
+  Parker, H.
+    W. King Trojan (1885).
+  Pattison, Thomas Mee.
+    The Ancient Mariner (1885);
+    The Lay of the Last Minstrel (1885).
+  Pepusch, John Christopher.
+    Alexis (1712).
+  Pergolesi, Giovanni.
+    Siciliana (1730);
+    Euridice (1730).
+  Ponchielli, Amilcare.
+    Donizetti ed Mayr Cantata (1875).
+  Prout, Ebenezer.
+    Hereward (1878);
+    Freedom (1880);
+    Alfred (1881);
+    Queen Aimee (1885).
+  Raff, Joseph Joachim.
+    Wachet auf (1865);
+    Deutschland's Auferstehung (1865);
+    Einer Entschlaffener (1876);
+    One Hundred and Thirtieth Psalm, "De Profundis" (1878);
+    Die Tageszeiten (1878).
+  Randegger, Albert.
+    Medea (1869);
+    The One Hundred and Fiftieth Psalm (1872);
+    Fridolin (1873);
+    Saffo (1875).
+  Reichardt, Johann Friedrich.
+    Trauer Cantate auf den Tod Friedrich (1786);
+    La Danza (1790).
+  Reinecke, Karl.
+    Ein geistliche Abendlied (1851);
+    Schlachtlied (1852);
+    Schneewittchen (1852);
+    Salvum fac regem (1859);
+    Weinachts (1861);
+    Belshazzar (1863);
+    Te Deum Laudamus (1870);
+    Flucht der heilige Familie (1873);
+    Doernroschen (1875);
+    Aschenbroedel (1877);
+    Hakon Jarl (1877);
+    Die wilden Schwaene (1881).
+  Reissiger, Karl Gottlieb.
+    Der Herr macht Alles wohl (1830).
+  Reissmann, August.
+    Drusus' Death (1870);
+    Lorelei (1871).
+  Rheinberger, Joseph.
+    Wasserfee (1867);
+    Die Nacht (1868);
+    Die toedte Braut (1873);
+    Johannisnacht (1875);
+    Klaerchen auf Eberstein (1876);
+    Christophorus (1880);
+    Toggenburg (1880).
+  Ries, Ferdinand.
+    Der Morgen (1835).
+  Rockstro, William Smyth.
+    The little Daughter of Jairus (1871);
+    The Good Shepherd (1885).
+  Rode, Theodore.
+    Passion's Cantata (1864).
+  Romberg, Andreas.
+    The Transient and the Eternal (1801);
+    Lay of the Bell (1808).
+  Rossini, Gioachino.
+    Didone abandonnata (1811);
+    Eglo e Irene (1814);
+    Teti e Peleo (1816);
+    I pastori (1820);
+    Cara patria (1820);
+    La Riconoscenza (1821);
+    Il pianto delle Muse (1823);
+    La sacra Alleanza (1823);
+    Il vero ommagio (1823);
+    Joan of Arc (1859).
+  Rubinstein, Anton.
+    E dunque vero (1865);
+    Die Nixe (1866);
+    The Morning (1868);
+    Mignon (1869);
+    Hecuba (1872);
+    Hagar in the Wilderness (1872).
+  Ryan, Desmond L.
+    The Maid of Astolat (1886).
+  Saint-Saens, Charles Camille.
+    Les Noces de Promethee (1867);
+    Le Deluge (1876);
+    Eighteenth Psalm (1877);
+    Chanson d' Ancetre (1878);
+    La Lyre et la Harpe (1879);
+    Hymn to Victor Hugo (1885).
+  Salaman, Charles Kensington.
+    Shakspeare Jubilee (1850).
+  Salieri, Antonio.
+    Le Dernier Jugement (1788);
+    La Riconoscenza (1796).
+  Scarlatti, Alessandro.
+    Povera pelegrina (1697).
+  Scharwenka, Ludwig Philipp.
+    Herbstfeier (1882);
+    Sakuntala (1883).
+  Schira, Francesca.
+    The Lord of Burleigh (1873).
+  Schmitt, Aloys.
+    Die Woerter des Glaubens (1816);
+    Die Huldigung der Tonkunst (1818);
+    Die Hoffnung (1820).
+  Schubert, Franz.
+    Salieri's Jubilee (1815);
+    Prometheus (1816);
+    Cantata (Spendau) (1816);
+    Glaube, Hoffnung und Liebe (1816);
+    Der Fruehlingsmorgen (1818);
+    Vogl Cantata (1818);
+    Die Allmacht (1820);
+    Constitution's Lied (1822);
+    A la belle Irene (1827);
+    Miriam's Song (1828).
+  Schumann, Robert.
+    Mignon's Requiem (1849);
+    Advent Hymn (1849);
+    Pilgrimage of the Rose (1851);
+    The King's Son (1851);
+    The Singer's Curse (1852);
+    The Page and the King's Daughter (1852);
+    The Luck of Edenhall (1853).
+  Singer, Otto.
+    Landing of the Pilgrims (1876);
+    Festival Ode (1877).
+  Smart, Henry.
+    Bride of Dunkerron (1864);
+    King Rene's Daughter (1871);
+    The Fishermaidens (1871);
+    Jacob (1873).
+  Spohr, Louis.
+    The Liberation of Germany (1814);
+    Lord, Thou art great (1815);
+    How lovely are Thy Dwellings (1815);
+    Jehovah, Lord of Hosts (1820);
+    The Lord's Prayer (1829);
+    Hymn to the holy Cecilia (1856).
+  Spontini, Gaspard.
+    Borussia (1826);
+    Gott segne der Koenig (1828).
+  Stainer, John.
+    The Daughter of Jairus (1878);
+    St. Mary Magdalene (1883).
+  Stanford, Charles Villiers.
+    The Revenge (1880);
+    God is our Hope (1881).
+  Sullivan, Arthur.
+    Kenilworth (1864);
+    On Shore and Sea (1871);
+    The Martyr of Antioch (1875);
+    The Golden Legend (1886).
+  Svendsen, Johann.
+    Marriage Cantata (1873).
+  Thomas, Ambroise.
+    Lesueur Cantata (1852);
+    The Tyrol (1867);
+    Carnival of Rome (1868);
+    The Atlantic (1868);
+    Sabbath Night (1869);
+    Boieldieu Cantata (1875).
+  Thomas, Arthur Goring.
+    The Sun Worshippers (1881).
+  Tschaikowsky, Peter I.
+    Coronation Cantata (1882).
+  Volkmann, Friedrich R.
+    To-night (1867);
+    Sappho (1868).
+  Wagner, Richard.
+    New Year's (1834);
+    Das Liebesmahl der Apostel (1843);
+    Gelegensheit Cantate (1843).
+  Weber, Carl Maria von.
+    Der Ester Ton (1808);
+    Kampf und Sieg (1815);
+    Natur und Liebe (1818);
+    Jubilee Cantata (1818).
+  Whiting, George Elbridge.
+    Dream Pictures (1877);
+    Lenora (1879);
+    Tale of the Viking (1880);
+    Henry of Navarre (1885).
+  Winter, Peter.
+    Pigmalione;
+    Piramo e Thisbe;
+    Die verlassene Dido;
+    Vortigerne;
+    Hector;
+    Inez de Castro;
+    Henri IV.;
+    Baiersche Lustbarkeit;
+    Der Franz Lustgarten;
+    Die Hochzeit des Figaro;
+    Andromaque;
+    Prague et Philomela;
+    Timoteo;
+    Die Erloesung des Menschen;
+    Die Auferstehung Germania's Friedens; (all written between 1789 and
+    1793).
+  Zingarelli, Nicolo.
+    Telemaco (1785);
+    Eco (1802);
+    Cantata Sacra (1829).
+
+
+
+
+                                 INDEX.
+
+
+  Acis and Galatea, 27, 166.
+  Addison, 58, 59.
+  Advent Hymn, 27, 319.
+  Alexander's Feast, 27, 173.
+  American Cantatas, 28.
+  Antigone, 254.
+  Appendix, 353.
+  Ariadne, 198.
+  Arnold, Edwin, 117, 233.
+  As the Hart Pants, 262.
+  Auber, 66.
+
+  Bach, 22-25, 63, 308;
+    life of, 29.
+  Balfe, 56;
+    life of, 44.
+  Bassani, 18.
+  Beethoven, 20, 134, 135, 146, 250, 269, 314;
+    life of, 48.
+  Bells of Strasburg, 221.
+  Benedict, 66, 128, 299;
+    life of, 56.
+  Bennett, 27, 227, 332;
+    life of, 62.
+  Berlioz, 27, 295;
+    life of, 68.
+  Bononcini, 19, 164.
+  Brahms, 27, 135, 317;
+    life of, 82.
+  Bridal of Triermain, 124.
+  Bride of Dunkerron, 328.
+  Bruch, 27;
+    life of, 86.
+  Buck, 27, 28, 153, 156, 335;
+    life of, 101.
+  Burney, 14, 16, 18.
+  Byron, 45, 70.
+
+  Caldara, 19.
+  Cantata, origin of, 13;
+    earlier form, 14;
+    in France, 20;
+    in Germany, 21;
+    Church cantatas, 26-28;
+    modern cantatas, 26-28.
+  Carissimi, 13, 14, 16.
+  Carlyle, 38, 39, 40.
+  Centennial Meditation of Columbia, 28, 106.
+  Cesti, 16.
+  Chandos Anthems, 26, 164, 167.
+  Chopin, 317.
+  Chorley, 58, 64, 210, 265, 332.
+  Choron, 15, 201.
+  Christmas, 228.
+  Christophorus, 304.
+  Comala, 27, 144.
+  Corder, life of, 123.
+  Cowen, 27;
+    life of, 128.
+  Crusaders, 149.
+  Culprit Fay, 28, 157.
+
+  Damnation of Faust, 27, 74.
+  Dante, 198.
+  D'Astorga, 19.
+  Davidde Penitente, 274.
+  Donizetti, 59.
+  Don Munio, 27, 28, 103.
+  Dryden, 19, 58, 59, 170, 173, 175, 177, 178.
+  Drummond, 289.
+  Dvorak, life of, 134.
+
+  Ein' Feste Burg, 38.
+  Erl King's Daughter, 147.
+  Exhibition Ode, 66.
+
+  Fair Ellen, 93.
+  Festa Ascensionis Christi, 37.
+  Foote, 28,
+    life of, 140.
+  Forty-sixth Psalm, 28, 154.
+  Fridolin, 27, 299.
+  Frithjof's Saga, 27, 87.
+
+  Gade, 27, 295;
+    life of, 143.
+  Gasparini, 17, 18.
+  George Sand, 216.
+  Gilchrist, 28;
+    life of, 153.
+  Gleason, 28;
+    life of, 156.
+  Glorious Moment, The, 53.
+  Gluck, 192.
+  Goethe, 54, 80, 86, 148, 248, 249, 251.
+  Golden Legend (Buck), 28, 109.
+  Golden Legend (Sullivan), 27, 335.
+  Gottes Zeit, 33.
+  Gounod, 78, 79.
+  Gutenberg Fest, 263.
+
+  Hamerik, 28, 107, 109.
+  Handel, 19, 20, 25, 27, 32, 58, 59, 85;
+    life of, 163.
+  Handel's Passion Cantata, 25.
+  Hanover Cantatas, 25.
+  Hatton, life of, 186.
+  Hawkins, 13, 16.
+  Haydn, 26, 48, 54, 250;
+    life of, 191.
+  Heil der in Siegerkranz, 84.
+  Heine, 39.
+  Hiawatha, 28, 141.
+  Hiller, 27, 86, 123, 318;
+    life of, 201.
+  Hofmann, 27;
+    life of, 205.
+  Holyrood, 210.
+
+  Ich hatte viel Bekummerniss, 31.
+  Irving, 103, 114.
+  Italian Cantata writers, 16-20.
+
+  Jubilee Cantata, 344.
+  Jubilee Ode, 237.
+
+  Kampf und Sieg, 27, 346.
+  Keats, 288.
+  King Rene's Daughter, 330.
+  King Thamos, 270.
+  King Trojan, 28, 292.
+
+  L'Allegro, 178.
+  Lamartine, 216.
+  Landing of the Pilgrims, 28, 325.
+  Lauda Sion, 265.
+  Lay of the Bell, 27, 309.
+  Legrenzi, 17.
+  Leslie, life of, 209.
+  Light of Asia, 27, 28, 117.
+  Liszt, 27, 82, 83, 324, 339, 340;
+    life of, 215.
+  Lotti, 17, 19.
+  Longfellow, 110, 141, 221, 222, 335, 349.
+  Love Feast of the Apostles, 340.
+  Luther, 38, 39, 40, 42.
+
+  Macfarren, 50, 52;
+    life of, 226.
+  Mackenzie, life of, 232.
+  Marcello, 19.
+  Mary Magdalen, 242.
+  Masonic Cantatas, 276.
+  Massenet, life of, 241.
+  May Queen, 27, 64.
+  Mazeppa, 45.
+  Melusina, 27, 206.
+  Mendelssohn, 20, 27, 36, 40, 52, 62, 87, 134, 143, 161, 203, 206, 295,
+    307;
+    life of, 246.
+  Meyerbeer, 41, 66.
+  Milton, 178, 179, 286.
+  Minstrel's Curse, 322.
+  Miriam's War Song, 314.
+  Mozart, 20, 48, 62, 134, 176, 250;
+    life of, 268.
+
+  Nativity, The, 28, 286.
+  Nicolai, 41.
+
+  Odysseus, 27, 95.
+  Oedipus at Colonos, 259.
+  Oedipus Tyrannus, 28, 259, 281.
+  On Shore and Sea, 334.
+
+  Paganini, 70.
+  Paine, 28, 140;
+    life of, 280.
+  Paisiello, 20.
+  Parker, H. W., 28;
+    life of, 291.
+  Parker, J. C. D., 28;
+    life of, 295.
+  Pergolesi, 20.
+  Phoebus, Arise, 28, 289.
+  Pilgrimage of the Rose, 321.
+  Pope, 170.
+  Porpora, 19, 164, 192.
+  Praise Song to Harmony, 28, 161.
+  Prometheus, 27, 217.
+
+  Raff, 136.
+  Rakoczy March, 77.
+  Randegger, 27;
+    life of, 298.
+  Realm of Fancy, 28, 288.
+  Redemption Hymn, 28, 296.
+  Rheinberger, 27, 291;
+    life of, 303.
+  Robin Hood, 187.
+  Romberg, 27, 308.
+  Romeo and Juliet, 70.
+  Rosa Salvator, 17.
+  Rossi, 17.
+  Rossini, 44.
+  Rousseau, 20.
+  Ruins of Athens, 49.
+
+  Saint-Saens, 153.
+  Salamis, 92.
+  Salieri, 215, 313.
+  Sarti, 20.
+  Scarlatti, 18, 19.
+  Schiller, 299, 309.
+  Schubert, 27, 49, 148, 318,
+    life of, 313.
+  Schumann, 27, 62, 82, 251, 295, 307, 315;
+    life of, 317.
+  Scott, Walter, 124.
+  Seven Words, The, 194.
+  Shakspeare, 71, 75, 87, 227, 246, 254, 332.
+  Singer, 28, 109;
+    life of, 324.
+  Sleeping Beauty, 27, 129.
+  Smart, life of, 327.
+  Song of Miriam, 27.
+  Song of Victory, 27, 203.
+  Spectre's Bride, 136.
+  Spring Fantasie, 146.
+  St. Cecilia, 57.
+  Story of Sayid, 233.
+  Strozzi, 13.
+  Sullivan, 27;
+    life of, 332.
+
+  Tale of the Viking, 28, 349.
+  Tennyson, 67.
+  Thomas, Ambroise, 241.
+  Thomas, Theodore, 102, 109, 153, 233, 281, 324, 333, 339.
+  Toggenburg, 27, 306.
+  Triumphlied, 27, 83.
+
+  Uhland, 320, 322, 323.
+
+  Verdi, 66, 213.
+  Victor Hugo, 216.
+  Voyage of Columbus, 28, 114.
+
+  Wagner, 41, 106, 127, 145, 149, 216;
+    life of, 338.
+  Walpurgis Night, 27, 248, 262.
+  Weber, 27, 56, 251;
+    life of, 342.
+  Whiting, 28, 153;
+    life of, 348.
+
+
+
+
+
+End of Project Gutenberg's The Standard Cantatas, by George P. Upton
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