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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 />“<span class="small">THE STANDARD OPERAS,</span>” “<span class="small">THE STANDARD ORATORIOS,</span>” “<span class="small">WOMAN IN MUSIC,</span>” <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 “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.</p> +<p>The word “cantata” 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 “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.</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 “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 +<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 “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.</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 Bekümmerniss</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’ 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">DVOŘÁK</a> 134</div> +<div class="t1"><a href="#c039">The Spectre’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’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’s Feast</a> 173</div> +<div class="t1"><a href="#c055">L’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">Œdipus 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">Œdipus 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">Phœbus, 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’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’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 René’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 “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 +<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 “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 <i>Musiche +varie a voce sola del Signor Benedetto Ferrari da +Reggio</i>, 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.</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:—</p> +<p class="bq">“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.”</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:—</p> +<p class="bq">“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.”</p> +<p>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.<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:—</p> +<p class="bq">“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.”</p> +<p>Of the thirteenth in this collection the same +authority says:—</p> +<p class="bq">“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.”</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, “O cara Liberta,” 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—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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.”</p> +</div> +</div> +<p>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, +<span class="pb" id="pg_18">[18]</span> +nothing pleases the poor painter, as is evident from +the gloomy moral which “adorns the tale”:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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 ’tis at once to die</p> +<p class="t0">Than linger thus in penury;</p> +<p class="t0">For ’mongst the ills with which we’re curst,</p> +<p class="t0">To live a beggar is the worst.”</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,—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.<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,—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 +<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 “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.</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. Ginguené, in the “Encyclopædia Methodique,” +says of these composers and their works:—</p> +<div class="pb" id="pg_21">[21]</div> +<p class="bq">“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.”</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:—</p> +<p class="bq">“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.”</p> +<p>Heydenreich, another writer of the same period, +says:—</p> +<p class="bq">“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.”</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,—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.<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’s Life of the composer, will +be of interest:—</p> +<p class="bq">“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—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.”</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 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.<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 “Dixit +<span class="pb" id="pg_26">[26]</span> +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.</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 “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 +<span class="pb" id="pg_27">[27]</span> +dramatic in character, set to music for the concert +stage only, being without <i>dramatis personæ</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’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.</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 “Century” +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 “Enea,” +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 “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. +</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.—<i>Burney’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 “Harmony in an Uproar,” 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’s death.—<i>Bitter’s Life of Bach</i>. +</div> +<div class="fndef"><sup><a id="fn_6" href="#fr_6">[6]</a></sup> 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.—<i>Rockstro’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>, “Burning Ship;” “Storm King.”—<span class="sc">Bechel, J. +C.</span>, “Pilgrim’s Progress;” “The Nativity;” “Ruth.”—<span class="sc">Bradbury, +W. B.</span>, “Esther.”—<span class="sc">Brandeis, F.</span>, “The Ring.”—<span class="sc">Bristow, +G. F.</span>, “The Pioneers;” “No More.”—<span class="sc">Buck, Dudley</span>, +“Don Munio;” “Centennial;” “Easter Cantatas;” “The Golden +Legend;” “Light of Asia;” “Voyage of Columbus.”—<span class="sc">Butterfield, +J. A.</span>, “Belshazzar;” “Ruth.”—<span class="sc">Chadwick, G. W.</span>, “The +Viking’s Last Voyage.”—<span class="sc">Damrosch, Leopold</span>, “Ruth and +Naomi;” “Sulamith.”—<span class="sc">Foote, A.</span>, “Hiawatha.”—<span class="sc">Gilchrist, +W. W.</span>, “Forty-sixth Psalm;” “The Rose.”—<span class="sc">Gleason, +F. G.</span>, “God our Deliverer;” “Culprit Fay;” “Praise of +Harmony.”—<span class="sc">Hamerik, A.</span>, “Christmas Cantata.”—<span class="sc">Leavitt, +W. J. D.</span>, “The Lord of the Sea;” “Cambyses; or, the Pearl +of Persia.”—<span class="sc">Marsh, S. B.</span>, “The Saviour;” “King of the +Forest.”—<span class="sc">Paine, J. K.</span>, “Œdipus Tyrannus;” “The Nativity;” +“Phœbus, Arise;” “Realm of Fancy.”—<span class="sc">Parker, J. G.</span>, +“Redemption Hymn.”—<span class="sc">Parker, H. W.</span>, “King Trojan.”—<span class="sc">Pratt, +S. G.</span>, “Inca’s Downfall.”—<span class="sc">Root, G. F.</span>, “Flower +Queen;” “Daniel;” “Pilgrim Fathers;” “Belshazzar’s Feast;” +“Haymakers;” “Song Tournament;” “David.”—<span class="sc">Singer, +Otto</span>, “Landing of the Pilgrim Fathers;” “Festival Ode.”—<span class="sc">Trajetta, +Philip</span>, “The Christian’s Joy;” “Prophecy;” “The +Nativity;” “Day of Rest.”—<span class="sc">Whiting, G. E.</span>, “Dream Pictures;” +“Tale of the Viking;” “Lenora;” 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’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 +<span class="pb" id="pg_30">[30]</span> +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 +<span class="pb" id="pg_31">[31]</span> +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.”</p> +</div> +<div id="c004" title="Ich hatte viel Bekümmerniss"> +<h4>Ich hatte viel Bekümmerniss.</h4> +<p>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.</p> +<p>The prelude, which is brief and quiet in character, +introduces the opening chorus (“Deep within my +Heart was Sorrowing and great Affliction”), which +<span class="pb" id="pg_32">[32]</span> +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.</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 (“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.</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, “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:—</p> +<p class="bq">“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 +<span class="pb" id="pg_34">[34]</span> +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.”</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 (“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 +<span class="pb" id="pg_35">[35]</span> +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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“I have cast all my care on God,</p> +<p class="t0">E’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’ll strive.</p> +<p class="t0">But all my will to Him will give.”</p> +</div> +</div> +<p>Of this effective movement and its successor +Spitta says:—</p> +<p class="bq">“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.”</p> +<div class="pb" id="pg_36">[36]</div> +<p>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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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.”</p> +</div> +</div> +<p>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:—</p> +<p class="bq">“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.”</p> +<p>Hauptmann writes to Jahn:—</p> +<p class="bq">“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.”</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, “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.</p> +<p>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 +<span class="pb" id="pg_38">[38]</span> +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.</p> +</div> +<div id="c007" title="Ein’ Feste Burg"> +<h4>Ein’ Feste Burg.</h4> +<div class="bq"> +<div class="verse"> +<p class="t0">“A safe stronghold our God is still,</p> +<p class="t">A trusty shield and weapon;</p> +<p class="t0">He’ll help us clear from all the ill</p> +<p class="t">That hath us now o’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">“And were this world all devils o’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’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.”</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’s free and rugged +<span class="pb" id="pg_39">[39]</span> +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:—</p> +<p class="bq">“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.”</p> +<p>Carlyle still more forcibly says:—</p> +<p class="bq">“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.’”</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. “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. +<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:—</p> +<p class="bq">“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.”</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 “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.<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 +“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.”</p> +<p>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,<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">“And were the world all devils o’er,”</p> +</div> +</div> +<p>of which Spitta says:—</p> +<p class="bq">“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.”</p> +<p>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.</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’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 “Ein’ feste Burg” must have been intended for some such +extraordinary solemnity.—<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, “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.—<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 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, +<span class="pb" id="pg_45">[45]</span> +“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.</p> +</div> +<div id="c009" title="Mazeppa"> +<h4>Mazeppa.</h4> +<p>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 +<span class="pb" id="pg_46">[46]</span> +of the wild ride of the page of King Casimir, “The +Ukraine’s hetman, calm and bold,” and of the</p> +<div class="bq"> +<div class="verse"> +<p class="t6">“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.”</p> +</div> +</div> +<p>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.</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,—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“Quadrupedante putrem sonitu quatit ungula campum.”</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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“Revenge fires his turbulent soul;</p> +<p class="t0">No power his boundless rage can control.”</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,—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 +<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,—one of his +latest utterances being a recognition of the “divine +spark” in Schubert’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 “König Stephan,<sup><a id="fr_11" href="#fn_11">[11]</a></sup> +Ungarn’s erster Wohlthäter” (“King Stephen, +Hungary’s first Benefactor”); the other, an allegorical +<span class="pb" id="pg_50">[50]</span> +sketch, called “The Ruins of Athens,” +the subject of which is thus concisely stated by +Macfarren:—</p> +<p class="bq">“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.”</p> +<p>After the opening performances the music to +“King Stephen” was laid aside until 1841, when +<span class="pb" id="pg_51">[51]</span> +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.</p> +<p>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:—</p> +<p class="bq">“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).”</p> +<p>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 +<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, “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:—</p> +<p class="bq">“Modifications admirably adapted to the commercial +character and the blind vainglory that so eminently +mark the British nation.”</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,—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 +<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">“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.”</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:—</p> +<p class="bq">“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.”</p> +<div class="pb" id="pg_55">[55]</div> +<p>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.</p> +<p>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.</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, “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. +<span class="pb" id="pg_57">[57]</span> +In 1860 he produced the cantata of “Undine;” in +1862 the opera “Lily of Killarney;” in 1863 the +cantata “Richard Cœur 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.</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’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.</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:—</p> +<p class="bq">“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 ‘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)</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“Raised a mortal to the skies,”</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.”</p> +<p>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 +<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,—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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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’er the fire,</p> +<p class="t">And rise, O Lord, to Thee.”</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 (“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.</p> +<p>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.</p> +<div class="fnblock"> +<div class="fndef"><sup><a id="fn_13" href="#fr_13">[13]</a></sup> 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. +</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 “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 +<span class="pb" id="pg_63">[63]</span> +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.</p> +</div> +<div id="c016" title="The May Queen"> +<div class="pb" id="pg_64">[64]</div> +<h4>The May Queen.</h4> +<p>“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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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.”</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’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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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!”</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 (“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, +<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 “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.</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 “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.</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’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,—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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,”</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,—“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.</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 +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, +<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>rôle</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, +“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 +<span class="pb" id="pg_70">[70]</span> +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.</p> +</div> +<div id="c019" title="Romeo and Juliet"> +<h4>Romeo and Juliet.</h4> +<p>“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.<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:—</p> +<p class="bq">“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....</p> +<p class="bq">“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.”</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 (“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 +<span class="pb" id="pg_72">[72]</span> +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.</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’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.</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 (“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.<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, “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 +<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>,—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, +<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’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’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. +</div> +</div> +</div> +<div id="c020" title="The Damnation of Faust"> +<h4>The Damnation of Faust.</h4> +<p>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.</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:—</p> +<p class="bq">“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.”</p> +<p>He began with Faust’s invocation to Nature, +which was finished “in my old German post-chaise.” +<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’ 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:—</p> +<p class="bq">“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!”</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 “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:</p> +<p class="bq">“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.”</p> +<p>This opinion, however, was of slow growth, for of +the first performance of the work he says:—</p> +<p class="bq">“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 +<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 Opéra +Comique were no better attended than if they had +been the most wretched operas on the list.”</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 +(“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.<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’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 <i>lied</i>, “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 +<span class="pb" id="pg_79">[79]</span> +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.</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’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 +<span class="pb" id="pg_80">[80]</span> +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.</p> +<p>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 +<span class="pb" id="pg_81">[81]</span> +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.</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 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.—<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 +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 +<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, 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.</p> +</div> +<div id="c022" title="Triumphlied"> +<h4>Triumphlied.</h4> +<p>“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:—</p> +<p class="bq">“Hallelujah, praise the Lord! Honor and power +and glory to God!</p> +<p class="bq">“For in righteousness and truth the Lord giveth +judgment.</p> +<div class="pb" id="pg_84">[84]</div> +<p class="bq">“Glory be to God, all ye His servants, and ye that +fear Him, all both humble and mighty.</p> +<p class="bq">“Hallelujah, for the omnipotent God hath exalted +His kingdom.</p> +<p class="bq">“O, be joyful, let all be glad, to Him alone give +honor.</p> +<p class="bq">“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">“And he treads the wine-press of wrath of the Lord +God Almighty.</p> +<p class="bq">“Lo! a great name hath he written upon his vesture +and upon his girdle.</p> +<p class="bq">“A King of kings and Lord of lords! Hallelujah! +Amen!”</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 “Hallelujah! +praise the Lord!” The theme of the movement +is the stirring old German song “Heil dir im +Siegerkranz,”<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 (“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.</p> +<p>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.</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 “Berliner Volkslied” in the <i>Spenersche +Zeitung</i> of Dec. 17, 1793.—<i>Grove’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,—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; +<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, “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.”</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 “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 +<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’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 +<span class="pb" id="pg_89">[89]</span> +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.</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’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.</p> +<p>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 +<span class="pb" id="pg_90">[90]</span> +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 +<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>—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“World’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’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.”</p> +</div> +</div> +<div class="pb" id="pg_92">[92]</div> +<p>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.</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 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. +</div> +<div class="fndef"><sup><a id="fn_19" href="#fr_19">[19]</a></sup> <span class="fntop">In the original Saga the +“Farewell” has six verses, the first, second, and +sixth of which are thus literally translated:—</span> +<div class="verse"> +<p class="t0">“Heimskringla’s forehead,</p> +<p class="t0">Thou lofty North!</p> +<p class="t0">Away I’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">“Farewell, high-gleaming</p> +<p class="t0">Walhalla’s throne,</p> +<p class="t0">Night’s eye, bright-beaming,</p> +<p class="t0">Midsummer’s sun!</p> +<p class="t0">Sky! where, as in hero’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">“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’s young gladness,</p> +<p class="t0">Farewell! Farewell!”</p> +</div> +</div> +</div> +</div> +<div id="c025" title="Salamis"> +<h4>Salamis.</h4> +<p>“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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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 pæan</p> +<p class="t0">After the splendid struggle</p> +<p class="t0">There arise dithyrambic days of liberty!”</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,—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.</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 “Schön Ellen” (“Fair +Ellen”). The story is identical with the one so +often told in prose and poetry, but the <i>dramatis +personæ</i> 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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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">’Neath the tread of battalions that hurry along</p> +<p class="t">Afar the plains do shiver.”</p> +</div> +</div> +<p>Compare the above with the corresponding verses +from Robert Lowell’s fine poem:—</p> +<div class="pb" id="pg_95">[95]</div> +<div class="bq"> +<div class="verse"> +<p class="t0">“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’s the grandest of them a’.</p> +</div> +<div class="verse"> +<p class="t0"><span class="gs3">* * * * *</span></p> +</div> +<div class="verse"> +<p class="t0">“Then Jessie said, ‘The slogan’s dune,</p> +<p class="t">But can ye no hear them noo?</p> +<p class="t0">The Campbells are comin’! It’s nae a dream;</p> +<p class="t">Our succors hae broken through.”</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, +“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.</p> +</div> +<div id="c027" title="Odysseus"> +<h4>Odysseus.</h4> +<p>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 +<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’ 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.</p> +<p>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 +<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’ 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">“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.”</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’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 +<span class="pb" id="pg_99">[99]</span> +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.</p> +<p>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 +<span class="pb" id="pg_100">[100]</span> +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”).</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’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. +<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’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; +<span class="pb" id="pg_103">[103]</span> +“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.</p> +</div> +<div id="c029" title="Don Munio"> +<h4>Don Munio</h4> +<p>“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 +<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 “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 +<span class="pb" id="pg_105">[105]</span> +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.</p> +<p>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, +<span class="pb" id="pg_106">[106]</span> +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.</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 +“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 +<span class="pb" id="pg_107">[107]</span> +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.</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?—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“Mayflower, Mayflower, slowly hither flying,</p> +<p class="t0">Trembling westward o’er yon balking sea,</p> +<p class="t0">Hearts within, ‘Farewell, dear England,’ sighing,</p> +<p class="t0">Winds without, ‘But dear in vain,’ replying,</p> +<p class="t0">Gray-lipp’d waves about thee shouted, crying,</p> +<p class="t4">‘No! it shall not be!’</p> +</div> +<div class="pb" id="pg_108">[108]</div> +<div class="verse"> +<p class="t0">“Jamestown, out of thee—</p> +<p class="t0">Plymouth, thee—thee, Albany—</p> +<p class="t0">Winter cries, ‘Ye freeze; away!’</p> +<p class="t0">Fever cries, ‘Ye burn; away!’</p> +<p class="t0">Hunger cries, ‘Ye starve; away!’</p> +<p class="t0">Vengeance cries, ‘Your graves shall stay!’</p> +</div> +<div class="verse"> +<p class="t4">“Hark!</p> +<p class="t0">Huguenots whispering ‘Yea’ in the dark,</p> +<p class="t0">Puritans answering ‘Yea’ in the dark!</p> +<p class="t0">‘Yea,’ 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’er, and re-plight.”</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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“And wave the world’s best lover’s welcome to the world.”</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>—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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.”</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,—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“From this hundred-terraced height,”</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, “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.</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>“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, +<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’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.</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, “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 +<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, “Urbs cœlestis, 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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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">“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’s prætorius!</p> +</div> +<div class="verse"> +<p class="t0">“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">“Pour the wine, then, pour it!</p> +<p class="t2">Let the wave bear all before it!</p> +<p class="t2">There’s none to score it,</p> +<p class="t2">So pour it in plenty, pour it!”</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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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?”</p> +</div> +</div> +<p>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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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’er;</p> +<p class="t0">And thou, dear Elsie, wilt be free</p> +<p class="t0">From martyrdom and agony.”</p> +</div> +</div> +<p>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, +<span class="pb" id="pg_114">[114]</span> +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.</p> +</div> +<div id="c032" title="The Voyage of Columbus"> +<h4>The Voyage of Columbus.</h4> +<p>“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:—</p> +<p><span class="sc">Scene I.</span> 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.”</p> +<p><span class="sc">Scene II.</span> 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.”</p> +<div class="pb" id="pg_115">[115]</div> +<p><span class="sc">Scene III.</span> 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.”</p> +<p><span class="sc">Scene IV.</span> 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.”</p> +<p><span class="sc">Scene V.</span> 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.”</p> +<p><span class="sc">Scene VI.</span> 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.”</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 (“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.</p> +<div class="pb" id="pg_116">[116]</div> +<p>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.</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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“In Andalusia the nightingale</p> +<p class="t0">Sings,—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.”</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 (“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.</p> +</div> +<div id="c033" title="The Light of Asia"> +<h4>The Light of Asia.</h4> +<p>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 +<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,—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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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.”</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 (“The King gave +Order that his Town should keep high Festival”), +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 +“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 +<span class="pb" id="pg_119">[119]</span> +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</p> +<div class="bq"> +<div class="verse"> +<p class="t12">“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’s own eye.”</p> +</div> +</div> +<p>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.”</p> +<p>The second part opens with a soprano solo describing +his pleasure with Yasôdhara, in the midst of +which comes the warning of the Devas:—</p> +<div class="pb" id="pg_120">[120]</div> +<div class="bq"> +<div class="verse"> +<p class="t0">“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,—</p> +<p class="t0">A moan, a sigh, a sob, a storm, a strife.”</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’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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“Softly the Indian night sunk o’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 Himâla 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.”</p> +</div> +</div> +<p>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:</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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 Siddârtha passed,</p> +<p class="t0">While o’er the land a tremor spread,</p> +<p class="t0">As if earth’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.”</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 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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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.”</p> +</div> +</div> +<p>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”), +<span class="pb" id="pg_122">[122]</span> +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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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!”</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 “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 +<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,—“The Bridal of +Triermain” and “Nordisa.”</p> +</div> +<div id="c035" title="The Bridal of Triermain"> +<h4>The Bridal of Triermain.</h4> +<p>“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</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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;”</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’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 (“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.</p> +<p>The second part, after a short allegro movement +for orchestra, opens with a contralto solo (“Of +<span class="pb" id="pg_126">[126]</span> +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 <i>dénouement</i> 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.</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 +“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, +<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>“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.</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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“Draw the thread and weave the woof</p> +<p class="t0">For the little child’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’s behoof.”</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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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.”</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’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.</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 (“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 +<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’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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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?”</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 +(“Light, Light at last”) 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> +(“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.</p> +<div class="imgtail"><img src="images/p133.png" alt="" width="85" height="102" /></div> +</div> +<div id="c038" title="Dvořák"> +<div class="pb" id="pg_134">[134]</div> +<div class="img"><img src="images/p134.png" alt="" width="237" height="107" /></div> +<h3>DVOŘÁK.</h3> +<p>Anton Dvořák, 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 Dvořák 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, Dvořák 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 Dvořák 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’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 Dvořák’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 “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.</p> +</div> +<div id="c039" title="The Spectre’s Bride"> +<h4>The Spectre’s Bride.</h4> +<p>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 Dvořák 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>dénouement</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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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.”</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">“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">“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’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.”</p> +</div> +</div> +<p>Such is the horrible story which forms the theme +of Dvořák’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. 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.</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 “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.</p> +</div> +<div id="c041" title="Hiawatha"> +<div class="pb" id="pg_141">[141]</div> +<h4>Hiawatha.</h4> +<p>“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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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.”</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 (“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 +<span class="pb" id="pg_142">[142]</span> +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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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!”</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 +“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 +<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 +“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.</p> +</div> +<div id="c043" title="Comala"> +<h4>Comala.</h4> +<p>“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 +<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’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.</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’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 “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.</p> +</div> +<div id="c044" title="Spring Fantasie"> +<h4>Spring Fantasie.</h4> +<p>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.</p> +<p>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 +<span class="pb" id="pg_147">[147]</span> +which Gade has given to the instrumental parts is +shown by his characterizing the movements,—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 Bülow.</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 +“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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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,—</p> +<p class="t0">Its kingdom is over us all.”</p> +</div> +</div> +</div> +<div id="c045" title="The Erl King’s Daughter"> +<h4>The Erl King’s Daughter.</h4> +<p>“The Erl King’s Daughter” was written in 1852. +Its story differs from that told in Goethe’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’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.</p> +<p>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 +<span class="pb" id="pg_149">[149]</span> +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.</p> +</div> +<div id="c046" title="The Crusaders"> +<h4>The Crusaders.</h4> +<p>“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 +<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’ 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.</p> +<p>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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t6">“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’ 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.”</p> +</div> +</div> +<p>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,—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“Sink, scenes illusive, deep in dark abyss of doom!</p> +<p class="t0">The light of day is turned to blackest night of gloom.”</p> +</div> +</div> +<div class="pb" id="pg_152">[152]</div> +<p>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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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, ‘Hosanna!’”</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’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’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:—</p> +<p class="bq">“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 <i>allegro con fuoco</i> 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.</p> +<p class="bq">The second division, in E major, is marked by an +<i>andante contemplativo</i> on the words, ‘There is a river +<span class="pb" id="pg_155">[155]</span> +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 <i>allegro molto</i>, 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.’</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, ‘And the Lord of +Hosts is with us; the God of Jacob is our refuge,’ +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.”</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,—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 +<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 “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.</p> +</div> +<div id="c050" title="The Culprit Fay"> +<h4>The Culprit Fay.</h4> +<p>“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 +<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’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 +<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 (“’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 +<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 (“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.</p> +<p>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 +<span class="pb" id="pg_160">[160]</span> +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.</p> +<p>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! +<span class="pb" id="pg_161">[161]</span> +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—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“The hill-tops glow in morning’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.”</p> +</div> +</div> +</div> +<div id="c051" title="The Praise Song To Harmony"> +<h4>The Praise Song to Harmony.</h4> +<p>“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.</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 (“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 +<span class="pb" id="pg_162">[162]</span> +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.</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’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 +<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 “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 <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’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: +“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 +<span class="pb" id="pg_166">[166]</span> +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.</p> +</div> +<div id="c053" title="Acis and Galatea"> +<h4>Acis and Galatea.</h4> +<p>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.<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’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.</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 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:—</p> +<p class="bq">“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.<sup><a id="fr_22" href="#fn_22">[22]</a></sup> +Pit and boxes, 5<i>s.</i>”</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 “over the way.” On the 5th of +June he announced in the “Daily Journal”:—</p> +<p class="bq">“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 +<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.”</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,—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 +<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’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,—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 Symœthis, 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 +<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?” +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.</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’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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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.”</p> +</div> +</div> +<p>Acis answers her, after a short recitative, with +another aria equally graceful (“Love in her Eyes +sits playing and sheds delicious Death”). The +<span class="pb" id="pg_172">[172]</span> +melodious and sensuous dialogue is continued by +Galatea, who once more sings:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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.”—</p> +</div> +</div> +<p>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.</p> +<p>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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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">“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.”</p> +</div> +</div> +<p>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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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’ pleasure, Muses’ theme;</p> +<p class="t0">Through the plains still joy to rove,</p> +<p class="t0">Murmuring still thy gentle love.”</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 rôle of Polifemo needs a bass singer with +a voice of the extraordinary compass of two octaves and a half.—<i>Rockstro’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.—<i>Schoelcher’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. “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.—<i>Hogarth’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">“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.”</p> +</div> +</div> +<div class="fndef"><sup><a id="fn_25" href="#fr_25">[25]</a></sup> +<div class="fnverse"> +<p class="t0">“Help! Galatea! Help, ye parent gods!</p> +<p class="t0">And take me dying to your deep abodes.”</p> +</div> +</div> +</div> +</div> +<div id="c054" title="Alexander’s Feast"> +<h4>Alexander’s Feast.</h4> +<p>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 +<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 +“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:—</p> +<p class="bq">“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.”</p> +<p>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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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!”</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 “Daily Post,” +on the morning after its production, said:—</p> +<p class="bq">“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.”</p> +<p>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.</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,—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:—</p> +<p class="bq">“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.”</p> +<p>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.”</p> +<p>In 1739 Handel also set to music Dryden’s +shorter “Ode for St. Cecilia’s Day,” beginning,</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“From Harmony, from heavenly Harmony</p> +<p class="t">This universal frame began,”</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’s setting +was first performed on the anniversary of the saint’s +festival, Nov. 22, 1739. The programme announced:</p> +<p class="bq">“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.”</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’Allegro"> +<h4>L’Allegro.</h4> +<p>“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.</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’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’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">“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 ‘Moderation’ 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.”</p> +<p>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.</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 “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:—</p> +<div class="pb" id="pg_181">[181]</div> +<div class="bq"> +<div class="verse"> +<p class="t0">“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 wreathèd smiles,</p> +<p class="t0">Such as hang on Hebe’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;”</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 (“Come +and trip it as you go”), a graceful minuet, which +is also taken by the chorus. After a recitative +<span class="pb" id="pg_182">[182]</span> +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.”</p> +<div class="pb" id="pg_183">[183]</div> +<p>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,</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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’s cheek,”</p> +</div> +</div> +<p>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,—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“Or sweetest Shakspeare, Fancy’s child,</p> +<p class="t0">Warble his native wood-notes wild.”</p> +</div> +</div> +<p>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 +<span class="pb" id="pg_184">[184]</span> +let the pealing Organ blow”), with pauses for the +organ <i>ad libitum</i>, 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.</p> +<p>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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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.”</p> +</div> +</div> +<p>With such didactic commonplaces as the above, +Moderato commends temperance, health, contentment, +frugality, equanimity, and chaste love, and +bids them,—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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’s equal rules obey,</p> +<p class="t0">Who safely steer two rocks between,</p> +<p class="t0">And prudent keep the golden mean.”</p> +</div> +</div> +<p>Thus Mr. Jennens’s mild philosophy goes on, one +of his verses, “As steals the Morn upon the Night,” +<span class="pb" id="pg_185">[185]</span> +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.</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 “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.—<i>Michael Kelly’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 +“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 +<i>nom de plume</i> 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 +<span class="pb" id="pg_187">[187]</span> +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.</p> +</div> +<div id="c057" title="Robin Hood"> +<h4>Robin Hood.</h4> +<p>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 +<span class="pb" id="pg_188">[188]</span> +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:</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“Give me my bent bow in my hand,</p> +<p class="t">And an arrow I’ll let free,</p> +<p class="t0">And where that arrow is taken up,</p> +<p class="t">There let my grave digged be.”</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’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, +<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 “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.</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’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. +<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’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 +<span class="pb" id="pg_193">[193]</span> +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 +<span class="pb" id="pg_194">[194]</span> +countrymen, who still affectionately speak of him as +“Papa” Haydn.</p> +</div> +<div id="c059" title="The Seven Words"> +<h4>The Seven Words.</h4> +<p>“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:—</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 +“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.</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, +“The Seven Words.”</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:—</p> +<div class="bq"> +<p class="center">I. +<br /><span class="small">PATIENCE.</span></p> +<p class="tm1">“Father, forgive them; for they know not what they +do.”</p> +<p class="tm1"><i>Chorus</i>: “Lamb of God! Surely Thou hast borne +our sorrows.”</p> +<p class="center">II. +<br /><span class="small">THE PENITENT FORGIVEN.</span></p> +<p class="tm1">“Verily I say unto thee, this day shalt thou be with +me in Paradise.”</p> +<p class="tm1"><i>Chorus</i>: “Lord, have mercy on me after Thy great +goodness.”</p> +<p class="center">III. +<br /><span class="small">THE MOURNERS.</span></p> +<p class="tm1">“Woman, behold thy Son. Son, behold Thy +mother.”</p> +<p class="tm1"><i>Chorus</i>: “Daughters of Jerusalem, weep +not for Me.”</p> +<p class="center">IV. +<br /><span class="small">DESOLATION.</span></p> +<p class="tm1">“Eli, Eli, lama sabacthani?”</p> +<p class="tm1"><i>Chorus</i>: “O my God, look upon Me.”</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">“I thirst.”</p> +<p class="tm1"><i>Chorus</i>: “He treadeth the +winepress of the fierceness and wrath.”</p> +<p class="center">VI. +<br /><span class="small">COMPLETE OBEDIENCE.</span></p> +<p class="tm1">“It is finished.”</p> +<p class="tm1"><i>Chorus</i>: “He came down from Heaven.”</p> +<p class="center">VII. +<br /><span class="small">THE GREAT OBLATION.</span></p> +<p class="tm1">“Father, into Thy hands I commend my spirit.”</p> +<p class="tm1"><i>Chorus</i>: “Into Thy hands, O Lord.”</p> +</div> +<p>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 +<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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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.”</p> +</div> +</div> +</div> +<div id="c060" title="Ariadne"> +<h4>Ariadne.</h4> +<p>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.</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 (“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 <i>allegro vivace</i>,—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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! ’Tis he stands at the prow,”—</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 (“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 <i>allegro presto</i>, infused with the very spirit of +hopeless gloom and despair, ends the cantata:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“Woe’s me! deceived, betrayed!</p> +<p class="t0">Earth holds no consolation.”</p> +</div> +</div> +<p>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 +<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’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 Cœcilienverein. +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 +<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, “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 +<span class="pb" id="pg_203">[203]</span> +of Mendelssohn” (1874), and “Letters to an +Unknown” (1877). He died in May, 1885.</p> +</div> +<div id="c062" title="Song of Victory"> +<h4>Song of Victory.</h4> +<p>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.</p> +<p>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 +<span class="pb" id="pg_204">[204]</span> +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.</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 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 +<span class="pb" id="pg_206">[206]</span> +männerchor, 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 “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 +<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 “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.</p> +<p>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 +<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 +(“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.</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,—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” +<span class="pb" id="pg_210">[210]</span> +(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.</p> +</div> +<div id="c066" title="Holyrood"> +<h4>Holyrood.</h4> +<p>“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 +<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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“Let him go, and hear our laughter!</p> +<p class="t0">Mirth to-day, whate’er come after.”</p> +</div> +</div> +<p>The cantata opens with a chorus for female voices +in three divisions, with a contralto solo, in the Scotch +style:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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,—</p> +<p class="t3">Gay, gay, all are gay,</p> +<p class="t3">On this happy summer day.”</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 (“O Lady, never +sit alone”), the maid sings a very characteristic and +engaging Scotch ballad:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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,—</p> +<p class="t">But Pride, it goeth before a fall.</p> +</div> +<div class="verse"> +<p class="t0">“One hour she smilèd, 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">“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’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,—</p> +<p class="t">So Pride, it goeth before a fall.”</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 +“Calla stagion novella,” 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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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’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.”</p> +</div> +</div> +<p>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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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.”</p> +</div> +</div> +<div class="pb" id="pg_214">[214]</div> +<p>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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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’s lily flower.”</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’ +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 “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, +<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 “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.</p> +</div> +<div id="c068" title="Prometheus"> +<h4>Prometheus.</h4> +<p>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 +<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,—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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,”—</p> +</div> +</div> +<p>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 +<span class="pb" id="pg_219">[219]</span> +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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“Scarcely has ceased the Ocean’s song of joy,</p> +<p class="t0">Which, breathing peace unto Prometheus’ 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—Gæa herself—</p> +<p class="t0">With her a train of wood-nymphs, loudly weeping.”</p> +</div> +</div> +<p>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:—</p> +<div class="pb" id="pg_220">[220]</div> +<div class="bq"> +<div class="verse"> +<p class="t6">“‘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,—</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.’ 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.”</p> +</div> +</div> +<p>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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“The Titan conquers, and he feels the hour—</p> +<p class="t0">The fated hour—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.”</p> +</div> +</div> +<p>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”). +<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 “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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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!”</p> +</div> +</div> +</div> +<div id="c069" title="The Bells of Strasburg"> +<h4>The Bells of Strasburg.</h4> +<p>“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 +<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 “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” (<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 “The Bells,” 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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t3">“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!”</p> +</div> +</div> +<p>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:—</p> +<div class="pb" id="pg_223">[223]</div> +<div class="bq"> +<div class="verse"> +<p class="t3">“Laudo Deum verum!</p> +<p class="t3">Plebem voco!</p> +<p class="t3">Congrego clerum!”</p> +</div> +</div> +<p>Again with increasing power Lucifer shouts his +command:—</p> +<div class="bq"> +<div class="verse"> +<p class="t3">“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!”</p> +</div> +</div> +<p>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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t3">“Defunctos ploro!</p> +<p class="t3">Pestem fugo!</p> +<p class="t3">Festa decoro!”</p> +</div> +</div> +<p>Lucifer reiterates his command with constantly +increasing energy:—</p> +<div class="bq"> +<div class="verse"> +<p class="t3">“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.”</p> +</div> +</div> +<p>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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t3">“Funera plango!</p> +<p class="t3">Fulgura frango!</p> +<p class="t3">Sabbato pango!”</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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t3">“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.”</p> +</div> +</div> +<p>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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t3">“Excito lentos!</p> +<p class="t3">Dissipo ventos!</p> +<p class="t3">Paco cruentos!”</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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t3">“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.”</p> +</div> +</div> +<p>As the voices die away, choir, organ, and orchestra +join with majestic effect in the intonation of the +Gregorian chant:—</p> +<div class="bq"> +<div class="verse"> +<p class="t3">“Nocte surgentes</p> +<p class="t3">Vigilemus omnes!</p> +<p class="t3">Laudemus Deum verum.”</p> +</div> +</div> +<div class="pb" id="pg_225">[225]</div> +<p>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.</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, “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 +<span class="pb" id="pg_227">[227]</span> +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 +<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 “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.</p> +</div> +<div id="c071" title="Christmas"> +<h4>Christmas.</h4> +<p>“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.</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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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’s return they seem to cry,</p> +<p class="t0">As the winds with solemn tone</p> +<p class="t0">About them sadly moan;”</p> +</div> +</div> +<div class="pb" id="pg_229">[229]</div> +<p>and the first choir replies:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“Old Winter’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?”</p> +</div> +</div> +<p>The two then join and bring their friendly contest +to a close:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">2nd Choir.—“Come in, and closely shut the door</p> +<p class="t7">Against the wintry weather;</p> +<p class="t6">Of frost and snow we’ll think no more,</p> +<p class="t7">While round the fire we sit together.”</p> +</div> +<div class="verse"> +<p class="t0">1st Choir.—“Rush out from every cottage door,</p> +<p class="t7">’Tis brave and bracing weather;</p> +<p class="t6">A madder throng ne’er met before,</p> +<p class="t7">Than those which now have come together.”</p> +</div> +</div> +<p>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 +<span class="pb" id="pg_230">[230]</span> +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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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">‘In search of food our hunters departed long ago,</p> +<p class="t0">I fear that they have perished, embedded in the snow.’</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">‘The Heavenly King, who reigns on high,</p> +<p class="t4">Bless him who hears the poor man’s cry.’</p> +</div> +<div class="verse"> +<p class="t0">“‘Our hearts are moved with pity, thy sufferings we deplore,’</p> +<p class="t0">Said Alfred’s queen, the gentle, ‘but scanty is our store;</p> +<p class="t0">One loaf alone is left us.’ ‘Then give it,’ said the King,</p> +<p class="t0">‘For He who feeds the ravens, yes, He will fresh abundance bring.’</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’s welcome pittance he catches with his hands.</p> +<p class="t4">‘The Heavenly King, who reigns on high,</p> +<p class="t4">Bless him who hears the poor man’s cry.’</p> +</div> +<div class="verse"> +<p class="t0">“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">‘The Heavenly King, who reigns on high,</p> +<p class="t4">Bless him who hears the poor man’s cry.’”</p> +</div> +</div> +<div class="pb" id="pg_231">[231]</div> +<p>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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t">“Varied sports the evening close,</p> +<p class="t">Dancers form in busy rows:</p> +<p class="t">Hoodwink’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">’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.”</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’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 +<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 “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.</p> +</div> +<div id="c073" title="The Story of Sayid"> +<h4>The Story of Sayid.</h4> +<p>“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 +<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 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 +<span class="pb" id="pg_235">[235]</span> +of the lovers from the invocation of “Love the +Conqueror,” which brings the Damon and Pythias +story, to a close.</p> +<p>A very brief orchestral prelude introduces the +opening chorus with solos:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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">“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.”</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 (“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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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’s tents arise.</p> +</div> +<div class="pb" id="pg_236">[236]</div> +<div class="verse"> +<p class="t0">“Fearing no harm, the happy peasant tills,</p> +<p class="t">The woolly flocks increase;</p> +<p class="t0">The shepherd’s pipe is heard upon the hills,</p> +<p class="t">And all around is peace.”</p> +</div> +</div> +<p>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.</p> +<p>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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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.”</p> +</div> +</div> +<p>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 +<span class="pb" id="pg_237">[237]</span> +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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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">“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.”</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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t4">“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’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’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">“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’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.”</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 +“Rose of Sharon.”</p> +<div class="fnblock"> +<div class="fndef"><sup><a id="fn_29" href="#fr_29">[29]</a></sup> 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. +</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 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). +<span class="pb" id="pg_242">[242]</span> +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.</p> +</div> +<div id="c076" title="Mary Magdalen"> +<h4>Mary Magdalen.</h4> +<p>“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.</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 (“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 Sœurs”), +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 +<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’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”).</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 (“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”).</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’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 +<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 “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 +<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 (“Lass, +O Herr mich”) 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’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:—</p> +<p class="bq">“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 +<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.”</p> +<p>On the 27th of April ensuing he refers to it +again:—</p> +<p class="bq">“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<sup><a id="fr_30" href="#fn_30">[30]</a></sup> +advice, the ‘Walpurgis Night’ will be finished and packed up.”</p> +<p>On his way back to Germany he writes from +Milan, July 13, 1831, to the artist and operatic +director, Eduard Devrient:—</p> +<p class="bq">“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 +<span class="pb" id="pg_250">[250]</span> +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.”</p> +<p>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:—</p> +<p class="bq">“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.”</p> +<p>On the 11th of December of the same year he +writes her:—</p> +<p class="bq">“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.”</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’s “Choral Fantasie,” the piano +<span class="pb" id="pg_251">[251]</span> +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.</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 +“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.</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:—</p> +<div class="pb" id="pg_252">[252]</div> +<div class="bq"> +<div class="verse"> +<p class="t2">“Now May again</p> +<p class="t2">Breaks winter’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,—</p> +<p class="t2">Begin the ancient holy rite;</p> +<p class="t0">Praise our Almighty Father.”</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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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?”</p> +</div> +</div> +<p>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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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.”</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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t2">“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’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’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.”</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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“Help, my comrades! see a legion</p> +<p class="t0">Yonder comes from Satan’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.”</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,—the “Antigone” of Sophocles (1841); +the “Œdipus 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 “Œdipus” 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 “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 +<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 (“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”).</p> +<p>The following extracts will give a comprehensive +view of this powerful and felicitous music. Lampadius, +writing of the first public performance, +says:—</p> +<p class="bq">“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 +<span title="syrinx" class="g">σύριγξ</span>, the +<span title="salpinx" class="g">σάλπιγξ</span>, and the +<span title="phorminx" class="g">φόρμιγξ</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’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.’”</p> +<p>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:—</p> +<p class="bq">“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....</p> +<p class="bq">“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’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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">‘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.’</p> +</div> +</div> +<p class="bq">“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, +‘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.”</p> +<p>Of the private performance before the King and +Court, Oct. 28, 1841, the same writer says:—</p> +<p class="bq">“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">“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’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.”</p> +<div class="fnblock"> +<div class="fndef"><sup><a id="fn_31" href="#fr_31">[31]</a></sup> The passages, “But see, the son of Menœtius comes,” etc., +and “See, Hæmon appears,” etc., are examples. +</div> +</div> +</div> +<div id="c080" title="Œdipus at Colonos"> +<h4>Œdipus at Colonos.</h4> +<p>The story of “Œdipus Tyrannus” is told in this +work in connection with Professor Paine’s composition. +The “Œdipus 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.</p> +<p>The music to “Œdipus” 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 Œdipus 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:—</p> +<div class="pb" id="pg_260">[260]</div> +<p class="bq">“<i>Strophe</i>.—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">“<i>Antistrophe</i>.—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.</p> +<p class="bq">“<i>Strophe</i>.—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">“<i>Antistrophe</i>.—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.”</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 “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 Œdipus, 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 +<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 “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 +<span class="pb" id="pg_263">[263]</span> +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.</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 “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 +<span class="pb" id="pg_264">[264]</span> +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:—</p> +<p class="bq">“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.”</p> +<p>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 +<span class="pb" id="pg_265">[265]</span> +day Mendelssohn’s much more important work, “The +Hymn of Praise,” was given. A sketch of this has +already appeared in the “Standard Oratorios.”</p> +</div> +<div id="c083" title="Lauda Sion"> +<h4>Lauda Sion.</h4> +<p>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:—</p> +<p class="bq">“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....</p> +<p class="bq">“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 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....</p> +<p class="bq">“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....</p> +<p class="bq">“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, <i>alla breve</i>—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">‘Ecce panis angelorum’—</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, ‘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.”</p> +<p>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.</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 “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 +<span class="pb" id="pg_269">[269]</span> +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 +<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, “Thamos, King of Egypt,” +was written by Freiherr von Gebler. Otto Jahn, in +his Life of Mozart, gives the following sketch of its +story:—</p> +<p class="bq"> +“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’ +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.”</p> +<p>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:—</p> +<p class="bq">“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.”</p> +<p>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 +<span class="pb" id="pg_273">[273]</span> +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”).</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 “Splendente te Deus,” “Deus tibi +Laus et Honor,” and “Ne Pulvis et Cinis.” Nohl +says of them:—</p> +<p class="bq"> +“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.”</p> +</div> +<div id="c086" title="Davidde Penitente"> +<div class="pb" id="pg_274">[274]</div> +<h4>Davidde Penitente.</h4> +<p>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:—</p> +<p class="bq"> +“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.”</p> +<p>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 +<span class="pb" id="pg_275">[275]</span> +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.</p> +<p>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,<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 (“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 +<span class="pb" id="pg_276">[276]</span> +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.</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 +“Die Entführing.” +</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 “Entführing,” 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’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’s illness, and the next +day he writes to him:—</p> +<p class="bq"> +“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>.”</p> +<p>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 +<span class="pb" id="pg_278">[278]</span> +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.</p> +<p>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:—</p> +<p class="bq"> +“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.”</p> +<p>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 +<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 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.</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 +“St. Peter,” the music to “Œdipus,” the cantatas, +<span class="pb" id="pg_281">[281]</span> +“Nativity,” “The Realm of Fancy,” and “Phœbus, +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.</p> +</div> +<div id="c089" title="Œdipus Tyrannus"> +<h4>Œdipus Tyrannus.</h4> +<p>The first public performance of the “Œdipus +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:—</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 Æschylus:</i></p> +<div class="verse"> +<p class="t0">“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.”</p> +</div> +<p class="center">THE ŒDIPUS 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="Thargêliôn" class="g">Θαργηλιών</span>), 1881, +and again on the 19th, 20th, and 21st.</p> +<p class="center"><span class="small">DRAMATIS PERSONÆ.</span></p> +<dl class="actors"> +<dt>Œdipus, 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’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 Œdipus <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.— <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>Coryphæus <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. Œdipus 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 hipposidêrodromikai" class="g">ἅμαξαι ἱπποσιδηροδρομικαὶ</span>) will be +ready for those who want to go to the city.</p> +<p class="bq">Wilsons, printers. (<span title="Oyilsônes typois egapsan" class="g">Οὐιλσῶνεσ τύποις ἔγαψαν</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’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 Œdipus 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 Œdipus, +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 Œdipus 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 (“Oracle sweet-tongued of +Zeus”), 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 Œdipus 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 +Œdipus 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 Œdipus, 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 Œdipus,—a strong, vigorous number, the effect +of which is heightened by the intervening spoken +parts of Creon, Œdipus, 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 Œdipus, 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 +<span class="pb" id="pg_286">[286]</span> +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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“Ye who dwell in Thebes our city, fix on Œdipus 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.”</p> +</div> +</div> +<p>Six public performances of the “Œdipus” 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 “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 +<span class="pb" id="pg_287">[287]</span> +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.</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, “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.</p> +<p>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,—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“And Heaven as at some festival</p> +<p class="t0">Will open wide the gates of her high palace hall.”</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>“The Realm of Fancy” is a short cantata, the +music set to Keats’s familiar poem:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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.”</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 (“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.</p> +</div> +<div id="c092" title="Phœbus, Arise"> +<div class="pb" id="pg_289">[289]</div> +<h4>Phœbus, Arise.</h4> +<p>Mr. Paine’s ripe scholarship is shown to admirable +advantage in his selection of the poem “Phœbus, +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.</p> +<p>The cantata is written for tenor solo, male chorus, +and orchestra, and opens with a brilliant chorus +(“Phœbus, 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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“This is that happy morn</p> +<p class="t0">And day, long-wishèd 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.”</p> +</div> +</div> +<div class="pb" id="pg_290">[290]</div> +<p>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 +(“Phœbus, Arise”), 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 “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 +<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’s Church, Harlem.</p> +</div> +<div id="c094" title="King Trojan"> +<h4>King Trojan.</h4> +<p>“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.</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 (“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 +<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 (“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.</p> +<p>The second part opens with a beautiful solo, quartet, +and chorus (“Good-Night, the Lindens whisper”), +which describes the meeting of the lovers, +while</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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.”</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, “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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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.”</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 “Redemption Hymn,” 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>“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.</p> +<div class="bq"> +<div class="verse"> +<p class="t0"><span class="sc">Chorus:</span>—“Awake, put on strength, O arm of the Lord!</p> +<p class="t0">“Awake as in the ancient days, in the generations of old.</p> +<p class="t0">“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>—“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.”</p> +</div> +</div> +<p>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 +<span class="pb" id="pg_297">[297]</span> +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.</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 “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 +<span class="pb" id="pg_299">[299]</span> +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.</p> +</div> +<div id="c098" title="Fridolin"> +<h4>Fridolin.</h4> +<p>“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 <i>dramatis personæ</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:—</p> +<p class="bq"> +“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 +<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 ‘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.”</p> +<p>The cantata opens with a short but stirring +prelude, introducing the declamatory prologue-chorus:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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’er him to boast,</p> +<p class="t0">About his path in direst need</p> +<p class="t">Kept guard the angel host.”</p> +</div> +</div> +<p>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, +<span class="pb" id="pg_301">[301]</span> +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”).</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 (“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 <i>andante religioso</i> (“Let your +Voices Anthems raise”). 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 “Wallenstein” +and “Florentine” symphonies; a Stabat Mater; two +operas, “The Seven Ravens” and “Thürmer’s +Töchterlein;” incidental music to a drama of Calderon’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, “Toggenburg,” +“Klärchen auf Eberstein,” “Wittekind,” and +“Christophorus;” and a large number of songs and +church pieces, besides much chamber music.</p> +</div> +<div id="c100" title="Christophorus"> +<h4>Christophorus.</h4> +<p>“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,—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“For he alone must be lord of all,</p> +<p class="t0">Whose name doth so valiant a monarch appall.”</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 +(“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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“Stormily falleth the night:</p> +<p class="t0">Frightened maidens fleeing,</p> +<p class="t0">Demon hordes all around.</p> +<p class="t0">‘A cross, see, upraised!</p> +<p class="t0">Fly, master! too far we have come.</p> +<p class="t0">Hallowed is the ground.’”</p> +</div> +</div> +<p>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 +<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 “as +though the whole world he bore.” He inquires +the meaning, and the Voice replies:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“Thou bear’st the world and bearest its Creator:</p> +<p class="t0">This Child is Jesus, God’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.”</p> +</div> +</div> +<p>A joyful, exultant chorus, (“Blessed of Rivers, the +Child embrace”) closes this very graceful little +“legend.”</p> +</div> +<div id="c101" title="Toggenburg"> +<h4>Toggenburg.</h4> +<p>“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 +<span class="pb" id="pg_307">[307]</span> +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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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.”</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 Münster. 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’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,” +<span class="pb" id="pg_309">[309]</span> +“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.</p> +</div> +<div id="c103" title="Lay of the Bell"> +<h4>Lay of the Bell.</h4> +<p>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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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.”</p> +</div> +</div> +<p>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 +<span class="pb" id="pg_310">[310]</span> +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,—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“Firm as the solid earth,</p> +<p class="t0">Safe from misfortune’s hand,</p> +<p class="t0">Long shall my dwelling stand;”</p> +</div> +</div> +<p>to which comes the ominous response of the female +chorus:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“Yet none may with Fate supernal</p> +<p class="t0">Ever form a league eternal;</p> +<p class="t0">And misfortune swiftly strides.”</p> +</div> +</div> +<p>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 +<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 (“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:—</p> +<div class="pb" id="pg_312">[312]</div> +<div class="bq"> +<div class="verse"> +<p class="t0">“Let us, comrades, round her pressing,</p> +<p class="t0">Upon our bell invoke a blessing.</p> +<p class="t0">‘Concordia,’ let her name be called:</p> +<p class="t0">In concord and in love of one another,</p> +<p class="t0">Where’er she sound, may brother meet with brother.”</p> +</div> +</div> +<p>The cantata closes with a last invocation on the +part of the Master, followed by a jubilant chorus +(“She is moving, She is moving”).</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’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,” +<span class="pb" id="pg_314">[314]</span> +“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.</p> +</div> +<div id="c105" title="Miriam’s War Song"> +<h4>Miriam’s War Song.</h4> +<p>The majestic cantata, “Miriam’s War Song,” was +written in March, 1828, the last year of Schubert’s +<span class="pb" id="pg_315">[315]</span> +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.</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 Kärnthnerthor +Theatre in Vienna.</p> +<p>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 +<span class="pb" id="pg_316">[316]</span> +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.</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 “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,” +<span class="pb" id="pg_318">[318]</span> +“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, +<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:—</p> +<p class="bq">“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.”</p> +<p>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.</p> +<p>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 +<span class="pb" id="pg_320">[320]</span> +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.</p> +<p>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.</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>“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.</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, “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.”</p> +<p>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:—</p> +<div class="pb" id="pg_322">[322]</div> +<p class="bq">“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.”</p> +</div> +<div id="c109" title="The Minstrel’s Curse"> +<h4>The Minstrel’s Curse.</h4> +<p>“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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“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’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,”—</p> +</div> +</div> +<div class="pb" id="pg_323">[323]</div> +<p>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.</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 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.</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’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 +<span class="pb" id="pg_325">[325]</span> +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).</p> +</div> +<div id="c111" title="The Landing of the Pilgrims"> +<h4>The Landing of the Pilgrims.</h4> +<p>“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.</p> +<p>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, +<span class="pb" id="pg_326">[326]</span> +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, <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 +“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.</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, “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 +<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.” 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>“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.</p> +<p>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 +<span class="pb" id="pg_329">[329]</span> +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 +<span class="pb" id="pg_330">[330]</span> +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.</p> +</div> +<div id="c114" title="King René’s Daughter"> +<h4>King René’s Daughter.</h4> +<p>“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.</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’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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“René 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 René, to René, 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,—</p> +<p class="t0">The diamonds that shine in her long golden hair,—</p> +<p class="t0">King René’s daughter the fair.”</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’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 +<span class="pb" id="pg_333">[333]</span> +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.</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 “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.</p> +</div> +<div id="c117" title="The Golden Legend"> +<div class="pb" id="pg_335">[335]</div> +<h4>The Golden Legend.</h4> +<p>“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.</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 (“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 +<span class="pb" id="pg_336">[336]</span> +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.</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’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 +<span class="pb" id="pg_337">[337]</span> +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”).</p> +<p>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.”</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 +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 +<span class="pb" id="pg_339">[339]</span> +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 +<span class="pb" id="pg_340">[340]</span> +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.</p> +</div> +<div id="c119" title="Love Feast of the Apostles"> +<h4>Love Feast of the Apostles.</h4> +<p>“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.</p> +<p>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”).</p> +<p>In the next number the Apostles enter (twelve +bass voices) with a sonorous welcome (“Seid uns +gegrüsst, ihr lieben Brüder”), reinforced by the +<span class="pb" id="pg_341">[341]</span> +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.</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, “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 +<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 “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.</p> +</div> +<div id="c121" title="Jubilee Cantata"> +<div class="pb" id="pg_344">[344]</div> +<h4>Jubilee Cantata.</h4> +<p>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 +<span class="pb" id="pg_345">[345]</span> +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.</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 (“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 +<span class="pb" id="pg_346">[346]</span> +(“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”).</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 +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.</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’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 +“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.”</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’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’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.</p> +</div> +<div id="c124" title="The Tale of the Viking"> +<h4>The Tale of the Viking.</h4> +<p>“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 +<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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“‘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?’”</p> +</div> +</div> +<p>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 +<span class="pb" id="pg_351">[351]</span> +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:—</p> +<div class="bq"> +<div class="verse"> +<p class="t0">“‘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’s soul,</p> +<p class="t0"><i>Skoal</i>! to the Northland! <i>skoal</i>!’</p> +<p class="t2">Thus the tale ended.”</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 Fête 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 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.</dd> +<dd>Twenty-eight birthday, funeral, +and secular cantatas: among them, Komische +cantate, Kaffee cantate, Bauern oder Hochzeit’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 glücklich 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 Cœur 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’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 Cœli (1861);</dd> +<dd>Frithjof’s Saga (1862);</dd> +<dd>Salamis (1862);</dd> +<dd>Die Flucht der heilige Familie (1863);</dd> +<dd>Gesang der heiligen drei Könige (1864);</dd> +<dd>Römischer Triumphgesang (1864);</dd> +<dd>Römische Leichenfeier (1864);</dd> +<dd>Schön 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>Brüll, Ignaz.</dt> +<dd>Die Gesternähren (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 Felicità (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, Félicien César.</dt> +<dd>The Desert (1844).</dd> +<dt>Dvořák, Anton.</dt> +<dd>Patriotic Hymn (1880);</dd> +<dd>The Spectre’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’s Daughter (1852);</dd> +<dd>Frühlingsbotschaft (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’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’Shanter (1855).</dd> +<dt>Gluck, Christoph Willibald.</dt> +<dd>Alexander’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>Frühling’s Hymne (1876).</dd> +<dt>Gounod, Charles François.</dt> +<dd>Marie Stuart et Rizzio (1837);</dd> +<dd>Daughters of Jerusalem (1838);</dd> +<dd>Fernand (1839);</dd> +<dd>À la Frontière (1870);</dd> +<dd>Gallia (1871).</dd> +<dt>Grieg, Edward.</dt> +<dd>Land Kennung (1865).</dd> +<dt>Halévy, 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 “Hanover” (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’s Feast (1736);</dd> +<dd>Ode on St. Cecilia’s Day (1739);</dd> +<dd>L’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’s Klage auf den Tod Friedrichs der Grossen (1787);</dd> +<dd>Des Dichter’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’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 bedrängt (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’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 Löwenherz (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’s Söhne und Prussien’s Töchter (1797);</dd> +<dd>Das Vertrauen auf Gott (1797);</dd> +<dd>Funeral Cantata (1799).</dd> +<dt>Hofmann, Heinrich K.</dt> +<dd>J. Deutschland’s Erhebung (1874);</dd> +<dd>Aschenbrödel (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’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>Kücken, 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’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>Lefébvre, Wély Louis.</dt> +<dd>Après 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 “Christus”) (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’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 Émile Frédéric.</dt> +<dd>David Rizzio (1863);</dd> +<dd>Paix et Liberté (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’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’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>Œdipus (1881);</dd> +<dd>Phœbus 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 Aimée (1885).</dd> +<dt>Raff, Joseph Joachim.</dt> +<dd>Wachet auf (1865);</dd> +<dd>Deutschland’s Auferstehung (1865);</dd> +<dd>Einer Entschlaffener (1876);</dd> +<dd>One Hundred and Thirtieth Psalm, “De Profundis” (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>Dörnroschen (1875);</dd> +<dd>Aschenbrödel (1877);</dd> +<dd>Hakon Jarl (1877);</dd> +<dd>Die wilden Schwäne (1881).</dd> +<dt>Reissiger, Karl Gottlieb.</dt> +<dd>Der Herr macht Alles wohl (1830).</dd> +<dt>Reissmann, August.</dt> +<dd>Drusus’ Death (1870);</dd> +<dd>Lorelei (1871).</dd> +<dt>Rheinberger, Joseph.</dt> +<dd>Wasserfee (1867);</dd> +<dd>Die Nacht (1868);</dd> +<dd>Die tödte Braut (1873);</dd> +<dd>Johannisnacht (1875);</dd> +<dd>Klärchen 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’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 Prométhée (1867);</dd> +<dd>Le Deluge (1876);</dd> +<dd>Eighteenth Psalm (1877);</dd> +<dd>Chanson d’ Ancêtre (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 Wörter des Glaubens (1816);</dd> +<dd>Die Huldigung der Tonkunst (1818);</dd> +<dd>Die Hoffnung (1820).</dd> +<dt>Schubert, Franz.</dt> +<dd>Salieri’s Jubilee (1815);</dd> +<dd>Prometheus (1816);</dd> +<dd>Cantata (Spendau) (1816);</dd> +<dd>Glaube, Hoffnung und Liebe (1816);</dd> +<dd>Der Frühlingsmorgen (1818);</dd> +<dd>Vogl Cantata (1818);</dd> +<dd>Die Allmacht (1820);</dd> +<dd>Constitution’s Lied (1822);</dd> +<dd>À la belle Irene (1827);</dd> +<dd>Miriam’s Song (1828).</dd> +<dt>Schumann, Robert.</dt> +<dd>Mignon’s Requiem (1849);</dd> +<dd>Advent Hymn (1849);</dd> +<dd>Pilgrimage of the Rose (1851);</dd> +<dd>The King’s Son (1851);</dd> +<dd>The Singer’s Curse (1852);</dd> +<dd>The Page and the King’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 René’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’s Prayer (1829);</dd> +<dd>Hymn to the holy Cecilia (1856).</dd> +<dt>Spontini, Gaspard.</dt> +<dd>Borussia (1826);</dd> +<dd>Gott segne der König (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’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 Erlösung des Menschen;</dd> +<dd>Die Auferstehung Germania’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’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’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>Dvořák, life of, <a href="#pg_134">134</a>.</dt> +<dt class="lbr">Ein’ Feste Burg, <a href="#pg_38">38</a>.</dt> +<dt>Erl King’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’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’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 René’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’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’s Curse, <a href="#pg_322">322</a>.</dt> +<dt>Miriam’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>Œdipus at Colonos, <a href="#pg_259">259</a>.</dt> +<dt>Œdipus 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>Phœbus, 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>Rákóczy 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’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. 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